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+The Project Gutenberg eBook, Lives of the Most Eminent Painters, Sculptors
+& Architects, by Giorgio Vasari, Translated by Gaston Du C. de Vere
+
+
+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 & Architects
+       Vol. IX (of 10) Michelagnolo to the Flemings
+
+
+Author: Giorgio Vasari
+
+
+
+Release Date: May 13, 2010  [eBook #32362]
+Most recently updated: July 16, 2010
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK LIVES OF THE MOST EMINENT
+PAINTERS, SCULPTORS & ARCHITECTS***
+
+
+E-text prepared by Mark C. Orton, Christine P. Travers, and the Project
+Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) from
+page images generously made available by Internet Archive/Canadian
+Libraries (http://www.archive.org/details/toronto)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 32362-h.htm or 32362-h.zip:
+      (http://www.gutenberg.org/files/32362/32362-h/32362-h.htm)
+      or
+      (http://www.gutenberg.org/files/32362/32362-h.zip)
+
+
+      Images of the original pages are available through
+      Internet Archive/Canadian Libraries. See
+      http://www.archive.org/details/livesofmostemine09vasauoft
+
+
+Transcriber's note:
+
+      Obvious printer's errors have been corrected.
+
+      Hyphenation and accentuation have been made consistent.
+      All other inconsistencies are as in the original.
+
+      The author's spelling has been retained.
+
+      Text enclosed by equal signs was in bold face (=bold=).
+
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS
+
+by
+
+GIORGIO VASARI:
+
+Volume IX. Michelagnolo to the Flemings 1915
+
+Newly Translated by GASTON Du C. DE VERE.
+
+With Five Hundred Illustrations: In Ten Volumes
+
+
+
+
+
+
+
+[Illustration: 1511-1574]
+
+Philip Lee Warner, Publisher to the Medici Society, Limited
+7 Grafton St. London, W. 1912-15
+
+
+
+
+CONTENTS OF VOLUME IX
+
+                                                                    PAGE
+
+    MICHELAGNOLO BUONARROTI                                            1
+
+    FRANCESCO PRIMATICCIO                                            143
+
+    TIZIANO DA CADORE                                                157
+
+    JACOPO SANSOVINO                                                 185
+
+    LEONE LIONI OF AREZZO                                            227
+
+    DON GIULIO CLOVIO                                                243
+
+    DIVERS ITALIAN CRAFTSMEN STILL LIVING                            255
+
+    DIVERS FLEMINGS                                                  263
+
+    INDEX OF NAMES                                                   273
+
+
+
+
+ILLUSTRATIONS TO VOLUME IX
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+
+    MICHELAGNOLO BUONARROTI
+        The Holy Family
+            Florence: Uffizi, 1,239                                    4
+
+    TIZIANO DA CADORE
+        The Madonna of the Cherries
+            Vienna: Imperial Gallery, 180                            158
+
+    TIZIANO DA CADORE
+        Sacred and Profane Love
+            Rome: Borghese Gallery, 147                              164
+
+    TIZIANO DA CADORE
+        The Duke of Norfolk
+            Florence: Pitti, 92                                      168
+
+    TIZIANO DA CADORE
+        The Education of Cupid
+            Rome: Borghese Gallery, 170                              176
+
+    PARIS BORDONE
+        The Venetian Lovers
+            Milan: Brera, 105                                        178
+
+
+PLATES IN MONOCHROME
+
+    MICHELAGNOLO BUONARROTI
+        The Battle of the Centaurs
+            Florence: Museo Buonarroti                                 8
+
+    MICHELAGNOLO BUONARROTI
+        The Angel with the Candlestick
+            Bologna: S. Domenico                                      10
+
+    MICHELAGNOLO BUONARROTI
+        Bacchus
+            Florence: Museo Nazionale                                 12
+
+    MICHELAGNOLO BUONARROTI
+        Pietà
+            Rome: S. Peter's                                          14
+
+    MICHELAGNOLO BUONARROTI
+        Wax Models for the David
+            Florence: Museo Buonarroti                                16
+
+    MICHELAGNOLO BUONARROTI
+        Madonna, Child, and S. John
+            Florence: Museo Nazionale                                 18
+
+    MICHELAGNOLO BUONARROTI
+        Young Captive
+            Paris: Louvre                                             20
+
+    MICHELAGNOLO BUONARROTI
+        Victory
+            Florence: Museo Nazionale                                 22
+
+    MICHELAGNOLO BUONARROTI
+        Moses
+            Rome: S. Pietro in Vincoli                                24
+
+    MICHELAGNOLO BUONARROTI
+        Tomb of Pope Julius II
+            Rome: S. Pietro in Vincoli                                24
+
+    MICHELAGNOLO BUONARROTI
+        God Dividing the Waters from the Earth
+            Rome: Sistine Chapel                                      28
+
+    MICHELAGNOLO BUONARROTI
+        The Creation of Eve
+            Rome: Sistine Chapel                                      28
+
+    MICHELAGNOLO BUONARROTI
+        The Creation of Adam
+            Rome: Sistine Chapel                                      32
+
+    MICHELAGNOLO BUONARROTI
+        The Fall and the Expulsion
+            Rome: Sistine Chapel                                      32
+
+    MICHELAGNOLO BUONARROTI
+        The Lybian Sibyl
+            Rome: Sistine Chapel                                      36
+
+    MICHELAGNOLO BUONARROTI
+        Decorative Figure
+            Rome: Sistine Chapel                                      38
+
+    MICHELAGNOLO BUONARROTI
+        The New Sacristy
+            Florence: S. Lorenzo                                      40
+
+    MICHELAGNOLO BUONARROTI
+        Madonna and Child
+            Florence: S. Lorenzo                                      42
+
+    MICHELAGNOLO BUONARROTI
+        Giuliano de' Medici
+            Florence: S. Lorenzo                                      44
+
+    MICHELAGNOLO BUONARROTI
+        Tomb of Giuliano de' Medici
+            Florence: S. Lorenzo                                      44
+
+    MICHELAGNOLO BUONARROTI
+        Apollo
+            Florence: Museo Nazionale                                 50
+
+    MICHELAGNOLO BUONARROTI
+        The Last Judgment
+            Rome: Sistine Chapel                                      56
+
+    MICHELAGNOLO BUONARROTI
+        Charon's Boat
+            Rome: Sistine Chapel                                      58
+
+    MICHELAGNOLO BUONARROTI
+        S. Sebastian
+            Rome: Sistine Chapel                                      60
+
+    MICHELAGNOLO BUONARROTI
+        Pietà
+            Florence: Duomo                                           62
+
+    MICHELAGNOLO BUONARROTI
+        Stairs of the Palace of the Senators
+            Rome: The Capitol                                         64
+
+    MICHELAGNOLO BUONARROTI
+        Court of the Palazzo Farnese
+            Rome                                                      66
+
+    MICHELAGNOLO BUONARROTI
+        Biblioteca Laurenziana
+            Florence                                                  78
+
+    MICHELAGNOLO BUONARROTI
+        Pietà
+            Rome: Palazzo Rondanini                                   84
+
+    MICHELAGNOLO BUONARROTI
+        S. Peter's
+            Rome                                                      86
+
+    MICHELAGNOLO BUONARROTI
+        S. Peter's
+            Rome                                                      88
+
+    MICHELAGNOLO BUONARROTI
+        Porta Pia
+            Rome                                                      96
+
+    MICHELAGNOLO BUONARROTI
+        S. Maria degli Angeli
+            Rome                                                      98
+
+    MICHELAGNOLO BUONARROTI
+        Brutus
+            Florence: Museo Nazionale                                100
+
+    MICHELAGNOLO BUONARROTI
+        Unfinished Figure
+            Florence: Museo Nazionale                                106
+
+    FRANCESCO PRIMATICCIO
+        Galerie Henry IV
+            Fontainebleau                                            146
+
+    FRANCESCO PRIMATICCIO
+        Escalier du Roi
+            Fontainebleau                                            148
+
+    PELLEGRINO TIBALDI
+        The Adoration of the Shepherds
+            Vienna: Collection of Prince Liechtenstein               152
+
+    TIZIANO DA CADORE
+        Ariosto
+            London: National Gallery, 1,944                          160
+
+    TIZIANO DA CADORE
+        Bacchanal
+            Madrid: The Prado, 450                                   162
+
+    TIZIANO DA CADORE
+        Madonna With Saints and Donor
+            Ancona: S. Domenico                                      162
+
+    TIZIANO DA CADORE
+        Charles V with Dog
+            Madrid: The Prado, 453                                   166
+
+    TIZIANO DA CADORE
+        Pope Paul III
+            Naples: Museo Nazionale                                  168
+
+    TIZIANO DA CADORE
+        Danaë
+            Naples: Museo Nazionale                                  170
+
+    TIZIANO DA CADORE
+        Perseus and Andromeda
+            London: Wallace Collection, 11                           172
+
+    TIZIANO DA CADORE
+        Philip II
+            Naples: Museo Nazionale                                  172
+
+    TIZIANO DA CADORE
+        Mary Magdalene
+            Naples: Museo Nazionale                                  174
+
+    TIZIANO DA CADORE
+        The Entombment
+            Madrid: The Prado, 464                                   176
+
+    PARIS BORDONE
+        The Fisherman and the Doge Gradenigo
+            Venice: Accademia, 320                                   180
+
+    PARIS BORDONE
+        Portrait of a Woman
+            London: National Gallery, 674                            180
+
+    ZUCCATI
+        Vision of the Apocalypse
+            Venice: S. Marco                                         182
+
+    JACOPO SANSOVINO
+        S. James
+            Florence: Duomo                                          190
+
+    JACOPO SANSOVINO
+        Bacchus
+            Florence: Museo Nazionale                                192
+
+    JACOPO SANSOVINO
+        Mars and Neptune
+            Venice: Ducal Palace                                     196
+
+    JACOPO SANSOVINO
+        Library of S. Marco
+            Venice                                                   198
+
+    JACOPO SANSOVINO
+        Loggetta
+            Venice                                                   200
+
+    JACOPO SANSOVINO
+        Miracle of S. Anthony
+            Padua: S. Antonio                                        202
+
+    ANDREA PALLADIO
+        Palazzo della Comunità
+            Vicenza                                                  210
+
+    LEONE LEONI
+        Tomb of Gian Jacopo Medici
+            Milan: Duomo                                             230
+
+    CRISTOFANO SOLARI (IL GOBBO)
+        Eve
+            Milan: Duomo                                             234
+
+    GUGLIELMO DELLA PORTA
+        Tomb of Pope Paul III
+            Rome: S. Peter's                                         236
+
+    GALEAZZO ALESSI
+        Palazzo Grimaldi
+            Genoa                                                    240
+
+    GIULIO CLOVIO
+        Pietà
+            Florence: Pitti, 241                                     246
+
+    GIROLAMO SERMONETA
+        Martyrdom of S. Catherine
+            Rome: S. Maria Maggiore                                  258
+
+    JOHANNES CALCAR
+        Portrait of a Man
+            Paris: Louvre, 1,185                                     266
+
+
+
+
+MICHELAGNOLO BUONARROTI
+
+
+
+
+LIFE OF MICHELAGNOLO BUONARROTI
+
+PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE
+
+
+While the most noble and industrious spirits were striving, by the
+light of the famous Giotto and of his followers, to give to the world
+a proof of the ability that the benign influence of the stars and the
+proportionate admixture of humours had given to their intellects, and
+while, desirous to imitate with the excellence of their art the
+grandeur of Nature in order to approach as near as possible to that
+supreme knowledge that many call understanding, they were universally
+toiling, although in vain, the most benign Ruler of Heaven in His
+clemency turned His eyes to the earth, and, having perceived the
+infinite vanity of all those labours, the ardent studies without any
+fruit, and the presumptuous self-sufficiency of men, which is even
+further removed from truth than is darkness from light, and desiring
+to deliver us from such great errors, became minded to send down to
+earth a spirit with universal ability in every art and every
+profession, who might be able, working by himself alone, to show what
+manner of thing is the perfection of the art of design in executing
+the lines, contours, shadows, and high lights, so as to give relief to
+works of painting, and what it is to work with correct judgment in
+sculpture, and how in architecture it is possible to render
+habitations secure and commodious, healthy and cheerful,
+well-proportioned, and rich with varied ornaments. He was pleased, in
+addition, to endow him with the true moral philosophy and with the
+ornament of sweet poesy, to the end that the world might choose him
+and admire him as its highest exemplar in the life, works, saintliness
+of character, and every action of human creatures, and that he might
+be acclaimed by us as a being rather divine than human. And since He
+saw that in the practice of these rare exercises and arts--namely, in
+painting, in sculpture, and in architecture--the Tuscan intellects
+have always been exalted and raised high above all others, from their
+being diligent in the labours and studies of every faculty beyond no
+matter what other people of Italy, He chose to give him Florence, as
+worthy beyond all other cities, for his country, in order to bring all
+the talents to their highest perfection in her, as was her due, in the
+person of one of her citizens.
+
+[Illustration: MICHELAGNOLO BUONARROTI: THE HOLY FAMILY
+
+(_Florence: Uffizi, 1239. Panel_)]
+
+There was born a son, then, in the Casentino, in the year 1474, under
+a fateful and happy star, from an excellent and noble mother, to
+Lodovico di Leonardo Buonarroti Simoni, a descendant, so it is said,
+of the most noble and most ancient family of the Counts of Canossa. To
+that Lodovico, I say, who was in that year Podestà of the township of
+Chiusi and Caprese, near the Sasso della Vernia, where S. Francis
+received the Stigmata, in the Diocese of Arezzo, a son was born on the
+6th of March, a Sunday, about the eighth hour of the night, to which
+son he gave the name Michelagnolo, because, inspired by some influence
+from above, and giving it no more thought, he wished to suggest that
+he was something celestial and divine beyond the use of mortals, as
+was afterwards seen from the figures of his horoscope, he having had
+Mercury and Venus in the second house of Jupiter, with happy augury,
+which showed that from the art of his brain and of his hand there
+would be seen to issue forth works marvellous and stupendous. Having
+finished his office as Podestà, Lodovico returned to Florence and
+settled in the village of Settignano, at a distance of three miles
+from the city, where he had a farm that had belonged to his
+forefathers; which place abounds with stone and is all full of
+quarries of grey-stone, which is constantly being worked by
+stone-cutters and sculptors, who for the most part are born in the
+place. Michelagnolo was put out to nurse by Lodovico in that village
+with the wife of a stone-cutter: wherefore the same Michelagnolo,
+discoursing once with Vasari, said to him jestingly, "Giorgio, if I
+have anything of the good in my brain, it has come from my being born
+in the pure air of your country of Arezzo, even as I also sucked in
+with my nurse's milk the chisels and hammer with which I make my
+figures." In time Lodovico's family increased, and, being in poor
+circumstances, with slender revenues, he set about apprenticing his
+sons to the Guilds of Silk and Wool. Michelagnolo, who by that time
+was well grown, was placed to be schooled in grammar with Maestro
+Francesco da Urbino; but, since his genius drew him to delight in
+design, all the time that he could snatch he would spend in drawing in
+secret, being scolded for this by his father and his other elders, and
+at times beaten, they perchance considering that to give attention to
+that art, which was not known by them, was a mean thing and not worthy
+of their ancient house.
+
+At this time Michelagnolo had formed a friendship with Francesco
+Granacci, who, likewise a lad, had placed himself with Domenico
+Ghirlandajo in order to learn the art of painting; wherefore Granacci,
+loving Michelagnolo, and perceiving that he was much inclined to
+design, supplied him daily with drawings by Ghirlandajo, who at that
+time was reputed to be one of the best masters that there were not
+only in Florence, but throughout all Italy. Whereupon, the desire to
+work at art growing greater every day in Michelagnolo, Lodovico,
+perceiving that he could not divert the boy from giving his attention
+to design, and that there was no help for it, and wishing to derive
+some advantage from it and to enable him to learn that art, resolved
+on the advice of friends to apprentice him with Domenico Ghirlandajo.
+Michelagnolo, when he was placed with Domenico Ghirlandajo, was
+fourteen years of age. Now he who wrote his life after the year 1550,
+when I wrote these Lives the first time, has said that some persons,
+through not having associated with him, have related things that never
+happened, and have left out many that are worthy to be recorded, and
+has touched on this circumstance in particular, taxing Domenico with
+jealousy and saying that he never offered any assistance to
+Michelagnolo; which is clearly false, as may be seen from an entry by
+the hand of Lodovico, the father of Michelagnolo, written in one of
+Domenico's books, which book is now in the possession of his heirs.
+That entry runs thus: "1488, I record, this first day of April, that
+I, Lodovico di Leonardo di Buonarrota, placed Michelagnolo my son with
+Domenico and David di Tommaso di Currado for the three years next to
+come, on these terms and conditions, that the said Michelagnolo shall
+remain with the above-named persons for the said period of time, in
+order to learn to paint and to exercise that vocation; that the said
+persons shall have command over him; and that the same Domenico and
+David shall be bound to give him in those three years twenty-four
+florins of full weight, the first year six florins, the second year
+eight florins, and the third ten florins; in all, the sum of
+ninety-six lire." And next, below this, is another record, or rather,
+entry, also written in the hand of Lodovico: "The aforesaid
+Michelagnolo has received of that sum, this sixteenth day of April,
+two gold florins in gold. I, Lodovico di Leonardo, his father, have
+received twelve lire and twelve soldi as cash due to him." These
+entries I have copied from the book itself, in order to prove that all
+that was written at that time, as well as all that is about to be
+written, is the truth; nor do I know that anyone has been more
+associated with him than I have been, or has been a more faithful
+friend and servant to him, as can be proved even to one who knows not
+the facts, neither do I believe that there is anyone who can show a
+greater number of letters written by his own hand, or any written with
+greater affection than he has expressed to me. I have made this
+digression for the sake of truth, and it must suffice for all the rest
+of his Life. Let us now return to our story.
+
+When the ability as well as the person of Michelagnolo had grown in
+such a manner, that Domenico, seeing him execute some works beyond the
+scope of a boy, was astonished, since it seemed to him that he not
+only surpassed the other disciples, of whom he had a great number, but
+very often equalled the things done by himself as master, it happened
+that one of the young men who were learning under Domenico copied with
+the pen some draped figures of women from works by Ghirlandajo;
+whereupon Michelagnolo took that drawing and with a thicker pen
+outlined one of those women with new lineaments, in the manner that it
+should have been in order to be perfect. And it is a marvellous thing
+to see the difference between the two manners, and the judgment and
+excellence of a mere lad who was so spirited and bold, that he had the
+courage to correct the work of his master. That sheet is now in my
+possession, treasured as a relic; and I received it from Granacci to
+put in my book of drawings together with others by the same hand,
+which I received from Michelagnolo. In the year 1550, when Giorgio was
+in Rome, he showed it to Michelagnolo, who recognized it and was
+pleased to see it again, saying modestly that he knew more of the art
+when he was a boy than he did at that time, when he was an old man.
+
+Now it happened that when Domenico was at work on the great chapel of
+S. Maria Novella, one day that he was out Michelagnolo set himself to
+draw the staging from the reality, with some desks and all the
+appliances of art, and some of the young men who were working there.
+Whereupon, when Domenico had returned and seen Michelagnolo's drawing,
+he said, "This boy knows more about it than I do;" and he was struck
+with amazement at the novel manner and the novel method of imitation
+that a mere boy of such tender age displayed by reason of the judgment
+bestowed upon him by Heaven, for these, in truth, were as marvellous
+as could have been looked for in the workmanship of a craftsman who
+had laboured for many years. And this was because all the power and
+knowledge of the gracious gifts of his nature were exercised by study
+and by the practice of art, wherefore these gifts produced every day
+fruits more divine in Michelagnolo, as began to be made clearly
+manifest in the copy that he executed of a printed sheet by the German
+Martino, which gave him a very great name. For there had come to
+Florence at that time a scene by the above-named Martino, of the
+Devils beating S. Anthony, engraved on copper, and Michelagnolo copied
+it with the pen in such a manner that it could not be detected, and
+then painted that same sheet in colours, going at times, in order to
+counterfeit certain strange forms of devils, to buy fishes that had
+scales bizarre in colouring; and in that work he showed so much
+ability, that he acquired thereby credit and fame. He also
+counterfeited sheets by the hands of various old masters, making them
+so similar that they could not be detected, for, tinting them and
+giving them the appearance of age with smoke and various other
+materials, he made them so dark that they looked old, and, when
+compared with the originals, one could not be distinguished from the
+other. Nor did he do this with any other purpose but to obtain the
+originals from the hands of their owners by giving them the copies,
+for he admired them for the excellence of their art and sought to
+surpass them in his own practice; on which account he acquired a very
+great name.
+
+[Illustration: THE BATTLE OF THE CENTAURS
+
+(_After the relief by =Michelangelo=. Florence: Museo Buonarroti_)
+
+_Alinari_]
+
+At that time the Magnificent Lorenzo de' Medici kept the sculptor
+Bertoldo in his garden on the Piazza di S. Marco, not so much as
+custodian or guardian of the many beautiful antiques that he had
+collected and gathered together at great expense in that place, as
+because, desiring very earnestly to create a school of excellent
+painters and sculptors, he wished that these should have as their
+chief and guide the above-named Bertoldo, who was a disciple of
+Donato. Bertoldo, although he was so old that he was not able to work,
+was nevertheless a well-practised master and in much repute, not only
+because he had polished with great diligence the pulpits cast by his
+master Donato, but also on account of many castings in bronze that he
+had executed himself, of battles and certain other small works, in the
+execution of which there was no one to be found in Florence at that
+time who surpassed him. Now Lorenzo, who bore a very great love to
+painting and to sculpture, was grieved that there were not to be found
+in his time sculptors noble and famous enough to equal the many
+painters of the highest merit and reputation, and he determined, as I
+have said, to found a school. To this end he besought Domenico
+Ghirlandajo that, if he had among the young men in his workshop any
+that were inclined to sculpture, he might send them to his garden,
+where he wished to train and form them in such a manner as might do
+honour to himself, to Domenico, and to the whole city. Whereupon there
+were given to him by Domenico as the best of his young men, among
+others, Michelagnolo and Francesco Granacci; and they, going to the
+garden, found there that Torrigiano, a young man of the Torrigiani
+family, was executing in clay some figures in the round that had been
+given to him by Bertoldo. Michelagnolo, seeing this, made some out of
+emulation; wherefore Lorenzo, seeing his fine spirit, always regarded
+him with much expectation. And he, thus encouraged, after some days
+set himself to counterfeit from a piece of marble an antique head of a
+Faun that was there, old and wrinkled, which had the nose injured and
+the mouth laughing. Michelagnolo, who had never yet touched marble
+or chisels, succeeded so well in counterfeiting it, that the
+Magnificent Lorenzo was astonished; and then, perceiving that,
+departing from the form of the antique head, he had opened out the
+mouth after his own fancy and had made a tongue, with all the teeth
+showing, that lord, jesting pleasantly, as was his wont, said to him,
+"Surely you should have known that old folks never have all their
+teeth, and that some are always wanting." It appeared to Michelagnolo,
+in his simplicity, both fearing and loving that lord, that he had
+spoken the truth; and no sooner had Lorenzo departed than he
+straightway broke one of the teeth and hollowed out the gum, in such a
+manner, that it seemed as if the tooth had dropped out. And then he
+awaited with eagerness the return of the Magnificent Lorenzo, who,
+when he had come and had seen the simplicity and excellence of
+Michelagnolo, laughed at it more than once, relating it as a miracle
+to his friends. Moreover, having made a resolve to assist and favour
+Michelagnolo, he sent for his father Lodovico and asked for the boy
+from him, saying that he wished to maintain him as one of his own
+children; and Lodovico gave him up willingly. Thereupon the
+Magnificent Lorenzo granted him a chamber in his own house and had him
+attended, and he ate always at his table with his own children and
+with other persons of quality and of noble blood who lived with that
+lord, by whom he was much honoured. This was in the year after he had
+been placed with Domenico, when Michelagnolo was about fifteen or
+sixteen years of age; and he lived in that house four years, which was
+until the death of the Magnificent Lorenzo in 1492. During that time,
+then, Michelagnolo had five ducats a month from that lord as an
+allowance and also to help his father; and for his particular
+gratification Lorenzo gave him a violet cloak, and to his father an
+office in the Customs. Truth to tell, all the young men in the garden
+were salaried, some little and some much, by the liberality of that
+magnificent and most noble citizen, and rewarded by him as long as he
+lived.
+
+At this time, at the advice of Poliziano, a man eminent in letters,
+Michelagnolo executed from a piece of marble given to him by that lord
+the Battle of Hercules with the Centaurs, which was so beautiful that
+now, to those who study it from time to time, it appears as if by the
+hand not of a youth but of a master of repute, perfected by study and
+well practised in that art. It is now in his house, treasured in
+memory of him by his nephew Leonardo as a rare thing, which indeed it
+is. That Leonardo, not many years since, had in his house in memory of
+his uncle a Madonna of marble in low-relief by the hand of
+Michelagnolo, little more than one braccio in height, in which when a
+lad, at this same time, wishing to counterfeit the manner of
+Donatello, he acquitted himself so well that it seems as if by
+Donatello's hand, save that there may be seen in it more grace and
+more design. That work Leonardo afterwards gave to Duke Cosimo de'
+Medici, who treasures it as a unique thing, for we have no other
+low-relief in sculpture by his hand save that one.
+
+Now, returning to the garden of the Magnificent Lorenzo; that garden
+was full of antiques and richly adorned with excellent pictures, all
+gathered together in that place for their beauty, for study, and for
+pleasure. Michelagnolo always had the keys, and he was much more
+earnest than the others in his every action, and showed himself always
+alert, bold, and resolute. He drew for many months from the pictures
+of Masaccio in the Carmine, where he copied those works with so much
+judgment, that the craftsmen and all other men were astonished, in
+such sort that envy grew against him together with his fame. It is
+said that Torrigiano, after contracting a friendship with him, mocked
+him, being moved by envy at seeing him more honoured than himself and
+more able in art, and struck him a blow of the fist on the nose with
+such force, that he broke and crushed it very grievously and marked
+him for life; on which account Torrigiano was banished from Florence,
+as has been related in another place.
+
+[Illustration: THE ANGEL WITH THE CANDLESTICK
+
+(_After =Michelagnolo=. Bologna: S. Domenico_)
+
+_Alinari_]
+
+When the Magnificent Lorenzo died, Michelagnolo returned to his
+father's house in infinite sorrow at the death of so great a man, the
+friend of every talent. There he bought a great piece of marble, and
+from it carved a Hercules of four braccia, which stood for many years
+in the Palace of the Strozzi; this was esteemed an admirable work, and
+afterwards, in the year of the siege, it was sent into France to King
+Francis by Giovan Battista della Palla. It is said that Piero de'
+Medici, who had been left heir to his father Lorenzo, having long
+been intimate with Michelagnolo, used often to send for him when he
+wished to buy antiques, such as cameos and other carved stones. One
+winter, when much snow fell in Florence, he caused him to make in his
+courtyard a statue of snow, which was very beautiful; and he honoured
+Michelagnolo on account of his talents in such a manner, that his
+father, beginning to see that he was esteemed among the great, clothed
+him much more honourably than he had been wont to do.
+
+For the Church of S. Spirito in the city of Florence Michelagnolo made
+a Crucifix of wood, which was placed, as it still is, above the
+lunette of the high-altar; doing this to please the Prior, who placed
+rooms at his disposal, in which he was constantly flaying dead bodies,
+in order to study the secrets of anatomy, thus beginning to give
+perfection to the great knowledge of design that he afterwards
+acquired. It came about that the Medici were driven out of Florence,
+and a few weeks before that Michelagnolo had gone to Bologna, and then
+to Venice, fearing, as he saw the insolence and bad government of
+Piero de' Medici, lest some evil thing might befall him from his being
+the servant of that family; but, not having found any means of living
+in Venice, he returned to Bologna. There he had the misfortune to
+neglect, through lack of thought, when entering by the gate, to learn
+the countersign for going out again, a command having been issued at
+that time, as a precaution, at the desire of Messer Giovanni
+Bentivogli, that all strangers who had not the countersign should be
+fined fifty Bolognese lire; and having fallen into such a predicament,
+nor having the means to pay, Michelagnolo by chance was seen by Messer
+Giovan Francesco Aldovrandi, one of the Sixteen of the Government, who
+had compassion on him, and, having made him tell his story, liberated
+him, and then kept him in his house for more than a year. One day
+Aldovrandi took him to see the tomb of S. Dominic, made, as has been
+related, by Giovanni Pisano and then by Maestro Niccolò dell'Arca,
+sculptors of olden days. In that work there were wanting a S. Petronio
+and an Angel holding a candelabrum, figures of about one braccio, and
+Aldovrandi asked him if he felt himself able to make them; and he
+answered Yes. Whereupon he had the marble given to him, and
+Michelagnolo executed them in such a manner, that they are the best
+figures that are there; and Messer Francesco Aldovrandi caused thirty
+ducats to be given to him for the two. Michelagnolo stayed a little
+more than a year in Bologna, and he would have stayed there even
+longer, in order to repay the courtesy of Aldovrandi, who loved him
+both for his design and because, liking Michelagnolo's Tuscan
+pronunciation in reading, he was pleased to hear from his lips the
+works of Dante, Petrarca, Boccaccio, and other Tuscan poets. But,
+since he knew that he was wasting his time, he was glad to return to
+Florence.
+
+[Illustration: BACCHUS
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+There he made for Lorenzo di Pier Francesco de' Medici a S. Giovannino
+of marble, and then set himself to make from another piece of marble a
+Cupid that was sleeping, of the size of life. This, when finished, was
+shown by means of Baldassarre del Milanese to Lorenzo di Pier
+Francesco as a beautiful thing, and he, having pronounced the same
+judgment, said to Michelagnolo: "If you were to bury it under ground
+and then sent it to Rome treated in such a manner as to make it look
+old, I am certain that it would pass for an antique, and you would
+thus obtain much more for it than by selling it here." It is said that
+Michelagnolo handled it in such a manner as to make it appear an
+antique; nor is there any reason to marvel at that, seeing that he had
+genius enough to do it, and even more. Others maintain that Milanese
+took it to Rome and buried it in a vineyard that he had there, and
+then sold it as an antique to Cardinal San Giorgio for two hundred
+ducats. Others, again, say that Milanese sold to the Cardinal one that
+Michelagnolo had made for him, and that he wrote to Lorenzo di Pier
+Francesco that he should cause thirty crowns to be given to
+Michelagnolo, saying that he had not received more for the Cupid, and
+thus deceiving the Cardinal, Lorenzo di Pier Francesco, and
+Michelagnolo; but afterwards, having received information from one who
+had seen that the boy was fashioned in Florence, the Cardinal
+contrived to learn the truth by means of a messenger, and so went to
+work that Milanese's agent had to restore the money and take back the
+Cupid. That work, having come into the possession of Duke Valentino,
+was presented by him to the Marchioness of Mantua, who took it to
+her own country, where it is still to be seen at the present day.
+This affair did not happen without some censure attaching to Cardinal
+San Giorgio, in that he did not recognize the value of the work, which
+consisted in its perfection; for modern works, if only they be
+excellent, are as good as the ancient. What greater vanity is there
+than that of those who concern themselves more with the name than the
+fact? But of that kind of men, who pay more attention to the
+appearance than to the reality, there are some to be found at any
+time.
+
+Now this event brought so much reputation to Michelagnolo, that he was
+straightway summoned to Rome and engaged by Cardinal San Giorgio, with
+whom he stayed nearly a year, although, as one little conversant with
+our arts, he did not commission Michelagnolo to do anything. At that
+time a barber of the Cardinal, who had been a painter, and could paint
+with great diligence in distemper-colours, but knew nothing of design,
+formed a friendship with Michelagnolo, who made for him a cartoon of
+S. Francis receiving the Stigmata. That cartoon was painted very
+carefully in colours by the barber on a little panel; and the picture
+is now to be seen in S. Pietro a Montorio in the first chapel on the
+left hand as one enters the church. The talent of Michelagnolo was
+then clearly recognized by a Roman gentleman named Messer Jacopo
+Galli, an ingenious person, who caused him to make a Cupid of marble
+as large as life, and then a figure of a Bacchus ten palms high, who
+has a cup in the right hand, and in the left hand the skin of a tiger,
+with a bunch of grapes at which a little satyr is trying to nibble. In
+that figure it may be seen that he sought to achieve a certain fusion
+in the members that is marvellous, and in particular that he gave it
+both the youthful slenderness of the male and the fullness and
+roundness of the female--a thing so admirable, that he proved himself
+excellent in statuary beyond any other modern that had worked up to
+that time. On which account, during his stay in Rome, he made so much
+proficience in the studies of art, that it was a thing incredible to
+see his exalted thoughts and the difficulties of the manner exercised
+by him with such supreme facility; to the amazement not only of those
+who were not accustomed to see such things, but also of those familiar
+with good work, for the reason that all the works executed up to that
+time appeared as nothing in comparison with his. These things awakened
+in Cardinal di San Dionigi, called Cardinal de Rohan, a Frenchman, a
+desire to leave in a city so famous some worthy memorial of himself by
+the hand of so rare a craftsman; and he caused him to make a Pietà of
+marble in the round, which, when finished, was placed in the Chapel of
+the Vergine Maria della Febbre in S. Pietro, where the Temple of Mars
+used to be. To this work let no sculptor, however rare a craftsman,
+ever think to be able to approach in design or in grace, or ever to be
+able with all the pains in the world to attain to such delicacy and
+smoothness or to perforate the marble with such art as Michelagnolo
+did therein, for in it may be seen all the power and worth of art.
+Among the lovely things to be seen in the work, to say nothing of the
+divinely beautiful draperies, is the body of Christ; nor let anyone
+think to see greater beauty of members or more mastery of art in any
+body, or a nude with more detail in the muscles, veins, and nerves
+over the framework of the bones, nor yet a corpse more similar than
+this to a real corpse. Here is perfect sweetness in the expression of
+the head, harmony in the joints and attachments of the arms, legs, and
+trunk, and the pulses and veins so wrought, that in truth Wonder
+herself must marvel that the hand of a craftsman should have been able
+to execute so divinely and so perfectly, in so short a time, a work so
+admirable; and it is certainly a miracle that a stone without any
+shape at the beginning should ever have been reduced to such
+perfection as Nature is scarcely able to create in the flesh. Such
+were Michelagnolo's love and zeal together in this work, that he left
+his name--a thing that he never did again in any other work--written
+across a girdle that encircles the bosom of Our Lady. And the reason
+was that one day Michelagnolo, entering the place where it was set up,
+found there a great number of strangers from Lombardy, who were
+praising it highly, and one of them asked one of the others who had
+done it, and he answered, "Our Gobbo from Milan." Michelagnolo stood
+silent, but thought it something strange that his labours should be
+attributed to another; and one night he shut himself in there, and,
+having brought a little light and his chisels, carved his name upon
+it. And truly the work is such, that an exalted spirit has said, as
+to a real and living figure--
+
+  Bellezza ed Onestate
+  E Doglia e Pietà in vivo marmo morte,
+  Deh, come voi pur fate,
+  Non piangete si forte,
+  Che anzi tempo risveglisi da morte;
+  E pur mal grado suo
+  Nostro Signore, e tuo
+  Sposo, Figliuolo, e Padre,
+  Unica Sposa sua, Figliuola, e Madre.
+
+From this work he acquired very great fame, and although certain
+persons, rather fools than otherwise, say that he has made Our Lady
+too young, are these so ignorant as not to know that unspotted virgins
+maintain and preserve their freshness of countenance a long time
+without any mark, and that persons afflicted as Christ was do the
+contrary? That circumstance, therefore, won an even greater increase
+of glory and fame for his genius than all his previous works.
+
+[Illustration: PIETÀ
+
+(_After =Michelagnolo=. Rome: S. Peter's_)
+
+_Anderson_]
+
+Letters were written to him from Florence by some of his friends,
+saying that he should return, because it was not unlikely that he
+might obtain the spoiled block of marble lying in the Office of Works,
+which Piero Soderini, who at that time had been made Gonfalonier of
+the city for life, had very often talked of having executed by
+Leonardo da Vinci, and was then arranging to give to Maestro Andrea
+Contucci of Monte Sansovino, an excellent sculptor, who was seeking to
+obtain it. Now, however difficult it might be to carve a complete
+figure out of it without adding pieces (for which work of finishing it
+without adding pieces none of the others, save Buonarroti alone, had
+courage enough), Michelagnolo had felt a desire for it for many years
+back; and, having come to Florence, he sought to obtain it. This block
+of marble was nine braccia high, and from it, unluckily, one Maestro
+Simone da Fiesole had begun a giant, and he had managed to work so
+ill, that he had hacked a hole between the legs, and it was altogether
+misshapen and reduced to ruin, insomuch that the Wardens of Works of
+S. Maria del Fiore, who had the charge of the undertaking, had placed
+it on one side without troubling to have it finished; and so it had
+remained for many years past, and was likely to remain. Michelagnolo
+measured it all anew, considering whether he might be able to carve a
+reasonable figure from that block by accommodating himself as to the
+attitude to the marble as it had been left all misshapen by Maestro
+Simone; and he resolved to ask for it from Soderini and the Wardens,
+by whom it was granted to him as a thing of no value, they thinking
+that whatever he might make of it would be better than the state in
+which it was at that time, seeing that neither in pieces nor in that
+condition could it be of any use to their building. Whereupon
+Michelagnolo made a model of wax, fashioning in it, as a device for
+the Palace, a young David with a sling in his hand, to the end that,
+even as he had defended his people and governed them with justice, so
+those governing that city might defend her valiantly and govern her
+justly. And he began it in the Office of Works of S. Maria del Fiore,
+in which he made an enclosure of planks and masonry, thus surrounding
+the marble; and, working at it continuously without anyone seeing it,
+he carried it to perfect completion. The marble had already been
+spoilt and distorted by Maestro Simone, and in some places it was not
+enough to satisfy the wishes of Michelagnolo for what he would have
+liked to do with it; and he therefore suffered certain of the first
+marks of Maestro Simone's chisel to remain on the extremity of the
+marble, some of which are still to be seen. And truly it was a miracle
+on the part of Michelagnolo to restore to life a thing that was dead.
+
+This statue, when finished, was of such a kind that many disputes took
+place as to how to transport it to the Piazza della Signoria.
+Whereupon Giuliano da San Gallo and his brother Antonio made a very
+strong framework of wood and suspended the figure from it with ropes,
+to the end that it might not hit against the wood and break to pieces,
+but might rather keep rocking gently; and they drew it with windlasses
+over flat beams laid upon the ground, and then set it in place. On the
+rope which held the figure suspended he made a slip-knot which was
+very easy to undo but tightened as the weight increased, which is a
+most beautiful and ingenious thing; and I have in my book a drawing of
+it by his own hand--an admirable, secure, and strong contrivance for
+suspending weights.
+
+[Illustration: WAX MODELS FOR THE DAVID
+
+(_After =Michelagnolo=. Florence: Museo Buonarroti_)
+
+_Alinari_]
+
+It happened at this time that Piero Soderini, having seen it in
+place, was well pleased with it, but said to Michelagnolo, at a
+moment when he was retouching it in certain parts, that it seemed to
+him that the nose of the figure was too thick. Michelagnolo noticed
+that the Gonfalonier was beneath the Giant, and that his point of view
+prevented him from seeing it properly; but in order to satisfy him he
+climbed upon the staging, which was against the shoulders, and quickly
+took up a chisel in his left hand, with a little of the marble-dust
+that lay upon the planks of the staging, and then, beginning to strike
+lightly with the chisel, let fall the dust little by little, nor
+changed the nose a whit from what it was before. Then, looking down at
+the Gonfalonier, who stood watching him, he said, "Look at it now." "I
+like it better," said the Gonfalonier, "you have given it life." And
+so Michelagnolo came down, laughing to himself at having satisfied
+that lord, for he had compassion on those who, in order to appear full
+of knowledge, talk about things of which they know nothing.
+
+When it was built up, and all was finished, he uncovered it, and it
+cannot be denied that this work has carried off the palm from all
+other statues, modern or ancient, Greek or Latin; and it may be said
+that neither the Marforio at Rome, nor the Tiber and the Nile of the
+Belvedere, nor the Giants of Monte Cavallo, are equal to it in any
+respect, with such just proportion, beauty and excellence did
+Michelagnolo finish it. For in it may be seen most beautiful contours
+of legs, with attachments of limbs and slender outlines of flanks that
+are divine; nor has there ever been seen a pose so easy, or any grace
+to equal that in this work, or feet, hands and head so well in accord,
+one member with another, in harmony, design, and excellence of
+artistry. And, of a truth, whoever has seen this work need not trouble
+to see any other work executed in sculpture, either in our own or in
+other times, by no matter what craftsman. Michelagnolo received from
+Piero Soderini in payment for it four hundred crowns; and it was set
+in place in the year 1504. In consequence of the fame that he thereby
+won as a sculptor, he made for the above-named Gonfalonier a most
+beautiful David of bronze, which Soderini sent to France; and at this
+time, also, he began, but did not finish, two medallions of
+marble--one for Taddeo Taddei, which is now in his house, and another
+that he began for Bartolommeo Pitti, which was presented by Fra
+Miniato Pitti of Monte Oliveto, a man with a rare knowledge in
+cosmography and many other sciences, and particularly in painting, to
+Luigi Guicciardini, who was much his friend. These works were held to
+be admirable in their excellence; and at this same time, also, he
+blocked out a statue of S. Matthew in marble in the Office of Works of
+S. Maria del Fiore, which statue, rough as it is, reveals its full
+perfection and teaches sculptors in what manner figures can be carved
+out of marble without their coming out misshapen, so that it may be
+possible to go on ever improving them by removing more of the marble
+with judgment, and also to draw back and change some part, according
+as the necessity may arise. He also made a medallion in bronze of a
+Madonna, which he cast in bronze at the request of certain Flemish
+merchants of the Moscheroni family, persons of high nobility in their
+own country, who paid him a hundred crowns for it, and intended to
+send it to Flanders.
+
+[Illustration: MADONNA, CHILD, AND S. JOHN
+
+(_After the relief by =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Anderson_]
+
+There came to Agnolo Doni, a Florentine citizen and a friend of
+Michelagnolo, who much delighted to have beautiful things both by
+ancient and by modern craftsmen, a desire to possess some work by
+Michelagnolo; wherefore that master began for him a round picture
+containing a Madonna, who, kneeling on both knees, has an Infant in
+her arms and presents Him to Joseph, who receives Him. Here
+Michelagnolo expresses in the turn of the head of the Mother of Christ
+and in the gaze of her eyes, which she keeps fixed on the supreme
+beauty of her Son, her marvellous contentment and her lovingness in
+sharing it with that saintly old man, who receives Him with equal
+affection, tenderness, and reverence, as may be seen very readily in
+his countenance, without considering it long. Nor was this enough for
+Michelagnolo, who, the better to show how great was his art, made in
+the background of his work a number of nudes, some leaning, some
+standing, and some seated; and with such diligence and finish he
+executed this work, that without a doubt, of his pictures on panel,
+which indeed are but few, it is held to be the most finished and the
+most beautiful work that there is to be found. When it was
+completed, he sent it covered up to Agnolo's house by a messenger,
+with a note demanding seventy ducats in payment. It seemed strange to
+Agnolo, who was a careful person, to spend so much on a picture,
+although he knew that it was worth more, and he said to the messenger
+that forty was enough, which he gave to him. Thereupon Michelagnolo
+sent them back to him, with a message to say that he should send back
+either one hundred ducats or the picture. Then Agnolo, who liked the
+work, said, "I will give him these seventy," but he was not content;
+indeed, angered by Agnolo's breach of faith, he demanded the double of
+what he had asked the first time, so that, if Agnolo wanted the
+picture, he was forced to send him a hundred and forty.
+
+It happened that while Leonardo da Vinci, that rare painter, was
+painting in the Great Council Hall, as has been related in his Life,
+Piero Soderini, who was then Gonfalonier, moved by the great ability
+that he saw in Michelagnolo, caused a part of that Hall to be allotted
+to him; which was the reason that he executed the other façade in
+competition with Leonardo, taking as his subject the War of Pisa. To
+this end Michelagnolo was given a room in the Hospital of the Dyers at
+S. Onofrio, and there he began a vast cartoon, but would never consent
+that anyone should see it. And this he filled with naked men that were
+bathing in the River Arno on account of the heat, when suddenly the
+alarm sounded in the camp, announcing that the enemy were attacking;
+and, as the soldiers were springing out of the water to dress
+themselves, there could be seen, depicted by the divine hands of
+Michelagnolo, some hastening to arm themselves in order to give
+assistance to their companions, others buckling on their cuirasses,
+many fastening other armour on their bodies, and a vast number
+beginning the fray and fighting on horseback. There was, among other
+figures, an old man who had a garland of ivy on his head to shade it,
+and he, having sat down in order to put on his hose, into which his
+legs would not go because they were wet with water, and hearing the
+cries and tumult of the soldiers and the uproar of the drummers, was
+struggling to draw on one stocking by force; and, besides that all the
+muscles and nerves of his figure could be perceived, his mouth was so
+distorted as to show clearly how he was straining and struggling even
+to the very tips of his toes. There were also drummers, and figures
+with their clothes in their arms running to the combat; and there were
+to be seen the most extravagant attitudes, some standing, some
+kneeling or bent double, others stretched horizontally and struggling
+in mid-air, and all with masterly foreshortenings. There were also
+many figures in groups, all sketched in various manners, some outlined
+with charcoal, some drawn with strokes, others stumped in and
+heightened with lead-white, Michelagnolo desiring to show how much he
+knew in his profession. Wherefore the craftsmen were seized with
+admiration and astonishment, seeing the perfection of art revealed to
+them in that drawing by Michelagnolo; and some who saw them, after
+beholding figures so divine, declare that there has never been seen
+any work, either by his hand or by the hands of others, no matter how
+great their genius, that can equal it in divine beauty of art. And, in
+truth, it is likely enough, for the reason that since the time when it
+was finished and carried to the Sala del Papa with great acclamation
+from the world of art and extraordinary glory for Michelagnolo, all
+those who studied from that cartoon and drew those figures--as was
+afterwards the custom in Florence for many years both for strangers
+and for natives--became persons eminent in art, as we have since seen.
+For among those who studied the cartoon were Aristotile da San Gallo,
+the friend of Michelagnolo, Ridolfo Ghirlandajo, Raffaello Sanzio of
+Urbino, Francesco Granacci, Baccio Bandinelli, and the Spaniard Alonzo
+Berughetta, and then there followed Andrea del Sarto, Franciabigio,
+Jacopo Sansovino, Rosso, Maturino, Lorenzetto, Tribolo, who was then a
+boy, Jacopo da Pontormo, and Perino del Vaga; and all these became
+excellent Florentine masters. The cartoon having thus become a school
+for craftsmen, it was taken into the Great Upper Hall in the house of
+the Medici; and this was the reason that it was left with too little
+caution in the hands of the craftsmen, insomuch that during the
+illness of Duke Giuliano, while no one was expecting such a thing, it
+was torn up and divided into many pieces, as has been related
+elsewhere, and scattered over various places, to which some pieces
+bear witness that are still to be seen in Mantua, in the house of M.
+Uberto Strozzi, a gentleman of that city, where they are treasured
+with great reverence; and, indeed, they seem to the eye things rather
+divine than human.
+
+[Illustration: YOUNG CAPTIVE
+
+(_After =Michelagnolo=. Paris: Louvre_)
+
+_Alinari_]
+
+The name of Michelagnolo, by reason of the Pietà that he had made, the
+Giant in Florence, and the cartoon, had become so famous, that in the
+year 1503, Pope Alexander VI having died and Julius II having been
+elected, at which time Michelagnolo was about twenty-nine years of
+age, he was summoned with much graciousness by Julius II, who wished
+to set him to make his tomb; and for the expenses of the journey a
+hundred crowns were paid to him by the Pope's representatives. Having
+made his way to Rome, he spent many months there before he was made to
+set his hand to any work. But finally the Pope's choice fell on a
+design that he had made for that tomb, an excellent testimony to the
+genius of Michelagnolo, which in beauty and magnificence, abundance of
+ornamentation and richness of statuary, surpassed every ancient or
+imperial tomb. Whereupon Pope Julius took courage, and thus resolved
+to set his hand to make anew the Church of S. Pietro in Rome, in order
+to erect the tomb in it, as has been related in another place. And so
+Michelagnolo set to work with high hopes; and, in order to make a
+beginning, he went to Carrara to excavate all the marble, with two
+assistants, receiving a thousand crowns on that account from Alamanno
+Salviati in Florence. There, in those mountains, he spent eight months
+without other moneys or supplies; and he had many fantastic ideas of
+carving great statues in those quarries, in order to leave memorials
+of himself, as the ancients had done before him, being invited by
+those masses of stone. Then, having picked out the due quantity of
+marbles, he caused them to be loaded on board ship at the coast and
+then conveyed to Rome, where they filled half the Piazza di S. Pietro,
+round about S. Caterina, and between the church and the corridor that
+goes to the Castello. In that place Michelagnolo had prepared his room
+for executing the figures and the rest of the tomb; and, to the end
+that the Pope might be able to come at his convenience to see him at
+work, he had caused a drawbridge to be constructed between the
+corridor and that room, which led to a great intimacy between them.
+But in time these favours brought much annoyance and even persecution
+upon him, and stirred up much envy against him among his
+fellow-craftsmen.
+
+[Illustration: VICTORY
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Anderson_]
+
+Of this work Michelagnolo executed during the lifetime and after the
+death of Julius four statues completely finished and eight only
+blocked out, as will be related in the proper place; and since the
+work was designed with extraordinary invention, we will describe here
+below the plan that he adopted. In order to produce an effect of
+supreme grandeur, he decided that it should be wholly isolated, so as
+to be seen from all four sides, each side in one direction being
+twelve braccia and each in the other eighteen, so that the proportions
+were a square and a half. It had a range of niches running right round
+the outer side, which were divided one from another by terminal
+figures clothed from the middle upwards, which with their heads
+supported the first cornice, and each terminal figure had bound to it,
+in a strange and bizarre attitude, a naked captive, whose feet rested
+on a projection of the base. These captives were all provinces
+subjugated by that Pontiff and rendered obedient to the Apostolic
+Church; and there were various other statues, likewise bound, of all
+the noble arts and sciences, which were thus shown to be subject to
+death no less than was that Pontiff, who made such honourable use of
+them. On the corners of the first cornice were to go four large
+figures, the Active and the Contemplative Life, S. Paul, and Moses.
+The structure rose above the cornice in steps gradually diminishing,
+with a frieze of scenes in bronze, and with other figures, children
+and ornaments all around, and at the summit, as a crown to the work,
+were two figures, one of which was Heaven, who, smiling, was
+supporting a bier on her shoulder, together with Cybele, the Goddess
+of Earth, who appeared to be grieving that she was left in a world
+robbed of all virtue by the death of such a man; and Heaven appeared
+to be smiling with gladness that his soul had passed to celestial
+glory. The work was so arranged that one might enter and come out
+again by the ends of the quadrangular structure, between the niches,
+and the interior curved in the form of an oval after the manner of a
+temple, in the centre of which was the sarcophagus wherein was to be
+laid the dead body of that Pope. And, finally, there were to be in
+this whole work forty statues of marble, without counting the other
+scenes, children, and ornaments, the carvings covering the cornices,
+and the other architectural members of the work. Michelagnolo
+ordained, to expedite the labour, that a part of the marbles should
+be conveyed to Florence, where he intended at times to spend the
+summer months in order to avoid the malaria of Rome; and there he
+executed one side of the work in many pieces, complete in every
+detail. In Rome he finished entirely with his own hand two of the
+captives, figures divinely beautiful, and other statues, than which
+none better have ever been seen; but in the end they were never placed
+in position, and those captives were presented by him to S. Ruberto
+Strozzi, when Michelagnolo happened to be lying ill in his house;
+which captives were afterwards sent as presents to King Francis, and
+they are now at Ecouen in France. Eight statues, likewise, he blocked
+out in Rome, and in Florence he blocked out five and finished a
+Victory with a captive beneath, which are now in the possession of
+Duke Cosimo, having been presented by Michelagnolo's nephew, Leonardo,
+to his Excellency, who has placed the Victory in the Great Hall of his
+Palace, which was painted by Vasari.
+
+He finished the Moses, a statue in marble of five braccia, which no
+modern work will ever equal in beauty; and of the ancient statues,
+also, the same may be said. For, seated in an attitude of great
+dignity, he rests one arm on the Tables, which he holds with one hand,
+and with the other he holds his beard, which is long and waving, and
+carved in the marble in such sort, that the hairs--in which the
+sculptor finds such difficulty--are wrought with the greatest
+delicacy, soft, feathery, and detailed in such a manner, that one
+cannot but believe that his chisel was changed into a pencil. To say
+nothing of the beauty of the face, which has all the air of a true
+Saint and most dread Prince, you seem, while you gaze upon it, to wish
+to demand from him the veil wherewith to cover that face, so
+resplendent and so dazzling it appears to you, and so well has
+Michelagnolo expressed the divinity that God infused in that most holy
+countenance. In addition, there are draperies carved out and finished
+with most beautiful curves of the borders; while the arms with their
+muscles, and the hands with their bones and nerves, are carried to
+such a pitch of beauty and perfection, and the legs, knees, and feet
+are covered with buskins so beautifully fashioned, and every part of
+the work is so finished, that Moses may be called now more than ever
+the friend of God, seeing that He has deigned to assemble together and
+prepare his body for the Resurrection before that of any other, by the
+hands of Michelagnolo. Well may the Hebrews continue to go there, as
+they do every Sabbath, both men and women, like flocks of starlings,
+to visit and adore that statue; for they will be adoring a thing not
+human but divine.
+
+[Illustration: MOSES
+
+(_After =Michelagnolo=. Rome: S. Pietro in Vincoli_)
+
+_Anderson_]
+
+Finally all the agreements for this work were made, and the end came
+into view; and of the four sides one of the smaller ones was
+afterwards erected in S. Pietro in Vincola. It is said that while
+Michelagnolo was executing the work, there came to the Ripa all the
+rest of the marbles for the tomb that had remained at Carrara, which
+were conveyed to the Piazza di S. Pietro, where the others were; and,
+since it was necessary to pay those who had conveyed them,
+Michelagnolo went, as was his custom, to the Pope. But, his Holiness
+having on his hands that day some important business concerning
+Bologna, he returned to his house and paid for those marbles out of
+his own purse, thinking to have the order for them straightway from
+his Holiness. He returned another day to speak of them to the Pope,
+but found difficulty in entering, for one of the grooms told him that
+he had orders not to admit him, and that he must have patience. A
+Bishop then said to the groom, "Perhaps you do not know this man?"
+"Only too well do I know him," answered the groom; "but I am here to
+do as I am commanded by my superiors and by the Pope." This action
+displeased Michelagnolo, and, considering that it was contrary to what
+he had experienced before, he said to the Pope's groom that he should
+tell his Holiness that from that time forward, when he should want
+him, it would be found that he had gone elsewhere; and then, having
+returned to his house, at the second hour of the night he set out on
+post-horses, leaving two servants to sell all the furniture of his
+house to the Jews and to follow him to Florence, whither he was bound.
+Having arrived at Poggibonzi, a place in the Florentine territory, and
+therefore safe, he stopped; and almost immediately five couriers
+arrived with letters from the Pope to bring him back. Despite their
+entreaties and also the letters, which ordered him to return to Rome
+under threat of punishment, he would not listen to a word; but
+finally the prayers of the couriers induced him to write a few
+words in reply to his Holiness, asking for pardon, but saying that he
+would never again return to his presence, since he had caused him to
+be driven away like a criminal, that his faithful service had not
+deserved such treatment, and that his Holiness should look elsewhere
+for someone to serve him.
+
+[Illustration: TOMB OF POPE JULIUS II
+
+(_After =Michelagnolo=. Rome: S. Pietro in Vincoli_)
+
+_Alinari_]
+
+After arriving at Florence, Michelagnolo devoted himself during the
+three months that he stayed there to finishing the cartoon for the
+Great Hall, which Piero Soderini, the Gonfalonier, desired that he
+should carry into execution. During that time there came to the
+Signoria three Briefs commanding them to send Michelagnolo back to
+Rome: wherefore he, perceiving this vehemence on the part of the Pope,
+and not trusting him, conceived the idea, so it is said, of going to
+Constantinople to serve the Grand Turk, who desired to secure him, by
+means of certain Friars of S. Francis, to build a bridge crossing from
+Constantinople to Pera. However, he was persuaded by Piero Soderini,
+although very unwilling, to go to meet the Pope as a person of public
+importance with the title of Ambassador of the city, to reassure him;
+and finally the Gonfalonier recommended him to his brother Cardinal
+Soderini for presentation to the Pope, and sent him off to Bologna,
+where his Holiness had already arrived from Rome. His departure from
+Rome is also explained in another way--namely, that the Pope became
+angered against Michelagnolo, who would not allow any of his works to
+be seen; that Michelagnolo suspected his own men, doubting (as
+happened more than once) that the Pope disguised himself and saw what
+he was doing on certain occasions when he himself was not at home or
+at work; and that on one occasion, when the Pope had bribed his
+assistants to admit him to see the chapel of his uncle Sixtus, which,
+as was related a little time back, he caused Buonarroti to paint,
+Michelagnolo, having waited in hiding because he suspected the
+treachery of his assistants, threw planks down at the Pope when he
+entered the chapel, not considering who it might be, and drove him
+forth in a fury. It is enough for us to know that in the one way or
+the other he fell out with the Pope and then became afraid, so that he
+had to fly from his presence.
+
+Now, having arrived in Bologna, he had scarcely drawn off his
+riding-boots when he was conducted by the Pope's servants to his
+Holiness, who was in the Palazzo de' Sedici; and he was accompanied by
+a Bishop sent by Cardinal Soderini, because the Cardinal, being ill,
+was not able to go himself. Having come into the presence of the Pope,
+Michelagnolo knelt down, but his Holiness looked askance at him, as if
+in anger, and said to him, "Instead of coming yourself to meet us, you
+have waited for us to come to meet you!" meaning to infer that Bologna
+is nearer to Florence than Rome. Michelagnolo, with a courtly gesture
+of the hands, but in a firm voice, humbly begged for pardon, saying in
+excuse that he had acted as he had done in anger, not being able to
+endure to be driven away so abruptly, but that, if he had erred, his
+Holiness should once more forgive him. The Bishop who had presented
+Michelagnolo to his Holiness, making excuse for him, said to the Pope
+that such men were ignorant creatures, that they were worth nothing
+save in their own art, and that he should freely pardon him. The Pope,
+seized with anger, belaboured the Bishop with a staff that he had in
+his hand, saying to him, "It is you that are ignorant, who level
+insults at him that we ourselves do not think of uttering;" and then
+the Bishop was driven out by the groom with fisticuffs. When he had
+gone, the Pope, having discharged his anger upon him, gave
+Michelagnolo his benediction; and the master was detained in Bologna
+with gifts and promises, until finally his Holiness commanded him that
+he should make a statue of bronze in the likeness of Pope Julius, five
+braccia in height. In this work he showed most beautiful art in the
+attitude, which had an effect of much majesty and grandeur, and
+displayed richness and magnificence in the draperies, and in the
+countenance, spirit, force, resolution, and stern dignity; and it was
+placed in a niche over the door of S. Petronio. It is said that while
+Michelagnolo was working at it, he received a visit from Francia, a
+most excellent goldsmith and painter, who wished to see it, having
+heard so much praise and fame of him and of his works, and not having
+seen any of them, so that agents had been set to work to enable him to
+see it, and he had obtained permission. Whereupon, seeing the artistry
+of Michelagnolo, he was amazed: and then, being asked by Michelagnolo
+what he thought of that figure, Francia answered that it was a most
+beautiful casting and a fine material. Wherefore Michelagnolo,
+considering that he had praised the bronze rather than the
+workmanship, said to him, "I owe the same obligation to Pope Julius,
+who has given it to me, that you owe to the apothecaries who give you
+your colours for painting;" and in his anger, in the presence of all
+the gentlemen there, he declared that Francia was a fool. In the same
+connection, when a son of Francia's came before him and was announced
+as a very beautiful youth, Michelagnolo said to him, "Your father's
+living figures are finer than those that he paints." Among the same
+gentlemen was one, whose name I know not, who asked Michelagnolo which
+he thought was the larger, the statue of the Pope or a pair of oxen;
+and he answered, "That depends on the oxen. If they are these
+Bolognese oxen, then without a doubt our Florentine oxen are not so
+big."
+
+Michelagnolo had the statue finished in clay before the Pope departed
+from Bologna for Rome, and his Holiness, having gone to see it, but
+not knowing what was to be placed in the left hand, and seeing the
+right hand raised in a proud gesture, asked whether it was pronouncing
+a benediction or a curse. Michelagnolo answered that it was
+admonishing the people of Bologna to mind their behaviour, and asked
+his Holiness to decide whether he should place a book in the left
+hand; and he said, "Put a sword there, for I know nothing of letters."
+The Pope left a thousand crowns in the bank of M. Anton Maria da
+Lignano for the completion of the statue, and at the end of the
+sixteen months that Michelagnolo toiled over the work it was placed on
+the frontispiece in the façade of the Church of S. Petronio, as has
+been related; and we have also spoken of its size. This statue was
+destroyed by the Bentivogli, and the bronze was sold to Duke Alfonso
+of Ferrara, who made with it a piece of artillery called La Giulia;
+saving only the head, which is to be found in his guardaroba.
+
+[Illustration: GOD DIVIDING THE WATERS FROM THE EARTH
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+When the Pope had returned to Rome and Michelagnolo was at work on the
+statue, Bramante, the friend and relative of Raffaello da Urbino, and
+for that reason little the friend of Michelagnolo, perceiving that the
+Pope held in great favour and estimation the works that he executed in
+sculpture, was constantly planning with Raffaello in Michelagnolo's
+absence to remove from the mind of his Holiness the idea of causing
+Michelagnolo, after his return, to devote himself to finishing his
+tomb; saying that for a man to prepare himself a tomb during his own
+lifetime was an evil augury and a hurrying on of his death. And they
+persuaded his Holiness that on the return of Michelagnolo, he should
+cause him to paint in memory of his uncle Sixtus the vaulting of the
+chapel that he had built in the Palace. In this manner it seemed
+possible to Bramante and other rivals of Michelagnolo to draw him away
+from sculpture, in which they saw him to be perfect, and to plunge him
+into despair, they thinking that if they compelled him to paint, he
+would do work less worthy of praise, since he had no experience of
+colours in fresco, and that he would prove inferior to Raffaello, and,
+even if he did succeed in the work, in any case it would make him
+angry against the Pope; so that in either event they would achieve
+their object of getting rid of him. And so, when Michelagnolo returned
+to Rome, the Pope was not disposed at that time to finish his tomb,
+and requested him to paint the vaulting of the chapel. Michelagnolo,
+who desired to finish the tomb, believing the vaulting of that chapel
+to be a great and difficult labour, and considering his own want of
+practice in colours, sought by every means to shake such a burden from
+his shoulders, and proposed Raffaello for the work. But the more he
+refused, the greater grew the desire of the Pope, who was headstrong
+in his undertakings, and, in addition, was being spurred on anew by
+the rivals of Michelagnolo, and especially by Bramante; so that his
+Holiness, who was quick-tempered, was on the point of becoming enraged
+with Michelagnolo. Whereupon Michelagnolo, perceiving that his
+Holiness was determined in the matter, resolved to do it; and the Pope
+commanded Bramante to erect the scaffolding from which the vaulting
+might be painted. Bramante made it all supported by ropes, piercing
+the vaulting; which having perceived, Michelagnolo inquired of
+Bramante how he was to proceed to fill up the holes when he had
+finished painting it, and he replied that he would think of that
+afterwards, and that it could not be done otherwise. Michelagnolo
+recognized that Bramante was either not very competent for such a work
+or else little his friend, and he went to the Pope and said to him
+that the scaffolding was not satisfactory, and that Bramante had not
+known how to make it; and the Pope answered, in the presence of
+Bramante, that he should make it after his own fashion. And so he
+commanded that it should be erected upon props so as not to touch the
+walls, a method of making scaffoldings for vaults that he taught
+afterwards to Bramante and others, whereby many fine works have been
+executed. Thus he enabled a poor creature of a carpenter, who rebuilt
+the scaffolding, to dispense with so many of the ropes, that, after
+selling them (for Michelagnolo gave them to him), he made up a dowry
+for his daughter.
+
+[Illustration: THE CREATION OF EVE
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+He then set his hand to making the cartoons for that vaulting; and the
+Pope decided, also, that the walls which the masters before him in the
+time of Sixtus had painted should be scraped clean, and decreed that
+he should have fifteen thousand ducats for the whole cost of the work;
+which price was fixed through Giuliano da San Gallo. Thereupon, forced
+by the magnitude of the undertaking to resign himself to obtaining
+assistance, Michelagnolo sent for men to Florence; and he determined
+to demonstrate in such a work that those who had painted there before
+him were destined to be vanquished by his labours, and also resolved
+to show to the modern craftsmen how to draw and paint. Having begun
+the cartoons, he finished them; and the circumstances of the work
+spurred him to soar to great heights, both for his own fame and for
+the welfare of art. And then, desiring to paint it in fresco-colours,
+and not having any experience of them, there came from Florence to
+Rome certain of his friends who were painters, to the end that they
+might give him assistance in such a work, and also that he might learn
+from them the method of working in fresco, in which some of them were
+well-practised; and among these were Granaccio, Giuliano Bugiardini,
+Jacopo di Sandro, the elder Indaco, Agnolo di Donnino, and Aristotile.
+Having made a commencement with the work, he caused them to begin some
+things as specimens; but, perceiving that their efforts were very far
+from what he desired, and not being satisfied with them, he resolved
+one morning to throw to the ground everything that they had done.
+Then, shutting himself up in the chapel, he would never open to them,
+nor even allowed himself to be seen by them when he was at home. And
+so, when the jest appeared to them to be going too far, they resigned
+themselves to it and returned in shame to Florence. Thereupon
+Michelagnolo, having made arrangements to paint the whole work by
+himself, carried it well on the way to completion with the utmost
+solicitude, labour, and study; nor would he ever let himself be seen,
+lest he should give any occasion to compel him to show it, so that the
+desire in the minds of everyone to see it grew greater every day.
+
+Pope Julius was always very desirous to see any undertakings that he
+was having carried out, and therefore became more eager than ever to
+see this one, which was hidden from him. And so one day he resolved to
+go to see it, but was not admitted, for Michelagnolo would never have
+consented to show it to him; out of which affair arose the quarrel
+that has been described, when he had to depart from Rome because he
+would not show his work to the Pope. Now, when a third of the work was
+finished (as I ascertained from him in order to clear up all doubts),
+it began to throw out certain spots of mould, one winter that the
+north wind was blowing. The reason of this was that the Roman lime,
+which is made of travertine and white in colour, does not dry very
+readily, and, when mixed with pozzolana, which is of a tawny colour,
+makes a dark mixture which, when soft, is very watery; and when the
+wall has been well soaked, it often breaks out into an efflorescence
+in the drying; and thus this salt efflorescence of moisture came out
+in many places, but in time the air consumed it. Michelagnolo was in
+despair over this, and was unwilling to continue the work, asking the
+Pope to excuse him, since he was not succeeding; but his Holiness sent
+Giuliano da San Gallo to see him, and he, having told him whence the
+defect arose and taught him how to remove the spots of mould,
+encouraged him to persevere.
+
+Now, when he had finished half of it, the Pope, who had subsequently
+gone to see it several times (mounting certain ladders with the
+assistance of Michelagnolo), insisted that it should be thrown open,
+for he was hasty and impatient by nature, and could not wait for it to
+be completely finished and to receive, as the saying is, the final
+touch. No sooner was it thrown open than all Rome was drawn to see it,
+and the Pope was the first, not having the patience to wait until the
+dust caused by the dismantling of the scaffolding had settled.
+Thereupon Raffaello da Urbino, who was very excellent in imitation,
+after seeing it straightway changed his manner, and without losing any
+time, in order to display his ability, painted the Prophets and Sibyls
+in the work of the Pace; and at the same time Bramante sought to have
+the other half of the chapel entrusted by the Pope to Raffaello. Which
+hearing, Michelagnolo complained of Bramante, and revealed to the Pope
+without any reserve many faults both in his life and in his
+architectural works; of which last, in the building of S. Pietro, as
+was seen afterwards, Michelagnolo became the corrector. But the Pope,
+recognizing more clearly every day the ability of Michelagnolo,
+desired that he should continue the work, judging, after he had seen
+it uncovered, that he could make the second half considerably better;
+and so in twenty months he carried that work to perfect completion by
+himself alone, without the assistance even of anyone to grind his
+colours. Michelagnolo complained at times that on account of the haste
+that the Pope imposed on him he was not able to finish it in his own
+fashion, as he would have liked; for his Holiness was always asking
+him importunately when he would finish it. On one occasion, among
+others, he replied, "It will be finished when I shall have satisfied
+myself in the matter of art." "But it is our pleasure," answered the
+Pope, "that you should satisfy us in our desire to have it done
+quickly;" and he added, finally, that if Michelagnolo did not finish
+the work quickly he would have him thrown down from the scaffolding.
+Whereupon Michelagnolo, who feared and had good reason to fear the
+anger of the Pope, straightway finished all that was wanting, without
+losing any time, and, after taking down the rest of the scaffolding,
+threw it open to view on the morning of All Saints' Day, when the Pope
+went into the chapel to sing Mass, to the great satisfaction of the
+whole city. Michelagnolo desired to retouch some parts "a secco," as
+the old masters had done on the scenes below, painting backgrounds,
+draperies, and skies in ultramarine, and ornaments in gold in certain
+places, to the end that this might produce greater richness and a more
+striking effect; and the Pope, having learned that this ornamentation
+was wanting, and hearing the work praised so much by all who had seen
+it, wished him to finish it; but, since it would have been too long a
+labour for Michelagnolo to rebuild the scaffolding, it was left as it
+was. His Holiness, often seeing Michelagnolo, would say to him that
+the chapel should be enriched with colours and gold, since it looked
+poor. And Michelagnolo would answer familiarly, "Holy Father, in those
+times men did not bedeck themselves with gold, and those that are
+painted there were never very rich, but rather holy men, on which
+account they despised riches."
+
+For this work Michelagnolo was paid by the Pope three thousand crowns
+on several occasions, of which he had to spend twenty-five on colours.
+The work was executed with very great discomfort to himself, from his
+having to labour with his face upwards, which so impaired his sight
+that for a time, which was not less than several months, he was not
+able to read letters or look at drawings save with his head backwards.
+And to this I can bear witness, having painted five vaulted chambers
+in the great apartments in the Palace of Duke Cosimo, when, if I had
+not made a chair on which I could rest my head and lie down at my
+work, I would never have finished it; even so, it has so ruined my
+sight and injured my head, that I still feel the effects, and I am
+astonished that Michelagnolo endured all that discomfort so well. But
+in truth, becoming more and more kindled every day by his fervour in
+the work, and encouraged by the proficience and improvement that he
+made, he felt no fatigue and cared nothing for discomfort.
+
+[Illustration: THE CREATION OF ADAM
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+The distribution of this work is contrived with six pendentives on
+either side, with one in the centre of the walls at the foot and at
+the head, and on these he painted Sibyls and Prophets, six braccia in
+height; in the centre of the vault the history of the world from the
+Creation down to the Deluge and the Drunkenness of Noah, and in the
+lunettes all the Genealogy of Christ. In these compartments he used no
+rule of perspectives in foreshortening, nor is there any fixed point
+of view, but he accommodated the compartments to the figures rather
+than the figures to the compartments, being satisfied to execute those
+figures, both the nude and the draped, with the perfection of design,
+so that another such work has never been and never can be done, and it
+is scarcely possible even to imitate his achievement. This work, in
+truth, has been and still is the lamp of our art, and has bestowed
+such benefits and shed so much light on the art of painting, that
+it has served to illuminate a world that had lain in darkness for so
+many hundreds of years. And it is certain that no man who is a painter
+need think any more to see new inventions, attitudes, and draperies
+for the clothing of figures, novel manners of expression, and things
+painted with greater variety and force, because he gave to this work
+all the perfection that can be given to any work executed in such a
+field of art. And at the present day everyone is amazed who is able to
+perceive in it the excellence of the figures, the perfection of the
+foreshortenings, and the extraordinary roundness of the contours,
+which have in them slenderness and grace, being drawn with the beauty
+of proportion that is seen in beautiful nudes; and these, in order to
+display the supreme perfection of art, he made of all ages, different
+in expression and in form, in countenance and in outline, some more
+slender and some fuller in the members; as may also be seen in the
+beautiful attitudes, which are all different, some seated, some
+moving, and others upholding certain festoons of oak-leaves and
+acorns, placed there as the arms and device of Pope Julius, and
+signifying that at that time and under his government was the age of
+gold; for Italy was not then in the travail and misery that she has
+since suffered. Between them, also, they hold some medallions
+containing stories in relief in imitation of bronze and gold, taken
+from the Book of Kings.
+
+[Illustration: THE FALL AND THE EXPULSION
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Besides this, in order to display the perfection of art and also the
+greatness of God, he painted in a scene God dividing Light from
+Darkness, wherein may be seen His Majesty as He rests self-sustained
+with the arms outstretched, and reveals both love and power. In the
+second scene he depicted with most beautiful judgment and genius God
+creating the Sun and Moon, in which He is supported by many little
+Angels, in an attitude sublime and terrible by reason of the
+foreshortenings in the arms and legs. In the same scene Michelagnolo
+depicted Him after the Blessing of the Earth and the Creation of the
+Animals, when He is seen on that vaulting as a figure flying in
+foreshortening; and wherever you go throughout the chapel, it turns
+constantly and faces in every direction. So, also, in the next scene,
+where He is dividing the Water from the Earth; and both these are
+very beautiful figures and refinements of genius such as could be
+produced only by the divine hands of Michelagnolo. He then went on,
+beyond that scene, to the Creation of Adam, wherein he figured God as
+borne by a group of nude Angels of tender age, which appear to be
+supporting not one figure only, but the whole weight of the world;
+this effect being produced by the venerable majesty of His form and by
+the manner of the movement with which He embraces some of the little
+Angels with one arm, as if to support Himself, and with the other
+extends the right hand towards Adam, a figure of such a kind in its
+beauty, in the attitude, and in the outlines, that it appears as if
+newly fashioned by the first and supreme Creator rather than by the
+brush and design of a mortal man. Beyond this, in another scene, he
+made God taking our mother Eve from Adam's side, in which may be seen
+those two nude figures, one as it were dead from his being the thrall
+of sleep, and the other become alive and filled with animation by the
+blessing of God. Very clearly do we see from the brush of this most
+gifted craftsman the difference that there is between sleep and
+wakefulness, and how firm and stable, speaking humanly, the Divine
+Majesty may appear.
+
+Next to this there follows the scene when Adam, at the persuasion of a
+figure half woman and half serpent, brings death upon himself and upon
+us by the Forbidden Fruit; and there, also, are seen Adam and Eve
+driven from Paradise. In the figure of the Angel is shown with
+nobility and grandeur the execution of the mandate of a wrathful Lord,
+and in the attitude of Adam the sorrow for his sin together with the
+fear of death, as likewise in the woman may be seen shame, abasement,
+and the desire to implore pardon, as she presses the arms to the
+breast, clasps the hands palm to palm, and sinks the neck into the
+bosom, and also turns the head towards the Angel, having more fear of
+the justice of God than hope in His mercy. Nor is there less beauty in
+the story of the sacrifice of Cain and Abel; wherein are some who are
+bringing up the wood, some who are bent down and blowing at the fire,
+and others who are cutting the throat of the victim; which certainly
+is all executed with not less consideration and attention than the
+others. He showed the same art and the same judgment in the story of
+the Deluge, wherein are seen various deaths of men, who, terrified by
+the horror of those days, are striving their utmost in different ways
+to save their lives. For in the faces of those figures may be seen
+life a prey to death, not less than fear, terror, and disregard of
+everything; and compassion is visible in many that are assisting one
+another to climb to the summit of a rock in search of safety, among
+them one who, having embraced one half dead, is striving his utmost to
+save him, than which Nature herself could show nothing better. Nor can
+I tell how well expressed is the story of Noah, who, drunk with wine,
+is sleeping naked, and has before him one son who is laughing at him
+and two who are covering him up--a scene incomparable in the beauty of
+the artistry, and not to be surpassed save by himself alone.
+
+[Illustration: THE LYBIAN SIBYL
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Then, as if his genius had taken courage from what it had achieved up
+to that time, it soared upwards and proved itself even greater in the
+five Sibyls and seven Prophets that are painted there, each five
+braccia or more in height. In all these are well-varied attitudes,
+beautiful draperies, and different vestments; and all, in a word, are
+wrought with marvellous invention and judgment, and to him who can
+distinguish their expressions they appear divine. Jeremiah is seen
+with the legs crossed, holding one hand to the beard, and resting that
+elbow on the knee; the other hand rests in his lap, and he has the
+head bowed in a manner that clearly demonstrates the melancholy,
+cogitation, anxious thought and bitterness of soul that his people
+cause him. Equally fine, also, are two little children that are behind
+him, and likewise the first Sibyl, beyond him in the direction of the
+door, in which figure, wishing to depict old age, in addition to
+enveloping her in draperies, he sought to show that her blood is
+already frozen by time; besides which, since her sight has become
+feeble, he has made her as she reads bring the book very close to her
+eyes. Beyond this figure follows the Prophet Ezekiel, an old man, who
+has a grace and a movement that are most beautiful, and is much
+enveloped in draperies, while with one hand he holds a roll of
+prophecies, and with the other uplifted, turning his head, he appears
+to be about to utter great and lofty words; and behind him he has two
+boys who hold his books. Next to him follows a Sibyl, who is doing the
+contrary to the Erythræan Sibyl that we described above, for, holding
+her book away from her, she seeks to turn a page, while with one knee
+over the other she sits sunk within herself, pondering gravely over
+what she is to write; and then a boy who is behind her, blowing on a
+burning brand, lights her lamp. This figure is of extraordinary beauty
+in the expression of the face, in the head-dress, and in the
+arrangement of the draperies; besides which she has the arms nude,
+which are equal to the other parts. Beyond this Sibyl he painted the
+Prophet Joel, who, sunk within himself, has taken a scroll and reads
+it with great attention and appreciation: and from his aspect it is so
+clearly evident that he is satisfied with that which he finds written
+there, that he looks like a living person who has applied his thoughts
+intently to some matter. Over the door of the chapel, likewise, he
+placed the aged Zaccharias, who, seeking through his written book for
+something that he cannot find, stands with one leg on high and the
+other low; and, while the ardour of the search after something that he
+cannot find causes him to stand thus, he takes no notice of the
+discomfort that he suffers in such a posture. This figure is very
+beautiful in its aspect of old age, and somewhat full in form, and has
+draperies with few folds, which are most beautiful. In addition, there
+is another Sibyl, who is next in the direction of the altar on the
+other side, displaying certain writings, and, with her boys in
+attendance, is no less worthy of praise than are the others. Beyond
+her is the Prophet Isaiah, who, wholly absorbed in his own thoughts,
+has the legs crossed over one another, and, holding one hand in his
+book to mark the place where he was reading, has placed the elbow of
+the other arm upon the book, with the cheek pressed against the hand;
+and, being called by one of the boys that he has behind him, he turns
+only the head, without disturbing himself otherwise. Whoever shall
+consider his countenance, shall see touches truly taken from Nature
+herself, the true mother of art, and a figure which, when well studied
+in every part, can teach in liberal measure all the precepts of the
+good painter. Beyond this Prophet is an aged Sibyl of great beauty,
+who, as she sits, studies from a book in an attitude of extraordinary
+grace, not to speak of the beautiful attitudes of the two boys that
+are about her. Nor may any man think with all his imaginings to be
+able to attain to the excellence of the figure of a youth representing
+Daniel, who, writing in a great book, is taking certain things from
+other writings and copying them with extraordinary attention; and as
+a support for the weight of the book Michelagnolo painted a boy
+between his legs, who is upholding it while he writes, all which no
+brush held by a human hand, however skilful, will ever be able to
+equal. And so, also, with the beautiful figure of the Libyan Sibyl,
+who, having written a great volume drawn from many books, is in an
+attitude of womanly grace, as if about to rise to her feet; and in one
+and the same movement she makes as if to rise and to close the book--a
+thing most difficult, not to say impossible, for any other but the
+master of the work.
+
+And what can be said of the four scenes at the corners, on the
+spandrels of that vaulting; in one of which David, with all the boyish
+strength that he can exert in the conquest of a giant, is cutting off
+his head, bringing marvel to the faces of some soldiers who are about
+the camp. And so, also, do men marvel at the beautiful attitudes that
+Michelagnolo depicted in the story of Judith, at the opposite corner,
+in which may be seen the trunk of Holofernes, robbed of life but still
+quivering, while Judith is placing the lifeless head in a basket on
+the head of her old serving-woman, who, being tall in stature, is
+stooping to the end that Judith may be able to reach up to her and
+adjust the weight well; and the servant, while upholding the burden
+with her hands, seeks to conceal it, and, turning her head towards the
+trunk, which, although dead, draws up an arm and a leg and makes a
+noise in the tent, she shows in her expression fear of the camp and
+terror of the dead body--a picture truly full of thought. But more
+beautiful and more divine than this or any of the others is the story
+of the Serpents of Moses, which is above the left-hand corner of the
+altar; for the reason that in it is seen the havoc wrought by death,
+the rain of serpents, their stings and their bites, and there may also
+be perceived the serpent of brass that Moses placed upon a pole. In
+this scene are shown vividly the various deaths that those die who are
+robbed of all hope by the bite of the serpents, and one sees the
+deadly venom causing vast numbers to die in terror and convulsions, to
+say nothing of the rigid legs and twisted arms of those who remain in
+the attitudes in which they were struck down, unable to move, and the
+marvellous heads that are shrieking and thrown backwards in despair.
+Not less beautiful than all these are those who, having looked upon
+the serpent, and feeling their pains alleviated by the sight of it,
+are gazing on it with profound emotion; and among them is a woman who
+is supported by another figure in such a manner that the assistance
+rendered to her by him who upholds her is no less manifest than her
+pressing need in such sudden alarm and hurt. In the next scene,
+likewise, in which Ahasuerus, reclining in a bed, is reading his
+chronicles, are figures of great beauty, and among them three figures
+eating at a table, which represent the council that was held for the
+deliverance of the Jewish people and the hanging of Haman. The figure
+of Haman was executed by Michelagnolo in an extraordinary manner of
+foreshortening, for he counterfeited the trunk that supports his
+person, and that arm which comes forward, not as painted things but as
+real and natural, standing out in relief, and so also that leg which
+he stretches outwards and other parts that bend inwards: which figure,
+among all that are beautiful and difficult, is certainly the most
+beautiful and the most difficult.
+
+[Illustration: DECORATIVE FIGURE
+
+(_After the fresco by =Michelagnolo Buonarroti=. Rome: Sistine
+Chapel_)
+
+_Anderson_]
+
+It would take too long to describe all the beautiful fantasies in the
+different actions in the part where there is all the Genealogy of the
+Fathers, beginning with the sons of Noah, to demonstrate the Genealogy
+of Jesus Christ, in which figures is a variety of things that it is
+not possible to enumerate, such as draperies, expressions of heads,
+and an infinite number of novel and extraordinary fancies, all most
+beautifully considered. Nothing there but is carried into execution
+with genius: all the figures there are masterly and most beautifully
+foreshortened, and everything that you look at is divine and beyond
+praise. And who will not be struck dumb with admiration at the sight
+of the sublime force of Jonas, the last figure in the chapel, wherein
+by the power of art the vaulting, which in fact springs forward in
+accord with the curve of the masonry, yet, being in appearance pushed
+back by that figure, which bends inwards, seems as if straight, and,
+vanquished by the art of design with its lights and shades, even
+appears in truth to recede inwards? Oh, truly happy age of ours, and
+truly blessed craftsmen! Well may you be called so, seeing that in our
+time you have been able to illumine anew in such a fount of light
+the darkened sight of your eyes, and to see all that was difficult
+made smooth by a master so marvellous and so unrivalled! Certainly the
+glory of his labours makes you known and honoured, in that he has
+stripped from you that veil which you had over the eyes of your minds,
+which were so full of darkness, and has delivered the truth from the
+falsehood that overshadowed your intellects. Thank Heaven, therefore,
+for this, and strive to imitate Michelagnolo in everything.
+
+When the work was thrown open, the whole world could be heard running
+up to see it, and, indeed, it was such as to make everyone astonished
+and dumb. Wherefore the Pope, having been magnified by such a result
+and encouraged in his heart to undertake even greater enterprises,
+rewarded Michelagnolo liberally with money and rich gifts: and
+Michelagnolo would say at times of the extraordinary favours that the
+Pope conferred upon him, that they showed that he fully recognized his
+worth, and that, if by way of proving his friendliness he sometimes
+played him strange tricks, he would heal the wound with signal gifts
+and favours. As when, Michelagnolo once demanding from him leave to go
+to Florence for the festival of S. John, and asking money for that
+purpose, the Pope said, "Well, but when will you have this chapel
+finished?" "As soon as I can, Holy Father." The Pope, who had a staff
+in his hand, struck Michelagnolo, saying, "As soon as I can! As soon
+as I can! I will soon make you finish it!" Whereupon Michelagnolo went
+back to his house to get ready to go to Florence; but the Pope
+straightway sent Cursio, his Chamberlain, to Michelagnolo with five
+hundred crowns to pacify him, fearing lest he might commit one of his
+caprices, and Cursio made excuse for the Pope, saying that such things
+were favours and marks of affection. And Michelagnolo, who knew the
+Pope's nature and, after all, loved him, laughed over it all, for he
+saw that in the end everything turned to his profit and advantage, and
+that the Pontiff would do anything to keep a man such as himself as
+his friend.
+
+When the chapel was finished, before the Pope was overtaken by death,
+his Holiness commanded Cardinal Santiquattro and Cardinal Aginense,
+his nephew, in the event of his death, that they should cause his
+tomb to be finished, but on a smaller scale than before. To this work
+Michelagnolo set himself once again, and so made a beginning gladly
+with the tomb, hoping to carry it once and for all to completion
+without so many impediments; but he had from it ever afterwards
+vexations, annoyances, and travails, more than from any other work
+that he did in all his life, and it brought upon him for a long time,
+in a certain sense, the accusation of being ungrateful to that Pope,
+who had so loved and favoured him. Thus, when he had returned to the
+tomb, and was working at it continually, and also at times preparing
+designs from which he might be able to execute the façades of the
+chapel, envious Fortune decreed that that memorial, which had been
+begun with such perfection, should be left unfinished. For at that
+time there took place the death of Pope Julius, and the work was
+abandoned on account of the election of Pope Leo X, who, being no less
+splendid than Julius in mind and spirit, had a desire to leave in his
+native city (of which he was the first Pope), in memory of himself and
+of a divine craftsman who was his fellow-citizen, such marvels as only
+a mighty Prince like himself could undertake. Wherefore he gave orders
+that the façade of S. Lorenzo, a church built by the Medici family in
+Florence, should be erected for him, which was the reason that the
+work of the tomb of Julius was left unfinished; and he demanded advice
+and designs from Michelagnolo, and desired that he should be the head
+of that work. Michelagnolo made all the resistance that he could,
+pleading that he was pledged in the matter of the tomb to Santiquattro
+and Aginense, but the Pope answered him that he was not to think of
+that, and that he himself had already seen to it and contrived that
+Michelagnolo should be released by them; promising, also, that he
+should be able to work in Florence, as he had already begun to do, at
+the figures for that tomb. All this was displeasing to the Cardinals,
+and also to Michelagnolo, who went off in tears.
+
+[Illustration: THE NEW SACRISTY
+
+(_After =Michelangelo=. Florence: S. Lorenzo_)
+
+_Alinari_]
+
+Many and various were the discussions that arose on this subject, on
+the ground that such a work as that façade should have been
+distributed among several persons, and in the matter of the
+architecture many craftsmen flocked to Rome to see the Pope, and made
+designs; Baccio d'Agnolo, Antonio da San Gallo, Andrea Sansovino and
+Jacopo Sansovino, and the gracious Raffaello da Urbino, who was
+afterwards summoned to Florence for that purpose at the time of the
+Pope's visit. Thereupon Michelagnolo resolved to make a model and not
+to accept anyone beyond himself as his guide or superior in the
+architecture of such a work; but this refusal of assistance was the
+reason that neither he nor any other executed the work, and that those
+masters returned in despair to their customary pursuits. Michelagnolo,
+going to Carrara, had an order authorizing that a thousand crowns
+should be paid to him by Jacopo Salviati; but on his arrival Jacopo
+was shut up in his room on business with some citizens, and
+Michelagnolo, refusing to wait for an audience, departed without
+saying a word and went straightway to Carrara. Jacopo heard of
+Michelagnolo's arrival, and, not finding him in Florence, sent him a
+thousand crowns to Carrara. The messenger demanded that Michelagnolo
+should write him a receipt, to which he answered that the money was
+for the expenses of the Pope and not for his own interest, and that
+the messenger might take it back, but that he was not accustomed to
+write out quittances or receipts for others; whereupon the other
+returned in alarm to Jacopo without a receipt.
+
+While Michelagnolo was at Carrara and was having marble quarried for
+the tomb of Julius, thinking at length to finish it, no less than for
+the façade, a letter was written to him saying that Pope Leo had heard
+that in the mountains of Pietrasanta near Seravezza, in the Florentine
+dominion, at the summit of the highest mountain, which is called Monte
+Altissimo, there were marbles of the same excellence and beauty as
+those of Carrara. This Michelagnolo already knew, but it seems that he
+would not take advantage of it because of his friendship with the
+Marchese Alberigo, Lord of Carrara, and, in order to do him a good
+service, chose to quarry those of Carrara rather than those of
+Seravezza; or it may have been that he judged it to be a long
+undertaking and likely to waste much time, as indeed it did. However,
+he was forced to go to Seravezza, although he pleaded in protest that
+it would be more difficult and costly, as in truth it was, especially
+at the beginning, and, moreover, that the report about the marble was
+perhaps not true; but for all that the Pope would not hear a word of
+objection. Thereupon it was decided to make a road for several miles
+through the mountains, breaking down rocks with hammers and pickaxes
+to obtain a level, and sinking piles in the marshy places; and there
+Michelagnolo spent many years in executing the wishes of the Pope.
+Finally five columns of the proper size were excavated, one of which
+is on the Piazza di S. Lorenzo in Florence, and the others are on the
+sea-shore. And for this reason the Marchese Alberigo, who saw his
+business ruined, became the bitter enemy of Michelagnolo, who was not
+to blame. Michelagnolo, in addition to these columns, excavated many
+other marbles there, which are still in the quarries, abandoned there
+for more than thirty years. But at the present day Duke Cosimo has
+given orders for the road to be finished, of which there are still two
+miles to make over very difficult ground, for the transportation of
+these marbles, and also a road from another quarry of excellent marble
+that was discovered at that time by Michelagnolo, in order to be able
+to finish many beautiful undertakings. In the same district of
+Seravezza he discovered a mountain of variegated marble that is very
+hard and very beautiful, below Stazema, a village in those mountains;
+where the same Duke Cosimo has caused a paved road of more than four
+miles to be made, for conveying the marble to the sea.
+
+But to return to Michelagnolo: having gone back to Florence, he lost
+much time now in one thing and now in another. And he made at that
+time for the Palace of the Medici a model for the knee-shaped windows
+of those rooms that are at the corner, where Giovanni da Udine adorned
+the chamber in stucco and painting, which is a much extolled work; and
+he caused to be made for them by the goldsmith Piloto, but under his
+own direction, those jalousies of perforated copper, which are
+certainly admirable things. Michelagnolo consumed many years in
+quarrying marbles, although it is true that while they were being
+excavated he made models of wax and other things for the work. But
+this undertaking was delayed so long, that the money assigned by the
+Pope for the purpose was spent on the war in Lombardy; and at the
+death of Leo the work was left unfinished, nothing being accomplished
+save the laying of a foundation in front to support it, and the
+transportation of a large column of marble from Carrara to the Piazza
+di S. Lorenzo.
+
+[Illustration: MADONNA AND CHILD
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+The death of Leo completely dismayed the craftsmen and the arts
+both in Rome and in Florence; and while Adrian VI was alive
+Michelagnolo gave his attention in Florence to the tomb of Julius. But
+after the death of Adrian Clement VII was elected, who was no less
+desirous than Leo and his other predecessors to leave his fame
+established by the arts of architecture, sculpture, and painting. At
+this time, which was the year 1525, Giorgio Vasari was taken as a
+little boy to Florence by the Cardinal of Cortona, and placed with
+Michelagnolo to learn art. But Michelagnolo was then summoned to Rome
+by Pope Clement VII, who had made a beginning with the library of S.
+Lorenzo and also the new sacristy, in which he proposed to place the
+marble tombs that he was having made for his forefathers; and he
+resolved that Vasari should go to work with Andrea del Sarto until he
+should himself be free again, and went in person to Andrea's workshop
+to present him.
+
+Michelagnolo departed for Rome in haste, harassed once again by
+Francesco Maria, Duke of Urbino, the nephew of Pope Julius, who
+complained of him, saying that he had received sixteen thousand crowns
+for the above-named tomb, yet was living a life of pleasure in
+Florence; and he threatened in his anger that, if Michelagnolo did not
+give his attention to the work, he would make him rue it. Having
+arrived in Rome, Pope Clement, who wished to make use of him, advised
+him to draw up his accounts with the agents of the Duke, believing
+that after all that he had done he must be their creditor rather than
+their debtor; and so the matter rested. After discussing many things
+together, they resolved to finish completely the library and new
+sacristy of S. Lorenzo in Florence. Michelagnolo therefore departed
+from Rome, and raised the cupola that is now to be seen, causing it to
+be wrought in various orders of composition; and he had a ball with
+seventy-two faces made by the goldsmith Piloto, which is very
+beautiful. It happened, while Michelagnolo was raising the cupola,
+that he was asked by some friends, "Should you not make your lantern
+very different from that of Filippo Brunelleschi?" And he answered
+them, "Different it can be made with ease, but better, no." He made
+four tombs in that sacristy, to adorn the walls and to contain the
+bodies of the fathers of the two Popes, the elder Lorenzo and his
+brother Giuliano, and those of Giuliano, the brother of Leo, and of
+Duke Lorenzo, his nephew. And since he wished to execute the work in
+imitation of the old sacristy that Filippo Brunelleschi had built, but
+with another manner of ornamentation, he made in it an ornamentation
+in a composite order, in a more varied and more original manner than
+any other master at any time, whether ancient or modern, had been able
+to achieve, for in the novelty of the beautiful cornices, capitals,
+bases, doors, tabernacles, and tombs, he departed not a little from
+the work regulated by measure, order, and rule, which other men did
+according to a common use and after Vitruvius and the antiquities, to
+which he would not conform. That licence has done much to give courage
+to those who have seen his methods to set themselves to imitate him,
+and new fantasies have since been seen which have more of the
+grotesque than of reason or rule in their ornamentation. Wherefore the
+craftsmen owe him an infinite and everlasting obligation, he having
+broken the bonds and chains by reason of which they had always
+followed a beaten path in the execution of their works. And even more
+did he demonstrate and seek to make known such a method afterwards in
+the library of S. Lorenzo, at the same place; in the beautiful
+distribution of the windows, in the pattern of the ceiling, and in the
+marvellous entrance of the vestibule. Nor was there ever seen a more
+resolute grace, both in the whole and in the parts, as in the
+consoles, tabernacles, and cornices, nor any staircase more
+commodious; in which last he made such bizarre breaks in the outlines
+of the steps, and departed so much from the common use of others, that
+everyone was amazed.
+
+[Illustration: GIULIANO DE' MEDICI
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+At this time he sent his disciple Pietro Urbano of Pistoia to Rome to
+carry to completion a nude Christ holding the Cross, a most admirable
+figure, which was placed beside the principal chapel of the Minerva,
+at the commission of Messer Antonio Metelli. About the same time there
+took place the sack of Rome and the expulsion of the Medici from
+Florence; by reason of which upheaval those who governed the city of
+Florence resolved to rebuild the fortifications, and therefore made
+Michelagnolo Commissary General over all that work. Whereupon he made
+designs and caused fortifications to be built for several parts of the
+city, and finally encircled the hill of San Miniato with bastions,
+which he made not with sods of earth, wood, and bundles of
+brushwood, as is generally done, but with a stout base of chestnut,
+oak, and other good materials interwoven, and in place of sods he took
+unbaked bricks made with tow and the dung of cattle, squared with very
+great diligence. And for this reason he was sent by the Signoria of
+Florence to Ferrara, to inspect the fortifications of Duke Alfonso I,
+and so also his artillery and munitions; where he received many
+courtesies from that lord, who besought him that he should do
+something for him with his own hand at his leisure, and Michelagnolo
+promised that he would. After his return, he was continually engaged
+in fortifying the city, but, although he was thus occupied,
+nevertheless he kept working at a picture of a Leda for that Duke,
+painted with his own hand in distemper-colours, which was a divine
+thing, as will be related in the proper place; also continuing the
+statues for the tombs of S. Lorenzo, but in secret. At this time
+Michelagnolo spent some six months on the hill of San Miniato in order
+to press on the fortification of that hill, because if the enemy
+became master of it, the city was lost; and so he pursued these
+undertakings with the utmost diligence.
+
+[Illustration: TOMB OF GIULIANO DE' MEDICI
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+At this same time he continued the work in the above-mentioned
+sacristy, in which were seven statues that were left partly finished
+and partly not. With these, and with the architectural inventions of
+the tombs, it must be confessed that he surpassed every man in these
+three professions; to which testimony is borne by the statues of
+marble, blocked out and finished by him, which are to be seen in that
+place. One is Our Lady, who is in a sitting attitude, with the right
+leg crossed over the left and one knee placed upon the other, and the
+Child, with the thighs astride the leg that is uppermost, turns in a
+most beautiful attitude towards His Mother, hungry for her milk, and
+she, while holding Him with one hand and supporting herself with the
+other, bends forward to give it to Him; and although the figure is not
+equal in every part, and it was left rough and showing the marks of
+the gradine, yet with all its imperfections there may be recognized in
+it the full perfection of the work. Even more did he cause everyone to
+marvel by the circumstance that in making the tombs of Duke Giuliano
+and Duke Lorenzo de' Medici he considered that earth alone was not
+enough to give them honourable burial in their greatness, and desired
+that all the phases of the world should be there, and that their
+sepulchres should be surrounded and covered by four statues; wherefore
+he gave to one Night and Day, and to the other Dawn and Twilight;
+which statues, most beautifully wrought in form, in attitude, and in
+the masterly treatment of the muscles, would suffice, if that art were
+lost, to restore her to her pristine lustre. There, among the other
+statues, are the two Captains, armed; one the pensive Duke Lorenzo,
+the very presentment of wisdom, with legs so beautiful and so well
+wrought, that there is nothing better to be seen by mortal eye; and
+the other is Duke Giuliano, so proud a figure, with the head, the
+throat, the setting of the eyes, the profile of the nose, the opening
+of the mouth, and the hair all so divine, to say nothing of the hands,
+arms, knees, feet, and, in short, every other thing that he carved
+therein, that the eye can never be weary or have its fill of gazing at
+them; and, of a truth, whoever studies the beauty of the buskins and
+the cuirass, believes it to be celestial rather than mortal. But what
+shall I say of the Dawn, a nude woman, who is such as to awaken
+melancholy in the soul and to render impotent the style of sculpture?
+In her attitude may be seen her effort, as she rises, heavy with
+sleep, and raises herself from her downy bed; and it seems that in
+awakening she has found the eyes of that great Duke closed in death,
+so that she is agonized with bitter grief, weeping in her own
+unchangeable beauty in token of her great sorrow. And what can I say
+of the Night, a statue not rare only, but unique? Who is there who has
+ever seen in that art in any age, ancient or modern, statues of such a
+kind? For in her may be seen not only the stillness of one sleeping,
+but the grief and melancholy of one who has lost a great and honoured
+possession; and we must believe that this is that night of darkness
+that obscures all those who thought for some time, I will not say to
+surpass, but to equal Michelagnolo in sculpture and design. In that
+statue is infused all the somnolence that is seen in sleeping forms;
+wherefore many verses in Latin and rhymes in the vulgar tongue were
+written in her praise by persons of great learning, such as these, of
+which the author is not known--
+
+  La Notte che tu vedi in si dolci atti
+      Dormire, fu da un Angelo scolpita
+      In questo sasso; e perche dorme, ha vita.
+      Destala, se no 'l credi, e parleratti.
+
+To which Michelagnolo, speaking in the person of Night, answered
+thus--
+
+  Grato mi è il sonno, e più l'esser di sasso;
+      Mentre che il danno e la vergogna dura,
+      Non veder' non sentir' m'è gran ventura.
+      Però non mi destar'; deh parla basso.
+
+Truly, if the enmity that there is between Fortune and Genius, between
+the envy of the one and the excellence of the other, had not prevented
+such a work from being carried to completion, Art was like to prove to
+Nature that she surpassed her by a great measure in every conception.
+
+While Michelagnolo was labouring with the greatest solicitude and love
+at these works, there came in 1529 the siege of Florence, which
+hindered their completion only too effectually, and was the reason
+that he did little or no more work upon them, the citizens having laid
+upon him the charge of fortifying not only the hill of S. Miniato, but
+also the city, as we have related. And thus, having lent a thousand
+crowns to that Republic, and being elected one of the Nine, a military
+Council appointed for the war, he turned all his mind and soul to
+perfecting those fortifications. But in the end, when the enemy had
+closed round the city, and all hope of assistance was failing little
+by little, and the difficulties of maintaining the defence were
+increasing, and it appeared to Michelagnolo that he was in a sorry
+pass with regard to his personal safety, he determined to leave
+Florence and make his way to Venice, without making himself known to
+anyone on the road. He set out secretly, therefore, by way of the hill
+of S. Miniato, without anyone knowing of it, taking with him Antonio
+Mini, his disciple, and the goldsmith Piloto, his faithful friend; and
+each of them carried a number of crowns on his person, sewn into his
+quilted doublet. Having arrived in Ferrara, they rested there; and it
+happened that on account of the alarm caused by the war and the league
+of the Emperor and the Pope, who were besieging Florence, Duke Alfonso
+d'Este was keeping strict watch in Ferrara, and required to be
+secretly informed by the hosts who gave lodging to travellers of the
+names of all those who lodged with them from one day to another; and
+he caused a list of all foreigners, with their nationality, to be
+brought to him every day. It came to pass, then, that when
+Michelagnolo had dismounted with his companions, intending to stay
+there without revealing himself, this became known in that way to the
+Duke, who was very glad, because he had already become his friend.
+That Prince was a man of lofty mind, delighting constantly in persons
+of ability all his life long, and he straightway sent some of the
+first men of his Court with orders to conduct him in the name of his
+Excellency to the Palace, where the Duke was, to remove thither his
+horses and all his baggage, and to give him a handsome lodging in that
+Palace. Michelagnolo, finding himself in the power of another, was
+constrained to obey and to make the best of a bad business, and he
+went with those courtiers to the Duke, but without removing his
+baggage from the inn. Thereupon the Duke, after first complaining of
+his reserve, gave him a great reception; and then, making him rich and
+honourable presents, he sought to detain him in Ferrara with the
+promise of a fine salary. He, having his mind set on something else,
+would not consent to remain; but the Duke again made him a free offer
+of all that was in his power, praying him that he should at least not
+depart as long as the war continued. Whereupon Michelagnolo, not
+wishing to be outdone in courtesy, thanked him warmly, and, turning
+towards his two companions, said that he had brought twelve thousand
+crowns to Ferrara, and that, if the Duke had need of them, they were
+at his disposal, together with himself. The Duke then took him through
+the Palace to divert him, as he had done on another occasion, and
+showed him all the beautiful things that he had there, including a
+portrait of himself by Tiziano, which was much commended by
+Michelagnolo. However, his Excellency was not able to keep him in the
+Palace, for he insisted on returning to the inn; wherefore the host
+who was lodging him received from the Duke a great abundance of
+things wherewith to do him honour, and also orders that at his
+departure he should not accept anything for his lodging. From Ferrara
+he made his way to Venice, where many gentlemen sought to become known
+to him; but he, who always had a very poor opinion of their knowledge
+of his profession, departed from the Giudecca, where he had his
+lodging. There, so it is said, he made for that city at that time, at
+the request of the Doge Gritti, a design for the bridge of the Rialto,
+which was very rare in invention and in ornamentation.
+
+Michelagnolo was invited with great insistence to go back to his
+native country, being urgently requested not to abandon his
+undertaking there, and receiving a safe-conduct; and finally,
+vanquished by love of her, he returned, but not without danger to his
+life. At this time he finished the Leda that he was painting, as has
+been related, at the request of Duke Alfonso; and it was afterwards
+taken to France by Antonio Mini, his disciple. And at this same time
+he saved the campanile of S. Miniato, a tower which sorely harassed
+the enemy's forces with its two pieces of artillery, so that their
+artillerists, having set to work to batter it with heavy cannon, had
+half ruined it, and were like to destroy it completely, when
+Michelagnolo protected it so well with bales of wool and stout
+mattresses suspended by cords, that it is still standing. It is said,
+also, that at the time of the siege there came to him an opportunity
+to acquire, according to a desire that he had long had, a block of
+marble of nine braccia which had come from Carrara, and which Pope
+Clement, after much rivalry and contention between him and Baccio
+Bandinelli, had given to Baccio. But Michelagnolo, now that such a
+matter was in the hands of the Commonwealth, asked for it from the
+Gonfalonier, who gave it to him that he might likewise try his hand
+upon it, although Baccio had already made a model and hacked away much
+of the stone in blocking it out. Thereupon Michelagnolo made a model,
+which was held to be a marvellous and very beautiful thing; but on the
+return of the Medici the marble was restored to Baccio.
+
+When peace had been made, Baccio Valori, the Pope's Commissioner,
+received orders to have some of the most partisan citizens arrested
+and imprisoned in the Bargello, and the same tribunal sought out
+Michelagnolo at his house; but he, fearing that, had fled secretly to
+the house of one who was much his friend, where he remained hidden
+many days. Finally, when the first fury had abated, Pope Clement,
+remembering the ability of Michelagnolo, caused a diligent search to
+be made for him, with orders that nothing should be said to him, but
+rather that his former appointments should be restored to him, and
+that he should attend to the work of S. Lorenzo, over which he placed
+as proveditor M. Giovan Battista Figiovanni, the old servant of the
+Medici family and Prior of S. Lorenzo. Thus reassured, Michelagnolo,
+in order to make Baccio Valori his friend, began a figure of three
+braccia in marble, which was an Apollo drawing an arrow from his
+quiver, and carried it almost to completion. It is now in the
+apartment of the Prince of Florence, and is a very rare work, although
+it is not completely finished.
+
+At this time a certain gentleman was sent to Michelagnolo by Duke
+Alfonso of Ferrara, who, having heard that the master had made some
+rare work for him with his own hand, did not wish to lose such a
+jewel. Having arrived in Florence and found Michelagnolo, the envoy
+presented to him letters of recommendation from that lord; whereupon
+Michelagnolo, receiving him courteously, showed him the Leda embracing
+the Swan that he had painted, with Castor and Pollux issuing from the
+Egg, in a large picture executed in distemper, as it were with the
+breath. The Duke's envoy, thinking from the praise that he heard
+everywhere of Michelagnolo that he should have done something great,
+and not recognizing the excellence and artistry of that figure, said
+to Michelagnolo: "Oh, this is but a trifle." Michelagnolo, knowing
+that no one is better able to pronounce judgment on works than those
+who have had long practise in them, asked him what was his vocation.
+And he answered, with a sneer, "I am a merchant"; believing that he
+had not been recognized by Michelagnolo as a gentleman, and as it were
+making fun of such a question, and at the same time affecting to
+despise the industry of the Florentines. Michelagnolo, who had
+understood perfectly the meaning of his words, at once replied: "You
+will find you have made a bad bargain this time for your master. Get
+you gone out of my sight."
+
+[Illustration: APOLLO
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+Now in those days Antonio Mini, his disciple, who had two sisters
+waiting to be married, asked him for the Leda, and he gave it to him
+willingly, with the greater part of the designs and cartoons that he
+had made, which were divine things, and also two chests full of
+models, with a great number of finished cartoons for making pictures,
+and some of works that had been painted. When Antonio took it into his
+head to go to France, he carried all these with him; the Leda he sold
+to King Francis by means of some merchants, and it is now at
+Fontainebleau, but the cartoons and designs were lost, for he died
+there in a short time, and some were stolen; and so our country was
+deprived of all these valuable labours, which was an incalculable
+loss. The cartoon of the Leda has since come back to Florence, and
+Bernardo Vecchietti has it; and so also four pieces of the cartoons
+for the chapel, with nudes and Prophets, brought back by the sculptor
+Benvenuto Cellini, and now in the possession of the heirs of Girolamo
+degli Albizzi.
+
+It became necessary for Michelagnolo to go to Rome to see Pope
+Clement, who, although angry with him, yet, as the friend of every
+talent, forgave him everything, and gave him orders that he should
+return to Florence and have the library and sacristy of S. Lorenzo
+completely finished; and, in order to shorten that work, a vast number
+of statues that were to be included in it were distributed among other
+masters. Two he allotted to Tribolo, one to Raffaello da Montelupo,
+and one to Fra Giovanni Agnolo, the Servite friar, all sculptors; and
+he gave them assistance in these, making rough models in clay for each
+of them. Whereupon they all worked valiantly, and he, also, caused
+work to be pursued on the library, and thus the ceiling was finished
+in carved woodwork, which was executed after his models by the hands
+of the Florentines Carota and Tasso, excellent carvers and also
+masters of carpentry; and likewise the shelves for the books, which
+were executed at that time by Battista del Cinque and his friend
+Ciappino, good masters in that profession. And in order to give the
+work its final perfection there was summoned to Florence the divine
+Giovanni da Udine, who, together with others his assistants and also
+some Florentine masters, decorated the tribune with stucco; and they
+all sought with great solicitude to give completion to that vast
+undertaking.
+
+Now, just as Michelagnolo was about to have the statues carried into
+execution, at that very time the Pope took it into his head to have
+him near his person, being desirous to have the walls of the Chapel of
+Sixtus painted, where Michelagnolo had painted the vaulting for Julius
+II, his nephew. On the principal wall, where the altar is, Clement
+wished him to paint the Universal Judgment, to the end that he might
+display in that scene all that the art of design could achieve, and
+opposite to it, on the other wall, over the principal door, he had
+commanded that he should depict the scene when Lucifer was expelled
+for his pride from Heaven, and all those Angels who sinned with him
+were hurled after him into the centre of Hell: of which inventions it
+was found that Michelagnolo many years before had made various
+sketches and designs, one of which was afterwards carried into
+execution in the Church of the Trinità at Rome by a Sicilian painter,
+who stayed many months with Michelagnolo, to serve him and to grind
+his colours. This work, painted in fresco, is in the Chapel of S.
+Gregorio, in the cross of the church, and, although it is executed
+badly, there is a certain variety and terrible force in the attitudes
+and groups of those nudes that are raining down from Heaven, and of
+the others who, having fallen into the centre of the earth, are
+changed into various forms of Devils, very horrible and bizarre; and
+it is certainly an extraordinary fantasy. While Michelagnolo was
+directing the preparation of the designs and cartoons of the Last
+Judgment on the first wall, he never ceased for a single day to be at
+strife with the agents of the Duke of Urbino, by whom he was accused
+of having received sixteen thousand crowns from Julius II for the
+tomb. This accusation was more than he could bear, and he desired to
+finish the work some day, although he was already an old man, and he
+would have willingly stayed in Rome to finish it, now that he had
+found, without seeking it, such a pretext for not returning any more
+to Florence, since he had a great fear of Duke Alessandro de' Medici,
+whom he regarded as little his friend; for, when the Duke had given
+him to understand through Signor Alessandro Vitelli that he should
+select the best site for the building of the castle and citadel of
+Florence, he answered that he would not go save at the command of Pope
+Clement.
+
+Finally an agreement was formed in the matter of the tomb, that it
+should be finished in the following manner: there was no longer to be
+an isolated tomb in a rectangular shape, but only one of the original
+façades, in the manner that best pleased Michelagnolo, and he was to
+be obliged to place in it six statues by his own hand. In this
+contract that was made with the Duke of Urbino, his Excellency
+consented that Michelagnolo should be at the disposal of Pope Clement
+for four months in the year, either in Florence or wherever he might
+think fit to employ him. But, although it seemed to Michelagnolo that
+at last he had obtained some peace, he was not to be quit of it so
+easily, for Pope Clement, desiring to see the final proof of the force
+of his art, kept him occupied with the cartoon of the Judgment.
+However, contriving to convince the Pope that he was thus engaged, at
+the same time he kept working in secret, never relaxing his efforts,
+at the statues that were going into the above-named tomb.
+
+In the year 1533[1] came the death of Pope Clement, whereupon the work
+of the library and sacristy in Florence, which had remained unfinished
+in spite of all the efforts made to finish it, was stopped. Then, at
+length, Michelagnolo thought to be truly free and able to give his
+attention to finishing the tomb of Julius II. But Paul III, not long
+after his election, had him summoned to his presence, and, besides
+paying him compliments and making him offers, requested him to enter
+his service and remain near his person. Michelagnolo refused, saying
+that he was not able to do it, being bound by contract to the Duke of
+Urbino until the tomb of Julius should be finished. The Pope flew into
+a rage and said: "I have had this desire for thirty years, and now
+that I am Pope do you think I shall not satisfy it? I shall tear up
+the contract, for I am determined to have you serve me, come what
+may." Michelagnolo, hearing this resolution, was tempted to leave Rome
+and in some way find means to give completion to the tomb; however,
+fearing, like a wise man, the power of the Pope, he resolved to try to
+keep him pacified with words, seeing that he was so old, until
+something should happen. The Pope, who wished to have some
+extraordinary work executed by Michelagnolo, went one day with ten
+Cardinals to visit him at his house, where he demanded to see all the
+statues for the tomb of Julius, which appeared to him marvellous, and
+particularly the Moses, which figure alone was said by the Cardinal of
+Mantua to be enough to do honour to Pope Julius. And after seeing the
+designs and cartoons that he was preparing for the wall of the chapel,
+which appeared to the Pope to be stupendous, he again besought
+Michelagnolo with great insistence that he should enter his service,
+promising that he would persuade the Duke of Urbino to content himself
+with three statues, and that the others should be given to other
+excellent masters to execute after his models. Whereupon, his Holiness
+having arranged this with the agents of the Duke, a new contract was
+made, which was confirmed by the Duke; and Michelagnolo of his own
+free will bound himself to pay for the other three statues and to have
+the tomb erected, depositing for this purpose in the bank of the
+Strozzi one thousand five hundred and eighty ducats. This he might
+have avoided, and it seemed to him that he had truly done enough to be
+free of such a long and troublesome undertaking; and afterwards he
+caused the tomb to be erected in S. Pietro in Vincola in the following
+manner. He erected the lower base, which was all carved, with four
+pedestals which projected outwards as much as was necessary to give
+space for the captive that was originally intended to stand on each of
+them, instead of which there was left a terminal figure; and since the
+lower part had thus a poor effect, he placed at the feet of each
+terminal figure a reversed console resting on the pedestal. Those four
+terminal figures had between them three niches, two of which (those at
+the sides) were round, and were to have contained the Victories.
+Instead of the Victories, he placed in one Leah, the daughter of
+Laban, to represent the Active Life, with a mirror in her hand to
+signify the consideration that we should give to our actions, and in
+the other hand a garland of flowers, to denote the virtues that adorn
+our life during its duration, and make it glorious after death; and
+the other figure was her sister Rachel, representing the Contemplative
+Life, with the hands clasped and one knee bent, and on the countenance
+a look as of ecstasy of spirit. These statues Michelagnolo executed
+with his own hand in less than a year. In the centre is the other
+niche, rectangular in shape, which in the original design was to have
+been one of the doors that were to lead into the little oval temple of
+the rectangular tomb; this having become a niche, there is placed in
+it, upon a dado of marble, the gigantic and most beautiful statue of
+Moses, of which we have already said enough. Above the heads of the
+terminal figures, which form capitals, are architrave, frieze, and
+cornice, which project beyond those figures and are carved with rich
+ornaments, foliage, ovoli, dentils, and other rich members,
+distributed over the whole work. Over that cornice rises another
+course, smooth and without carvings, but with different terminal
+figures standing directly above those below, after the manner of
+pilasters, with a variety of cornice-members; and since this course
+accompanies that below and resembles it in every part, there is in it
+a space similar to the other, forming a niche like that in which there
+is now the Moses, and in the niche, resting on projections of the
+cornice, is a sarcophagus of marble with the recumbent statue of Pope
+Julius, executed by the sculptor Maso dal Bosco, while in that niche,
+also, there stands a Madonna who is holding her Son in her arms,
+wrought by the sculptor Scherano da Settignano from a model by
+Michelagnolo; which statues are passing good. In two other rectangular
+niches, above the Active and the Contemplative Life, are two larger
+statues, a Prophet and a Sibyl seated, which were both executed by
+Raffaello da Montelupo, as has been related in the Life of his father
+Baccio, but little to the satisfaction of Michelagnolo. For its
+crowning completion this work had a different cornice, which, like
+those below, projected over the whole work; and above the terminal
+figures, as a finish, were candelabra of marble, with the arms of Pope
+Julius in the centre. Above the Prophet and the Sibyl, in the recess
+of each niche, he made a window for the convenience of the friars who
+officiate in that church, the choir having been made behind; which
+windows serve to send their voices into the church when they say the
+divine office, and permit the celebration to be seen. Truly this whole
+work has turned out very well, but not by a great measure as it had
+been planned in the original design.
+
+         [Footnote 1: 1534.]
+
+[Illustration: THE LAST JUDGMENT
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Michelagnolo resolved, since he could not do otherwise, to serve Pope
+Paul, who allowed him to continue the work as ordered by Clement,
+without changing anything in the inventions and the general conception
+that had been laid before him, thus showing respect for the genius of
+that great man, for whom he felt such reverence and love that he
+sought to do nothing but what pleased him; of which a proof was soon
+seen. His Holiness desired to place his own arms beneath the Jonas in
+the chapel, where those of Pope Julius II had previously been put; but
+Michelagnolo, being asked to do this, and not wishing to do a wrong to
+Julius and Clement, would not place them there, saying that they would
+not look well; and the Pope, in order not to displease him, was
+content to have it so, having recognized very well the excellence of
+such a man, and how he always followed what was just and honourable
+without any adulation or respect of persons--a thing that the great
+are wont to experience very seldom. Michelagnolo, then, caused a
+projection of well baked and chosen bricks to be carefully built on
+the wall of the above-named chapel (a thing which was not there
+before), and contrived that it should overhang half a braccio from
+above, so that neither dust nor any other dirt might be able to settle
+upon it. But I will not go into the particulars of the invention and
+composition of this scene, because so many copies of it, both large
+and small, have been printed, that it does not seem necessary to lose
+time in describing it. It is enough for us to perceive that the
+intention of this extraordinary man has been to refuse to paint
+anything but the human body in its best proportioned and most perfect
+forms and in the greatest variety of attitudes, and not this only, but
+likewise the play of the passions and contentments of the soul, being
+satisfied with justifying himself in that field in which he was
+superior to all his fellow-craftsmen, and to lay open the way of the
+grand manner in the painting of nudes, and his great knowledge in the
+difficulties of design; and, finally, he opened out the way to
+facility in this art in its principal province, which is the human
+body, and, attending to this single object, he left on one side the
+charms of colouring and the caprices and new fantasies of certain
+minute and delicate refinements which many other painters, perhaps not
+without some show of reason, have not entirely neglected. For some,
+not so well grounded in design, have sought with variety of tints and
+shades of colouring, with various new and bizarre inventions, and,
+in short, with the other method, to win themselves a place among the
+first masters; but Michelagnolo, standing always firmly rooted in his
+profound knowledge of art, has shown to those who know enough how they
+should attain to perfection.
+
+But to return to the story: Michelagnolo had already carried to
+completion more than three-fourths of the work, when Pope Paul went to
+see it. And Messer Biagio da Cesena, the master of ceremonies, a
+person of great propriety, who was in the chapel with the Pope, being
+asked what he thought of it, said that it was a very disgraceful thing
+to have made in so honourable a place all those nude figures showing
+their nakedness so shamelessly, and that it was a work not for the
+chapel of a Pope, but for a bagnio or tavern. Michelagnolo was
+displeased at this, and, wishing to revenge himself, as soon as Biagio
+had departed he portrayed him from life, without having him before his
+eyes at all, in the figure of Minos with a great serpent twisted round
+the legs, among a heap of Devils in Hell; nor was Messer Biagio's
+pleading with the Pope and with Michelagnolo to have it removed of any
+avail, for it was left there in memory of the occasion, and it is
+still to be seen at the present day.
+
+It happened at this time that Michelagnolo fell no small distance from
+the staging of this work, and hurt his leg; and in his pain and anger
+he would not be treated by anyone. Now there was living at this same
+time the Florentine Maestro Baccio Rontini, his friend, an ingenious
+physician, who had a great affection for his genius; and he, taking
+compassion on him, went one day to knock at his door. Receiving no
+answer either from the neighbours or from him, he so contrived to
+climb by certain secret ways from one room to another, that he came to
+Michelagnolo, who was in a desperate state. And then Maestro Biagio
+would never abandon him or take himself off until he was cured.
+
+Having recovered from this injury, he returned to his labour, and,
+working at it continually, he carried it to perfect completion in a
+few months, giving such force to the paintings in the work, that he
+justified the words of Dante--
+
+  Morti li morti, i vivi parean vivi.
+
+And here, also, may be seen the misery of the damned and the joy of
+the blessed. Wherefore, when this Judgment was thrown open to view, it
+proved that he had not only vanquished all the earlier masters who had
+worked there, but had sought to surpass the vaulting that he himself
+had made so famous, excelling it by a great measure and outstripping
+his own self. For he imagined to himself the terror of those days, and
+depicted, for the greater pain of all who have not lived well, the
+whole Passion of Christ, causing various naked figures in the air to
+carry the Cross, the Column, the Lance, the Sponge, the Nails, and the
+Crown of Thorns, all in different attitudes, executed to perfection in
+a triumph of facility over their difficulties. In that scene is Christ
+seated, with a countenance proud and terrible, turning towards the
+damned and cursing them; not without great fear in Our Lady, who,
+hearing and beholding that vast havoc, draws her mantle close around
+her. There are innumerable figures, Prophets and Apostles, that form a
+circle about Him, and in particular Adam and S. Peter, who are
+believed to have been placed there, one as the first parent of those
+thus brought to judgment, and the other as having been the first
+foundation of the Christian Church; and at His feet is a most
+beautiful S. Bartholomew, who is displaying his flayed skin. There is
+likewise a nude figure of S. Laurence; besides which, there are
+multitudes of Saints without number, both male and female, and other
+figures, men and women, around Him, near or distant, who embrace one
+another and make rejoicing, having received eternal blessedness by the
+grace of God and as the reward of their works. Beneath the feet of
+Christ are the Seven Angels with the Seven Trumpets described by S.
+John the Evangelist, who, as they sound the call to judgment, cause
+the hair of all who behold them to stand on end at the terrible wrath
+that their countenances reveal. Among others are two Angels that have
+each the Book of Life in the hands: and near them, on one side, not
+without beautiful consideration, are seen the Seven Mortal Sins in the
+forms of Devils, assailing and striving to drag down to Hell the souls
+that are flying towards Heaven, all with very beautiful attitudes and
+most admirable foreshortenings. Nor did he hesitate to show to the
+world, in the resurrection of the dead, how they take to themselves
+flesh and bones once more from the same earth, and how, assisted by
+others already alive, they go soaring towards Heaven, whence succour
+is brought to them by certain souls already blessed; not without
+evidence of all those marks of consideration that could be thought to
+be required in so great a work. For studies and labours of every kind
+were executed by him, which may be recognized throughout the whole
+work without exception; and this is manifested with particular
+clearness in the barque of Charon, who, in an attitude of fury,
+strikes with his oars at the souls dragged down by the Devils into the
+barque, after the likeness of the picture that the master's
+best-beloved poet, Dante, described when he said--
+
+     Caron demonio con occhi di bragia,
+         Loro accennando, tutte le raccoglie,
+         Batte col remo qualunque si adagia.
+
+[Illustration: CHARON'S BOAT: DETAIL FROM THE LAST JUDGMENT
+
+(_After the fresco by =Michelangelo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Nor would it be possible to imagine how much variety there is in the
+heads of those Devils, which are truly monsters from Hell. In the
+sinners may be seen sin and the fear of eternal damnation; and, to say
+nothing of the beauty of every detail, it is extraordinary to see so
+great a work executed with such harmony of painting, that it appears
+as if done in one day, and with such finish as was never achieved in
+any miniature. And, of a truth, the terrible force and grandeur of the
+work, with the multitude of figures, are such that it is not possible
+to describe it, for it is filled with all the passions known to human
+creatures, and all expressed in the most marvellous manner. For the
+proud, the envious, the avaricious, the wanton, and all the other
+suchlike sinners can be distinguished with ease by any man of fine
+perception, because in figuring them Michelagnolo observed every rule
+of Nature in the expressions, in the attitudes, and in every other
+natural circumstance; a thing which, although great and marvellous,
+was not impossible to such a man, for the reason that he was always
+observant and shrewd and had seen men in plenty, and had acquired by
+commerce with the world that knowledge that philosophers gain from
+cogitation and from writings. Wherefore he who has judgment and
+understanding in painting perceives there the most terrible force of
+art, and sees in those figures such thoughts and passions as were
+never painted by any other but Michelagnolo. So, also, he may see
+there how the variety of innumerable attitudes is accomplished, in the
+strange and diverse gestures of young and old, male and female; and
+who is there who does not recognize in these the terrible power of his
+art, together with the grace that he had from Nature, since they move
+the hearts not only of those who have knowledge in that profession,
+but even of those who have none? There are foreshortenings that appear
+as if in relief, a harmony of painting that gives great softness, and
+fineness in the parts painted by him with delicacy, all showing in
+truth how pictures executed by good and true painters should be; and
+in the outlines of the forms turned by him in such a way as could not
+have been achieved by any other but Michelagnolo, may be seen the true
+Judgment and the true Damnation and Resurrection. This is for our art
+the exemplar and the grand manner of painting sent down to men on
+earth by God, to the end that they may see how Destiny works when
+intellects descend from the heights of Heaven to earth, and have
+infused in them divine grace and knowledge. This work leads after it
+bound in chains those who persuade themselves that they have mastered
+art; and at the sight of the strokes drawn by him in the outlines of
+no matter what figure, every sublime spirit, however mighty in design,
+trembles and is afraid. And while the eyes gaze at his labours in this
+work, the senses are numbed at the mere thought of what manner of
+things all other pictures, those painted and those still unpainted,
+would appear if placed in comparison with such perfection. Truly
+blessed may he be called, and blessed his memories, who has seen this
+truly stupendous marvel of our age! Most happy and most fortunate Paul
+III, in that God granted that under thy protection should be acquired
+the renown that the pens of writers shall give to his memory and
+thine! How highly are thy merits enhanced by his genius! And what good
+fortune have the craftsmen had in this age from his birth, in that
+they have seen the veil of every difficulty torn away, and have beheld
+in the pictures, sculptures, and architectural works executed by him
+all that can be imagined and achieved!
+
+[Illustration: S. SEBASTIAN
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+He toiled eight years over executing this work, and threw it open to
+view in the year 1541, I believe, on Christmas day, to the marvel
+and amazement of all Rome, nay, of the whole world; and I, who was
+that year in Venice, and went to Rome to see it, was struck dumb by
+its beauty.
+
+Pope Paul, as has been related, had caused a chapel called the Pauline
+to be erected on the same floor by Antonio da San Gallo, in imitation
+of that of Nicholas V; and in this he resolved that Michelagnolo
+should paint two great pictures with two large scenes. In one he
+painted the Conversion of S. Paul, with Jesus Christ in the air and a
+multitude of nude Angels making most beautiful movements, and below,
+all dazed and terrified, Paul fallen from his horse to the level of
+the ground, with his soldiers about him, some striving to raise him
+up, and others, struck with awe by the voice and splendour of Christ,
+are flying in beautiful attitudes and marvellous movements of panic,
+while the horse, taking to flight, appears to be carrying away in its
+headlong course him who seeks to hold it back; and this whole scene is
+executed with extraordinary design and art. In the other picture is
+the Crucifixion of S. Peter, who is fixed, a nude figure of rare
+beauty, upon the cross; showing the ministers of the crucifixion,
+after they have made a hole in the ground, seeking to raise the cross
+on high, to the end that he may remain crucified with his feet in the
+air; and there are many remarkable and beautiful considerations.
+Michelagnolo, as has been said elsewhere, gave his attention only to
+the perfection of art, and therefore there are no landscapes to be
+seen there, nor trees, nor buildings, nor any other distracting graces
+of art, for to these he never applied himself, as one, perchance, who
+would not abase his great genius to such things. These, executed by
+him at the age of seventy-five, were his last pictures, and, as he
+used himself to tell me, they cost him much fatigue, for the reason
+that painting, and particularly working in fresco, is no art for men
+who have passed a certain age. Michelagnolo arranged that Perino del
+Vaga, a very excellent painter, should decorate the vaulting with
+stucco and with many things in painting, after his designs, and such,
+also, was the wish of Pope Paul III; but the work was afterwards
+delayed, and nothing more was done, even as many undertakings are left
+unfinished, partly by the fault of want of resolution in the
+craftsmen, and partly by that of Princes little zealous in urging
+them on.
+
+Pope Paul had made a beginning with the fortifying of the Borgo, and
+had summoned many gentlemen, together with Antonio da San Gallo, to a
+conference; but he wished that Michelagnolo also should have a part in
+this, knowing that the fortifications about the hill of S. Miniato in
+Florence had been constructed under his direction. After much
+discussion, Michelagnolo was asked what he thought; and he, having
+opinions contrary to San Gallo and many others, declared them freely.
+Whereupon San Gallo said to him that his arts were sculpture and
+painting, and not fortification. Michelagnolo replied that of
+sculpture and painting he knew little, but of fortification, what with
+the thought that he had devoted to it for a long time, and his
+experience in what he had done, it appeared to him that he knew more
+than either Antonio or any of his family; showing him in the presence
+of the company that he had made many errors in that art. Words rising
+high on either side, the Pope had to command silence; but no long time
+passed before Michelagnolo brought a design for all the fortifications
+of the Borgo, which laid open the way for all that has since been
+ordained and executed; and this was the reason that the great gate of
+S. Spirito, which was approaching completion under the direction of
+San Gallo, was left unfinished.
+
+[Illustration: PIETÀ
+
+(_After =Michelagnolo=. Florence: Duomo_)
+
+_Alinari_]
+
+The spirit and genius of Michelagnolo could not rest without doing
+something; and, since he was not able to paint, he set to work on a
+piece of marble, intending to carve from it four figures in the round
+and larger than life, including a Dead Christ, for his own delight and
+to pass the time, and because, as he used to say, the exercise of the
+hammer kept him healthy in body. This Christ, taken down from the
+Cross, is supported by Our Lady, by Nicodemus, who bends down and
+assists her, planted firmly on his feet in a forceful attitude, and by
+one of the Maries, who also gives her aid, perceiving that the Mother,
+overcome by grief, is failing in strength and not able to uphold Him.
+Nor is there anywhere to be seen a dead form equal to that of Christ,
+who, sinking with the limbs hanging limp, lies in an attitude wholly
+different, not only from that of any other work by Michelagnolo, but
+from that of any other figure that was ever made. A laborious work is
+this, a rare achievement in a single stone, and truly divine; but,
+as will be related hereafter, it remained unfinished, and suffered
+many misfortunes, although Michelagnolo had intended that it should
+serve to adorn his own tomb, at the foot of that altar where he
+thought to place it.
+
+It happened in the year 1546 that Antonio da San Gallo died;
+whereupon, there being now no one to direct the building of S. Pietro,
+many suggestions were made by the superintendents to the Pope as to
+who should have it. Finally his Holiness, inspired, I believe, by God,
+resolved to send for Michelagnolo. But he, when asked to take
+Antonio's place, refused it, saying, in order to avoid such a burden,
+that architecture was not his proper art; and in the end, entreaties
+not availing, the Pope commanded that he should accept it, whereupon,
+to his great displeasure and against his wish, he was forced to
+undertake that enterprise. And one day among others that he went to S.
+Pietro to see the wooden model that San Gallo had made, and to examine
+the building, he found there the whole San Gallo faction, who,
+crowding before Michelagnolo, said to him in the best terms at their
+command that they rejoiced that the charge of the building was to be
+his, and that the model was a field where there would never be any
+want of pasture. "You speak the truth," answered Michelagnolo, meaning
+to infer, as he declared to a friend, that it was good for sheep and
+oxen, who knew nothing of art. And afterwards he used to say publicly
+that San Gallo had made it wanting in lights, that it had on the
+exterior too many ranges of columns one above another, and that, with
+its innumerable projections, pinnacles, and subdivisions of members,
+it was more akin to the German manner than to the good method of the
+ancients or to the gladsome and beautiful modern manner; and, in
+addition to this, that it was possible to save fifty years of time and
+more than three hundred thousand crowns of money in finishing the
+building, and to execute it with more majesty, grandeur, and facility,
+greater beauty and convenience, and better ordered design. This he
+afterwards proved by a model that he made, in order to bring it to the
+form in which the work is now seen constructed; and thus he
+demonstrated that what he said was nothing but the truth. This model
+cost him twenty-five crowns, and was made in a fortnight; that of San
+Gallo, as has been related, cost four thousand, and took many years to
+finish. From this and other circumstances it became evident that that
+fabric was but a shop and a business for making money, and that it
+would be continually delayed, with the intention of never finishing
+it, by those who had undertaken it as a means of profit.
+
+[Illustration: STAIRS OF THE PALACE OF THE SENATORS
+
+(_After =Michelagnolo=. Rome: The Capitol_)
+
+_Anderson_]
+
+Such methods did not please our upright Michelagnolo, and in order to
+get rid of all these people, while the Pope was forcing him to accept
+the office of architect to the work, he said to them openly one day
+that they should use all the assistance of their friends and do all
+that they could to prevent him from entering on that office, because,
+if he were to undertake such a charge, he would not have one of them
+about the building. Which words, spoken in public, were taken very
+ill, as may be believed, and were the reason that they conceived a
+great hatred against him, which increased every day as they saw the
+whole design being changed, both within and without, so that they
+would scarcely let him live, seeking out daily new and various devices
+to harass him, as will be related in the proper place. Finally the
+Pope issued a Motu-proprio creating him head of that fabric, with full
+authority, and giving him power to do or undo whatever he chose, and
+to add, take away, or vary anything at his pleasure; and he decreed
+that all the officials employed in the work should be subservient to
+his will. Whereupon Michelagnolo, seeing the great confidence and
+trust that the Pope placed in him, desired, in order to prove his
+generosity, that it should be declared in the Motu-proprio that he was
+serving in the fabric for the love of God and without any reward. It
+is true that the Pope had formerly granted to him the ferry over the
+river at Parma,[2] which yielded him about six hundred crowns; but he
+lost it at the death of Duke Pier Luigi Farnese, and in exchange for
+it he was given a Chancellery at Rimini, a post of less value. About
+that he showed no concern; and, although the Pope sent him money
+several times by way of salary, he would never accept it, to which
+witness is borne by Messer Alessandro Ruffini, Chamberlain to the Pope
+at that time, and by M. Pier Giovanni Aliotti, Bishop of Forlì.
+Finally the model that had been made by Michelagnolo was approved by
+the Pope; which model diminished S. Pietro in size, but gave it
+greater grandeur, to the satisfaction of all those who have judgment,
+although some who profess to be good judges, which in fact they are
+not, do not approve of it. He found that the four principal piers
+built by Bramante, and left by Antonio da San Gallo, which had to
+support the weight of the tribune, were weak; and these he partly
+filled up, and beside them he made two winding or spiral staircases,
+in which is an ascent so easy that the beasts of burden can climb
+them, carrying all the materials to the very top, and men on
+horseback, likewise, can go up to the uppermost level of the arches.
+The first cornice above the arches he constructed of travertine,
+curving in a round, which is an admirable and graceful thing, and very
+different from any other; nor could anything better of that kind be
+done. He also made a beginning with the two great recesses of the
+transepts; and whereas formerly, under the direction of Bramante,
+Baldassarre, and Raffaello, as has been related, eight tabernacles
+were being made on the side towards the Camposanto, and that plan was
+afterwards followed by San Gallo, Michelagnolo reduced these to three,
+with three chapels in the interior, and above them a vaulting of
+travertine, and a range of windows giving a brilliant light, which are
+varied in form and of a sublime grandeur. But, since these things are
+in existence, and are also to be seen in engraving, not only those of
+Michelagnolo, but those of San Gallo as well, I will not set myself to
+describe them, for it is in no way necessary. Let it suffice to say
+that he set himself, with all possible diligence, to cause the work to
+be carried on in those parts where the fabric was to be changed in
+design, to the end that it might remain so solid and stable that it
+might never be changed by another; which was the wise provision of a
+shrewd and prudent intellect, because it is not enough to do good
+work, if further precautions be not taken, seeing that the boldness
+and presumption of those who might be supposed to have knowledge if
+credit were placed rather in their words than in their deeds, and at
+times the favour of such as know nothing, may give rise to many
+misfortunes.
+
+         [Footnote 2: Piacenza.]
+
+The Roman people, with the sanction of that Pope, had a desire to give
+some useful, commodious, and beautiful form to the Campidoglio, and
+to furnish it with colonnades, ascents, and inclined approaches with
+and without steps, and also with the further adornment of the ancient
+statues that were already there, in order to embellish that place. For
+this purpose they sought the advice of Michelagnolo, who made them a
+most beautiful and very rich design, in which, on the side where the
+Senatore stands, towards the east, he arranged a façade of travertine,
+and a flight of steps that ascends from two sides to meet on a level
+space, from which one enters into the centre of the hall of that
+Palace, with rich curving wings adorned with balusters that serve as
+supports and parapets. And there, to enrich that part, he caused to be
+placed on certain bases the two ancient figures in marble of recumbent
+River Gods, each of nine braccia, and of rare workmanship, one of
+which is the Tiber and the other the Nile; and between them, in a
+niche, is to go a Jove. On the southern side, where there is the
+Palace of the Conservatori, in order that it might be made
+rectangular, there followed a rich and well varied façade, with a
+loggia at the foot full of columns and niches, where many ancient
+statues are to go; and all around are various ornaments, doors,
+windows, and the like, of which some are already in place. On the
+other side from this, towards the north, below the Araceli, there is
+to follow another similar façade; and before it, towards the west, is
+to be an ascent of baston-like steps, which will be almost level, with
+a border and parapet of balusters; here will be the principal
+entrance, with a colonnade, and bases on which will be placed all that
+wealth of noble statues in which the Campidoglio is now so rich. In
+the middle of the Piazza, on a base in the form of an oval, is placed
+the famous bronze horse on which is the statue of Marcus Aurelius,
+which the same Pope Paul caused to be removed from the Piazza di
+Laterano, where Sixtus IV had placed it. This edifice is now being
+made so beautiful that it is worthy to be numbered among the finest
+works that Michelagnolo has executed, and it is being carried to
+completion at the present day under the direction of M. Tommaso de'
+Cavalieri, a Roman gentleman who was, and still is, one of the
+greatest friends that Michelagnolo ever had, as will be related
+hereafter.
+
+[Illustration: COURT OF THE PALAZZO FARNESE
+
+(_After =Michelagnolo=. Rome_)
+
+_Anderson_]
+
+Pope Paul III had caused San Gallo, while he was alive, to carry
+forward the Palace of the Farnese family, but the great upper
+cornice, to finish the roof on the outer side, had still to be
+constructed, and his Holiness desired that Michelagnolo should execute
+it from his own designs and directions. Michelagnolo, not being able
+to refuse the Pope, who so esteemed and favoured him, caused a model
+of wood to be made, six braccia in length, and of the size that it was
+to be; and this he placed on one of the corners of the Palace, so that
+it might show what effect the finished work would have. It pleased his
+Holiness and all Rome, and that part of it has since been carried to
+completion which is now to be seen, proving to be the most varied and
+the most beautiful of all that have ever been known, whether ancient
+or modern. On this account, after San Gallo was dead, the Pope desired
+that Michelagnolo should have charge of the whole fabric as well; and
+there he made the great marble window with the beautiful columns of
+variegated marble, which is over the principal door of the Palace,
+with a large escutcheon of great beauty and variety, in marble, of
+Pope Paul III, the founder of that Palace. Within the Palace he
+continued, above the first range of the court, the two other ranges,
+with the most varied, graceful, and beautiful windows, ornaments and
+upper cornice that have ever been seen, so that, through the labours
+and the genius of that man that court has now become the most handsome
+in Europe. He widened and enlarged the Great Hall, and set in order
+the front vestibule, and caused the vaulting of that vestibule to be
+constructed in a new variety of curve, in the form of a half oval.
+
+Now in that year there was found at the Baths of Antoninus a mass of
+marble seven braccia in every direction, in which there had been
+carved by the ancients a Hercules standing upon a mound, who was
+holding the Bull by the horns, with another figure assisting him, and
+around that mound various figures of Shepherds, Nymphs, and different
+animals--a work of truly extraordinary beauty, showing figures so
+perfect in one single block without any added pieces, which was judged
+to have been intended for a fountain. Michelagnolo advised that it
+should be conveyed into the second court, and there restored so as to
+make it spout water in the original manner; all which advice was
+approved, and the work is still being restored at the present day
+with great diligence, by order of the Farnese family, for that
+purpose. At that time, also, Michelagnolo made a design for the
+building of a bridge across the River Tiber in a straight line with
+the Farnese Palace, to the end that it might be possible to go from
+that palace to another palace and gardens that they possessed in the
+Trastevere, and also to see at one glance in a straight line from the
+principal door which faces the Campo di Fiore, the court, the
+fountain, the Strada Giulia, the bridge, and the beauties of the other
+garden, even to the other door which opened on the Strada di
+Trastevere--a rare work, worthy of that Pontiff and of the judgment,
+design, and art of Michelagnolo.
+
+In the year 1547 died Sebastiano Viniziano, the Friar of the Piombo;
+and, Pope Paul proposing that the ancient statues of his Palace should
+be restored, Michelagnolo willingly favoured the Milanese sculptor
+Guglielmo della Porta, a young man of promise, who had been
+recommended by the above-named Fra Sebastiano to Michelagnolo, who,
+liking his work, presented him to Pope Paul for the restoration of
+those statues. And the matter went so far forward that Michelagnolo
+obtained for him the office of the Piombo, and he then set to work on
+restoring the statues, some of which are to be seen in that Palace at
+the present day. But Guglielmo, forgetting the benefits that he had
+received from Michelagnolo, afterwards became one of his opponents.
+
+In the year 1549 there took place the death of Pope Paul III;
+whereupon, after the election of Pope Julius III, Cardinal Farnese
+gave orders for a grand tomb to be made for his kinsman Pope Paul by
+the hand of Fra Guglielmo, who arranged to erect it in S. Pietro,
+below the first arch of the new church, beneath the tribune, which
+obstructed the floor of the church, and was, in truth, not the proper
+place. Michelagnolo advised, most judiciously, that it could not and
+should not stand there, and the Frate, believing that he was doing
+this out of envy, became filled with hatred against him; but
+afterwards he recognized that Michelagnolo had spoken the truth, and
+that the fault was his, in that he had had the opportunity and had not
+finished the work, as will be related in another place. And to this I
+can bear witness, for the reason that in the year 1550 I had gone by
+order of Pope Julius III to Rome to serve him (and very willingly, for
+love of Michelagnolo), and I took part in that discussion.
+Michelagnolo desired that the tomb should be erected in one of the
+niches, where there is now the Column of the Possessed, which was the
+proper place, and I had so gone to work that Julius III was resolving
+to have his own tomb made in the other niche with the same design as
+that of Pope Paul, in order to balance that work; but the Frate, who
+set himself against this, brought it about that his own was never
+finished after all, and that the tomb of the other Pontiff was also
+not made; which had all been predicted by Michelagnolo.
+
+In the same year Pope Julius turned his attention to having a chapel
+of marble with two tombs constructed in the Church of S. Pietro a
+Montorio for Cardinal Antonio di Monte, his uncle, and Messer Fabiano,
+his grandfather, the first founder of the greatness of that
+illustrious house. For this work Vasari having made designs and
+models, Pope Julius, who always esteemed the genius of Michelagnolo
+and loved Vasari, desired that Michelagnolo should fix the price
+between them; and Vasari besought the Pope that he should prevail upon
+him to take it under his protection. Now Vasari had proposed Simone
+Mosca for the carvings of this work, and Raffaello da Montelupo for
+the statues; but Michelagnolo advised that no carvings of foliage
+should be made in it, not even in the architectural parts of the work,
+saying that where there are to be figures of marble there must not be
+any other thing. On which account Vasari feared that the work should
+be abandoned, because it would look poor; but in fact, when he saw it
+finished, he confessed that Michelagnolo had shown great judgment.
+Michelagnolo would not have Montelupo make the statues, remembering
+how badly he had acquitted himself in those of his own tomb of Julius
+II, and he was content, rather, that they should be entrusted to
+Bartolommeo Ammanati, whom Vasari had proposed, although Buonarroti
+had something of a private grievance against him, as also against
+Nanni di Baccio Bigio, caused by a reason which, if one considers it
+well, seems slight enough; for when they were very young, moved rather
+by love of art than by a desire to do wrong, they had entered with
+great pains into his house, and had taken from Antonio Mini, the
+disciple of Michelagnolo, many sheets with drawings; but these were
+afterwards all restored to him by order of the Tribunal of Eight, and,
+at the intercession of his friend Messer Giovanni Norchiati, Canon of
+S. Lorenzo, he would not have any other punishment inflicted on them.
+Vasari, when Michelagnolo spoke to him of this matter, said to him,
+laughing, that it did not seem to him that they deserved any blame,
+and that he himself, if he had ever been able, would have not taken a
+few drawings only, but robbed him of everything by his hand that he
+might have been able to seize, merely for the sake of learning art.
+One must look kindly, he said, on those who seek after excellence, and
+also reward them, and therefore such men must not be treated like
+those who go about stealing money, household property, and other
+things of value; and so the matter was turned into a jest. This was
+the reason that a beginning was made with the work of the Montorio,
+and that in the same year Vasari and Ammanati went to have the marble
+conveyed from Carrara to Rome for the execution of that work.
+
+At that time Vasari was with Michelagnolo every day; and one morning
+the Pope in his kindness gave them both leave that they might visit
+the Seven Churches on horseback (for it was Holy Year), and receive
+the Pardon in company. Whereupon, while going from one church to
+another, they had many useful and beautiful conversations on art and
+every industry, and out of these Vasari composed a dialogue, which
+will be published at some more favourable opportunity, together with
+other things concerning art. In that year Pope Julius III confirmed
+the Motu-proprio of Pope Paul III with regard to the building of S.
+Pietro; and although much evil was spoken to him of Michelagnolo by
+the friends of the San Gallo faction, in the matter of that fabric of
+S. Pietro, at that time the Pope would not listen to a word, for
+Vasari had demonstrated to him (as was the truth) that Michelagnolo
+had given life to the building, and also persuaded his Holiness that
+he should do nothing concerned with design without the advice of
+Michelagnolo. This promise the Pope kept ever afterwards, for neither
+at the Vigna Julia did he do anything without his counsel, nor at the
+Belvedere, where there was built the staircase that is there now, in
+place of the semicircular staircase that came forward, ascending in
+eight steps, and turned inwards in eight more steps, erected in former
+times by Bramante in the great recess in the centre of the Belvedere.
+And Michelagnolo designed and caused to be built the very beautiful
+quadrangular staircase, with balusters of peperino-stone, which is
+there at the present day.
+
+Vasari had finished in that year the printing of his work, the Lives
+of the Painters, Sculptors, and Architects, in Florence. Now he had
+not written the Life of any living master, although some who were old
+were still alive, save only of Michelagnolo; and in the book were many
+records of circumstances that Vasari had received from his lips, his
+age and his judgment being the greatest among all the craftsmen.
+Giorgio therefore presented the work to him, and he received it very
+gladly; and not long afterwards, having read it, Michelagnolo sent to
+him the following sonnet, written by himself, which I am pleased to
+include in this place in memory of his loving-kindness:
+
+  Se con lo stile o co' colori havete
+      Alla Natura pareggiato l'Arte,
+      Anzi a quella scemato il pregio in parte,
+      Che 'l bel di lei più bello a noi rendete,
+  Poichè con dotta man posto vi siete
+      A più degno lavoro, a vergar carte,
+      Quel che vi manca a lei di pregio in parte,
+      Nel dar vita ad altrui tutto togliete.
+  Che se secolo alcuno omai contese
+      In far bell'opre, almen cedale, poi
+      Che convien', ch'al prescritto fine arrive.
+  Or le memorie altrui già spente accese
+      Tornando fate, or che sien quelle, e voi,
+      Mal grado d'esse, eternalmente vive.
+
+Vasari departed for Florence, and left to Michelagnolo the charge of
+having the work founded in the Montorio. Now Messer Bindo Altoviti,
+the Consul of the Florentine colony at that time, was much the friend
+of Vasari, and on this occasion Giorgio said to him that it would be
+well to have this work erected in the Church of S. Giovanni de'
+Fiorentini, and that he had already spoken of it with Michelagnolo,
+who would favour the enterprise; and that this would be a means of
+giving completion to that church. This proposal pleased Messer Bindo,
+and, being very intimate with the Pope, he urged it warmly upon him,
+demonstrating that it would be well that the chapel and the tombs
+which his Holiness was having executed for the Montorio should be
+placed in the Church of S. Giovanni de' Fiorentini; adding that the
+result would be that with this occasion and this spur the Florentine
+colony would undertake such expenditure that the church would receive
+its completion, and, if his Holiness were to build the principal
+chapel, the other merchants would build six chapels, and then little
+by little all the rest. Whereupon the Pope changed his mind, and,
+although the model for the work was already made and the price
+arranged, went to the Montorio and sent for Michelagnolo, to whom
+Vasari was writing every day, receiving answers from him according to
+the opportunities presented in the course of affairs. Michelagnolo
+then wrote to Vasari, on the first day of August in 1550, of the
+change that the Pope had made; and these are his words, written in his
+own hand:
+
+                                                            ROME.
+
+"MY DEAR MESSER GIORGIO,
+
+"With regard to the founding of the work at S. Pietro a Montorio, and
+how the Pope would not listen to a word, I wrote you nothing, knowing
+that you are kept informed by your man here. Now I must tell you what
+has happened, which is as follows. Yesterday morning the Pope, having
+gone to the said Montorio, sent for me. I met him on the bridge, on
+his way back, and had a long conversation with him about the tombs
+allotted to you; and in the end he told me that he was resolved that
+he would not place those tombs on that mount, but in the Church of the
+Florentines. He sought from me my opinion and also designs, and I
+encouraged him not a little, considering that by this means the said
+church would be finished. Respecting your three letters received, I
+have no pen wherewith to answer to such exalted matters, but if I
+should rejoice to be in some sort what you make me, I should rejoice
+for no other reason save that you might have a servant who might be
+worth something. But I do not marvel that you, who restore dead men to
+life, should lengthen the life of the living, or rather, that you
+should steal from death for an unlimited period those barely alive. To
+cut this short, such as I am, I am wholly yours,
+
+                                       "MICHELAGNOLO BUONARROTI."
+
+While these matters were being discussed, and the Florentine colony
+was seeking to raise money, certain difficulties arose, on account of
+which they came to no decision, and the affair grew cold. Meanwhile,
+Vasari and Ammanati having by this time had all the marbles quarried
+at Carrara, a great part of them were sent to Rome, and with them
+Ammanati, through whom Vasari wrote to Buonarroti that he should
+ascertain from the Pope where he wanted the tomb, and, after receiving
+his orders, should have the work begun. The moment that Michelagnolo
+received the letter, he spoke to his Holiness; and with his own hand
+he wrote the following resolution to Vasari:
+
+                                        "_13th of October_, 1550.
+
+"MY DEAR MESSER GIORGIO,
+
+"The instant that Bartolommeo arrived here, I went to speak to the
+Pope, and, having perceived that he wished to begin the work once more
+at the Montorio, in the matter of the tombs, I looked for a mason from
+S. Pietro. 'Tantecose'[3] heard this and insisted on sending one of
+his choosing, and I, to avoid contending with a man who commands the
+winds, have retired from the matter, because, he being a light-minded
+person, I would not care to be drawn into any entanglement. Enough
+that in my opinion there is no more thought to be given to the Church
+of the Florentines. Fare you well, and come back soon. Nothing else
+occurs to me."
+
+         [Footnote 3: Busybody, or Jack-of-all-Trades.]
+
+Michelagnolo used to call Monsignor di Forlì "Tantecose," because he
+insisted on doing everything himself. Being Chamberlain to the Pope,
+he had charge of the medals, jewels, cameos, little figures in bronze,
+pictures, and drawings, and desired that everything should depend on
+him. Michelagnolo was always anxious to avoid the man, because he had
+been constantly working against the master's interests, and therefore
+Buonarroti feared lest he might be drawn into some entanglement by the
+intrigues of such a man. In short, the Florentine colony lost a very
+fine opportunity for that church, and God knows when they will have
+such another; and to me it was an indescribable grief. I have desired
+not to omit to make this brief record, to the end that it may be seen
+that our Michelagnolo always sought to help his fellow-countrymen and
+his friends, and also art.
+
+Vasari had scarcely returned to Rome, when, before the beginning of
+the year 1551, the San Gallo faction arranged a conspiracy against
+Michelagnolo, whereby the Pope was to hold an assembly in S. Pietro,
+and to summon together the superintendents and all those who had the
+charge of the work, in order to show to the Pope, by means of false
+calumnies, that Michelagnolo had ruined that fabric, because, he
+having already built the apse of the King, where there are the three
+chapels, and having executed these with the three windows above, they,
+not knowing what was to be done with the vaulting, with feeble
+judgment had given the elder Cardinal Salviati and Marcello Cervini,
+who afterwards became Pope, to understand that S. Pietro was being
+left with little light. Whereupon, all being assembled, the Pope said
+to Michelagnolo that the deputies declared that the apse would give
+little light, and he answered: "I would like to hear these deputies
+speak in person." Cardinal Marcello replied: "We are here." Then
+Michelagnolo said to him: "Monsignore, above these windows, in the
+vaulting, which is to be made of travertine, there are to be three
+others." "You have never told us that," said the Cardinal. And
+Michelagnolo answered: "I am not obliged, nor do I intend to be
+obliged, to say either to your Highness or to any other person what I
+am bound or desirous to do. Your office is to obtain the money and to
+guard it from thieves, and the charge of the design for the building
+you must leave to me." And then, turning to the Pope, he said: "Holy
+Father, you see what my gains are, and that if these fatigues that I
+endure do not profit me in my mind, I am wasting my time and my work."
+The Pope, who loved him, laid his hands on his shoulders, and said:
+"You shall profit both in mind and in body; do not doubt it."
+Michelagnolo having thus been able to get rid of those persons, the
+Pope came to love him even more; and he commanded him and Vasari that
+on the day following they should both present themselves at the Vigna
+Julia, in which place his Holiness had many discussions with him, and
+they carried that work almost to the condition of perfect beauty in
+which it now is; nor did the Pope discuss or do anything in the matter
+of design without Michelagnolo's advice and judgment. And, among other
+things, since Michelagnolo went often with Vasari to visit him, the
+Pope insisted, once when he was at the fountain of the Acqua Vergine
+with twelve Cardinals, after Buonarroti had come up; the Pope, I say,
+insisted very strongly that he should sit beside him, although he
+sought most humbly to excuse himself; thus always honouring his genius
+as much as lay in his power.
+
+The Pope caused him to make the model of a façade for a palace that
+his Holiness desired to build beside S. Rocco, intending to avail
+himself of the Mausoleum of Augustus for the rest of the masonry; and,
+as a design for a façade, there is nothing to be seen that is more
+varied, more ornate, or more novel in manner and arrangement, for the
+reason that, as has been seen in all his works, he never consented to
+be bound by any law, whether ancient or modern, in matters of
+architecture, as one who had a brain always able to discover things
+new and well-varied, and in no way less beautiful. That model is now
+in the possession of Duke Cosimo de' Medici, who had it as a present
+from Pope Pius IV when he went to Rome; and he holds it among his
+dearest treasures. That Pope had such respect for Michelagnolo, that
+he was constantly taking up his defence against Cardinals and others
+who sought to calumniate him, and he desired that other craftsmen,
+however able and renowned they might be, should always go to seek him
+at his house; such, indeed, were the regard and reverence that he felt
+for him, that his Holiness did not venture, lest he might annoy him,
+to call upon Michelagnolo for many works which, although he was old,
+he could have executed.
+
+As far back as the time of Paul III Michelagnolo had made a beginning
+with the work of refounding, under his own direction, the Ponte S.
+Maria at Rome, which had been weakened by the constant flow of water
+and by age, and was falling into ruin. The refounding was contrived by
+Michelagnolo by means of caissons, and by making stout reinforcements
+against the piers; and already he had carried a great part of it to
+completion, and had spent large sums on wood and travertine on behalf
+of the work, when, in the time of Julius III, an assembly was held by
+the Clerks of the Chamber with a view to making an end of it, and a
+proposal was made among them by the architect Nanni di Baccio Bigio,
+saying that if it were allotted by contract to him it would be
+finished in a short time and without much expense; and this they
+suggested on the pretext, as it were, of doing a favour to
+Michelagnolo and relieving him of a burden, because he was old,
+alleging that he gave no thought to it, and that if matters remained
+as they were the end would never be seen. The Pope, who little liked
+being troubled, not thinking what the result might be, gave authority
+to the Clerks of the Chamber that they should have charge of the work,
+as a thing pertaining to them; and then, without Michelagnolo hearing
+another word about it, they gave it with all those materials, without
+any conditions, to Nanni, who gave no attention to the reinforcements,
+which were necessary for the refounding, but relieved the bridge of
+some weight, in consequence of having seen a great quantity of
+travertine wherewith it had been flanked and faced in ancient times,
+the result of which was to give weight to the bridge and to make it
+stouter, stronger, and more secure. In place of that he used gravel
+and other materials cast with cement, in such a manner that no defect
+could be seen in the inner part of the work, and on the outer side he
+made parapets and other things, insomuch that to the eye it appeared
+as if made altogether new; but it was made lighter all over and
+weakened throughout. Five years afterwards, when the flood of the year
+1557 came down, it happened that the bridge collapsed in such a manner
+as to make known the little judgment of the Clerks of the Chamber and
+the loss that Rome suffered by departing from the counsel of
+Michelagnolo, who predicted the ruin of the bridge many times to me
+and to his other friends. Thus I remember that he said to me, when we
+were passing there together on horseback, "Giorgio, this bridge is
+shaking under us; let us spur our horses, or it may fall while we are
+upon it."
+
+But to return to the narrative interrupted above; when the work of the
+Montorio was finished, and that much to my satisfaction, I returned to
+Florence to re-enter the service of Duke Cosimo, which was in the year
+1554. The departure of Vasari grieved Michelagnolo, and likewise
+Giorgio, for the reason that Michelagnolo's adversaries kept harassing
+him every day, now in one way and now in another; wherefore they did
+not fail to write to one another daily. And in April of the same year,
+Vasari giving him the news that Leonardo, the nephew of Michelagnolo,
+had had a male child, that they had accompanied him to baptism with an
+honourable company of most noble ladies, and that they had revived the
+name of Buonarroto, Michelagnolo answered in a letter to Vasari in
+these words:
+
+"DEAR FRIEND GIORGIO,
+
+"I have had the greatest pleasure from your letter, seeing that you
+still remember the poor old man, and even more because you were
+present at the triumph which, as you write, you witnessed in the birth
+of another Buonarroto; for which intelligence I thank you with all my
+heart and soul. But so much pomp does not please me, for man should
+not be laughing when all the world is weeping. It seems to me that
+Leonardo should not make so much rejoicing over a new birth, with all
+that gladness which should be reserved for the death of one who has
+lived well. Do not marvel if I delay to answer; I do it so as not to
+appear a merchant. As for the many praises that you send me in your
+letter, I tell you that if I deserved a single one of them, it would
+appear to me that in giving myself to you body and soul, I had truly
+given you something, and had discharged some infinitesimal part of the
+debt that I owe you; whereas I recognize you every hour as my creditor
+for more than I can repay, and, since I am an old man, I can now never
+hope to be able to square the account in this life, but perhaps in the
+next. Wherefore I pray you have patience, and remain wholly yours.
+Things here are much as usual."
+
+Already, in the time of Paul III, Duke Cosimo had sent Tribolo to
+Rome to see if he might be able to persuade Michelagnolo to return to
+Florence, in order to give completion to the Sacristy of S. Lorenzo.
+But Michelagnolo excused himself because, having grown old, he could
+not support the burden of such fatigues, and demonstrated to him with
+many reasons that he could not leave Rome. Whereupon Tribolo finally
+asked him about the staircase of the library of S. Lorenzo, for which
+Michelagnolo had caused many stones to be prepared, but there was no
+model of it nor any certainty as to the exact form, and, although
+there were some marks on a pavement and some other sketches in clay,
+the true and final design could not be found. However, no matter how
+much Tribolo might beseech him and invoke the name of the Duke,
+Michelagnolo would never answer a word save that he remembered nothing
+of it. Orders were given to Vasari by Duke Cosimo that he should write
+to Michelagnolo, requesting him to write saying what final form that
+staircase was to have; in the hope that through the friendship and
+love that he bore to Vasari, he would say something that might lead to
+some solution and to the completion of the work. Vasari wrote to
+Michelagnolo the mind of the Duke, saying that the execution of all
+that was to be done would fall to him; which he would do with that
+fidelity and care with which, as Michelagnolo knew, he was wont to
+treat such of his works as he had in charge. Wherefore Michelagnolo
+sent the directions for making the above-named staircase in a letter
+by his own hand on the 28th of September, 1555.
+
+[Illustration: BIBLIOTECA LAURENZIANA
+
+(_After =Michelagnolo=. Florence_)
+
+_Alinari_]
+
+"MESSER GIORGIO, DEAR FRIEND,
+
+"Concerning the staircase for the library, of which so much has been
+said to me, you may believe that if I could remember how I had
+designed it, I would not need to be entreated. There does, indeed,
+come back to my mind, like a dream, a certain staircase; but I do not
+believe that it is exactly the one which I conceived at that time,
+because it comes out so stupid. However, I will describe it here. Take
+a quantity of oval boxes, each one palm in depth, but not of equal
+length and breadth. The first and largest place on the pavement at
+such a distance from the wall of the door as may make the staircase
+easy or steep, according to your pleasure. Upon this place another,
+which must be so much smaller in every direction as to leave on the
+first one below as much space as the foot requires in ascending;
+diminishing and drawing back the steps one after another towards the
+door, in accord with the ascent. And the diminution of the last step
+must reduce it to the proportion of the space of the door. The said
+part of the staircase with the oval steps must have two wings, one on
+one side and one on the other, with corresponding steps but not oval.
+Of these the central flight shall serve as the principal staircase,
+and from the centre of the staircase to the top the curves of the said
+wings shall meet the wall; but from the centre down to the pavement
+they shall stand, together with the whole staircase, at a distance of
+about three palms from the wall, in such a manner that the basement of
+the vestibule shall not be obstructed in any part, and every face
+shall be left free. I am writing nonsense; but I know well that you
+will find something to your purpose."
+
+Michelagnolo also wrote to Vasari in those days that Julius III being
+dead, and Marcellus elected, the faction that was against him, in
+consequence of the election of the new Pontiff, had again begun to
+harass him. Which hearing, and not liking these ways, the Duke caused
+Giorgio to write and tell him that he should leave Rome and come to
+live in Florence, where the Duke did not desire more than his advice
+and designs at times for his buildings, and that he would receive from
+that lord all that he might desire, without doing anything with his
+own hand. Again, there were carried to him by M. Leonardo Marinozzi,
+the private Chamberlain of Duke Cosimo, letters written by his
+Excellency; and so also by Vasari. But then, Marcellus being dead, and
+Paul IV having been elected, by whom once again numerous offers had
+been made to him from the very beginning, when he went to kiss his
+feet, the desire to finish the fabric of S. Pietro, and the obligation
+by which he thought himself bound to that task, kept him back; and,
+employing certain excuses, he wrote to the Duke that for the time
+being he was not able to serve him, and to Vasari a letter in these
+very words:
+
+"MESSER GIORGIO, MY DEAR FRIEND,
+
+"I call God to witness how it was against my will and under the
+strongest compulsion that I was set to the building of S. Pietro in
+Rome by Pope Paul III, ten years ago. Had they continued to work at
+that fabric up to the present day, as they were doing then, I would
+now have reached such a point in the undertaking that I might be
+thinking of returning home; but for want of money it has been much
+retarded, and is still being retarded at the time when it has reached
+the most laborious and difficult stage, insomuch that to abandon it
+now would be nothing short of the greatest possible disgrace and sin,
+losing the reward of the labours that I have endured in those ten
+years for the love of God. I have made you this discourse in answer to
+your letter, and also because I have a letter from the Duke that has
+made me marvel much that his Excellency should have deigned to write
+so graciously; for which I thank God and his Excellency to the best of
+my power and knowledge. I wander from the subject, because I have lost
+my memory and my wits, and writing is a great affliction to me, for it
+is not my art. The conclusion is this: to make you understand what
+would be the result if I were to abandon the fabric and depart from
+Rome; firstly, I would please a number of thieves, and secondly, I
+would be the cause of its ruin, and perhaps, also, of its being
+suspended for ever."
+
+Continuing to write to Giorgio, Michelagnolo said to him, to excuse
+himself with the Duke, that he had a house and many convenient things
+at his disposal in Rome, which were worth thousands of crowns, in
+addition to being in danger of his life from disease of the kidneys,
+colic, and the stone, as happens to every old person, and as could be
+proved by Maestro Realdo, his physician, from whom he congratulated
+himself on having his life, after God; that for these reasons he was
+not able to leave Rome, and, finally, that he had no heart for
+anything but death. He besought Vasari, as he did in several other
+letters that Giorgio has by his hand, that he should recommend him to
+the Duke for pardon, in addition to what he wrote to the Duke, as I
+have said, to excuse himself. If Michelagnolo had been able to ride,
+he would have gone straightway to Florence, whence, I believe, he
+would never have consented to depart in order to return to Rome, so
+much was he influenced by the tenderness and love that he felt for the
+Duke; but meanwhile he gave his attention to working at many parts of
+the above-named fabric, in order so to fix the form that it might
+never again be changed. During this time certain persons had informed
+him that Pope Paul IV was minded to make him alter the façade of the
+chapel where the Last Judgment is, because, he said, those figures
+showed their nakedness too shamelessly. When, therefore, the mind of
+the Pope was made known to Michelagnolo, he answered: "Tell the Pope
+that it is no great affair, and that it can be altered with ease. Let
+him put the world right, and every picture will be put right in a
+moment." The office of the Chancellery of Rimini was taken away from
+Michelagnolo, but he would never speak of this to the Pope, who did
+not know it; and it was taken away from him by the Pope's Cup-bearer,
+who sought to have a hundred crowns a month given to him in respect of
+the fabric of S. Pietro, and caused a month's payment to be taken to
+his house, but Michelagnolo would not accept it. In the same year took
+place the death of Urbino, his servant, or rather, as he may be
+called, and as he had been, his companion. This man came to live with
+Michelagnolo in Florence in the year 1530, after the siege was
+finished, when his disciple Antonio Mini went to France; and he
+rendered very faithful service to Michelagnolo, insomuch that in
+twenty-six years that faithful and intimate service brought it about
+that Michelagnolo made him rich and so loved him, that in this,
+Urbino's last illness, old as he was, he nursed him and slept in his
+clothes at night to watch over him. Wherefore, after he was dead,
+Vasari wrote to Michelagnolo to console him, and he answered in these
+words:
+
+"MY DEAR MESSER GIORGIO,
+
+"I am scarce able to write, but, in reply to your letter, I shall say
+something. You know how Urbino died, wherein God has shown me very
+great grace, although it is also a grave loss and an infinite grief to
+me. This grace is that whereas when living he kept me alive, dying he
+has taught me to die not with regret, but with a desire for death. I
+have had him twenty-six years, and have found him a very rare and
+faithful servant; and now, when I had made him rich and was looking to
+him as the staff and repose of my old age, he has flown from me, nor
+is any hope left to me but to see him again in Paradise. And of this
+God has granted a sign in the happy death that he died, in that dying
+grieved him much less than leaving me in this traitorous world with so
+many afflictions; although the greater part of me is gone with him,
+and nothing is left me but infinite misery. I commend myself to you."
+
+Michelagnolo was employed in the time of Pope Paul IV on many parts of
+the fortifications of Rome, and also by Salustio Peruzzi, to whom that
+Pope, as has been related elsewhere, had given the charge of executing
+the great portal of the Castello di S. Angelo, which is now half
+ruined; and he occupied himself in distributing the statues of that
+work, examining the models of the sculptors, and correcting them. At
+that time the French army approached near to Rome, and Michelagnolo
+thought that he was like to come to an evil end together with that
+city; whereupon he resolved to fly from Rome with Antonio Franzese of
+Castel Durante, whom Urbino at his death had left in his house as his
+servant, and went secretly to the mountains of Spoleto, where he
+visited certain seats of hermits. Meanwhile Vasari wrote to him,
+sending him a little work that Carlo Lenzoni, a citizen of Florence,
+had left at his death to Messer Cosimo Bartoli, who was to have it
+printed and dedicated to Michelagnolo; which, when it was finished,
+Vasari sent in those days to Michelagnolo, and he, having received it,
+answered thus:
+
+                                           "_September_ 18, 1556.
+
+"MESSER GIORGIO, DEAR FRIEND,
+
+"I have received Messer Cosimo's little book, which you send to me,
+and this shall be a letter of thanks. I pray you to give them to him,
+and send him my compliments.
+
+"I have had in these days great discomfort and expense, but also great
+pleasure, in visiting the hermits in the mountains of Spoleto,
+insomuch that less than half of me has returned to Rome, seeing that
+in truth there is no peace to be found save in the woods. I have
+nothing more to tell you. I am glad that you are well and happy, and I
+commend myself to you."
+
+Michelagnolo used to work almost every day, as a pastime, at that
+block with the four figures of which we have already spoken; which
+block he broke into pieces at this time for these reasons, either
+because it was hard and full of emery, and the chisel often struck
+sparks from it, or it may have been that the judgment of the man was
+so great that he was never content with anything that he did. A proof
+that this is true is that there are few finished statues to be seen
+out of all that he executed in the prime of his manhood, and that
+those completely finished were executed by him in his youth, such as
+the Bacchus, the Pietà in S. Maria della Febbre, the Giant of
+Florence, and the Christ of the Minerva, which it would not be
+possible to increase or diminish by as little as a grain of millet
+without spoiling them; and the others, with the exception of the Dukes
+Giuliano and Lorenzo, Night, Dawn, and Moses, with the other two, the
+whole number of these statues not amounting in all to eleven, the
+others, I say, were all left unfinished, and, moreover, they are many,
+Michelagnolo having been wont to say that if he had had to satisfy
+himself in what he did, he would have sent out few, nay, not one. For
+he had gone so far with his art and judgment, that, when he had laid
+bare a figure and had perceived in it the slightest degree of error,
+he would set it aside and run to lay his hand on another block of
+marble, trusting that the same would not happen to the new block; and
+he often said that this was the reason that he gave for having
+executed so few statues and pictures. This Pietà, when it was broken,
+he presented to Francesco Bandini. Now at this time Tiberio Calcagni,
+a Florentine sculptor, had become much the friend of Michelagnolo by
+means of Francesco Bandini and Messer Donato Giannotti; and being one
+day in Michelagnolo's house, where there was the Pietà, all broken,
+after a long conversation he asked him for what reason he had broken
+it up and destroyed labours so marvellous, and he answered that the
+reason was the importunity of his servant Urbino, who kept urging him
+every day to finish it, besides which, among other things, a piece of
+one of the elbows of the Madonna had been broken off, and even before
+that he had taken an aversion to it, and had had many misfortunes with
+it by reason of a flaw that was in the marble, so that he lost his
+patience and began to break it up; and he would have broken it
+altogether into pieces if his servant Antonio had not besought him
+that he should present it to him as it was. Whereupon Tiberio, having
+heard this, spoke to Bandini, who desired to have something by the
+hand of Michelagnolo, and Bandini contrived that Tiberio should
+promise to Antonio two hundred crowns of gold, and prayed Michelagnolo
+to consent that Tiberio should finish it for Bandini with the
+assistance of models by his hand, urging that thus his labour would
+not be thrown away. Michelagnolo was satisfied, and then made them a
+present of it. The work was carried away immediately, and then put
+together again and reconstructed with I know not what new pieces by
+Tiberio; but it was left unfinished by reason of the death of Bandini,
+Michelagnolo, and Tiberio. At the present day it is in the possession
+of Pier Antonio Bandini, the son of Francesco, at his villa on Monte
+Cavallo. But to return to Michelagnolo; it became necessary to find
+some work in marble on which he might be able to pass some time every
+day with the chisel, and another piece of marble was put before him,
+from which another Pietà had been already blocked out, different from
+the first and much smaller.
+
+[Illustration: PIETÀ
+
+(_After =Michelagnolo=. Rome: Palazzo Rondanini_)
+
+_Alinari_]
+
+There had entered into the service of Paul IV, and also into the
+charge of the fabric of S. Pietro, the architect Pirro Ligorio, and he
+was now once more harassing Michelagnolo, going about saying that he
+had sunk into his second childhood. Wherefore, angered by such
+treatment, he would willingly have returned to Florence, and, having
+delayed to return, he was again urged in letters by Giorgio, but he
+knew that he was too old, having now reached the age of eighty-one.
+Writing at that time to Vasari by his courier, and sending him various
+spiritual sonnets, he said that he was come to the end of his life,
+that he must be careful where he directed his thoughts, that by
+reading he would see that he was at his last hour, and that there
+arose in his mind no thought upon which was not graved the image of
+death; and in one letter he said:
+
+"It is God's will, Vasari, that I should continue to live in misery
+for some years. I know that you will tell me that I am an old fool to
+wish to write sonnets, but since many say that I am in my second
+childhood, I have sought to act accordingly. By your letter I see the
+love that you bear me, and you may take it as certain that I would
+be glad to lay these feeble bones of mine beside those of my father,
+as you beg me to do; but by departing from here I would be the cause
+of the utter ruin of the fabric of S. Pietro, which would be a great
+disgrace and a very grievous sin. However, when it is so firmly
+established that it can never be changed, I hope to do all that you
+ask me, if it be not a sin to keep in anxious expectation certain
+gluttons that await my immediate departure."
+
+With this letter was the following sonnet, also written in his own
+hand:
+
+  Giunto è già 'l corso della vita mia
+      Con tempestoso mar' per fragil barca
+      Al comun porto, ov'a render' si varca
+      Conto e ragion' d'ogni opra trista e pia.
+  Onde l'affetuosa fantasia,
+      Che l'arte mi fece idolo e monarca,
+      Conosco or' ben' quant'era d'error' carca,
+      E quel ch'a mal suo grado ognun' desia.
+  Gli amorosi pensier' già vani e lieti
+      Che sien'or', s'a due morti mi avvicino?
+      D'una so certo, e l'altra mi minaccia.
+  Nè pinger' nè scolpir' sia più che quieti
+      L'anima volta a quello Amor Divino
+      Ch'aperse a prender' noi in Croce le braccia.
+
+Whereby it was evident that he was drawing towards God, abandoning the
+cares of art on account of the persecution of his malignant
+fellow-craftsmen, and also through the fault of certain overseers of
+the fabric, who would have liked, as he used to say, to dip their
+hands in the chest. By order of Duke Cosimo, a reply was written to
+Michelagnolo by Vasari in a letter of few words, exhorting him to
+repatriate himself, with a sonnet corresponding in the rhymes.
+Michelagnolo would willingly have left Rome, but he was so weary and
+aged, that although, as will be told below, he was determined to go
+back, while the spirit was willing the flesh was weak, and that kept
+him in Rome. It happened in June of the year 1557, he having made a
+model for the vault that was to cover the apse, which was being built
+of travertine in the Chapel of the King, that, from his not being
+able to go there as he had been wont, an error arose, in that the
+capomaestro took the measurements over the whole body of the vault
+with one single centre, whereas there should have been a great number;
+and Michelagnolo, as the friend and confidant of Vasari, sent him
+designs by his own hand, with these words written at the foot of two
+of them:
+
+"The centre marked with red was used by the capomaestro over the body
+of the whole vault; then, when he began to pass to the half-circle,
+which is at the summit of the vault, he became aware of the error
+which that centre was producing, as may be seen here in the design,
+marked in black. With this error the vault has gone so far forward,
+that we have to displace a great number of stones, for in that vault
+there is being placed no brick-work, but all travertine, and the
+diameter of the circle, without the cornice that borders it, is
+twenty-two palms. This error, after I had made an exact model, as I do
+of everything, has been caused by my not being able, on account of my
+old age, to go there often; so that, whereas I believed that the vault
+was now finished, it will not be finished all this winter, and, if it
+were possible to die of shame and grief, I should not be alive now. I
+pray you account to the Duke for my not being at this moment in
+Florence."
+
+[Illustration: S. PETER'S
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+And continuing in the other design, where he had drawn the plan, he
+said this:
+
+"MESSER GIORGIO,
+
+"To the end that it may be easier to understand the difficulty of the
+vault by observing its rise from the level of the ground, let me
+explain that I have been forced to divide it into three vaults,
+corresponding to the windows below divided by pilasters; and you see
+that they go pyramidally into the centre of the summit of the vault,
+as also do the base and sides of the same. It was necessary to
+regulate them with an infinite number of centres, and there are in
+them so many changes in various directions, from point to point, that
+no fixed rule can be maintained. And the circles and squares that come
+in the middle of their deepest parts have to diminish and increase in
+so many directions, and to go to so many points, that it is a
+difficult thing to find the true method. Nevertheless, having the
+model, such as I make for everything, they should never have committed
+so great an error as to seek to regulate with one single centre all
+those three shells; whence it has come about that we have been obliged
+with shame and loss to pull down, as we are still doing, a great
+number of stones. The vault, with its sections and hewn stone-work, is
+all of travertine, like all the rest below; a thing not customary in
+Rome."
+
+Michelagnolo was excused by Duke Cosimo, hearing of these misfortunes,
+from coming to Florence; the Duke saying to him that his contentment
+and the continuation of S. Pietro were more dear to him than anything
+in the world, and that he should rest in peace. Whereupon Michelagnolo
+wrote to Vasari, on the same sheet in which he thanked the Duke to the
+best of his power and knowledge for such kindness, saying, "God give
+me grace that I may be able to serve him with this my poor person, for
+my memory and my brain are gone to await him elsewhere." The date of
+this letter was August in the year 1557. Thus, then, Michelagnolo
+learned that the Duke esteemed his life and his honour more than he
+did himself, who so revered him. All these things, and many more that
+it is not necessary to mention, we have in our possession, written in
+his hand.
+
+Michelagnolo by this time was reduced to a feeble condition, and it
+was evident that little was being done in S. Pietro, now that he had
+carried on a great part of the frieze of the windows within, and of
+the double columns without, which curve above the great round
+cornice[4] where the cupola is to be placed, as will be related; and
+he was exhorted and urged by his greatest friends, such as the
+Cardinal of Carpi, Messer Donato Giannotti, Francesco Bandini, Tommaso
+de' Cavalieri, and Lottino that, since he saw the delay in the raising
+of the cupola, he should at least make a model of it. He stayed many
+months without making up his mind to this, but in the end he made a
+beginning, and then little by little constructed a small model in
+clay, from which, as an exemplar, and from the plans and profiles
+that he had drawn, it might be possible afterwards to make a larger
+one of wood. This, having made a beginning with it, he caused to be
+constructed in little more than a year by Maestro Giovanni Franzese,
+with much study and pains; and he made it on such a scale that the
+smaller proportions of the model, measured by the old Roman palm,
+corresponded with complete exactness to those of the large work, he
+having fashioned with diligence in that model all the members of
+columns, bases, capitals, doors, windows, cornices, projections, and
+likewise every least thing, knowing that in such a work no less should
+be done, for in all Christendom, nay, in all the world, there is not
+to be found or seen any fabric more ornate or more grand. And I cannot
+but think that, if we have given up time to noting smaller things, it
+is even more useful, and also our duty, to describe this manner of
+design for building the structure of this tribune with the form,
+order, and method that Michelagnolo thought to give it; wherefore with
+such brevity as we may we will give a simple description of it, to the
+end that, if it should ever be the fate of this work, which God
+forbid, to be disturbed by the envy and malice of presumptuous persons
+after the death of Michelagnolo, even as we have seen it disturbed up
+to the present during his lifetime, these my writings, such as they
+may be, may be able to assist the faithful who are to be the executors
+of the mind of that rare man, and also to restrain the malignant
+desires of those who may seek to alter it, and so at one and the same
+time assist, delight, and open the minds of those beautiful intellects
+that are the friends of this profession and regard it as their joy.
+
+         [Footnote 4: Drum.]
+
+[Illustration: S. PETER'S
+
+(_After =Michelagnolo=. Rome_)
+
+_Anderson_]
+
+I must begin by saying that according to this model, made under the
+direction of Michelagnolo, I find that in the great work the whole
+space within the tribune will be one hundred and eighty-six palms,
+speaking of its width from wall to wall above the great cornice of
+travertine that curves in a round in the interior, resting on the four
+great double piers that rise from the ground with their capitals
+carved in the Corinthian Order, accompanied by their architrave,
+frieze, and cornice, likewise of travertine; which great cornice,
+curving right round over the great niches, rests supported upon the
+four great arches of the three niches and of the entrance, which
+form the cross of the building. Then there begins to spring the first
+part of the tribune, the rise of which commences in a basement of
+travertine with a platform six palms broad, where one can walk; and
+this basement curves in a round in the manner of a well, and its
+thickness is thirty-three palms and eleven inches, the height to the
+cornice eleven palms and ten inches, the cornice over it about eight
+palms, and its projection six and a half palms. Into this basement you
+enter, in order to ascend the tribune, by four entrances that are over
+the arches of the niches, and the thickness of the basement is divided
+into three parts; that on the inner side is fifteen palms, that on the
+outer side is eleven palms, and that in the centre is seven palms and
+eleven inches, which make up the thickness of thirty-three palms and
+eleven inches. The space in the centre is hollow and serves as a
+passage, which is two squares in height and curves in a continuous
+round, with a barrel-shaped vault; and in line with the four entrances
+are eight doors, each of which rises in four steps, one of them
+leading to the level platform of the cornice of the first basement,
+six palms and a half in breadth, and another leading to the inner
+cornice that curves round the tribune, eight palms and three-quarters
+broad, on which platforms, by each door, you can walk conveniently
+both within and without the edifice, and from one entrance to another
+in a curve of two hundred and one palms, so that, the sections being
+four, the whole circuit comes to be eight hundred and four palms. We
+now have to ascend from the level of this basement, upon which rest
+the columns and pilasters, and which forms the frieze of the windows
+within all the way round, being fourteen palms and one inch in height,
+and around it, on the outer side, there is at the foot a short order
+of cornice-work, and so also at the top, which does not project more
+than ten inches, and all of travertine; and so in the thickness of the
+third part, above that on the inner side, which we have described as
+fifteen palms thick, there is made in every quarter-section a
+staircase, one half of which ascends in one direction and the second
+half in another, the width being four palms and a quarter; and this
+staircase leads to the level of the columns. Above this level there
+begin to rise, in line with the solid parts of the basement, eighteen
+large piers all of travertine, each adorned with two columns on the
+outer side and pilasters on the inner, as will be described below, and
+between the piers are left the spaces where there are to be all the
+windows that are to give light to the tribune. These piers, on the
+sides pointing towards the central point of the tribune, are
+thirty-six palms in extent, and on the front sides nineteen and a
+half. Each of them, on the outer side, has two columns, the lowest
+dado of which is eight palms and three-quarters broad and one palm and
+a half high, the base five palms and eight inches broad and ... palms
+and eleven inches high, the shaft of the column forty-three and a half
+palms high, five palms and six inches thick at the foot and four palms
+and nine inches at the top, the Corinthian capital six palms and a
+half high, with the crown of mouldings nine palms. Of these columns
+three quarters are to be seen, and the other quarter is merged into
+the corner, with the accompaniment of the half of a pilaster that
+makes a salient angle on the inner side, and this is accompanied in
+the central inner space by the opening of an arched door, five palms
+wide and thirteen palms and five inches high, from the summit of which
+to the capitals of the pilasters and columns there is a filling of
+solid masonry, serving as a connection with two other pilasters that
+are similar to those that form a salient angle beside the columns.
+These two pilasters correspond to the others, and adorn the sides of
+sixteen windows that go right round the tribune, each with a light
+twelve palms and a half wide and about twenty-two palms high. These
+windows are to be adorned on the outer side with varied architraves
+two palms and three-quarters high, and on the inner side they are to
+be adorned with orders likewise varied, with pediments and
+quarter-rounds; and they are wide without and more narrow within, and
+so, also, they are sloped away at the foot of the inner side, so that
+they may give light over the frieze and cornice. Each of them is
+bordered by two flat pilasters that correspond in height to the
+columns without, so that there come to be thirty-six columns without
+and thirty-six pilasters within; over which pilasters is the
+architrave, which is four palms and three-quarters in height, the
+frieze four and a half, and the cornice four and two-thirds, with a
+projection of five palms; and above this is to go a range of
+balusters, so that one may be able to walk all the way round there
+with safety. And in order that it may be possible to climb
+conveniently from the level where the columns begin, another staircase
+ascends in the same line within the thickness of the part that is
+fifteen palms wide, in the same manner and of the same width, with two
+branches or ascents, all the way up to the summit of the columns, with
+their capitals, architraves, friezes, and cornices; insomuch that,
+without obstructing the light of the windows, these stairs pass at the
+top into a spiral staircase of the same breadth, which finally reaches
+the level where the turning of the tribune is to begin.
+
+All this order, distribution, and ornamentation is so well varied,
+commodious, rich, durable, and strong, and serves so well to support
+the two vaults of the cupola that is to be turned upon it, that it is
+a very ingenious thing, and it is all so well considered and then
+executed in masonry, that there is nothing to be seen by the eyes of
+one who has knowledge and understanding that is more pleasing, more
+beautiful, or wrought with greater mastery, both on account of the
+binding together and mortising of the stones and because it has in it
+in every part strength and eternal life, and also because of the great
+judgment wherewith he contrived to carry away the rain-water by many
+hidden channels, and, finally, because he brought it to such
+perfection, that all other fabrics that have been built and seen up to
+the present day appear as nothing in comparison with the grandeur of
+this one. And it has been a very great loss that those whose duty it
+was did not put all their power into the undertaking, for the reason
+that, before death took away from us that rare man, we should have
+seen that beautiful and terrible structure already raised.
+
+Up to this point has Michelagnolo carried the masonry of the work; and
+it only remains to make a beginning with the vaulting of the tribune,
+of which, since the model has come down to us, we shall proceed to
+describe the design that he has left to the end that it may be carried
+out. He turned the curve of this vault on three points that make a
+triangle, in this manner:
+
+  A B
+   C
+
+The point C, which is the lowest, is the principal one, wherewith he
+turned the first half-circle of the tribune, with which he gave the
+form, height and breadth of this vault, which he ordered to be built
+entirely of bricks well baked and fired, laid herring-bone fashion.
+This shell he makes four palms and a half thick, and as thick at the
+top as at the foot, and leaving beside it, in the centre, a space four
+palms and a half wide at the foot, which is to serve for the ascent of
+the stairs that are to lead to the lantern, rising from the platform
+of the cornice where there are balusters. The arch of the interior of
+the other shell, which is to be wider at the foot and narrower at the
+top, is turned on the point marked B, and the thickness of the shell
+at the foot is four palms and a half. And the last arch, which is to
+be turned in order to make the exterior of the cupola, wider at the
+foot and narrowing towards the top, is to be raised on the point
+marked A, which arch turned, there remains at the top all the hollow
+space of the interior for the ascent of the stairs, which are eight
+palms high, so that one may climb them upright; and the thickness of
+that shell comes to diminish little by little, insomuch that, being as
+before four palms and a half at the foot, it decreases at the top to
+three palms and a half. And the outer shell comes to be so well bound
+to the inner shell with bonds and with the stairs, that the one
+supports the other; while of the eight parts into which the fabric is
+divided at the base, the four over the arches are left hollow, in
+order to put less weight upon the arches, and the other four are bound
+and chained together with bonds upon the piers, so that the structure
+may have everlasting life.
+
+The stairs in the centre between one shell and the other are
+constructed in this form; from the level where the springing of the
+vault begins they rise in each of the four sections, and each ascends
+from two entrances, the stairs intersecting one another in the form of
+an X, until they have covered the half of the arch marked C, on the
+upper side of the shell, when, having ascended straight up the half of
+that arch, the remaining space is then easily climbed circle after
+circle and step after step in a direct line, until finally one arrives
+at the eye of the cupola, where the rise of the lantern begins, around
+which, in accord with the diminution of the compartments that spring
+above the piers, there is a smaller range of double pilasters and
+windows similar to those that are constructed in the interior, as
+will be described below.
+
+Over the first great cornice within the tribune there begin at the
+foot the compartments for the recesses that are in the vault of the
+tribune, which are formed by sixteen projecting ribs. These at the
+foot are as broad as the breadth of the two pilasters which at the
+lower end border each window below the vault of the tribune, and they
+rise, diminishing pyramidally, as far as the eye of the lantern; at
+the foot they rest on pedestals of the same breadth and twelve palms
+high, and these pedestals rest on the level platform of the cornice
+which goes in a circle right round the tribune. Above this, in the
+recessed spaces between the ribs, there are eight large ovals, each
+twenty-nine palms high, and over them a number of straight-sided
+compartments that are wider at the foot and narrower at the top, and
+twenty-four palms high, and then, the ribs drawing together, there
+comes above each straight-sided compartment a round fourteen palms
+high; so that there come to be eight ovals, eight straight-sided
+compartments, and eight rounds, each range forming recesses that grow
+more shallow in succession. The ground of all these displays
+extraordinary richness, for Michelagnolo intended to make the ribs and
+the ornaments of the said ovals, straight-sided compartments, and
+rounds, all corniced in travertine.
+
+It remains for us to make mention of the surface and adornment of the
+arch on that side of the vault where the roofing is to go, which
+begins to rise from a base twenty-five palms and a half high, which
+has at the foot a basement that has a projection of two palms, as have
+the crowning mouldings at the top. The covering or roofing with which
+he proposed to cover it is of lead, such as covers the roof of the old
+S. Pietro at the present day, and is divided into sixteen sections
+from one solid base to another, each base beginning where the two
+columns end, which are one on either side of it. In each of these
+sections, in the centre, he made two windows to give light to the
+inner space where the ascent of the stairs is, between the two shells,
+so that in all they are thirty-two. These, by means of brackets that
+support a quarter-round, he made projecting from the roof in such a
+manner as to protect the lofty and novel view-point from the rain. In
+a line with the centre of the solid base between each two columns,
+above which was the crowning cornice, sprang a rib, one to each, wider
+at the foot and narrowing at the top; in all sixteen ribs, five palms
+broad, in the centre of each of which was a quadrangular channel one
+palm and a half wide, within which is formed an ascent of steps about
+one palm high, by which to ascend or descend between the platform at
+the foot and the summit where the lantern begins. These are to be
+built of travertine and constructed with mortisings, to the end that
+the joins may be protected against water and ice during times of rain.
+
+The design for the lantern is reduced in the same proportion as all
+the rest of the work, so that, taking lines round the circumference,
+everything comes to diminish in exact accord, and with proportionate
+measurements it rises as a simple temple with round columns two by
+two, like those on the solid bases below. These have pilasters to
+correspond to them, and one can walk all the way round and see from
+the central spaces between the pilasters, where the windows are, the
+interior of the tribune and the church. Above this, architrave,
+frieze, and cornice curve in a round, projecting over each pair of
+columns; and over these columns, in a line with them, spring some
+caulicoles, which, together with some niches that divide them, rise to
+find the end of the lantern, which, beginning to draw together, grows
+gradually narrower for a third of its height, in the manner of a round
+pyramid, until it reaches the ball, upon which, as the final crown of
+the structure, goes the cross. Many particulars and minute details I
+might have mentioned, such as air-holes for protection against
+earthquakes, water-conduits, the various lights, and other
+conveniences, but I omit them because the work is not yet come to
+completion, being content to have touched on the principal parts as
+well as I have been able. For, since every part is in existence and
+can be seen, it is enough to have made this brief sketch, which is a
+great light to him who has no knowledge of the structure.
+
+The completion of this model caused the greatest satisfaction not only
+to all his friends, but to all Rome, the form of the fabric having
+been thus settled and established. It then came to pass that Paul IV
+died, and after him was elected Pius IV, who, while causing the
+building of the little palace in the wood of the Belvedere to be
+continued by Pirro Ligorio, who remained architect to the Palace, made
+many gracious offers and advances to Michelagnolo. The Motu-proprio
+originally received by Michelagnolo from Paul III, and then from
+Julius III and Paul IV, in respect of the fabric of S. Pietro, he
+confirmed in his favour, and he restored to him a part of the revenues
+and allowances taken away by Paul IV, employing him in many of his
+works of building; and in his time he caused the fabric of S. Pietro
+to be carried on vigorously. He made use of Michelagnolo, in
+particular, in preparing a design for the tomb of the Marchese
+Marignano, his brother, which, destined to be erected in the Duomo of
+Milan, was allotted by his Holiness to the Chevalier Leone Lioni of
+Arezzo, a most excellent sculptor and much the friend of Michelagnolo;
+the form of which tomb will be described in the proper place.
+
+At this time the Chevalier Leone made a very lively portrait of
+Michelagnolo in a medal, and to please him he fashioned on the reverse
+a blind man led by a dog, with these letters around:
+
+  DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.
+
+And Michelagnolo, since it pleased him much, presented him a model in
+wax of Hercules crushing Antæus, by his own hand, with certain of his
+designs. Of Michelagnolo we have no other portraits but two in
+painting, one by the hand of Bugiardini and the other by Jacopo del
+Conte, one in bronze executed in full-relief by Daniello Ricciarelli,
+and this one by the Chevalier Leone; from which portraits so many
+copies have been made, that I have seen a good number in many places
+in Italy and in foreign parts.
+
+The same year Cardinal Giovanni de' Medici, the son of Duke Cosimo,
+went to Rome to receive the hat from Pius IV, and it fell to Vasari,
+as his servant and familiar friend, to go with him; which Vasari went
+there willingly and stayed about a month, in order to enjoy
+Michelagnolo, who received him with great affection and was always
+with him. Vasari had taken with him, by order of his Excellency, a
+model in wood of the whole Ducal Palace of Florence, together with
+designs of the new apartments that had been built and painted by him;
+which Michelagnolo desired to see both in the model and in the
+designs, since, being old, he was not able to see the works
+themselves. These works, which were abundant and well varied, with
+different inventions and fancies, began with the Castration of Uranus
+and continued in stories of Saturn, Ops, Ceres, Jove, Juno, and
+Hercules, each room having one of these names, with the stories in
+various compartments; even as the other chambers and halls, which were
+beneath these, had the names of the heroes of the House of Medici,
+beginning with the elder Cosimo, and continuing with Lorenzo, Leo X,
+Clement VII, Signor Giovanni, Duke Alessandro, and Duke Cosimo, in
+each of which were not only the stories of their actions, but also
+portraits of them, of their children, and of all the ancients renowned
+in statesmanship, in arms, and in letters, taken from the life. Of
+these Vasari had written a Dialogue in which he explained all the
+stories, the end of the whole invention, and how the fables above
+harmonized with the stories below; which was read to Michelagnolo by
+Annibale Caro, and he took the greatest pleasure in it. This Dialogue,
+when Vasari shall have more time, will be published.
+
+The result of all this was as follows. Vasari was desirous of setting
+his hand to the Great Hall, and since, as has been said elsewhere, the
+ceiling was low, making it stunted and wanting in lights, he had a
+desire to raise that ceiling. Now the Duke would not make up his mind
+to give him leave that it should be raised; not that the Duke feared
+the cost, as was seen afterwards, but rather the danger of raising the
+beams of the roof thirteen braccia. However, like a man of judgment,
+his Excellency consented that the advice of Michelagnolo should be
+taken, and Michelagnolo, having seen in that model the Hall as it then
+was, and afterwards, all the beams having been removed and replaced by
+other beams with a new invention in the ceiling and walls, the same
+Hall as it has since been made, with the invention of the stories
+likewise designed therein, liked it and straightway became not a judge
+but a supporter, and the rather as he saw the facile method of raising
+the beams and the roof, and the plan for executing the whole work in a
+short time. Wherefore, on Vasari's return, he wrote to the Duke that
+he should carry out that undertaking, since it was worthy of his
+greatness.
+
+[Illustration: PORTA PIA
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+The same year Duke Cosimo went to Rome with the Lady Duchess
+Leonora, his consort, and Michelagnolo, after the Duke's arrival,
+went straightway to see him. The Duke, after receiving him with many
+endearments, caused him, out of respect for his great genius, to sit
+by his side, and with much familiarity talked to him of all that he
+had caused to be done in painting and sculpture at Florence, and also
+of all that he was minded to have done, and in particular of the Hall;
+and Michelagnolo again encouraged and reassured him in that matter,
+lamenting, since he loved that Lord, that he was not young enough to
+be able to serve him. His Excellency said that he had discovered the
+way to work porphyry, a thing which Michelagnolo could not believe,
+and the Duke therefore sent him, as has been related in the first
+chapter of the Treatise on Theory, the head of Christ wrought by the
+sculptor Francesco del Tadda, at which he was astonished; and he
+visited the Duke several times the while that he stayed in Rome, to
+his vast satisfaction. He did the same a short time afterwards when
+the most Illustrious Don Francesco de' Medici, the Duke's son, went
+there, in whom Michelagnolo took much delight from the marks of regard
+and affection shown to him by his most Illustrious Excellency, who
+spoke with him always cap in hand, having infinite reverence for so
+rare a man; and Michelagnolo wrote to Vasari that it vexed him to be
+old and infirm, for he would have liked to do something for that Lord,
+but he was going about trying to buy some beautiful antique to send to
+him in Florence.
+
+Being requested at this time by the Pope for a design for the Porta
+Pia, Michelagnolo made three, all fantastic and most beautiful, of
+which the Pope chose the least costly for putting into execution; and
+it is now to be seen erected there, with much credit to him.
+Perceiving the inclination of the Pope, and hoping that he would
+restore the other gates of Rome, he made many other designs for him;
+and he did the like, at the request of the same Pontiff, in the matter
+of the new Church of S. Maria degli Angeli in the Baths of Diocletian,
+in order to convert them into a temple for the use of Christians. A
+design by his hand prevailed over many others made by excellent
+architects, being executed with such beautiful considerations for the
+convenience of the Carthusian Friars, who have now carried it almost
+to completion, that it caused his Holiness and all the prelates and
+lords of the Court to marvel at the judgment of the lovely conceptions
+that he had drawn, availing himself of all the skeleton of those
+baths, out of which was seen formed a most beautiful temple, with an
+entrance surpassing the expectations of all the architects; from which
+he acquired infinite praise and honour. For that place, also, he
+designed for his Holiness a Ciborium of the Sacrament in bronze, cast
+for the most part by Maestro Jacopo Ciciliano, an excellent
+bronze-caster, who makes his works come out very delicate and fine,
+without any roughness, so that they can be polished with little
+labour; in which field he is a rare master, and gave much satisfaction
+to Michelagnolo.
+
+[Illustration: S. MARIA DEGLI ANGELI
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+The Florentine colony had often talked among themselves of giving a
+good beginning to the Church of S. Giovanni in the Strada Giulia.
+Finally, all the heads of the richest houses having assembled
+together, they each promised to contribute in due proportion according
+to their means towards that fabric, insomuch that they contrived to
+collect a good sum of money; and then it was discussed among them
+whether it were better to follow the old lines or to have something
+new and finer. It was determined that something new should be erected
+upon the old foundations, and finally they elected three men to have
+the charge of the fabric, who were Francesco Bandini, Uberto Ubaldini,
+and Tommaso de' Bardi; and these requested Michelagnolo for a design,
+recommending themselves to him on the ground that it was a disgrace to
+their colony to have thrown away so much money without any kind of
+profit, and that, if his genius did not avail to finish the work, they
+had no other resource. He promised them to do it, with as much
+lovingness as he had ever shown in any work in the past, because in
+this his old age he readily gave his attention to sacred things, such
+as might redound to the honour of God, and also from affection for his
+fellow-Florentines, whom he loved always. Michelagnolo had with him at
+this conference the Florentine sculptor Tiberio Calcagni, a young man
+very ardent to learn art, who, after going to Rome, had turned his
+mind to the study of architecture. Loving him, Michelagnolo had given
+him to finish, as has been related, the Pietà in marble that he had
+broken, and, in addition, a head of Brutus in marble with the
+breast, considerably larger than life, to the end that he might
+finish it. Of this the head alone was carved, with certain most minute
+gradines, and he had taken it from a portrait of Brutus cut in a very
+ancient cornelian that was in the possession of Signor Giuliano
+Cesarino; which Michelagnolo was doing for Cardinal Ridolfi at the
+entreaty of Messer Donato Giannotti, his very dear friend, and it is a
+rare work. Michelagnolo, then, in matters of architecture, not being
+able by reason of old age to draw any more or to make accurate lines,
+was making use of Tiberio, because he was very gentle and discreet;
+and thus, desiring to avail himself of him in such an undertaking, he
+laid on him the charge of tracing the plan of the site of the
+above-named church. That plan having been traced and carried
+straightway to Michelagnolo, at a time when it was not thought that he
+was doing anything, he gave them to understand through Tiberio that he
+had carried out their wishes, and finally showed them five most
+beautiful ground-plans of temples; which having seen, they marvelled.
+He said to them that they should choose one that pleased them, and
+they, not wishing to do it, left the matter to his judgment, but he
+insisted that they should decide of their own free will; wherefore
+they all with one accord chose the richest. This having been adopted,
+Michelagnolo said to them that if they carried such a design to
+completion, neither the Greeks nor the Romans ever in their times
+executed such a work; words that neither before nor afterwards ever
+issued from the mouth of Michelagnolo, for he was very modest. Finally
+it was agreed that the direction should be left entirely to
+Michelagnolo, and that the labour of executing that work should fall
+to Tiberio; with all which they were content, Buonarroti promising
+them that Tiberio would serve them excellently well. And so, having
+given the ground-plan to Tiberio to be drawn accurately and with
+correct measurements, he drew for him the profiles both within and
+without, and bade him make a model of clay, teaching him the way to
+execute it so that it might stand firm. In ten days Tiberio executed a
+model of eight palms, which much pleased the whole Florentine colony,
+so that afterwards they caused to be made from it a model of wood,
+which is now in the residence of the Consuls of that colony; a thing
+as rare in its beauty, richness, and great variety, as any temple
+that has ever been seen. A beginning was made with the building, and
+five thousand crowns were spent; but the funds for the fabric failed,
+and so it was abandoned, at which Michelagnolo felt very great
+displeasure. He obtained for Tiberio the commission to finish under
+his direction, at S. Maria Maggiore, a chapel begun for Cardinal Santa
+Fiore; but it was left unfinished, on account of the death of the
+Cardinal, of Michelagnolo, and of Tiberio himself, the death of which
+young man was a very great loss.
+
+[Illustration: BRUTUS
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Brogi_]
+
+Michelagnolo had been seventeen years in the fabric of S. Pietro, and
+several times the deputies had tried to remove him from that position,
+but they had not succeeded, and they were seeking to oppose him in
+every matter now with one vexatious pretext and now with another,
+hoping that out of weariness, being now so old that he could do no
+more, he would retire before them. It happened in those days that
+Cesare da Castel Durante, who had been the overseer, died, and
+Michelagnolo, to the end that the fabric might not suffer, sent there
+Luigi Gaeta, who was too young but very competent, until he should
+find a man after his desire. The deputies (some of whom had many times
+made efforts to place there Nanni di Baccio Bigio, who was always
+urging them and promising great things), in order to be able to
+disturb the affairs of the fabric at their pleasure, sent Luigi Gaeta
+away, which having heard, Michelagnolo, as in anger, would no longer
+show himself at the fabric; whereupon they began to give out that he
+could do no more, that it was necessary to give him a substitute, and
+that he himself had said that he did not wish to be embroiled any
+longer with S. Pietro. All this came to the ears of Michelagnolo, who
+sent Daniello Ricciarelli of Volterra to Bishop Ferratino, one of the
+superintendents, who had said to the Cardinal of Carpi that
+Michelagnolo had told one of his servants that he did not wish to be
+mixed up with the fabric any longer; and Daniello said that this was
+by no means Michelagnolo's desire. Ferratino complained that
+Michelagnolo would not make his conception known, adding that it would
+be well for him to provide a substitute, and that he would have gladly
+accepted Daniello; and with this Michelagnolo appeared to be content.
+Thereupon Ferratino, having had the deputies informed in the name of
+Michelagnolo that they now had a substitute, presented not Daniello,
+but in his place Nanni di Baccio Bigio, who came in and was accepted
+by the superintendents. Before very long he gave orders to make a
+scaffolding of wood from the side of the Pope's stables, where the
+hill is, to rise above the great recess that is turned towards that
+side, and caused some stout beams of fir to be cut, saying that too
+many ropes were consumed in drawing up the materials, and that it was
+better to raise them by his method. Which having heard, Michelagnolo
+went straight to the Pope, who was on the Piazza di Campidoglio, and
+made so much noise that his Holiness made him go at once into a room,
+where he said: "Holy Father, there has been appointed as my substitute
+by the deputies a man of whom I know nothing; but if they are
+convinced, and also your Holiness, that I am no longer the proper man,
+I will return to rest in Florence, where I will enjoy the favours of
+that great Duke who has so long desired me, and will finish my life in
+my own house; I therefore beg your gracious leave." The Pope was vexed
+at this, and, consoling him with kind words, ordained that he should
+come to speak with him on the following day at the Araceli. There,
+having caused the deputies of the fabric to be assembled together, he
+desired to be informed of the reasons of what had happened: whereupon
+their answer was that the fabric was going to ruin, and that errors
+were being made in it. Which having heard not to be the truth, the
+Pope commanded Signor Gabrio Scerbellone that he should go to see the
+fabric for himself, and that Nanni, who was making these assertions,
+should show it to him. This was carried out, and Signor Gabrio found
+that the whole story was a malicious slander, and not the truth;
+wherefore Nanni was dismissed from that fabric with no very flattering
+words in the presence of many lords, being also reproached that by his
+fault the bridge of Santa Maria fell into ruin, and that at Ancona,
+seeking to do great things at little cost in the matter of cleaning
+out the harbour, he filled it up more in one day than the sea had done
+in ten years. Such was the end of Nanni in the fabric of S. Pietro.
+For that work Michelagnolo for seventeen years attended constantly to
+nothing but to establishing it securely with directions, doubting on
+account of those envious persecutions lest it might come to be
+changed after his death; so that at the present day it is strong
+enough to allow the vaulting to be raised with perfect security. Thus
+it has been seen that God, who is the protector of the good, defended
+him as long as he lived, and worked for the benefit of the fabric and
+for the defence of the master until his death. Moreover, Pius IV,
+living after him, commanded the superintendents of the fabric that
+nothing of what Michelagnolo had directed should be changed; and with
+even greater authority his successor, Pius V, caused it to be carried
+out, who, lest disorder should arise, insisted that the designs made
+by Michelagnolo should be carried into execution with the utmost
+fidelity, so that, when the architects Pirro Ligorio and Jacopo
+Vignuola were in charge of it, and Pirro wished presumptuously to
+disturb and alter those directions, he was removed with little honour
+from that fabric, and only Vignuola remained. Finally, that Pontiff
+being full of zeal no less for the honour of the fabric of S. Pietro
+than for the Christian religion, in the year 1565, when Vasari went to
+kiss the feet of his Holiness, and in the year 1566, when he was again
+summoned, nothing was discussed save the means to ensure the observing
+of the designs left by Michelagnolo; and his Holiness, in order to
+obviate all chance of disorder, commanded Vasari that he should go
+with Messer Guglielmo Sangalletti, the private treasurer of his
+Holiness, to seek out Bishop Ferratino, the head of the
+superintendents of S. Pietro, with orders from the Pontiff that he
+should listen to all the suggestions and records of importance that
+Vasari might impart to him, to the end that no words of any malignant
+and presumptuous person might ever cause to be disturbed any line or
+order left by the excellent genius of Michelagnolo of happy memory;
+and at that interview was present Messer Giovan Battista Altoviti, who
+was much the friend of Vasari and of these arts. And Ferratino, having
+heard a discourse that Vasari made to him, readily accepted every
+record, and promised to observe and to cause to be observed with the
+utmost fidelity in that fabric every order and design that
+Michelagnolo had left for that purpose, and, in addition, to be the
+protector, defender, and preserver of the labours of that great man.
+
+But to return to Michelagnolo: I must relate that about a year before
+his death, Vasari secretly prevailed upon Duke Cosimo de' Medici to
+persuade the Pope by means of Messer Averardo Serristori, his
+Ambassador, that, since Michelagnolo was much reduced, a diligent
+watch should be kept on those who were about him to take care of him,
+or who visited him at his house, and that, in the event of some sudden
+accident happening to him, such as might well happen to an old man, he
+should make arrangements for his property, designs, cartoons, models,
+money, and all his other possessions at the time of his death, to be
+set down in an inventory and placed in security, for the sake of the
+fabric of S. Pietro, so that, if there were things pertaining to that
+fabric, and also to the sacristy, library, and façade of S. Lorenzo,
+they might not be taken away, as is often wont to happen; and in the
+end, all this being duly carried out, such diligence had its reward.
+Leonardo, the nephew of Michelagnolo, was desirous to go during the
+coming Lent to Rome, as one who guessed that he was now come to the
+end of his life; and at this Michelagnolo was content. When,
+therefore, he fell sick of a slow fever, he straightway caused
+Daniello to write to Leonardo that he should come; but the illness
+grew worse, although Messer Federigo Donati, his physician, and his
+other attendants were about him, and with perfect consciousness he
+made his will in three sentences, leaving his soul in the hands of
+God, his body to the earth, and his substance to his nearest
+relatives, and enjoining on his friends that, at his passing from this
+life, they should recall to him the agony of Jesus Christ. And so at
+the twenty-third hour of the seventeenth day of February, in the year
+1563 (after the Florentine reckoning, which according to the Roman
+would be 1564), he breathed his last, to go to a better life.
+
+Michelagnolo was much inclined to the labours of art, seeing that
+everything, however difficult, succeeded with him, he having had from
+nature a genius very apt and ardent in these most noble arts of
+design. Moreover, in order to be entirely perfect, innumerable times
+he made anatomical studies, dissecting men's bodies in order to see
+the principles of their construction and the concatenation of the
+bones, muscles, veins, and nerves, the various movements and all the
+postures of the human body; and not of men only, but also of animals,
+and particularly of horses, which last he much delighted to keep. Of
+all these he desired to learn the principles and laws in so far as
+touched his art, and this knowledge he so demonstrated in the works
+that fell to him to handle, that those who attend to no other study
+than this do not know more. He so executed his works, whether with the
+brush or with the chisel, that they are almost inimitable, and he gave
+to his labours, as has been said, such art and grace, and a loveliness
+of such a kind, that (be it said without offence to any) he surpassed
+and vanquished the ancients; having been able to wrest things out of
+the greatest difficulties with such facility, that they do not appear
+wrought with effort, although whoever draws his works after him finds
+enough in imitating them.
+
+The genius of Michelagnolo was recognized in his lifetime, and not, as
+happens to many, after death, for it has been seen that Julius II, Leo
+X, Clement VII, Paul III, Julius III, Paul IV, and Pius IV, all
+supreme Pontiffs, always wished to have him near them, and also, as is
+known, Suleiman, Emperor of the Turks, Francis of Valois, King of
+France, the Emperor Charles V, the Signoria of Venice, and finally, as
+has been related, Duke Cosimo de' Medici; all offering him honourable
+salaries, for no other reason but to avail themselves of his great
+genius. This does not happen save to men of great worth, such as he
+was; and it is evident and well known that all these three arts were
+so perfected in him, that it is not found that among persons ancient
+or modern, in all the many years that the sun has been whirling round,
+God has granted this to any other but Michelagnolo. He had imagination
+of such a kind, and so perfect, and the things conceived by him in
+idea were such, that often, through not being able to express with the
+hands conceptions so terrible and grand, he abandoned his works--nay,
+destroyed many of them; and I know that a little before he died he
+burned a great number of designs, sketches, and cartoons made with his
+own hand, to the end that no one might see the labours endured by him
+and his methods of trying his genius, and that he might not appear
+less than perfect. Of such I have some by his hand, found in Florence,
+and placed in my book of drawings; from which, although the greatness
+of that brain is seen in them, it is evident that when he wished to
+bring forth Minerva from the head of Jove, he had to use Vulcan's
+hammer. Thus he used to make his figures in the proportion of nine,
+ten, and even twelve heads, seeking nought else but that in putting
+them all together there should be a certain harmony of grace in the
+whole, which nature does not present; saying that it was necessary to
+have the compasses in the eyes and not in the hand, because the hands
+work and the eye judges; which method he used also in architecture.
+
+No one should think it strange that Michelagnolo delighted in
+solitude, he having been one who was enamoured of his art, which
+claims a man, with all his thoughts, for herself alone; moreover, it
+is necessary that he who wishes to attend to her studies should shun
+society, and, while attending to the considerations of art, he is
+never alone or without thoughts. And those who attributed it to
+caprice and eccentricity are wrong, because he who wishes to work well
+must withdraw himself from all cares and vexations, since art demands
+contemplation, solitude, and ease of life, and will not suffer the
+mind to wander. For all this, he prized the friendship of many great
+persons and of learned and ingenious men, at convenient times; and
+these he maintained. Thus the great Cardinal Ippolito de' Medici loved
+him greatly, and, having heard that a Turkish horse that he possessed
+pleased Michelagnolo because of its beauty, it was sent as a present
+to him by the liberality of that lord, with ten mules laden with
+fodder, and a serving-man to attend to it; and Michelagnolo accepted
+it willingly. The illustrious Cardinal Pole was much his friend,
+Michelagnolo being enamoured of his goodness and his talents; also
+Cardinal Farnese, and Santa Croce, which latter afterwards became Pope
+Marcellus, Cardinal Ridolfi, Cardinal Maffeo, Monsignor Bembo, Carpi,
+and many other Cardinals, Bishops, and Prelates, whom it is not
+necessary to name. Others were Monsignor Claudio Tolomei, the
+Magnificent Messer Ottaviano de' Medici, his gossip, whose son he held
+at baptism, and Messer Bindo Altoviti, to whom he presented that
+cartoon of the Chapel in which Noah, drunk with wine, is derided by
+one of his sons, and his nakedness is covered by the two others; M.
+Lorenzo Ridolfi, M. Annibale Caro, and M. Giovan Francesco Lottini of
+Volterra. But infinitely more than any of the others he loved M.
+Tommaso de' Cavalieri, a Roman gentleman, for whom, being a young man
+and much inclined to these arts, he made, to the end that he might
+learn to draw, many most superb drawings of divinely beautiful heads,
+designed in black and red chalk; and then he drew for him a Ganymede
+rapt to Heaven by Jove's Eagle, a Tityus with the Vulture devouring
+his heart, the Chariot of the Sun falling with Phaëthon into the Po,
+and a Bacchanal of children, which are all in themselves most rare
+things, and drawings the like of which have never been seen.
+Michelagnolo made a life-size portrait of Messer Tommaso in a cartoon,
+and neither before nor afterwards did he take the portrait of anyone,
+because he abhorred executing a resemblance to the living subject,
+unless it were of extraordinary beauty. These drawings, on account of
+the great delight that M. Tommaso took in them, were the reason that
+he afterwards obtained a good number, miraculous things, which
+Michelagnolo once drew for Fra Sebastiano Viniziano, who carried them
+into execution; and in truth he rightly treasures them as reliques,
+and he has courteously given craftsmen access to them. Of a truth
+Michelagnolo always placed his affections with persons noble,
+deserving, and worthy of them, for he had true judgment and taste in
+all things.
+
+[Illustration: UNFINISHED FIGURE
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Brogi_]
+
+M. Tommaso afterwards caused Michelagnolo to make many designs for
+friends, such as that of the picture for Cardinal di Cesis, wherein is
+Our Lady receiving the Annunciation from the Angel, a novel thing,
+which was afterwards executed in colours by Marcello Mantovano and
+placed in the marble chapel which that Cardinal caused to be built in
+the Church of the Pace at Rome. So, also, with another Annunciation
+coloured likewise by the hand of Marcello in a picture in the Church
+of S. Giovanni Laterano, the design of which belongs to Duke Cosimo
+de' Medici, having been presented after Michelagnolo's death by his
+nephew Leonardo Buonarroti to his Excellency, who cherishes it as a
+jewel, together with a Christ praying in the Garden and many other
+designs, sketches, and cartoons by the hand of Michelagnolo, and
+likewise the statue of Victory with a captive beneath, five braccia in
+height, and four captives in the rough which serve to teach us how to
+carve figures from the marble by a method secure from any chance of
+spoiling the stone; which method is as follows. You take a figure in
+wax or some other solid material, and lay it horizontally in a vessel
+of water, which water being by its nature flat and level at the
+surface, as you raise the said figure little by little from the level,
+so it comes about that the more salient parts are revealed, while the
+lower parts--those, namely, on the under side of the figure--remain
+hidden, until in the end it all comes into view. In the same manner
+must figures be carved out of marble with the chisel, first laying
+bare the more salient parts, and then little by little the lower
+parts; and this method may be seen to have been followed by
+Michelagnolo in the above-mentioned captives, which his Excellency
+wishes to be used as exemplars for his Academicians.
+
+Michelagnolo loved his fellow-craftsmen, and held intercourse with
+them, as with Jacopo Sansovino, Rosso, Pontormo, Daniello da Volterra,
+and Giorgio Vasari of Arezzo, to which last he showed innumerable
+kindnesses; and he was the reason that Giorgio gave his attention to
+architecture, intending to make use of him some day, and he readily
+conferred and discussed matters of art with him. Those who say that he
+was not willing to teach are wrong, because he was always willing with
+his intimates and with anyone who asked him for counsel; and I have
+been present on many such occasions, but of these, out of
+consideration, I say nothing, not wishing to reveal the deficiencies
+of others. It may be urged that he had bad fortune with those who
+lived with him in his house, which was because he hit upon natures
+little able to imitate him. Thus, Pietro Urbano of Pistoia, his pupil,
+was a man of parts, but would never exert himself. Antonio Mini was
+willing, but had no aptitude of brain; and when the wax is hard it
+does not readily take an impression. Ascanio dalla Ripa Transone took
+great pains, but of this no fruits were ever seen either in designs or
+in finished works, and he toiled several years over a picture for
+which Michelagnolo had given him a cartoon. In the end, all the good
+expectation in which he was held vanished in smoke; and I remember
+that Michelagnolo would be seized with compassion for his toil, and
+would assist him with his own hand, but this profited him little. If
+he had found a nature after his heart, as he told me several times, in
+spite of his age he would often have made anatomical studies, and
+would have written upon them, for the benefit of his fellow-craftsmen;
+for he was disappointed by several. But he did not trust himself,
+through not being able to express himself in writing as he would have
+liked, because he was not practised in diction, although in the prose
+of his letters he explained his conceptions very well in a few words.
+He much delighted in readings of the poets in the vulgar tongue, and
+particularly of Dante, whom he much admired, imitating him in his
+conceptions and inventions; and so with Petrarca, having delighted to
+make madrigals and sonnets of great weight, upon which commentaries
+have been written. M. Benedetto Varchi gave a lecture in the
+Florentine Academy upon that sonnet which begins--
+
+  Non ha l'ottimo artista alcun concetto
+  Ch'un marmo solo in se non circonscriva.
+
+Michelagnolo sent a vast number by his own hand--receiving answers in
+rhyme and in prose--to the most illustrious Marchioness of Pescara, of
+whose virtues he was enamoured, and she likewise of his; and she went
+many times to Rome from Viterbo to visit him, and Michelagnolo
+designed for her a Dead Christ in the lap of Our Lady, with two little
+Angels, all most admirable, and a Christ fixed on the Cross, who, with
+the head uplifted, is recommending His Spirit to the Father, a divine
+work; and also a Christ with the Woman of Samaria at the well. He much
+delighted in the sacred Scriptures, like the excellent Christian that
+he was; and he held in great veneration the works written by Fra
+Girolamo Savonarola, because he had heard the voice of that friar in
+the pulpit. He greatly loved human beauty for the sake of imitation in
+art, being able to select from the beautiful the most beautiful, for
+without this imitation no perfect work can be done; but not with
+lascivious and disgraceful thoughts, as he proved by his way of life,
+which was very frugal. Thus, when he was young, all intent on his
+work, he contented himself with a little bread and wine, and this he
+continued when old until the time when he was painting the Judgment in
+the Chapel, taking his refreshment in the evening when he had finished
+the day's work, but always very frugally. And, although he was rich,
+he lived like a poor man, nor did any friend ever eat at his table,
+or rarely; and he would not accept presents from anyone, because it
+appeared to him that if anyone gave him something, he would be bound
+to him for ever. This sober life kept him very active and in want of
+very little sleep, and often during the night, not being able to
+sleep, he would rise to labour with the chisel; having made a cap of
+thick paper, and over the centre of his head he kept a lighted candle,
+which in this way threw light over where he was working without
+encumbering his hands. Vasari, who had seen the cap several times,
+reflecting that he did not use wax, but candles of pure goat's tallow,
+which are excellent, sent him four bundles of these, which weighed
+forty libbre. And his servant with all courtesy carried them to him at
+the second hour of the evening, and presented them to him; but
+Michelagnolo refused them, declaring that he did not want them; and
+then the servant said: "They have broken my arms on the way between
+the bridge and here, and I shall not carry them back to the house. Now
+here in front of your door there is a solid heap of mud; they will
+stand in it beautifully, and I will set them all alight." Michelagnolo
+said to him: "Put them down here, for I will not have you playing
+pranks at my door."
+
+He told me that often in his youth he slept in his clothes, being
+weary with labour and not caring to take them off only to have to put
+them on again later. There are some who have taxed him with being
+avaricious, but they are mistaken, for both with works of art and with
+his substance he proved the contrary. Of works of art, as has been
+seen and related, he presented to M. Tommaso de' Cavalieri, to Messer
+Bindo, and to Fra Sebastiano, designs of considerable value; and to
+Antonio Mini, his pupil, all his designs, all his cartoons, and the
+picture of the Leda, and all the models in clay and wax that he ever
+made, which, as has been related, were all left in France. To Gherardo
+Perini, a Florentine gentleman who was very much his friend, he gave
+three sheets with some divine heads in black chalk, which since
+Perini's death have come into the hands of the most illustrious Don
+Francesco, Prince of Florence, who treasures them as jewels, as indeed
+they are; for Bartolommeo Bettini he made a cartoon, which he
+presented to him, of a Venus with a Cupid that is kissing her, a
+divine thing, which is now in the possession of Bettini's heirs in
+Florence, and for the Marchese del Vasto he made a cartoon of a "Noli
+me Tangere," a rare thing; and these two last were painted excellently
+well by Pontormo, as has been related. He presented the two Captives
+to Signor Ruberto Strozzi, and the Pietà in marble, which he broke, to
+Antonio, his servant, and to Francesco Bandini. I know not, therefore,
+how this man can be taxed with avarice, he having given away so many
+things for which he could have obtained thousands of crowns. What
+better proof can I give than this, that I know from personal
+experience that he made many designs and went to see many pictures and
+buildings, without demanding any payment? But let us come to the money
+earned by him by the sweat of his brow, not from revenues, not from
+traffickings, but from his own study and labour. Can he be called
+avaricious who succoured many poor persons, as he did, and secretly
+married off a good number of girls, and enriched those who served him
+and assisted him in his works, as with his servant Urbino, whom he
+made a very rich man? This Urbino was his man of all work, and had
+served him a long time; and Michelagnolo said to him: "If I die, what
+will you do?" And he answered: "I will serve another master." "You
+poor creature," said Michelagnolo, "I will save you from such misery";
+and presented two thousand crowns to him in one sum, an act such as is
+generally left to Cæsars and Pontiffs. To his nephew, moreover, he
+gave three and four thousand crowns at a time, and at the end he left
+him ten thousand crowns, besides the property in Rome.
+
+Michelagnolo was a man of tenacious and profound memory, so that, on
+seeing the works of others only once, he remembered them perfectly,
+and could avail himself of them in such a manner, that scarcely anyone
+has ever noticed it; nor did he ever do anything that resembled
+another thing by his hand, because he remembered everything that he
+had done. In his youth, being once with his painter-friends, they
+played for a supper for him who should make a figure most completely
+wanting in design and clumsy, after the likeness of the puppet-figures
+which those make who know nothing, scrawling upon walls; and in this
+he availed himself of his memory, for he remembered having seen one
+of those absurdities on a wall, and drew it exactly as if he had had
+it before him, and thus surpassed all those painters--a thing
+difficult for a man so steeped in design, and accustomed to choice
+works, to come out of with credit. He was full of disdain, and
+rightly, against anyone who did him an injury, but he was never seen
+to run to take revenge; nay, rather, he was most patient, modest in
+all his ways, very prudent and wise in his speech, with answers full
+of weight, and at times sayings most ingenious, amusing, and acute. He
+said many things that have been written down by me, of which I shall
+include only a few, because it would take too long to give them all. A
+friend having spoken to him of death, saying that it must grieve him
+much, because he had lived in continual labour in matters of art, and
+had never had any repose, he answered that all that was nothing,
+because, if life is a pleasure to us, death, being likewise by the
+hand of one and the same master, should not displease us. To a citizen
+who found him by Orsanmichele in Florence, where he had stopped to
+gaze at Donato's statue of S. Mark, and who asked him what he thought
+of that figure, Michelagnolo answered that he had never seen a figure
+that had more of the air of a good man than that one, and that, if S.
+Mark was like that, one could give credence to what he had written.
+Being shown the drawing of a boy then beginning to learn to draw, who
+was recommended to him, some persons excusing him because it was not
+long since he had applied himself to art, he replied: "That is
+evident." He said a similar thing to a painter who had painted a
+Pietà, and had not acquitted himself well: "It is indeed a pitiful
+thing to see." Having heard that Sebastiano Viniziano had to paint a
+friar in the chapel of S. Pietro a Montorio, he said that this would
+spoil the work for him; and being asked why he said that, he answered:
+"Since they have spoiled the world, which is so large, it would not be
+surprising if they were to spoil such a small thing as that chapel." A
+painter had executed a work with very great pains, toiling over it a
+long time; but when it was given to view he had made a considerable
+profit. Michelagnolo was asked what he thought of the craftsman, and
+he answered: "As long as this man strives to be rich, he will always
+remain a poor creature." One of his friends who was a churchman, and
+used formerly to say Mass, having arrived in Rome all covered with
+points and silk, saluted Michelagnolo; but he pretended not to see
+him, so that the friend was forced to declare his name to him.
+Michelagnolo expressed marvel that he should be in that habit, and
+then added, as it were to congratulate him: "Oh, but you are
+magnificent! If you were as fine within as I see you to be without, it
+would be well with your soul." The same man had recommended a friend
+to Michelagnolo (who had given him a statue to execute), praying him
+that he should have something more given to him, which Michelagnolo
+graciously did; but the envy of the friend, who had made the request
+to Michelagnolo only in the belief that he would not grant it, brought
+it about that, perceiving that the master had granted it after all, he
+complained of it. This matter was reported to Michelagnolo, and he
+answered that he did not like men made like sewers, using a metaphor
+from architecture, and meaning that it is difficult to have dealings
+with men who have two mouths. Being asked by a friend what he thought
+of one who had counterfeited in marble some of the most celebrated
+antique figures, and boasted that in his imitations he had surpassed
+the antiques by a great measure, Michelagnolo replied: "He who goes
+behind others can never go in front of them, and he who is not able to
+work well for himself cannot make good use of the works of others." A
+certain painter, I know not who, had executed a work wherein was an
+ox, which looked better than any other part; and Michelagnolo, being
+asked why the painter had made the ox more lifelike than the rest,
+said: "Any painter can make a good portrait of himself." Passing by S.
+Giovanni in Florence, he was asked his opinion of those doors, and he
+answered: "They are so beautiful that they would do well at the gates
+of Paradise." While serving a Prince who kept changing plans every
+day, and would never stand firm, Michelagnolo said to a friend: "This
+lord has a brain like a weather-cock, which turns round with every
+wind that blows on it." He went to see a work of sculpture which was
+about to be sent out because it was finished, and the sculptor was
+taking much trouble to arrange the lights from the windows, to the end
+that it might show up well; whereupon Michelagnolo said to him: "Do
+not trouble yourself; the important thing will be the light of the
+Piazza"; meaning to infer that when works are in public places, the
+people must judge whether they are good or bad. There was a great
+Prince in Rome who had a notion to play the architect, and he had
+caused certain niches to be built in which to place figures, each
+three squares high, with a ring at the top; and having tried to place
+various statues within these niches, which did not turn out well, he
+asked Michelagnolo what he should place in them, and he answered:
+"Hang bunches of eels from those rings." There was appointed to the
+government of the fabric of S. Pietro a gentleman who professed to
+understand Vitruvius, and to be a critic of the work done.
+Michelagnolo was told, "You have obtained for the fabric one who has a
+great intelligence"; and he answered, "That is true, but he has a bad
+judgment." A painter had executed a scene, and had copied many things
+from various other works, both drawings and pictures, nor was there
+anything in that work that was not copied. It was shown to
+Michelagnolo, who, having seen it, was asked by a very dear friend
+what he thought of it, and he replied: "He has done well, but I know
+not what this scene will do on the day of Judgment, when all bodies
+shall recover their members, for there will be nothing left of it"--a
+warning to those who practise art, that they should make a habit of
+working by themselves. Passing through Modena, he saw many beautiful
+figures by the hand of Maestro Antonio Bigarino,[5] a sculptor of
+Modena, made of terra-cotta and coloured in imitation of marble, which
+appeared to him to be excellent works; and, since that sculptor did
+not know how to work marble, Michelagnolo said: "If this clay were to
+become marble, woe to the ancient statues." Michelagnolo was told that
+he should show resentment against Nanni di Baccio Bigio, who was
+seeking every day to compete with him; but he answered: "He who
+contends with men of no account never gains a victory." A priest, his
+friend, said to him: "It is a pity that you have not taken a wife, so
+that you might have had many children and left them all your
+honourable labours." And Michelagnolo replied: "I have only too much
+of a wife in this art of mine, who has always kept me in tribulation,
+and my children shall be the works that I may leave, which, even if
+they are naught, will live a while. Woe to Lorenzo di Bartoluccio
+Ghiberti, if he had not made the gates of S. Giovanni, for his
+children and grandchildren sold or squandered all that he left, but
+the gates are still standing." Vasari, sent by Julius III to
+Michelagnolo's house for a design at the first hour of the night,
+found him working at the Pietà in marble that he broke. Michelagnolo,
+recognizing him by the knock at the door, left his work and took a
+lamp with his hand by the handle; Vasari explained what he wanted,
+whereupon Michelagnolo sent Urbino upstairs for the design, and then
+they entered into another conversation. Meanwhile Vasari turned his
+eyes to examine a leg of the Christ at which he was working, seeking
+to change it; and, in order to prevent Vasari from seeing it, he let
+the lamp fall from his hand, and they were left in darkness. He called
+to Urbino to bring a light, and meanwhile came forth from the
+enclosure where the work was, and said: "I am so old that death often
+pulls me by the cloak, that I may go with him, and one day this body
+of mine will fall like the lamp, and the light of my life will be
+spent."
+
+         [Footnote 5: Begarelli.]
+
+For all this, he took pleasure in certain kinds of men after his
+taste, such as Menighella, a commonplace and clownish painter of
+Valdarno, who was a most diverting person. He would come at times to
+Michelagnolo, that he might make for him a design of S. Rocco or S.
+Anthony, to be painted for peasants; and Michelagnolo, who was with
+difficulty persuaded to work for Kings, would deign to set aside all
+his other work and make him simple designs suited to his manner and
+his wishes, as Menighella himself used to say. Among other things,
+Menighella persuaded him to make a model of a Crucifix, which was very
+beautiful; of this he made a mould, from which he formed copies in
+pasteboard and other materials, and these he went about selling
+throughout the countryside. Michelagnolo would burst out laughing at
+him, particularly because he used to meet with fine adventures, as
+with a countryman who commissioned him to paint a S. Francis, and was
+displeased because Menighella had made the vestment grey, whereas he
+would have liked it of a finer colour; whereupon Menighella painted
+over the Saint's shoulders a pluvial of brocade, and so contented him.
+
+He loved, likewise, the stone-cutter Topolino, who had a notion of
+being an able sculptor, but was in truth very feeble. This man spent
+many years in the mountains of Carrara, sending marble to
+Michelagnolo; nor would he ever send a boatload without adding to it
+three or four little figures blocked out with his own hand, at which
+Michelagnolo would die of laughing. Finally Topolino returned, and,
+having blocked out a Mercury from a piece of marble, he set himself to
+finish it; and one day, when there was little left to do, he desired
+that Michelagnolo should see it, and straitly besought him that he
+should tell him his opinion. "You are a madman to try to make figures,
+Topolino," said Michelagnolo. "Do you not see that your Mercury is
+more than a third of a braccio too short between the knees and the
+feet, and that you have made him a dwarf and all misshapen?" "Oh, that
+is nothing! If there is nothing else wrong, I will put it right; leave
+it to me." Michelagnolo laughed once more at his simplicity; and when
+he was gone, Topolino took a piece of marble, and, having cut the
+Mercury a quarter of a braccio below the knees, he let it into the new
+piece of marble and joined it neatly together, making a pair of
+buskins for the Mercury, the tops of which were above the joins; and
+so he added the length required. Then he invited Michelagnolo to come,
+and showed him his work once again; and the master laughed, marvelling
+that such simpletons, when driven by necessity, form resolutions of
+which able men are not capable.
+
+While Michelagnolo was having the tomb of Julius II finished, he
+caused a marble-hewer to execute a terminal figure for placing in the
+tomb in S. Pietro in Vincola, saying to him, "Cut away this to-day,"
+"Level that," "Polish here"; insomuch that, without the other noticing
+it, he enabled him to make a figure. Wherefore, when it was finished,
+the man gazed at it marvelling; and Michelagnolo said: "What do you
+think of it?" "I think it fine," he answered, "and I am much obliged
+to you." "Why so?" asked Michelagnolo. "Because by your means I have
+discovered a talent that I did not know I possessed."
+
+Now, to be brief, I must record that the master's constitution was
+very sound, for he was lean and well knit together with nerves, and
+although as a boy he was delicate, and as a man he had two serious
+illnesses, he could always endure any fatigue and had no infirmity,
+save that in his old age he suffered from dysuria and from gravel,
+which in the end developed into the stone; wherefore for many years he
+was syringed by the hand of Maestro Realdo Colombo, his very dear
+friend, who treated him with great diligence. He was of middle
+stature, broad in the shoulders, but well proportioned in all the rest
+of the body. In his latter years he wore buskins of dogskin on the
+legs, next to the skin, constantly for whole months together, so that
+afterwards, when he sought to take them off, on drawing them off the
+skin often came away with them. Over the stockings he wore boots of
+cordwain fastened on the inside, as a protection against damp. His
+face was round, the brow square and spacious, with seven straight
+lines, and the temples projected considerably beyond the ears; which
+ears were somewhat on the large side, and stood out from the cheeks.
+The body was in proportion to the face, or rather on the large side;
+the nose somewhat flattened, as was said in the Life of Torrigiano,
+who broke it for him with his fist; the eyes rather on the small side,
+of the colour of horn, spotted with blueish and yellowish gleams; the
+eyebrows with few hairs, the lips thin, with the lower lip rather
+thicker and projecting a little, the chin well shaped and in
+proportion with the rest, the hair black, but mingled with white
+hairs, like the beard, which was not very long, forked, and not very
+thick.
+
+Truly his coming was to the world, as I said at the beginning, an
+exemplar sent by God to the men of our arts, to the end that they
+might learn from his life the nature of noble character, and from his
+works what true and excellent craftsmen ought to be. And I, who have
+to praise God for infinite blessings, as is seldom wont to happen with
+men of our profession, count it among the greatest blessings that I
+was born at the time when Michelagnolo was alive, that I was thought
+worthy to have him as my master, and that he was so much my friend and
+intimate, as everyone knows, and as the letters written by him to me,
+now in my possession, bear witness; and out of love for truth, and
+also from the obligation that I feel to his loving kindness, I have
+contrived to write many things of him, and all true, which many others
+have not been able to do. Another blessing he used to point out to me
+himself: "You should thank God, Giorgio, who has caused you to serve
+Duke Cosimo, who, in his contentment that you should build and paint
+and carry into execution his conceptions and designs, has grudged no
+expense; and you will remember, if you consider it, that the others
+whose Lives you have written did not have such advantages."
+
+With most honourable obsequies, and with a concourse of all the
+craftsmen, all his friends, and all the Florentine colony,
+Michelagnolo was given burial in a sepulchre at S. Apostolo, in the
+sight of all Rome; his Holiness having intended to make him some
+particular memorial and tomb in S. Pietro at Rome. Leonardo, his
+nephew, arrived when all was over, although he travelled post. When
+Duke Cosimo was informed of the event, he confirmed his resolve that
+since he had not been able to have him and honour him alive, he would
+have him brought to Florence and not hesitate to honour him with all
+manner of pomp after death; and the body was sent secretly in a bale,
+under the title of merchandise, which method was adopted lest there
+might be a tumult in Rome, and lest perchance the body of Michelagnolo
+might be detained and prevented from leaving Rome for Florence. But
+before the body arrived, the news of the death having been heard, the
+principal painters, sculptors, and architects were assembled together
+at the summons of the Lieutenant of their Academy, and they were
+reminded by that Lieutenant, who at that time was the Reverend Don
+Vincenzio Borghini, that they were obliged by virtue of their statutes
+to pay due honour to the death of any of their brethren, and that,
+they having done this so lovingly and with such universal satisfaction
+in the obsequies of Fra Giovanni Agnolo Montorsoli, who had been the
+first to die after the creation of the Academy, they should look well
+to what it might be proper for them to do in honour of Buonarroti, who
+had been elected by an unanimous vote of the whole body of the Company
+as the first Academician and the head of them all. To which proposal
+they all replied, as men most deeply indebted and affected to the
+genius of so great a man, that at all costs pains should be taken to
+do him honour in the best and finest ways available to them. This
+done, in order not to have to assemble so many persons together every
+day, to their great inconvenience, and to the end that matters might
+proceed more quietly, four men were elected as heads of the obsequies
+and the funeral pomp that were to be held; the painters Agnolo
+Bronzino and Giorgio Vasari, and the sculptors Benvenuto Cellini and
+Bartolommeo Ammanati, all men of illustrious name and eminent ability
+in their arts; to the end, I say, that they might consult and
+determine between themselves and the Lieutenant what was to be done in
+each particular, and in what way, with authority and power to dispose
+of the whole body of the Company and Academy. This charge they
+accepted all the more willingly because all the members, young and
+old, each in his own profession, offered their services for the
+execution of such pictures and statues as had to be done for that
+funeral pomp. They then ordained that the Lieutenant, in pursuance of
+his office, and the Consuls, in the name of the Company and Academy,
+should lay the whole matter before the Lord Duke, and beseech him for
+all the aids and favours that might be necessary, and especially for
+permission to have those obsequies held in S. Lorenzo, the church of
+the most illustrious House of Medici; wherein are the greater part of
+the works by the hand of Michelagnolo that there are to be seen in
+Florence; and, in addition, that his Excellency should allow Messer
+Benedetto Varchi to compose and deliver the funeral oration, to the
+end that the excellent genius of Michelagnolo might be extolled by the
+rare eloquence of a man so great as was Varchi, who, being in the
+particular service of his Excellency, would not have undertaken such a
+charge without a word from him, although they were very certain that,
+as one most loving by nature and deeply affected to the memory of
+Michelagnolo, of himself he would never have refused. This done, and
+the Academicians dismissed, the above-named Lieutenant wrote to the
+Lord Duke a letter of this precise tenor:
+
+"The Academy and Company of Painters and Sculptors having resolved
+among themselves, if it should please your most illustrious
+Excellency, to do honour in some sort to the memory of Michelagnolo
+Buonarroti, both from the general obligation due from their profession
+to the extraordinary genius of one who was perhaps the greatest
+craftsman who has ever lived, and from their particular obligation
+through their belonging to a common country, and also because of the
+great advantage that these professions have received from the
+perfection of his works and inventions, insomuch that they hold
+themselves obliged to prove their affection to his genius in whatever
+way they are able, they have laid this their desire before your
+illustrious Excellency in a letter, and have besought you, as their
+peculiar refuge, for a certain measure of assistance. I, entreated by
+them, and being, as I think, obliged because your most illustrious
+Excellency has been content that I should be again this year in their
+Company with the title of your Lieutenant, with the added reason that
+the proposal is a generous one and worthy of virtuous and grateful
+minds, and, above all, knowing how your most illustrious Excellency is
+the patron of talent, and as it were a haven and unique protector for
+ingenious persons in this age, even surpassing in this respect your
+forefathers, who bestowed extraordinary favours on those excellent in
+these professions, as, by order of the Magnificent Lorenzo, Giotto,
+already so long dead, received a statue in the principal church, and
+Fra Filippo a most beautiful tomb of marble at his expense, while many
+others obtained the greatest benefits and honours on various
+occasions; moved, I say, by all these reasons, I have taken it upon
+myself to recommend to your most illustrious Excellency the petition
+of this Academy, that they may be able to do honour to the genius of
+Michelagnolo, the particular nursling and pupil of the school of the
+Magnificent Lorenzo, which will be an extraordinary pleasure to them,
+a vast satisfaction to men in general, no small incitement to the
+professors of these arts, and to all Italy a proof of the lofty mind
+and overflowing goodness of your most illustrious Excellency, whom may
+God long preserve in happiness for the benefit of your people and the
+support of every talent."
+
+To which letter the above-named Lord Duke answered thus:
+
+"REVEREND AND WELL-BELOVED FRIEND,
+
+"The zeal that this Academy has displayed, and continues to display,
+to honour the memory of Michelagnolo Buonarroti, who has passed from
+this to a better life, has given us much consolation for the loss of a
+man so extraordinary; and we wish not only to satisfy them in all
+that they have demanded in their memorial, but also to have his
+remains brought to Florence, which, according as we are informed, was
+his own desire. All this we are writing to the aforesaid Academy, to
+encourage them to celebrate by every possible means the genius of that
+great man. May God content you in your desire."
+
+Of the letter, or rather, memorial, of which mention has been made
+above, addressed by the Academy to the Lord Duke, the tenor was as
+follows:
+
+"MOST ILLUSTRIOUS, ETC.
+
+"The Academy and the Men of the Company of Design, created by the
+grace and favour of your most illustrious Excellency, knowing with
+what solicitude and affection you caused the body of Michelagnolo
+Buonarroti to be brought to Florence by means of your representative
+in Rome, have assembled together and have unanimously determined that
+they shall celebrate his obsequies in the best manner in their power
+and knowledge. Wherefore they, knowing that your most illustrious
+Excellency was revered by him as much as you yourself loved him,
+beseech you that you should deign in your infinite goodness and
+liberality to grant to them, first, that they may be allowed to
+celebrate the said obsequies in the Church of S. Lorenzo, a church
+built by your ancestors, in which are so many beautiful works wrought
+by his hand, both in architecture and in sculpture, and near which you
+are minded to have erected a place that shall be as it were a nest and
+an abiding school of architecture, sculpture, and painting, for the
+above-named Academy and Company of Design. Secondly, they pray you
+that you should consent to grant a commission to Messer Benedetto
+Varchi that he shall not only compose the funeral oration, but also
+deliver it with his own mouth, as he has promised most freely that he
+would do, when besought by us, in the event of your most illustrious
+Excellency consenting. In the third place, they entreat and pray you
+that you should deign, in the same goodness and liberality of your
+heart, to supply them with all that may be necessary for them in
+celebrating the above-mentioned obsequies, over and above their own
+resources, which are very small. All these matters, and each singly,
+have been discussed and determined in the presence and with the
+consent of the most Magnificent and Reverend Monsignor, Messer
+Vincenzio Borghini, Prior of the Innocenti and Lieutenant of your most
+illustrious Excellency in the aforesaid Academy and Company of Design,
+which, etc."
+
+To which letter of the Academy the Duke made this reply:
+
+"WELL-BELOVED ACADEMICIANS,
+
+"We are well content to give full satisfaction to your petitions, so
+great is the affection that we have always borne to the rare genius of
+Michelagnolo Buonarroti, and that we still bear to all your
+profession; do not hesitate, therefore, to carry out all that you have
+proposed to do in his obsequies, for we will not fail to supply
+whatever you need. Meanwhile, we have written to Messer Benedetto
+Varchi in the matter of the oration, and to the Director of the
+Hospital with regard to anything more that may be necessary in this
+undertaking. Fare you well.
+
+                                                          "PISA."
+
+The letter to Varchi was as follows:
+
+"MESSER BENEDETTO, OUR WELL-BELOVED,
+
+"The affection that we bear to the rare genius of Michelagnolo
+Buonarroti makes us desire that his memory should be honoured and
+celebrated in every possible way. It will be pleasing to us,
+therefore, that you for love of us shall undertake the charge of
+composing the oration that is to be delivered at his obsequies,
+according to the arrangements made by the deputies of the Academy; and
+still more pleasing that it should be delivered by your own lips. Fare
+you well."
+
+Messer Bernardino Grazzini, also, wrote to the above-named deputies
+that they could not have expected in the Duke any desire in that
+matter more ardent than that which he had shown, and that they might
+be assured of every aid and favour from his most illustrious
+Excellency.
+
+While these matters were being discussed in Florence, Leonardo
+Buonarroti, Michelagnolo's nephew (who, when informed of his uncle's
+illness, had made his way to Rome by post, but had not found him
+alive), having heard from Daniello da Volterra, who had been the very
+familiar friend of Michelagnolo, and also from others who had been
+about the person of that saintly old man, that he had requested and
+prayed that his body should be carried to Florence, that most noble
+city of his birth, of which he was always a most tender lover;
+Leonardo, I say, with prompt and therefore good resolution, removed
+the body cautiously from Rome and sent it off to Florence in a bale,
+as if it had been a piece of merchandise. And here I must not omit to
+say that this final resolution of Michelagnolo's proved a thing
+against the opinion of certain persons, but nevertheless very true,
+namely, that his absence for so many years from Florence had been
+caused by no other thing but the nature of the air, for the reason
+that experience had taught him that the air of Florence, being sharp
+and subtle, was very injurious to his constitution, while that of
+Rome, softer and more temperate, had kept him in perfect health up to
+his ninetieth year, with all the senses as lively and sound as they
+had ever been, and with such strength, for his age, that up to the
+last day he had never ceased to work at something.
+
+Since, then, the coming of the bale was so sudden and so unexpected
+that for the time being it was not possible to do what was done
+afterwards, the body of Michelagnolo, on arriving in Florence, was
+placed with the coffin, at the desire of the deputies, on the same day
+that it arrived in the city (namely, on the 11th of March, which was a
+Saturday), in the Company of the Assumption, which is under the
+high-altar of S. Pietro Maggiore, beneath the steps at the back; but
+it was not touched in any way whatever. The next day, which was Sunday
+of the second week in Lent, all the painters, sculptors, and
+architects assembled as quietly as possible round S. Pietro, whither
+they had brought nothing but a pall of velvet, all bordered and
+embroidered in gold, which covered the coffin and the whole bier; upon
+which coffin was an image of Christ Crucified. Then, about the middle
+hour of the night, all having gathered around the body, all at once
+the oldest and most eminent craftsmen laid their hands on a great
+quantity of torches that had been carried there, and the younger men
+took up the bier with such eagerness, that blessed was he who could
+approach it and place his shoulders under it, believing as it were
+that in the time to come they would be able to claim the glory of
+having borne the remains of the greatest man that there had ever been
+in their arts. The sight of a certain number of persons assembled
+about S. Pietro had caused, as always happens in such cases, many
+others to stop there, and the rather as it had been trumpeted abroad
+that the body of Michelagnolo had arrived, and was to be carried to S.
+Croce. And although, as I have said, every precaution had been taken
+that the matter should not become known, lest the report might spread
+through the city, and there might flock thither such a multitude that
+it would not be possible to avoid a certain degree of tumult and
+confusion, and also because they desired that the little which they
+wished to do at that time should be done with more quiet than pomp,
+reserving the rest for a more convenient time with greater leisure;
+nevertheless, both the one thing and the other took a contrary course,
+for with regard to the multitude, the news, as has been related,
+passing from lip to lip, in the twinkling of an eye the church was so
+filled, that in the end it was with the greatest difficulty that the
+body was carried from the church to the sacristy, in order to take it
+out of the bale and then place it in the sepulchre. With regard to the
+question of honour, although it cannot be denied that to see in
+funeral pomps a great show of priests, a large quantity of wax tapers,
+and a great number of mourners dressed in black, is a thing of grand
+and magnificent appearance, it does not follow that it was not also a
+great thing to see thus assembled in a small company, without
+preparation, all those eminent men who are now in such repute, and who
+will be even more in the future, honouring that body with such loving
+and affectionate offices. And, in truth, the number of such craftsmen
+in Florence--and they were all there--has always been very great, for
+the reason that these arts have always flourished in Florence in such
+a manner, that I believe that it may be said without prejudice to
+other cities that their principal and true nest and domicile is
+Florence, not otherwise than Athens once was of the sciences. In
+addition to that number of craftsmen, there were so many citizens
+following them, and so many at the sides of the streets where the
+procession passed, that there was no place for any more; and, what is
+an even greater thing, there was nothing heard but praises in every
+man's mouth of the merits of Michelagnolo, all saying that true
+genius has such force that, after all expectation of such honour and
+profit as can be obtained from a gifted man has failed, nevertheless,
+by its own nature and peculiar merits, it remains honoured and
+beloved. For these reasons that demonstration was more vivid in effect
+and more precious than any pomp of gold and trappings that could have
+been contrived.
+
+The body having been carried with so beautiful a train into S. Croce,
+after the friars had finished the ceremonies that were customary for
+the dead, it was borne--not without very great difficulty, as has been
+related, by reason of the concourse of people--into the sacristy,
+where the above-named Lieutenant, who had been present in virtue of
+his office, thinking to do a thing pleasing to many, and also (as he
+afterwards confessed) desiring to see in death one whom he had not
+seen in life, or had seen at such an early age that he had lost all
+memory of him, then resolved to have the coffin opened. This done,
+when he and all the rest of us present thought to find the body
+already marred and putrefied, because Michelagnolo had been dead
+twenty-five days and twenty-two in the coffin, we found it so perfect
+in every part, and so free from any noisome odour, that we were ready
+to believe that it was rather at rest in a sweet and most peaceful
+sleep; and, besides that the features of the face were exactly as in
+life (except that there was something of the colour of death), it had
+no member that was marred or revealed any corruption, and the head and
+cheeks were not otherwise to the touch than as if he had passed away
+but a few hours before.
+
+When the tumult of the people had abated, arrangements were made to
+place the body in a sepulchre in the church, beside the altar of the
+Cavalcanti, by the door that leads into the cloister of the
+chapter-house. Meanwhile the news had spread through the city, and
+such a multitude of young people flocked thither to see the corpse,
+that there was great difficulty in contriving to close the tomb; and
+if it had been day, instead of night, we would have been forced to
+leave it open many hours in order to satisfy the public. The following
+morning, while the painters and sculptors were commencing to make
+arrangements for the memorial of honour, many choice spirits, such as
+have always abounded in Florence, began to attach above the aforesaid
+sepulchre verses both Latin and in the vulgar tongue, and so it was
+continued for some time; but those compositions that were printed at
+that time were but a small part with respect to the many that were
+written.
+
+Now to come to the obsequies, which were not held the day after the
+day of S. John, as had been intended, but were postponed until the
+14th of July. The three deputies (for Benvenuto Cellini, having felt
+somewhat indisposed from the beginning, had never taken any part in
+the matter), having appointed the sculptor Zanobi Lastricati as their
+proveditor, resolved that they would do something ingenious and worthy
+of their arts rather than costly and full of pomp. And, in truth,
+since honour was to be paid (said those deputies and their proveditor)
+to such a man as Michelagnolo, and by men of the profession that he
+had practised, men rich rather in talents than in excess of means,
+that must be done not with regal pomp or superfluous vanities, but
+with inventions and works abounding in spirit and loveliness, such as
+issue from the knowledge and readiness of hand of our craftsmen; thus
+honouring art with art. For although, they said, we may expect from
+his Excellency the Lord Duke any sum of money that may be necessary,
+and we have already received such amounts as we have demanded,
+nevertheless we must hold it as certain that from us there is expected
+something ingenious and pleasing in invention and art, rather than
+rich through vast expense or grand by reason of superb appurtenances.
+But, notwithstanding this, it was seen in the end that the work was
+equal in magnificence to any that ever issued from the hands of those
+Academicians, and that this memorial of honour was no less truly
+magnificent than it was ingenious and full of fanciful and
+praiseworthy inventions.
+
+Finally, then, it was arranged that in the central nave of S. Lorenzo,
+between the two lateral doors, of which one leads out of the church
+and the other into the cloister, there should be erected, as was done,
+a catafalque of a rectangular form, twenty-eight braccia high, eleven
+braccia long, and nine broad, with a figure of Fame on the summit. On
+the base of the catafalque, which rose two braccia from the ground, on
+the part looking towards the principal door of the church, there were
+placed two most beautiful recumbent figures of Rivers, one
+representing the Arno and the other the Tiber. Arno had a horn of
+plenty, full of flowers and fruits, signifying thereby the fruits that
+have come to these professions from the city of Florence, which have
+been of such a kind and so many that they have filled the world, and
+particularly Rome, with extraordinary beauty. This was demonstrated
+excellently well by the other River, representing, as has been said,
+the Tiber, in that, extending one arm, it had the hands full of
+flowers and fruits received from the horn of plenty of the Arno, which
+lay beside it, face to face; and it served also to demonstrate, by
+enjoying the fruits of Arno, that Michelagnolo had lived a great part
+of his life in Rome, and had executed there those marvels that cause
+amazement to the world. Arno had for a sign the Lion, and Tiber the
+She-Wolf, with the infants Romulus and Remus; and they were both
+colossal figures of extraordinary grandeur and beauty, in the likeness
+of marble. One, the Tiber, was by the hand of Giovanni di Benedetto of
+Castello, a pupil of Bandinelli, and the other by Battista di
+Benedetto, a pupil of Ammanati; both excellent young men of the
+highest promise.
+
+From this level rose façades of five braccia and a half, with the
+proper cornices above and below, and also at the corners, leaving
+space for four pictures, one in the centre of each. In the first of
+these, which was on the façade where the two Rivers were, there was
+painted in chiaroscuro (as were also all the other pictures of this
+structure) the Magnificent Lorenzo de' Medici, the Elder, receiving
+Michelagnolo as a boy in his garden, of which there has been an
+account in another place, after he had seen certain specimens of his
+handiwork, which foreshadowed, as early flowers, the fruits that
+afterwards issued in abundance from the living force and grandeur of
+his genius. Such, then, was the story contained in that picture, which
+was painted by Mirabello and Girolamo del Crocifissaio, so called,
+who, as very dear friends and companions, undertook to do the work
+together. In it were animated and lively attitudes, and there could be
+seen the above-named Magnificent Lorenzo, portrayed from nature,
+graciously receiving Michelagnolo, a boy all full of reverence, into
+his garden, and, after an examination, handing him over to some
+masters who should teach him.
+
+In the second scene, which came, continuing the same order, to face
+towards the lateral door that leads out of the church, was figured
+Pope Clement, who, contrary to the expectation of the public, which
+thought that his Holiness felt disdain against Michelagnolo on account
+of his actions in the siege of Florence, not only assures his safety
+and shows himself lovingly disposed towards him, but sets him to work
+on the new sacristy and the library of S. Lorenzo, in which places how
+divinely well he worked has been already told. In this picture, then,
+there was painted by the hand of Federigo Fiammingo, called Del
+Padovano, with much dexterity and great sweetness of manner,
+Michelagnolo showing to the Pope the ground-plan of that sacristy, and
+behind him were borne, partly by little Angels and partly by other
+figures, the models of the library and sacristy and of the statues
+that are there, finished, at the present day; which was all very well
+composed and executed with diligence.
+
+In the third picture, which stood on the first level, like the others
+described above, and looked towards the high-altar, was a great Latin
+epitaph composed by the most learned M. Pier Vettori, the sense of
+which was in the Florentine speech as follows:
+
+"The Academy of Painters, Sculptors, and Architects, with the favour
+and assistance of Duke Cosimo de' Medici, their head and the supreme
+protector of these arts, admiring the extraordinary genius of
+Michelagnolo Buonarroti, and seeking to acknowledge in part the
+benefits received from his divine works, has dedicated this memorial,
+born from their own hands and from all the affection of their hearts,
+to the excellence and genius of the greatest painter, sculptor, and
+architect that there has ever been."
+
+The Latin words were these:
+
+     COLLEGIUM PICTORUM, STATUARIORUM, ARCHITECTORUM, AUSPICIO OPEQUE
+     SIBI PROMPTA COSIMI DUCIS AUCTORIS SUORUM COMMODORUM, SUSPICIENS
+     SINGULAREM VIRTUTEM MICHAELIS ANGELI BONARROTÆ, INTELLIGENSQUE
+     QUANTO SIBI AUXILIO SEMPER FUERINT PRÆCLARA IPSIUS OPERA, STUDUIT
+     SE GRATUM ERGA ILLUM OSTENDERE, SUMMUM OMNIUM QUI UNQUAM FUERINT
+     P.S.A., IDEOQUE MONUMENTUM HOC SUIS MANIBUS EXTRUCTUM MAGNO ANIMI
+     ARDORE IPSIUS MEMORIÆ DEDICAVIT.
+
+This epitaph was supported by two little Angels, who, with weeping
+faces, and extinguishing each a torch, appeared to be lamenting that a
+genius so great and so rare was now spent.
+
+Next, in the picture which came to face towards the door that leads
+into the cloister, was Michelagnolo making, on account of the siege of
+Florence, the fortifications of the hill of San Miniato, which were
+held to be impregnable and a marvellous work. This was by the hand of
+Lorenzo Sciorini, a pupil of Bronzino and a young man of excellent
+promise.
+
+This lowest part, or, so to speak, the base of the whole structure,
+had at every corner a pedestal that projected, and upon every pedestal
+was a statue larger than life, which had beneath it another, as it
+were subjugated and vanquished, of similar size, but each constrained
+in a different and extravagant attitude. The first, on the right hand
+going towards the high-altar, was a young man, slender and the very
+presentment of pure spirit, and of a most lively beauty, representing
+Genius, with two little wings over the temples, in the guise wherein
+at times Mercury is painted; and beneath this young man, wrought with
+incredible diligence, was a marvellous figure with asses' ears,
+representing Ignorance, the mortal enemy of Genius. These two statues
+were by the hand of Vincenzio Danti of Perugia, of whom and of his
+works, which are renowned among the young modern sculptors, we shall
+speak at greater length in another place.
+
+Upon the next pedestal, which, being on the right hand of the approach
+towards the high-altar, looked towards the new sacristy, was a woman
+representing Christian Piety, which, being composed of religion and
+every other excellence, is nothing less than an aggregate of all those
+virtues that we have called the Theological, and of those that were
+named by the Gentiles the Moral; wherefore it was right that, since
+the genius of a Christian, adorned by most saintly character, was
+being celebrated by Christians, a seemly and honourable place should
+be given to this Piety, which is concerned with the law of God and the
+salvation of souls, seeing that all other ornaments of body and mind,
+where she is lacking, are to be held in little estimation, or rather,
+none. This figure, who had beneath her, prostrate and trampled under
+foot by her, Vice, or rather, Impiety, was by the hand of Valerio
+Cioli, who is a young man of ability and fine spirit, and deserves the
+name of a very judicious and diligent sculptor. Opposite to this, on
+the side towards the old sacristy, was another similar figure made
+with much judgment to represent Minerva, or rather, Art; for the
+reason that it may be said with truth that after excellence of
+character and life, which must always hold the first place among the
+good, it was Art that gave to this man not only honour and profit, but
+also so much glory, that he may be said to have enjoyed in his
+lifetime such fruits as able and illustrious men have great difficulty
+in wresting even after death from the grasp of Fame, by means of their
+finest works; and, what is more, that he so vanquished envy, that by
+common consent, without any contradiction, he has obtained the rank
+and fame of the best and highest excellence. And for this reason this
+figure had beneath her feet Envy, who was an old woman lean and
+withered, with the eyes of a viper; in short, with features that all
+breathed out venom and poison, besides which she was girt with
+serpents, and had a viper in her hand. These two statues were by the
+hand of a boy of very tender years, called Lazzaro Calamech of
+Carrara, who at the present day, although still a mere lad, has given
+in some works of painting and sculpture convincing proofs of a
+beautiful and most lively genius. By the hand of Andrea Calamech, the
+uncle of the above-mentioned Lazzaro, and pupil of Ammanati, were the
+two statues placed upon the fourth pedestal, which was opposite to the
+organ and looked towards the principal doors of the church. The first
+of these was made to represent Study, for the reason that those who
+exert themselves little and sluggishly can never acquire repute, as
+Michelagnolo did, who from his early boyhood, from fifteen to ninety
+years of age, as has been seen above, never ceased to labour. This
+statue of Study, which was well in keeping with that great man, was a
+bold and vigorous youth, who had at the end of the arms, just above
+the joint of the hands, two little wings signifying rapidity and
+frequency of working; and he had prostrate beneath him, as a prisoner,
+Idleness or Indolence, who was a sluggish and weary woman, heavy and
+somnolent in her whole attitude.
+
+These four figures, disposed in the manner that has been described,
+made a very handsome and magnificent composition, and had all the
+appearance of marble, because a coat of white had been laid over the
+clay, which resulted in a very beautiful effect. From this level, upon
+which the above-named figures rested, there rose another base,
+likewise rectangular and about four braccia high, but smaller in
+length and breadth than that below by the extent of the projection and
+cornice-work upon which those figures rested; and on every side this
+had a painted compartment six braccia and a half in length and three
+in height. Above this rose a platform in the same manner as that
+below, but smaller; and upon every corner, on the projection of a
+socle, sat a figure of the size of life, or rather more. These were
+four women, who, from the instruments that they had, were easily
+recognized as Painting, Sculpture, Architecture, and Poetry; placed
+there for reasons that have been perceived in the narration of
+Michelagnolo's Life.
+
+Now, going from the principal door of the church towards the
+high-altar, in the first picture of the second range of the
+catafalque--namely, above the scene in which, as has been related,
+Lorenzo de' Medici is receiving Michelagnolo into his garden--there
+was painted in a most beautiful manner, to suggest Architecture,
+Michelagnolo in the presence of Pope Pius IV, with a model in his hand
+of the stupendous pile of the Cupola of S. Pietro in Rome. This scene,
+which was much extolled, was painted by Piero Francia, a Florentine
+painter, with beautiful manner and invention; and the statue, or
+rather, image of Architecture, which was on the left hand of this
+scene, was by the hand of Giovanni di Benedetto of Castello, who with
+so much credit to himself, as has been related, executed also the
+Tiber, one of the two Rivers that were on the front part of the
+catafalque. In the second picture, continuing to go forward on the
+right hand towards the lateral door that leads out of the church, was
+seen (to suggest Painting) Michelagnolo painting that so much but
+never sufficiently extolled Judgment: that Judgment, I mean, which is
+an exemplar in foreshortenings and all the other difficulties of art.
+This picture, which was executed by Michele di Ridolfo's young men
+with much diligence and grace, had likewise, on the left hand (namely,
+at the corner looking towards the new sacristy), its appropriate
+image, a statue of Painting, wrought by Battista del Cavaliere, a
+young man no less excellent in sculpture than remarkable for his
+goodness, modesty, and character. In the third picture, facing towards
+the high-altar (in that, namely, which was above the epitaph already
+mentioned), there was to be seen, to suggest Sculpture, Michelagnolo
+speaking with a woman, who by many signs could be recognized as
+Sculpture; and it appeared that he was taking counsel with her.
+Michelagnolo had about him some of the most excellent works that he
+executed in sculpture; and the woman held a little tablet with these
+words of Boethius:
+
+  SIMILI SUB IMAGINE FORMANS.
+
+Beside that picture, which was the work of Andrea del Minga, and
+executed by him with beautiful invention and manner, there was on the
+left hand the statue of Sculpture, wrought very well by the sculptor
+Antonio di Gino Lorenzi. In the fourth of those four scenes, which
+faced towards the organ, there could be seen, to suggest Poetry,
+Michelagnolo all intent on writing some composition, and about him the
+Nine Muses, marvellous in their grace and beauty and with their
+distinctive garments, according as they are described by the poets,
+and before them Apollo with the lyre in his hand, his crown of laurel
+on his head, and another crown in the hand, which he made as if to
+place on the head of Michelagnolo. Near the gladsome and beautiful
+composition of this scene, painted in a very lovely manner, with most
+vivacious and spirited attitudes, by Giovan Maria Butteri, there was
+on the left hand the statue of Poetry, the work of Domenico Poggini, a
+man much practised not only in sculpture and in striking impressions
+of coins and medals with great beauty, but also in working in bronze
+and likewise in poetry.
+
+Of such a kind, then, was the ornamentation of the catafalque, which
+so diminished from course to course that it was possible to walk round
+each, and it was much after the likeness of the Mausoleum of Augustus
+in Rome; although perchance, from being rectangular, it rather
+resembled the Septizonium of Severus, not that near the Campidoglio,
+which is commonly so called in error, but the true one, which is to
+be seen in stamp in the "Nuove Rome," near the Baths of Antoninus. Up
+to this point the catafalque had three levels; where the Rivers lay
+was the first, the second where the pairs of figures rested, and the
+third where the single figures had their feet. From this last level
+rose a base, or rather, socle, one braccio high, and much less in
+length and breadth than that last level; upon the projections of that
+base sat the above-named single figures, and around it could be read
+these words:
+
+  SIC ARS EXTOLLITUR ARTE.
+
+Upon this base stood a pyramid nine braccia high, on two sides of
+which (namely, that which looked towards the principal door, and that
+which faced towards the high-altar), at the foot, were two ovals with
+the head of Michelagnolo portrayed from nature in relief and executed
+very well by Santi Buglioni. At the summit of the pyramid was a ball
+in due proportion with the pyramid, such as might have contained the
+ashes of him who was being honoured, and upon the ball was a figure of
+Fame, larger than life and in the likeness of marble, and in the act,
+as it were, of taking flight, and at the same time of causing the
+praises and glory of that great craftsman to resound throughout the
+world through a trumpet which branched into three mouths. That Fame
+was by the hand of Zanobi Lastricati, who, besides the labours that he
+had as proveditor for the whole work, desired also not to fail to
+show, with much honour to himself, the virtue of his hand and brain.
+In all, from the level of the ground to the head of the Fame, the
+height, as has been related, was twenty-eight braccia.
+
+Besides the catafalque described above, the whole church was draped
+with black baize and serge, hung not on the columns in the centre, as
+is usual, but on the chapels that are all around; and there was no
+space between the pilasters that enclose those chapels and correspond
+to the columns, that had not some adornment in painting, which, making
+an ingenious, pleasing, and beautiful display, caused marvel and at
+the same time the greatest delight.
+
+Now, to begin with one end: in the space of the first chapel that is
+beside the high-altar, as you go towards the old sacristy, was a
+picture six braccia in height and eight in length, in which, with
+novel and as it were poetical invention, was Michelagnolo in the
+centre, already come to the Elysian fields, where, on his right hand,
+were figures considerably larger than life of the most famous and most
+highly celebrated sculptors and painters of antiquity. Each of these
+could be recognized by some notable sign; Praxiteles by the Satyr that
+is in the Vigna of Pope Julius III, Apelles by the portrait of
+Alexander the Great, Zeuxis by a little panel on which were figured
+the grapes that deceived the birds, and Parrhasius with the covering
+counterfeited in painting over his picture; and, even as these, so the
+others were known by other signs. On the left hand were those who have
+been illustrious in these arts in our own centuries, from Cimabue to
+the present day. Thus Giotto could be recognized there by a little
+panel on which was seen the portrait of Dante as a young man, in the
+manner in which he may be seen in S. Croce, painted by Giotto himself;
+Masaccio by his portrait from life, Donatello likewise by his
+portrait, and also by his Zuccone from the Campanile, which was by his
+side, and Filippo Brunelleschi by the representation of his Cupola of
+S. Maria del Fiore; and there were portrayed from life, without other
+signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovanni Agnolo,
+Jacopo da Pontormo, Francesco Salviati, and others. All these were
+about him with the same expressions of welcome as the ancients, full
+of love and admiration, in the same manner as Virgil was received by
+the other poets on his return, according to the fable of the divine
+poet Dante, from whom, in addition to the invention, there was taken
+also the verse that could be read in a scroll both above and in the
+hand of the River Arno, which lay at the feet of Michelagnolo, most
+beautiful in features and in attitude:
+
+  TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.
+
+This picture, by the hand of Alessandro Allori, the pupil of Bronzino,
+an excellent painter and a not unworthy disciple and pupil of so great
+a master, was consummately extolled by all those who saw it. In the
+space of the Chapel of the most holy Sacrament, at the head of the
+transept, there was in a picture, five braccia in length and four in
+breadth, Michelagnolo with all the school of the arts about him,
+little children, boys, and young men of every age up to twenty-four,
+who were offering to him, as to a being sacred and divine, the
+firstfruits of their labours, such as pictures, sculptures, and
+models; and he was receiving them courteously, and was instructing
+them in the matters of art, while they were listening most intently
+and gazing upon him with expressions and attitudes truly full of
+beauty and grace. And, to tell the truth, the whole composition of
+this picture could not have been, in a certain sense, better done, nor
+could anything more beautiful have been desired in any of the figures,
+wherefore Battista, the pupil of Pontormo, who had done the work,
+received infinite praise for it; and the verses that were to be read
+at the foot of the scene, ran thus:
+
+  TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS
+  SUPPEDITAS PRÆCEPTA TUIS EX, INCLYTE, CHARTIS.
+
+Going, then, from the place where was the picture described above,
+towards the principal doors of the church, almost at the corner and
+just before arriving at the organ, in a picture six braccia long and
+four high that was in the space of a chapel, there was depicted the
+extraordinary and unexampled favour that was paid to the rare genius
+of Michelagnolo by Pope Julius III, who, wishing to avail himself in
+certain buildings of the judgment of that great man, had him summoned
+to his presence at his villa, where, having invited him to sit by his
+side, they talked a good time together, while Cardinals, Bishops, and
+other personages of the Court, whom they had about them, remained
+constantly standing. This event, I say, was seen to have been depicted
+with such fine composition and so much relief, and with such
+liveliness and spirit in the figures, that perchance it might not have
+turned out better from the hands of an eminent, aged, and
+well-practised master; wherefore Jacopo Zucchi, a young man, the pupil
+of Giorgio Vasari, who executed the work in a beautiful manner, proved
+that a most honourable result could be expected from him. Not far from
+this, on the same side (namely, a little below the organ), Giovanni
+Strada, an able Flemish painter, had depicted in a picture six
+braccia long and four high the story of Michelagnolo's going to Venice
+at the time of the siege of Florence; where, living in that quarter of
+that most noble city which is called the Giudecca, the Doge Andrea
+Gritti and the Signoria sent some gentlemen and others to visit him
+and make him very great offers. In representing that event the
+above-named painter showed great judgment and much knowledge, which
+did him great honour, both in the whole composition and in every part
+of it, for in the attitudes, the lively expressions of the faces, and
+the movements of every figure, were seen invention, design, and
+excellent grace.
+
+Now, returning to the high-altar, and facing towards the new sacristy:
+in the first picture found there, which came in the space of the first
+chapel, there was depicted by the hand of Santi Titi, a young man of
+most beautiful judgment and much practised in painting both in
+Florence and in Rome, another signal favour paid to the genius of
+Michelagnolo, as I believe I mentioned above, by the most illustrious
+Lord, Don Francesco de' Medici, Prince of Florence, who, happening to
+be in Rome about three years before Michelagnolo died, and receiving a
+visit from him, the moment that Buonarroti entered the Prince rose to
+his feet, and then, in order to do honour to that great man and to his
+truly venerable age, with the greatest courtesy that ever young Prince
+showed, insisted--although Michelagnolo, who was very modest,
+protested against it--that he should sit in his own chair, from which
+he had risen, standing afterwards on his feet to hear him with the
+attention and reverence that children are wont to pay to a
+well-beloved father. At the feet of the Prince was a boy, executed
+with great diligence, who had in his hands a mazzocchio,[6] or Ducal
+cap, and around them were some soldiers dressed in ancient fashion,
+and painted with much spirit and a beautiful manner; but beyond all
+the rest, most beautifully wrought, most lifelike and most natural
+were the Prince and Michelagnolo, insomuch that it appeared as if the
+old man were in truth speaking, and the young man most intently
+listening to his words.
+
+         [Footnote 6: See note on p. 132, vol. ii.]
+
+In another picture, nine braccia in height and twelve in length, which
+was opposite to the Chapel of the Sacrament, Bernardo Timante
+Buontalenti, a painter much beloved and favoured by the most
+illustrious Prince, had figured with most beautiful invention the
+Rivers of the three principal parts of the world, come, as it were,
+all grieving and sorrowful, to lament with Arno on their common loss
+and to console him; and these Rivers were the Nile, the Ganges, and
+the Po. The Nile had as a symbol a crocodile, and, to signify the
+fertility of his country, a garland of ears of corn; the Ganges, a
+gryphon-bird and a chaplet of gems; the Po, a swan and a crown of
+black amber. These Rivers, having been conducted into Tuscany by the
+Fame, who was to be seen on high, as it were in flight, were standing
+round Arno, who was crowned with cypress and held his vase, drained
+empty, uplifted with one hand, and in the other a branch of cypress,
+and beneath him was a lion. And, to signify that the soul of
+Michelagnolo had flown to the highest felicity in Heaven, the
+judicious painter had depicted in the air a Splendour representing the
+celestial light, towards which the blessed soul, in the form of a
+little Angel, was winging its way; with this lyric verse:
+
+  VIVENS ORBE PETO LAUDIBUS ÆTHERA.
+
+At the sides, upon two bases, were two figures in the act of holding
+open a curtain within which, so it appeared, were the above-named
+Rivers, the soul of Michelagnolo, and the Fame; and each of those two
+figures had another beneath it. That which was on the right hand of
+the Rivers, representing Vulcan, had a torch in the hand; and the
+figure representing Hatred, which had the neck under Vulcan's feet in
+an attitude of great constraint, and as it were struggling to writhe
+free, had as symbol a vulture, with this verse:
+
+  SURGERE QUID PROPERAS ODIUM CRUDELE? JACETO.
+
+And that because things superhuman, and almost divine, should in no
+way be regarded with envy or hatred. The other, representing Aglaia,
+one of the Three Graces and wife of Vulcan, to signify Proportion, had
+in her hand a lily, both because flowers are dedicated to the Graces,
+and also because the lily is held to be not inappropriate to the rites
+of death. The figure which was lying beneath Aglaia, and which was
+painted to represent Disproportion, had as symbol a monkey, or rather,
+ape, and above her this verse:
+
+  VIVUS ET EXTINCTUS DOCUIT SIC STERNERE TURPE.
+
+And under the Rivers were these two other verses:
+
+  VENIMUS, ARNE, TUO CONFIXA IN VULNERE MOESTA
+  FLUMINA, UT EREPTUM MUNDO PLOREMUS HONOREM.
+
+This picture was held to be very beautiful in the invention, in the
+composition of the whole scene and the loveliness of the figures, and
+in the beauty of the verses, and because the painter honoured
+Michelagnolo with this his labour, not by commission, but
+spontaneously and with such assistance as his own merit enabled him to
+obtain from his courteous and honourable friends; and for this reason
+he deserved to be even more highly commended.
+
+In another picture, six braccia in length and four in height, near the
+lateral door that leads out of the church, Tommaso da San Friano, a
+young painter of much ability, had painted Michelagnolo as Ambassador
+of his country at the Court of Pope Julius II; as we have related that
+he went, and for what reasons, sent by Soderini. Not far distant from
+the above-named picture (namely, a little below that lateral door
+which leads out of the church), in another picture of the same size,
+Stefano Pieri, a pupil of Bronzino and a young man of great diligence
+and industry, had painted a scene that had in truth happened several
+times in Rome not long before--namely, Michelagnolo seated in a room
+by the side of the most illustrious Lord Duke Cosimo, who stood
+conversing with him; of all which enough has been said above.
+
+Over the said black draperies with which, as has been told, the whole
+church was hung all round, wherever there were no painted scenes or
+pictures, there were in each of the spaces of the chapels images of
+death, devices, and other suchlike things, all different from those
+that are generally made, and very fanciful and beautiful. Some of
+these, as it were lamenting that they had been forced to deprive the
+world of such a man, had these words in a scroll:
+
+  COEGIT DURA NECESSITAS.
+
+And near them was a globe of the world, from which had sprung a lily,
+which had three flowers and was broken in the middle, executed with
+most beautiful fantasy and invention by the above-named Alessandro
+Allori. There were other Deaths, also, depicted with other inventions,
+but that one was most extolled upon whose neck, as she lay prostrate
+on the ground, Eternity, with a palm in the hand, had planted one of
+her feet, and, regarding her with a look of disdain, appeared to be
+saying to her: "Be it necessity or thy will, thou hast done nothing,
+for in spite of thee, come what may, Michelagnolo shall live." The
+motto ran thus:
+
+  VICIT INCLYTA VIRTUS.
+
+And all this was the invention of Vasari.
+
+I will not omit to say that each of these Deaths had on either side
+the device of Michelagnolo, which was three crowns, or rather, three
+circlets, intertwined together in such a manner, that the
+circumference of one passed through the centre of the two others, and
+so with each; which sign Michelagnolo used either to suggest that the
+three professions of sculpture, painting, and architecture are
+interwoven one with another and so bound together, that each of them
+receives benefit and adornment from the others, and they neither can
+nor should be separated; or, indeed, being a man of lofty genius, he
+may have had a more subtle meaning. But the Academicians, considering
+him to have been perfect in all these three professions, and that each
+of these had assisted and embellished the other, changed his three
+circlets into three crowns intertwined together, with the motto:
+
+  TERGEMINIS TOLLIT HONORIBUS.
+
+Which was intended to signify that in those three professions the
+crown of human perfection was justly due to him.
+
+On the pulpit from which Varchi delivered the funeral oration, which
+was afterwards printed, there was no ornamentation, because, that work
+having been executed in bronze, with scenes in half-relief and
+low-relief, by the excellent Donatello, any adornment that might have
+been added to it would have been by a great measure less beautiful.
+But on the other, which is opposite to the first, although it had not
+yet been raised on the columns, there was a picture, four braccia in
+height and little more than two in width, wherein there was painted
+with beautiful invention and excellent design, to represent Fame, or
+rather, Honour, a young man in a most beautiful attitude, with a
+trumpet in the right hand, and with the feet planted on Time and
+Death, in order to show that fame and honour, in spite of death and
+time, preserve alive to all eternity those who have laboured valiantly
+in this life. This picture was by the hand of Vincenzio Danti, the
+sculptor of Perugia, of whom we have spoken, and will speak again
+elsewhere.
+
+The church having been embellished in such a manner, adorned with
+lights, and filled with a countless multitude, for everyone had left
+every other care and flocked together to such an honourable spectacle,
+there entered behind the above-named Lieutenant of the Academy,
+accompanied by the Captain and Halberdiers of the Duke's Guard, the
+Consuls and the Academicians, and, in short, all the painters,
+sculptors, and architects of Florence. After all these had sat down
+between the catafalque and the high-altar, where they had been awaited
+for a good while by an infinite number of lords and gentlemen, who had
+been accommodated with seats according to the rank of each, there was
+begun a most solemn Mass for the dead, with music and ceremonies of
+every kind. Which finished, Varchi mounted the above-mentioned pulpit,
+who had never performed such an office since he did it for the most
+illustrious Lady Duchess of Ferrara, the daughter of Duke Cosimo; and
+there, with that elegance, those modes of utterance, and that voice
+which were the peculiar attributes of that great man in oratory, he
+recounted the praises and merits, life and works of the divine
+Michelagnolo Buonarroti.
+
+Of a truth, what great good fortune it was for Michelagnolo that he
+did not die before our Academy was created, whereby his funeral rites
+were celebrated with so much honour and such magnificent and
+honourable pomp! So, also, it must be considered most fortunate for
+him that it happened that he passed from this to an eternal and most
+blessed life before Varchi, seeing that he could not have been
+extolled by any more eloquent and learned man. That funeral oration by
+M. Benedetto Varchi was printed a short time afterwards, as was also,
+not long after that, another equally beautiful oration, likewise in
+praise of Michelagnolo and of painting, composed by the most noble and
+most learned M. Leonardo Salviati, at that time a young man of about
+twenty-two years of age, and of a rare and happy genius in all manner
+of compositions, both Latin and Tuscan, as is known even now, and will
+be better known in the future, to all the world. And what shall I say,
+what can I say, that would not be too little, of the capacity,
+goodness, and wisdom of the very reverend Lord Lieutenant, the
+above-named Don Vincenzio Borghini? Save that it was with him as their
+chief, their guide, and their counsellor, that the eminent men of the
+Academy and Company of Design celebrated those obsequies; for the
+reason that, although each of them was competent to do much more in
+his art than he did, nevertheless no enterprise is ever carried to a
+perfect and praiseworthy end save when one single man, in the manner
+of an experienced pilot and captain, has authority and power over all
+others. And since it was not possible that the whole city should see
+that funeral pomp in one day, by order of the Duke it was all left
+standing many weeks, for the satisfaction of his people and of the
+strangers who came from neighbouring places to see it.
+
+We shall not give in this place the great multitude of epitaphs and
+verses, both Latin and Tuscan, composed by many able men in honour of
+Michelagnolo; both because they would require a work to themselves,
+and because they have been written down and published by other writers
+elsewhere. But I will not omit to say in this last part, that after
+all the honours described above the Duke ordained that an honourable
+place should be given to Michelagnolo for his tomb in S. Croce, in
+which church he had purposed in his lifetime to be buried, because the
+sepulchre of his ancestors was there. And to Leonardo, the nephew of
+Michelagnolo, his Excellency gave all the marbles, both white and
+variegated, for that tomb, which was allotted to Battista Lorenzi, an
+able sculptor, to execute after the design of Giorgio Vasari, together
+with the head of Michelagnolo. And since there are to be three statues
+there, Painting, Sculpture, and Architecture, one of these was
+allotted to the above-named Battista, one to Giovanni dell'Opera, and
+the last to Valerio Cioli, Florentine sculptors; which statues are in
+process of being fashioned together with the tomb, and soon they will
+be seen finished and set in their places. The cost, over and above the
+marbles received from the Duke, has been borne by the same Leonardo
+Buonarroti. But his Excellency, in order not to fail in any respect in
+doing honour to that great man, will cause to be placed in the Duomo,
+as he has previously thought to do, a memorial with his name, besides
+the head, even as there are to be seen there the names and images of
+the other eminent Florentines.
+
+
+
+
+FRANCESCO PRIMATICCIO
+
+
+
+
+DESCRIPTION OF THE WORKS OF FRANCESCO PRIMATICCIO
+
+PAINTER AND ARCHITECT OF BOLOGNA, AND ABBOT OF S. MARTIN
+
+
+Having treated hitherto of such of our craftsmen as are no longer
+alive among us--of those, namely, who have lived from 1200 until this
+year of 1567--and having set Michelagnolo Buonarroti in the last place
+for many reasons, although two or three have died later than he, I
+have thought that it cannot be otherwise than a praiseworthy labour to
+make mention likewise in this our work of many noble craftsmen who are
+alive, and, for their merits, most worthy to be highly extolled and to
+be numbered among these last masters. This I do all the more willingly
+because they are all very much my friends and brothers, and the three
+most eminent are already so far advanced in years, that, having come
+to the furthest limit of old age, little more can be expected from
+them, although they still continue by a sort of habit to occupy
+themselves with some work. After these I will also make brief mention
+of those who under their discipline have become such, that they hold
+the first places among the craftsmen of our own day; and of others who
+in like manner are advancing towards perfection in our arts.
+
+Beginning, then, with Francesco Primaticcio, to go on afterwards to
+Tiziano Vecelli and Jacopo Sansovino: I have to record that the said
+Francesco, born in Bologna of the noble family of the Primaticci, much
+celebrated by Fra Leandro Alberti and by Pontano, was apprenticed in
+his early boyhood to commerce. But, that calling pleasing him little,
+not long afterwards, being exalted in mind and spirit, he set himself
+to practise design, to which he felt himself inclined by nature; and
+so, giving his attention to drawing, and at times to painting, no
+long time passed before he gave proof that he was likely to achieve an
+excellent result. Going afterwards to Mantua, where at that time
+Giulio Romano was working at the Palace of the Te for Duke Federigo,
+he employed such interest that he was set, in company with many other
+young men who were with Giulio, to labour at that work. There,
+attending to the studies of art with much industry and diligence for a
+period of six years, he learned very well to handle colours and to
+work in stucco; wherefore, among all the other young men who were
+labouring in the work of that Palace, Francesco came to be held one of
+the most excellent, and the best of all at drawing and colouring. This
+may be seen in a great chamber, round which he made two friezes of
+stucco, one above the other, with a great abundance of figures that
+represent the ancient Roman soldiery; and in the same Palace,
+likewise, he executed many works in painting that are to be seen
+there, after the designs of the above-named Giulio. Through these
+works Primaticcio came into such favour with that Duke, that, when
+King Francis of France heard with what quantity of ornaments he had
+caused the work of the Palace to be executed, and wrote to him that at
+all costs he should send him a young man able to work in painting and
+stucco, the Duke sent him Francesco Primaticcio, in the year 1531. And
+although the year before that the Florentine painter Rosso had gone
+into the service of the same King, as has been related, and had
+executed many works there, and in particular the pictures of Bacchus
+and Venus, Psyche and Cupid, nevertheless the first works in stucco
+that were done in France, and the first labours in fresco of any
+account, had their origin, it is said, from Primaticcio, who decorated
+in this manner many chambers, halls, and loggie for that King.
+
+[Illustration: DECORATIVE PANELS
+
+(_After =Primaticcio=. Fontainebleau: Galerie Henry II_)
+
+_X. Photo_]
+
+Liking the manner of this painter, and his procedure in every matter,
+the King sent him in the year 1540 to Rome, to contrive to obtain
+certain antique marbles; in which Primaticcio served him with such
+diligence, that in a short time, what with heads, torsi, and figures,
+he bought one hundred and twenty-five pieces. And at that same time he
+caused to be moulded by Jacopo Barozzi of Vignuola, and by others, the
+bronze horse that is on the Campidoglio, a great part of the scenes on
+the Column, the statue of Commodus, the Venus, the Laocoon, the
+Tiber, the Nile, and the statue of Cleopatra, which are in the
+Belvedere; to the end that they might all be cast in bronze. Rosso
+having meanwhile died in France, and a long gallery therefore
+remaining unfinished which had been begun after his designs and in
+great part adorned with stucco-work and pictures, Primaticcio was
+recalled from Rome; whereupon he took ship with the above-mentioned
+marbles and moulds of antique figures, and returned to France. There,
+before any other thing, he cast according to those moulds and forms a
+great part of those antique figures, which came out so well, that they
+might be the originals; as may be seen in the Queen's garden at
+Fontainebleau, where they were placed, to the vast satisfaction of
+that King, who made in that place, one might say, another Rome. I will
+not omit to say that Primaticcio, in executing those statues, employed
+masters so excellent in the art of casting, that those works came out
+not only light, but with a surface so smooth, that it was hardly
+necessary to polish them.
+
+This work done, Primaticcio was commissioned to give completion to the
+gallery that Rosso had left unfinished; whereupon he set his hand to
+it, and in a short time delivered it finished with as many works in
+stucco and painting as have ever been executed in any place. Wherefore
+the King, finding that he had been well served in the period of eight
+years that this master had worked for him, had him placed among the
+number of his chamberlains; and a short time afterwards, which was in
+the year 1544, he made him Abbot of S. Martin, considering that
+Francesco deserved no less. But for all this Francesco has never
+ceased to have many works in stucco and in painting executed in the
+service of his King and of the others who have governed that kingdom
+after Francis I. Among others who have assisted him in this, he has
+been served, to say nothing of many of his fellow-Bolognese, by Giovan
+Battista, the son of Bartolommeo Bagnacavallo, who has proved not less
+able than his father in many scenes and other works of Primaticcio's
+that he has carried into execution. Another who has served him for a
+considerable time is one Ruggieri da Bologna, who is still with him.
+In like manner, Prospero Fontana, a painter of Bologna, was summoned
+to France not long since by Primaticcio, who intended to make use of
+him; but, having fallen ill to the danger of his life immediately
+after his arrival, he returned to Bologna. To tell the truth, these
+two, Bagnacavallo and Fontana, are able men, and I, who have made
+considerable use both of the one and of the other, of the first at
+Rome, and of the second at Rimini and Florence, can declare this with
+certainty. But of all those who have assisted the Abbot Primaticcio,
+none has done him more honour than Niccolò da Modena, of whom mention
+has been made on another occasion, for by the excellence of his art
+this master has surpassed all the others. Thus he executed with his
+own hand, after the designs of the Abbot, a hall called the Ball-room,
+with such a vast number of figures, that it appears scarcely possible
+that they could be counted, and all as large as life and coloured in
+so bright a manner, that in the harmony of the fresco-colours they
+appear like work in oils. After this work he painted in the Great
+Gallery, likewise from the designs of the Abbot, sixty stories of the
+life and actions of Ulysses, but with a colouring much darker than the
+pictures in the Ball-room. This came about because he used no other
+colours but the earths in the pure state in which they are produced by
+Nature, without mixing with them, it may be said, any white, and so
+heavily loaded with darks in the deep parts, that these have
+extraordinary relief and force; besides which, he executed the whole
+work with such harmony, that it appears almost as if painted in one
+and the same day. Wherefore he merits extraordinary praise,
+particularly because he executed it in fresco, without ever retouching
+it "a secco," as many at the present day are accustomed to do. The
+vaulting of this gallery, likewise, is all wrought in stucco and
+painting, executed with much diligence by the men mentioned above and
+other young painters, but still after the designs of the Abbot; as is
+also the old Hall, and likewise a lower gallery that is over the pond,
+which is most beautiful and better adorned with lovely works than any
+other part of that place; but to attempt to speak of it at any length
+would make too long a story.
+
+[Illustration: DECORATIVE PANEL
+
+(_After the painting by =Primaticcio=. Fontainebleau: Escalier du
+Roi_)
+
+_Mansell_]
+
+At Meudon the same Abbot Primaticcio has made innumerable decorations
+for the Cardinal of Lorraine in a vast palace belonging to him, called
+the Grotto, a place so extraordinary in size, that, after the likeness
+of similar edifices of the ancients, it might be called the Thermæ,
+by reason of the vast number and grandeur of the loggie, staircases,
+and apartments, both public and private, that are there; and, to say
+nothing of other particulars, most beautiful is a room called the
+Pavilion, for it is all adorned with compartments and mouldings of
+stucco that are wrought with a view to being seen from below, and
+filled with a number of figures foreshortened in the same manner,
+which are very beautiful. Beneath this, then, is a large room with
+some fountains wrought in stucco, and full of figures in the round and
+compartments formed of shells and other products of the sea and
+natural objects, which are marvellous things and beautiful beyond
+measure; and the vaulting, likewise, is all most excellently wrought
+in stucco by the hand of Domenico del Barbiere, a Florentine painter,
+who is excellent not only in this kind of relief, but also in design,
+so that in some works that he has coloured he has given proofs of the
+rarest ability. In the same place, also, many figures of stucco in the
+round have been executed by a sculptor likewise of our country, called
+Ponzio, who has acquitted himself very well. But, since the works that
+have been executed in those places in the service of those lords are
+innumerable in their variety, I must touch only on the principal works
+of the Abbot, in order to show how rare he is in painting, in design,
+and in matters of architecture; although, in truth, it would not
+appear to me an excessive labour to enlarge on the particular works,
+if I had some true and clear information about them, as I have about
+works here. With regard to design, Primaticcio has been and still is
+most excellent, as may be seen from a drawing by his hand painted with
+the signs of the heavens, which is in our book, sent to me by
+Francesco himself; and I, both for love of him and because it is a
+thing of absolute perfection, hold it very dear.
+
+King Francis being dead, the Abbot remained in the same place and rank
+with King Henry, and served him as long as he lived; and afterwards he
+was created by King Francis II Commissary-General over all the
+buildings of the whole kingdom, in which office, one of great honour
+and much repute, there had previously acted the father of Cardinal
+della Bordagiera and Monseigneur de Villeroy. Since the death of
+Francis II, he has continued in the same office, serving the present
+King, by whose order and that of the Queen-Mother Primaticcio has made
+a beginning with the tomb of the above-named King Henry, making in the
+centre of a six-sided chapel the sepulchre of the King himself, and at
+four sides the sepulchres of his four children; while at one of the
+other two sides of the chapel is the altar, and at the other the door.
+And since there are going into this work innumerable statues in marble
+and bronzes and a number of scenes in low-relief, it will prove worthy
+of all these great Kings and of the excellence and genius of so rare a
+craftsman as is this Abbot of S. Martin, who in his best years has
+been most excellent and versatile in all things that pertain to our
+arts, seeing that he has occupied himself in the service of his lords
+not only in buildings, paintings, and stucco-work, but also in the
+preparations for many festivals and masquerades, with most beautiful
+and fantastic inventions.
+
+He has been very liberal and most loving towards his friends and
+relatives, and likewise towards the craftsmen who have served him. In
+Bologna he has conferred many benefits on his relatives, and has
+bought honourable dwellings for them and made them commodious and very
+ornate, as is that wherein there now lives M. Antonio Anselmi, who has
+for wife one of the nieces of our Abbot Primaticcio, who has also
+given in marriage another niece, the sister of the first-named, with
+honour and a good dowry. Primaticcio has always lived not like a
+painter and craftsman, but like a nobleman, and, as I have said, he
+has been very loving towards our craftsmen. When, as has been related,
+he sent for Prospero Fontana, he despatched to him a good sum of
+money, to the end that he might be able to make his way to France.
+This sum, having fallen ill, Prospero was not able to pay back or
+return by means of his works and labours; wherefore I, passing in the
+year 1563 through Bologna, recommended Prospero to him in this matter,
+and such was the courtesy of Primaticcio, that before I departed from
+Bologna I saw a writing by the hand of the Abbot in which he made a
+free gift to Prospero of all that sum of money which he had in hand
+for that purpose. For which reasons the affection that he has won
+among craftsmen is such, that they address and honour him as a father.
+
+Now, to say something more of Prospero, I must record that he was
+once employed with much credit to himself in Rome, by Pope Julius III,
+at his Palace, at the Vigna Giulia, and at the Palace of the Campo
+Marzio, which at that time belonged to Signor Balduino Monti, and now
+belongs to the Lord Cardinal Ernando de' Medici, the son of Duke
+Cosimo. In Bologna the same master has executed many works in oils and
+in fresco, and in particular an altar-piece in oils in the Madonna del
+Baracane, of a S. Catherine who is disputing with philosophers and
+doctors in the presence of the Tyrant, which is held to be a very
+beautiful work. And the same Prospero has painted many pictures in
+fresco in the principal chapel of the Palace where the Governor lives.
+
+Much the friend of Primaticcio, likewise, is Lorenzo Sabatini, an
+excellent painter; and if he had not been burdened with a wife and
+many children, the Abbot would have taken him to France, knowing that
+he has a very good manner and great mastery in all kinds of work, as
+may be seen from many things that he has done in Bologna. And in the
+year 1566 Vasari made use of him in the festive preparations that were
+carried out in Florence for the above-mentioned nuptials of the Prince
+and her serene Highness Queen Joanna of Austria, causing him to
+execute, in the vestibule that is between the Sala dei Dugento and the
+Great Hall, six figures in fresco that are very beautiful and truly
+worthy to be praised. But since this able painter is constantly making
+progress, I shall say nothing more about him, save that, attending as
+he does to the studies of art, a most honourable result is expected
+from him.
+
+Now, in connection with the Abbot and the other Bolognese of whom
+mention has been made hitherto, I shall say something of Pellegrino
+Bolognese, a painter of the highest promise and most beautiful genius.
+This Pellegrino, after having attended in his early years to drawing
+the works by Vasari that are in the refectory of S. Michele in Bosco
+at Bologna, and those by other painters of good name, went in the year
+1547 to Rome, where he occupied himself until the year 1550 in drawing
+the most noteworthy works; executing during that time and also
+afterwards, in the Castello di S. Angelo, some things in connection
+with the works that Perino del Vaga carried out. In the centre of the
+vaulting of the Chapel of S. Dionigi, in the Church of S. Luigi de'
+Franzesi, he painted a battle-scene in fresco, in which he acquitted
+himself in such a manner, that, although Jacopo del Conte, a
+Florentine painter, and Girolamo Siciolante of Sermoneta had executed
+many works in the same chapel, Pellegrino proved to be in no way
+inferior to them; nay, it appears to many that he acquitted himself
+better than they did in the boldness, grace, colouring, and design of
+those his pictures. By reason of this Monsignor Poggio afterwards
+availed himself much of Pellegrino, for he had erected a palace on the
+Esquiline Hill, where he had a vineyard, without the Porta del Popolo,
+and he desired that Pellegrino should execute some figures for him on
+the façade, and then that he should paint the interior of a loggia
+that faces towards the Tiber, which he executed with such diligence,
+that it is held to be a work of much beauty and grace. In the house of
+Francesco Formento, between the Strada del Pellegrino and the Parione,
+he painted in a courtyard a façade and two figures besides. By order
+of the ministers of Pope Julius III, he executed a large escutcheon,
+with two figures, in the Belvedere; and without the Porta del Popolo,
+in the Church of S. Andrea, which that Pontiff had caused to be built,
+he painted a S. Peter and a S. Andrew, which two figures were much
+extolled, and the design of the S. Peter is in our book, together with
+other sheets drawn with much diligence by the same hand.
+
+[Illustration: THE ADORATION OF THE SHEPHERDS
+
+(_After the painting by =Pellegrino Tibaldi=. Vienna: Prince
+Liechtenstein_)
+
+_Hanfstaengl_]
+
+Being then sent to Bologna by Monsignor Poggio, he painted for him in
+his palace there many scenes in fresco, among which is one that is
+most beautiful, wherein from the many figures, both nude and clothed,
+and the lovely composition of the scene, it is evident that he
+surpassed himself, insomuch that he has never done any work since
+better than this. In S. Jacopo, in the same city, he began to paint a
+chapel likewise for Cardinal Poggio, which was afterwards finished by
+the above-mentioned Prospero Fontana. Being then taken by the Cardinal
+of Augsburg to the Madonna of Loreto, Pellegrino decorated for him a
+chapel most beautifully with stucco-work and pictures. On the
+vaulting, within a rich pattern of compartments in stucco, are the
+Nativity of Christ and His Presentation in the arms of Simeon at the
+Temple; and in the centre, in particular, is the Transfiguration of
+the Saviour on Mount Tabor, and with Him Moses, Elias, and the
+Disciples. In the altar-piece that is above the altar, he painted S.
+John the Baptist baptizing Christ; and in this he made a portrait of
+the above-named Cardinal, kneeling. On one of the façades at the sides
+he painted S. John preaching to the multitude, and on the other the
+Beheading of the same Saint. In the forecourt below the church he
+painted stories of the Judgment, and some figures in chiaroscuro in
+the place where the Theatines now have their Confessional.
+
+Being summoned not long afterwards to Ancona by Giorgio Morato, he
+painted for the Church of S. Agostino a large altar-piece in oils of
+Christ baptized by S. John, with S. Paul and other Saints on one side,
+and in the predella a good number of little figures, which are full of
+grace. For the same man he made in the Church of S. Ciriaco sul Monte
+a very beautiful ornament in stucco for the altar-piece of the
+high-altar, and within it a Christ of five braccia in full-relief,
+which was much extolled. In like manner, he has made in the same city
+a very large and very beautiful ornament of stucco for the high-altar
+of S. Domenico, and he would also have painted the altar-picture, but
+he had a difference with the patron of that work, and it was given to
+Tiziano Vecelli to execute, as will be related in the proper place.
+Finally, having undertaken to decorate in the same city of Ancona the
+Loggia de' Mercanti, which faces on one side over the sea-shore and on
+the other towards the principal street of the city, Pellegrino has
+adorned the vaulting, which is a new structure, with pictures and many
+large figures in stucco; in which work since he has exerted all the
+effort and study possible to him, it has turned out in truth full of
+beauty and grace, for the reason that, besides that all the figures
+are beautiful and well executed, there are some most lovely
+foreshortenings of nudes, in which it is evident that he has imitated
+with much diligence the works of Buonarroti that are in the Chapel in
+Rome.
+
+Now, since there are not in those parts any architects or engineers of
+account, or any who know more than he does, Pellegrino has taken it
+upon himself to give his attention to architecture and to the
+fortifying of places in that province; and, as one who has recognized
+that painting is more difficult and perhaps less advantageous than
+architecture, setting his painting somewhat on one side, he has
+executed many works for the fortification of Ancona and for many other
+places in the States of the Church, and particularly at Ravenna.
+Finally, he has made a beginning with a palace for the Sapienza, at
+Pavia, for Cardinal Borromeo. And at the present day, since he has not
+wholly abandoned painting, he is executing a scene in fresco, which
+will be very beautiful, in the refectory of S. Giorgio at Ferrara, for
+the Monks of Monte Oliveto; and of this Pellegrino himself not long
+ago showed me the design, which is very fine. But, seeing that he is a
+young man of thirty-five, and is constantly making more and more
+progress and advancing towards perfection, this much about him must
+suffice for the present. In like manner, I shall be brief in speaking
+of Orazio Fumaccini,[7] a painter likewise from Bologna, who has
+executed in Rome, as has been related, above one of the doors of the
+Hall of Kings, a scene that is very fine, and in Bologna many
+much-extolled pictures; for he also is young, and he is acquitting
+himself in such a manner, that he will not be inferior to his elders,
+of whom we have made mention in these our Lives.
+
+         [Footnote 7: Sammacchini.]
+
+The men of Romagna, also, spurred by the example of the Bolognese,
+their neighbours, have executed many noble works in our arts; for,
+besides Jacopone da Faenza, who, as has been related, painted the
+tribune of S. Vitale in Ravenna, there have been and still are many
+others after him who are excellent. Maestro Luca de' Longhi of
+Ravenna, a man of good, quiet, and studious nature, has painted in his
+native city of Ravenna and in the surrounding country many very
+beautiful panel-pictures in oils and portraits from nature; and of
+much charm, among others, are two little altar-pieces that he was
+commissioned not long since to paint for the Church of the Monks of
+Classi by the Reverend Don Antonio da Pisa, then Abbot of that
+Monastery; to say nothing of an infinite number of other works that
+this painter has executed. And, to tell the truth, if Maestro Luca had
+gone forth from Ravenna, where he has always lived and still lives
+with his family, being assiduous and very diligent, and of fine
+judgment, he would have become a very rare painter, because he has
+executed his works, as he still does, with patience and study; and to
+this I can bear witness, who know how much proficience he made during
+my sojourn of two months in Ravenna, both practising and discussing
+the matters of art; nor must I omit to say that a daughter of his,
+still but a little girl, called Barbara, draws very well, and has
+begun to do some work in colour with no little grace and excellence of
+manner.
+
+A rival of Luca, for a time, was Livio Agresti of Forlì, who, after he
+had executed for Abbot de' Grassi in the Church of the Spirito Santo
+some scenes in fresco and certain other works, departed from Ravenna
+and made his way to Rome. There, attending with much study to design,
+he became a well-practised master, as may be seen from some façades
+and other works in fresco that he executed at that time; and his first
+works, which are in Narni, have in them not a little of the good. In a
+chapel of the Church of the Santo Spirito, in Rome, he has painted a
+number of figures and scenes in fresco, which are executed with much
+industry and study, so that they are rightly extolled by everyone.
+That work was the reason, as has been related, that there was allotted
+to him one of the smaller scenes that are over the doors in the Hall
+of Kings in the Palace of the Vatican, in which he acquitted himself
+so well, that it can bear comparison with the others. The same master
+has executed for the Cardinal of Augsburg seven pieces with scenes
+painted on cloth of silver, which have been held to be very beautiful
+in Spain, where they have been sent by that same Cardinal as presents
+to King Philip, to be used as hangings in a chamber. Another picture
+on cloth of silver he has painted in the same manner, which is now to
+be seen in the Church of the Theatines at Forlì. Finally, having
+become a good and bold draughtsman, a well-practised colourist,
+fertile in the composition of scenes, and universal in his manner, he
+has been invited by the above-named Cardinal with a good salary to
+Augsburg, where he is constantly executing works worthy of much
+praise.
+
+But most rare among the other men of Romagna, in certain respects, is
+Marco da Faenza (for only so, and not otherwise, is he called), for
+the reason that he has no ordinary mastery in the work of fresco,
+being bold, resolute, and of a terrible force, and particularly in the
+manner and practice of making grotesques, in which he has no equal at
+the present day, nor one who even approaches his perfection. His
+works may be found throughout all Rome; and in Florence there is by
+his hand the greater part of the ornaments of twenty different rooms
+that are in the Ducal Palace, and the friezes of the ceiling in the
+Great Hall of that Palace, which was painted by Giorgio Vasari, as
+will be fully described in the proper place; not to mention that the
+decorations of the principal court of the same Palace, made in a short
+time for the coming of Queen Joanna, were executed in great part by
+the same man. And this must be enough of Marco, he being still alive
+and in the flower of his growth and activity.
+
+In Parma there is at the present day in the service of the Lord Duke
+Ottavio Farnese, a painter called Miruolo, a native, I believe, of
+Romagna, who, besides some works executed in Rome, has painted many
+scenes in fresco in a little palace that the same Lord Duke has caused
+to be built in the Castle of Parma. There, also, are some fountains
+constructed with fine grace by Giovanni Boscoli, a sculptor of
+Montepulciano, who, having worked in stucco for many years under
+Vasari in the Palace of the above-named Lord Duke Cosimo of Florence,
+has finally entered the service of the above-mentioned Lord Duke of
+Parma, with a good salary, and has executed, as he continues
+constantly to do, works worthy of his rare and most beautiful genius.
+In the same cities and provinces, also, are many other excellent and
+noble craftsmen; but, since they are still young, we shall defer to a
+more convenient time the making of that honourable mention of them
+that their talents and their works may have merited.
+
+And this is the end of the works of Abbot Primaticcio. I will add
+that, he having had himself portrayed in a pen-drawing by the
+Bolognese painter Bartolommeo Passerotto, who was very much his
+friend, that portrait has come into our hands, and we have it in our
+book of drawings by the hands of various excellent painters.
+
+
+
+
+TIZIANO DA CADORE
+
+
+[Illustration: TIZIANO: THE MADONNA OF THE CHERRIES
+
+(_Vienna: Imperial Gallery, 180. Panel_)]
+
+
+
+
+DESCRIPTION OF THE WORKS OF TIZIANO DA CADORE
+
+PAINTER
+
+
+Tiziano was born at Cadore, a little township situated on the Piave and
+five miles distant from the pass of the Alps, in the year 1480, from the
+family of the Vecelli, one of the most noble in that place. At the age
+of ten, having a fine spirit and a lively intelligence, he was sent to
+Venice to the house of an uncle, an honoured citizen, who, perceiving
+the boy to be much inclined to painting, placed him with Gian Bellini,
+an excellent painter very famous at that time, as has been related.
+Under his discipline, attending to design, he soon showed that he was
+endowed by nature with all the gifts of intellect and judgment that are
+necessary for the art of painting; and since at that time Gian Bellini
+and the other painters of that country, from not being able to study
+ancient works, were much--nay, altogether--given to copying from the
+life whatever work they did, and that with a dry, crude, and laboured
+manner, Tiziano also for a time learned that method. But having come to
+about the year 1507, Giorgione da Castelfranco, not altogether liking
+that mode of working, began to give to his pictures more softness and
+greater relief, with a beautiful manner; nevertheless he used to set
+himself before living and natural objects and counterfeit them as well
+as he was able with colours, and paint them broadly with tints crude or
+soft according as the life demanded, without doing any drawing, holding
+it as certain that to paint with colours only, without the study of
+drawing on paper, was the true and best method of working, and the true
+design. For he did not perceive that for him who wishes to distribute
+his compositions and accommodate his inventions well, it is necessary
+that he should first put them down on paper in several different ways,
+in order to see how the whole goes together, for the reason that the
+idea is not able to see or imagine the inventions perfectly within
+herself, if she does not reveal and demonstrate her conception to the
+eyes of the body, that these may assist her to form a good judgment.
+Besides which, it is necessary to give much study to the nude, if you
+wish to comprehend it well, which you will never do, nor is it possible,
+without having recourse to paper; and to keep always before you, while
+you paint, persons naked or draped, is no small restraint, whereas, when
+you have formed your hand by drawing on paper, you then come little by
+little with greater ease to carry your conceptions into execution,
+designing and painting together. And so, gaining practice in art, you
+make both manner and judgment perfect, doing away with the labour and
+effort wherewith those pictures were executed of which we have spoken
+above, not to mention that by drawing on paper, you come to fill the
+mind with beautiful conceptions, and learn to counterfeit all the
+objects of nature by memory, without having to keep them always before
+you or being obliged to conceal beneath the glamour of colouring the
+painful fruits of your ignorance of design, in the manner that was
+followed for many years by the Venetian painters, Giorgione, Palma,
+Pordenone, and others, who never saw Rome or any other works of absolute
+perfection.
+
+[Illustration: ARIOSTO
+
+(_After the painting by =Tiziano=. London: National Gallery, No.
+1944_)
+
+_Mansell_]
+
+Tiziano, then, having seen the method and manner of Giorgione,
+abandoned the manner of Gian Bellini, although he had been accustomed
+to it for a long time, and attached himself to that of Giorgione;
+coming in a short time to imitate his works so well, that his pictures
+at times were mistaken for works by Giorgione, as will be related
+below. Then, having grown in age, practice, and judgment, Tiziano
+executed many works in fresco, which cannot be enumerated in order,
+being dispersed over various places; let it suffice that they were
+such, that the opinion was formed by many experienced judges that he
+would become, as he afterwards did, a most excellent painter. At the
+time when he first began to follow the manner of Giorgione, not being
+more than eighteen years of age, he made the portrait of a gentleman
+of the Barberigo family, his friend, which was held to be very
+beautiful, the likeness of the flesh-colouring being true and
+natural, and all the hairs so well distinguished one from another,
+that they might have been counted, as also might have been the
+stitches in a doublet of silvered satin that he painted in that work.
+In short, it was held to be so well done, and with such diligence,
+that if Tiziano had not written his name on a dark ground, it would
+have been taken for the work of Giorgione.
+
+Meanwhile Giorgione himself had executed the principal façade of the
+Fondaco de' Tedeschi, and by means of Barberigo there were allotted to
+Tiziano certain scenes on the same building, above the Merceria. After
+which work he painted a large picture with figures of the size of
+life, which is now in the hall of M. Andrea Loredano, who dwells near
+S. Marcuola. In that picture is painted Our Lady going into Egypt, in
+the midst of a great forest and certain landscapes that are very well
+done, because Tiziano had given his attention for many months to such
+things, and had kept in his house for that purpose some Germans who
+were excellent painters of landscapes and verdure. In the wood in that
+picture, likewise, he painted many animals, which he portrayed from
+the life; and they are truly natural, and almost alive. Next, in the
+house of M. Giovanni D'Anna, a Flemish gentleman and merchant, his
+gossip, he made his portrait, which has all the appearance of life,
+and also an "Ecce Homo" with many figures, which is held by Tiziano
+himself and by others to be a very beautiful work. The same master
+painted a picture of Our Lady with other figures the size of life, of
+men and children, all portrayed from the life and from persons of that
+house. Then in the year 1507, while the Emperor Maximilian was making
+war on the Venetians, Tiziano, according to his own account, painted
+an Angel Raphael with Tobias and a dog in the Church of S. Marziliano,
+with a distant landscape, where, in a little wood, S. John the Baptist
+is praying on his knees to Heaven, whence comes a radiance that
+illumines him; and this work it is thought that he executed before he
+made a beginning with the façade of the Fondaco de' Tedeschi.
+Concerning which façade, many gentlemen, not knowing that Giorgione
+was not working there any more and that Tiziano was doing it, who had
+uncovered one part, meeting with Giorgione, congratulated him in
+friendly fashion, saying that he was acquitting himself better in the
+façade towards the Merceria than he had done in that which is over the
+Grand Canal. At which circumstance Giorgione felt such disdain, that
+until Tiziano had completely finished the work and it had become well
+known that the same had done that part, he would scarcely let himself
+be seen; and from that time onward he would never allow Tiziano to
+associate with him or be his friend.
+
+[Illustration: BACCHANAL
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+In the year after, 1508, Tiziano published in wood-engraving the
+Triumph of Faith, with an infinity of figures; our first Parents, the
+Patriarchs, the Prophets, the Sibyls, the Innocents, the Martyrs, the
+Apostles, and Jesus Christ borne in Triumph by the four Evangelists
+and the Four Doctors, with the Holy Confessors behind. In that work
+Tiziano displayed boldness, a beautiful manner, and the power to work
+with facility of hand; and I remember that Fra Sebastiano del Piombo,
+conversing of this, said to me that if Tiziano had been in Rome at
+that time, and had seen the works of Michelagnolo, those of Raffaello,
+and the ancient statues, and had studied design, he would have done
+things absolutely stupendous, considering the beautiful mastery that
+he had in colouring, and that he deserved to be celebrated as the
+finest and greatest imitator of Nature in the matter of colour in our
+times, and with the foundation of the grand method of design he might
+have equalled the Urbinate and Buonarroti. Afterwards, having gone to
+Vicenza, Tiziano painted the Judgment of Solomon in fresco, which was
+a beautiful work, under the little loggia where justice is
+administered in public audience. He then returned to Venice, and
+painted the façade of the Grimani. At Padua, in the Church of S.
+Antonio, he executed likewise in fresco some stories of the actions of
+that Saint, and for that of S. Spirito he painted a little altar-piece
+with a S. Mark seated in the midst of certain Saints, in whose faces
+are some portraits from life done in oils with the greatest diligence;
+which picture many have believed to be by the hand of Giorgione. Then,
+a scene having been left unfinished in the Hall of the Great Council
+through the death of Giovanni Bellini, wherein Frederick Barbarossa is
+kneeling at the door of the Church of S. Marco before Pope Alexander
+IV, who places his foot on Barbarossa's neck, Tiziano finished it,
+changing many things, and making there many portraits from life of
+his friends and others; for which he was rewarded by receiving from
+the Senate an office in the Fondaco de' Tedeschi, called the Senseria,
+which yields three hundred crowns a year. That office those Signori
+are accustomed to give to the most excellent painter of their city, on
+the condition that he shall be obliged from time to time to paint the
+portrait of their Prince or Doge, at his election, for the price of
+only eight crowns, which the Prince himself pays to him; which
+portrait is afterwards kept, in memory of him, in a public place in
+the Palace of S. Marco.
+
+[Illustration: MADONNA WITH SAINTS AND DONOR
+
+(_After the panel by =Tiziano da Cadore=. Ancona: S. Domenico_)
+
+_Anderson_]
+
+In the year 1514 Duke Alfonso of Ferrara had caused a little chamber
+to be decorated, and had commissioned Dosso, the painter of Ferrara,
+to execute in certain compartments stories of Æneas, Mars, and Venus,
+and in a grotto Vulcan with two smiths at the forge; and he desired
+that there should also be there pictures by the hand of Gian Bellini.
+Bellini painted on another wall a vat of red wine with some Bacchanals
+around it, and Satyrs, musicians, and other men and women, all drunk
+with wine, and near them a nude and very beautiful Silenus, riding on
+his ass, with figures about him that have the hands full of fruits and
+grapes; which work was in truth executed and coloured with great
+diligence, insomuch that it is one of the most beautiful pictures that
+Gian Bellini ever painted, although in the manner of the draperies
+there is a certain sharpness after the German manner (nothing, indeed,
+of any account), because he imitated a picture by the Fleming Albrecht
+Dürer, which had been brought in those days to Venice and placed in
+the Church of S. Bartolommeo, a rare work and full of most beautiful
+figures painted in oils. On that vat Gian Bellini wrote these words:
+
+  JOANNES BELLINUS VENETUS, P. 1514.
+
+That work he was not able to finish completely, because he was old,
+and Tiziano, as the most excellent of all the others, was sent for to
+the end that he might finish it; wherefore, being desirous to acquire
+excellence and to make himself known, he executed with much diligence
+two scenes that were wanting in that little chamber. In the first is a
+river of red wine, about which are singers and musicians, both men
+and women, as it were drunk, and a naked woman who is sleeping, so
+beautiful that she might be alive, together with other figures; and on
+this picture Tiziano wrote his name. In the other, which is next to it
+and seen first on entering, he painted many little boys and Loves in
+various attitudes, which much pleased that lord, as also did the other
+picture; but most beautiful of all is one of those boys who is making
+water into a river and is reflected in the water, while the others are
+around a pedestal that has the form of an altar, upon which is a
+statue of Venus with a sea-conch in the right hand, and Grace and
+Beauty about her, which are very lovely figures and executed with
+incredible diligence. On the door of a press, likewise, Tiziano
+painted an image of Christ from the waist upwards, marvellous, nay,
+stupendous, to whom a base Hebrew is showing the coin of Cæsar; which
+image, and also other pictures in that little chamber, our best
+craftsmen declare to be the finest and best executed that Tiziano has
+ever done, and indeed they are most rare. Wherefore he well deserved
+to be most liberally recompensed and rewarded by that lord, whom he
+portrayed excellently well with one arm resting on a great piece of
+artillery; and he also made a portrait of Signora Laura, who
+afterwards became the wife of the Duke, which is a stupendous work.
+And, in truth, gifts have great potency with those who labour for the
+love of art, when they are uplifted by the liberality of Princes. At
+that time Tiziano formed a friendship with the divine Messer Lodovico
+Ariosto, and was recognized by him as a most excellent painter and
+celebrated in his Orlando Furioso:
+
+                 ... E Tizian che onora
+  Non men Cador, che quei Vinezia e Urbino.
+
+[Illustration: TIZIANO: SACRED AND PROFANE LOVE
+
+(_Rome: Borghese Gallery, 147. Canvas_)]
+
+Having then returned to Venice, Tiziano painted on a canvas in oils,
+for the father-in-law of Giovanni da Castel Bolognese, a naked
+shepherd and a country-girl who is offering him some pipes, that he
+may play them, with a most beautiful landscape; which picture is now
+at Faenza, in the house of the said Giovanni. He then executed for the
+high-altar in the Church of the Friars Minors, called the Cà Grande, a
+picture of Our Lady ascending into Heaven, and below her the twelve
+Apostles, who are gazing upon her as she ascends; but of this work,
+from its having been painted on cloth, and perhaps not well kept,
+there is little to be seen. For the Chapel of the Pesari family, in
+the same church, he painted in an altar-piece the Madonna with the
+Child in her arms, a S. Peter and a S. George, and about them the
+patrons of the work, kneeling and portrayed from life; among whom are
+the Bishop of Paphos and his brother, then newly returned from the
+victory which that Bishop won against the Turks. For the little Church
+of S. Niccolò, in the same convent, he painted in an altar-piece S.
+Nicholas, S. Francis, S. Catharine, and also a nude S. Sebastian,
+portrayed from life and without any artifice that can be seen to have
+been used to enhance the beauty of the limbs and trunk, there being
+nothing there but what he saw in the work of nature, insomuch that it
+all appears as if stamped from the life, so fleshlike it is and
+natural; but for all that it is held to be beautiful, as is also very
+lovely the Madonna with the Child in her arms at whom all those
+figures are gazing. The subject of that picture was drawn on wood by
+Tiziano himself, and then engraved by others and printed. For the
+Church of S. Rocco, after the works described above, he painted a
+picture of Christ with the Cross on His shoulder, and about His neck a
+cord that is drawn by a Hebrew; and that figure, which many have
+believed to be by the hand of Giorgione, is now the object of the
+greatest devotion in Venice, and has received in alms more crowns than
+Tiziano and Giorgione ever gained in all their lives. Then he was
+invited to Rome by Bembo, whom he had already portrayed, and who was
+at that time Secretary to Pope Leo X, to the end that he might see
+Rome, Raffaello da Urbino, and others; but Tiziano delayed that visit
+so long from one day to another, that Leo died, and Raffaello in 1520,
+and after all he never went. For the Church of S. Maria Maggiore he
+painted a picture with S. John the Baptist in the Desert among some
+rocks, an Angel that appears as if alive, and a little piece of
+distant landscape with some trees upon the bank of a river, all full
+of grace.
+
+He made portraits from life of the Prince Grimani and Loredano, which
+were held to be admirable; and not long afterwards of King Francis,
+when he departed from Italy in order to return to France. And in the
+year when Andrea Gritti was elected Doge, Tiziano painted his
+portrait, which was a very rare thing, in a picture wherein are Our
+Lady, S. Mark, and S. Andrew with the countenance of that Doge; which
+picture, a most marvellous work, is in the Sala del Collegio. He has
+also painted portraits, in addition to those of the Doges named above
+(being obliged, as has been related, to do it), of others who have
+been Doges in their time; Pietro Lando, Francesco Donato, Marcantonio
+Trevisano, and Veniero. But by the two Doges and brothers Paoli[8] he
+has been excused recently, because of his great age, from that
+obligation. Before the sack of Rome there had gone to live in Venice
+Pietro Aretino, a most famous poet of our times, and he became very
+much the friend of Tiziano and Sansovino; which brought great honour
+and advantage to Tiziano, for the reason that the poet made him known
+wherever his pen reached, and especially to Princes of importance, as
+will be told in the proper place.
+
+         [Footnote 8: Priuli.]
+
+[Illustration: CHARLES V
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+Meanwhile, to return to Tiziano's works, he painted the altar-piece
+for the altar of S. Piero Martire in the Church of SS. Giovanni e
+Polo, depicting therein that holy martyr larger than life, in a forest
+of very great trees, fallen to the ground and assailed by the fury of
+a soldier, who has wounded him so grievously in the head, that as he
+lies but half alive there is seen in his face the horror of death,
+while in another friar who runs forward in flight may be perceived the
+fear and terror of death. In the air are two nude Angels coming down
+from a flash of Heaven's lightning, which gives light to the
+landscape, which is most beautiful, and to the whole work besides,
+which is the most finished, the most celebrated, the greatest, and the
+best conceived and executed that Tiziano has as yet ever done in all
+his life. This work being seen by Gritti, who was always very much the
+friend of Tiziano, as also of Sansovino, he caused to be allotted to
+him a great scene of the rout of Chiaradadda, in the Hall of the Great
+Council. In it he painted a battle with soldiers in furious combat,
+while a terrible rain falls from Heaven; which work, wholly taken from
+life, is held to be the best of all the scenes that are in that Hall,
+and the most beautiful. And in the same Palace, at the foot of a
+staircase, he painted a Madonna in fresco. Having made not long
+afterwards for a gentleman of the Contarini family a picture of a
+very beautiful Christ, who is seated at table with Cleophas and Luke,
+it appeared to that gentleman that the work was worthy to be in a
+public place, as in truth it is. Wherefore having made a present of
+it, like a true lover of his country and of the commonwealth, to the
+Signoria, it was kept a long time in the apartments of the Doge; but
+at the present day it is in a public place, where it may be seen by
+everyone, in the Salotta d'Oro in front of the Hall of the Council of
+Ten, over the door. About the same time, also, he painted for the
+Scuola of S. Maria della Carità Our Lady ascending the steps of the
+Temple, with heads of every kind portrayed from nature; and for the
+Scuola of S. Fantino, likewise, a little altar-piece of S. Jerome in
+Penitence, which was much extolled by the craftsmen, but was consumed
+by fire two years ago together with the whole church.
+
+It is said that in the year 1530, the Emperor Charles V being in
+Bologna, Tiziano was invited to that city by Cardinal Ippolito de'
+Medici, through the agency of Pietro Aretino. There he made a most
+beautiful portrait of his Majesty in full armour, which so pleased
+him, that he caused a thousand crowns to be given to Tiziano; but of
+these he was obliged afterwards to give the half to the sculptor
+Alfonso Lombardi, who had made a model to be reproduced in marble, as
+was related in his Life.
+
+Having returned to Venice, Tiziano found that a number of gentlemen,
+who had taken Pordenone into their favour, praising much the works
+executed by him on the ceiling of the Sala de' Pregai and elsewhere,
+had caused a little altar-piece to be allotted to him in the Church of
+S. Giovanni Elemosinario, to the end that he might paint it in
+competition with Tiziano, who for the same place had painted a short
+time before the said S. Giovanni Elemosinario in the habit of a
+Bishop. But, for all the diligence that Pordenone devoted to that
+altar-piece, he was not able to equal or even by a great measure to
+approach to the work of Tiziano. Next, Tiziano executed a most
+beautiful altar-picture of an Annunciation for the Church of S. Maria
+degli Angeli at Murano, but he who had caused it to be painted not
+being willing to spend five hundred crowns upon it, which Tiziano was
+asking, by the advice of Messer Pietro Aretino he sent it as a gift to
+the above-named Emperor Charles V, who, liking that work vastly, made
+him a present of two thousand crowns; and where that picture was to
+have been placed, there was set in its stead one by the hand of
+Pordenone. Nor had any long time passed when Charles V, returning to
+Bologna for a conference with Pope Clement, at the time when he came
+with his army from Hungary, desired to be portrayed again by Tiziano.
+Before departing from Bologna, Tiziano also painted a portrait of the
+above-named Cardinal Ippolito de' Medici in Hungarian dress, and in a
+smaller picture the same man in full armour; both which portraits are
+now in the guardaroba of Duke Cosimo. At that same time he executed a
+portrait of Alfonso Davalos, Marchese del Vasto, and one of the
+above-named Pietro Aretino, who then contrived that he should become
+the friend and servant of Federigo Gonzaga, Duke of Mantua, with whom
+Tiziano went to his States and there painted a portrait of him, which
+is a living likeness, and then one of the Cardinal, his brother. These
+finished, he painted, for the adornment of a room among those of
+Giulio Romano, twelve figures from the waist upwards of the twelve
+Cæsars, very beautiful, beneath each of which the said Giulio
+afterwards painted a story from their lives.
+
+[Illustration: TIZIANO: THE DUKE OF NORFOLK
+
+(_Florence: Pitti, 92. Canvas_)]
+
+In Cadore, his native place, Tiziano has painted an altar-picture
+wherein are Our Lady, S. Tiziano the Bishop, and a portrait of himself
+kneeling. In the year when Pope Paul III went to Bologna, and from
+there to Ferrara, Tiziano, having gone to the Court, made a portrait
+of that Pope, which was a very beautiful work, and from it another for
+Cardinal S. Fiore; and both these portraits, for which he was very
+well paid by the Pope, are in Rome, one in the guardaroba of Cardinal
+Farnese, and the other in the possession of the heirs of the
+above-named Cardinal S. Fiore, and from them have been taken many
+copies, which are dispersed throughout Italy. At this same time, also,
+he made a portrait of Francesco Maria, Duke of Urbino, which was a
+marvellous work; wherefore M. Pietro Aretino on this account
+celebrated him in a sonnet that began:
+
+  Se il chiaro Apelle con la man dell'arte
+        Rassembrò d'Alessandro il volto e il petto.
+
+There are in the guardaroba of the same Duke, by the hand of Tiziano,
+two most lovely heads of women, and a young recumbent Venus with
+flowers and certain light draperies about her, very beautiful and well
+finished; and, in addition, a figure of S. Mary Magdalene with the
+hair all loose, which is a rare work. There, likewise, are the
+portraits of Charles V, King Francis as a young man, Duke Guidobaldo
+II, Pope Sixtus IV, Pope Julius II, Paul III, the old Cardinal of
+Lorraine, and Suleiman Emperor of the Turks; which portraits, I say,
+are by the hand of Tiziano, and most beautiful. In the same
+guardaroba, besides many other things, is a portrait of Hannibal the
+Carthaginian, cut in intaglio in an antique cornelian, and also a very
+beautiful head in marble by the hand of Donato.
+
+[Illustration: POPE PAUL III
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+In the year 1541 Tiziano painted for the Friars of S. Spirito, in
+Venice, the altar-piece of their high-altar, figuring in it the
+Descent of the Holy Spirit upon the Apostles, with a God depicted as
+of fire, and the Spirit as a Dove; which altar-piece becoming spoiled
+in no long time, after having many disputes with those friars he had
+to paint it again, and it is that which is over the altar at the
+present day. For the Church of S. Nazzaro in Brescia he executed the
+altar-piece of the high-altar in five pictures; in the central picture
+is Jesus Christ returning to life, with some soldiers around, and at
+the sides are S. Nazzaro, S. Sebastian, the Angel Gabriel, and the
+Virgin receiving the Annunciation. In a picture for the wall at the
+entrance of the Duomo of Verona, he painted an Assumption of Our Lady
+into Heaven, with the Apostles on the ground, which is held to be the
+best of the modern works in that city. In the year 1541 he made the
+portrait of Don Diego di Mendoza, at that time Ambassador of Charles V
+in Venice, a whole-length figure and standing, which was very
+beautiful; and from this Tiziano began what has since come into
+fashion, the making of certain portraits of full length. In the same
+manner he painted that of the Cardinal of Trento, then a young man,
+and for Francesco Marcolini the portrait of Messer Pietro Aretino, but
+this last was by no means as beautiful as one of that poet, likewise
+by the hand of Tiziano, which Aretino himself sent as a present to
+Duke Cosimo de' Medici, to whom he sent also the head of Signor
+Giovanni de' Medici, the father of the said Lord Duke. That head was
+copied from a cast taken from the face of that lord when he died at
+Mantua, which was in the possession of Aretino; and both these
+portraits are in the guardaroba of the same Lord Duke, among many
+other most noble pictures.
+
+The same year, Vasari having been thirteen months in Venice to
+execute, as has been related, a ceiling for Messer Giovanni Cornaro,
+and some works for the Company of the Calza, Sansovino, who was
+directing the fabric of S. Spirito, had commissioned him to make
+designs for three large pictures in oils which were to go into the
+ceiling, to the end that he might execute them in painting; but,
+Vasari having afterwards departed, those three pictures were allotted
+to Tiziano, who executed them most beautifully, from his having
+contrived with great art to make the figures foreshortened from below
+upwards. In one is Abraham sacrificing Isaac, in another David
+severing the neck of Goliath, and in the third Abel slain by his
+brother Cain. About the same time Tiziano painted a portrait of
+himself, in order to leave that memory of himself to his children.
+
+[Illustration: DANAË
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+The year 1546 having come, he went at the invitation of Cardinal
+Farnese to Rome, where he found Vasari, who, having returned from
+Naples, was executing the Hall of the Cancelleria for the above-named
+Cardinal; whereupon, Tiziano having been recommended by that lord to
+Vasari, Giorgio kept him company lovingly in taking him about to see
+the sights of Rome. And then, after Tiziano had rested for some days,
+rooms were given to him in the Belvedere, to the end that he might set
+his hand to painting once more the portrait of Pope Paul, of full
+length, with one of Farnese and one of Duke Ottavio, which he executed
+excellently well and much to the satisfaction of those lords. At their
+persuasion he painted, for presenting to the Pope, a picture of Christ
+from the waist upwards in the form of an "Ecce Homo," which work,
+whether it was that the works of Michelagnolo, Raffaello, Polidoro,
+and others had made him lose some force, or for some other reason, did
+not appear to the painters, although it was a good picture, to be of
+the same excellence as many others by his hand, and particularly his
+portraits. Michelagnolo and Vasari, going one day to visit Tiziano
+in the Belvedere, saw in a picture that he had executed at that time
+a nude woman representing Danaë, who had in her lap Jove transformed
+into a rain of gold; and they praised it much, as one does in the
+painter's presence. After they had left him, discoursing of Tiziano's
+method, Buonarroti commended it not a little, saying that his
+colouring and his manner much pleased him, but that it was a pity that
+in Venice men did not learn to draw well from the beginning, and that
+those painters did not pursue a better method in their studies. "For,"
+he said, "if this man had been in any way assisted by art and design,
+as he is by nature, and above all in counterfeiting the life, no one
+could do more or work better, for he has a fine spirit and a very
+beautiful and lively manner." And in fact this is true, for the reason
+that he who has not drawn much nor studied the choicest ancient and
+modern works, cannot work well from memory by himself or improve the
+things that he copies from life, giving them the grace and perfection
+wherein art goes beyond the scope of nature, which generally produces
+some parts that are not beautiful.
+
+Tiziano, finally departing from Rome, with many gifts received from
+those lords, and in particular a benefice of good value for his son
+Pomponio, set himself on the road to return to Venice, after Orazio,
+his other son, had made a portrait of Messer Battista Ceciliano, an
+excellent player on the bass-viol, which was a very good work, and he
+himself had executed some other portraits for Duke Guidobaldo of
+Urbino. Arriving in Florence, and seeing the rare works of that city,
+he was amazed by them no less than he had been by those of Rome. And
+besides that, he visited Duke Cosimo, who was at Poggio a Caiano,
+offering to paint his portrait; to which his Excellency did not give
+much heed, perchance in order not to do a wrong to the many noble
+craftsmen of his city and dominion.
+
+Then, having arrived in Venice, Tiziano finished for the Marchese del
+Vasto an Allocution (for so they called it) made by that lord to his
+soldiers; and after that he took the portrait of Charles V, that of
+the Catholic King, and many others. These works finished, he painted a
+little altar-piece of the Annunciation for the Church of S. Maria
+Nuova in Venice; and then, employing the assistance of his young men,
+he executed a Last Supper in the refectory of SS. Giovanni e Polo,
+and for the high-altar of the Church of S. Salvadore an altar-piece in
+which is a Christ Transfigured on Mount Tabor, and for another altar
+in the same church a Madonna receiving the Annunciation from the
+Angel. But these last works, although there is something of the good
+to be seen in them, are not much esteemed by him, and have not the
+perfection that his other pictures have. And since the works of
+Tiziano are without number, and particularly the portraits, it is
+almost impossible to make mention of them all; wherefore I shall speak
+only of the most remarkable, but without order of time, it being of
+little import to know which was first and which later. Several times,
+as has been related, he painted the portrait of Charles V, and in the
+end he was summoned for that purpose to the Court, where he portrayed
+him as he was in those his later years; and the work of Tiziano so
+pleased that all-conquering Emperor, that after he had once seen it he
+would not be portrayed by other painters. Each time that he painted
+him, he received a thousand crowns of gold as a present, and he was
+made by his Majesty a Chevalier, with a revenue of two hundred crowns
+on the Chamber of Naples. In like manner, when he portrayed Philip,
+King of Spain, the son of Charles, he received from him a fixed
+allowance of two hundred crowns more; insomuch that, adding those four
+hundred to the three hundred that he has on the Fondaco de' Tedeschi
+from the Signori of Venice, he has without exerting himself a fixed
+income of seven hundred crowns every year. Of the same Charles V and
+King Philip Tiziano sent portraits to the Lord Duke Cosimo, who has
+them in his guardaroba. He portrayed Ferdinand, King of the Romans,
+who afterwards became Emperor, and both his sons, Maximilian, now
+Emperor, and his brother. He also portrayed Queen Maria, and, for the
+Emperor Charles V, the Duke of Saxony when he was a prisoner. But what
+a waste of time is this? There has been scarce a single lord of great
+name, or Prince, or great lady, who has not been portrayed by Tiziano,
+a painter of truly extraordinary excellence in this field of art. He
+painted portraits of King Francis I of France, as has been related,
+Francesco Sforza, Duke of Milan, the Marquis of Pescara, Antonio da
+Leva, Massimiano Stampa, Signor Giovan Battista Castaldo, and other
+lords without number.
+
+[Illustration: PERSEUS AND ANDROMEDA
+
+(_After the painting by =Tiziano=. London: Hertford House_)
+
+_Mansell_]
+
+In like manner, besides the works mentioned above, at various times
+he has executed many others. In Venice, by order of Charles V, he
+painted in a great altar-piece the Triune God enthroned, Our Lady and
+the Infant Christ, with the Dove over Him, and the ground all of fire,
+signifying Love; and the Father is surrounded by fiery Cherubim. On
+one side is the same Charles V, and on the other the Empress, both
+clothed in linen garments, with the hands clasped in the attitude of
+prayer, among many Saints; all which was after the command of the
+Emperor, who, at that time at the height of his victories, began to
+show that he was minded to retire from the things of this world, as he
+afterwards did, in order to die like a true Christian, fearing God and
+desirous of his own salvation. Which picture the Emperor said to
+Tiziano that he wished to place in the monastery wherein afterwards he
+finished the course of his life; and since it is a very rare work, it
+is expected that it may soon be published in engravings. The same
+Tiziano executed for Queen Maria a Prometheus who is bound to Mount
+Caucasus and torn by Jove's Eagle, a Sisyphus in Hell who is toiling
+under his stone, and Tityus devoured by the Vulture. These her Majesty
+received, excepting the Prometheus, and with them a Tantalus of the
+same size (namely, that of life), on canvas and in oils. He executed,
+also, a Venus and Adonis that are marvellous, she having swooned, and
+the boy in the act of rising to leave her, with some dogs about him
+that are very natural. On a panel of the same size he represented
+Andromeda bound to the rock, and Perseus delivering her from the
+Sea-Monster, than which picture none could be more lovely; as is also
+another of Diana, who, bathing in a fount with her Nymphs, transforms
+Actæon into a stag. He also painted Europa passing over the sea on the
+back of the Bull. All these pictures are in the possession of the
+Catholic King, held very dear for the vivacity that Tiziano has given
+to the figures with his colours, making them natural and as if alive.
+
+[Illustration: PHILIP II
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+It is true, however, that the method of work which he employed in
+these last pictures is no little different from the method of his
+youth, for the reason that the early works are executed with a certain
+delicacy and a diligence that are incredible, and they can be seen
+both from near and from a distance, and these last works are executed
+with bold strokes and dashed off with a broad and even coarse sweep of
+the brush, insomuch that from near little can be seen, but from a
+distance they appear perfect. This method has been the reason that
+many, wishing to imitate him therein and to play the practised master,
+have painted clumsy pictures; and this happens because, although many
+believe that they are done without effort, in truth it is not so, and
+they deceive themselves, for it is known that they are painted over
+and over again, and that he returned to them with his colours so many
+times, that the labour may be perceived. And this method, so used, is
+judicious, beautiful, and astonishing, because it makes pictures
+appear alive and painted with great art, but conceals the labour.
+
+[Illustration: MARY MAGDALENE
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+Tiziano painted recently in a picture three braccia high and four
+braccia broad, Jesus Christ as an Infant in the lap of Our Lady and
+adored by the Magi, with a good number of figures of one braccio each,
+which is a very lovely work, as is also another picture that he
+himself copied from that one and gave to the old Cardinal of Ferrara.
+Another picture, in which he depicted Christ mocked by the Jews, which
+is most beautiful, was placed in a chapel of the Church of S. Maria
+delle Grazie, in Milan. For the Queen of Portugal he painted a picture
+of a Christ scourged by Jews at the Column, a little less than the
+size of life, which is very beautiful. For the high-altar of S.
+Domenico, at Ancona, he painted an altar-piece with Christ on the
+Cross, and at the foot Our Lady, S. John, and S. Dominic, all most
+beautiful, and executed in his later manner with broad strokes, as has
+just been described above. And by the same hand, in the Church of the
+Crocicchieri at Venice, is the picture that is on the altar of S.
+Lorenzo, wherein is the martyrdom of that Saint, with a building full
+of figures, and S. Laurence lying half upon the gridiron, in
+foreshortening, with a great fire beneath him, and about it some who
+are kindling it. And since he counterfeited an effect of night, there
+are two servants with torches in their hands, which throw light where
+the glare of the fire below the gridiron does not reach, which is
+piled high and very fierce. Besides this, he depicted a
+lightning-flash, which, darting from Heaven and cleaving the clouds,
+overcomes the light of the fire and that of the torches, shining
+over the Saint and the other principal figures, and, in addition to
+those three lights, the figures that he painted in the distance at the
+windows of the building have the light of lamps and candles that are
+near them; and all, in short, is executed with beautiful art,
+judgment, and genius. In the Church of S. Sebastiano, on the altar of
+S. Niccolò, there is by the hand of the same Tiziano a little
+altar-piece of a S. Nicholas who appears as if alive, seated in a
+chair painted in the likeness of stone, with an Angel that is holding
+his mitre; which work he executed at the commission of Messer Niccolò
+Crasso, the advocate. Tiziano afterwards painted, for sending to the
+Catholic King, a figure of S. Mary Magdalene from the middle of the
+thighs upwards, all dishevelled; that is, with the hair falling over
+the shoulders, about the throat, and over the breast, the while that,
+raising the head with the eyes fixed on Heaven, she reveals remorse in
+the redness of the eyes, and in her tears repentance for her sins.
+Wherefore the picture moves mightily all who behold it; and, what is
+more, although she is very beautiful, it moves not to lust but to
+compassion. This picture, when it was finished, so pleased ... Silvio,
+a Venetian gentleman, that in order to have it, being one who takes
+supreme delight in painting, he gave Tiziano a hundred crowns:
+wherefore Tiziano was forced to paint another, which was not less
+beautiful, for sending to the above-named Catholic King.
+
+There are also to be seen portraits from life by Tiziano of a Venetian
+citizen called Sinistri, who was much his friend, and of another named
+M. Paolo da Ponte, for whom he likewise portrayed a daughter that he
+had at that time, a most beautiful young woman called Signora Giulia
+da Ponte, a dear friend of Tiziano; and in like manner Signora Irene,
+a very lovely maiden, skilled in letters and music and a student of
+design, who, dying about seven years ago, was celebrated by the pens
+of almost all the writers of Italy. He portrayed M. Francesco Filetto,
+an orator of happy memory, and in the same picture, before him, his
+son, who seems as if alive; which portrait is in the house of Messer
+Matteo Giustiniani, a lover of these arts, who has also had a picture
+painted for himself by the painter Jacopo da Bassano, which is very
+beautiful, as also are many other works by that Bassano which are
+dispersed throughout Venice, and held in great price, particularly
+his little works and animals of every kind. Tiziano portrayed Bembo
+another time (namely, after he became a Cardinal), Fracastoro, and
+Cardinal Accolti of Ravenna, which last portrait Duke Cosimo has in
+his guardaroba; and our Danese, the sculptor, has in his house at
+Venice a portrait by the hand of Tiziano of a gentleman of the Delfini
+family. There may be seen portraits by the same hand of M. Niccolò
+Zono, of Rossa, wife of the Grand Turk, at the age of sixteen, and of
+Cameria, her daughter, with most beautiful dresses and adornments. In
+the house of M. Francesco Sonica, an advocate and a gossip of Tiziano,
+is a portrait by his hand of that M. Francesco, and in a large picture
+Our Lady flying to Egypt, who is seen to have dismounted from the ass
+and to have seated herself upon a stone on the road, with S. Joseph
+beside her, and a little S. John who is offering to the Infant Christ
+some flowers picked by the hand of an Angel from the branches of a
+tree that is in the middle of a wood full of animals, where in the
+distance the ass stands grazing. That picture, which is full of grace,
+the said gentleman has placed at the present day in a palace that he
+has built for himself at Padua, near S. Giustina. In the house of a
+gentleman of the Pisani family, near S. Marco, there is by the hand of
+Tiziano the portrait of a gentlewoman, which is a marvellous thing.
+And having made for Monsignor Giovanni della Casa, the Florentine, who
+has been illustrious in our times both for nobility of blood and as a
+man of letters, a very beautiful portrait of a gentlewoman whom that
+lord loved while he was in Venice, Tiziano was rewarded by being
+honoured by him with the lovely sonnet that begins--
+
+  Ben vegg'io, Tiziano, in forme nuove
+        L'idolo mio, che i begli occhi apre e gira (with what follows).
+
+Finally, this excellent painter sent to the above-named Catholic King
+a Last Supper of Christ with the Apostles, in a picture seven braccia
+long, which was a work of extraordinary beauty.
+
+[Illustration: TIZIANO: THE EDUCATION OF CUPID
+
+(_Rome: Borghese Gallery. Canvas_)]
+
+In addition to the works described and many others of less merit
+executed by this man, which are omitted for the sake of brevity, he
+has in his house, sketched in and begun, the following: the Martyrdom
+of S. Laurence, similar to that described above, and destined by him
+for sending to the Catholic King; a great canvas wherein is Christ
+on the Cross, with the Thieves, and at the foot the ministers of the
+crucifixion, which he is painting for Messer Giovanni d'Anna; and a
+picture which was begun for the Doge Grimani, father of the Patriarch
+of Aquileia. And for the Hall of the Great Palace of Brescia he has
+made a beginning with three large pictures that are to go in the
+ornamentation of the ceiling, as has been related in speaking of
+Cristofano and his brother, painters of Brescia. He also began, many
+years ago, for Alfonso I, Duke of Ferrara, a picture of a nude young
+woman bowing before Minerva, with another figure at the side, and a
+sea in the centre of which, in the distance, is Neptune in his car;
+but through the death of that lord, after whose fancy the work was
+being executed, it was not finished, and remained with Tiziano. He has
+also carried well forward, but not finished, a picture wherein is
+Christ appearing to Mary Magdalene in the Garden in the form of a
+gardener, with figures the size of life; another, also, of equal size,
+in which the Madonna and the other Maries being present, the Dead
+Christ is laid in the Sepulchre; likewise a picture of Our Lady, which
+is one of the best things that are in that house, and, as has been
+told, a portrait of himself that was finished by him four years ago,
+very beautiful and natural, and finally a S. Paul who is reading, a
+half-length figure, which has all the appearance of the real Saint
+filled with the Holy Spirit.
+
+[Illustration: THE ENTOMBMENT
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+All these works, I say, he has executed, with many others that I omit
+in order not to be wearisome, up to his present age of about
+seventy-six years. Tiziano has been very sound in health, and as
+fortunate as any man of his kind has ever been; and he has not
+received from Heaven anything save favours and blessings. In his house
+at Venice have been all the Princes, men of letters and persons of
+distinction who have gone to that city or lived there in his time,
+because, in addition to his excellence in art, he has shown great
+gentleness, beautiful breeding, and most courteous ways and manners.
+He has had in Venice some competitors, but not of much worth, so that
+he has surpassed them easily with the excellence of his art and with
+his power of attaching himself and making himself dear to the men of
+quality. He has earned much, for he has been very well paid for his
+works; but it would have been well for him in these his last years not
+to work save as a pastime, so as not to diminish with works of less
+excellence the reputation gained in his best years, when his natural
+powers were not declining and drawing towards imperfection. When
+Vasari, the writer of this history, was at Venice in the year 1566, he
+went to visit Tiziano, as one who was much his friend, and found him
+at his painting with brushes in his hand, although he was very old;
+and he had much pleasure in seeing him and discoursing with him. He
+made known to Vasari Messer Gian Maria Verdezotti, a young Venetian
+gentleman full of talent, a friend of Tiziano and passing able in
+drawing and painting, as he showed in some landscapes of great beauty
+drawn by him. This man has by the hand of Tiziano, whom he loves and
+cherishes as a father, two figures painted in oils within two niches,
+an Apollo and a Diana.
+
+Tiziano, then, having adorned with excellent pictures the city of
+Venice, nay, all Italy and other parts of the world, deserves to be
+loved and revered by the craftsmen, and in many things to be admired
+and imitated, as one who has executed and is still executing works
+worthy of infinite praise, which shall endure as long as the memory of
+illustrious men may live.
+
+[Illustration: PARIS BORDONE: THE VENETIAN LOVERS
+
+(_Milan: Brera, 105. Canvas_)]
+
+Now, although many have been with Tiziano in order to learn, yet the
+number of those who can truly be called his disciples is not great,
+for the reason that he has not taught much, and each pupil has gained
+more or less knowledge according as he has been able to acquire it
+from the works executed by Tiziano. There has been with him, among
+others, one Giovanni, a Fleming, who has been a much-extolled master
+in figures both small and large, and in portraits marvellous, as may
+be seen in Naples, where he lived some time, and finally died. By his
+hand--and this must do him honour for all time--were the designs of
+the anatomical studies that the most excellent Andrea Vessalio caused
+to be engraved and published with his work. But he who has imitated
+Tiziano more than any other is Paris Bordone, who, born in Treviso
+from a father of Treviso and a Venetian mother, was taken at the age
+of eight to the house of some relatives in Venice. There, having
+learned his grammar and become an excellent musician, he went to be
+with Tiziano, but he did not spend many years with him, for he
+perceived that man to be not very ready to teach his young men,
+although besought by them most earnestly and invited by their patience
+to do his duty by them; and he resolved to leave him. He was much
+grieved that Giorgione should have died in those days, whose manner
+pleased him vastly, and even more his reputation for having taught
+well and willingly, and with lovingness, all that he knew; but, since
+there was nothing else to be done, Paris resolved in his mind that he
+would follow the manner of Giorgione. And so, setting himself to
+labour and to counterfeit the work of that master, he became such that
+he acquired very good credit; wherefore at the age of eighteen there
+was allotted to him an altar-piece that was to be painted for the
+Church of S. Niccolò, of the Friars Minors. Which having heard,
+Tiziano so went to work with various means and favours that he took it
+out of his hands, either to prevent him from being able to display his
+ability so soon, or perhaps drawn by his desire of gain.
+
+Afterwards Paris was summoned to Vicenza, to paint a scene in fresco
+in the Loggia of the Piazza where justice is administered, beside that
+of the Judgment of Solomon which Tiziano had previously executed; and
+he went very willingly, and painted there a story of Noah with his
+sons, which was held to be a work passing good in diligence and in
+design, and not less beautiful than that of Tiziano, insomuch that by
+those who know not the truth they are considered to be both by the
+same hand. Having returned to Venice, Paris executed some nudes in
+fresco at the foot of the bridge of the Rialto; by reason of which
+essay he was commissioned to paint some façades of houses in Venice.
+Being then summoned to Treviso, he painted there likewise some façades
+and other works, and in particular many portraits, which gave much
+satisfaction; that of the Magnificent M. Alberto Unigo, that of M.
+Marco Seravalle, and of M. Francesco da Quer, of the Canon Rovere, and
+of Monsignor Alberti. For the Duomo of that city, in an altar-piece in
+the centre of the church, at the instance of the reverend Vicar, he
+painted the Nativity of Jesus Christ, and then a Resurrection. For S.
+Francesco he executed another altar-piece at the request of the
+Chevalier Rovere, another for S. Girolamo, and one for Ognissanti,
+with different heads of Saints both male and female, all beautiful and
+varied in the attitudes and in the vestments. He executed another
+altar-piece for S. Lorenzo, and in S. Polo he painted three chapels,
+in the largest of which he depicted Christ rising from the dead, the
+size of life, and accompanied by a great multitude of Angels; in the
+second some Saints with many Angels about them, and in the third Jesus
+Christ upon a cloud, with Our Lady, who is presenting to Him S.
+Dominic. All these works have made him known as an able man and a
+lover of his city.
+
+In Venice, where he has dwelt almost always, he has executed many
+works at various times. But the most beautiful, the most remarkable
+and the most worthy of praise that Paris ever painted, was a scene in
+the Scuola of S. Marco, at SS. Giovanni e Polo, wherein is the story
+of the fisherman presenting to the Signoria of Venice the ring of S.
+Mark, with a very beautiful building in perspective, about which is
+seated the Senate with the Doge; among which Senators are many
+portraits from nature, lifelike and well painted beyond belief. The
+beauty of this work, executed so well and coloured in fresco, was the
+reason that he began to be employed by many gentlemen. Thus in the
+great house of the Foscari, near S. Barnaba, he executed many
+paintings and pictures, and among them a Christ who, having descended
+to the Limbo of Hell, is delivering the Holy Fathers; which is held to
+be a work out of the ordinary. For the Church of S. Giobbe in Canal
+Reio he painted a most beautiful altar-piece, and for S. Giovanni in
+Bragola another, and the same for S. Maria della Celeste and for S.
+Marina.
+
+[Illustration: THE FISHERMAN AND THE DOGE GRADENIGO
+
+(_After the painting by =Paris Bordone=. Venice: Accademia_)
+
+_Anderson_]
+
+But, knowing that he who wishes to be employed in Venice is obliged to
+endure too much servitude in paying court to one man or another, Paris
+resolved, as a man of quiet nature and far removed from certain
+methods of procedure, whenever an occasion might present itself, to go
+abroad to execute such works as Fortune might set before him, without
+having to go about begging. Wherefore, having made his way with a good
+opportunity into France in the year 1538, to serve King Francis, he
+executed for him many portraits of ladies and other pictures with
+various paintings; and at the same time he painted for Monseigneur de
+Guise a most beautiful church-picture, and a chamber-picture of
+Venus and Cupid. For the Cardinal of Lorraine he painted a Christ
+in an "Ecce Homo," a Jove with Io, and many other works. He sent to
+the King of Poland a picture wherein was Jove with a Nymph, which was
+held to be a very beautiful thing. And to Flanders he sent two other
+most beautiful pictures, a S. Mary Magdalene in the Desert accompanied
+by some Angels, and a Diana who is bathing with her Nymphs in a fount;
+which two pictures the Milanese Candiano caused him to paint, the
+physician of Queen Maria, as presents for her Highness. At Augsburg,
+in the Palace of the Fugger family, he executed many works of the
+greatest importance, to the value of three thousand crowns. And in the
+same city he painted for the Prineri, great men in that place, a large
+picture wherein he counterfeited in perspective all the five Orders of
+architecture, which was a very beautiful work; and another
+chamber-picture, which is in the possession of the Cardinal of
+Augsburg. At Crema he has executed two altar-pieces for S. Agostino,
+in one of which is portrayed Signor Giulio Manfrone, representing a S.
+George, in full armour. The same master has painted many works at
+Civitale di Belluno, which are extolled, and in particular an
+altar-piece in S. Maria and another in S. Giosef, which are very
+beautiful. He sent to Signor Ottaviano Grimaldo a portrait of him the
+size of life and most beautiful, and with it another picture, equal in
+size, of a very lustful woman. Having then gone to Milan, Paris
+painted for the Church of S. Celso an altar-piece with some figures in
+the air, and beneath them a very beautiful landscape, at the instance,
+so it is said, of Signor Carlo da Roma; and for the palace of the same
+lord two large pictures in oils, in one Venus and Mars under Vulcan's
+net, and in the other King David seeing Bathsheba being bathed by her
+serving-women in the fount; and also the portrait of that lord and
+that of Signora Paola Visconti, his consort, and some pieces of
+landscape not very large, but most beautiful. At this same time he
+painted many of Ovid's Fables for the Marchese d'Astorga, who took
+them with him to Spain; and for Signor Tommaso Marini, likewise, he
+painted many things of which there is no need to make mention.
+
+[Illustration: PORTRAIT OF A LADY
+
+(_After the painting by =Paris Bordone=. London: National Gallery, No.
+674_)
+
+_M.S._]
+
+And this much it must suffice to have said of Paris, who, being
+seventy-five years of age, lives quietly at home with his comforts,
+and works for pleasure at the request of certain Princes and others
+his friends, avoiding rivalries and certain vain ambitions, lest he
+should suffer some hurt and have his supreme tranquillity and peace
+disturbed by those who walk not, as he says, in truth, but by dubious
+ways, malignantly and without charity; whereas he is accustomed to
+live simply and by a certain natural goodness, and knows nothing of
+subtleties or astuteness in his life. He has executed recently a most
+beautiful picture for the Duchess of Savoy, of a Venus and Cupid that
+are sleeping, guarded by a servant; all executed so well, that it is
+not possible to praise them enough.
+
+[Illustration: VISION OF THE APOCALYPSE
+
+(_After the mosaic by =Zuccati=. Venice: S. Marco_)
+
+_Anderson_]
+
+But here I must not omit to say that a kind of painting which is
+almost discontinued in every other place, namely, mosaic, is kept
+alive by the most Serene Senate of Venice. Of this the benign and as
+it were the principal reason has been Tiziano, who, so far as it has
+lain in him, has always taken pains that it should be practised in
+Venice, and has caused honourable salaries to be given to those who
+have worked at it. Wherefore various works have been executed in the
+Church of S. Marco, all the old works have been almost renewed, and
+this sort of painting has been carried to such a height of excellence
+as is possible, and to a different condition from that in which it was
+in Florence and Rome at the time of Giotto, Alesso Baldovinetti, the
+Ghirlandajo family, and the miniaturist Gherardo. And all that has
+been done in Venice has come from the design of Tiziano and other
+excellent painters, who have made drawings and coloured cartoons to
+the end that the works might be carried to such perfection as may be
+seen in those of the portico of S. Marco, where in a very beautiful
+niche there is a Judgment of Solomon so lovely, that in truth it would
+not be possible to do more with colours. In the same place is the
+genealogical tree of Our Lady by the hand of Lodovico Rosso, all full
+of Sibyls and Prophets executed in a delicate manner and put together
+very well, with a relief that is passing good. But none have worked
+better in this art in our times than Valerio and Vincenzio Zuccheri[9]
+of Treviso, by whose hands are stories many and various that may be
+seen in S. Marco, and in particular that of the Apocalypse, wherein
+around the Throne of God are the Four Evangelists in the form of
+animals, the Seven Candlesticks, and many other things executed so
+well, that, looking at them from below, they appear as if done in
+oil-colours with the brush; besides that there may be seen in their
+hands and about them little pictures full of figures executed with the
+greatest diligence, insomuch that they have the appearance not of
+paintings only, but of miniatures, and yet they are made of stones
+joined together. There are also many portraits; the Emperor Charles V,
+Ferdinand his brother, who succeeded him in the Empire, and
+Maximilian, son of Ferdinand and now Emperor; likewise the head of the
+most illustrious Cardinal Bembo, the glory of our age, and that of the
+Magnificent ...; all executed with such diligence and unity, and so
+well harmonized in the lights, flesh-colours, tints, shadows, and
+every other thing, that there is nothing better to be seen, nor any
+more beautiful work in a similar material. And it is in truth a great
+pity that this most excellent art of working in mosaic, with its
+beauty and everlasting life, is not more in use than it is, and that,
+by the fault of the Princes who have the power, no attention is given
+to it.
+
+         [Footnote 9: Zuccati.]
+
+In addition to those named above, there has worked in mosaic at S.
+Marco, in competition with the Zuccheri, one Bartolommeo Bozzato, who
+also has acquitted himself in his works in such a manner as to deserve
+undying praise. But that which has been of the greatest assistance to
+all in this art, is the presence and advice of Tiziano; of whom,
+besides the men already named and many more, another disciple, helping
+him in many works, has been one Girolamo, whom I know by no other name
+than Girolamo di Tiziano.
+
+
+
+
+JACOPO SANSOVINO
+
+
+
+
+DESCRIPTION OF THE WORKS OF JACOPO SANSOVINO[10]
+
+SCULPTOR OF FLORENCE
+
+         [Footnote 10: After the death of Jacopo Sansovino in 1570,
+         Vasari published a separate Life of him, containing an
+         account of his death and other additional information. Such
+         passages as contain information that is new or expressed
+         differently from that of the Edition of 1568 will be found in
+         the notes at the end of this Life.]
+
+
+The while that Andrea Contucci, the sculptor of Monte Sansovino,
+having already acquired in Italy and Spain the name of the most
+excellent sculptor and architect that there was in art after
+Buonarroti, was living in Florence in order to execute the two figures
+of marble that were to be placed over that door of the Temple of S.
+Giovanni which faces towards the Misericordia, a young man was
+entrusted to him to be taught the art of sculpture, the son of Antonio
+di Jacopo Tatti, whom Nature had endowed with a great genius, so that
+he gave much grace to the things that he did in relief. Whereupon
+Andrea, having recognized how excellent in sculpture the young man was
+destined to become, did not fail to teach him with all possible care
+all those things which might make him known as his disciple. And so,
+loving him very dearly, and doing his best for him with much
+affection, and being loved by the young man with equal tenderness,
+people judged that the pupil would not only become as excellent as his
+master, but would by a great measure surpass him. And such were the
+reciprocal friendliness and love between these two, as it were between
+father and son, that Jacopo in those early years began to be called no
+longer Tatti, but Sansovino, and so he has always been, and always
+will be.
+
+Now, Jacopo beginning to exercise his hand, he was so assisted by
+Nature in the things that he did, that, although at times he did not
+use much study and diligence in his work, nevertheless in what he did
+there could be seen facility, sweetness, grace, and a certain delicacy
+very pleasing to the eyes of craftsmen, insomuch that his every
+sketch, rough study, and model has always had a movement and a
+boldness that Nature is wont to give to but few sculptors. Moreover,
+the friendship and intercourse that Andrea del Sarto and Jacopo
+Sansovino had with each other in their childhood, and then in their
+youth, assisted not a little both the one and the other, for they
+followed the same manner in design and had the same grace in
+execution, one in painting and the other in sculpture, and, conferring
+together on the problems of art, and Jacopo making models of figures
+for Andrea, they gave one another very great assistance. And that this
+is true a proof is that in the altar-piece of S. Francesco, belonging
+to the Nuns of the Via Pentolini, there is a S. John the Evangelist
+which was copied from a most beautiful model in clay that Sansovino
+made in those days in competition with Baccio da Montelupo; for the
+Guild of Por Santa Maria wished to have a bronze statue of four
+braccia made for a niche at the corner of Orsanmichele, opposite to
+the Wool-Shearers, for which Jacopo made a more beautiful model in
+clay than Baccio, but nevertheless it was allotted to Montelupo, from
+his being an older master, rather than to Sansovino, although his
+work, young as he was, was the better. That model, which is a very
+beautiful thing, is now in the possession of the heirs of Nanni
+Unghero; for which Nanni, being then his friend, Sansovino made some
+models of large boys in clay, and the model for a figure of S.
+Nicholas of Tolentino, which were all executed of the size of life in
+wood, with the assistance of Sansovino, and placed in the Chapel of
+that Saint in the Church of S. Spirito.
+
+Becoming known for these reasons to all the craftsmen of Florence, and
+being considered a young man of fine parts and excellent character,
+Jacopo was invited by Giuliano da San Gallo, architect to Pope Julius
+II, to Rome, vastly to his satisfaction; and then, taking
+extraordinary pleasure in the ancient statues that are in the
+Belvedere, he set himself to draw them. Whereupon Bramante, who was
+likewise architect to Pope Julius, holding the first place at that
+time and dwelling in the Belvedere, having seen some drawings by this
+young man, and a nude recumbent figure of clay in full-relief, holding
+a vessel to contain ink, which he had made, liked them so much that he
+took him under his protection and ordered him that he should make a
+large copy in wax of the Laocoon, which he was having copied also by
+others, in order to take a cast in bronze--namely, by Zaccheria Zacchi
+of Volterra, the Spaniard Alonzo Berughetta, and Vecchio of Bologna.
+These, when all were finished, Bramante caused to be seen by Raffaello
+Sanzio of Urbino, in order to learn which of the four had acquitted
+himself best; whereupon it was judged by Raffaello that Sansovino,
+young as he was, had surpassed the others by a great measure. Then, by
+the advice of Cardinal Domenico Grimani, orders were given to Bramante
+that he should have Jacopo's copy cast in bronze; and so the mould was
+made, and the work, being cast in metal, came out very well. And
+afterwards, having been polished, it was given to the Cardinal, who
+held it as long as he lived not less dear than if it had been the
+antique; and when he came to die, he left it as a very rare thing to
+the most Serene Signoria of Venice, which, after having kept it many
+years in the press of the Hall of the Council of Ten, finally in the
+year 1534 presented it to the Cardinal of Lorraine, who took it to
+France.
+
+[Illustration: S. JAMES
+
+(_After =Jacopo Sansovino=. Florence: Duomo_)
+
+_Alinari_]
+
+While Sansovino was acquiring greater fame every day in Rome with his
+studies in art, being held in much consideration, Giuliano da San
+Gallo, who had been keeping him in his house in the Borgo Vecchio,
+fell ill; and when he departed from Rome in a litter, in order to go
+to Florence for a change of air, a room was found for Jacopo by
+Bramante, likewise in the Borgo Vecchio, in the Palace of Domenico
+della Rovere, Cardinal of San Clemente, where Pietro Perugino was also
+dwelling, who at that time was painting for Pope Julius the vaulting
+of the chamber in the Borgia Tower. Whereupon Pietro, having seen the
+beautiful manner of Sansovino, caused him to make many models in wax
+for himself, and among them a Christ taken down from the Cross in the
+round, with many ladders and figures, which was a very beautiful
+thing. This and other things of the same sort, and models of various
+fantasies, were all collected afterwards by M. Giovanni Gaddi, and
+they are now in his house on the Piazza di Madonna in Florence. And
+these works were the reason that Sansovino became very intimately
+associated with Maestro Luca Signorelli, the painter of Cortona, with
+Bramantino da Milano, with Bernardino Pinturicchio, with Cesare
+Cesariano, who was in repute at that time for his commentaries on
+Vitruvius, and with many other famous and beautiful intellects of that
+age. Bramante, then, desiring that Sansovino should become known to
+Pope Julius, arranged to have some antiques restored by him; whereupon
+Jacopo, setting to work, displayed such diligence and so much grace in
+restoring them, that the Pope and all who saw them judged that nothing
+better could be done. These praises so spurred Sansovino to surpass
+himself, that, having given himself beyond measure to his studies, and
+being, also, somewhat delicate in constitution and suffering from some
+excess such as young men commit, he became so ill that he was forced
+for the sake of his life to return to Florence, where, profiting by
+his native air, by the advantage of his youth, and by the diligence
+and care of the physicians, in a short time he completely recovered.
+Now Messer Piero Pitti was arranging at that time to have a Madonna of
+marble made for that façade of the Mercato Nuovo in Florence where the
+clock is, and it appeared to him, since there were in Florence many
+young men of ability and also old masters, that the work should be
+given to that one among them who might make the best model. Whereupon
+one was given to Baccio da Montelupo to execute, one to Zaccheria
+Zacchi of Volterra, who had likewise returned to Florence the same
+year, another to Baccio Bandinelli, and yet another to Sansovino; and
+when these were placed in comparison, the honour and the work were
+given by Lorenzo di Credi, an excellent painter and a person of
+judgment and probity, and likewise by the other judges, craftsmen, and
+connoisseurs, to Sansovino. But, although the work was therefore
+allotted to him, nevertheless so much delay was caused in procuring
+and conveying the marble for him, by the envious machinations of
+Averardo da Filicaia, who greatly favoured Bandinelli and hated
+Sansovino, that he was ordered by certain other citizens, having
+perceived that delay, to make one of the large Apostles in marble
+that were going into the Church of S. Maria del Fiore. Wherefore,
+having made the model of a S. James (which model, when the work was
+finished, came into the possession of Messer Bindo Altoviti), he began
+that figure and, continuing to work at it with all diligence and
+study, he carried it to completion so perfectly, that it is a
+miraculous figure and shows in all its parts that it was wrought with
+incredible study and care, the draperies, arms, and hands being
+undercut and executed with such art and such grace, that there is
+nothing better in marble to be seen. Thus, Sansovino showed in what
+way undercut draperies should be executed, having made these so
+delicate and so natural, that in some places he reduced the marble to
+the thickness that is seen in real folds and in the edges and hems of
+the borders of draperies; a difficult method, and one demanding much
+time and patience if you wish that it should so succeed as to display
+the perfection of art. That figure remained in the Office of Works
+from the time when it was finished by Sansovino until the year 1565,
+at which time, in the month of December, it was placed in the Church
+of S. Maria del Fiore to do honour to the coming of Queen Joanna of
+Austria, the wife of Don Francesco de' Medici, Prince of Florence and
+Siena. And there it is kept as a very rare work, together with the
+other Apostles, likewise in marble, executed in competition by other
+craftsmen, as has been related in their Lives.
+
+[Illustration: BACCHUS
+
+(_After =Jacopo Sansovino=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+At this same time he made for Messer Giovanni Gaddi a Venus of marble
+on a shell, of great beauty, as was also the model, which was in the
+house of Messer Francesco Montevarchi, a friend of these arts, but
+came to an evil end in the inundation of the River Arno in the year
+1558. He also made a boy of tow and a swan as beautiful as could be,
+of marble, for the same M. Giovanni Gaddi, together with many other
+things, which are all in his house. For Messer Bindo Altoviti he had a
+chimney-piece of great cost made, all in grey-stone carved by
+Benedetto da Rovezzano, which was placed in his house in Florence, and
+Messer Bindo caused Sansovino to make a scene with little figures for
+placing in the frieze of that chimney-piece, with Vulcan and other
+Gods, which was a very rare work; but much more beautiful are two boys
+of marble that were above the crown of the chimney-piece, holding some
+arms of the Altoviti in their hands, which have been removed by
+Signor Don Luigi di Toledo, who inhabits the house of the above-named
+Messer Bindo, and placed about a fountain in his garden, behind the
+Servite Friars, in Florence. Two other boys of extraordinary beauty,
+also of marble and by the same hand, who are likewise holding an
+escutcheon, are in the house of Giovan Francesco Ridolfi. All these
+works caused Sansovino to be held by the men of art and by all
+Florence to be a most excellent and gracious master; on which account
+Giovanni Bartolini, having caused a house to be built in his garden of
+Gualfonda, desired that Sansovino should make for him a young Bacchus
+in marble, of the size of life. Whereupon the model for this was made
+by Sansovino, and it pleased Giovanni so much, that he had him
+supplied with the marble, and Jacopo began it with such eagerness,
+that his hands and brain flew as he worked. This work, I say, he
+studied in such a manner, in order to make it perfect, that he set
+himself to portray from the life, although it was winter, an assistant
+of his called Pippo del Fabbro, making him stand naked a good part of
+the day. Which Pippo would have become a capable craftsman, for he was
+striving with every effort to imitate his master; but, whether it was
+the standing naked with the head uncovered at that season, or that he
+studied too much and suffered hardships, before the Bacchus was
+finished he went mad, copying the attitudes of that figure. And this
+he showed one day that it was raining in torrents, when, Sansovino
+calling out "Pippo!" and he not answering, the master afterwards saw
+him mounted on the summit of a chimney on the roof, wholly naked and
+striking the attitude of his Bacchus. At other times, taking a sheet
+or other large piece of cloth, and wetting it, he would wrap it round
+his naked body, as if he were a model of clay or rags, and arrange the
+folds; and then, climbing up to some extraordinary place, and settling
+himself now in one attitude and now in another, as a Prophet, an
+Apostle, a soldier, or something else, he would have himself
+portrayed, standing thus for a period of two hours without speaking,
+not otherwise than as if he had been a motionless statue. Many other
+amusing follies of that kind poor Pippo played, but above all he was
+never able to forget the Bacchus that Sansovino had made, save only
+when he died, a few years afterwards.
+
+[Illustration: MARS AND NEPTUNE
+
+(_After =Jacopo Sansovino=. Venice: Ducal Palace_)
+
+_Alinari_]
+
+But to return to the statue; when it was carried to completion, it was
+held to be the most beautiful work that had ever been executed by a
+modern master, seeing that in it Sansovino overcame a difficulty never
+yet attempted, in making an arm raised in the air and detached on
+every side, which holds between the fingers a cup all cut out of the
+same marble with such delicacy, that the attachment is very slight,
+besides which the attitude is so well conceived and balanced on every
+side, and the legs and arms are so beautiful and so well proportioned
+and attached to the trunk, that to the eye and to the touch the whole
+seems much more like living flesh; insomuch that the fame that it has
+from all who see it is well deserved, and even more. This work, I say,
+when finished, while Giovanni was alive, was visited in that courtyard
+in the Gualfonda by everyone, native and stranger alike, and much
+extolled. But afterwards, Giovanni being dead, his brother Gherardo
+Bartolini presented it to Duke Cosimo, who keeps it as a rare thing in
+his apartments, together with other most beautiful statues of marble
+that he possesses. For the same Giovanni Sansovino made a very
+beautiful Crucifix of wood, which is in their house in company with
+many works by the ancients and by the hand of Michelagnolo.
+
+In the year 1514, when festive preparations of great richness were to
+be made in Florence for the coming of Pope Leo X, orders were given by
+the Signoria and by Giuliano de' Medici that many triumphal arches of
+wood should be made in various parts of the city. Whereupon Sansovino
+not only executed the designs for many of these, but himself undertook
+in company with Andrea del Sarto to construct the façade of S. Maria
+del Fiore all of wood, with statues, scenes, and architectural orders,
+exactly in the manner wherein it would be well for it to be in order
+to remove all that there is in it of the German order of composition.
+Having therefore set his hand to this (to say nothing in this place of
+the awning of cloth that used to cover the Piazza of S. Maria del
+Fiore and that of S. Giovanni for the festival of S. John and for
+others of the greatest solemnity, since we have spoken sufficiently of
+this in another place), beneath that awning, I say, Sansovino
+constructed the said façade in the Corinthian Order, making it in the
+manner of a triumphal arch, and placing upon an immense base double
+columns on each side, and between them certain great niches filled
+with figures in the round that represented the Apostles. Above these
+were some large scenes in half-relief, made in the likeness of bronze,
+with stories from the Old Testament, some of which are still to be
+seen in the house of the Lanfredini on the bank of the Arno; and over
+them followed architraves, friezes, and cornices, projecting outwards,
+and then frontispieces of great beauty and variety; and in the angles
+of the arches, both in the wide parts and below, were stories painted
+in chiaroscuro by the hand of Andrea del Sarto, and very beautiful. In
+short, this work of Sansovino's was such that Pope Leo, seeing it,
+said that it was a pity that the real façade of that temple was not so
+built, which was begun by the German Arnolfo. The same Sansovino made
+among these festive preparations for the coming of Leo X, besides the
+said façade, a horse in the round all of clay and shearings of woollen
+cloth, in the act of rearing, and under it a figure of nine braccia,
+upon a pedestal of masonry. Which work was executed with such spirit
+and force, that it pleased Pope Leo and was much extolled by him;
+wherefore Sansovino was taken by Jacopo Salviati to kiss the feet of
+the Pope, who showed him many marks of affection.
+
+The Pope departed from Florence, and had a conference at Bologna with
+King Francis I of France; and then he resolved to return to Florence.
+Whereupon orders were given to Sansovino that he should make a
+triumphal arch at the Porta S. Gallo, and he, not falling back in any
+way from his own standard, executed it similar to the other works that
+he had done--namely, beautiful to a marvel, and full of statues and
+painted pictures wrought excellently well. His Holiness having then
+determined that the façade of S. Lorenzo should be executed in marble,
+the while that Raffaello da Urbino and Buonarroti were expected from
+Rome, Sansovino, by order of the Pope, made a design for it; which
+giving much satisfaction, Baccio d'Agnolo was commissioned to make a
+model of it in wood, which proved very beautiful. Meanwhile,
+Buonarroti had made another, and he and Sansovino were ordered to go
+to Pietrasanta; where, finding much marble, but difficult to
+transport, they lost so much time, that when they returned to
+Florence they found the Pope departed for Rome. Whereupon, both
+following after him with their models, each by himself, Jacopo arrived
+at the very moment when Buonarroti's model was being shown to his
+Holiness in the Torre Borgia; but he did not succeed in obtaining what
+he hoped, because, whereas he believed that he would at least make
+under Michelagnolo part of the statues that were going into that work,
+the Pope having spoken of it to him and Michelagnolo having given him
+so to understand, he perceived on arriving in Rome that Buonarroti
+wished to be alone in the work. Nevertheless, having made his way to
+Rome and not wishing to return to Florence without any result, he
+resolved to remain in Rome and there give his attention to sculpture
+and architecture. And so, having undertaken to execute for the
+Florentine Giovan Francesco Martelli a Madonna in marble larger than
+life, he made her most beautiful, with the Child in her arms; and this
+was placed upon an altar within the principal door of S. Agostino, on
+the right hand as one enters. The clay model of this statue he
+presented to the Priore de' Salviati, in Rome, who placed it in a
+chapel in his palace on the corner of the Piazza di S. Pietro, at the
+beginning of the Borgo Nuovo. After no long lapse of time he made for
+the altar of the chapel that the very reverend Cardinal Alborense had
+caused to be built in the Church of the Spaniards in Rome, a statue in
+marble of four braccia, worthy of no ordinary measure of praise, of a
+S. James, which has a movement full of grace and is executed with
+judgment and perfect art, so that it won him very great fame. And the
+while that he was executing these statues, he made the ground-plan and
+model, and then began the building, of the Church of S. Marcello for
+the Servite Friars, a work of truly great beauty. Continuing to be
+employed in matters of architecture, he built for Messer Marco Coscia
+a very beautiful loggia on the road that leads to Rome, at Pontemolle
+on the Via Appia.[11] For the Company of the Crocifisso, attached to
+the Church of S. Marcello, he made a Crucifix for carrying in
+procession, a thing full of grace; and for Cardinal Antonio di Monte
+he began a great fabric at his villa without Rome, on the Acqua
+Vergine. And by the hand of Jacopo, perhaps, is a very beautiful
+portrait in marble of that elder Cardinal di Monte which is now in the
+Palace of Signor Fabiano at Monte Sansovino, over the door of the
+principal chamber off the hall. He directed, also, the building of the
+house of Messer Luigi Leoni, a most commodious edifice, and in the
+Banchi a palace beside the house of the Gaddi, which was bought
+afterwards by Filippo Strozzi--certainly a commodious and most
+beautiful fabric, with many ornaments.
+
+         [Footnote 11: Via Flaminia.]
+
+At this time, with the favour of Pope Leo, the Florentine colony had
+bestirred itself out of emulation of the Germans, Spaniards, and
+Frenchmen, who had either begun or finished the churches of their
+colonies in Rome, and had begun to perform their solemn offices in
+those already built and adorned; and the Florentines had sought leave
+likewise to build a church for themselves. For which the Pope having
+given instructions to Lodovico Capponi, the Consul of the Florentine
+colony at that time, it was determined that behind the Banchi, at the
+beginning of the Strada Giulia, on the bank of the Tiber, an immense
+church should be built, to be dedicated to S. John the Baptist; which
+might surpass in magnificence, grandeur, cost, ornamentation, and
+design, the churches of all the other colonies. There competed, then,
+in making designs for this work, Raffaello da Urbino, Antonio da San
+Gallo, Baldassarre da Siena, and Sansovino; and the Pope, when he had
+seen all their designs, extolled as the best that of Sansovino,
+because, besides other things, he had made at each of the four corners
+of that church a tribune, and a larger tribune in the centre, after
+the likeness of the plan that Sebastiano Serlio placed in his second
+book on Architecture. Whereupon, all the heads of the Florentine
+colony concurring with the will of the Pope, with much approval of
+Sansovino, the foundations were begun for a part of that church,
+altogether twenty-two canne[12] in length. But, there being not enough
+space, and yet wishing to make the façade of the church in line with
+the houses of the Strada Giulia, they were obliged to stretch out into
+the stream of the Tiber at least fifteen canne; which pleasing many of
+them, because the grandeur as well as the cost was increased by making
+the foundations in the river, work was begun on this, and they spent
+upon it more than forty thousand crowns, which would have been enough
+to build half the masonry of the church.
+
+         [Footnote 12: A "canna" is equal to about four braccia.]
+
+In the meantime Sansovino, who was the head of this fabric, while the
+foundations were being laid little by little, had a fall and suffered
+a serious injury; and after a few days he had himself carried to
+Florence for treatment, leaving the charge of laying the rest of the
+foundations, as has been related, to Antonio da San Gallo. But no long
+time passed before the Florentine colony, having lost by the death of
+Leo so great a support and so splendid a Prince, abandoned the
+building for the duration of the life of Pope Adrian VI. Then, Clement
+having been elected, it was ordained, in order to pursue the same
+order and design, that Sansovino should return and carry on that
+fabric in the same manner wherein he had first arranged it; and so a
+beginning was made once more with the work. Meanwhile, Sansovino
+undertook to make the tomb of the Cardinal of Arragon and that of
+Cardinal Aginense; and he had caused work to be begun on the marbles
+for the ornaments, and had made many models for the figures, and
+already Rome was in his hands, and he was executing many works of the
+greatest importance for all those lords, when God, in order to
+chastise that city and abate the pride of the inhabitants of Rome,
+permitted that Bourbon should come with his army on the 6th of May,
+1527, and that the whole city should be sacked and put to fire and
+sword.
+
+In that ruin, besides many other beautiful intellects that came to an
+evil end, Sansovino was forced to his great loss to depart from Rome
+and to fly to Venice, intending from there to pass into France to
+enter the service of the King, whither he had been already invited.
+But, halting in that city in order to make himself ready and provide
+himself with many things, for he was despoiled of everything, it was
+announced to the Prince Andrea Gritti, who was much the friend of
+every talent, that Jacopo Sansovino was there. Whereupon there came to
+Gritti a desire to speak with him, because at that very time Cardinal
+Domenico Grimani had given him to understand that Sansovino would have
+been the man for the cupolas of S. Marco, their principal church,
+which, because of age and of weak foundations, and also from their
+being badly secured with chains, were all opening out and threatening
+to fall; and so he had him summoned. After many courtesies and long
+discussions, he said to Sansovino that he wished, or rather, prayed
+him, that he should find a remedy for the ruin of those tribunes;
+which Sansovino promised to do, and to put it right. And so, having
+agreed to do the work, he caused it to be taken in hand; and, having
+contrived all the scaffoldings in the interior and made supports of
+beams after the manner of stars, he propped in the central hollow of
+woodwork all the timbers that sustained the vault of each tribune, and
+encircled them on the inner side with curtains of woodwork, going on
+then to bind them on the outer side with chains of iron, to flank them
+with new walls, and to make at the foot new foundations for the piers
+that supported them, insomuch that he strengthened them vastly and
+made them for ever secure. By doing which he caused all Venice to
+marvel, and not only satisfied Gritti, but also--which was far
+more--rendered his ability so clearly manifest to that most
+illustrious Senate, that when the work was finished, the Protomaster
+to the Lords Procurators of S. Mark being dead, which is the highest
+office that those lords give to their architects and engineers, they
+gave it to him with the usual house and a passing handsome salary.
+Whereupon Sansovino, having accepted it most willingly and freed his
+mind of all doubt, became the head of all their fabrics, with honour
+and advantage for himself.
+
+[Illustration: THE LIBRARY OF S. MARCO
+
+(_After =Jacopo Sansovino=. Venice_)
+
+_Alinari_]
+
+First, then, he erected the public building of the Mint, which he
+designed and distributed in the interior with so much order and
+method, for the convenience and service of the many artificers, that
+in no place is there a Treasury ordered so well or with greater
+strength than that one, which he adorned altogether in the Rustic
+Order, very beautifully; which method, not having been used before in
+Venice, caused no little marvel in the men of that city. Wherefore,
+having recognized that the genius of Sansovino was equal to their
+every need in the service of the city, they caused him to attend for
+many years to the fortifications of their State. Nor did any long time
+pass before he took in hand, by order of the Council of Ten, the very
+rich and beautiful fabric of the Library of S. Marco, opposite to the
+Palazzo della Signoria, with such a wealth of carvings, cornices,
+columns, capitals, and half-length figures over the whole work, that
+it is a marvel; and it is all done without any sparing of expense, so
+that up to the present day it has cost one hundred and fifty thousand
+ducats. And it is held in great estimation in that city, because it is
+full of the richest pavements, stucco-work, and stories, distributed
+among the halls of the building, with public stairs adorned by various
+pictures, as has been related in the Life of Battista Franco; besides
+many other beautiful appurtenances, and the rich ornaments that it has
+at the principal door of entrance, which give it majesty and grandeur,
+making manifest the ability of Sansovino. This method of building was
+the reason that in that city, into which up to that time there had
+never entered any method save that of making their houses and palaces
+with the same order, each one always continuing the same things with
+the same measure and ancient use, without varying according to the
+sites as they found them or according to convenience--this, I say, was
+the reason that buildings both public and private began to be erected
+with new designs and better order.
+
+The first palace that he built was that of M. Giorgio Cornaro, a most
+beautiful work, erected with all proper appurtenances and ornaments at
+a cost of seventy thousand crowns. Moved by which, a gentleman of the
+Delfino family caused Sansovino to build a smaller one, at a cost of
+thirty thousand crowns, which was much extolled and very beautiful.
+Then he built that of Moro, at a cost of twenty thousand crowns, which
+likewise was much extolled; and afterwards many others of less cost in
+the city and the neighbourhood. Wherefore it may be said that at the
+present day that magnificent city, in the quantity and quality of her
+sumptuous and well-conceived edifices, shines resplendent and is in
+that respect what she is through the ability, industry, and art of
+Jacopo Sansovino, who therefore deserves the highest praise; seeing
+that with those works he has been the reason that the gentlemen of
+Venice have introduced modern architecture into their city, in that
+not only has that been done there which has passed through his hands,
+but also many--nay, innumerable--other works which have been executed
+by other masters, who have gone to live there and have achieved
+magnificent things. Jacopo also built the fabric of the loggia in the
+Piazza di S. Marco, in the Corinthian Order, which is at the foot of
+the Campanile of the said S. Marco, with a very rich ornamentation of
+columns, and four niches, in which are four figures the size of life
+and in bronze, of supreme beauty. And that work formed, as it were, a
+base of great beauty to the said campanile, which at the foot has a
+breadth, on one of the sides, of thirty-five feet, which is about the
+extent of Sansovino's ornamentation; and a height from the ground to
+the cornice, where are the windows of the bells, of one hundred and
+sixty feet. From the level of that cornice to the other above it,
+where there is the corridor, is twenty-five feet, and the other dado
+above is twenty-eight feet and a half high; and from that level of the
+corridor to the pyramid, spire, or pinnacle, whatever it may be
+called, is sixty feet. At the summit of that pinnacle the little
+square, upon which stands the Angel, is six feet high, and the said
+Angel, which revolves, is ten feet high; insomuch that the whole
+height comes to be two hundred and ninety-two feet. He also designed
+and executed for the Scuola, or rather, Confraternity and Company of
+the Misericordia, the fabric of that place, an immense building which
+cost one hundred and fifty thousand crowns; and he rebuilt the Church
+of S. Francesco della Vigna, where the Frati de' Zoccoli have their
+seat, a vast work and of much importance.
+
+[Illustration: LOGGETTA
+
+(_After =Jacopo Sansovino=. Venice: Piazza di S. Marco_)
+
+_Anderson_]
+
+Nor for all this, the while that he has been giving his attention to
+so many buildings, has he ever ceased from executing every day for his
+own delight great and beautiful works of sculpture, in marble and in
+bronze; and over the holy-water font of the Friars of the Cà Grande
+there is a statue executed in marble by his hand, representing a S.
+John the Baptist, very beautiful and much extolled. At Padua, in the
+Chapel of the Santo, there is a large scene in marble by the same
+hand, with very beautiful figures in half-relief, of a miracle of S.
+Anthony of Padua; which scene is much esteemed in that place. For the
+entrance of the stairs of the Palace of S. Marco he is even now
+executing in marble, in the form of two most beautiful giants, each of
+seven braccia, a Neptune and a Mars, signifying the power that is
+exercised both on land and on sea by that most illustrious Republic.
+He made a very beautiful statue of a Hercules for the Duke of
+Ferrara; and for the Church of S. Marco he executed four scenes of
+bronze in half-relief, one braccio in height and one and a half in
+length, for placing around a pulpit, and containing stories of that
+Evangelist, which are held in great estimation for their variety. Over
+the door of the same S. Marco he has made a Madonna of marble, the
+size of life, which is held to be a very beautiful thing, and at the
+entrance of the sacristy in that place there is by his hand the door
+of bronze, divided into two most beautiful parts, with stories of
+Jesus Christ all in half-relief and wrought excellently well; and over
+the door of the Arsenal he has made a very lovely Madonna of marble,
+who is holding her Son in her arms. All which works not only have
+given lustre and adornment to that Republic, but also have caused
+Sansovino to become daily more known as a most excellent craftsman,
+and to be loved by those Signori and honoured by their magnificent
+liberality, and likewise by the other craftsmen; for every work of
+sculpture and architecture that has been executed in that city in his
+time has been referred to him. And in truth the excellence of Jacopo
+has well deserved to be held in the first rank in that city among the
+craftsmen of design, and his genius is rightly loved and revered by
+all men, both nobles and plebeians, for the reason that, besides other
+things, he has brought it about, as has been said, with his knowledge
+and judgment, that that city has been almost entirely made new and has
+learned the true and good manner of building.
+
+But, if she has received from him beauty and adornment, he, on the
+other hand, has received many benefits from her. Thus, in addition to
+other things, he has lived in her, from the time when he first went
+there to the age of seventy-eight years, full of health and strength;
+and the air and that sky have done so much for him, that he does not
+seem, one might say, more than forty. He has had, and still has, from
+a most talented son--a man of letters--two grandchildren, one male and
+the other female, both of them pictures of health and beauty, to his
+supreme contentment; and, what is more, he is still alive, full of
+happiness and with all the greatest conveniences and comforts that any
+man of his profession could have. He has always loved his
+brother-craftsmen, and in particular he has been very much the friend
+of the excellent and famous Tiziano, as he also was of M. Pietro
+Aretino during his lifetime. For all these reasons I have judged it
+well to make this honourable record of him, although he is still
+living, and particularly because now he is by way of doing little in
+sculpture.
+
+Sansovino had many disciples in Florence: Niccolò, called Tribolo, as
+has been related, and Solosmeo da Settignano, who finished with the
+exception of the large figures the whole of the tomb in marble that is
+at Monte Casino, wherein is the body of Piero de' Medici, who was
+drowned in the River Garigliano. His disciple, likewise, was Girolamo
+da Ferrara, called Lombardo, of whom there has been an account in the
+Life of Benvenuto Garofalo of Ferrara; which Girolamo has learned his
+art both from the first Sansovino and from this second one in such a
+manner, that, besides the works at Loreto of which we have spoken,
+both in marble and in bronze, he has executed many works in Venice.
+This master, although he came under Sansovino at the age of thirty and
+knowing little of design, being rather a man of letters and a courtier
+than a sculptor, although he had previously executed some works in
+sculpture, nevertheless applied himself in such a manner, that in a
+few years he made the proficience that may be perceived in his works
+in half-relief that are in the fabrics of the Library and the Loggia
+of the Campanile of S. Marco; in which he acquitted himself so well,
+that he was afterwards able to make by himself alone the statues of
+marble and the Prophets that he executed, as has been related, at the
+Madonna of Loreto.
+
+[Illustration: THE MIRACLE OF S. ANTHONY
+
+(_After the relief by =Jacopo Sansovino=. Padua: S. Antonio_)
+
+_Alinari_]
+
+A disciple of Sansovino, also, was Jacopo Colonna, who died at Bologna
+thirty years ago while executing a work of importance. This Jacopo
+made for the Church of S. Salvadore in Venice a nude S. Jerome of
+marble, still to be seen in a niche near the organ, which was a
+beautiful figure and much extolled, and for S. Croce della Giudecca he
+made a Christ also nude and of marble, who is showing His Wounds, a
+work of beautiful artistry; and likewise for S. Giovanni Nuovo three
+figures, S. Dorothy, S. Lucia, and S. Catharine. In S. Marina may be
+seen a horse with an armed captain upon it, by his hand; and all these
+works can stand in comparison with any that are in Venice. In Padua,
+for the Church of S. Antonio, he executed in stucco the said Saint
+and S. Bernardino, clothed. Of the same material he made for Messer
+Luigi Cornaro a Minerva, a Venus, and a Diana, larger than life and in
+the round; in marble a Mercury, and in terra-cotta a nude Marzio as a
+young man, who is drawing a thorn from his foot, or rather, showing
+that he has drawn it out, he holds the foot with one hand, looking at
+the wound, and with the other hand seems to be about to cleanse it
+with a cloth; which last work, because it is the best that Jacopo ever
+did, the said Messer Luigi intends to have cast in bronze. For the
+same patron he made another Mercury of stone, which was afterwards
+presented to Duke Federigo of Mantua.
+
+Another disciple of Sansovino was Tiziano da Padova, a sculptor, who
+carved some little figures of marble in the Loggia of the Campanile of
+S. Marco at Venice; and in the Church of the same S. Marco there may
+be seen, likewise fashioned and cast in bronze by him, a large and
+beautiful cover for a basin in bronze, in the Chapel of S. Giovanni.
+This Tiziano had made a statue of S. John, with which were the four
+Evangelists and four stories of S. John, wrought with beautiful
+artistry for casting in bronze; but he died at the age of thirty-five,
+and the world was robbed of an excellent and valiant craftsman. And by
+the same hand is the vaulting of the Chapel of S. Antonio da Padova,
+with a very rich pattern of compartments in stucco. He had begun for
+the same chapel a grating of five arches in bronze, which were full of
+stories of that Saint, with other figures in half-relief and
+low-relief; but this, also, by reason of his death and of the
+disagreement of those who had the charge of having it done, remained
+unfinished. Many pieces of it had already been cast, which turned out
+very beautiful, and many others were made in wax, when he died, and
+for the said reasons the whole work was abandoned. The same Tiziano,
+when Vasari executed the above-described decorations for the gentlemen
+of the Company of the Calza in Canareio, made for that work some
+statues in clay and many terminal figures. And he was employed many
+times on ornaments for scenic settings, theatres, arches, and other
+suchlike things, whereby he won much honour; having executed works all
+full of invention, fantasy, and variety, and above all with great
+rapidity.
+
+Pietro da Salò, also, was a disciple of Sansovino; and after having
+toiled at carving foliage up to the age of thirty, finally, assisted
+by Sansovino, who taught him, he set himself to make figures of
+marble. In which he so delighted, and studied in such a manner, that
+in two years he was working by himself; to which witness is borne by
+some passing good works by his hand that are in the tribune of S.
+Marco, and the statue of a Mars larger than life that is in the façade
+of the Palazzo Pubblico, which statue is in company with three others
+by the hands of good craftsmen. He also made two figures for the
+apartments of the Council of Ten, one male and the other female, in
+company with two others executed by Danese Cattaneo, a sculptor of
+highest renown, who, as will be related, was likewise a disciple of
+Sansovino; which figures serve to adorn a chimney-piece. Pietro made,
+in addition, three figures that are at S. Antonio, in the round and
+larger than life; and these are a Justice, a Fortitude, and a statue
+of a Captain-General of the Venetian forces, all executed with good
+mastery. He also made a statue of Justice in a beautiful attitude and
+with good design, which was placed upon a column in the Piazza of
+Murano, and another in the Piazza del Rialto in Venice, as a support
+for that stone where public proclamations are made, which is called
+the Gobbo[13] di Rialto; and these works have made him known as a very
+good sculptor. For the Santo, in Padua, he made a very beautiful
+Thetis; and a Bacchus who is squeezing a bunch of grapes into a cup,
+which figure, the most difficult that he ever executed, and the best,
+he left at his death to his children, who have it still in their
+house, seeking to sell it to him who shall best recognize and reward
+the labour that their father endured for it.
+
+         [Footnote 13: Hunchback.]
+
+Likewise a disciple of Jacopo was Alessandro Vittoria of Trento, a
+most excellent sculptor and much the friend of study, who with a very
+beautiful manner has shown in many works that he has executed, as well
+in stucco as in marble, that he has a ready brain and a lovely style,
+and that his labours are worthy to be held in estimation. By the hand
+of this Alessandro, in Venice, at the principal door of the Library of
+S. Marco, are two great women of stone, each ten palms high, which
+are full of grace and beauty and worthy to be much extolled. He has
+made four figures for the tomb of the Contarini in the Santo of Padua,
+two slaves, or rather, captives, with a Fame and a Thetis, all of
+stone; and an Angel ten feet high, a very beautiful statue, which has
+been placed upon the Campanile of the Duomo in Verona. And to Dalmatia
+he sent four Apostles also of stone, each five feet high, for the
+Cathedral of Traù. He made, also, some figures in silver for the
+Scuola of S. Giovanni Evangelista in Venice, which were all in
+full-relief and rich in grace, and a S. Teodoro of two feet in silver,
+in the round. For the Chapel of the Grimani, in S. Sebastiano, he
+wrought two figures in marble, each three feet high; and then he made
+a Pietà, with two figures of stone, held to be good, which are at S.
+Salvadore in Venice. He made a Mercury, held to be a good figure, for
+the pulpit of the Palazzo di S. Marco, which looks out over the
+Piazza; and for S. Francesco della Vigna he made three figures large
+as life--S. Anthony, S. Sebastian, and S. Rocco--all of stone and full
+of beauty and grace, and well wrought. For the Church of the
+Crocicchieri he made in stucco two figures each six feet high, very
+beautiful, which are placed on the high-altar; and of the same
+material he made, as has been already told, all the ornaments that are
+in the vaulting of the new staircase of the Palazzo di S. Marco, with
+various patterns of compartments in stucco, where Battista Franco
+afterwards painted in the spaces the scenes, figures, and grotesques
+that are there. In like manner, Alessandro executed the ornaments of
+the staircase of the Library of S. Marco, all works of great mastery;
+and a chapel for the Friars Minors, and in the altar-piece of marble,
+which is very large and very beautiful, the Assumption of Our Lady in
+half-relief, with five great figures at the foot which have in them
+something of the grand and are made with a beautiful manner, a lovely
+and dignified flow of draperies, and much diligence of execution;
+which figures of marble--S. Jerome, S. John the Baptist, S. Peter, S.
+Andrew, and S. Leonardo--each six feet high, are the best of all the
+works that he has done up to the present. And as a crown to that
+chapel, on the frontispiece, are two figures likewise of marble, each
+eight feet high and very graceful. The same Vittoria has executed
+many portraits in marble and most beautiful heads, which are good
+likenesses, such as that of Signor Giovan Battista Feredo, placed in
+the Church of S. Stefano, that of Camillo Trevisano, the orator,
+placed in the Church of SS. Giovanni e Polo; the most illustrious
+Marc'Antonio Grimani, likewise placed in the Church of S. Sebastiano;
+and in S. Gimignano, the rector of that church. He has also portrayed
+Messer Andrea Loredano. M. Priano da Lagie, and two brothers of the
+Pellegrini family--M. Vincenzio and M. Giovan Battista--both orators.
+And since Vittoria is young and a willing worker, talented, amiable,
+desirous of acquiring name and fame, and, lastly, very gentle, we may
+believe that if he lives, we are destined to see most beautiful works
+come from him from day to day, worthy of his name of Vittoria, and
+that, if his life endures, he is like to be a most excellent sculptor
+and to win the palm from all the others of that country.
+
+There is also one Tommaso da Lugano, a sculptor, who likewise has been
+many years with Sansovino, and has made with the chisel many figures
+in the Library of S. Marco, very beautiful, in company with others.
+And then, having left Sansovino, he has made by himself a Madonna with
+the Child in her arms, and at her feet a little S. John, which are all
+three figures of such beautiful form, attitude, and manner, that they
+can stand among all the other beautiful modern statues that are in
+Venice; which work is placed in the Church of S. Bastiano. And a
+portrait of the Emperor Charles V, which he made from the breast
+upwards, of marble, has been held to be a marvellous thing, and was
+very dear to his Majesty. And since Tommaso has delighted to work
+rather in stucco than in marble or bronze, there are innumerable most
+beautiful figures by his hand and works executed by him in that
+material in the houses of various gentlemen of Venice. But it must
+suffice to have said this much of him.
+
+Of the Lombards, finally, it remains for us to make record of Jacopo
+Bresciano, a young man of twenty-four, who has not long parted from
+Sansovino. He has given proof at Venice, in the many years that he has
+been there, of being talented and likely to prove excellent, as he has
+since shown in the works that he has executed in his native Brescia,
+and particularly in the Palazzo Pubblico, and if he lives and
+studies, there will be seen from his hand, also, things greater and
+better, for he has a fine spirit and most beautiful gifts.
+
+Of our Tuscans, one of the disciples of Sansovino has been the
+Florentine Bartolommeo Ammanati, of whom record has already been made
+in many places in this work. This Bartolommeo, I say, worked under
+Sansovino in Venice; and then in Padua for Messer Marco da Mantova, a
+most excellent doctor of medicine, in whose house he made an immense
+giant from more than one piece of stone for his court, and his tomb,
+with many statues. Afterwards, Ammanati having gone to Rome in the
+year 1550, there were allotted to him by Giorgio Vasari four statues
+of marble, each of four braccia, for the tomb of the old Cardinal di
+Monte, which Pope Julius III had allotted to Giorgio himself in the
+Church of S. Pietro a Montorio, as will be related; which statues were
+held to be very beautiful. Wherefore Vasari, having conceived an
+affection for him, made him known to the said Julius III, who, having
+ordained what he wanted done, caused him to be set to work; and so
+both of them, Vasari and Ammanati, worked together for a time at the
+Vigna. But not long afterwards, when Vasari had gone to serve Duke
+Cosimo in Florence, the above-named Pope being dead, Ammanati, who
+found himself without work and badly recompensed by that Pontiff for
+his labours in Rome, wrote to Vasari, praying him that, even as he had
+assisted him in Rome, so he should assist him in Florence with the
+Duke. Whereupon Vasari, occupying himself with fervour in this matter,
+introduced him into the service of the Duke, for whom he has executed
+many statues in marble and in bronze that are not yet in position. For
+the garden of Castello he has made two figures in bronze larger than
+life--namely, a Hercules who is crushing Antæus, from which Antæus, in
+place of his spirit, there issues from the mouth water in great
+abundance. Finally, Ammanati has executed in marble the colossal
+figure of Neptune that is in the Piazza, ten braccia and a half in
+height; but since the work of the fountain, in the centre of which the
+said Neptune is to stand, is not finished, I shall say nothing more of
+it. The same Ammanati, as architect, is giving his attention with much
+honour and praise to the fabric of the Pitti, in which work he has a
+great opportunity to show the worth and grandeur of his mind, and the
+magnificence and great spirit of Duke Cosimo. I could tell many
+particulars of this sculptor, but since he is my friend, and another,
+so I hear, is writing his history, I shall say no more, in order not
+to set my hand to things that may be related by another better than I
+perhaps might be able.
+
+It remains for us to make mention, as the last of Sansovino's
+disciples, of Danese Cattaneo, the sculptor of Carrara, who was
+already with him in Venice when still a little boy. Parting from his
+master at the age of nineteen, he made by himself a boy of marble for
+S. Marco, and a S. Laurence for the Church of the Friars Minors; for
+S. Salvadore another boy in marble, and for SS. Giovanni e Polo the
+statue of a nude Bacchus, who is grasping a bunch of grapes from a
+vine which twines round a trunk that he has behind his legs, which
+statue is now in the house of the Mozzenighi at S. Barnaba. He has
+executed many figures for the Library of S. Marco and for the Loggia
+of the Campanile, together with others of whom there has been an
+account above; and, in addition to those named, the two that have been
+mentioned already as being in the apartments of the Council of Ten. He
+made portraits in marble of Cardinal Bembo and Contarini, the
+Captain-General of the Venetian forces, which are both in S. Antonio
+at Padua, with rich and beautiful ornaments about them. And in the
+same city of Padua, in S. Giovanni di Verdara, there is by the same
+hand the portrait of Messer Girolamo Gigante, a most learned jurist.
+And for S. Antonio della Giudecca, in Venice, he has made a very
+lifelike portrait of Giustiniano, the Lieutenant of the Grand Master
+of Malta, and that of Tiepolo, who was three times General; but these
+have not yet been set in their places. But the greatest work and the
+most distinguished that Danese has ever executed is a rich chapel of
+marble, with large figures, in S. Anastasia at Verona, for Signor
+Ercole Fregoso, in memory of Signor Jano, once Lord of Genoa, and then
+Captain-General of the Venetians, in whose service he died. This work
+is of the Corinthian Order, in the manner of a triumphal arch, and
+divided by four great columns, round and fluted, with capitals of
+olive-leaves, which rest upon a base of proportionate height, making
+the space in the centre as wide again as one of those at the sides;
+with an arch between the columns, above which there rest on the
+capitals the architrave and cornice, and in the centre, within the
+arch, a very beautiful decoration of pilasters, with cornice and
+frontispiece, and with a ground formed by a tablet of most beautiful
+black basanite, where there is the statue of a nude Christ, larger
+than life and in the round, a very good figure; which statue stands in
+the act of showing the Wounds, with a piece of drapery bound round the
+flanks and reaching between the legs to the ground. Over the angles of
+the arch are Signs of His Passion, and between the columns that are on
+the right side there stands upon a pedestal a statue in the round
+representing Signor Jano Fregoso, fully armed after the antique save
+that he shows the arms and legs nude, and he has the left hand upon
+the pommel of the sword at his girdle, and with the right hand he
+holds the general's baton; having behind him as a pendant, within the
+space between the columns, a Minerva in half-relief, who, poised in
+the air, holds with one hand a Ducal staff, such as that of the Doges
+of Venice, and with the other a banner containing the device of S.
+Mark. Between the two other columns, as the other pendant, is Military
+Valour in armour, on her head the helmet-crest with the house-leek
+upon it, and on her cuirass the device of an ermine that stands upon a
+rock surrounded by mire, with letters that run--"Potius mori quam
+foedari," and with the device of the Fregosi; and above is a Victory,
+with a garland of laurel and a palm in the hands. Above the columns,
+architrave, frieze and cornice, is another range of pilasters, upon
+the crowns of which stand two figures of marble in the round, and two
+trophies likewise in the round and of the same size as the figures. Of
+these two statues, one is Fame in the act of taking flight, pointing
+with the right hand to Heaven, and with a trumpet that she is
+sounding; and this figure has light and most beautiful draperies about
+the body, and all the rest nude. The other, representing Eternity, is
+clothed in heavier vestments, and stands in majesty, holding in the
+left hand a round on which she is gazing, and with the right hand she
+grasps a hem of her garment wherein are globes that signify the
+various ages, with the celestial sphere encircled by the serpent that
+seizes the tail in the mouth. In the central space above the great
+cornice, which forms and separates those two other spaces, are three
+steps upon which are seated two large nude boys, who hold a great
+shield with the helmet above it, containing the devices of the
+Fregosi; and below those steps is an epitaph of basanite with large
+gilded letters. That whole work is truly worthy to be extolled, for
+Danese executed it with great diligence, and gave beautiful proportion
+and grace to the composition, and made each figure with great study.
+And Danese is not only, as has been described, an excellent sculptor,
+but also a good and much extolled poet, as his works clearly
+demonstrate, on which account he has always had intercourse and strait
+friendship with the greatest men and choicest spirits of our age; and
+of this may serve as a proof the work described above, executed by him
+with much poetic feeling. By the hand of Danese is the nude statue of
+the Sun above the ornament of the well in the courtyard of the Mint,
+at Venice; in place of which those Signori desired a Justice, but
+Danese considered that in that place the Sun is more appropriate. This
+figure has a bar of gold in the left hand, and in the right hand a
+sceptre, at the end of which he made an eye, and about the head the
+rays of the sun, and above all the globe of the world encircled by the
+serpent that holds the tail in the mouth, with some little mounds of
+gold about the globe, generated by him. Danese would have liked to
+make two other statues, that of the Moon for silver and another for
+copper, with that of the Sun for gold; but it was enough for those
+Signori that there should be that of gold, as the most perfect of all
+the metals. The same Danese has begun another work in memory of Prince
+Loredano, Doge of Venice, wherein it is hoped that in invention and
+fantasy he is to surpass by a great measure all his other labours;
+which work is to be placed in the Church of SS. Giovanni e Polo in
+Venice. But, since this master is alive and still constantly at work
+for the benefit of the world and of art, I shall say nothing more of
+him; nor of other disciples of Sansovino. I will not omit, however, to
+speak briefly of some other excellent craftsmen, sculptors and
+painters, from that dominion of Venice, taking my opportunity from
+those mentioned above, in order to make an end of speaking of them in
+this Life of Sansovino.
+
+[Illustration: PALAZZO CHIERICATI
+
+(_After =Andrea Palladio=. Vicenza_)
+
+_Alinari_]
+
+Vicenza, then, has likewise had at various times sculptors, painters,
+and architects, of some of whom record was made in the Life of
+Vittore Scarpaccia, and particularly of those who flourished in the
+time of Mantegna and learned to draw from him; and such were
+Bartolommeo Montagna, Francesco Verbo, and Giovanni Speranza, all
+painters, by whose hands are many pictures that are dispersed
+throughout Vicenza. Now in the same city there are many sculptures by
+the hand of one Giovanni, a carver and architect, which are passing
+good, although his proper profession has been to carve foliage and
+animals, as he still does excellently well, although he is old. In
+like manner, Girolamo Pironi of Vicenza has executed praiseworthy
+works of sculpture and painting in many places in his city. But among
+all the masters of Vicenza he who most deserves to be extolled is the
+architect Andrea Palladio, from his being a man of singular judgment
+and brain, as many works demonstrate that were executed by him in his
+native country and elsewhere, and in particular the Palazzo della
+Comunità, a building much renowned, with two porticoes composed in the
+Doric Order with very beautiful columns. The same Palladio has erected
+a palace, beautiful and grand beyond all belief, with an infinity of
+the richest ornaments, for Count Ottavio de' Vieri, and another like
+it for Count Giuseppe di Porto, which could not be more beautiful or
+magnificent, nor more worthy than it is of no matter how great a
+Prince; and another is being built even now for Count Valerio
+Chiericati under the direction of the same master, very similar in
+majesty and grandeur to the ancient buildings so much extolled. For
+the Counts of Valmorana, likewise, he has now carried almost to
+completion another most superb palace, which does not yield in any
+particular to any of those mentioned above. In the same city, upon the
+piazza commonly called the Isola, he has built another very
+magnificent fabric for Signor Valerio Chiericati; and at Pugliano, a
+place in the Vicentino, a most beautiful house for the Chevalier,
+Signor Bonifazio Pugliana. In the same territory of Vicenza, at
+Finale, he has erected another fabric for Messer Biagio Saraceni; and
+one at Bagnolo for Signor Vittore Pisani, with a large and very rich
+court in the Doric Order with most beautiful columns. Near Vicenza, at
+the township of Lisiera, he has constructed for Signor Giovan
+Francesco Valmorana another very rich edifice, with four towers at
+the corners, which make a very fine effect. At Meledo, likewise, for
+Count Francesco Trissino and Lodovico his brother, he has begun a
+magnificent palace upon a hill of some eminence, with many ranges of
+loggie, staircases, and other appurtenances of a villa. At Campiglia,
+likewise in the Vicentino, he is making for Signor Mario Ropetta
+another similar habitation, with so many conveniences, rich apartments
+of rooms, loggie, staircases, and chambers dedicated to various
+virtues, that it will be, when once carried to completion, an abode
+rather for a King than for a nobleman. At Lunedo he has built another,
+in the manner of a villa, for Signor Girolamo de' Godi; and at
+Angarano another for Count Jacopo Angarano, which is truly most
+beautiful, although it appears a small thing to the great mind of that
+lord. At Quinto, also, near Vicenza, he erected not long ago another
+palace for Count Marc'Antonio Tiene, which has in it more of the grand
+and the magnificent than I could express. In short, Palladio has
+constructed so many vast and lovely buildings within and without
+Vicenza, that, even if there were no others there, they would suffice
+to make a very handsome city with most beautiful surroundings.
+
+In Venice the same Palladio has begun many buildings, but one that is
+marvellous and most notable among them all, in imitation of the houses
+that the ancients used to build, in the Monastery of the Carità. The
+atrium of this is forty feet wide and fifty-four feet long, which are
+exactly the diameters of the quadrangle, the wings being one-third and
+a half of the length. The columns, which are Corinthian, are three
+feet and a half in thickness and thirty-five feet high. From the
+atrium one goes into the peristyle, that is, into a clauster (for thus
+do the friars call their courts), which on the side towards the atrium
+is divided into five parts, and at the flanks into seven, with three
+orders of columns one above the other, of which the Doric is at the
+foot, and above it the Ionic and the Corinthian. Opposite to the
+atrium is the refectory, two squares in length, and as high as the
+level of the peristyle, with its officines around it, all most
+commodious. The stairs are spiral, in the form of an oval, and they
+have neither wall nor column, nor any part in the middle to support
+them; they are thirteen feet wide, and the steps by their position
+support one another, being fixed in the wall. This edifice is all
+built of baked stone, that is, of brick, save the bases of the
+columns, the capitals, the imposts of the arches, the stairs, the
+surface of the cornices, and the whole of the windows and doors. The
+same Palladio has built for the Black Friars of S. Benedict, in their
+Monastery of S. Giorgio Maggiore in Venice, a very large and most
+beautiful refectory with its vestibule in front, and has begun to
+found a new church, with such beautiful ordering, according as the
+model shows, that, if it is carried to completion, it will prove a
+stupendous and most lovely work. Besides this, he has begun the façade
+of the Church of S. Francesco della Vigna, which the very reverend
+Grimani, Patriarch of Aquileia, is causing to be made of Istrian
+stone, with a most magnificent disregard of expense; the columns are
+four palms thick at the foot, forty palms high, and in the Corinthian
+Order, and already the whole basement at the foot is built. At
+Gambaraie, a place seven miles distant from Venice, on the River
+Brenta, the same Palladio has made a very commodious habitation for M.
+Niccolò and M. Luigi Foscari, gentlemen of Venice. Another he has
+built at Marocco, a place in the Mestrino, for the Chevalier
+Mozzenigo; at Piombino one for M. Giorgio Cornaro, one at Montagnana
+for the Magnificent M. Francesco Pisani, and another at Cicogna in the
+territory of Padua for Count Adovardo da Tiene, a gentleman of
+Vicenza. At Udine, in Friuli, he has built one for Signor Floriano
+Antimini; at Motto, a township likewise in Friuli, one for the
+Magnificent M. Marco Zeno, with a most beautiful court and porticoes
+all the way round; and at Fratta, a township in the Polesine, a great
+fabric for Signor Francesco Badoaro, with some very beautiful and
+fantastic loggie. In like manner, near Asolo, a place in the territory
+of Treviso, he has erected a most commodious habitation for the very
+reverend S. Daniello Barbaro, Patriarch-Elect of Aquileia, who has
+written upon Vitruvius, and for the most illustrious M. Marc'Antonio,
+his brother, with such beautiful ordering, that nothing better or
+greater can ever be imagined. Among other things, he has made there a
+fountain very similar to that which Pope Julius caused to be made at
+his Vigna Giulia in Rome; with ornaments of stucco and paintings
+everywhere, executed by excellent masters. In Genoa M. Luca
+Giustiniano has erected a building with the design of Palladio, which
+is held to be very beautiful, as are also all those mentioned above;
+but it would have made too long a story to seek to recount the many
+particulars of the strange and lovely inventions and fantasies that
+are in them. But, since there is soon to come into the light of day a
+work of Palladio, in which will be printed two books of ancient
+edifices and one book of those that he himself has caused to be built,
+I shall say nothing more of him, because this will be enough to make
+him known as the excellent architect that he is held to be by all who
+see his beautiful works; besides which, being still young and
+attending constantly to the studies of his art, every day greater
+things may be expected of him. Nor will I omit to say that he has
+wedded to such gifts a nature so amiable and gentle, that it renders
+him well-beloved with everyone; wherefore he has won the honour of
+being accepted into the number of the Academicians of Design in
+Florence, together with Danese, Giuseppe Salviati, Tintoretto, and
+Battista Farinato of Verona, as will be told in another place,
+speaking of the said Academicians.
+
+Bonifazio, a Venetian painter, of whom I have never before received
+any information, is also worthy to be numbered in the company of these
+many excellent craftsmen, being a well-practised and able colourist.
+This master, besides many pictures and portraits that are dispersed
+throughout Venice, has executed for the altar of the Relics in the
+Church of the Servites, in the same city, an altar-piece wherein is a
+Christ with the Apostles about Him, and Philip who appears to be
+saying, "Domine, ostende nobis patrem," which is painted with a very
+good and beautiful manner. And for the altar of the Madonna in the
+Church of the Nuns of the Spirito Santo, he has executed another most
+beautiful altar-picture with a vast number of men, women, and children
+of every age, who in company with the Virgin are adoring a God the
+Father who is in the air with many Angels about Him. Another painter
+of passing good name in Venice is Jacopo Fallaro, who has painted on
+the doors of the organ in the Church of the Ingesuati the Blessed
+Giovanni Colombini receiving his habit in the Consistory from the
+Pope, with a good number of Cardinals. Another Jacopo, called
+Pisbolica, has executed an altar-piece for S. Maria Maggiore in
+Venice, wherein is Christ in the air with many Angels, and below Him
+Our Lady with the Apostles. And one Fabrizio Viniziano has painted on
+the façade of a chapel in the Church of S. Maria Sebenico the
+Consecration of the baptismal font, with many portraits from life
+executed with beautiful grace and a good manner.
+
+
+NOTES.
+
+I., line 1, p. 187.
+
+The family of the Tatti in Florence is recorded in the books of the
+Commune from the year 1300, because, having come from Lucca, a very
+noble city of Tuscany, it was always abundant in industrious and
+honoured men, and they were most highly favoured by the House of
+Medici. Of this family was born Jacopo, of whom we are writing in this
+place; and he was born from Antonio, a most excellent person, and from
+his wife Francesca, in the month of January, 1477. In the first years
+of his boyhood he was set, as is usual, to learn his letters; and,
+after beginning to show in these vivacity of brain and readiness of
+spirit, not long afterwards he applied himself of his own accord to
+drawing, giving evidence in a certain sort that nature was inclining
+him much more to this kind of work than to letters, for the reason
+that he went very unwillingly to school and learned much against his
+will the scabrous rudiments of grammar. His mother, whom he resembled
+strongly, perceiving this and fostering his genius, gave him
+assistance, causing him to be taught design in secret, because she
+loved the thought that her son should be a sculptor, perchance in
+emulation of the then rising glory of Michelagnolo Buonarroti, who at
+that time was still quite young; and also moved by a certain fateful
+augury, in that Michelagnolo and this Jacopo had been born in one and
+the same street, called Via S. Maria, near the Via Ghibellina. Now the
+boy, after some time, was placed to learn the trade of a merchant; in
+which delighting even less than in letters, he did and said so much,
+that he obtained leave from his father to attend without hindrance to
+that towards which he was urged by nature.
+
+There had come to Florence at that time Andrea Contucci of Monte
+Sansovino, a township near Arezzo, risen to great fame in our days
+from having been the birthplace of Pope Julius III; which Andrea,
+having acquired in Italy and in Spain the name of the best sculptor
+and architect that there was in art after Buonarroti, was staying in
+Florence in order to execute two figures of marble. Etc.
+
+
+II., line 18, p. 197.
+
+(And he was executing many works of the greatest importance for all
+those lords), having been recognized by three Pontiffs, and especially
+by Pope Leo, who presented him with a Knighthood of S. Pietro, which
+he sold during his illness, doubting lest he might die; (when God,
+etc.).
+
+
+III., line 22, p. 198.
+
+Having then entered on that office, he began to occupy himself with
+every care, both with regard to buildings and in the management of the
+papers and of the books that he held by virtue of his office,
+acquitting himself with all possible diligence in the affairs of the
+Church of S. Marco, of the Commissions, which are a great number, and
+of the many other matters that are in the charge of those Procurators;
+and he showed extraordinary lovingness towards those Signori, in that,
+having turned his whole attention to benefiting them and to directing
+their affairs to the aggrandizement, embellishment, and ornamentation
+of the church, the city, and the public square (a thing never yet done
+by any other in that office), he provided them with various
+advantages, profits, and revenues by means of his inventions, with his
+ingenuity of brain and readiness of spirit, yet always with little or
+no expense to the Signori themselves. Among which benefits, one was
+this; in the year 1529 there were between the two columns in the
+Piazza some butchers' stalls, and also between the one column and the
+other many wooden cabins to accommodate persons in their natural
+necessities--a thing most filthy and disgraceful, both for the dignity
+of the Palace and of the Piazza Pubblica, and for the strangers who,
+coming into Venice by way of S. Giorgio, saw first of all on arrival
+that filthiness. Jacopo, after demonstrating to the Prince Gritti the
+honourable and profitable nature of his design, caused those stalls
+and cabins to be removed; and, placing the stalls where they now are
+and making certain places for the sellers of herbs, he obtained for
+the Procurators an additional revenue of seven hundred ducats,
+embellishing at the same time the Piazza and the city. Not long
+afterwards, having perceived that in the Merceria (on the way to the
+Rialto, near the Clock), by removing a house that paid a rent of
+twenty-six ducats, a street could be made leading into the Spadaria,
+whereby the rent of the houses and shops all around would be
+increased, he threw down that house and increased their revenues by
+one hundred and fifty ducats a year. Besides this, by placing on that
+site the hostelry of the Pellegrino and another in the Campo Rusolo,
+he brought them in another four hundred ducats. He obtained for them
+similar benefits by the buildings in the Pescaria, and, on divers
+other occasions, by many houses and shops and other places belonging
+to those Signori, at various times; insomuch that the Procurators,
+having gained by his care a revenue of more than two thousand ducats,
+have been rightly moved to love him and to hold him dear.
+
+Not long afterwards, by order of the Procurators, he set his hand to
+the very rich and beautiful building of the Library opposite to the
+Palazzo Pubblico, with such a variety of architecture (for it is both
+Doric and Corinthian), and such a wealth of carvings, cornices,
+columns, capitals, and half-length figures throughout the whole work,
+that it is a marvel; and all without any sparing of expense, since it
+is full of the richest pavements, stucco-work and scenes throughout
+the halls of that place, and public staircases adorned with various
+pictures, as has been related in the Life of Battista Franco, not to
+speak of the appurtenances and rich ornaments that it has at the
+principal door of entrance, which give it majesty and grandeur,
+demonstrating the ability of Sansovino. Which method of building was
+the reason that in that city, into which there had not entered up to
+that time any other method but that of building their houses and
+palaces in one and the same order, each man always continuing the same
+things with the same measurements and ancient use, without varying
+according to the sites as they found them, or according to
+convenience; it was the reason, I say, that buildings both public and
+private began to be erected with new designs and better order, and
+according to the ancient teaching of Vitruvius; and that work, in the
+opinion of those who are good judges and have seen many parts of the
+world, is without any equal.
+
+He then built the Palace of Messer Giovanni Delfino, situated on the
+Grand Canal on the other side from the Rialto, opposite to the Riva
+del Ferro, at a cost of thirty thousand ducats. He built, likewise,
+that of Messer Leonardo Moro at S. Girolamo, a work of great cost,
+which has almost the appearance of a castle. And he erected the Palace
+of Messer Luigi de' Garzoni, wider by thirteen paces in every
+direction than is the Fondaco de' Tedeschi, with so many conveniences,
+that water runs through the whole fabric, which is adorned with four
+most beautiful figures by Sansovino; which palace is at Ponte Casale,
+in the neighbourhood of Venice. But the most beautiful is the Palace
+of Messer Giorgio Cornaro on the Grand Canal, which, without any doubt
+surpassing the others in convenience, majesty, and grandeur, is
+considered perhaps the finest that there is in Italy. He also built
+(to have done with speaking of private edifices) the Scuola or
+Confraternity of the Misericordia, a vast work costing one hundred and
+thirty thousand crowns, which, when carried to completion, will prove
+to be the most superb edifice in Italy. And his work, also, is the
+Church of S. Francesco della Vigna, where the Frati de' Zoccoli have
+their seat, a work of great size and importance; but the façade was by
+another master. The Loggia about the Campanile of S. Marco, in the
+Corinthian Order, was from his design, with a very rich ornament of
+columns, and with four niches, in which are four supremely beautiful
+figures in bronze, little less than the size of life, which are by his
+hand, together with various scenes and figures in low-relief. That
+work makes a most beautiful base to the said campanile, which has a
+thickness, on one of the sides, of thirty-five feet, which is about
+the extent of Sansovino's ornamentation. In height, from the ground to
+the cornice where are the windows of the bells, it is one hundred and
+sixty feet; from the level of that cornice to the other above it,
+where the corridor is, twenty-five feet; and the other dado above has
+a height of twenty-eight feet and a half. From that level of the
+corridor up to the pyramid is sixty feet; at the summit of which
+spire, the little square, upon which rests the Angel, is six feet
+high, and the said Angel, which turns with every wind, is ten feet
+high; insomuch that the whole height comes to be two hundred and
+ninety-two feet.
+
+But the finest, richest, and strongest of his edifices is the Mint of
+Venice, all of iron and stone, for there is not in it one single piece
+of wood, in order to render it absolutely safe from fire. And the
+interior is distributed with such order and convenience for the sake
+of the many artificers, that there is not in any part of the world a
+treasury better ordered, or with greater strength, than that one,
+which he built entirely in the Rustic Order and very beautiful; which
+method, not having been used before in that city, caused the
+inhabitants to marvel not a little. By his hand, also, may be seen the
+Church of S. Spirito on the lagoons, of a very delicate and pleasing
+workmanship; and in Venice there is the façade of S. Gimignano, which
+gives splendour to the Piazza, in the Merceria the façade of S.
+Giuliano, and in S. Salvadore the very rich tomb of the Prince
+Francesco Veniero. He also erected in the Rialto, on the Grand Canal,
+the new fabrics of the vaults, with such good design, that almost
+every day there assembles there a very convenient market of townsmen
+and of other persons who flock to that city. And a very marvellous
+thing and new was that which he did for the Tiepoli at the
+Misericordia, in that, they having on the canal a great palace with
+many regal chambers, and the whole building being badly founded in the
+water, so that it was likely enough that in a few years the edifice
+would fall to the ground, Sansovino rebuilt all the foundations in the
+canal below the palace with very large stones, maintaining the house
+on its feet with a marvellous support of props, while the owners lived
+in their house with perfect security.
+
+Nor for all this, while he has given his attention to so many
+buildings, has he ever ceased to occupy himself every day for his own
+delight with vast and beautiful works of sculpture, in marble and in
+bronze. Over the holy-water font of the Friars of the Cà Grande there
+is by his hand a statue made of marble, representing S. John the
+Baptist, which is very beautiful and highly extolled. At Padua, in the
+Chapel of the Santo, there is a large scene in marble by the same
+hand, with very beautiful figures in half-relief, of a miracle of S.
+Anthony of Padua; which is much esteemed in that place. For the
+entrance of the stairs of the Palace of S. Marco he is even now
+executing in marble in the forms of two very beautiful giants, each of
+seven braccia, a Neptune and a Mars, signifying the power which that
+most illustrious Republic has on land and sea. He made a most
+beautiful statue of Hercules for the Duke of Ferrara; and for the
+Church of S. Marco he made six scenes of bronze in half-relief, one
+braccio high and one and a half long, for placing on a pulpit, with
+stories of that Evangelist, which are held in much estimation for
+their variety. Over the door of the same S. Marco he made a Madonna of
+marble, the size of life, which is held to be a very beautiful thing;
+and at the entrance to the sacristy of that place there is by his hand
+the door of bronze divided into two most beautiful parts, with stories
+of Jesus Christ all in half-relief and wrought excellently well. And
+over the door of the Arsenal he made a very beautiful Madonna, who is
+holding her Son in her arms, of marble. All which works not only have
+given lustre and adornment to that Republic, but also have caused
+Sansovino to be better known every day as a most excellent craftsman,
+and loved and honoured by the magnificent liberality of those Signori,
+and likewise by the other craftsmen, every work of sculpture and
+architecture that has been executed in that city in his time being
+referred to him. And in truth the excellence of Jacopo has well
+deserved that he should be held in the first rank among the craftsmen
+of design in that city, and that his talents should be loved and
+revered by all without exception, both nobles and plebeians, for the
+reason that, besides other things, as has been told, with his judgment
+and knowledge he has brought it about that the city has been made
+almost entirely new and has learned the true and good method of
+building.
+
+Three most beautiful figures in stucco by his hand, also, may be seen
+in the possession of his son, one a Laocoon, another a Venus standing,
+and the third a Madonna with many children about her; which figures
+are so rare, that in Venice there is seen nothing to equal them. The
+said son also has in drawing sixty plans of temples and churches of
+Sansovino's invention, which are so excellent that from the days of
+the ancients to our own there have been seen none better conceived or
+more beautiful. These I have heard that the son will publish for the
+benefit of the world, and already he has had some pieces engraved,
+accompanying them with designs of the numberless labours that have
+been carried into execution by Sansovino in various parts of Italy.
+
+For all this, although occupied, as has been related, with the
+management of so many things both public and private, and both in the
+city and abroad (for strangers, also, ran to him for models and
+designs of buildings, for figures, or for counsel, as did the Duke of
+Ferrara, who obtained a Hercules in the form of a giant, the Duke of
+Mantua, and the Duke of Urbino), he was always very zealous in the
+private and particular service of each of his own Lords Procurators,
+who, availing themselves of him both in Venice and elsewhere, and not
+doing a single thing without his assistance or counsel, kept him
+continually at work not only for themselves, but also for their
+friends and relatives, without any reward, he consenting to endure any
+inconvenience and fatigue in order to satisfy them. But above all he
+was greatly loved and held in infinite price by the Prince Gritti, who
+delighted in beautiful intellects, by Messer Vettorio Grimani, brother
+of the Cardinal, and by Messer Giovanni da Legge the Chevalier, all
+Procurators, and by Messer Marc'Antonio Justiniano, who became
+acquainted with him in Rome. For these illustrious men, exalted in
+spirit and truly regal in mind, being conversant with the affairs of
+the world and well informed in the noble and excellent arts, soon
+recognized his merit and how worthy he was to be cherished and
+esteemed, and availed themselves of him in due measure; and they used
+to say, in accord with the whole city, that the Procurators never had
+and never would have at any time another equal to him, for they knew
+very well how celebrated and renowned his name was with the men and
+princes of intellect in Florence and Rome and throughout all Italy,
+and every one held it as certain that not he only but also his
+descendants and all his posterity deserved to be endowed for ever in
+return for his singular genius.
+
+Jacopo was in body of ordinary stature, without any fat, and he walked
+with the person upright. He was white in complexion, with the beard
+red; and in his youth he was very graceful and handsome, and therefore
+much beloved by various women of some importance. After he became old,
+he had a venerable presence, with a beautiful white beard, and walked
+like a young man, insomuch that, having come to the age of
+ninety-three, he was still very strong and healthy and could see every
+least thing, however distant it might be, without spectacles, and when
+writing he kept his head erect, not bending over at all as is done by
+others. He delighted to dress handsomely, and was always very neat in
+his person; and he always took pleasure in women down to extreme old
+age, and much loved to talk of them. In his youth, by reason of his
+excesses, he was not very robust; but when he had become old he never
+suffered any illness, insomuch that for a period of fifty years,
+although at times he felt indisposed, he would never avail himself of
+any physician; nay, having had an apoplectic stroke for the fourth
+time at the age of eighty-four, he recovered by staying only two
+months in bed in a very dark and warm place, despising medicines. He
+had so good a stomach, that he was not afraid of anything, making no
+distinction between food that might be good and food that might be
+harmful; and in summer he lived almost entirely on fruits, eating very
+often as many as three cucumbers at a time, and half a citron, in his
+extreme old age. As for his qualities of mind, he was very prudent and
+foresaw future events in the matters of the present, weighing them
+against the past; and he was zealous in his affairs, not considering
+any fatigue, and never left his business to follow pleasures. He
+discoursed well and with many words upon no matter what subject that
+he understood, giving many illustrations with much grace; on which
+account he was very dear both to the great and to the small, and to
+his friends. And in his last years he had a memory still very fresh,
+and remembered in detail his childhood, the sack of Rome, and many
+things, fortunate or unfortunate, that he experienced in his time. He
+was courageous, and from his youth took delight in contending with
+those greater than himself, because, he used to say, by contending
+with the great a man advances, but against the little he lowers
+himself. He esteemed honour above everything in the world, wherefore
+in his affairs he was most loyal and a man of his word, and so pure in
+heart, that no offer, however great, could have corrupted him,
+although he was put to the test several times by his Signori, who for
+this and for other qualities regarded him not as their protomaster or
+minister, but as a father and brother, honouring him for his goodness,
+which was in no way feigned, but real. He was liberal with every man,
+and so loving towards his relatives, that he deprived himself of many
+comforts in order to assist them; although he lived always in repute
+and honour, as one who was observed by everyone. At times he let
+himself be overcome by anger, which was very great in him, but it soon
+passed; and very often with a few humble words you could make the
+tears come to his eyes.
+
+He had a surpassing love for the art of sculpture; such a love,
+indeed, that, to the end that it might be dispersed widely in various
+parts, he formed many disciples, making as it were a seminary of that
+art in Italy. Among these, very famous were Niccolò Tribolo and
+Solosmeo, Florentines; Danese Cattaneo of Carrara, a Tuscan, of
+supreme excellence in poetry as well as in sculpture; Girolamo da
+Ferrara, Jacopo Colonna of Venice, Luca Lancia of Naples, Tiziano da
+Padova, Pietro da Salò, Bartolommeo Ammanati of Florence, at the
+present day sculptor and protomaster to the great Duke of Tuscany,
+and, finally, Alessandro Vittoria of Trento, a rare master in
+portraits of marble, and Jacopo de' Medici of Brescia; who, reviving
+the memory of the excellence of their master, have employed their
+talents on many honoured works in various cities.
+
+Sansovino was much esteemed by Princes, among whom Alessandro de'
+Medici, Duke of Florence, sought his judgment in building the Citadel
+of that city. And Duke Cosimo in the year 1540, Sansovino having gone
+on his affairs to his native city, not only sought his counsel in the
+matter of that fortress, but also strove to engage him in his service,
+offering him a good salary; and on his return from Florence Duke
+Ercole of Ferrara detained him about his person and proposed various
+conditions to him, making every effort to keep him in Ferrara. But
+he, being used to Venice, and finding himself comfortable in that
+city, where he had lived a great part of his life, and having a
+singular love for the Procurators, by whom he was so much honoured,
+would never listen to any of them. He was also invited by Pope Paul
+III, who wished to advance him to the charge of S. Pietro in the place
+of Antonio da San Gallo, and with this Monsignor della Casa, who was
+then Legate in Venice, occupied himself much; but all was in vain,
+because he said that he was not minded to exchange the manner of life
+of a republic for that of living under an absolute Prince. And King
+Philip of Spain, on his way to Germany, showed him much kindness at
+Peschiera, whither Jacopo had gone to see him.
+
+He had an immoderate desire of glory, and by reason of that used to
+spend his own substance on others (not without notable harm to his
+descendants), in the hope that there might remain some memory of him.
+Good judges say that although he had to yield to Michelagnolo, yet in
+certain things he was his superior. Thus in the fashioning of
+draperies, in children, and in the expressions of women, Jacopo had no
+equal, for the reason that his draperies in marble were very delicate
+and well executed, with beautiful folds and curves that revealed the
+nude beneath the vestments; his children he made tender and soft,
+without those muscles that adults have, and with their little arms and
+legs as if of flesh, insomuch that they were in no way different from
+the life; and the expressions of his women were sweet and pleasing,
+and as gracious as could be, as is clearly seen from various Madonnas
+made by him in many places, of marble and in low-relief, and from his
+statues of Venus and other figures.
+
+Now this man, having thus become celebrated in sculpture and in
+architecture a master without a rival, and having lived in the grace
+of mankind and also of God, who bestowed upon him the genius that made
+him illustrious, as has been related, when he had come to the age of
+ninety-three, feeling somewhat weary in body, took to his bed in order
+to rest; in which having lain without any kind of suffering, although
+he strove to rise and dress himself as if well, for a period of a
+month and a half, failing little by little, he asked for the
+Sacraments of the Church, which having received, while still hoping to
+live a few years, he sank gradually and died on the 2nd of November in
+the year 1570; and although in his old age he had run the whole course
+of nature, yet his death was a grief to all Venice. He left behind him
+his son Francesco, born at Rome in the year 1521, a man learned both
+in the law and in the humanities, from whom Jacopo saw three
+grandchildren born; a male child called, like his grandfather, Jacopo,
+and two female, one called Fiorenza, who died, to his infinite grief
+and sorrow, and the other Aurora. His body was borne with much honour
+to his chapel in S. Gimignano, where there was erected to his memory
+by his son the marble statue made by Jacopo himself while he was
+alive, with the epitaph given below in memory of his great worth:
+
+     JACOBO SANSOVINO FLORENTINO QUI ROMÆ JULIO II, LEONI X, CLEMENTI
+     VII, PONT. MAX., MAXIME GRATUS, VENETIIS ARCHITECTURÆ
+     SCULPTURÆQUE INTERMORTUUM DECUS PRIMUS EXCITAVIT, QUIQUE A SENATU
+     OB EXIMIAM VIRTUTEM LIBERALITER HONESTATUS, SUMMO CIVITATIS
+     MOERORE DECESSIT, FRANCISCUS F. HOC MON. P. VIXIT ANN. XCIII. OB.
+     V. CAL. DEC. MDLXX.
+
+His obsequies were likewise celebrated publicly at the Frari by the
+Florentine colony, with no slight pomp, and the oration was delivered
+by Messer Camillo Buonpigli, an excellent man.
+
+
+
+
+LEONE LIONI OF AREZZO
+
+
+
+
+OF LEONE LIONI OF AREZZO, AND OTHER SCULPTORS AND ARCHITECTS
+
+
+Since that which has been said above, here and there, of the Chevalier
+Leone, a sculptor of Arezzo, has been said incidentally, it cannot but
+be well to speak here in due order of his works, which are truly
+worthy to be celebrated and to pass into the memory of mankind. This
+Leone, then, having applied himself in the beginning to the
+goldsmith's art, and having made in his youth many beautiful works,
+and in particular portraits from life in dies of steel for medals,
+became in a few years so excellent, that he came to the knowledge of
+many great men and Princes, and particularly of the Emperor Charles V,
+by whom, having recognized his talents, he was set to works of greater
+importance than medals. Thus, not long after he became known to his
+Majesty, he made a statue of that Emperor in bronze, larger than life
+and in the round, which he then furnished with a very delicate suit of
+armour formed of two very thin shells, which can be put on and taken
+off with ease, and all wrought with such grace, that whoever sees the
+statue when covered does not notice it and can scarcely believe that
+it is nude below, and when it is nude no one would believe without
+difficulty that it could ever be so well clad in armour. This statue
+rests on the left leg, and with the right foot tramples on Fury, which
+is a recumbent figure bound in chains, with the torch beneath it and
+arms of various kinds. On the base of this work, which is now in
+Madrid, are these words:
+
+   CÆSARIS VIRTUTE FUROR DOMITUS.
+
+After these statues Leone made a great die for striking medals of his
+Majesty, and on the reverse the Giants being slain by Jove with
+thunderbolts. For all which works the Emperor gave to Leone a pension
+of one hundred and fifty ducats a year on the Mint of Milan, with a
+very commodious house in the Contrada de' Moroni, and made him a
+Chevalier and of his household, besides giving him many privileges of
+nobility for his descendants. And while Leone was with his Majesty in
+Brussels, he had his rooms in the palace of the Emperor himself, who
+at times would go for recreation to see him at work. Not long
+afterwards he made another statue of the Emperor, in marble, and also
+those of the Empress and King Philip, and a bust of the same Emperor
+for placing on high between two panels in bronze. He made, likewise in
+bronze, the head of Queen Maria, that of Ferdinand, at that time King
+of the Romans, that of Maximilian his son, now Emperor, and that of
+Queen Leonora, with many others, which were placed in the Gallery of
+the Palace of Binche by Queen Maria, who had caused them to be made.
+But they did not stay there long, because King Henry of France set
+fire to the building by way of revenge, leaving written there these
+words, "Vela fole Maria";[14] I say by way of revenge, because a few
+years before that Queen had done the same to him. However it may have
+been, the work of that gallery did not proceed, and those statues are
+now partly in the Palace of the Catholic King at Madrid, and partly at
+Alicante, a sea-port, from which her Majesty intended to have them
+conveyed to Granada, where are the tombs of all the Kings of Spain. On
+returning from Spain, Leone brought with him two thousand crowns in
+cash, besides many other gifts and favours that were bestowed upon him
+by that Court.
+
+         [Footnote 14: The story runs that in the year 1533 Queen
+         Maria attacked and destroyed the Castle of Folembrai, and
+         that in the following year King Henry of France, out of
+         revenge, destroyed the fortress of Binche in Upper Hainault,
+         leaving on the ruined walls the words "Voilà Folembrai";
+         which in the Italian have been corrupted into "Vela fole
+         Maria."]
+
+[Illustration: TOMB OF GIAN JACOPO MEDICI
+
+(_After =Leone Lioni=. Milan: Duomo_)
+
+_Alinari_]
+
+For the Duke of Alva Leone has executed a head of the Duke, one of
+Charles V, and another of King Philip. For the very reverend Bishop of
+Arras, now Grand Cardinal, called Granvella, he has made some pieces
+in bronze of an oval form, each of two braccia, with rich borders, and
+containing half-length statues; in one is Charles V, in another King
+Philip, and in the third the Cardinal himself, portrayed from life,
+and all have bases with little figures of much grace. For Signor
+Vespasiano Gonzaga he has made in a great bust of bronze the portrait
+of Alva, which Gonzaga has placed in his house at Sabbionetto. For
+Signor Cesare Gonzaga he has executed, likewise in metal, a statue of
+four braccia, which has beneath it another figure that is entwined
+with a Hydra, in order to denote his father Don Ferrante, who by his
+worth and valour overcame the vicious envy that had sought to bring
+him into disgrace with Charles V in the matter of the government of
+Milan. This statue, which is clad in a toga and armed partly in the
+ancient and partly in the modern fashion, is to be taken to Guastalla
+and placed there in memory of that Don Ferrante, a most valorous
+captain.
+
+The same Leone has made, as has been told in another place, the tomb
+of Signor Giovanni Jacopo Medici, Marquis of Marignano and brother of
+Pope Pius IV, which stands in the Duomo of Milan, about twenty-eight
+palms in length and forty in height. This tomb is all of Carrara
+marble, and adorned with four columns, two of them black and white,
+which were sent by the Pope as rare things from Rome to Milan, and two
+others, larger, which are of a spotted stone similar to jasper; which
+are all accommodated under one and the same cornice, an unusual
+contrivance, by the desire of that Pope, who caused the whole work to
+be executed after the directions of Michelagnolo, excepting only the
+five figures of bronze that are there, which are by the hand of Leone.
+The first of these, the largest of them all, is the statue of the
+Marquis himself, standing upright and larger than life, which has in
+the right hand the baton of a General, and the left hand resting on a
+helmet that is on a very richly adorned trunk. On the left of this is
+a smaller statue, representing Peace, and on the right another
+signifying Military Virtue; and these are seated, and in aspect all
+sad and sorrowing. Of the other two, which are on high, one is
+Providence and the other Fame; and between them, on the same level, is
+a most beautiful Nativity of Christ in bronze, in low-relief. At the
+summit of the whole work are two figures of marble, which support that
+lord's escutcheon of balls. For this work seven thousand and eight
+hundred crowns were paid, according to the agreement made in Rome by
+the most illustrious Cardinal Morone and Signor Agabrio Scierbellone.
+
+The same master has made for Signor Giovan Battista Castaldo a statue
+likewise in bronze, which is to be placed in I know not what
+monastery, with some ornaments. For the above-named Catholic King he
+has executed a Christ in marble, more than three braccia high, with
+the Cross and with other Mysteries of the Passion, which is much
+extolled. Finally, he has in hand the statue of Signor Alfonso
+Davalos, the Marchese del Vasto of famous memory, which was entrusted
+to him by the Marchese di Pescara, his son; four braccia high, and
+likely to prove an excellent figure when cast, by reason of the
+diligence that he is devoting to its execution, and the good fortune
+that Leone has always had in his castings.
+
+Leone, in order to display the greatness of his mind, the beautiful
+genius that he has received from Nature, and the favour of Fortune,
+has built at great expense and with most beautiful architecture a
+house in the Contrada de' Moroni, so full of fantastic inventions,
+that there is perhaps no other like it in all Milan. In the
+distribution of the façade there are upon pilasters six captives each
+of six braccia and all of pietra viva, and between these, in certain
+niches, Fates in imitation of the antique, with little terminal
+figures, windows, and cornices all different from the common use and
+very graceful; and all the parts below correspond with beautiful order
+to those above, and the frieze-ornaments are all of various
+instruments of the arts of design. From the principal door one enters
+by a passage into a courtyard, in the centre of which, upon four
+columns, is the horse with the statue of Marcus Aurelius, cast in
+gesso from the original which is in the Campidoglio. By means of that
+statue he has intended that his house should be dedicated to Marcus
+Aurelius; and as for the captives, that fancy is interpreted by
+various persons in various ways. Besides the horse, he has in that
+beautiful and most commodious habitation, as has been told in another
+place, as many casts in gesso as he has been able to obtain of famous
+works in sculpture and casting, both ancient and modern.
+
+A son of Leone, called Pompeo, who is now in the service of King
+Philip of Spain, is in no way inferior to his father in executing dies
+of steel for medals and in casting figures that are marvellous.
+Wherefore at that Court he has been a competitor of Giovan Paolo
+Poggini, a Florentine, who also works in the service of that King and
+has made most beautiful medals. But Pompeo, having served that King
+many years, intends to return to Milan in order to enjoy his Aurelian
+house and the other labours of his excellent father, the loving friend
+of every man of talent.
+
+And now to say something of medals, and of the steel dies with which
+they are made. I believe that it may be affirmed with truth that our
+modern intellects have achieved as much as the ancient Romans once did
+in the excellence of the figures, and that in the lettering and in
+other parts they have surpassed them. Which may be seen clearly in
+twelve reverses--besides many others--that Pietro Paolo Galeotto has
+executed recently in the medals of Duke Cosimo, and they are these;
+Pisa restored almost to her pristine condition by means of the Duke,
+he having drained the country round and dried the marshy places, and
+having made many other improvements; the waters conducted to Florence
+from various places, the ornate and magnificent building of the
+Magistrates erected for the public convenience, the union of the
+States of Florence and Siena, the building of a city and two
+fortresses in Elba, the column conveyed from Rome and placed on the
+Piazza di S. Trinita in Florence, the preservation, completion and
+enlargement of the Library of S. Lorenzo for the public good, the
+foundation of the Order of the Knights of S. Stephen, the resignation
+of the government to the Prince, the fortifying of the State, the
+militia or trained companies of his dominion, and the Pitti Palace
+with its gardens, waters, and buildings, a work of such regal
+magnificence; of which reverses I do not give here either the
+lettering that they have around them, or their explanation, having to
+treat of them in another place. All these twelve reverses are
+beautiful to a marvel and executed with much diligence and grace, as
+is also the head of the Duke, which is of perfect beauty; and medals
+and other works in stucco, likewise, as I have said on another
+occasion, are being made of absolute perfection at the present day.
+And recently Mario Capocaccia of Ancona has executed with coloured
+stucco, in little cases, heads and portraits that are truly most
+beautiful; such as a portrait of Pope Pius V, which I saw not long
+since, and that of Cardinal Alessandrino. I have seen, also, portraits
+of the same kind by the hands of the sons of Polidoro, a painter of
+Perugia, which are very beautiful.
+
+But to return to Milan; looking again a year ago over the works of the
+sculptor Gobbo, of whom mention has been made in another place, I did
+not see anything that was otherwise than ordinary, excepting an Adam
+and Eve, a Judith, and a S. Helena, in marble, which are about the
+Duomo; with two other statues of dead persons, representing Lodovico,
+called Il Moro, and Beatrice his wife, which were to be placed upon a
+tomb by the hand of Giovan Jacomo della Porta, sculptor and architect
+to the Duomo of Milan, who in his youth executed many works under the
+said Gobbo; and those named above, which were to go on that tomb, are
+wrought with a high finish. The same Giovan Jacomo has executed many
+beautiful works for the Certosa of Pavia, and in particular on the
+tomb of the Conte di Virtù and on the façade of the church. From him
+one his nephew learned his art, by name Guglielmo, who in Milan, about
+the year 1530, applied himself with much study to copying the works of
+Leonardo da Vinci, which gave him very great assistance. Whereupon he
+went with Giovan Jacomo to Genoa, when in the year 1531 the latter was
+invited to execute the sepulchre of S. John the Baptist, and he
+devoted himself with great study to design under Perino del Vaga; and,
+not therefore abandoning sculpture, he made one of the sixteen
+pedestals that are in that sepulchre, on which account, it being seen
+that he was acquitting himself very well, he was commissioned to make
+all the others. Next, he executed two Angels in marble, which are in
+the Company of S. Giovanni; and for the Bishop of Servega he made two
+portraits in marble, and a Moses larger than life, which was placed in
+the Church of S. Lorenzo. And then, after he had made a Ceres of
+marble that was placed over the door of the house of Ansaldo Grimaldi,
+he executed for placing over the Gate of the Cazzuola, in that city, a
+statue of S. Catharine of the size of life; and after that the three
+Graces, with four little boys, of marble, which were sent into
+Flanders to the Grand Equerry of the Emperor Charles V, together with
+another Ceres of the size of life.
+
+[Illustration: EVE
+
+(_After =Cristofano Solari=. Milan: Duomo_)
+
+_Brogi_]
+
+Having executed these works in six years, Guglielmo in the year 1537
+made his way to Rome, where he was much recommended by his uncle
+Giovan Jacomo to the painter Fra Sebastiano Viniziano, his friend, to
+the end that he might recommend him, as he did, to Michelagnolo
+Buonarroti. Which Michelagnolo, seeing Guglielmo to be spirited and
+very assiduous in labouring, began to conceive an affection for him,
+and, before any other thing, caused him to restore some antique things
+in the Farnese Palace, in which he acquitted himself in such a manner,
+that Michelagnolo put him into the service of the Pope. Another proof
+of his powers had been seen already in a tomb that he had executed at
+the Botteghe Scure, for the most part of metal, for Bishop Sulisse,
+with many figures and scenes in low-relief--namely, the Cardinal
+Virtues and others, wrought with much grace, and besides these the
+figure of the Bishop himself, which afterwards went to Salamanca in
+Spain. Now, while Guglielmo was engaged in restoring the statues,
+which are now in the loggia that is before the upper hall in the
+Farnese Palace, there took place in the year 1547 the death of Fra
+Sebastiano Viniziano, who, as has been told, had administered the
+office of the Piombo. Whereupon Guglielmo, with the favour of
+Michelagnolo and of others, so wrought upon the Pope, that he obtained
+the said office of the Piombo, with the charge of executing the tomb
+of Pope Paul III, which was to be placed in S. Pietro. For this he
+availed himself in the model, with better design, of the scenes and
+figures of the Theological and Cardinal Virtues that he had made for
+the above-named Bishop Sulisse, placing at the corners four children
+in four partitions, and four cartouches, and making in addition a
+bronze statue of the said Pontiff seated, giving the benediction;
+which statue was seventeen palms high. But doubting, on account of the
+size of the casting, lest the metal might grow cold and the work
+therefore not succeed, he placed the metal in the vessel below, in
+such a way that it might be gradually sucked upwards. And with this
+unusual method that casting came out very well, and as clean as the
+wax, so that the very surface that came from the fire had no need at
+all to be polished, as may be seen from the statue itself, which was
+placed below the first arches that support the tribune of the new S.
+Pietro. On this tomb, which according to a design by his hand was to
+be isolated, were to be placed four figures, which he executed in
+marble with beautiful inventions according as he was directed by M.
+Annibale Caro, who had the charge of this from the Pope and Cardinal
+Farnese. One was Justice, which is a nude figure lying upon some
+draperies, with the belt of the sword across the breast, and the sword
+hidden; in one hand she has the fasces of consular jurisdiction, and
+in the other a flame of fire, and she is young in countenance, and has
+the hair plaited, the nose aquiline, and the aspect full of
+expression. The second was Prudence in the form of a matron, young in
+aspect, with a mirror in the hand, and a closed book, and partly nude,
+partly draped. The third was Abundance, a young woman crowned with
+ears of corn, with a horn of plenty in one hand and the ancient
+corn-measure in the other, and clothed in such a manner as to show the
+nude beneath the draperies. The fourth and last was Peace, who is a
+matron with a boy that has lost his eyes, and with the Caduceus of
+Mercury. He made, likewise, a scene also of metal and after the
+directions of the above-named Caro, which was to be placed in the
+work, with two River Gods, one representing a lake and the other a
+river that is in the domains of the Farnesi; and, besides all these
+things, there was to be there a mount covered with lilies, and with
+the rainbow of Iris. But the whole was not afterwards carried into
+execution, for the reasons that have been given in the Life of
+Michelagnolo. It may be believed that even as these parts are in
+themselves beautiful and wrought with much judgment, so they would
+have succeeded as a whole together; and yet it is the air of the
+piazza[15] which gives the true light and enables us to form a correct
+judgment of a work.
+
+         [Footnote 15: See last line on p. 112.]
+
+[Illustration: TOMB OF POPE PAUL III
+
+(_After =Guglielmo della Porta=. Rome: S. Peter's_)
+
+_Alinari_]
+
+The same Fra Guglielmo has executed during a period of many years
+fourteen stories of the life of Christ, for casting in bronze; each of
+which is four palms in breadth and six in height, excepting only one,
+which is twelve palms high and six broad, wherein is the Nativity of
+Jesus Christ, with most beautiful fantasies of figures. In the other
+thirteen are, Mary going with the Infant Christ on the ass to
+Jerusalem, with two figures in strong relief, and many in half-relief
+and low-relief; the Last Supper, with thirteen figures well composed,
+and a very rich building; the Washing of the Disciples' feet; the
+Prayer in the Garden, with five figures, and at the foot a multitude
+of great variety; Christ led before Annas, with six large figures,
+many lower down, and one in the distance; the Scourging at the Column,
+the Crowning with Thorns, the "Ecce Homo," Pilate washing his hands;
+Christ bearing the Cross, with fifteen figures, and others in the
+distance, going to Mount Calvary; Christ Crucified, with eighteen
+figures; and Christ taken down from the Cross. All which scenes, if
+they were cast, would form a very rare work, seeing that they have
+been wrought with much study and labour. Pope Pius IV had intended to
+have them executed for one of the doors of S. Pietro, but he had not
+time, being overtaken by death. Recently Fra Guglielmo has executed
+models in wax for three altars in S. Pietro; Christ taken down from
+the Cross, Peter receiving the Keys of the Church, and the Coming of
+the Holy Spirit, which would all be beautiful scenes.
+
+In short, this man has had, and still has, the greatest opportunities
+to exert himself and to execute works, seeing that the office of the
+Piombo gives such a revenue that the holder can study and labour for
+glory, which he who has not such advantages is not able to do; and yet
+Fra Guglielmo has executed no finished work between 1547 and this year
+of 1567. But it is the characteristic of those who hold that office to
+become sluggish and indolent; and that this is true, a proof is that
+this Guglielmo, before he became Friar of the Piombo, executed many
+heads in marble and other works, besides those that we have mentioned.
+It is true, indeed, that he has made four great Prophets in stucco,
+which are in the niches between the pilasters of the first great arch
+of S. Pietro. He also occupied himself much with the cars for the
+feast of Testaccio and other masquerades, which were held now many
+years ago in Rome.
+
+A pupil of this master has been one Guglielmo Tedesco, who, among
+other works, has executed a very rich and beautiful ornamentation of
+little statues in bronze, imitated from the best antiques, for a
+cabinet of wood (so it is called) which the Count of Pitigliano
+presented to the Lord Duke Cosimo. Which little figures are these; the
+horse of the Campidoglio, those of Monte Cavallo, the Farnese figures
+of Hercules, the Antinous and the Apollo of the Belvedere, and the
+heads of the Twelve Emperors, with others, all well wrought and very
+similar to the originals.
+
+Milan has also had another sculptor, dead this year, called Tommaso
+Porta, who worked marble excellently well, and in particular
+counterfeited antique heads in marble, which have been sold as
+antiques; and masks he made so well that in them no one has equalled
+him, of which I have one in marble by his hand, placed on the
+chimney-piece of my house at Arezzo, which everyone takes for an
+antique. This Tommaso made the heads of the Twelve Emperors in marble,
+the size of life, which were the rarest things. These Pope Julius III
+took, making him a present of an office of a hundred crowns a year in
+the Segnatura; and he kept the heads I know not how many months in his
+chamber, as choice things. But by the agency (so it is believed) of
+the above-named Fra Guglielmo and others who were jealous of him, such
+measures were taken against him, that, with no regard for the dignity
+of the gift bestowed upon him by that Pontiff, they were sent back to
+his house; where they were afterwards bought from him on better terms
+by merchants, and then sent to Spain. Not one of our imitators of
+antiques was superior to this Tommaso, of whom it has seemed to me
+right that record should be made, and the rather as he has passed to a
+better life, leaving name and fame for his ability.
+
+Many works, likewise, have been executed in Rome by one Leonardo, a
+Milanese, who has made recently two statues of marble, S. Peter and S.
+Paul, for the Chapel of Cardinal Giovanni Riccio da Montepulciano,
+which are much extolled and held to be good and beautiful figures. And
+the sculptors Jacopo and Tommaso Casignuola have made in the Chapel of
+the Caraffi, in the Church of the Minerva, the tomb of Pope Paul IV,
+and, besides other ornaments, a statue formed of pieces which
+represents that Pope, with a mantle of veined brocatello marble, and
+the trimming and other things of veined marbles of various colours,
+which render it marvellous. And so we see added to the other
+industries of our modern intellects this new one, and that sculptors
+proceed with colours in their sculpture to imitate painting. Which
+tomb has been executed by means of the great saintliness, goodness and
+gratitude of Pope Pius V, a Pontiff and Holy Father truly most
+saintly, most blessed, and most worthy of long life.
+
+Of Nanni di Baccio Bigio, a Florentine sculptor, besides what has been
+said of him in other places, I have to record that in his youth, under
+Raffaello da Montelupo, he applied himself in such a manner to
+sculpture, that in some little things that he did in marble he gave
+great promise that he would prove to be an able man. And having gone
+to Rome, under the sculptor Lorenzetto, while he gave his attention as
+his father had done also to architecture, he executed the statue of
+Pope Clement VII, which is in the choir of the Minerva, and a Pietà of
+marble, copied from that of Michelagnolo, which was placed in S. Maria
+de Anima, the Church of the Germans, as a work that is truly very
+beautiful. Another like it he made not long afterwards for Luigi del
+Riccio, a Florentine merchant, which is now in S. Spirito at Florence,
+in a chapel of that Luigi, who is no less extolled for such piety
+towards his native city than is Nanni for having executed the statue
+with much diligence and love. Nanni then applied himself under Antonio
+da San Gallo with more study to architecture, and gave his attention,
+while Antonio was alive, to the fabric of S. Pietro; where, falling
+from a staging sixty braccia high, and shattering himself, he escaped
+with his life by a miracle. Nanni has erected many edifices in Rome
+and in the country round, and has sought to obtain even more, and
+greater, as has been told in the Life of Michelagnolo. His work, also,
+is the Palace of Cardinal Montepulciano on the Strada Giulia, and a
+gate at Monte Sansovino built by order of Julius III, with a reservoir
+for water that is not finished, and a loggia and other apartments of
+the palace formerly built by the old Cardinal di Monte. And a work of
+Nanni, likewise, is the house of the Mattei, with many other buildings
+that have been erected or are still being constructed in Rome.
+
+A famous and most celebrated architect, also, among others of the
+present day, is Galeazzo Alessi of Perugia, who, serving in his youth
+the Cardinal of Rimini, whose chamberlain he became, executed among
+his first works, at the desire of that lord, the rebuilding of the
+apartments in the Fortress of Perugia, with so many conveniences and
+such beauty, that for a place so small it was a marvel, and many times
+already they have accommodated the Pope with all his Court. Then,
+after many other works that he executed for the said Cardinal, he was
+invited by the Genoese with much honour into the service of that
+Republic, for which the first work that he did was to restore and
+fortify the port and the mole; nay rather, to make it almost entirely
+different from what it was before. For, reaching out over a good space
+into the sea, he caused to be constructed a great and most beautiful
+port, which lies in a semicircle, very ornate with rustic columns and
+with niches about them, at the extremities of which semicircle there
+meet two little bastions, which defend that great port. On the piazza,
+then, above the mole and at the back of the great port, towards the
+city, he made a very large portico of the Doric Order, which
+accommodates the Guard, and over it, comprising all the space that it
+covers and likewise the two bastions and the gate, there is left a
+platform arranged for the operations of artillery, which commands the
+mole in the manner of a cavalier and defends the port both within and
+without. And besides this, which is finished, arrangements are being
+made for the enlargement of the city after his design, and his model
+has already been approved by the Signoria; and all with much praise
+for Galeazzo, who in these and other works has shown himself to be a
+most ingenious architect. The same Galeazzo has executed the new
+street of Genoa, with so many palaces built in the modern manner after
+his designs, that many declare that in no other city of Italy is there
+to be found a street more magnificent and grand than that one, nor one
+more full of the richest palaces, all built by those Signori with the
+persuasion and directions of Galeazzo, to whom all confess that they
+owe a very great obligation, in that he has been the inventor and
+executor of works which render their city, with regard to edifices,
+incomparably more grand and magnificent than it was before. The same
+master has built other streets without Genoa, and among others that
+which starts from Ponte Decimo on the way to Lombardy. He has restored
+the walls of the city towards the sea, and the fabric of the Duomo,
+making therein the tribune and the cupola; and he has built, also,
+many private edifices, such as the country palace of Messer Luca
+Giustiniano, that of Signor Ottaviano Grimaldi, the Palaces of two
+Doges, one for Signor Battista Grimaldi, and many others of which
+there is no need to speak.
+
+[Illustration: PALAZZO GRIMALDI
+
+(_After =Galeazzo Alessi=. Genoa_)
+
+_Alinari_]
+
+Now I will not omit to say that he has made the lake and island of
+Signor Adamo Centurioni, abounding in waters and fountains contrived
+in various beautiful and fantastic ways, and also the fountain of the
+Captain Larcaro, near the city, which is a most remarkable work; but
+beyond all the different kinds of fountains that he has made for many
+persons, most beautiful is the bath that he has made in the house of
+Signor Giovan Battista Grimaldi at Bisagno. This bath, which in form
+is round, has in the centre a little basin wherein eight or ten
+persons can bathe without inconvenience; which basin has hot water
+from four heads of sea-monsters that appear as if issuing from it, and
+cold water from as many frogs that are over those heads of monsters.
+Around that basin, to which one descends by three circular steps,
+there curves a space wide enough for two persons to walk in comfort.
+The circular wall of the whole bath is divided into eight spaces, in
+four of which are four great niches, each of which contains a round
+basin that is raised a little from the ground, half being within the
+niche and half remaining without; and in the centre of each basin a
+man can bathe, hot and cold water coming from a great mask that pours
+it through the horns and draws it in again when necessary by the
+mouth. In one of the other four spaces is the door, and in the other
+three are windows and places to sit; and all the eight spaces are
+separated by terminal figures, which support the cornice upon which
+rests the round vaulting of the whole bath. From the centre of that
+vaulting hangs a great ball of crystal-glass, on which is painted the
+sphere of the heavens, and within it the globe of the earth, from
+certain parts of which, when one uses the bath at night, comes a
+brilliant light that renders the place as light as if it were mid-day.
+I forbear to speak of the anteroom, the dressing-room, and the small
+bath, which are full of stucco-ornaments, and of the pictures that
+adorn the place, so as not to be longer than is needful; let it
+suffice to say that they are in no way unworthy of so great a work.
+
+In Milan, under the direction of the same Galeazzo, has been built the
+Palace of Signor Tommaso Marini, Duke of Terranuova; and also,
+possibly, the façade of the fabric of S. Celso that is now being
+built, the auditorium of the Cambio, which is round in form, the
+already begun Church of S. Vittore, and many other edifices. He has
+also sent designs over all Italy and abroad, wherever he has not been
+able to be in person, of many edifices, palaces, and temples, of which
+I shall say no more; this much being enough to make him known as a
+talented and most excellent architect.
+
+I will not omit--seeing that he is one of our Italians, although I do
+not know any particulars of his works--that in France, so I am
+informed, a most excellent architect, and particularly in the work of
+fortification, is Rocco Guerrini of Marradi, who in the recent wars of
+that kingdom, to his great profit and honour, has executed many
+ingenious and laudable works.
+
+And so in this last part, in order not to defraud any man of the
+proper credit of his talent, I have discoursed of some sculptors and
+architects now living, of whom hitherto I had not had a convenient
+occasion to speak.
+
+
+
+
+DON GIULIO CLOVIO
+
+
+
+
+OF DON GIULIO CLOVIO
+
+MINIATURIST
+
+
+There has never been, nor perhaps will there ever be for many
+centuries, a more rare or more excellent miniaturist, or we would
+rather say painter of little things, than Don Giulio Clovio, in that
+he has surpassed by a great measure all others who have ever been
+engaged in that kind of painting. This master was born in the province
+of Sclavonia, or rather, Croatia, at a place called Grisone, in the
+diocese of Madrucci, although his elders, of the family of the Clovi,
+had come from Macedonia; and the name given to him at baptism was
+Giorgio Giulio. As a child he gave his attention to letters; and then,
+by a natural instinct, to design. And having come to the age of
+eighteen, being desirous to make proficience, he came to Italy and
+placed himself in the service of Cardinal Marino Grimani, with whom
+for a period of three years he applied himself in such a manner to
+drawing, that he achieved a much better result than perhaps up to that
+time had been expected of him; as was seen in some designs of medals
+and their reverses that he made for that lord, drawn with the pen most
+minutely, with extreme and almost incredible diligence. Whereupon,
+having seen that he was more assisted by nature in little things than
+in great, he resolved, and wisely, that he would give his attention to
+miniature, since his works in that field were full of grace and
+beautiful to a marvel; being urged to this, also, by many friends, and
+in particular by Giulio Romano, a painter of bright renown, who was
+the man who before any other taught him the method of using tints and
+colours in gum and in distemper.
+
+[Illustration: THE DEPOSITION
+
+(_After the painting upon parchment by =Giulio Clovio=. Florence:
+Pitti, No. 241_)
+
+_Mansell_]
+
+Among the first works that Clovio coloured was a Madonna, which, as a
+man of ingenious and beautiful spirit, he copied from the book of the
+Life of the Virgin; which Madonna was printed in wood-engraving among
+the first sheets of Albrecht Dürer. Whereupon, having acquitted
+himself well in that his first work, he made his way by means of
+Signor Alberto da Carpi, who was then serving in Hungary, into the
+service of King Louis and of Queen Maria, the sister of Charles V; for
+which King he executed a Judgment of Paris in chiaroscuro, which much
+pleased him, and for the Queen the Roman Lucretia killing herself,
+with some other things, which were held to be very beautiful. The
+death of that King then ensuing, and the ruin of everything in
+Hungary, Giorgio Giulio was forced to return to Italy; where he had no
+sooner arrived than the old Cardinal Campeggio took him into his
+service. Thereupon, being settled to his liking, he executed a Madonna
+in miniature for that lord, and some other little things, and disposed
+himself to attend at all costs with greater study to the matters of
+art; and so he set himself to draw, and to seek with every effort to
+imitate the works of Michelagnolo. But this fine resolution was
+interrupted by the unhappy sack of Rome in the year 1527, when the
+poor man, finding himself the prisoner of the Spaniards and
+maltreated, in his great misery had recourse to divine assistance,
+making a vow that if he escaped safely from that miserable ruin and
+out of the hands of those new Pharisees, he would straightway become a
+friar. Wherefore, having escaped by the grace of God and made his way
+to Mantua, he became a monk in the Monastery of S. Ruffino, a seat of
+the Order of Canons Regular of Scopeto; having been promised, besides
+peace and quiet of mind and tranquil leisure in the service of God,
+that he would have facilities for attending at times, as it were by
+way of pastime, to the work of miniature. Having thus taken the habit
+and the name of Don Giulio, at the end of a year he made his
+profession; and then for a period of three years he stayed peacefully
+enough among those fathers, changing from one monastery to another
+according to his pleasure, as has been related elsewhere, and always
+working at something. During that time he completed a great choir-book
+with delicate illuminations and most beautiful borderings, making in
+it, among other things, a Christ appearing to the Magdalene in the
+form of a gardener, which was held to be a rare thing. Wherefore,
+growing in courage, he depicted--but in figures much larger--the
+Adulterous Woman accused by the Jews before Christ, with a good number
+of figures; all which he copied from a picture that had been executed
+in those days by Tiziano Vecelli, that most excellent painter.
+
+Not long afterwards it happened that Don Giulio, in transferring
+himself from one monastery to another, as monks or friars do, by
+misfortune broke a leg. Being therefore conveyed by those fathers to
+the Monastery of Candiana, that he might be better attended, he lay
+there some time without recovering, perhaps having been wrongly
+treated, as is common, no less by the fathers than by the physicians.
+Which hearing, Cardinal Grimani, who much loved him for his
+excellence, obtained from the Pope the power to keep him in his
+service and to have him cured. Whereupon Don Giulio, having thrown off
+the habit, and his leg being healed, went to Perugia with the
+Cardinal, who was Legate there; and, setting to work, he executed for
+him in miniature these works; an Office of Our Lady, with four most
+beautiful stories, and in an Epistolar three large stories of S. Paul
+the Apostle, one of which was sent not long afterwards to Spain. He
+also made for him a very beautiful Pietà, and a Christ Crucified,
+which after the death of Grimani came into the hands of Messer
+Giovanni Gaddi, Clerk of the Chamber.
+
+All these works caused Don Giulio to become known in Rome as an
+excellent craftsman, and were the reason that Cardinal Alessandro
+Farnese, who has always assisted, favoured, and desired to have about
+him rare and gifted men, having heard his fame and seen his works,
+took him into his service, in which he has remained ever since and
+still remains, old as he is. For that lord, I say, he has executed an
+infinite number of the rarest miniatures, of which I shall mention
+here only a part, because to mention them all is almost impossible. In
+a little picture he has painted Our Lady with her Son in her arms,
+with many Saints and figures around, and Pope Paul III kneeling,
+portrayed from life so well, that for all the smallness of that
+miniature he seems as if alive; and all the other figures, likewise,
+appear to lack nothing save breath and speech. That little picture, as
+a thing truly of the rarest, was sent to Spain to the Emperor Charles
+V, who was amazed by it. After that work the Cardinal caused him to
+set his hand to executing in miniature the stories in an Office of Our
+Lady, written in lettering shaped by Monterchi, who is a rare master
+in such work. Whereupon Don Giulio, resolving that this work should be
+the highest flight of his powers, applied himself to it with so much
+study and diligence, that no other was ever executed with more;
+wherefore he has achieved with the brush things so stupendous, that it
+does not appear possible to go so far with the eye or with the hand.
+Don Giulio has divided this labour into twenty-six little scenes, each
+two sheets being next to one another, the figure and the
+prefiguration, and every little scene has around it an ornament
+different from the other, with figures and fantasies appropriate to
+the story that it represents. Nor do I wish to grudge the labour of
+describing them briefly, for the reason that everyone is not able to
+see them. On the first page, where Matins begin, is the Angel bringing
+the Annunciation to the Virgin Mary, and in the ornament a border full
+of little children that are marvellous; and in the other scene Isaiah
+speaking with King Ahaz. In the second, for Lauds, is the Visitation
+of the Virgin to Elizabeth, which has an ornament in imitation of
+metal; and in the opposite scene are Justice and Peace embracing one
+another. For Prime is the Nativity of Christ, and opposite, in the
+Earthly Paradise, Adam and Eve eating the Fruit; both the one and the
+other with ornaments full of nudes and other figures and animals,
+portrayed from nature. For Terce he has painted the Shepherds with the
+Angel appearing to them, and in the opposite scene the Tiburtine Sibyl
+showing to the Emperor Octavian the Virgin with Christ her Son in
+Heaven; both the one and the other with ornaments of various borders
+and figures, all coloured, and containing the portrait of Alexander
+the Great and of Cardinal Alessandro Farnese. For Sext there is the
+Circumcision of Christ, where Pope Paul III is portrayed for Simeon,
+and in the scene are portraits of Mancina and Settimia, gentlewomen of
+Rome, who were of surpassing beauty; and around it a border well
+adorned, which likewise encloses with the same design the other story
+that is beside it, wherein is S. John the Baptist baptizing Christ, a
+scene full of nudes. For Nones he has made there the Magi adoring
+Christ, and opposite to that Solomon adored by the Queen of Sheba,
+both one and the other with borders rich and varied, and at the foot
+of this the whole Feast of Testaccio executed with figures smaller
+than ants, which is a marvellous thing to see, that a work so small
+should have been executed to perfection with the point of a brush;
+this is one of the greatest things that mortal hand could do or mortal
+eye could behold, and in it are all the liveries that Cardinal Farnese
+devised at that time. For Vespers there is Our Lady flying with Christ
+into Egypt, and opposite is the Submersion of Pharaoh in the Red Sea;
+with varied borders at the sides. For Complines there is the
+Coronation of Our Lady in Heaven, with a multitude of Angels, and in
+the other scene opposite is Ahasuerus crowning Esther; with
+appropriate borders. For the Mass of the Madonna he has placed first,
+in a border in imitation of cameos, the Angel Gabriel announcing the
+Word to the Virgin; and the two scenes are Our Lady with Jesus Christ
+in her arms and God the Father creating Heaven and Earth. Before the
+Penitential Psalms is the Battle in which Uriah the Hittite was done
+to death by command of King David, wherein are horses and warriors
+wounded or dead, all marvellous; and opposite, in the other scene,
+David in Penitence; with ornaments and also little grotesques. But he
+who would sate himself with marvelling, let him look at the Litanies,
+where Don Giulio has woven a maze with the letters of the names of the
+Saints; and there in the margin above is a Heaven filled with Angels
+around the most holy Trinity, and one by one the Apostles and the
+other Saints; and on the other side the Heaven continues with Our Lady
+and all the Virgin Saints. On the margin below he has depicted with
+the most minute figures the procession that Rome holds for the solemn
+office of the Corpus Christi, thronged with officers with their
+torches, Bishops, and Cardinals, and the most Holy Sacrament borne by
+the Pope, with the rest of the Court and the Guard of Halberdiers, and
+finally Castel S. Angelo firing artillery; all such as to cause every
+acutest wit to marvel with amazement. At the beginning of the Office
+for the Dead are two scenes; Death triumphing over all mortals, mighty
+rulers of States and Kingdoms and the common herd alike, and opposite,
+in the other scene, the Resurrection of Lazarus, and also Death in
+combat with some on horseback. For the Office of the Cross he has made
+Christ Crucified, and opposite is Moses with the rain of serpents, and
+the same Moses placing on high the serpent of brass. For that of the
+Holy Spirit is that same Holy Spirit descending upon the Apostles, and
+opposite is the Building of the Tower of Nimrod.
+
+That work was executed by Don Giulio in a period of nine years with so
+much study and labour, that in a manner of speaking it would never be
+possible to pay for the work with no matter what price; nor is one
+able to see any more strange and beautiful variety than there is in
+all the scenes, of bizarre ornaments and various movements and
+postures of nudes both male and female, studied and well detailed in
+every part, and placed appropriately all around in those borders, in
+order to enrich the work. Which diversity of things infuses such
+beauty into that whole work, that it appears a thing divine and not
+human, and above all because with his colours and his manner of
+painting he has made the figures, the buildings and the landscapes
+recede and fade into the distance with all those considerations that
+perspective requires, and with the greatest perfection that is
+possible, insomuch that, whether near or far, they cause everyone to
+marvel; not to speak of the thousand different kinds of trees, wrought
+so well that they appear as if grown in Paradise. In the stories and
+inventions may be seen design, in the composition order and variety,
+and richness in the vestments, which are executed with such beauty and
+grace of manner, that it seems impossible that they could have been
+fashioned by the hand of man. Wherefore we may say, as we said at the
+beginning, that Don Giulio has surpassed in this field both ancients
+and moderns, and that he has been in our times a new, if smaller,
+Michelagnolo.
+
+The same master once executed a small picture with little figures for
+the Cardinal of Trent, so pleasing and so beautiful, that that lord
+made a present of it to the Emperor Charles V; and afterwards, for the
+same lord, he painted another of Our Lady, and with it the portrait of
+King Philip, which were very beautiful and therefore presented to the
+said Catholic King. For the above-named Cardinal Farnese he painted a
+little picture of Our Lady with her Son in her arms, S. Elizabeth, a
+young S. John, and other figures, which was sent to Ruy Gomez in
+Spain. In another, which the above-named Cardinal now has, he painted
+S. John the Baptist in the Desert, with landscapes and animals of
+great beauty, and another like it he executed afterwards for the same
+lord, for sending to King Philip; and a Pietà, which he painted with
+the Madonna and many other figures, was presented by the same Farnese
+to Pope Paul IV, who as long as he lived would always have it beside
+him. And a scene in which David is cutting off the head of the giant
+Goliath, was presented by the same Cardinal to Madama Margherita of
+Austria, who sent it to King Philip, her brother, together with
+another which that most illustrious lady caused Don Giulio to execute
+as a companion to it, wherein was Judith severing the head of
+Holofernes.
+
+Many years ago Don Giulio stayed many months with Duke Cosimo, and
+during that time executed some works for him, part of which were sent
+to the Emperor and other lords, and part remained with his most
+illustrious Excellency, who, among other things, caused him to copy a
+little head of Christ from one of great antiquity that his Excellency
+himself possesses, which once belonged to Godfrey of Bouillon, King of
+Jerusalem; which head, they say, is more like the true image of the
+Saviour than any other that there may be. Don Giulio painted for the
+said Lord Duke a Christ on the Cross with the Magdalene at the foot,
+which is a marvellous thing, and a little picture of a Pietà, of which
+we have the design in our book together with another, also by the hand
+of Don Giulio, of Our Lady standing with her Son in her arms, dressed
+in the Jewish manner, with a choir of Angels about her, and many nude
+souls in the act of commending themselves to her. But to return to the
+Lord Duke; he has always loved dearly the excellence of Don Giulio,
+and sought to obtain works by his hand; and if it had not been for the
+regard that he felt for Farnese, he would not have let him go when he
+stayed some months, as I have said, in his service in Florence. The
+Duke, then, besides the works mentioned, has a little picture by the
+hand of Don Giulio, wherein is Ganymede borne to Heaven by Jove
+transformed into an Eagle, copied from the one that Michelagnolo once
+drew, which is now in the possession of Tommaso de' Cavalieri, as has
+been told elsewhere. In like manner, the Duke has in his study a S.
+John the Baptist seated upon a rock, and some portraits by the same
+hand, which are admirable.
+
+Don Giulio once executed a picture of a Pietà, with the Maries and
+other figures around, for the Marchioness of Pescara, and another like
+it in every part for Cardinal Farnese, who sent it to the Empress, who
+is now the wife of Maximilian and sister of King Philip; and another
+little picture by the same master's hand he sent to his Imperial
+Majesty, in which, in a most beautiful little landscape, is S. George
+killing the Serpent, executed with supreme diligence. But this was
+surpassed in beauty and design by a larger picture that Don Giulio
+painted for a Spanish gentleman, in which is the Emperor Trajan as he
+is seen in medals with the Province of Judæa on the reverse; which
+picture was sent to the above-named Maximilian, now Emperor.
+
+For the same Cardinal Farnese he has executed two other little
+pictures; in one is Jesus Christ nude, with the Cross in His hands,
+and in the other is Christ led by the Jews and accompanied by a vast
+multitude to Mount Calvary, with the Cross on His shoulder, and behind
+Him Our Lady and the other Maries in attitudes full of grace, such as
+might move to pity a heart of stone. And in two large sheets for a
+Missal, he has painted for that Cardinal Jesus Christ instructing the
+Apostles in the doctrine of the Holy Evangel, and the Universal
+Judgment--a work so beautiful, nay, so marvellous, so stupendous, that
+I am confounded at the thought of it; and I hold it as certain that it
+is not possible, I do not say to execute, but to see or even imagine
+anything in miniature more beautiful.
+
+It is a notable thing that in many of these works, and particularly in
+the Office of the Madonna described above, Don Giulio has made some
+little figures not larger than very small ants, with all the members
+so depicted and distinguished, that more could not have been done in
+figures of the size of life; and that everywhere there are dispersed
+portraits from nature of men and women, not less like the reality than
+if they had been executed, large as life and very natural, by Tiziano
+or Bronzino. Besides which, in some ornaments of the borders there
+may be seen little figures both nude and in other manners, painted in
+the likeness of cameos, which, marvellously small as they are,
+resemble in those proportions the most colossal giants; such is the
+art and surpassing diligence that Don Giulio uses in his work. Of him
+I have wished to give to the world this information, to the end that
+those may know something of him who are not or will not be able to see
+any of his works, from their being almost all in the hands of great
+lords and personages. I say almost all, because I know that some
+private persons have in little cases most beautiful portraits by his
+hand, of various lords, their friends, or ladies loved by them. But,
+however that may be, it is certain that the works of men such as Don
+Giulio are not public, nor in places where they can be seen by
+everyone, like the pictures, sculptures, and buildings of the other
+masters of these our arts.
+
+At the present day Don Giulio, although he is old and does not study
+or attend to anything save to seeking the salvation of his soul by
+good and holy works and by a life wholly apart from the things of the
+world, and is in every way an old man, yet continues constantly to
+work at something, there where he lives well attended and in perfect
+peace in the Palace of the Farnesi, where he is most courteous in
+showing his work with much willingness to all who go to visit and see
+him, as they visit the other marvels of Rome.
+
+
+
+
+DIVERS ITALIAN CRAFTSMEN
+
+
+
+
+OF DIVERS ITALIAN CRAFTSMEN STILL LIVING
+
+
+There is now living in Rome one who is certainly very excellent in his
+profession, Girolamo Siciolante of Sermoneta, of whom, although
+something has been said in the Life of Perino del Vaga, whose disciple
+he was, assisting him in the works of Castel S. Angelo and in many
+others, nevertheless it cannot but be well to say also here so much as
+his great excellence truly deserves. Among the first works, then, that
+this Girolamo executed by himself, was an altar-piece twelve palms
+high painted by him in oils at the age of twenty, which is now in the
+Badia of S. Stefano, near his native town of Sermoneta; wherein, large
+as life, are S. Peter, S. Stephen, and S. John the Baptist, with
+certain children. After that altar-piece, which was much extolled, he
+painted for the Church of S. Apostolo, in Rome, an altar-piece in oils
+with the Dead Christ, Our Lady, S. John, the Magdalene, and other
+figures, all executed with diligence. Then in the Pace, in the marble
+chapel that Cardinal Cesis caused to be constructed, he decorated the
+whole vaulting with stucco-work in a pattern of four pictures,
+painting therein the Nativity of Jesus Christ, the Adoration of the
+Magi, the Flight into Egypt, and the Massacre of the Innocents; all
+which was a work worthy of much praise and executed with invention,
+judgment, and diligence. For that same church, not long after, the
+same Girolamo painted an altar-piece fifteen palms high, which is
+beside the high-altar, of the Nativity of Jesus Christ, which was very
+beautiful; and then in another altar-piece in oils, for the Sacristy
+of the Church of S. Spirito in Rome, the Descent of the Holy Spirit
+upon the Apostles, which is a work full of grace. In like manner, in
+the Church of S. Maria de Anima, the church of the German colony, he
+painted in fresco the whole of the Chapel of the Fugger family (for
+which Giulio Romano once executed the altar-piece), with large scenes
+of the Life of Our Lady. For the high-altar of S. Jacopo degli
+Spagnuoli he painted in a large altar-piece a very beautiful Christ on
+the Cross with some Angels about Him, Our Lady, and S. John, and
+besides this two large pictures that are one on either side of it,
+each nine palms high and with a single figure, S. James the Apostle
+and S. Alfonso the Bishop; in which pictures it is evident that he
+used much study and diligence. On the Piazza Giudea, in the Church of
+S. Tommaso, he painted in fresco the whole of a chapel that looks out
+over the court of the Cenci Palace, depicting there the Nativity of
+the Madonna, the Annunciation by the Angel, and the Birth of Our
+Saviour Jesus Christ. For Cardinal Capodiferro he painted a hall in
+his palace, which is very beautiful, with stories of the ancient
+Romans. And at Bologna he once executed for the Church of S. Martino
+the altar-piece of the high-altar, which was much commended. For
+Signor Pier Luigi Farnese, Duke of Parma and Piacenza, whom he served
+for some time, he executed many works, and in particular a picture
+that is in Piacenza, painted for a chapel, wherein are Our Lady, S.
+Joseph, S. Michael, S. John the Baptist, and an Angel, of eight palms.
+
+[Illustration: THE MARTYRDOM OF S. CATHARINE
+
+(_After the painting by =Sermoneta=. Rome: S. Maria Maggiore_)
+
+_Alinari_]
+
+After his return from Lombardy he painted in the Minerva, in the
+passage of the sacristy, a Christ on the Cross, and another in the
+church. Then he painted in oils a S. Catharine and a S. Agatha; and in
+S. Luigi he executed a scene in fresco in competition with Pellegrino
+Pellegrini of Bologna and the Florentine Jacopo del Conte. In an
+altar-piece in oils, sixteen palms high, executed not long since for
+the Church of S. Alò, opposite to the Misericordia, a Company of the
+Florentines, he painted Our Lady, S. James the Apostle, and the
+Bishops S. Alò and S. Martino; and in S. Lorenzo in Lucina, in the
+Chapel of the Countess of Carpi, he painted in fresco a S. Francis who
+is receiving the Stigmata. In the Hall of Kings, at the time of Pope
+Pius IV, as has been related, he executed a scene in fresco over the
+door of the Chapel of Sixtus; in that scene, which was much extolled,
+Pepin, King of the Franks, is presenting Ravenna to the Roman Church,
+and is leading as prisoner Astulf, King of the Lombards; and we have
+the design of it by Girolamo's own hand in our book, with many others
+by the same master. And, finally, he has now in hand the Chapel of
+Cardinal Cesis in S. Maria Maggiore, for which he has already executed
+in a large altar-piece the Martyrdom of S. Catharine on the wheel,
+which is a most beautiful picture, as are the others on which both
+there and elsewhere, with much study, he is continually at work. I
+shall not make mention of the portraits and other pictures and little
+works of Girolamo, because, besides that they are without number,
+these are enough to make him known as a valiant and excellent painter.
+
+Having said above, in the Life of Perino del Vaga, that the painter
+Marcello Mantovano worked many years under him at pictures that gave
+him a great name, I have to say in this place, coming more to
+particulars, that he once painted in the Church of S. Spirito the
+whole Chapel of S. Giovanni Evangelista and its altar-piece, with the
+portrait of a Knight Commander of the same S. Spirito, who built that
+church and constructed that chapel; which portrait is a very good
+likeness, and the altar-piece most beautiful. Whereupon a Friar of the
+Piombo, having seen his beautiful manner, caused him to paint in
+fresco in the Pace, over the door that leads from the church into the
+convent, Jesus Christ as a boy disputing with the Doctors in the
+Temple, which is a very lovely work. But since he has always delighted
+to make portraits and little things, abandoning larger works, he has
+executed an infinite number of these; and among them may be seen some
+of Pope Paul III, which are beautiful and speaking likenesses. In like
+manner, from the designs of Michelagnolo and from his works he has
+executed a vast number of things likewise small, and among these he
+has depicted in one of his works the whole façade of the Judgment,
+which is a rare thing and executed excellently well; and in truth, for
+small paintings, it would not be possible to do better. For which
+reason, finally, that most gentle Messer Tommaso de' Cavalieri, who
+has always favoured him, has caused him to paint after the design of
+Michelagnolo an altar-picture of the Annunciation of the Virgin, most
+beautiful, for the Church of S. Giovanni Laterano; which design by
+Buonarroti's own hand, imitated by this Marcello, Leonardo Buonarroti,
+the nephew of Michelagnolo, presented to the Lord Duke Cosimo
+together with some others of fortifications and architecture and other
+things of the rarest. And this must suffice for Marcello, who has been
+attending lately to working at little things, executing them with a
+truly supreme and incredible patience.
+
+Of Jacopo del Conte, a Florentine, who like those named above dwells
+in Rome, enough will have been said, what with this and other places,
+after certain other particulars have been given here. This Jacopo,
+then, having been much inclined from his earliest youth to portraying
+from the life, has desired that this should be his principal
+profession, although on occasions he has executed altar-pictures and
+works in fresco in some numbers, both in Rome and without. Of his
+portraits--not to speak of them all, which would make a very long
+story--I shall say only that he has portrayed all the Pontiffs that
+there have been from Pope Paul III to the present day, and all the
+lords and ambassadors of importance who have been at that Court, and
+likewise the military captains and great men of the house of Colonna
+and of the Orsini, Signor Piero Strozzi, and an infinite number of
+Bishops, Cardinals, and other great prelates and lords, not to speak
+of many men of letters and other men of quality; all which has caused
+him to acquire fame, honour, and profit in Rome, so that he lives
+honourably and much at his ease with his family in that city. From his
+boyhood he drew so well that he gave promise, if he should persevere,
+of becoming excellent, and so in truth he would have been, but, as I
+have said, he turned to that to which he felt himself inclined by
+nature. Nevertheless, his works cannot but be praised. By his hand is
+a Dead Christ in an altar-piece that is in the Church of the Popolo,
+and in another that he has executed for the Chapel of S. Dionigi in S.
+Luigi, with stories, is the first-named Saint. But the most beautiful
+work that he ever did was in two scenes in fresco that he once
+painted, as has been told in another place, in the Florentine Company
+of the Misericordia, with an altar-picture of Christ taken down from
+the Cross, with the Thieves fixed on their crosses, and the Madonna in
+a swoon, painted in oil-colours, all beautiful and executed with
+diligence and with great credit to him. He has made many pictures
+throughout Rome, and figures in various manners, and has executed a
+number of full-length portraits, both nude and draped, of men and
+women, which have proved very beautiful, because the subjects were not
+otherwise. He has also portrayed, according as occasions arose, many
+heads of noble ladies, gentlewomen and princesses who have been in
+Rome; and among others, I know that he once portrayed Signora Livia
+Colonna, a most noble lady, incomparable in her illustrious blood, her
+virtue, and her beauty. And let this suffice for Jacopo del Conte, who
+is still living and constantly at work.
+
+I might have made known, also, many from our Tuscany and from other
+parts of Italy, their names and their works, which I have passed over
+lightly, because many of them, being old, have ceased to work, and
+others who are young are now trying their hands and will become known
+better by their works than by means of writings. But of Adone Doni of
+Assisi, because he is still living and working, although I made
+mention of him in the Life of Cristofano Gherardi, I shall give some
+particulars of his works, such as are in Perugia and throughout all
+Umbria, and in particular many altar-pieces in Foligno. But his best
+works are in S. Maria degli Angeli at Assisi, in the little chapel
+where S. Francis died, wherein are some stories of the life of that
+Saint executed in oils on the walls, which are much extolled, besides
+which, he has painted the Passion of Christ in fresco at the head of
+the refectory of that convent, in addition to many other works that
+have done him honour; and his gentleness and courtesy have caused him
+to be considered liberal and courteous.
+
+In Orvieto there are two young men also of that same profession, one a
+painter called Cesare del Nebbia, and the other a sculptor, both well
+on the way to bringing it about that their city, which up to the
+present has always invited foreign masters to adorn her, will no
+longer be obliged, if they follow up the beginnings that they have
+made, to seek other masters. There is working at Orvieto, in S. Maria,
+the Duomo of that city, a young painter called Niccolò dalle
+Pomarancie, who, having executed an altar-piece wherein is Christ
+raising Lazarus, has given signs--not to speak of other works in
+fresco--of winning a name among the others named above.
+
+And now that we are come to the end of our Italian masters still
+living, I shall say only that no less service has been rendered by one
+Lodovico, a Florentine sculptor, who, so I am told, has executed
+notable works in England and at Bari; but, since I have not found here
+either his relatives or his family name, and have not seen his works,
+I am not able (as I fain would) to make any other record of him than
+this mention of his name.
+
+
+
+
+DIVERS FLEMINGS
+
+
+
+
+OF DIVERS FLEMINGS
+
+
+Now, although in many places mention has been made of the works of
+certain excellent Flemish painters and of their engravings, but
+without any order, I shall not withhold the names of certain
+others--for of their works I have not been able to obtain full
+information--who have been in Italy, and I have known the greater
+number of them, in order to learn the Italian manner; believing that
+no less is due to their industry and to the labour endured by them in
+our arts. Leaving aside, then, Martin of Holland, Jan van Eyck of
+Bruges, and Hubert his brother, who in 1510 invented and brought to
+light the method of painting in oil-colours, as has been told
+elsewhere, and left many works by his hand in Ghent, Ypres, and
+Bruges, where he lived and died in honour; after them, I say, there
+followed Roger van der Weyden of Brussels, who executed many works in
+several places, but principally in his native city, and for the Town
+Hall four most beautiful panel-pictures in oils, of things
+appertaining to Justice. A disciple of that Roger was Hans,[16] by
+whom, as has been told, we have in Florence the Passion of Christ in a
+little picture that is in the hands of the Duke. To him there
+succeeded the Fleming Louis of Louvain, Pieter Christus, Justus of
+Ghent, Hugo of Antwerp, and many others, who, for the reason that they
+never went forth from their own country, always adhered to the Flemish
+manner. And if Albrecht Dürer, of whom we have spoken at some length,
+did once come to Italy, nevertheless he kept always to one and the
+same manner; although he was spirited and vivacious, particularly in
+his heads, as is well known to all Europe.
+
+         [Footnote 16: Hans Memling.]
+
+But, leaving these, and together with them Lucas of Holland and
+others, I became acquainted in Rome, in 1532, with one Michael Coxie,
+who gave no little study to the Italian manner, and executed many
+works in fresco in that city, and in particular two chapels in S.
+Maria de Anima. Having then returned to his own country and made
+himself known as an able man, I hear that among other works he
+executed for King Philip of Spain an altar-picture copied from one by
+the above-named Jan van Eyck that is in Ghent; and in that copy, which
+was taken into Spain, is the Triumph of the Agnus Dei. There studied
+in Rome, not long afterwards, Martin Heemskerk, a good master of
+figures and landscapes, who has executed in Flanders many pictures and
+many designs for copper-engravings, which, as has been related
+elsewhere, have been engraved by Hieronymus Cock, whom I came to know
+in Rome while I was serving Cardinal Ippolito de' Medici. And all
+these have been most beautiful inventors of stories, and close
+observers of the Italian manner.
+
+[Illustration: PORTRAIT OF A MAN
+
+(_After the painting by =Johannes Calcar=. Paris: Louvre, No. 1185_)
+
+_X phot._]
+
+In Naples, also, in the year 1545, I came to know Johann of Calcar, a
+Flemish painter, who became very much my friend; a very rare
+craftsman, and so well practised in the Italian manner, that his works
+were not recognized as by the hand of a Fleming. But he died young in
+Naples, while great things were expected of him; and he drew for
+Vessalio his studies in anatomy. Before him, however, there was much
+in repute one Dirk of Louvain, a good master in that manner; and also
+Quentin of the same place, who in his figures always followed nature
+as well as he was able, as also did a son of his called Johann. Joost
+van Cleef, likewise, was a great colourist and rare in making
+portraits from life, for which King Francis of France employed him
+much in executing many portraits of various lords and ladies. Famous
+painters of the same province, also, have been--and some of them still
+are--Jan van Hemessen, Matthys Cock of Antwerp, Bernard of Brussels,
+Jan Cornelis of Amsterdam, Lambert of the same city, Hendrik of
+Dinant, Joachim Patinier of Bouvignes, and Jan Scorel, Canon of
+Utrecht, who carried into Flanders many new methods of painting taken
+from Italy. Besides these, there have been Jean Bellegambe of Douai,
+Dirk of Haarlem, from the same place, and Franz Mostaert, who was
+passing skilful in painting landscapes in oils, fantasies, bizarre
+inventions, dreams, and suchlike imaginings. Hieronymus Bosch and
+Pieter Brueghel of Breda were imitators of that Mostaert, and Lancelot
+Blondeel has been excellent in painting fires, nights, splendours,
+devils, and other things of that kind. Pieter Koeck has had much
+invention in stories, and has made very beautiful cartoons for
+tapestries and arras-hangings; with a good manner and practice in
+matters of architecture, on which account he has translated into the
+Teuton tongue the works on architecture of Sebastiano Serlio of
+Bologna. And Jean Gossart of Mabuse was almost the first who took from
+Italy into Flanders the true method of making scenes full of nude
+figures and poetical inventions; and by his hand is a large
+altar-piece in the Abbey of Middelburg in Zeeland. Of all these
+information has been received from Maestro Giovanni Strada of Bruges,
+a painter, and from Giovan Bologna of Douai, a sculptor; both Flemings
+and men of excellence, as we shall relate in the Treatise on the
+Academicians.
+
+As for those of the same province who are still living and in repute,
+the first among them, both for his works in painting and for his many
+copper-plate engravings, is Franz Floris of Antwerp, a disciple of the
+above-mentioned Lambert Lombard. This Floris, who is held to be most
+excellent, has worked in such a manner in every field of his
+profession, that no one, they say there, has expressed better the
+emotions of the soul, sorrow, gladness, and the other passions, and
+all with most beautiful and bizarre inventions; insomuch that,
+likening him to the Urbinate, they call him the Flemish Raffaello. It
+is true that this is not demonstrated to us fully by the printed
+sheets, for the reason that the engraver, be he ever so able, never by
+a great measure equals the originals or the design and manner of him
+who has drawn them. A fellow-disciple with Floris, learning under the
+discipline of the same master, has been Willem Key of Breda, and also
+of Antwerp, a temperate, serious, and judicious man, and a close
+imitator of the life and the objects of nature, and in addition
+passing fertile in invention, and one who more than any other executes
+his pictures with good gradation and all full of sweetness and grace;
+and although he has not the facility, boldness, and terrible force of
+his brother-disciple Floris, for all that he is held to be truly
+excellent. Michael Coxie, of whom I have spoken above, saying that he
+carried the Italian manner into Flanders, is much celebrated among the
+Flemish craftsmen for being profoundly serious and making his figures
+such that they have in them much of the virile and severe; wherefore
+the Fleming Messer Domenicus Lampsonius, of whom mention will be made
+in the proper place, discoursing of the two masters named above and of
+this Michael, likens them to a fine trio in music, in which each plays
+his part with excellence. Much esteemed, also, among the same men, is
+Antonius Moor of Utrecht in Holland, painter to the Catholic King,
+whose colours, they say, in portraying whatever he may choose from
+nature, vie with the reality and deceive the eye most beautifully. The
+same Lampsonius writes to me that Moor, who is a man of very gentle
+ways and much beloved, has painted a most beautiful altar-picture of
+Christ rising from the dead, with two Angels, S. Peter, and S. Paul,
+which is a marvellous thing. Marten de Vos, who copies excellently
+well from nature, is held to be good in invention and colouring. But
+in the matter of making beautiful landscapes, none are equal to Jakob
+Grimmer, Hans Bol, and others, all of Antwerp and able men, of whom,
+nevertheless, I have not been able to obtain particular information.
+Pieter Aertsen, called Long Peter, painted in his native city of
+Amsterdam an altar-picture with wing-panels, containing Our Lady and
+other Saints; which whole work cost two thousand crowns. They also
+celebrate as a good painter Lambert of Amsterdam, who dwelt many years
+in Venice, and had the Italian manner very well. This Lambert was the
+father of Federigo, of whom, from his being one of our Academicians,
+record will be made in the proper place. Pieter Brueghel of Antwerp,
+likewise, they celebrate as an excellent master, and Lambert van Noort
+of Amersfort in Holland, and as a good architect Gilis Mostaert,
+brother of the above-named Franz; and Pieter Pourbus, a mere lad, has
+given proof that he is destined to become an excellent painter.
+
+Now, that we may learn something of the miniaturists of those
+countries: they say that these have been excellent there, Marinus of
+Zierickzee, Lucas Horebout of Ghent, Simon Bening of Bruges, and
+Gerard; and likewise some women, Susanna, sister of the said Lucas,
+who was invited for that work into the service of Henry VIII, King of
+England, and lived there in honour all the rest of her life; Clara
+Skeysers of Ghent, who at the age of eighty died, so they say, a
+virgin; Anna, daughter of Meister Seghers, a physician; Levina,
+daughter of the above-named Meister Simon of Bruges, who was married
+by the said Henry of England to a nobleman, and held in estimation by
+Queen Mary, even as she is now by Queen Elizabeth; and likewise
+Catharina, daughter of Meister Jan van Hemessen, who went to Spain
+into the service of the Queen of Hungary, with a good salary. In
+short, many other women in those parts have been excellent
+miniaturists.
+
+In the work of glass and of making windows there have been many able
+men in the same province; Arthus van Noort of Nymwegen, Borghese of
+Antwerp, Dierick Jacobsz Vellaert, Dirk van Staren of Kampen, and Jan
+Haeck of Antwerp, by whom are the windows in the Chapel of the
+Sacrament in the Church of S. Gudule in Brussels. And here in Tuscany
+many very beautiful windows of fired glass have been made for the Duke
+of Florence by Wouter Crabeth and Giorgio, Flemings and able men, from
+the designs of Vasari.
+
+In architecture and sculpture the most celebrated Flemings are
+Sebastian van Oja of Utrecht, who served Charles V in some
+fortifications, and then King Philip; Willem van Antwerp; Willem Keur
+of Holland, a good architect and sculptor; Jan van Dalen, sculptor,
+poet and architect; and Jakob Breuck, sculptor and architect, who
+executed many works for the Queen Regent of Hungary, and was the
+master of Giovan Bologna of Douai, one of our Academicians, of whom we
+shall speak in a short time. Jan de Mynsheere of Ghent, also, is held
+to be a good architect, and Matthaeus Manemaker of Antwerp, who is
+with the King of the Romans, an excellent sculptor; and Cornelis
+Floris, brother of the above-named Franz, is likewise an excellent
+sculptor and architect, and the first who introduced into Flanders the
+method of making grotesques. Others who give their attention to
+sculpture, with much honour to themselves, are Willem Paludanus, a
+very studious and diligent sculptor, brother of the above-named
+Heinrich; Jan der Sart of Nymwegen, Simon van Delft, and Joost
+Janszoon of Amsterdam. And Lambert Suavius of Liège is a very good
+architect and master in engraving prints with the burin, wherein he
+has been followed by Joris Robyn of Ypres, Dirk Volkaerts and Philip
+Galle, both of Haarlem, Lucas van Leyden, and many others; who have
+all been in Italy in order to learn and to draw the antiquities, and
+to return home, as for the most part they have done, excellent
+masters. But greater than any of those named above has been Lambert
+Lombard of Liège, a man great in letters, judicious in painting, and
+excellent in architecture, the master of Franz Floris and Willem Key;
+of the excellencies of which Lambert and of others I have received
+much information in letters from M. Domenicus Lampsonius of Liège, a
+man well lettered and of much judgment in everything, who was the
+familiar confidant of Cardinal Pole of England during his lifetime,
+and now is secretary to Monsignor the Prince Bishop of Liège. That
+gentleman, I say, once sent me the life of the said Lambert written in
+Latin, and he has saluted me several times in the name of many of our
+craftsmen from that province; and a letter that I have by his hand,
+dated October 30, 1564, is written in this tenor:
+
+"For four years back I have had it constantly in mind to thank you,
+honoured Sir, for two very great benefits that I have received from
+you, although I know that this will appear to you a strange exordium
+from one whom you have never seen or known. And strange, indeed, it
+would be, if I had not known you, which has been from the time when my
+good fortune, or rather, our Lord God, willed that by His Grace there
+should come into my hands, I know not in what way, your most excellent
+writings concerning the architects, painters, and sculptors. But at
+that time I did not know one word of Italian, whereas now, thanks be
+to God, for all that I have never seen Italy, by reading your writings
+I have gained such little knowledge as has encouraged me to write you
+this letter. And to this desire to learn your tongue I have been
+attracted by your writings, which perhaps those of no other man could
+have done; being drawn to seek to understand them by a natural and
+irresistible love that I have borne from childhood to these three most
+beautiful arts, but above all to that most pleasing to every age, sex,
+and rank, and hurtful to none, your art of painting. In which art,
+although I was at that time wholly ignorant and wanting in judgment,
+now, by means of the frequently reiterated reading of your writings, I
+understand so much--little though it may be, and as it were
+nothing--as is yet enough to enable me to lead an agreeable and happy
+life; and this I value more than all the honours, comforts and riches
+of this world. By this little I mean only that I could copy with
+oil-colours, as with any kind of drawing-instrument, the objects of
+nature, and particularly nudes and vestments of every sort; but I have
+not had courage enough to plunge deeper, as for example, to paint
+things more hazardous which require a hand more practised and sure,
+such as landscapes, trees, waters, clouds, splendours, fires, etc. And
+although in these things, as also in inventions, up to a certain
+point, it is possible that in case of necessity I could show that I
+have made some little proficience by means of the reading I have
+mentioned, yet I have been content, as I have said, to confine myself
+to making only portraits, and the rather because the many occupations
+which my office necessarily involves do not permit me to do more. And
+in order to prove myself in some way appreciative and grateful for
+these benefits, that by your means I have learned a most beautiful
+tongue and the art of painting, I would have sent you with this letter
+a little portrait of my face, taken with a mirror, had I not doubted
+whether my letter would find you in Rome or not, since at the present
+moment you might perchance be living in Florence or your native city
+of Arezzo."
+
+This letter contains, in addition, many other particulars that are not
+here to the point. In others, since, he has prayed me in the name of
+many honourable gentlemen of those parts, who have heard that these
+Lives are being reprinted, that I should add to them three treatises
+on sculpture, painting, and architecture, with drawings of figures, by
+way of elucidation according to necessity, in order to expound the
+secrets of the arts, as Albrecht Dürer and Serlio have done, and Leon
+Battista Alberti, who has been translated by M. Cosimo Bartoli, a
+gentleman and Academician of Florence. Which I would have done more
+than willingly, but my intention has been only to describe the lives
+and works of our craftsmen, and not to teach the arts, with the
+methods of drawing the lines of painting, architecture, and sculpture;
+besides which, the work having grown under my hands for many reasons,
+it will be perchance too long, even without adding treatises. But it
+was not possible or right for me to do otherwise than I have done, or
+to defraud anyone of his due praise and honour, nor yet the world of
+the pleasure and profit that I hope may be derived from these
+labours.
+
+
+
+
+INDEX OF NAMES
+OF THE CRAFTSMEN MENTIONED IN VOLUME IX
+
+
+  Abate, Niccolò dell' (Niccolò da Modena), 148
+
+  Adone Doni, 261
+
+  Aertsen, Pieter, 268
+
+  Agnolo, Baccio d', 40, 41, 194
+
+  Agnolo Bronzino, 118, 125, 128, 133, 137, 252
+
+  Agnolo di Donnino, 29, 30
+
+  Agresti, Livio (Livio da Forlì), 155
+
+  Aimo, Domenico (Vecchio), 189
+
+  Alberti, Leon Batista, 271
+
+  Albrecht Dürer, 163, 246, 265, 271
+
+  Alessandro Allori (Alessandro del Bronzino), 133, 138
+
+  Alessandro (Scherano da Settignano), 55
+
+  Alessandro Vittoria, 204-206, 223
+
+  Alessi, Galeazzo, 239-242
+
+  Alesso Baldovinetti, 182
+
+  Alfonso Lombardi, 167
+
+  Allori, Alessandro (Alessandro del Bronzino), 133, 138
+
+  Alonzo Berughetta, 20, 189
+
+  Ammanati, Bartolommeo, 69, 70, 73, 118, 125, 126, 129, 207, 208, 223
+
+  Amsterdam, Lambert of (Lambert Lombard), 266-268, 270
+
+  Andrea Calamech, 129
+
+  Andrea Contucci (Andrea Sansovino), 15, 40, 41, 187, 202, 216
+
+  Andrea del Minga, 131
+
+  Andrea del Sarto, 20, 43, 188, 193, 194
+
+  Andrea Mantegna, 211
+
+  Andrea Palladio, 211-214
+
+  Andrea Sansovino (Andrea Contucci), 15, 40, 41, 187, 202, 216
+
+  Anna Seghers, 269
+
+  Antonio Begarelli (Modena), 113
+
+  Antonio da San Gallo (the elder), 16, 40, 41
+
+  Antonio da San Gallo (the younger), 61-67, 196, 197, 224, 239
+
+  Antonio di Gino Lorenzi, 131
+
+  Antonio di Marco di Giano (Carota), 51
+
+  Antonio Mini, 47-51, 69, 81, 107, 109
+
+  Antonius Moor, 268
+
+  Antwerp, Hugo of, 265
+
+  Antwerp, Willem van, 269
+
+  Apelles, 133, 168
+
+  Arca, Niccolò dell', 11
+
+  Aretino, Leone (Leone Lioni), _Life_, 229-232. 95, 233
+
+  Aristotile (Bastiano) da San Gallo, 20, 29, 30
+
+  Arnolfo di Lapo, 194
+
+  Arthus van Noort, 269
+
+  Ascanio Condivi (Ascanio dalla Ripa Transone), 5, 107
+
+
+  Baccio Bandinelli, 20, 49, 126, 190
+
+  Baccio d'Agnolo, 40, 41, 194
+
+  Baccio da Montelupo, 55, 188, 190, 239
+
+  Bagnacavallo, Bartolommeo da, 147
+
+  Bagnacavallo, Giovan Battista da, 147, 148
+
+  Baldassarre Peruzzi, 65, 196
+
+  Baldovinetti, Alesso, 182
+
+  Bandinelli, Baccio, 20, 49, 126, 190
+
+  Bandini, Giovanni di Benedetto (Giovanni dell'Opera), 126, 130, 140, 141
+
+  Barbara de' Longhi, 155
+
+  Barbiere, Domenico del, 149
+
+  Barozzi, Jacopo (Vignuola), 102, 146, 147
+
+  Bartolommeo Ammanati, 69, 70, 73, 118, 125, 126, 129, 207, 208, 223
+
+  Bartolommeo Bozzato (Girolamo Bozza), 183
+
+  Bartolommeo da Bagnacavallo, 147
+
+  Bartolommeo Montagna, 211
+
+  Bartolommeo Passerotto, 156
+
+  Bartolommeo Suardi (Bramantino da Milano), 190
+
+  Bassano, Jacopo da, 175, 176
+
+  Bastiano (Aristotile) da San Gallo, 20, 29, 30
+
+  Battista del Cavaliere (Battista Lorenzi), 131, 140, 141
+
+  Battista del Cinque, 51
+
+  Battista del Tasso, 51
+
+  Battista di Benedetto Fiammeri, 126
+
+  Battista Farinato, 214
+
+  Battista Franco, 199, 205, 217
+
+  Battista Lorenzi (Battista del Cavaliere), 131, 140, 141
+
+  Battista Naldini, 134
+
+  Begarelli, Antonio (Modena), 113
+
+  Bellegambe, Jean, 266
+
+  Bellini, Giovanni, 159, 160, 162, 163
+
+  Benedetto da Rovezzano, 191
+
+  Bening, Levina, 269
+
+  Bening, Simon, 268
+
+  Benvenuto Cellini, 51, 118, 125
+
+  Benvenuto Garofalo, 202
+
+  Bernard of Brussels, 266
+
+  Bernardino Pinturicchio, 190
+
+  Bernardo Timante Buontalenti, 135-137
+
+  Bertoldo, 8
+
+  Berughetta, Alonzo, 20, 189
+
+  Bigio, Nanni di Baccio, 69, 76, 100, 101, 113, 239
+
+  Blondeel, Lancelot, 267
+
+  Bol, Hans, 268
+
+  Bologna, Giovan, 267, 269
+
+  Bologna, Ruggieri da, 147
+
+  Bolognese, Pellegrino (Pellegrino Pellegrini, or Tibaldi), 151-154, 258
+
+  Bonifazio (of Venice), 214
+
+  Bordone, Paris, 178-182
+
+  Borghese (of Antwerp), 269
+
+  Bosch, Hieronymus, 267
+
+  Bosco, Maso dal (Maso Boscoli), 55
+
+  Boscoli, Giovanni, 156
+
+  Boscoli, Maso (Maso dal Bosco), 55
+
+  Bozzato, Bartolommeo (Girolamo Bozza), 183
+
+  Bramante da Urbino, 27-29, 31, 65, 71, 188-190
+
+  Bramantino da Milano (Bartolommeo Suardi), 190
+
+  Bresciano, Jacopo (Jacopo de' Medici), 206, 207, 223
+
+  Breuck, Jakob, 269
+
+  Bronzino, Agnolo, 118, 125, 128, 133, 137, 252
+
+  Bronzino, Alessandro del (Alessandro Allori), 133, 138
+
+  Brueghel, Pieter, 267, 268
+
+  Brunelleschi, Filippo, 43, 44, 133
+
+  Brussels, Bernard of, 266
+
+  Bugiardini, Giuliano, 29, 30, 95
+
+  Buglioni, Santi, 132
+
+  Buonarroti, Michelagnolo, _Life_, 3-141. 145, 153, 162, 170, 171,
+    187, 193-195, 215, 216, 224, 231, 235, 236, 239, 246, 250, 251, 259
+
+  Buontalenti, Bernardo Timante, 135-137
+
+  Butteri, Giovan Maria, 131
+
+
+  Cadore, Tiziano da (Tiziano Vecelli), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Calamech, Andrea, 129
+
+  Calamech, Lazzaro, 129
+
+  Calcagni, Tiberio, 83, 84, 98-100
+
+  Calcar, Johann of (Giovanni Fiammingo), 178, 266
+
+  Capocaccia, Mario, 233
+
+  Caravaggio, Polidoro da, 170
+
+  Carota (Antonio di Marco di Giano), 51
+
+  Carpaccio, Vittore (Vittore Scarpaccia), 210, 211
+
+  Carrara, Danese da (Danese Cattaneo), 176, 204, 208-210, 214, 223
+
+  Casignuola, Jacopo, 238
+
+  Casignuola, Tommaso, 238
+
+  Castel Bolognese, Giovanni da, 164
+
+  Castelfranco, Giorgione da, 159-162, 165, 179
+
+  Catharina van Hemessen, 269
+
+  Cattaneo, Danese (Danese da Carrara), 176, 204, 208-210, 214, 223
+
+  Cavaliere, Battista del (Battista Lorenzi), 131, 140, 141
+
+  Cavalori, Mirabello (Mirabello di Salincorno), 126
+
+  Cellini, Benvenuto, 51, 118, 125
+
+  Cesare Cesariano, 190
+
+  Cesare del Nebbia, 261
+
+  Cesariano, Cesare, 190
+
+  Christus, Pieter, 265
+
+  Ciappino, 51
+
+  Ciciliano, Jacopo, 98
+
+  Cimabue, Giovanni, 133
+
+  Cinque, Battista del, 51
+
+  Cioli, Valerio, 129, 140, 141
+
+  Clara Skeysers, 269
+
+  Cleef, Joost van, 266
+
+  Clovio, Don Giulio, _Life_, 245-253
+
+  Cock, Hieronymus, 266
+
+  Cock, Matthys, 266
+
+  Colonna, Jacopo, 202, 203, 223
+
+  Condivi, Ascanio (Ascanio dalla Ripa Transone), 5, 107
+
+  Conte, Jacopo del, 95, 152, 258, 260, 261
+
+  Contucci, Andrea (Andrea Sansovino), 15, 40, 41, 187, 202, 216
+
+  Cornelis Floris, 269
+
+  Cornelis, Jan, 266
+
+  Coxie, Michael, 266-268
+
+  Crabeth, Wouter, 269
+
+  Credi, Lorenzo di, 190
+
+  Cristofano Gherardi, 261
+
+  Cristofano Gobbo (Cristofano Solari), 14, 234
+
+  Cristofano Rosa, 177
+
+  Cristofano Solari (Cristofano Gobbo), 14, 234
+
+  Crocifissaio, Girolamo del (Girolamo Macchietti), 126
+
+
+  Dalen, Jan van, 269
+
+  Danese Cattaneo (Danese da Carrara), 176, 204, 208-210, 214, 223
+
+  Daniello Ricciarelli (Daniello da Volterra), 95, 100, 101, 103, 107,
+    121, 122
+
+  Dante, Girolamo (Girolamo di Tiziano), 183
+
+  Danti, Vincenzio, 128, 139
+
+  David Ghirlandajo, 5, 6, 182
+
+  Delft, Simon van, 269
+
+  Dierick Jacobsz Vellaert, 269
+
+  Dinant, Hendrik of, 266
+
+  Dirk of Haarlem, 266
+
+  Dirk of Louvain, 266
+
+  Dirk van Staren, 269
+
+  Dirk Volkaerts, 270
+
+  Domenico Aimo (Vecchio), 189
+
+  Domenico del Barbiere, 149
+
+  Domenico Ghirlandajo, 5-9, 182
+
+  Domenico Poggini, 131
+
+  Domenicus Lampsonius, 268, 270, 271
+
+  Don Giulio Clovio, _Life_, 245-253
+
+  Donato (Donatello), 8, 10, 111, 133, 138, 169
+
+  Doni, Adone, 261
+
+  Donnino, Agnolo di, 29, 30
+
+  Dosso Dossi, 163
+
+  Dürer, Albrecht, 163, 246, 265, 271
+
+
+  Eyck, Hubert van, 265
+
+  Eyck, Jan van, 265, 266
+
+
+  Fabbro, Pippo del, 192
+
+  Fabrizio Viniziano, 215
+
+  Faenza, Jacopone da, 154
+
+  Faenza, Marco da (Marco Marchetti), 155, 156
+
+  Fallaro, Jacopo, 214
+
+  Farinato, Battista, 214
+
+  Federigo Fiammingo (Federigo di Lamberto, or Del Padovano), 127, 268
+
+  Ferrarese, Girolamo (Girolamo Lombardi), 202, 223
+
+  Fiammeri, Battista di Benedetto, 126
+
+  Fiammingo, Federigo (Federigo di Lamberto, or Del Padovano), 127, 268
+
+  Fiammingo, Giorgio, 269
+
+  Fiammingo, Giovanni (Johann of Calcar), 178, 266
+
+  Fiesole, Simone da, 15, 16
+
+  Filippo Brunelleschi, 43, 44, 133
+
+  Filippo Lippi, Fra, 119, 133
+
+  Floris, Cornelis, 269
+
+  Floris, Franz, 267-270
+
+  Fontana, Prospero, 147, 148, 150-152
+
+  Forlì, Livio da (Livio Agresti), 155
+
+  Fra Filippo Lippi, 119, 133
+
+  Fra Giovanni Agnolo Montorsoli, 51, 117, 133
+
+  Fra Guglielmo della Porta, 68, 69, 234-238
+
+  Fra Sebastiano Viniziano del Piombo, 68, 106, 109, 111, 162, 235
+
+  Francesco del Tadda, 97
+
+  Francesco Francia, 26, 27
+
+  Francesco Granacci, 5, 6, 8, 20, 29, 30
+
+  Francesco Primaticcio, _Description of Works_, 145-150. 151, 156
+
+  Francesco Salviati, 133
+
+  Francesco Verbo (Verlo), 211
+
+  Francia, Francesco, 26, 27
+
+  Francia, Piero, 130
+
+  Franciabigio, 20
+
+  Franco, Battista, 199, 205, 217
+
+  Franz Floris, 267-270
+
+  Franz Mostaert, 266-268
+
+  Franzese, Giovanni, 88
+
+
+  Gaddi, Taddeo, 133
+
+  Galeazzo Alessi, 239-242
+
+  Galeotto, Pietro Paolo, 233
+
+  Galle, Philip, 270
+
+  Garofalo, Benvenuto, 202
+
+  Gerard, 268
+
+  Ghent, Justus of, 265
+
+  Gherardi, Cristofano, 261
+
+  Gherardo, 182
+
+  Ghiberti, Lorenzo, 114
+
+  Ghirlandajo, David, 5, 6, 182
+
+  Ghirlandajo, Domenico, 5-9, 182
+
+  Ghirlandajo, Michele di Ridolfo, 130
+
+  Ghirlandajo, Ridolfo, 20
+
+  Gian Maria Verdezotti, 178
+
+  Giano, Antonio di Marco di (Carota), 51
+
+  Gilis Mostaert, 268
+
+  Giorgio Fiammingo, 269
+
+  Giorgio Vasari. See Vasari (Giorgio)
+
+  Giorgione da Castelfranco, 159-162, 165, 179
+
+  Giotto, 3, 119, 133, 182
+
+  Giovan Battista da Bagnacavallo, 147, 148
+
+  Giovan Bologna, 267, 269
+
+  Giovan Jacomo della Porta, 234, 235
+
+  Giovan Maria Butteri, 131
+
+  Giovan Paolo Poggini, 232, 233
+
+  Giovanni (of Vicenza), 211
+
+  Giovanni Agnolo Montorsoli, Fra, 51, 117, 133
+
+  Giovanni Antonio Licinio (Pordenone), 160, 167, 168
+
+  Giovanni Bellini, 159, 160, 162, 163
+
+  Giovanni Boscoli, 156
+
+  Giovanni Cimabue, 133
+
+  Giovanni da Castel Bolognese, 164
+
+  Giovanni da Udine, 42, 51
+
+  Giovanni dell'Opera (Giovanni di Benedetto Bandini), 126, 130, 140, 141
+
+  Giovanni Fiammingo (Johann of Calcar), 178, 266
+
+  Giovanni Franzese, 88
+
+  Giovanni Pisano, 11
+
+  Giovanni Speranza, 211
+
+  Giovanni Strada (Jan van der Straet), 134, 135, 267
+
+  Girolamo Bozza (Bartolommeo Bozzato), 183
+
+  Girolamo da Sermoneta (Girolamo Siciolante), 152, 257-259
+
+  Girolamo Dante (Girolamo di Tiziano), 183
+
+  Girolamo del Crocifissaio (Girolamo Macchietti), 126
+
+  Girolamo di Tiziano (Girolamo Dante), 183
+
+  Girolamo Ferrarese (Girolamo Lombardi), 202, 223
+
+  Girolamo Macchietti (Girolamo del Crocifissaio), 126
+
+  Girolamo Miruoli, 156
+
+  Girolamo Pironi, 211
+
+  Girolamo Siciolante (Girolamo da Sermoneta), 152, 257-259
+
+  Giuliano Bugiardini, 29, 30, 95
+
+  Giuliano da San Gallo, 16, 29, 30, 188, 189
+
+  Giulio Clovio, Don, _Life_, 245-253
+
+  Giulio Romano, 146, 168, 245, 257, 258
+
+  Giuseppe Salviati (Giuseppe Porta), 214
+
+  Gobbo, Cristofano (Cristofano Solari), 14, 234
+
+  Gossart, Jean, 267
+
+  Granacci, Francesco, 5, 6, 8, 20, 29, 30
+
+  Grimmer, Jakob, 268
+
+  Guerrini, Rocco, 242
+
+  Guglielmo della Porta, Fra, 68, 69, 234-238
+
+  Guglielmo Tedesco, 237
+
+
+  Haarlem, Dirk of, 266
+
+  Haeck, Jan, 269
+
+  Hans Bol, 268
+
+  Hans Memling, 265
+
+  Heemskerk, Martin, 266
+
+  Heinrich Paludanus, 269
+
+  Hemessen, Catharina van, 269
+
+  Hemessen, Jan van, 266, 269
+
+  Hendrik of Dinant, 266
+
+  Hieronymus Bosch, 267
+
+  Hieronymus Cock, 266
+
+  Horebout, Lucas, 268
+
+  Horebout, Susanna, 268, 269
+
+  Hubert van Eyck, 265
+
+  Hugo of Antwerp, 265
+
+
+  Indaco, Jacopo L', 29, 30
+
+  Irene di Spilimbergo, 175
+
+
+  Jacopo Barozzi (Vignuola), 102, 146, 147
+
+  Jacopo Bresciano (Jacopo de' Medici), 206, 207, 223
+
+  Jacopo Casignuola, 238
+
+  Jacopo Ciciliano, 98
+
+  Jacopo Colonna, 202, 203, 223
+
+  Jacopo da Bassano, 175, 176
+
+  Jacopo da Pontormo, 20, 107, 110, 133, 134
+
+  Jacopo de' Medici (Jacopo Bresciano), 206, 207, 223
+
+  Jacopo del Conte, 95, 152, 258, 260, 261
+
+  Jacopo di Sandro, 29, 30
+
+  Jacopo Fallaro, 214
+
+  Jacopo L'Indaco, 29, 30
+
+  Jacopo Palma, 160
+
+  Jacopo Pisbolica, 214, 215
+
+  Jacopo Sansovino (Jacopo Tatti), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Jacopo Tintoretto, 214
+
+  Jacopo Zucchi, 134
+
+  Jacopone da Faenza, 154
+
+  Jakob Breuck, 269
+
+  Jakob Grimmer, 268
+
+  Jan Cornelis, 266
+
+  Jan de Mynsheere, 269
+
+  Jan der Sart, 269
+
+  Jan Haeck, 269
+
+  Jan Scorel, 266
+
+  Jan van Dalen, 269
+
+  Jan van der Straet (Giovanni Strada), 134, 135, 267
+
+  Jan van Eyck, 265, 266
+
+  Jan van Hemessen, 266, 269
+
+  Janszoon, Joost, 269
+
+  Jean Bellegambe, 266
+
+  Jean Gossart, 267
+
+  Joachim Patinier, 266
+
+  Johann of Calcar (Giovanni Fiammingo), 178, 266
+
+  Johann of Louvain, 266
+
+  Joost Janszoon, 269
+
+  Joost van Cleef, 266
+
+  Joris Robyn, 270
+
+  Justus of Ghent, 265
+
+
+  Keur, Willem, 269
+
+  Key, Willem, 267, 268, 270
+
+  Koeck, Pieter, 267
+
+
+  Lambert Lombard (Lambert of Amsterdam), 266-268, 270
+
+  Lambert Suavius, 269, 270
+
+  Lambert Van Noort, 268
+
+  Lamberto, Federigo di (Federigo Fiammingo, or Del Padovano), 127, 268
+
+  Lampsonius, Domenicus, 268, 270, 271
+
+  Lancelot Blondeel, 267
+
+  Lancia, Luca, 223
+
+  Lapo, Arnolfo di, 194
+
+  Lastricati, Zanobi, 125, 132
+
+  Lazzaro Calamech, 129
+
+  Leon Batista Alberti, 271
+
+  Leonardo da Vinci, 15, 19, 234
+
+  Leonardo Milanese, 238
+
+  Leone Lioni (Leone Aretino), _Life_, 229-232. 95, 233
+
+  Levina Bening, 269
+
+  Leyden, Lucas van, 265, 270
+
+  Licinio, Giovanni Antonio (Pordenone), 160, 167, 168
+
+  Ligorio, Pirro, 84, 94, 95, 102
+
+  L'Indaco, Jacopo, 29, 30
+
+  Lioni, Leone (Leone Aretino), _Life_, 229-232. 95, 233
+
+  Lioni, Pompeo, 232, 233
+
+  Lippi, Fra Filippo, 119, 133
+
+  Livio Agresti (Livio da Forlì), 155
+
+  Lodovico (of Florence), 262
+
+  Lodovico Rosso, 182
+
+  Lombard, Lambert (Lambert of Amsterdam), 266-268, 270
+
+  Lombardi, Alfonso, 167
+
+  Lombardi, Girolamo (Girolamo Ferrarese), 202, 223
+
+  Longhi, Barbara de', 155
+
+  Longhi, Luca de', 154, 155
+
+  Lorenzetto, 20, 239
+
+  Lorenzi, Antonio di Gino, 131
+
+  Lorenzi, Battista (Battista del Cavaliere), 131, 140, 141
+
+  Lorenzo della Sciorina (Lorenzo Sciorini), 128
+
+  Lorenzo di Credi, 190
+
+  Lorenzo Ghiberti, 114
+
+  Lorenzo Sabatini, 151
+
+  Lorenzo Sciorini (Lorenzo della Sciorina), 128
+
+  Louis of Louvain, 265
+
+  Louvain, Dirk of, 266
+
+  Louvain, Johann of, 266
+
+  Louvain, Louis of, 265
+
+  Louvain, Quentin of, 266
+
+  Luca de' Longhi, 154, 155
+
+  Luca Lancia, 223
+
+  Luca Signorelli, 190
+
+  Lucas Horebout, 268
+
+  Lucas van Leyden, 265, 270
+
+  Lugano, Tommaso da, 206
+
+
+  Macchietti, Girolamo (Girolamo del Crocifissaio), 126
+
+  Manemaker, Matthaeus, 269
+
+  Mantegna, Andrea, 211
+
+  Marcello Mantovano (Marcello Venusti), 106, 259, 260
+
+  Marco da Faenza (Marco Marchetti), 155, 156
+
+  Marinus (of Zierickzee), 268
+
+  Mario Capocaccia, 233
+
+  Marten de Vos, 268
+
+  Martin Heemskerk, 266
+
+  Martin Schongauer (Martino), 7, 265
+
+  Masaccio, 10, 133
+
+  Maso dal Bosco (Maso Boscoli), 55
+
+  Matthaeus Manemaker, 269
+
+  Matthys Cock, 266
+
+  Maturino, 20
+
+  Medici, Jacopo de' (Jacopo Bresciano), 206, 207, 223
+
+  Memling, Hans, 265
+
+  Menighella, 114
+
+  Michael Coxie, 266-268
+
+  Michelagnolo Buonarroti, _Life_, 3-141. 145, 153, 162, 170, 171, 187,
+    193-195, 215, 216, 224, 231, 235, 236, 239, 246, 250, 251, 259
+
+  Michele di Ridolfo Ghirlandajo, 130
+
+  Milanese, Leonardo, 238
+
+  Milano, Bramantino da (Bartolommeo Suardi), 190
+
+  Minga, Andrea del, 131
+
+  Mini, Antonio, 47-51, 69, 81, 107, 109
+
+  Minio, Tiziano (Tiziano da Padova), 203, 223
+
+  Mirabello di Salincorno (Mirabello Cavalori), 126
+
+  Miruoli, Girolamo, 156
+
+  Modena (Antonio Begarelli), 113
+
+  Modena, Niccolò da (Niccolò dell'Abate), 148
+
+  Montagna, Bartolommeo, 211
+
+  Montelupo, Baccio da, 55, 188, 190, 239
+
+  Montelupo, Raffaello da, 51, 55, 69, 239
+
+  Montorsoli, Fra Giovanni Agnolo, 51, 117, 133
+
+  Moor, Antonius, 268
+
+  Mosca, Simone, 69
+
+  Mostaert, Franz, 266-268
+
+  Mostaert, Gilis, 268
+
+  Mynsheere, Jan de, 269
+
+
+  Naldini, Battista, 134
+
+  Nanni di Baccio Bigio, 69, 76, 100, 101, 113, 239
+
+  Nanni Unghero, 188
+
+  Nebbia, Cesare del, 261
+
+  Niccolò (Tribolo), 20, 51, 77, 78, 202, 223
+
+  Niccolò da Modena (Niccolò dell'Abate), 148
+
+  Niccolò dalle Pomarancie, 261
+
+  Niccolò dell'Abate (Niccolò da Modena), 148
+
+  Niccolò dell'Arca, 11
+
+  Noort, Arthus van, 269
+
+  Noort, Lambert van, 268
+
+
+  Oja, Sebastian van, 269
+
+  Opera, Giovanni dell' (Giovanni di Benedetto Bandini), 126, 130, 140, 141
+
+  Orazio Sammacchini, 154
+
+  Orazio Vecelli, 171
+
+
+  Padova, Tiziano da (Tiziano Minio), 203, 223
+
+  Padovano, Federigo del (Federigo di Lamberto, or Fiammingo), 127, 268
+
+  Palladio, Andrea, 211-214
+
+  Palma, Jacopo, 160
+
+  Paludanus, Heinrich, 269
+
+  Paludanus, Willem, 269
+
+  Paolo Ponzio, 149
+
+  Paolo Uccello, 133
+
+  Paris Bordone, 178-182
+
+  Parrhasius, 133
+
+  Passerotto, Bartolommeo, 156
+
+  Patinier, Joachim, 266
+
+  Pellegrino Bolognese (Pellegrino Pellegrini or Tibaldi), 151-154, 258
+
+  Perino del Vaga, 20, 61, 151, 234, 257, 259
+
+  Perugino, Pietro, 189
+
+  Peruzzi, Baldassarre, 65, 196
+
+  Peruzzi, Salustio, 82
+
+  Philip Galle, 270
+
+  Pieri, Stefano, 137
+
+  Piero Francia, 130
+
+  Pieter Aertsen, 268
+
+  Pieter Brueghel, 267, 268
+
+  Pieter Christus, 265
+
+  Pieter Koeck, 267
+
+  Pieter Pourbus, 268
+
+  Pietro da Salò, 204, 223
+
+  Pietro Paolo Galeotto, 233
+
+  Pietro Perugino, 189
+
+  Pietro Urbano, 44, 107
+
+  Piloto, 42, 43, 47, 48
+
+  Pinturicchio, Bernardino, 190
+
+  Piombo, Fra Sebastiano Viniziano del, 68, 106, 109, 111, 162, 235
+
+  Pippo del Fabbro, 192
+
+  Pironi, Girolamo, 211
+
+  Pirro Ligorio, 84, 94, 95, 102
+
+  Pisano, Giovanni, 11
+
+  Pisbolica, Jacopo, 214, 215
+
+  Poggini, Domenico, 131
+
+  Poggini, Giovan Paolo, 232, 233
+
+  Polidoro (of Perugia), 234
+
+  Polidoro da Caravaggio, 170
+
+  Pomarancie, Niccolò dalle, 261
+
+  Pompeo Lioni, 232, 233
+
+  Pontormo, Jacopo da, 20, 107, 110, 133, 134
+
+  Ponzio, Paolo, 149
+
+  Pordenone (Giovanni Antonio Licinio), 160, 167, 168
+
+  Porta, Fra Guglielmo della, 68, 69, 234-238
+
+  Porta, Giovan Jacomo della, 234, 235
+
+  Porta, Giuseppe (Giuseppe Salviati), 214
+
+  Porta, Tommaso, 238
+
+  Pourbus, Pieter, 268
+
+  Praxiteles, 133
+
+  Primaticcio, Francesco, _Description of Works_, 145-150. 151, 156
+
+  Prospero Fontana, 147, 148, 150-152
+
+
+  Quentin of Louvain, 266
+
+
+  Raffaello da Montelupo, 51, 55, 69, 239
+
+  Raffaello Sanzio (Raffaello da Urbino), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+  Ricciarelli, Daniello (Daniello da Volterra), 95, 100, 101, 103,
+    107, 121, 122
+
+  Ridolfo Ghirlandajo, 20
+
+  Ripa Transone, Ascanio dalla (Ascanio Condivi), 5, 107
+
+  Robyn, Joris, 270
+
+  Rocco Guerrini, 242
+
+  Roger van der Weyden, 265
+
+  Romano, Giulio, 146, 168, 245, 257, 258
+
+  Rosa, Cristofano, 177
+
+  Rosa, Stefano, 177
+
+  Rosso, 20, 107, 146, 147
+
+  Rosso, Lodovico, 182
+
+  Rovezzano, Benedetto da, 191
+
+  Ruggieri da Bologna, 147
+
+
+  Sabatini, Lorenzo, 151
+
+  Salincorno, Mirabello di (Mirabello Cavalori), 126
+
+  Salò, Pietro da, 204, 223
+
+  Salustio Peruzzi, 82
+
+  Salviati, Francesco, 133
+
+  Salviati, Giuseppe (Giuseppe Porta), 214
+
+  Sammacchini, Orazio, 154
+
+  San Friano, Tommaso da, 137
+
+  San Gallo, Antonio da (the elder), 16, 40, 41
+
+  San Gallo, Antonio da (the younger), 61-67, 196, 197, 224, 239
+
+  San Gallo, Aristotile (Bastiano) da, 20, 29, 30
+
+  San Gallo, Giuliano da, 16, 29, 30, 188, 189
+
+  Sandro, Jacopo di, 29, 30
+
+  Sansovino, Andrea (Andrea Contucci), 15, 40, 41, 187, 202, 216
+
+  Sansovino, Jacopo (Jacopo Tatti), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Santi Buglioni, 132
+
+  Santi Titi, 135
+
+  Sanzio, Raffaello (Raffaello da Urbino), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+  Sart, Jan der, 269
+
+  Sarto, Andrea del, 20, 43, 188, 193, 194
+
+  Scarpaccia, Vittore (Vittore Carpaccio), 210, 211
+
+  Scherano da Settignano (Alessandro), 55
+
+  Schongauer, Martin (Martino), 7, 265
+
+  Sciorini, Lorenzo (Lorenzo della Sciorina), 128
+
+  Scorel, Jan, 266
+
+  Sebastian van Oja, 269
+
+  Sebastiano Serlio, 196, 267, 271
+
+  Sebastiano Viniziano del Piombo, Fra, 68, 106, 109, 111, 162, 235
+
+  Seghers, Anna, 269
+
+  Serlio, Sebastiano, 196, 267, 271
+
+  Sermoneta, Girolamo da (Girolamo Siciolante), 152, 257-259
+
+  Settignano, Scherano da (Alessandro), 55
+
+  Settignano, Solosmeo da, 202, 223
+
+  Siciolante, Girolamo (Girolamo da Sermoneta), 152, 257-259
+
+  Signorelli, Luca, 190
+
+  Simon Bening, 268
+
+  Simon van Delft, 269
+
+  Simone da Fiesole, 15, 16
+
+  Simone Mosca, 69
+
+  Skeysers, Clara, 269
+
+  Solari, Cristofano (Cristofano Gobbo), 14, 234
+
+  Solosmeo da Settignano, 202, 223
+
+  Speranza, Giovanni, 211
+
+  Spilimbergo, Irene di, 175
+
+  Staren, Dirk van, 269
+
+  Stefano Pieri, 137
+
+  Stefano Rosa, 177
+
+  Strada, Giovanni (Jan van der Straet), 134, 135, 267
+
+  Suardi, Bartolommeo (Bramantino da Milano), 190
+
+  Suavius, Lambert, 269, 270
+
+  Susanna Horebout, 268, 269
+
+
+  Tadda, Francesco del, 97
+
+  Taddeo Gaddi, 133
+
+  Tasso, Battista del, 51
+
+  Tatti, Jacopo (Jacopo Sansovino), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Tedesco, Guglielmo, 237
+
+  Tibaldi, Pellegrino (Pellegrino Pellegrini or Bolognese), 151-154, 258
+
+  Tiberio Calcagni, 83, 84, 98-100
+
+  Tintoretto, Jacopo, 214
+
+  Titi, Santi, 135
+
+  Tiziano, Girolamo di (Girolamo Dante), 183
+
+  Tiziano da Cadore (Tiziano Vecelli), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Tiziano da Padova (Tiziano Minio), 203, 223
+
+  Tiziano Vecelli (Tiziano da Cadore), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Tommaso Casignuola, 238
+
+  Tommaso da Lugano, 206
+
+  Tommaso da San Friano, 137
+
+  Tommaso Porta, 238
+
+  Topolino, 114, 115
+
+  Torrigiano, 8, 10, 116
+
+  Tribolo (Niccolò), 20, 51, 77, 78, 202, 223
+
+
+  Uccello, Paolo, 133
+
+  Udine, Giovanni da, 42, 51
+
+  Unghero, Nanni, 188
+
+  Urbano, Pietro, 44, 107
+
+  Urbino, Bramante da, 27-29, 31, 65, 71, 188-190
+
+  Urbino, Raffaello da (Raffaello Sanzio), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+
+  Vaga, Perino del, 20, 61, 151, 234, 257, 259
+
+  Valerio Cioli, 129, 140, 141
+
+  Valerio Zuccati, 182, 183
+
+  Vasari, Giorgio--
+    as art-collector, 6, 16, 104, 149, 152, 156, 238, 251, 258, 259
+    as author, 4-8, 22, 27, 30, 32, 35, 46, 47, 55, 56, 60, 61, 63,
+      65, 68-88, 91, 93-97, 102-104, 107, 109-112, 114-118, 122-125,
+      128, 130, 134, 135, 137-140, 145, 147-151, 154-156, 160, 162,
+      169-172, 177, 178, 182, 183, 187, 192, 193, 199, 202, 206-208,
+      210, 212, 214, 215, 218, 221, 230, 232-234, 238, 239, 241, 242,
+      245, 247, 248, 250-253, 259-262, 265-272
+    as painter, 23, 32, 43, 95, 96, 107, 117, 118, 134, 138, 148, 151,
+      155, 156, 170, 203, 269-271
+    as architect, 68-73, 77-79, 95, 96, 107, 117, 140, 207
+
+  Vecchio (Domenico Aimo), 189
+
+  Vecelli, Orazio, 171
+
+  Vecelli, Tiziano (Tiziano da Cadore), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Vellaert, Dierick Jacobsz, 269
+
+  Venusti, Marcello (Marcello Mantovano), 106, 259, 260
+
+  Verbo (Verlo), Francesco, 211
+
+  Verdezotti, Gian Maria, 178
+
+  Verlo (Verbo), Francesco, 211
+
+  Vignuola (Jacopo Barozzi), 102, 146, 147
+
+  Vincenzio Danti, 128, 139
+
+  Vincenzio Zuccati, 182, 183
+
+  Vinci, Leonardo da, 15, 19, 234
+
+  Viniziano, Fabrizio, 215
+
+  Vitruvius, 44, 113, 190, 213, 218
+
+  Vittore Scarpaccia (Vittore Carpaccio), 210, 211
+
+  Vittoria, Alessandro, 204-206, 223
+
+  Volkaerts, Dirk, 270
+
+  Volterra, Daniello da (Daniello Ricciarelli), 95, 100, 101, 103,
+    107, 121, 122
+
+  Volterra, Zaccheria da (Zaccheria Zacchi), 189, 190
+
+  Vos, Marten de, 268
+
+
+  Weyden, Roger van der, 265
+
+  Willem Keur, 269
+
+  Willem Key, 267, 268, 270
+
+  Willem Paludanus, 269
+
+  Willem van Antwerp, 269
+
+  Wouter Crabeth, 269
+
+
+  Zaccheria Zacchi (Zaccheria da Volterra), 189, 190
+
+  Zanobi Lastricati, 125, 132
+
+  Zeuxis, 133
+
+  Zuccati, Valerio, 182, 183
+
+  Zuccati, Vincenzio, 182, 183
+
+  Zucchi, Jacopo, 134
+
+
+END OF VOL. IX.
+
+
+     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
+
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+
+***END OF THE PROJECT GUTENBERG EBOOK LIVES OF THE MOST EMINENT PAINTERS,
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+<body>
+<h1>The Project Gutenberg eBook, Lives of the Most Eminent Painters, Sculptors
+&amp; Architects, by Giorgio Vasari, Translated by Gaston Du C. de Vere</h1>
+<pre>
+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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Lives of the Most Eminent Painters, Sculptors &amp; Architects</p>
+<p>       Vol. IX (of 10) Michelagnolo to the Flemings</p>
+<p>Author: Giorgio Vasari</p>
+<p>Release Date: May 13, 2010  [eBook #32362]<br>
+Most recently updated: July 16, 2010</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK LIVES OF THE MOST EMINENT PAINTERS, SCULPTORS &amp; ARCHITECTS***</p>
+<br><br><center><h4>E-text prepared by Mark C. Orton, Christine P. Travers,<br>
+    and the Project Gutenberg Online Distributed Proofreading Team<br>
+    (<a href="http://www.pgdp.net/c/">http://www.pgdp.net</a>)<br>
+    from page images generously made available by<br>
+    Internet Archive/Canadian Libraries<br>
+    (<a href="http://www.archive.org/details/toronto">http://www.archive.org/details/toronto</a>)</h4></center><br><br>
+<p>&nbsp;</p>
+<table border=0 bgcolor="ccccff" cellpadding=10>
+  <tr>
+    <td valign="top">
+      Note:
+    </td>
+    <td>
+      Images of the original pages are available through
+      Internet Archive/Canadian Libraries. See
+      <a href="http://www.archive.org/details/livesofmostemine09vasauoft">
+      http://www.archive.org/details/livesofmostemine09vasauoft</a>
+	</td>
+  </tr>
+</table>
+<p>&nbsp;</p>
+<hr class="full" noshade>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1>LIVES OF THE MOST EMINENT PAINTERS SCULPTORS &amp; ARCHITECTS</h1>
+<h2>BY</h2>
+<h2>GIORGIO VASARI:</h2>
+
+<h2>VOLUME IX.<br>
+MICHELAGNOLO TO THE FLEMINGS 1915</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_IX" id="CONTENTS_OF_VOLUME_IX"></a><span class="pagenum"><a id="Page_v" name="Page_v"></a>[Pg v]</span> CONTENTS OF VOLUME IX</h2>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="85%" cellspacing="0" summary="CONTENTS">
+<tr><td align='left'>&nbsp;</td><td align='right'>PAGE</td></tr>
+<tr><td align='left'><span class="smcap">Michelagnolo Buonarroti</span> </td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Francesco Primaticcio</span> </td><td align='right'><a href='#Page_143'><b>143</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Tiziano da Cadore</span> </td><td align='right'><a href='#Page_157'><b>157</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Jacopo Sansovino</span> </td><td align='right'><a href='#Page_185'><b>185</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Leone Lioni of Arezzo</span> </td><td align='right'><a href='#Page_227'><b>227</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Don Giulio Clovio</span> </td><td align='right'><a href='#Page_243'><b>243</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Divers Italian Craftsmen still Living</span> </td><td align='right'><a href='#Page_255'><b>255</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Divers Flemings</span> </td><td align='right'><a href='#Page_263'><b>263</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Index of Names</span> </td><td align='right'><a href='#Page_273'><b>273</b></a></td></tr>
+</table>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="ILLUSTRATIONS_TO_VOLUME_IX" id="ILLUSTRATIONS_TO_VOLUME_IX"></a><span class="pagenum"><a id="Page_vii" name="Page_vii"></a>[Pg vii]</span> ILLUSTRATIONS TO VOLUME IX</h2>
+
+<h3>PLATES IN COLOUR</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME IX">
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Holy Family</td>
+<td>Florence: Uffizi, 1,239</td>
+<td align="right"><a href='#img002'><b>4</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>The Madonna of the Cherries</td>
+<td>Vienna: Imperial Gallery, 180</td>
+<td align="right"><a href='#img041'><b>158</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano Da Cadore</span></td>
+<td>Sacred and Profane Love</td>
+<td>Rome: Borghese Gallery, 147</td>
+<td align="right"><a href='#img045'><b>164</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>The Duke of Norfolk</td>
+<td>Florence: Pitti, 92</td>
+<td align="right"><a href='#img047'><b>168</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>The Education of Cupid</td>
+<td>Rome: Borghese Gallery, 170</td>
+<td align="right"><a href='#img053'><b>176</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Paris Bordone</span></td>
+<td>The Venetian Lovers</td>
+<td>Milan: Brera, 105</td>
+<td align="right"><a href='#img055'><b>178</b></a></td>
+</tr>
+</table>
+</div>
+
+<h3>PLATES IN MONOCHROME</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME IX">
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Battle of the Centaurs</td>
+<td>Florence: Museo Buonarroti</td>
+<td align="right"><a href='#img003'><b>8</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Angel with the Candlestick</td>
+<td>Bologna: S. Domenico</td>
+<td align="right"><a href='#img004'><b>10</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Bacchus</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img005'><b>12</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Pietà</td>
+<td>Rome: S. Peter's</td>
+<td align="right"><a href='#img006'><b>14</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Wax Models for the David</td>
+<td>Florence: Museo Buonarroti</td>
+<td align="right"><a href='#img007'><b>16</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Madonna, Child, and S. John</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img008'><b>18</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Young Captive</td>
+<td>Paris: Louvre</td>
+<td align="right"><a href='#img009'><b>20</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Victory</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img010'><b>22</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Moses</td>
+<td>Rome: S. Pietro in Vincoli</td>
+<td align="right"><a href='#img011'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Tomb of Pope Julius II</td>
+<td>Rome: S. Pietro in Vincoli</td>
+<td align="right"><a href='#img012'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>God Dividing the Waters from the Earth</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img013'><b>28</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Creation of Eve</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img014'><b>28</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Creation of Adam</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img015'><b>32</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Fall and the Expulsion</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img016'><b>32</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Lybian Sibyl</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img017'><b>36</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Decorative Figure</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img018'><b>38</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The New Sacristy</td>
+<td>Florence: S. Lorenzo</td>
+<td align="right"><a href='#img019'><b>40</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Madonna and Child</td>
+<td>Florence: S. Lorenzo</td>
+<td align="right"><a href='#img020'><b>42</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Giuliano de' Medici</td>
+<td>Florence: S. Lorenzo</td>
+<td align="right"><a href='#img021'><b>44</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Tomb of Giuliano de' Medici</td>
+<td>Florence: S. Lorenzo</td>
+<td align="right"><a href='#img022'><b>44</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Apollo</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img023'><b>50</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>The Last Judgment</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img024'><b>56</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Charon's Boat</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img025'><b>58</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>S. Sebastian</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#img026'><b>60</b></a></td>
+</tr>
+
+<tr>
+<td><span class="pagenum"><a id="Page_viii" name="Page_viii"></a>[Pg viii]</span>
+<span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Pietà</td>
+<td>Florence: Duomo</td>
+<td align="right"><a href='#img027'><b>62</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Stairs of the Palace of the Senators</td>
+<td>Rome: The Capitol</td>
+<td align="right"><a href='#img028'><b>64</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Court of the Palazzo Farnese</td>
+<td>Rome</td>
+<td align="right"><a href='#img029'><b>66</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Biblioteca Laurenziana</td>
+<td>Florence</td>
+<td align="right"><a href='#img030'><b>78</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Pietà</td>
+<td>Rome: Palazzo Rondanini</td>
+<td align="right"><a href='#img031'><b>84</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>S. Peter's</td>
+<td>Rome</td>
+<td align="right"><a href='#img032'><b>86</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>S. Peter's</td>
+<td>Rome</td>
+<td align="right"><a href='#img033'><b>88</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Porta Pia</td>
+<td>Rome</td>
+<td align="right"><a href='#img034'><b>96</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>S. Maria degli Angeli</td>
+<td>Rome</td>
+<td align="right"><a href='#img035'><b>98</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Brutus</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img036'><b>100</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Michelagnolo Buonarroti</span></td>
+<td>Unfinished Figure</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img037'><b>106</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Primaticcio</span></td>
+<td>Galerie Henry IV</td>
+<td>Fontainebleau</td>
+<td align="right"><a href='#img038'><b>146</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Primaticcio</span></td>
+<td>Escalier du Roi</td>
+<td>Fontainebleau</td>
+<td align="right"><a href='#img039'><b>148</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Pellegrino Tibaldi</span></td>
+<td>The Adoration of the Shepherds</td>
+<td>Vienna: Collection of Prince Liechtenstein</td>
+<td align="right"><a href='#img040'><b>152</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Ariosto</td>
+<td>London: National Gallery, 1,944</td>
+<td align="right"><a href='#img042'><b>160</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Bacchanal</td>
+<td>Madrid: The Prado, 450</td>
+<td align="right"><a href='#img043'><b>162</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Madonna With Saints and Donor</td>
+<td>Ancona: S. Domenico</td>
+<td align="right"><a href='#img044'><b>162</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Charles V with Dog</td>
+<td>Madrid: The Prado, 453</td>
+<td align="right"><a href='#img046'><b>166</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Pope Paul III</td>
+<td>Naples: Museo Nazionale</td>
+<td align="right"><a href='#img048'><b>168</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Danaë</td>
+<td>Naples: Museo Nazionale</td>
+<td align="right"><a href='#img049'><b>170</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Perseus and Andromeda</td>
+<td>London: Wallace Collection, 11</td>
+<td align="right"><a href='#img050'><b>172</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Philip II</td>
+<td>Naples: Museo Nazionale</td>
+<td align="right"><a href='#img051'><b>172</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>Mary Magdalene</td>
+<td>Naples: Museo Nazionale</td>
+<td align="right"><a href='#img052'><b>174</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Tiziano da Cadore</span></td>
+<td>The Entombment</td>
+<td>Madrid: The Prado, 464</td>
+<td align="right"><a href='#img054'><b>176</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Paris Bordone</span></td>
+<td>The Fisherman and the Doge Gradenigo</td>
+<td>Venice: Accademia, 320</td>
+<td align="right"><a href='#img056'><b>180</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Paris Bordone</span></td>
+<td>Portrait of a Woman</td>
+<td>London: National Gallery, 674</td>
+<td align="right"><a href='#img057'><b>180</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Zuccati</span></td>
+<td>Vision of the Apocalypse</td>
+<td>Venice: S. Marco</td>
+<td align="right"><a href='#img058'><b>182</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>S. James</td>
+<td>Florence: Duomo</td>
+<td align="right"><a href='#img059'><b>190</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>Bacchus</td>
+<td>Florence: Museo Nazionale</td>
+<td align="right"><a href='#img060'><b>192</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>Mars and Neptune</td>
+<td>Venice: Ducal Palace</td>
+<td align="right"><a href='#img061'><b>196</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>Library of S. Marco</td>
+<td>Venice</td>
+<td align="right"><a href='#img062'><b>198</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>Loggetta</td>
+<td>Venice</td>
+<td align="right"><a href='#img063'><b>200</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Sansovino</span></td>
+<td>Miracle of S. Anthony</td>
+<td>Padua: S. Antonio</td>
+<td align="right"><a href='#img064'><b>202</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Palladio</span></td>
+<td>Palazzo della Comunità</td>
+<td>Vicenza</td>
+<td align="right"><a href='#img065'><b>210</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leone Leoni</span></td>
+<td>Tomb of Gian Jacopo Medici</td>
+<td>Milan: Duomo</td>
+<td align="right"><a href='#img066'><b>230</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Cristofano Solari (Il Gobbo)</span></td>
+<td>Eve</td>
+<td>Milan: Duomo</td>
+<td align="right"><a href='#img067'><b>234</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Guglielmo della Porta</span></td>
+<td>Tomb of Pope Paul III</td>
+<td>Rome: S. Peter's</td>
+<td align="right"><a href='#img068'><b>236</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Galeazzo Alessi</span></td>
+<td>Palazzo Grimaldi</td>
+<td>Genoa</td>
+<td align="right"><a href='#img069'><b>240</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giulio Clovio</span></td>
+<td>Pietà</td>
+<td>Florence: Pitti, 241</td>
+<td align="right"><a href='#img070'><b>246</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Girolamo Sermoneta</span></td>
+<td>Martyrdom of S. Catherine</td>
+<td>Rome: S. Maria Maggiore</td>
+<td align="right"><a href='#img071'><b>258</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Johannes Calcar</span></td>
+<td>Portrait of a Man</td>
+<td>Paris: Louvre, 1,185</td>
+<td align="right"><a href='#img072'><b>266</b></a></td>
+</tr>
+</table>
+</div>
+
+
+<hr style="width: 65%;">
+<h2><a name="michelagnolobuonarroti" id="michelagnolobuonarroti"></a><span class="pagenum"><a id="Page_1" name="Page_1"></a>[Pg 1]</span> MICHELAGNOLO BUONARROTI</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_michelagnolobuonarroti" id="life_of_michelagnolobuonarroti"></a><span class="pagenum"><a id="Page_3" name="Page_3"></a>[Pg 3]</span> LIFE OF MICHELAGNOLO BUONARROTI<br>
+PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE</h2>
+
+
+<p>While the most noble and industrious spirits were striving, by the light
+of the famous Giotto and of his followers, to give to the world a proof
+of the ability that the benign influence of the stars and the proportionate
+admixture of humours had given to their intellects, and while, desirous
+to imitate with the excellence of their art the grandeur of Nature in
+order to approach as near as possible to that supreme knowledge that
+many call understanding, they were universally toiling, although in vain,
+the most benign Ruler of Heaven in His clemency turned His eyes to
+the earth, and, having perceived the infinite vanity of all those labours,
+the ardent studies without any fruit, and the presumptuous self-sufficiency
+of men, which is even further removed from truth than is darkness from
+light, and desiring to deliver us from such great errors, became minded
+to send down to earth a spirit with universal ability in every art and every
+profession, who might be able, working by himself alone, to show what
+manner of thing is the perfection of the art of design in executing the
+lines, contours, shadows, and high lights, so as to give relief to works of
+painting, and what it is to work with correct judgment in sculpture, and
+how in architecture it is possible to render habitations secure and commodious,
+healthy and cheerful, well-proportioned, and rich with varied
+ornaments. He was pleased, in addition, to endow him with the true
+moral philosophy and with the ornament of sweet poesy, to the end that
+the world might choose him and admire him as its highest exemplar in
+the life, works, saintliness of character, and every action of human
+creatures, and that he might be acclaimed by us as a being rather divine
+than human. And since He saw that in the practice of these rare exercises
+<span class="pagenum"><a id="Page_4" name="Page_4"></a>[Pg 4]</span> and arts&mdash;namely, in painting, in sculpture, and in architecture&mdash;the
+Tuscan intellects have always been exalted and raised high above
+all others, from their being diligent in the labours and studies of every
+faculty beyond no matter what other people of Italy, He chose to give
+him Florence, as worthy beyond all other cities, for his country, in order
+to bring all the talents to their highest perfection in her, as was her due,
+in the person of one of her citizens.</p>
+
+<div class="figcenter">
+<a name="img002" id="img002"></a>
+<img src="images/img002-tb.jpg" width="400" height="397" alt="Michelagnolo Buonarroti: The Holy Family." title="">
+<p class="caption">MICHELAGNOLO BUONARROTI: THE HOLY FAMILY<br>
+(<i>Florence: Uffizi, 1239. Panel</i>)<br>
+<span class="link"><a href="images/img002.jpg">View larger image</a></span></p>
+</div>
+
+<p>There was born a son, then, in the Casentino, in the year 1474,
+under a fateful and happy star, from an excellent and noble mother, to
+Lodovico di Leonardo Buonarroti Simoni, a descendant, so it is said,
+of the most noble and most ancient family of the Counts of Canossa.
+To that Lodovico, I say, who was in that year Podestà of the township
+of Chiusi and Caprese, near the Sasso della Vernia, where S. Francis
+received the Stigmata, in the Diocese of Arezzo, a son was born on the
+6th of March, a Sunday, about the eighth hour of the night, to which son
+he gave the name Michelagnolo, because, inspired by some influence from
+above, and giving it no more thought, he wished to suggest that he was
+something celestial and divine beyond the use of mortals, as was afterwards
+seen from the figures of his horoscope, he having had Mercury and
+Venus in the second house of Jupiter, with happy augury, which showed
+that from the art of his brain and of his hand there would be seen to
+issue forth works marvellous and stupendous. Having finished his office
+as Podestà, Lodovico returned to Florence and settled in the village of
+Settignano, at a distance of three miles from the city, where he had a
+farm that had belonged to his forefathers; which place abounds with
+stone and is all full of quarries of grey-stone, which is constantly being
+worked by stone-cutters and sculptors, who for the most part are born
+in the place. Michelagnolo was put out to nurse by Lodovico in that
+village with the wife of a stone-cutter: wherefore the same Michelagnolo,
+discoursing once with Vasari, said to him jestingly, "Giorgio, if I have
+anything of the good in my brain, it has come from my being born in the
+pure air of your country of Arezzo, even as I also sucked in with my
+nurse's milk the chisels and hammer with which I make my figures."
+In time Lodovico's family increased, and, being in poor circumstances,
+<span class="pagenum"><a id="Page_5" name="Page_5"></a>[Pg 5]</span> with slender revenues, he set about apprenticing his sons to the Guilds
+of Silk and Wool. Michelagnolo, who by that time was well grown, was
+placed to be schooled in grammar with Maestro Francesco da Urbino;
+but, since his genius drew him to delight in design, all the time that he
+could snatch he would spend in drawing in secret, being scolded for this
+by his father and his other elders, and at times beaten, they perchance
+considering that to give attention to that art, which was not known by
+them, was a mean thing and not worthy of their ancient house.</p>
+
+<p>At this time Michelagnolo had formed a friendship with Francesco
+Granacci, who, likewise a lad, had placed himself with Domenico Ghirlandajo
+in order to learn the art of painting; wherefore Granacci, loving
+Michelagnolo, and perceiving that he was much inclined to design, supplied
+him daily with drawings by Ghirlandajo, who at that time was
+reputed to be one of the best masters that there were not only in Florence,
+but throughout all Italy. Whereupon, the desire to work at art growing
+greater every day in Michelagnolo, Lodovico, perceiving that he could
+not divert the boy from giving his attention to design, and that there
+was no help for it, and wishing to derive some advantage from it and to
+enable him to learn that art, resolved on the advice of friends to apprentice
+him with Domenico Ghirlandajo. Michelagnolo, when he was placed
+with Domenico Ghirlandajo, was fourteen years of age. Now he who
+wrote his life after the year 1550, when I wrote these Lives the first
+time, has said that some persons, through not having associated with
+him, have related things that never happened, and have left out many
+that are worthy to be recorded, and has touched on this circumstance
+in particular, taxing Domenico with jealousy and saying that he never
+offered any assistance to Michelagnolo; which is clearly false, as may
+be seen from an entry by the hand of Lodovico, the father of Michelagnolo,
+written in one of Domenico's books, which book is now in the possession
+of his heirs. That entry runs thus: "1488, I record, this first day of
+April, that I, Lodovico di Leonardo di Buonarrota, placed Michelagnolo
+my son with Domenico and David di Tommaso di Currado for the three
+years next to come, on these terms and conditions, that the said Michelagnolo
+shall remain with the above-named persons for the said period
+<span class="pagenum"><a id="Page_6" name="Page_6"></a>[Pg 6]</span> of time, in order to learn to paint and to exercise that vocation; that
+the said persons shall have command over him; and that the same
+Domenico and David shall be bound to give him in those three years
+twenty-four florins of full weight, the first year six florins, the second
+year eight florins, and the third ten florins; in all, the sum of ninety-six
+lire." And next, below this, is another record, or rather, entry, also
+written in the hand of Lodovico: "The aforesaid Michelagnolo has
+received of that sum, this sixteenth day of April, two gold florins in gold.
+I, Lodovico di Leonardo, his father, have received twelve lire and twelve
+soldi as cash due to him." These entries I have copied from the book
+itself, in order to prove that all that was written at that time, as well
+as all that is about to be written, is the truth; nor do I know that anyone
+has been more associated with him than I have been, or has been a more
+faithful friend and servant to him, as can be proved even to one who
+knows not the facts, neither do I believe that there is anyone who can
+show a greater number of letters written by his own hand, or any written
+with greater affection than he has expressed to me. I have made this
+digression for the sake of truth, and it must suffice for all the rest of his
+Life. Let us now return to our story.</p>
+
+<p>When the ability as well as the person of Michelagnolo had grown
+in such a manner, that Domenico, seeing him execute some works beyond
+the scope of a boy, was astonished, since it seemed to him that he not
+only surpassed the other disciples, of whom he had a great number, but
+very often equalled the things done by himself as master, it happened
+that one of the young men who were learning under Domenico copied
+with the pen some draped figures of women from works by Ghirlandajo;
+whereupon Michelagnolo took that drawing and with a thicker pen
+outlined one of those women with new lineaments, in the manner that
+it should have been in order to be perfect. And it is a marvellous thing
+to see the difference between the two manners, and the judgment and
+excellence of a mere lad who was so spirited and bold, that he had the
+courage to correct the work of his master. That sheet is now in my
+possession, treasured as a relic; and I received it from Granacci to put
+in my book of drawings together with others by the same hand, which
+<span class="pagenum"><a id="Page_7" name="Page_7"></a>[Pg 7]</span> I received from Michelagnolo. In the year 1550, when Giorgio was in
+Rome, he showed it to Michelagnolo, who recognized it and was pleased
+to see it again, saying modestly that he knew more of the art when he
+was a boy than he did at that time, when he was an old man.</p>
+
+<p>Now it happened that when Domenico was at work on the great
+chapel of S. Maria Novella, one day that he was out Michelagnolo set
+himself to draw the staging from the reality, with some desks and all
+the appliances of art, and some of the young men who were working
+there. Whereupon, when Domenico had returned and seen Michelagnolo's
+drawing, he said, "This boy knows more about it than I do;" and he
+was struck with amazement at the novel manner and the novel method
+of imitation that a mere boy of such tender age displayed by reason of
+the judgment bestowed upon him by Heaven, for these, in truth, were
+as marvellous as could have been looked for in the workmanship of a
+craftsman who had laboured for many years. And this was because all
+the power and knowledge of the gracious gifts of his nature were exercised
+by study and by the practice of art, wherefore these gifts produced
+every day fruits more divine in Michelagnolo, as began to be made
+clearly manifest in the copy that he executed of a printed sheet by the
+German Martino, which gave him a very great name. For there had come
+to Florence at that time a scene by the above-named Martino, of the
+Devils beating S. Anthony, engraved on copper, and Michelagnolo copied
+it with the pen in such a manner that it could not be detected, and then
+painted that same sheet in colours, going at times, in order to counterfeit
+certain strange forms of devils, to buy fishes that had scales bizarre in
+colouring; and in that work he showed so much ability, that he acquired
+thereby credit and fame. He also counterfeited sheets by the hands of
+various old masters, making them so similar that they could not be
+detected, for, tinting them and giving them the appearance of age with
+smoke and various other materials, he made them so dark that they
+looked old, and, when compared with the originals, one could not be
+distinguished from the other. Nor did he do this with any other purpose
+but to obtain the originals from the hands of their owners by giving
+them the copies, for he admired them for the excellence of their art and
+<span class="pagenum"><a id="Page_8" name="Page_8"></a>[Pg 8]</span> sought to surpass them in his own practice; on which account he acquired
+a very great name.</p>
+
+<div class="figcenter">
+<a name="img003" id="img003"></a>
+<img src="images/img003-tb.jpg" width="400" height="342" alt="The Battle of the Centaurs." title="">
+<p class="caption">THE BATTLE OF THE CENTAURS<br>
+(<i>After the relief by</i> Michelangelo. <i>Florence: Museo Buonarroti</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img003.jpg">View larger image</a></span></p>
+</div>
+
+<p>At that time the Magnificent Lorenzo de' Medici kept the sculptor
+Bertoldo in his garden on the Piazza di S. Marco, not so much as custodian
+or guardian of the many beautiful antiques that he had collected and
+gathered together at great expense in that place, as because, desiring
+very earnestly to create a school of excellent painters and sculptors, he
+wished that these should have as their chief and guide the above-named
+Bertoldo, who was a disciple of Donato. Bertoldo, although he was so
+old that he was not able to work, was nevertheless a well-practised master
+and in much repute, not only because he had polished with great diligence
+the pulpits cast by his master Donato, but also on account of many
+castings in bronze that he had executed himself, of battles and certain
+other small works, in the execution of which there was no one to be
+found in Florence at that time who surpassed him. Now Lorenzo, who
+bore a very great love to painting and to sculpture, was grieved that there
+were not to be found in his time sculptors noble and famous enough to
+equal the many painters of the highest merit and reputation, and he
+determined, as I have said, to found a school. To this end he besought
+Domenico Ghirlandajo that, if he had among the young men in his
+workshop any that were inclined to sculpture, he might send them to
+his garden, where he wished to train and form them in such a manner
+as might do honour to himself, to Domenico, and to the whole city.
+Whereupon there were given to him by Domenico as the best of his
+young men, among others, Michelagnolo and Francesco Granacci; and
+they, going to the garden, found there that Torrigiano, a young man of
+the Torrigiani family, was executing in clay some figures in the round
+that had been given to him by Bertoldo. Michelagnolo, seeing this,
+made some out of emulation; wherefore Lorenzo, seeing his fine spirit,
+always regarded him with much expectation. And he, thus encouraged,
+after some days set himself to counterfeit from a piece of marble an
+antique head of a Faun that was there, old and wrinkled, which had the
+nose injured and the mouth laughing. Michelagnolo, who had never yet
+touched marble or chisels, succeeded so well in counterfeiting it, that the
+<span class="pagenum"><a id="Page_9" name="Page_9"></a>[Pg 9]</span> Magnificent Lorenzo was astonished; and then, perceiving that, departing
+from the form of the antique head, he had opened out the mouth after
+his own fancy and had made a tongue, with all the teeth showing, that
+lord, jesting pleasantly, as was his wont, said to him, "Surely you should
+have known that old folks never have all their teeth, and that some are
+always wanting." It appeared to Michelagnolo, in his simplicity, both
+fearing and loving that lord, that he had spoken the truth; and no sooner
+had Lorenzo departed than he straightway broke one of the teeth and
+hollowed out the gum, in such a manner, that it seemed as if the tooth
+had dropped out. And then he awaited with eagerness the return of
+the Magnificent Lorenzo, who, when he had come and had seen the
+simplicity and excellence of Michelagnolo, laughed at it more than once,
+relating it as a miracle to his friends. Moreover, having made a resolve
+to assist and favour Michelagnolo, he sent for his father Lodovico and
+asked for the boy from him, saying that he wished to maintain him as
+one of his own children; and Lodovico gave him up willingly. Thereupon
+the Magnificent Lorenzo granted him a chamber in his own house and
+had him attended, and he ate always at his table with his own children
+and with other persons of quality and of noble blood who lived with
+that lord, by whom he was much honoured. This was in the year after
+he had been placed with Domenico, when Michelagnolo was about fifteen
+or sixteen years of age; and he lived in that house four years, which was
+until the death of the Magnificent Lorenzo in 1492. During that time,
+then, Michelagnolo had five ducats a month from that lord as an allowance
+and also to help his father; and for his particular gratification
+Lorenzo gave him a violet cloak, and to his father an office in the Customs.
+Truth to tell, all the young men in the garden were salaried, some little
+and some much, by the liberality of that magnificent and most noble
+citizen, and rewarded by him as long as he lived.</p>
+
+<p>At this time, at the advice of Poliziano, a man eminent in letters,
+Michelagnolo executed from a piece of marble given to him by that lord
+the Battle of Hercules with the Centaurs, which was so beautiful that
+now, to those who study it from time to time, it appears as if by the
+hand not of a youth but of a master of repute, perfected by study and
+<span class="pagenum"><a id="Page_10" name="Page_10"></a>[Pg 10]</span> well practised in that art. It is now in his house, treasured in memory
+of him by his nephew Leonardo as a rare thing, which indeed it is. That
+Leonardo, not many years since, had in his house in memory of his uncle
+a Madonna of marble in low-relief by the hand of Michelagnolo, little
+more than one braccio in height, in which when a lad, at this same time,
+wishing to counterfeit the manner of Donatello, he acquitted himself so
+well that it seems as if by Donatello's hand, save that there may be
+seen in it more grace and more design. That work Leonardo afterwards
+gave to Duke Cosimo de' Medici, who treasures it as a unique
+thing, for we have no other low-relief in sculpture by his hand save
+that one.</p>
+
+<p>Now, returning to the garden of the Magnificent Lorenzo; that garden
+was full of antiques and richly adorned with excellent pictures, all gathered
+together in that place for their beauty, for study, and for pleasure.
+Michelagnolo always had the keys, and he was much more earnest than
+the others in his every action, and showed himself always alert, bold,
+and resolute. He drew for many months from the pictures of Masaccio
+in the Carmine, where he copied those works with so much judgment,
+that the craftsmen and all other men were astonished, in such sort that
+envy grew against him together with his fame. It is said that Torrigiano,
+after contracting a friendship with him, mocked him, being moved by
+envy at seeing him more honoured than himself and more able in art,
+and struck him a blow of the fist on the nose with such force, that he
+broke and crushed it very grievously and marked him for life; on which
+account Torrigiano was banished from Florence, as has been related in
+another place.</p>
+
+<div class="figcenter">
+<a name="img004" id="img004"></a>
+<img src="images/img004-tb.jpg" width="350" height="489" alt="The Angel with the Candlestick." title="">
+<p class="caption">THE ANGEL WITH THE CANDLESTICK<br>
+(<i>After</i> Michelagnolo. <i>Bologna: S. Domenico</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img004.jpg">View larger image</a></span></p>
+</div>
+
+<p>When the Magnificent Lorenzo died, Michelagnolo returned to his
+father's house in infinite sorrow at the death of so great a man, the
+friend of every talent. There he bought a great piece of marble, and from
+it carved a Hercules of four braccia, which stood for many years in the
+Palace of the Strozzi; this was esteemed an admirable work, and afterwards,
+in the year of the siege, it was sent into France to King Francis
+by Giovan Battista della Palla. It is said that Piero de' Medici, who had
+been left heir to his father Lorenzo, having long been intimate with
+<span class="pagenum"><a id="Page_11" name="Page_11"></a>[Pg 11]</span> Michelagnolo, used often to send for him when he wished to buy antiques,
+such as cameos and other carved stones. One winter, when much snow
+fell in Florence, he caused him to make in his courtyard a statue of snow,
+which was very beautiful; and he honoured Michelagnolo on account
+of his talents in such a manner, that his father, beginning to see that he
+was esteemed among the great, clothed him much more honourably than
+he had been wont to do.</p>
+
+<p>For the Church of S. Spirito in the city of Florence Michelagnolo
+made a Crucifix of wood, which was placed, as it still is, above the lunette
+of the high-altar; doing this to please the Prior, who placed rooms at his
+disposal, in which he was constantly flaying dead bodies, in order to
+study the secrets of anatomy, thus beginning to give perfection to the
+great knowledge of design that he afterwards acquired. It came about
+that the Medici were driven out of Florence, and a few weeks before
+that Michelagnolo had gone to Bologna, and then to Venice, fearing, as
+he saw the insolence and bad government of Piero de' Medici, lest some
+evil thing might befall him from his being the servant of that family;
+but, not having found any means of living in Venice, he returned to
+Bologna. There he had the misfortune to neglect, through lack of thought,
+when entering by the gate, to learn the countersign for going out again,
+a command having been issued at that time, as a precaution, at the
+desire of Messer Giovanni Bentivogli, that all strangers who had not
+the countersign should be fined fifty Bolognese lire; and having fallen
+into such a predicament, nor having the means to pay, Michelagnolo
+by chance was seen by Messer Giovan Francesco Aldovrandi, one of the
+Sixteen of the Government, who had compassion on him, and, having
+made him tell his story, liberated him, and then kept him in his house
+for more than a year. One day Aldovrandi took him to see the tomb
+of S. Dominic, made, as has been related, by Giovanni Pisano and then
+by Maestro Niccolò dell'Arca, sculptors of olden days. In that work
+there were wanting a S. Petronio and an Angel holding a candelabrum,
+figures of about one braccio, and Aldovrandi asked him if he felt himself
+able to make them; and he answered Yes. Whereupon he had the marble
+given to him, and Michelagnolo executed them in such a manner, that
+<span class="pagenum"><a id="Page_12" name="Page_12"></a>[Pg 12]</span> they are the best figures that are there; and Messer Francesco Aldovrandi
+caused thirty ducats to be given to him for the two. Michelagnolo
+stayed a little more than a year in Bologna, and he would have stayed
+there even longer, in order to repay the courtesy of Aldovrandi, who
+loved him both for his design and because, liking Michelagnolo's Tuscan
+pronunciation in reading, he was pleased to hear from his lips the
+works of Dante, Petrarca, Boccaccio, and other Tuscan poets. But,
+since he knew that he was wasting his time, he was glad to return to
+Florence.</p>
+
+<div class="figcenter">
+<a name="img005" id="img005"></a>
+<img src="images/img005-tb.jpg" width="300" height="529" alt="Bacchus." title="">
+<p class="caption">BACCHUS<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img005.jpg">View larger image</a></span></p>
+</div>
+
+<p>There he made for Lorenzo di Pier Francesco de' Medici a S. Giovannino
+of marble, and then set himself to make from another piece of marble
+a Cupid that was sleeping, of the size of life. This, when finished, was
+shown by means of Baldassarre del Milanese to Lorenzo di Pier Francesco
+as a beautiful thing, and he, having pronounced the same judgment,
+said to Michelagnolo: "If you were to bury it under ground and then
+sent it to Rome treated in such a manner as to make it look old, I am
+certain that it would pass for an antique, and you would thus obtain
+much more for it than by selling it here." It is said that Michelagnolo
+handled it in such a manner as to make it appear an antique; nor is there
+any reason to marvel at that, seeing that he had genius enough to do it,
+and even more. Others maintain that Milanese took it to Rome and
+buried it in a vineyard that he had there, and then sold it as an antique
+to Cardinal San Giorgio for two hundred ducats. Others, again, say that
+Milanese sold to the Cardinal one that Michelagnolo had made for him,
+and that he wrote to Lorenzo di Pier Francesco that he should cause
+thirty crowns to be given to Michelagnolo, saying that he had not received
+more for the Cupid, and thus deceiving the Cardinal, Lorenzo di Pier
+Francesco, and Michelagnolo; but afterwards, having received information
+from one who had seen that the boy was fashioned in Florence, the
+Cardinal contrived to learn the truth by means of a messenger, and so
+went to work that Milanese's agent had to restore the money and take
+back the Cupid. That work, having come into the possession of Duke
+Valentino, was presented by him to the Marchioness of Mantua, who took
+it to her own country, where it is still to be seen at the present day.
+<span class="pagenum"><a id="Page_13" name="Page_13"></a>[Pg 13]</span> This affair did not happen without some censure attaching to Cardinal
+San Giorgio, in that he did not recognize the value of the work, which
+consisted in its perfection; for modern works, if only they be excellent,
+are as good as the ancient. What greater vanity is there than that of
+those who concern themselves more with the name than the fact? But
+of that kind of men, who pay more attention to the appearance than to
+the reality, there are some to be found at any time.</p>
+
+<p>Now this event brought so much reputation to Michelagnolo, that
+he was straightway summoned to Rome and engaged by Cardinal San
+Giorgio, with whom he stayed nearly a year, although, as one little conversant
+with our arts, he did not commission Michelagnolo to do anything.
+At that time a barber of the Cardinal, who had been a painter,
+and could paint with great diligence in distemper-colours, but knew
+nothing of design, formed a friendship with Michelagnolo, who made for
+him a cartoon of S. Francis receiving the Stigmata. That cartoon was
+painted very carefully in colours by the barber on a little panel; and the
+picture is now to be seen in S. Pietro a Montorio in the first chapel on
+the left hand as one enters the church. The talent of Michelagnolo was
+then clearly recognized by a Roman gentleman named Messer Jacopo
+Galli, an ingenious person, who caused him to make a Cupid of marble
+as large as life, and then a figure of a Bacchus ten palms high, who has a
+cup in the right hand, and in the left hand the skin of a tiger, with a
+bunch of grapes at which a little satyr is trying to nibble. In that figure
+it may be seen that he sought to achieve a certain fusion in the members
+that is marvellous, and in particular that he gave it both the youthful
+slenderness of the male and the fullness and roundness of the female&mdash;a
+thing so admirable, that he proved himself excellent in statuary beyond
+any other modern that had worked up to that time. On which account,
+during his stay in Rome, he made so much proficience in the studies of
+art, that it was a thing incredible to see his exalted thoughts and the
+difficulties of the manner exercised by him with such supreme facility;
+to the amazement not only of those who were not accustomed to see
+such things, but also of those familiar with good work, for the reason
+that all the works executed up to that time appeared as nothing in comparison
+<span class="pagenum"><a id="Page_14" name="Page_14"></a>[Pg 14]</span> with his. These things awakened in Cardinal di San Dionigi,
+called Cardinal de Rohan, a Frenchman, a desire to leave in a city so
+famous some worthy memorial of himself by the hand of so rare a craftsman;
+and he caused him to make a Pietà of marble in the round, which,
+when finished, was placed in the Chapel of the Vergine Maria della Febbre
+in S. Pietro, where the Temple of Mars used to be. To this work let no
+sculptor, however rare a craftsman, ever think to be able to approach
+in design or in grace, or ever to be able with all the pains in the world
+to attain to such delicacy and smoothness or to perforate the marble
+with such art as Michelagnolo did therein, for in it may be seen all the
+power and worth of art. Among the lovely things to be seen in the
+work, to say nothing of the divinely beautiful draperies, is the body of
+Christ; nor let anyone think to see greater beauty of members or more
+mastery of art in any body, or a nude with more detail in the muscles,
+veins, and nerves over the framework of the bones, nor yet a corpse more
+similar than this to a real corpse. Here is perfect sweetness in the expression
+of the head, harmony in the joints and attachments of the arms,
+legs, and trunk, and the pulses and veins so wrought, that in truth Wonder
+herself must marvel that the hand of a craftsman should have been able
+to execute so divinely and so perfectly, in so short a time, a work so
+admirable; and it is certainly a miracle that a stone without any shape
+at the beginning should ever have been reduced to such perfection as
+Nature is scarcely able to create in the flesh. Such were Michelagnolo's
+love and zeal together in this work, that he left his name&mdash;a thing that
+he never did again in any other work&mdash;written across a girdle that encircles
+the bosom of Our Lady. And the reason was that one day Michelagnolo,
+entering the place where it was set up, found there a great number of
+strangers from Lombardy, who were praising it highly, and one of them
+asked one of the others who had done it, and he answered, "Our Gobbo
+from Milan." Michelagnolo stood silent, but thought it something
+strange that his labours should be attributed to another; and one night
+he shut himself in there, and, having brought a little light and his chisels,
+carved his name upon it. And truly the work is such, that an exalted
+spirit has said, as to a real and living figure&mdash;</p>
+
+<p class="poem"><span class="pagenum"><a id="Page_15" name="Page_15"></a>[Pg 15]</span> Bellezza ed Onestate<br>
+E Doglia e Pietà in vivo marmo morte,<br>
+Deh, come voi pur fate,<br>
+Non piangete si forte,<br>
+Che anzi tempo risveglisi da morte;<br>
+E pur mal grado suo<br>
+Nostro Signore, e tuo<br>
+Sposo, Figliuolo, e Padre,<br>
+Unica Sposa sua, Figliuola, e Madre.</p>
+
+<p>From this work he acquired very great fame, and although certain
+persons, rather fools than otherwise, say that he has made Our Lady
+too young, are these so ignorant as not to know that unspotted virgins
+maintain and preserve their freshness of countenance a long time without
+any mark, and that persons afflicted as Christ was do the contrary?
+That circumstance, therefore, won an even greater increase of glory and
+fame for his genius than all his previous works.</p>
+
+<div class="figcenter">
+<a name="img006" id="img006"></a>
+<img src="images/img006-tb.jpg" width="350" height="453" alt="Pietà." title="">
+<p class="caption">PIETÀ<br>
+(<i>After</i> Michelagnolo. <i>Rome: S. Peter's</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img006.jpg">View larger image</a></span></p>
+</div>
+
+<p>Letters were written to him from Florence by some of his friends,
+saying that he should return, because it was not unlikely that he might
+obtain the spoiled block of marble lying in the Office of Works, which
+Piero Soderini, who at that time had been made Gonfalonier of the city
+for life, had very often talked of having executed by Leonardo da Vinci,
+and was then arranging to give to Maestro Andrea Contucci of Monte
+Sansovino, an excellent sculptor, who was seeking to obtain it. Now,
+however difficult it might be to carve a complete figure out of it without
+adding pieces (for which work of finishing it without adding pieces none
+of the others, save Buonarroti alone, had courage enough), Michelagnolo
+had felt a desire for it for many years back; and, having come to Florence,
+he sought to obtain it. This block of marble was nine braccia high,
+and from it, unluckily, one Maestro Simone da Fiesole had begun a
+giant, and he had managed to work so ill, that he had hacked a hole
+between the legs, and it was altogether misshapen and reduced to ruin,
+insomuch that the Wardens of Works of S. Maria del Fiore, who had the
+charge of the undertaking, had placed it on one side without troubling
+to have it finished; and so it had remained for many years past, and
+was likely to remain. Michelagnolo measured it all anew, considering
+<span class="pagenum"><a id="Page_16" name="Page_16"></a>[Pg 16]</span> whether he might be able to carve a reasonable figure from that block
+by accommodating himself as to the attitude to the marble as it had
+been left all misshapen by Maestro Simone; and he resolved to ask for
+it from Soderini and the Wardens, by whom it was granted to him as
+a thing of no value, they thinking that whatever he might make of it
+would be better than the state in which it was at that time, seeing that
+neither in pieces nor in that condition could it be of any use to their
+building. Whereupon Michelagnolo made a model of wax, fashioning in
+it, as a device for the Palace, a young David with a sling in his hand,
+to the end that, even as he had defended his people and governed them
+with justice, so those governing that city might defend her valiantly
+and govern her justly. And he began it in the Office of Works of
+S. Maria del Fiore, in which he made an enclosure of planks and masonry,
+thus surrounding the marble; and, working at it continuously without
+anyone seeing it, he carried it to perfect completion. The marble had
+already been spoilt and distorted by Maestro Simone, and in some places
+it was not enough to satisfy the wishes of Michelagnolo for what he
+would have liked to do with it; and he therefore suffered certain of the
+first marks of Maestro Simone's chisel to remain on the extremity of the
+marble, some of which are still to be seen. And truly it was a miracle
+on the part of Michelagnolo to restore to life a thing that was dead.</p>
+
+<p>This statue, when finished, was of such a kind that many disputes
+took place as to how to transport it to the Piazza della Signoria. Whereupon
+Giuliano da San Gallo and his brother Antonio made a very strong
+framework of wood and suspended the figure from it with ropes, to the
+end that it might not hit against the wood and break to pieces, but
+might rather keep rocking gently; and they drew it with windlasses over
+flat beams laid upon the ground, and then set it in place. On the rope
+which held the figure suspended he made a slip-knot which was very
+easy to undo but tightened as the weight increased, which is a most
+beautiful and ingenious thing; and I have in my book a drawing of it
+by his own hand&mdash;an admirable, secure, and strong contrivance for suspending
+weights.</p>
+
+<div class="figcenter">
+<a name="img007" id="img007"></a>
+<img src="images/img007-tb.jpg" width="350" height="427" alt="Wax Models for the David." title="">
+<p class="caption">WAX MODELS FOR THE DAVID<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Buonarroti</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img007.jpg">View larger image</a></span></p>
+</div>
+
+<p>It happened at this time that Piero Soderini, having seen it in
+<span class="pagenum"><a id="Page_17" name="Page_17"></a>[Pg 17]</span> place, was well pleased with it, but said to Michelagnolo, at a moment
+when he was retouching it in certain parts, that it seemed to him that
+the nose of the figure was too thick. Michelagnolo noticed that the
+Gonfalonier was beneath the Giant, and that his point of view prevented
+him from seeing it properly; but in order to satisfy him he climbed upon
+the staging, which was against the shoulders, and quickly took up a
+chisel in his left hand, with a little of the marble-dust that lay upon
+the planks of the staging, and then, beginning to strike lightly with the
+chisel, let fall the dust little by little, nor changed the nose a whit from
+what it was before. Then, looking down at the Gonfalonier, who stood
+watching him, he said, "Look at it now." "I like it better," said the
+Gonfalonier, "you have given it life." And so Michelagnolo came down,
+laughing to himself at having satisfied that lord, for he had compassion
+on those who, in order to appear full of knowledge, talk about things of
+which they know nothing.</p>
+
+<p>When it was built up, and all was finished, he uncovered it, and
+it cannot be denied that this work has carried off the palm from all
+other statues, modern or ancient, Greek or Latin; and it may be said that
+neither the Marforio at Rome, nor the Tiber and the Nile of the Belvedere,
+nor the Giants of Monte Cavallo, are equal to it in any respect, with
+such just proportion, beauty and excellence did Michelagnolo finish it.
+For in it may be seen most beautiful contours of legs, with attachments
+of limbs and slender outlines of flanks that are divine; nor has there
+ever been seen a pose so easy, or any grace to equal that in this work,
+or feet, hands and head so well in accord, one member with another, in
+harmony, design, and excellence of artistry. And, of a truth, whoever
+has seen this work need not trouble to see any other work executed in
+sculpture, either in our own or in other times, by no matter what craftsman.
+Michelagnolo received from Piero Soderini in payment for it four
+hundred crowns; and it was set in place in the year 1504. In consequence
+of the fame that he thereby won as a sculptor, he made for the above-named
+Gonfalonier a most beautiful David of bronze, which Soderini sent
+to France; and at this time, also, he began, but did not finish, two
+medallions of marble&mdash;one for Taddeo Taddei, which is now in his
+<span class="pagenum"><a id="Page_18" name="Page_18"></a>[Pg 18]</span> house, and another that he began for Bartolommeo Pitti, which was
+presented by Fra Miniato Pitti of Monte Oliveto, a man with a rare
+knowledge in cosmography and many other sciences, and particularly
+in painting, to Luigi Guicciardini, who was much his friend. These
+works were held to be admirable in their excellence; and at this same
+time, also, he blocked out a statue of S. Matthew in marble in the Office
+of Works of S. Maria del Fiore, which statue, rough as it is, reveals its
+full perfection and teaches sculptors in what manner figures can be carved
+out of marble without their coming out misshapen, so that it may be
+possible to go on ever improving them by removing more of the marble
+with judgment, and also to draw back and change some part, according
+as the necessity may arise. He also made a medallion in bronze of a
+Madonna, which he cast in bronze at the request of certain Flemish
+merchants of the Moscheroni family, persons of high nobility in their
+own country, who paid him a hundred crowns for it, and intended to
+send it to Flanders.</p>
+
+<div class="figcenter">
+<a name="img008" id="img008"></a>
+<img src="images/img008-tb.jpg" width="350" height="443" alt="Madonna, Child, and S. John." title="">
+<p class="caption">MADONNA, CHILD, AND S. JOHN<br>
+(<i>After the relief by</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img008.jpg">View larger image</a></span></p>
+</div>
+
+<p>There came to Agnolo Doni, a Florentine citizen and a friend of
+Michelagnolo, who much delighted to have beautiful things both by
+ancient and by modern craftsmen, a desire to possess some work by
+Michelagnolo; wherefore that master began for him a round picture
+containing a Madonna, who, kneeling on both knees, has an Infant in her
+arms and presents Him to Joseph, who receives Him. Here Michelagnolo
+expresses in the turn of the head of the Mother of Christ and in the gaze
+of her eyes, which she keeps fixed on the supreme beauty of her Son,
+her marvellous contentment and her lovingness in sharing it with that
+saintly old man, who receives Him with equal affection, tenderness, and
+reverence, as may be seen very readily in his countenance, without considering
+it long. Nor was this enough for Michelagnolo, who, the better
+to show how great was his art, made in the background of his work a
+number of nudes, some leaning, some standing, and some seated; and
+with such diligence and finish he executed this work, that without a
+doubt, of his pictures on panel, which indeed are but few, it is held to be
+the most finished and the most beautiful work that there is to be found.
+When it was completed, he sent it covered up to Agnolo's house by a
+<span class="pagenum"><a id="Page_19" name="Page_19"></a>[Pg 19]</span> messenger, with a note demanding seventy ducats in payment. It
+seemed strange to Agnolo, who was a careful person, to spend so much
+on a picture, although he knew that it was worth more, and he said to
+the messenger that forty was enough, which he gave to him. Thereupon
+Michelagnolo sent them back to him, with a message to say that he should
+send back either one hundred ducats or the picture. Then Agnolo, who
+liked the work, said, "I will give him these seventy," but he was not
+content; indeed, angered by Agnolo's breach of faith, he demanded the
+double of what he had asked the first time, so that, if Agnolo wanted the
+picture, he was forced to send him a hundred and forty.</p>
+
+<p>It happened that while Leonardo da Vinci, that rare painter, was
+painting in the Great Council Hall, as has been related in his Life, Piero
+Soderini, who was then Gonfalonier, moved by the great ability that he
+saw in Michelagnolo, caused a part of that Hall to be allotted to him;
+which was the reason that he executed the other façade in competition
+with Leonardo, taking as his subject the War of Pisa. To this end
+Michelagnolo was given a room in the Hospital of the Dyers at S. Onofrio,
+and there he began a vast cartoon, but would never consent that anyone
+should see it. And this he filled with naked men that were bathing in
+the River Arno on account of the heat, when suddenly the alarm sounded
+in the camp, announcing that the enemy were attacking; and, as the
+soldiers were springing out of the water to dress themselves, there could
+be seen, depicted by the divine hands of Michelagnolo, some hastening
+to arm themselves in order to give assistance to their companions, others
+buckling on their cuirasses, many fastening other armour on their bodies,
+and a vast number beginning the fray and fighting on horseback. There
+was, among other figures, an old man who had a garland of ivy on his
+head to shade it, and he, having sat down in order to put on his hose,
+into which his legs would not go because they were wet with water, and
+hearing the cries and tumult of the soldiers and the uproar of the
+drummers, was struggling to draw on one stocking by force; and, besides
+that all the muscles and nerves of his figure could be perceived, his mouth
+was so distorted as to show clearly how he was straining and struggling
+even to the very tips of his toes. There were also drummers, and figures
+<span class="pagenum"><a id="Page_20" name="Page_20"></a>[Pg 20]</span> with their clothes in their arms running to the combat; and there were to
+be seen the most extravagant attitudes, some standing, some kneeling
+or bent double, others stretched horizontally and struggling in mid-air,
+and all with masterly foreshortenings. There were also many figures in
+groups, all sketched in various manners, some outlined with charcoal,
+some drawn with strokes, others stumped in and heightened with lead-white,
+Michelagnolo desiring to show how much he knew in his profession.
+Wherefore the craftsmen were seized with admiration and astonishment,
+seeing the perfection of art revealed to them in that drawing
+by Michelagnolo; and some who saw them, after beholding figures so
+divine, declare that there has never been seen any work, either by his
+hand or by the hands of others, no matter how great their genius, that
+can equal it in divine beauty of art. And, in truth, it is likely enough,
+for the reason that since the time when it was finished and carried to the
+Sala del Papa with great acclamation from the world of art and extraordinary
+glory for Michelagnolo, all those who studied from that cartoon
+and drew those figures&mdash;as was afterwards the custom in Florence for
+many years both for strangers and for natives&mdash;became persons eminent
+in art, as we have since seen. For among those who studied the cartoon
+were Aristotile da San Gallo, the friend of Michelagnolo, Ridolfo Ghirlandajo,
+Raffaello Sanzio of Urbino, Francesco Granacci, Baccio Bandinelli,
+and the Spaniard Alonzo Berughetta, and then there followed
+Andrea del Sarto, Franciabigio, Jacopo Sansovino, Rosso, Maturino,
+Lorenzetto, Tribolo, who was then a boy, Jacopo da Pontormo, and
+Perino del Vaga; and all these became excellent Florentine masters.
+The cartoon having thus become a school for craftsmen, it was taken into
+the Great Upper Hall in the house of the Medici; and this was the reason
+that it was left with too little caution in the hands of the craftsmen, insomuch
+that during the illness of Duke Giuliano, while no one was expecting
+such a thing, it was torn up and divided into many pieces, as has been related
+elsewhere, and scattered over various places, to which some pieces bear
+witness that are still to be seen in Mantua, in the house of M. Uberto Strozzi,
+a gentleman of that city, where they are treasured with great reverence;
+and, indeed, they seem to the eye things rather divine than human.</p>
+
+<div class="figcenter">
+<a name="img009" id="img009"></a>
+<img src="images/img009-tb.jpg" width="300" height="507" alt="Young Captive." title="">
+<p class="caption">YOUNG CAPTIVE<br>
+(<i>After</i> Michelagnolo. <i>Paris: Louvre</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img009.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_21" name="Page_21"></a>[Pg 21]</span> The name of Michelagnolo, by reason of the Pietà that he had made,
+the Giant in Florence, and the cartoon, had become so famous, that in
+the year 1503, Pope Alexander VI having died and Julius II having been
+elected, at which time Michelagnolo was about twenty-nine years of age,
+he was summoned with much graciousness by Julius II, who wished to
+set him to make his tomb; and for the expenses of the journey a hundred
+crowns were paid to him by the Pope's representatives. Having made
+his way to Rome, he spent many months there before he was made to
+set his hand to any work. But finally the Pope's choice fell on a design
+that he had made for that tomb, an excellent testimony to the genius
+of Michelagnolo, which in beauty and magnificence, abundance of ornamentation
+and richness of statuary, surpassed every ancient or imperial
+tomb. Whereupon Pope Julius took courage, and thus resolved to set
+his hand to make anew the Church of S. Pietro in Rome, in order to
+erect the tomb in it, as has been related in another place. And so
+Michelagnolo set to work with high hopes; and, in order to make a beginning,
+he went to Carrara to excavate all the marble, with two assistants,
+receiving a thousand crowns on that account from Alamanno Salviati
+in Florence. There, in those mountains, he spent eight months without
+other moneys or supplies; and he had many fantastic ideas of carving
+great statues in those quarries, in order to leave memorials of himself,
+as the ancients had done before him, being invited by those masses of
+stone. Then, having picked out the due quantity of marbles, he caused
+them to be loaded on board ship at the coast and then conveyed to Rome,
+where they filled half the Piazza di S. Pietro, round about S. Caterina,
+and between the church and the corridor that goes to the Castello. In
+that place Michelagnolo had prepared his room for executing the figures
+and the rest of the tomb; and, to the end that the Pope might be able
+to come at his convenience to see him at work, he had caused a drawbridge
+to be constructed between the corridor and that room, which
+led to a great intimacy between them. But in time these favours brought
+much annoyance and even persecution upon him, and stirred up much
+envy against him among his fellow-craftsmen.</p>
+
+<div class="figcenter">
+<a name="img010" id="img010"></a>
+<img src="images/img010-tb.jpg" width="350" height="515" alt="Victory." title="">
+<p class="caption">VICTORY<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img010.jpg">View larger image</a></span></p>
+</div>
+
+<p>Of this work Michelagnolo executed during the lifetime and after
+<span class="pagenum"><a id="Page_22" name="Page_22"></a>[Pg 22]</span> the death of Julius four statues completely finished and eight only
+blocked out, as will be related in the proper place; and since the work
+was designed with extraordinary invention, we will describe here below
+the plan that he adopted. In order to produce an effect of supreme
+grandeur, he decided that it should be wholly isolated, so as to be seen
+from all four sides, each side in one direction being twelve braccia and
+each in the other eighteen, so that the proportions were a square and
+a half. It had a range of niches running right round the outer side,
+which were divided one from another by terminal figures clothed from
+the middle upwards, which with their heads supported the first cornice,
+and each terminal figure had bound to it, in a strange and bizarre attitude,
+a naked captive, whose feet rested on a projection of the base. These
+captives were all provinces subjugated by that Pontiff and rendered
+obedient to the Apostolic Church; and there were various other statues,
+likewise bound, of all the noble arts and sciences, which were thus shown
+to be subject to death no less than was that Pontiff, who made such
+honourable use of them. On the corners of the first cornice were to go
+four large figures, the Active and the Contemplative Life, S. Paul, and
+Moses. The structure rose above the cornice in steps gradually diminishing,
+with a frieze of scenes in bronze, and with other figures, children
+and ornaments all around, and at the summit, as a crown to the work,
+were two figures, one of which was Heaven, who, smiling, was supporting
+a bier on her shoulder, together with Cybele, the Goddess of Earth,
+who appeared to be grieving that she was left in a world robbed of all
+virtue by the death of such a man; and Heaven appeared to be smiling
+with gladness that his soul had passed to celestial glory. The work was
+so arranged that one might enter and come out again by the ends of
+the quadrangular structure, between the niches, and the interior curved
+in the form of an oval after the manner of a temple, in the centre of
+which was the sarcophagus wherein was to be laid the dead body of that
+Pope. And, finally, there were to be in this whole work forty statues
+of marble, without counting the other scenes, children, and ornaments,
+the carvings covering the cornices, and the other architectural members
+of the work. Michelagnolo ordained, to expedite the labour, that a
+<span class="pagenum"><a id="Page_23" name="Page_23"></a>[Pg 23]</span> part of the marbles should be conveyed to Florence, where he intended
+at times to spend the summer months in order to avoid the malaria of
+Rome; and there he executed one side of the work in many pieces, complete
+in every detail. In Rome he finished entirely with his own hand
+two of the captives, figures divinely beautiful, and other statues, than
+which none better have ever been seen; but in the end they were never
+placed in position, and those captives were presented by him to S. Ruberto
+Strozzi, when Michelagnolo happened to be lying ill in his house; which
+captives were afterwards sent as presents to King Francis, and they
+are now at Ecouen in France. Eight statues, likewise, he blocked out
+in Rome, and in Florence he blocked out five and finished a Victory
+with a captive beneath, which are now in the possession of Duke
+Cosimo, having been presented by Michelagnolo's nephew, Leonardo,
+to his Excellency, who has placed the Victory in the Great Hall of his
+Palace, which was painted by Vasari.</p>
+
+<p>He finished the Moses, a statue in marble of five braccia, which no
+modern work will ever equal in beauty; and of the ancient statues, also,
+the same may be said. For, seated in an attitude of great dignity, he
+rests one arm on the Tables, which he holds with one hand, and with
+the other he holds his beard, which is long and waving, and carved in
+the marble in such sort, that the hairs&mdash;in which the sculptor finds such
+difficulty&mdash;are wrought with the greatest delicacy, soft, feathery, and
+detailed in such a manner, that one cannot but believe that his chisel
+was changed into a pencil. To say nothing of the beauty of the face,
+which has all the air of a true Saint and most dread Prince, you seem,
+while you gaze upon it, to wish to demand from him the veil wherewith
+to cover that face, so resplendent and so dazzling it appears to you, and
+so well has Michelagnolo expressed the divinity that God infused in that
+most holy countenance. In addition, there are draperies carved out and
+finished with most beautiful curves of the borders; while the arms with
+their muscles, and the hands with their bones and nerves, are carried to
+such a pitch of beauty and perfection, and the legs, knees, and feet
+are covered with buskins so beautifully fashioned, and every part of the
+work is so finished, that Moses may be called now more than ever the
+<span class="pagenum"><a id="Page_24" name="Page_24"></a>[Pg 24]</span> friend of God, seeing that He has deigned to assemble together and
+prepare his body for the Resurrection before that of any other, by the
+hands of Michelagnolo. Well may the Hebrews continue to go there,
+as they do every Sabbath, both men and women, like flocks of starlings,
+to visit and adore that statue; for they will be adoring a thing not human
+but divine.</p>
+
+<div class="figcenter">
+<a name="img011" id="img011"></a>
+<img src="images/img011-tb.jpg" width="400" height="517" alt="Moses." title="">
+<p class="caption">MOSES<br>
+(<i>After</i> Michelagnolo. <i>Rome: S. Pietro in Vincoli</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img011.jpg">View larger image</a></span></p>
+</div>
+
+<p>Finally all the agreements for this work were made, and the end
+came into view; and of the four sides one of the smaller ones was afterwards
+erected in S. Pietro in Vincola. It is said that while Michelagnolo
+was executing the work, there came to the Ripa all the rest of the marbles
+for the tomb that had remained at Carrara, which were conveyed to the
+Piazza di S. Pietro, where the others were; and, since it was necessary
+to pay those who had conveyed them, Michelagnolo went, as was his
+custom, to the Pope. But, his Holiness having on his hands that day
+some important business concerning Bologna, he returned to his house
+and paid for those marbles out of his own purse, thinking to have the
+order for them straightway from his Holiness. He returned another day
+to speak of them to the Pope, but found difficulty in entering, for one
+of the grooms told him that he had orders not to admit him, and that
+he must have patience. A Bishop then said to the groom, "Perhaps you
+do not know this man?" "Only too well do I know him," answered the
+groom; "but I am here to do as I am commanded by my superiors and
+by the Pope." This action displeased Michelagnolo, and, considering
+that it was contrary to what he had experienced before, he said to the
+Pope's groom that he should tell his Holiness that from that time forward,
+when he should want him, it would be found that he had gone elsewhere;
+and then, having returned to his house, at the second hour of the night
+he set out on post-horses, leaving two servants to sell all the furniture
+of his house to the Jews and to follow him to Florence, whither he was
+bound. Having arrived at Poggibonzi, a place in the Florentine territory,
+and therefore safe, he stopped; and almost immediately five couriers
+arrived with letters from the Pope to bring him back. Despite their
+entreaties and also the letters, which ordered him to return to Rome
+under threat of punishment, he would not listen to a word; but finally
+<span class="pagenum"><a id="Page_25" name="Page_25"></a>[Pg 25]</span> the prayers of the couriers induced him to write a few words in reply
+to his Holiness, asking for pardon, but saying that he would never again
+return to his presence, since he had caused him to be driven away like a
+criminal, that his faithful service had not deserved such treatment, and
+that his Holiness should look elsewhere for someone to serve him.</p>
+
+<div class="figcenter">
+<a name="img012" id="img012"></a>
+<img src="images/img012-tb.jpg" width="350" height="452" alt="Tomb of Pope Julius II." title="">
+<p class="caption">TOMB OF POPE JULIUS II<br>
+(<i>After</i> Michelagnolo. <i>Rome: S. Pietro in Vincoli</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img012.jpg">View larger image</a></span></p>
+</div>
+
+<p>After arriving at Florence, Michelagnolo devoted himself during the
+three months that he stayed there to finishing the cartoon for the Great
+Hall, which Piero Soderini, the Gonfalonier, desired that he should carry
+into execution. During that time there came to the Signoria three Briefs
+commanding them to send Michelagnolo back to Rome: wherefore he,
+perceiving this vehemence on the part of the Pope, and not trusting him,
+conceived the idea, so it is said, of going to Constantinople to serve the
+Grand Turk, who desired to secure him, by means of certain Friars of
+S. Francis, to build a bridge crossing from Constantinople to Pera. However,
+he was persuaded by Piero Soderini, although very unwilling, to go
+to meet the Pope as a person of public importance with the title of
+Ambassador of the city, to reassure him; and finally the Gonfalonier
+recommended him to his brother Cardinal Soderini for presentation to
+the Pope, and sent him off to Bologna, where his Holiness had already
+arrived from Rome. His departure from Rome is also explained in
+another way&mdash;namely, that the Pope became angered against Michelagnolo,
+who would not allow any of his works to be seen; that Michelagnolo
+suspected his own men, doubting (as happened more than once) that the
+Pope disguised himself and saw what he was doing on certain occasions
+when he himself was not at home or at work; and that on one occasion,
+when the Pope had bribed his assistants to admit him to see the chapel
+of his uncle Sixtus, which, as was related a little time back, he caused
+Buonarroti to paint, Michelagnolo, having waited in hiding because he
+suspected the treachery of his assistants, threw planks down at the Pope
+when he entered the chapel, not considering who it might be, and drove
+him forth in a fury. It is enough for us to know that in the one way or
+the other he fell out with the Pope and then became afraid, so that he
+had to fly from his presence.</p>
+
+<p>Now, having arrived in Bologna, he had scarcely drawn off his
+<span class="pagenum"><a id="Page_26" name="Page_26"></a>[Pg 26]</span> riding-boots when he was conducted by the Pope's servants to his Holiness,
+who was in the Palazzo de' Sedici; and he was accompanied by a
+Bishop sent by Cardinal Soderini, because the Cardinal, being ill, was not
+able to go himself. Having come into the presence of the Pope, Michelagnolo
+knelt down, but his Holiness looked askance at him, as if in anger,
+and said to him, "Instead of coming yourself to meet us, you have waited
+for us to come to meet you!" meaning to infer that Bologna is nearer
+to Florence than Rome. Michelagnolo, with a courtly gesture of the
+hands, but in a firm voice, humbly begged for pardon, saying in excuse
+that he had acted as he had done in anger, not being able to endure to be
+driven away so abruptly, but that, if he had erred, his Holiness should
+once more forgive him. The Bishop who had presented Michelagnolo
+to his Holiness, making excuse for him, said to the Pope that such men
+were ignorant creatures, that they were worth nothing save in their own
+art, and that he should freely pardon him. The Pope, seized with anger,
+belaboured the Bishop with a staff that he had in his hand, saying to him,
+"It is you that are ignorant, who level insults at him that we ourselves
+do not think of uttering;" and then the Bishop was driven out by the
+groom with fisticuffs. When he had gone, the Pope, having discharged
+his anger upon him, gave Michelagnolo his benediction; and the master
+was detained in Bologna with gifts and promises, until finally his Holiness
+commanded him that he should make a statue of bronze in the likeness
+of Pope Julius, five braccia in height. In this work he showed most
+beautiful art in the attitude, which had an effect of much majesty and
+grandeur, and displayed richness and magnificence in the draperies, and
+in the countenance, spirit, force, resolution, and stern dignity; and it was
+placed in a niche over the door of S. Petronio. It is said that while
+Michelagnolo was working at it, he received a visit from Francia, a most
+excellent goldsmith and painter, who wished to see it, having heard so
+much praise and fame of him and of his works, and not having seen any
+of them, so that agents had been set to work to enable him to see it,
+and he had obtained permission. Whereupon, seeing the artistry of
+Michelagnolo, he was amazed: and then, being asked by Michelagnolo
+what he thought of that figure, Francia answered that it was a most
+<span class="pagenum"><a id="Page_27" name="Page_27"></a>[Pg 27]</span> beautiful casting and a fine material. Wherefore Michelagnolo, considering
+that he had praised the bronze rather than the workmanship,
+said to him, "I owe the same obligation to Pope Julius, who has given it
+to me, that you owe to the apothecaries who give you your colours for
+painting;" and in his anger, in the presence of all the gentlemen there,
+he declared that Francia was a fool. In the same connection, when a
+son of Francia's came before him and was announced as a very beautiful
+youth, Michelagnolo said to him, "Your father's living figures are finer
+than those that he paints." Among the same gentlemen was one, whose
+name I know not, who asked Michelagnolo which he thought was the larger,
+the statue of the Pope or a pair of oxen; and he answered, "That depends
+on the oxen. If they are these Bolognese oxen, then without a doubt
+our Florentine oxen are not so big."</p>
+
+<p>Michelagnolo had the statue finished in clay before the Pope departed
+from Bologna for Rome, and his Holiness, having gone to see it, but not
+knowing what was to be placed in the left hand, and seeing the right hand
+raised in a proud gesture, asked whether it was pronouncing a benediction
+or a curse. Michelagnolo answered that it was admonishing the people
+of Bologna to mind their behaviour, and asked his Holiness to decide
+whether he should place a book in the left hand; and he said, "Put a
+sword there, for I know nothing of letters." The Pope left a thousand
+crowns in the bank of M. Anton Maria da Lignano for the completion of
+the statue, and at the end of the sixteen months that Michelagnolo toiled
+over the work it was placed on the frontispiece in the façade of the Church
+of S. Petronio, as has been related; and we have also spoken of its size.
+This statue was destroyed by the Bentivogli, and the bronze was sold to
+Duke Alfonso of Ferrara, who made with it a piece of artillery called
+La Giulia; saving only the head, which is to be found in his guardaroba.</p>
+
+<div class="figcenter">
+<a name="img013" id="img013"></a>
+<img src="images/img013-tb.jpg" width="500" height="321" alt="God Dividing the Waters from the Earth." title="">
+<p class="caption">GOD DIVIDING THE WATERS FROM THE EARTH<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img013.jpg">View larger image</a></span></p>
+</div>
+
+<p>When the Pope had returned to Rome and Michelagnolo was at work
+on the statue, Bramante, the friend and relative of Raffaello da Urbino,
+and for that reason little the friend of Michelagnolo, perceiving that the
+Pope held in great favour and estimation the works that he executed in
+sculpture, was constantly planning with Raffaello in Michelagnolo's
+absence to remove from the mind of his Holiness the idea of causing
+<span class="pagenum"><a id="Page_28" name="Page_28"></a>[Pg 28]</span> Michelagnolo, after his return, to devote himself to finishing his tomb;
+saying that for a man to prepare himself a tomb during his own lifetime
+was an evil augury and a hurrying on of his death. And they persuaded
+his Holiness that on the return of Michelagnolo, he should cause him to
+paint in memory of his uncle Sixtus the vaulting of the chapel that he
+had built in the Palace. In this manner it seemed possible to Bramante
+and other rivals of Michelagnolo to draw him away from sculpture, in
+which they saw him to be perfect, and to plunge him into despair, they
+thinking that if they compelled him to paint, he would do work less
+worthy of praise, since he had no experience of colours in fresco, and that
+he would prove inferior to Raffaello, and, even if he did succeed in
+the work, in any case it would make him angry against the Pope; so that
+in either event they would achieve their object of getting rid of him.
+And so, when Michelagnolo returned to Rome, the Pope was not disposed
+at that time to finish his tomb, and requested him to paint the vaulting
+of the chapel. Michelagnolo, who desired to finish the tomb, believing
+the vaulting of that chapel to be a great and difficult labour, and considering
+his own want of practice in colours, sought by every means to
+shake such a burden from his shoulders, and proposed Raffaello for the
+work. But the more he refused, the greater grew the desire of the Pope,
+who was headstrong in his undertakings, and, in addition, was being
+spurred on anew by the rivals of Michelagnolo, and especially by Bramante;
+so that his Holiness, who was quick-tempered, was on the point
+of becoming enraged with Michelagnolo. Whereupon Michelagnolo,
+perceiving that his Holiness was determined in the matter, resolved to
+do it; and the Pope commanded Bramante to erect the scaffolding from
+which the vaulting might be painted. Bramante made it all supported
+by ropes, piercing the vaulting; which having perceived, Michelagnolo
+inquired of Bramante how he was to proceed to fill up the holes when he
+had finished painting it, and he replied that he would think of that afterwards,
+and that it could not be done otherwise. Michelagnolo recognized
+that Bramante was either not very competent for such a work or else little
+his friend, and he went to the Pope and said to him that the scaffolding
+was not satisfactory, and that Bramante had not known how to make it;
+<span class="pagenum"><a id="Page_29" name="Page_29"></a>[Pg 29]</span> and the Pope answered, in the presence of Bramante, that he should
+make it after his own fashion. And so he commanded that it should be
+erected upon props so as not to touch the walls, a method of making
+scaffoldings for vaults that he taught afterwards to Bramante and others,
+whereby many fine works have been executed. Thus he enabled a poor
+creature of a carpenter, who rebuilt the scaffolding, to dispense with so
+many of the ropes, that, after selling them (for Michelagnolo gave them to
+him), he made up a dowry for his daughter.</p>
+
+<div class="figcenter">
+<a name="img014" id="img014"></a>
+<img src="images/img014-tb.jpg" width="500" height="349" alt="The Creation of Eve." title="">
+<p class="caption">THE CREATION OF EVE<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img014.jpg">View larger image</a></span></p>
+</div>
+
+<p>He then set his hand to making the cartoons for that vaulting; and
+the Pope decided, also, that the walls which the masters before him in
+the time of Sixtus had painted should be scraped clean, and decreed that
+he should have fifteen thousand ducats for the whole cost of the work;
+which price was fixed through Giuliano da San Gallo. Thereupon, forced
+by the magnitude of the undertaking to resign himself to obtaining
+assistance, Michelagnolo sent for men to Florence; and he determined
+to demonstrate in such a work that those who had painted there before
+him were destined to be vanquished by his labours, and also resolved to
+show to the modern craftsmen how to draw and paint. Having begun the
+cartoons, he finished them; and the circumstances of the work spurred
+him to soar to great heights, both for his own fame and for the welfare of
+art. And then, desiring to paint it in fresco-colours, and not having
+any experience of them, there came from Florence to Rome certain of his
+friends who were painters, to the end that they might give him assistance
+in such a work, and also that he might learn from them the method of
+working in fresco, in which some of them were well-practised; and among
+these were Granaccio, Giuliano Bugiardini, Jacopo di Sandro, the elder
+Indaco, Agnolo di Donnino, and Aristotile. Having made a commencement
+with the work, he caused them to begin some things as specimens;
+but, perceiving that their efforts were very far from what he desired, and
+not being satisfied with them, he resolved one morning to throw to the
+ground everything that they had done. Then, shutting himself up in
+the chapel, he would never open to them, nor even allowed himself to be
+seen by them when he was at home. And so, when the jest appeared to
+them to be going too far, they resigned themselves to it and returned in
+<span class="pagenum"><a id="Page_30" name="Page_30"></a>[Pg 30]</span> shame to Florence. Thereupon Michelagnolo, having made arrangements
+to paint the whole work by himself, carried it well on the way to completion
+with the utmost solicitude, labour, and study; nor would he ever let
+himself be seen, lest he should give any occasion to compel him to show it,
+so that the desire in the minds of everyone to see it grew greater every
+day.</p>
+
+<p>Pope Julius was always very desirous to see any undertakings that
+he was having carried out, and therefore became more eager than ever
+to see this one, which was hidden from him. And so one day he resolved
+to go to see it, but was not admitted, for Michelagnolo would never
+have consented to show it to him; out of which affair arose the quarrel
+that has been described, when he had to depart from Rome because he
+would not show his work to the Pope. Now, when a third of the work
+was finished (as I ascertained from him in order to clear up all doubts),
+it began to throw out certain spots of mould, one winter that the north
+wind was blowing. The reason of this was that the Roman lime, which
+is made of travertine and white in colour, does not dry very readily, and,
+when mixed with pozzolana, which is of a tawny colour, makes a dark
+mixture which, when soft, is very watery; and when the wall has been
+well soaked, it often breaks out into an efflorescence in the drying; and
+thus this salt efflorescence of moisture came out in many places, but in
+time the air consumed it. Michelagnolo was in despair over this, and was
+unwilling to continue the work, asking the Pope to excuse him, since he
+was not succeeding; but his Holiness sent Giuliano da San Gallo to see
+him, and he, having told him whence the defect arose and taught him how
+to remove the spots of mould, encouraged him to persevere.</p>
+
+<p>Now, when he had finished half of it, the Pope, who had subsequently
+gone to see it several times (mounting certain ladders with the assistance
+of Michelagnolo), insisted that it should be thrown open, for he was hasty
+and impatient by nature, and could not wait for it to be completely
+finished and to receive, as the saying is, the final touch. No sooner was
+it thrown open than all Rome was drawn to see it, and the Pope was the
+first, not having the patience to wait until the dust caused by the dismantling
+of the scaffolding had settled. Thereupon Raffaello da Urbino,
+<span class="pagenum"><a id="Page_31" name="Page_31"></a>[Pg 31]</span> who was very excellent in imitation, after seeing it straightway changed
+his manner, and without losing any time, in order to display his ability,
+painted the Prophets and Sibyls in the work of the Pace; and at the same
+time Bramante sought to have the other half of the chapel entrusted by
+the Pope to Raffaello. Which hearing, Michelagnolo complained of
+Bramante, and revealed to the Pope without any reserve many faults
+both in his life and in his architectural works; of which last, in the building
+of S. Pietro, as was seen afterwards, Michelagnolo became the corrector.
+But the Pope, recognizing more clearly every day the ability of Michelagnolo,
+desired that he should continue the work, judging, after he had
+seen it uncovered, that he could make the second half considerably
+better; and so in twenty months he carried that work to perfect completion
+by himself alone, without the assistance even of anyone to grind
+his colours. Michelagnolo complained at times that on account of the
+haste that the Pope imposed on him he was not able to finish it in his
+own fashion, as he would have liked; for his Holiness was always asking
+him importunately when he would finish it. On one occasion, among
+others, he replied, "It will be finished when I shall have satisfied myself
+in the matter of art." "But it is our pleasure," answered the Pope,
+"that you should satisfy us in our desire to have it done quickly;" and
+he added, finally, that if Michelagnolo did not finish the work quickly he
+would have him thrown down from the scaffolding. Whereupon Michelagnolo,
+who feared and had good reason to fear the anger of the Pope,
+straightway finished all that was wanting, without losing any time, and,
+after taking down the rest of the scaffolding, threw it open to view on the
+morning of All Saints' Day, when the Pope went into the chapel to sing
+Mass, to the great satisfaction of the whole city. Michelagnolo desired
+to retouch some parts "a secco," as the old masters had done on the
+scenes below, painting backgrounds, draperies, and skies in ultramarine,
+and ornaments in gold in certain places, to the end that this might
+produce greater richness and a more striking effect; and the Pope, having
+learned that this ornamentation was wanting, and hearing the work
+praised so much by all who had seen it, wished him to finish it; but,
+since it would have been too long a labour for Michelagnolo to rebuild the
+<span class="pagenum"><a id="Page_32" name="Page_32"></a>[Pg 32]</span> scaffolding, it was left as it was. His Holiness, often seeing Michelagnolo,
+would say to him that the chapel should be enriched with colours and
+gold, since it looked poor. And Michelagnolo would answer familiarly,
+"Holy Father, in those times men did not bedeck themselves with gold,
+and those that are painted there were never very rich, but rather holy
+men, on which account they despised riches."</p>
+
+<p>For this work Michelagnolo was paid by the Pope three thousand
+crowns on several occasions, of which he had to spend twenty-five on
+colours. The work was executed with very great discomfort to himself,
+from his having to labour with his face upwards, which so impaired his
+sight that for a time, which was not less than several months, he was not
+able to read letters or look at drawings save with his head backwards.
+And to this I can bear witness, having painted five vaulted chambers in
+the great apartments in the Palace of Duke Cosimo, when, if I had not
+made a chair on which I could rest my head and lie down at my work, I
+would never have finished it; even so, it has so ruined my sight and
+injured my head, that I still feel the effects, and I am astonished that
+Michelagnolo endured all that discomfort so well. But in truth, becoming
+more and more kindled every day by his fervour in the work, and encouraged
+by the proficience and improvement that he made, he felt no
+fatigue and cared nothing for discomfort.</p>
+
+<div class="figcenter">
+<a name="img015" id="img015"></a>
+<img src="images/img015-tb.jpg" width="500" height="225" alt="The Creation of Adam." title="">
+<p class="caption">THE CREATION OF ADAM<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img015.jpg">View larger image</a></span></p>
+</div>
+
+<p>The distribution of this work is contrived with six pendentives on
+either side, with one in the centre of the walls at the foot and at the head,
+and on these he painted Sibyls and Prophets, six braccia in height; in
+the centre of the vault the history of the world from the Creation down
+to the Deluge and the Drunkenness of Noah, and in the lunettes all the
+Genealogy of Christ. In these compartments he used no rule of perspectives
+in foreshortening, nor is there any fixed point of view, but he accommodated
+the compartments to the figures rather than the figures to the
+compartments, being satisfied to execute those figures, both the nude
+and the draped, with the perfection of design, so that another such work
+has never been and never can be done, and it is scarcely possible even
+to imitate his achievement. This work, in truth, has been and still is
+the lamp of our art, and has bestowed such benefits and shed so much
+<span class="pagenum"><a id="Page_33" name="Page_33"></a>[Pg 33]</span> light on the art of painting, that it has served to illuminate a world
+that had lain in darkness for so many hundreds of years. And it is certain
+that no man who is a painter need think any more to see new inventions,
+attitudes, and draperies for the clothing of figures, novel manners of expression,
+and things painted with greater variety and force, because he
+gave to this work all the perfection that can be given to any work executed
+in such a field of art. And at the present day everyone is amazed who
+is able to perceive in it the excellence of the figures, the perfection of the
+foreshortenings, and the extraordinary roundness of the contours, which
+have in them slenderness and grace, being drawn with the beauty of
+proportion that is seen in beautiful nudes; and these, in order to display
+the supreme perfection of art, he made of all ages, different in expression
+and in form, in countenance and in outline, some more slender and some
+fuller in the members; as may also be seen in the beautiful attitudes,
+which are all different, some seated, some moving, and others upholding
+certain festoons of oak-leaves and acorns, placed there as the arms and
+device of Pope Julius, and signifying that at that time and under his
+government was the age of gold; for Italy was not then in the travail
+and misery that she has since suffered. Between them, also, they hold
+some medallions containing stories in relief in imitation of bronze and
+gold, taken from the Book of Kings.</p>
+
+<div class="figcenter">
+<a name="img016" id="img016"></a>
+<img src="images/img016-tb.jpg" width="500" height="226" alt="The Fall and the Expulsion." title="">
+<p class="caption">THE FALL AND THE EXPULSION<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img016.jpg">View larger image</a></span></p>
+</div>
+
+<p>Besides this, in order to display the perfection of art and also the
+greatness of God, he painted in a scene God dividing Light from Darkness,
+wherein may be seen His Majesty as He rests self-sustained with the arms
+outstretched, and reveals both love and power. In the second scene he
+depicted with most beautiful judgment and genius God creating the Sun
+and Moon, in which He is supported by many little Angels, in an attitude
+sublime and terrible by reason of the foreshortenings in the arms and
+legs. In the same scene Michelagnolo depicted Him after the Blessing of
+the Earth and the Creation of the Animals, when He is seen on that
+vaulting as a figure flying in foreshortening; and wherever you go throughout
+the chapel, it turns constantly and faces in every direction. So, also,
+in the next scene, where He is dividing the Water from the Earth; and
+both these are very beautiful figures and refinements of genius such as
+<span class="pagenum"><a id="Page_34" name="Page_34"></a>[Pg 34]</span> could be produced only by the divine hands of Michelagnolo. He then
+went on, beyond that scene, to the Creation of Adam, wherein he figured
+God as borne by a group of nude Angels of tender age, which appear to
+be supporting not one figure only, but the whole weight of the world; this
+effect being produced by the venerable majesty of His form and by the
+manner of the movement with which He embraces some of the little
+Angels with one arm, as if to support Himself, and with the other extends
+the right hand towards Adam, a figure of such a kind in its beauty, in
+the attitude, and in the outlines, that it appears as if newly fashioned
+by the first and supreme Creator rather than by the brush and design of
+a mortal man. Beyond this, in another scene, he made God taking our
+mother Eve from Adam's side, in which may be seen those two nude
+figures, one as it were dead from his being the thrall of sleep, and the
+other become alive and filled with animation by the blessing of God.
+Very clearly do we see from the brush of this most gifted craftsman the
+difference that there is between sleep and wakefulness, and how firm and
+stable, speaking humanly, the Divine Majesty may appear.</p>
+
+<p>Next to this there follows the scene when Adam, at the persuasion
+of a figure half woman and half serpent, brings death upon himself and
+upon us by the Forbidden Fruit; and there, also, are seen Adam and Eve
+driven from Paradise. In the figure of the Angel is shown with nobility
+and grandeur the execution of the mandate of a wrathful Lord, and in
+the attitude of Adam the sorrow for his sin together with the fear of death,
+as likewise in the woman may be seen shame, abasement, and the desire
+to implore pardon, as she presses the arms to the breast, clasps the hands
+palm to palm, and sinks the neck into the bosom, and also turns the head
+towards the Angel, having more fear of the justice of God than hope in
+His mercy. Nor is there less beauty in the story of the sacrifice of
+Cain and Abel; wherein are some who are bringing up the wood, some
+who are bent down and blowing at the fire, and others who are cutting
+the throat of the victim; which certainly is all executed with not less consideration
+and attention than the others. He showed the same art and
+the same judgment in the story of the Deluge, wherein are seen various
+deaths of men, who, terrified by the horror of those days, are striving their
+<span class="pagenum"><a id="Page_35" name="Page_35"></a>[Pg 35]</span> utmost in different ways to save their lives. For in the faces of those
+figures may be seen life a prey to death, not less than fear, terror, and
+disregard of everything; and compassion is visible in many that are assisting
+one another to climb to the summit of a rock in search of safety,
+among them one who, having embraced one half dead, is striving his
+utmost to save him, than which Nature herself could show nothing better.
+Nor can I tell how well expressed is the story of Noah, who, drunk with
+wine, is sleeping naked, and has before him one son who is laughing at
+him and two who are covering him up&mdash;a scene incomparable in the
+beauty of the artistry, and not to be surpassed save by himself alone.</p>
+
+<div class="figcenter">
+<a name="img017" id="img017"></a>
+<img src="images/img017-tb.jpg" width="350" height="456" alt="The Lybian Sibyl." title="">
+<p class="caption">THE LYBIAN SIBYL<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img017.jpg">View larger image</a></span></p>
+</div>
+
+<p>Then, as if his genius had taken courage from what it had achieved
+up to that time, it soared upwards and proved itself even greater in the
+five Sibyls and seven Prophets that are painted there, each five braccia
+or more in height. In all these are well-varied attitudes, beautiful
+draperies, and different vestments; and all, in a word, are wrought with
+marvellous invention and judgment, and to him who can distinguish their
+expressions they appear divine. Jeremiah is seen with the legs crossed,
+holding one hand to the beard, and resting that elbow on the knee; the other
+hand rests in his lap, and he has the head bowed in a manner that clearly
+demonstrates the melancholy, cogitation, anxious thought and bitterness
+of soul that his people cause him. Equally fine, also, are two little
+children that are behind him, and likewise the first Sibyl, beyond him
+in the direction of the door, in which figure, wishing to depict old age, in
+addition to enveloping her in draperies, he sought to show that her blood
+is already frozen by time; besides which, since her sight has become
+feeble, he has made her as she reads bring the book very close to her
+eyes. Beyond this figure follows the Prophet Ezekiel, an old man, who
+has a grace and a movement that are most beautiful, and is much enveloped
+in draperies, while with one hand he holds a roll of prophecies,
+and with the other uplifted, turning his head, he appears to be about to
+utter great and lofty words; and behind him he has two boys who hold
+his books. Next to him follows a Sibyl, who is doing the contrary to
+the Erythræan Sibyl that we described above, for, holding her book
+away from her, she seeks to turn a page, while with one knee over the
+<span class="pagenum"><a id="Page_36" name="Page_36"></a>[Pg 36]</span> other she sits sunk within herself, pondering gravely over what she is to
+write; and then a boy who is behind her, blowing on a burning brand,
+lights her lamp. This figure is of extraordinary beauty in the expression
+of the face, in the head-dress, and in the arrangement of the draperies;
+besides which she has the arms nude, which are equal to the other parts.
+Beyond this Sibyl he painted the Prophet Joel, who, sunk within himself,
+has taken a scroll and reads it with great attention and appreciation: and
+from his aspect it is so clearly evident that he is satisfied with that which
+he finds written there, that he looks like a living person who has applied
+his thoughts intently to some matter. Over the door of the chapel,
+likewise, he placed the aged Zaccharias, who, seeking through his written
+book for something that he cannot find, stands with one leg on high and
+the other low; and, while the ardour of the search after something that
+he cannot find causes him to stand thus, he takes no notice of the discomfort
+that he suffers in such a posture. This figure is very beautiful
+in its aspect of old age, and somewhat full in form, and has draperies with
+few folds, which are most beautiful. In addition, there is another Sibyl,
+who is next in the direction of the altar on the other side, displaying
+certain writings, and, with her boys in attendance, is no less worthy of
+praise than are the others. Beyond her is the Prophet Isaiah, who,
+wholly absorbed in his own thoughts, has the legs crossed over one
+another, and, holding one hand in his book to mark the place where he
+was reading, has placed the elbow of the other arm upon the book, with
+the cheek pressed against the hand; and, being called by one of the boys
+that he has behind him, he turns only the head, without disturbing himself
+otherwise. Whoever shall consider his countenance, shall see touches
+truly taken from Nature herself, the true mother of art, and a figure which,
+when well studied in every part, can teach in liberal measure all the
+precepts of the good painter. Beyond this Prophet is an aged Sibyl of
+great beauty, who, as she sits, studies from a book in an attitude of extraordinary
+grace, not to speak of the beautiful attitudes of the two boys
+that are about her. Nor may any man think with all his imaginings to
+be able to attain to the excellence of the figure of a youth representing
+Daniel, who, writing in a great book, is taking certain things from other
+<span class="pagenum"><a id="Page_37" name="Page_37"></a>[Pg 37]</span> writings and copying them with extraordinary attention; and as a
+support for the weight of the book Michelagnolo painted a boy between his
+legs, who is upholding it while he writes, all which no brush held by a
+human hand, however skilful, will ever be able to equal. And so, also,
+with the beautiful figure of the Libyan Sibyl, who, having written a great
+volume drawn from many books, is in an attitude of womanly grace, as
+if about to rise to her feet; and in one and the same movement she makes
+as if to rise and to close the book&mdash;a thing most difficult, not to say
+impossible, for any other but the master of the work.</p>
+
+<p>And what can be said of the four scenes at the corners, on the spandrels
+of that vaulting; in one of which David, with all the boyish strength
+that he can exert in the conquest of a giant, is cutting off his head, bringing
+marvel to the faces of some soldiers who are about the camp. And so,
+also, do men marvel at the beautiful attitudes that Michelagnolo depicted
+in the story of Judith, at the opposite corner, in which may be seen the
+trunk of Holofernes, robbed of life but still quivering, while Judith is
+placing the lifeless head in a basket on the head of her old serving-woman,
+who, being tall in stature, is stooping to the end that Judith may be
+able to reach up to her and adjust the weight well; and the servant, while
+upholding the burden with her hands, seeks to conceal it, and, turning
+her head towards the trunk, which, although dead, draws up an arm and
+a leg and makes a noise in the tent, she shows in her expression fear of
+the camp and terror of the dead body&mdash;a picture truly full of thought.
+But more beautiful and more divine than this or any of the others is the
+story of the Serpents of Moses, which is above the left-hand corner of the
+altar; for the reason that in it is seen the havoc wrought by death, the
+rain of serpents, their stings and their bites, and there may also be perceived
+the serpent of brass that Moses placed upon a pole. In this scene
+are shown vividly the various deaths that those die who are robbed of all
+hope by the bite of the serpents, and one sees the deadly venom causing
+vast numbers to die in terror and convulsions, to say nothing of the rigid
+legs and twisted arms of those who remain in the attitudes in which they
+were struck down, unable to move, and the marvellous heads that are
+shrieking and thrown backwards in despair. Not less beautiful than all
+<span class="pagenum"><a id="Page_38" name="Page_38"></a>[Pg 38]</span> these are those who, having looked upon the serpent, and feeling their
+pains alleviated by the sight of it, are gazing on it with profound emotion;
+and among them is a woman who is supported by another figure in such
+a manner that the assistance rendered to her by him who upholds her is
+no less manifest than her pressing need in such sudden alarm and hurt.
+In the next scene, likewise, in which Ahasuerus, reclining in a bed, is
+reading his chronicles, are figures of great beauty, and among them three
+figures eating at a table, which represent the council that was held for the
+deliverance of the Jewish people and the hanging of Haman. The figure
+of Haman was executed by Michelagnolo in an extraordinary manner of
+foreshortening, for he counterfeited the trunk that supports his person,
+and that arm which comes forward, not as painted things but as real and
+natural, standing out in relief, and so also that leg which he stretches
+outwards and other parts that bend inwards: which figure, among all
+that are beautiful and difficult, is certainly the most beautiful and the
+most difficult.</p>
+
+<div class="figcenter">
+<a name="img018" id="img018"></a>
+<img src="images/img018-tb.jpg" width="350" height="453" alt="Decorative Figure." title="">
+<p class="caption">DECORATIVE FIGURE<br>
+(<i>After the fresco by</i> Michelagnolo Buonarroti. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img018.jpg">View larger image</a></span></p>
+</div>
+
+<p>It would take too long to describe all the beautiful fantasies in the
+different actions in the part where there is all the Genealogy of the
+Fathers, beginning with the sons of Noah, to demonstrate the Genealogy
+of Jesus Christ, in which figures is a variety of things that it is not possible
+to enumerate, such as draperies, expressions of heads, and an infinite
+number of novel and extraordinary fancies, all most beautifully considered.
+Nothing there but is carried into execution with genius: all
+the figures there are masterly and most beautifully foreshortened, and
+everything that you look at is divine and beyond praise. And who will
+not be struck dumb with admiration at the sight of the sublime force
+of Jonas, the last figure in the chapel, wherein by the power of art the
+vaulting, which in fact springs forward in accord with the curve of the
+masonry, yet, being in appearance pushed back by that figure, which
+bends inwards, seems as if straight, and, vanquished by the art of design
+with its lights and shades, even appears in truth to recede inwards? Oh,
+truly happy age of ours, and truly blessed craftsmen! Well may you be
+called so, seeing that in our time you have been able to illumine anew
+in such a fount of light the darkened sight of your eyes, and to see all
+<span class="pagenum"><a id="Page_39" name="Page_39"></a>[Pg 39]</span> that was difficult made smooth by a master so marvellous and so unrivalled!
+Certainly the glory of his labours makes you known and
+honoured, in that he has stripped from you that veil which you had over
+the eyes of your minds, which were so full of darkness, and has delivered
+the truth from the falsehood that overshadowed your intellects. Thank
+Heaven, therefore, for this, and strive to imitate Michelagnolo in everything.</p>
+
+<p>When the work was thrown open, the whole world could be heard
+running up to see it, and, indeed, it was such as to make everyone astonished
+and dumb. Wherefore the Pope, having been magnified by such a
+result and encouraged in his heart to undertake even greater enterprises,
+rewarded Michelagnolo liberally with money and rich gifts: and Michelagnolo
+would say at times of the extraordinary favours that the Pope
+conferred upon him, that they showed that he fully recognized his worth,
+and that, if by way of proving his friendliness he sometimes played him
+strange tricks, he would heal the wound with signal gifts and favours.
+As when, Michelagnolo once demanding from him leave to go to Florence
+for the festival of S. John, and asking money for that purpose, the Pope
+said, "Well, but when will you have this chapel finished?" "As soon
+as I can, Holy Father." The Pope, who had a staff in his hand, struck
+Michelagnolo, saying, "As soon as I can! As soon as I can! I will soon
+make you finish it!" Whereupon Michelagnolo went back to his house
+to get ready to go to Florence; but the Pope straightway sent Cursio,
+his Chamberlain, to Michelagnolo with five hundred crowns to pacify him,
+fearing lest he might commit one of his caprices, and Cursio made excuse
+for the Pope, saying that such things were favours and marks of affection.
+And Michelagnolo, who knew the Pope's nature and, after all, loved him,
+laughed over it all, for he saw that in the end everything turned to his
+profit and advantage, and that the Pontiff would do anything to keep a
+man such as himself as his friend.</p>
+
+<p>When the chapel was finished, before the Pope was overtaken by
+death, his Holiness commanded Cardinal Santiquattro and Cardinal
+Aginense, his nephew, in the event of his death, that they should cause
+his tomb to be finished, but on a smaller scale than before. To this work
+<span class="pagenum"><a id="Page_40" name="Page_40"></a>[Pg 40]</span> Michelagnolo set himself once again, and so made a beginning gladly with
+the tomb, hoping to carry it once and for all to completion without so
+many impediments; but he had from it ever afterwards vexations, annoyances,
+and travails, more than from any other work that he did in all his
+life, and it brought upon him for a long time, in a certain sense, the accusation
+of being ungrateful to that Pope, who had so loved and favoured
+him. Thus, when he had returned to the tomb, and was working at it
+continually, and also at times preparing designs from which he might
+be able to execute the façades of the chapel, envious Fortune decreed that
+that memorial, which had been begun with such perfection, should be
+left unfinished. For at that time there took place the death of Pope
+Julius, and the work was abandoned on account of the election of Pope
+Leo X, who, being no less splendid than Julius in mind and spirit, had
+a desire to leave in his native city (of which he was the first Pope), in
+memory of himself and of a divine craftsman who was his fellow-citizen,
+such marvels as only a mighty Prince like himself could undertake.
+Wherefore he gave orders that the façade of S. Lorenzo, a church built
+by the Medici family in Florence, should be erected for him, which was
+the reason that the work of the tomb of Julius was left unfinished; and
+he demanded advice and designs from Michelagnolo, and desired that he
+should be the head of that work. Michelagnolo made all the resistance
+that he could, pleading that he was pledged in the matter of the tomb to
+Santiquattro and Aginense, but the Pope answered him that he was not
+to think of that, and that he himself had already seen to it and contrived
+that Michelagnolo should be released by them; promising, also, that he
+should be able to work in Florence, as he had already begun to do, at
+the figures for that tomb. All this was displeasing to the Cardinals, and
+also to Michelagnolo, who went off in tears.</p>
+
+<div class="figcenter">
+<a name="img019" id="img019"></a>
+<img src="images/img019-tb.jpg" width="400" height="288" alt="The New Sacristy." title="">
+<p class="caption">THE NEW SACRISTY<br>
+(<i>After Michelagnolo. Florence: S. Lorenzo</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img019.jpg">View larger image</a></span></p>
+</div>
+
+<p>Many and various were the discussions that arose on this subject,
+on the ground that such a work as that façade should have been distributed
+among several persons, and in the matter of the architecture many
+craftsmen flocked to Rome to see the Pope, and made designs; Baccio
+d'Agnolo, Antonio da San Gallo, Andrea Sansovino and Jacopo Sansovino,
+and the gracious Raffaello da Urbino, who was afterwards summoned
+<span class="pagenum"><a id="Page_41" name="Page_41"></a>[Pg 41]</span> to Florence for that purpose at the time of the Pope's visit.
+Thereupon Michelagnolo resolved to make a model and not to accept
+anyone beyond himself as his guide or superior in the architecture of such
+a work; but this refusal of assistance was the reason that neither he nor
+any other executed the work, and that those masters returned in despair
+to their customary pursuits. Michelagnolo, going to Carrara, had an
+order authorizing that a thousand crowns should be paid to him by
+Jacopo Salviati; but on his arrival Jacopo was shut up in his room on
+business with some citizens, and Michelagnolo, refusing to wait for an
+audience, departed without saying a word and went straightway to
+Carrara. Jacopo heard of Michelagnolo's arrival, and, not finding him in
+Florence, sent him a thousand crowns to Carrara. The messenger
+demanded that Michelagnolo should write him a receipt, to which he
+answered that the money was for the expenses of the Pope and not for
+his own interest, and that the messenger might take it back, but that he
+was not accustomed to write out quittances or receipts for others; whereupon
+the other returned in alarm to Jacopo without a receipt.</p>
+
+<p>While Michelagnolo was at Carrara and was having marble quarried
+for the tomb of Julius, thinking at length to finish it, no less than for
+the façade, a letter was written to him saying that Pope Leo had heard
+that in the mountains of Pietrasanta near Seravezza, in the Florentine
+dominion, at the summit of the highest mountain, which is called Monte
+Altissimo, there were marbles of the same excellence and beauty as those
+of Carrara. This Michelagnolo already knew, but it seems that he would
+not take advantage of it because of his friendship with the Marchese
+Alberigo, Lord of Carrara, and, in order to do him a good service, chose
+to quarry those of Carrara rather than those of Seravezza; or it may have
+been that he judged it to be a long undertaking and likely to waste much
+time, as indeed it did. However, he was forced to go to Seravezza,
+although he pleaded in protest that it would be more difficult and costly,
+as in truth it was, especially at the beginning, and, moreover, that the
+report about the marble was perhaps not true; but for all that the Pope
+would not hear a word of objection. Thereupon it was decided to make
+a road for several miles through the mountains, breaking down rocks
+<span class="pagenum"><a id="Page_42" name="Page_42"></a>[Pg 42]</span> with hammers and pickaxes to obtain a level, and sinking piles in the
+marshy places; and there Michelagnolo spent many years in executing
+the wishes of the Pope. Finally five columns of the proper size were
+excavated, one of which is on the Piazza di S. Lorenzo in Florence, and
+the others are on the sea-shore. And for this reason the Marchese
+Alberigo, who saw his business ruined, became the bitter enemy of Michelagnolo,
+who was not to blame. Michelagnolo, in addition to these
+columns, excavated many other marbles there, which are still in the
+quarries, abandoned there for more than thirty years. But at the
+present day Duke Cosimo has given orders for the road to be finished, of
+which there are still two miles to make over very difficult ground, for the
+transportation of these marbles, and also a road from another quarry of
+excellent marble that was discovered at that time by Michelagnolo, in
+order to be able to finish many beautiful undertakings. In the same
+district of Seravezza he discovered a mountain of variegated marble that
+is very hard and very beautiful, below Stazema, a village in those mountains;
+where the same Duke Cosimo has caused a paved road of more than
+four miles to be made, for conveying the marble to the sea.</p>
+
+<p>But to return to Michelagnolo: having gone back to Florence, he
+lost much time now in one thing and now in another. And he made at
+that time for the Palace of the Medici a model for the knee-shaped windows
+of those rooms that are at the corner, where Giovanni da Udine
+adorned the chamber in stucco and painting, which is a much extolled
+work; and he caused to be made for them by the goldsmith Piloto, but
+under his own direction, those jalousies of perforated copper, which are
+certainly admirable things. Michelagnolo consumed many years in
+quarrying marbles, although it is true that while they were being excavated
+he made models of wax and other things for the work. But this
+undertaking was delayed so long, that the money assigned by the Pope
+for the purpose was spent on the war in Lombardy; and at the death of
+Leo the work was left unfinished, nothing being accomplished save the
+laying of a foundation in front to support it, and the transportation of
+a large column of marble from Carrara to the Piazza di S. Lorenzo.</p>
+
+<div class="figcenter">
+<a name="img020" id="img020"></a>
+<img src="images/img020-tb.jpg" width="300" height="482" alt="Madonna and Child." title="">
+<p class="caption">MADONNA AND CHILD<br>
+(<i>After </i> Michelagnolo. <i>Florence: New Sacristy of S. Lorenzo</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img020.jpg">View larger image</a></span></p>
+</div>
+
+<p>The death of Leo completely dismayed the craftsmen and the arts
+<span class="pagenum"><a id="Page_43" name="Page_43"></a>[Pg 43]</span> both in Rome and in Florence; and while Adrian VI was alive Michelagnolo
+gave his attention in Florence to the tomb of Julius. But
+after the death of Adrian Clement VII was elected, who was no less
+desirous than Leo and his other predecessors to leave his fame established
+by the arts of architecture, sculpture, and painting. At this time, which
+was the year 1525, Giorgio Vasari was taken as a little boy to Florence by
+the Cardinal of Cortona, and placed with Michelagnolo to learn art.
+But Michelagnolo was then summoned to Rome by Pope Clement VII,
+who had made a beginning with the library of S. Lorenzo and also the new
+sacristy, in which he proposed to place the marble tombs that he was
+having made for his forefathers; and he resolved that Vasari should go
+to work with Andrea del Sarto until he should himself be free again, and
+went in person to Andrea's workshop to present him.</p>
+
+<p>Michelagnolo departed for Rome in haste, harassed once again by
+Francesco Maria, Duke of Urbino, the nephew of Pope Julius, who complained
+of him, saying that he had received sixteen thousand crowns
+for the above-named tomb, yet was living a life of pleasure in Florence;
+and he threatened in his anger that, if Michelagnolo did not give his attention
+to the work, he would make him rue it. Having arrived in Rome,
+Pope Clement, who wished to make use of him, advised him to draw up
+his accounts with the agents of the Duke, believing that after all that he
+had done he must be their creditor rather than their debtor; and so the
+matter rested. After discussing many things together, they resolved to
+finish completely the library and new sacristy of S. Lorenzo in Florence.
+Michelagnolo therefore departed from Rome, and raised the cupola that
+is now to be seen, causing it to be wrought in various orders of composition;
+and he had a ball with seventy-two faces made by the goldsmith
+Piloto, which is very beautiful. It happened, while Michelagnolo was
+raising the cupola, that he was asked by some friends, "Should you not
+make your lantern very different from that of Filippo Brunelleschi?"
+And he answered them, "Different it can be made with ease, but better,
+no." He made four tombs in that sacristy, to adorn the walls and to
+contain the bodies of the fathers of the two Popes, the elder Lorenzo and
+his brother Giuliano, and those of Giuliano, the brother of Leo, and of
+<span class="pagenum"><a id="Page_44" name="Page_44"></a>[Pg 44]</span> Duke Lorenzo, his nephew. And since he wished to execute the work
+in imitation of the old sacristy that Filippo Brunelleschi had built, but
+with another manner of ornamentation, he made in it an ornamentation
+in a composite order, in a more varied and more original manner than
+any other master at any time, whether ancient or modern, had been able
+to achieve, for in the novelty of the beautiful cornices, capitals, bases,
+doors, tabernacles, and tombs, he departed not a little from the work
+regulated by measure, order, and rule, which other men did according
+to a common use and after Vitruvius and the antiquities, to which he would
+not conform. That licence has done much to give courage to those who
+have seen his methods to set themselves to imitate him, and new fantasies
+have since been seen which have more of the grotesque than of reason or
+rule in their ornamentation. Wherefore the craftsmen owe him an infinite
+and everlasting obligation, he having broken the bonds and chains
+by reason of which they had always followed a beaten path in the execution
+of their works. And even more did he demonstrate and seek to
+make known such a method afterwards in the library of S. Lorenzo, at
+the same place; in the beautiful distribution of the windows, in the
+pattern of the ceiling, and in the marvellous entrance of the vestibule.
+Nor was there ever seen a more resolute grace, both in the whole and in
+the parts, as in the consoles, tabernacles, and cornices, nor any staircase
+more commodious; in which last he made such bizarre breaks in the
+outlines of the steps, and departed so much from the common use of others,
+that everyone was amazed.</p>
+
+<div class="figcenter">
+<a name="img021" id="img021"></a>
+<img src="images/img021-tb.jpg" width="400" height="515" alt="Giuliano De' Medici." title="">
+<p class="caption">GIULIANO DE' MEDICI<br>
+(<i>After </i> Michelagnolo. <i>Florence: New Sacristy of S. Lorenzo</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img021.jpg">View larger image</a></span></p>
+</div>
+
+<p>At this time he sent his disciple Pietro Urbano of Pistoia to Rome
+to carry to completion a nude Christ holding the Cross, a most admirable
+figure, which was placed beside the principal chapel of the Minerva, at
+the commission of Messer Antonio Metelli. About the same time there
+took place the sack of Rome and the expulsion of the Medici from Florence;
+by reason of which upheaval those who governed the city of Florence
+resolved to rebuild the fortifications, and therefore made Michelagnolo
+Commissary General over all that work. Whereupon he made designs
+and caused fortifications to be built for several parts of the city, and
+finally encircled the hill of San Miniato with bastions, which he made not
+<span class="pagenum"><a id="Page_45" name="Page_45"></a>[Pg 45]</span> with sods of earth, wood, and bundles of brushwood, as is generally
+done, but with a stout base of chestnut, oak, and other good materials
+interwoven, and in place of sods he took unbaked bricks made with tow
+and the dung of cattle, squared with very great diligence. And for this
+reason he was sent by the Signoria of Florence to Ferrara, to inspect the
+fortifications of Duke Alfonso I, and so also his artillery and munitions;
+where he received many courtesies from that lord, who besought him that
+he should do something for him with his own hand at his leisure, and
+Michelagnolo promised that he would. After his return, he was continually
+engaged in fortifying the city, but, although he was thus occupied,
+nevertheless he kept working at a picture of a Leda for that Duke, painted
+with his own hand in distemper-colours, which was a divine thing, as
+will be related in the proper place; also continuing the statues for the
+tombs of S. Lorenzo, but in secret. At this time Michelagnolo spent
+some six months on the hill of San Miniato in order to press on the
+fortification of that hill, because if the enemy became master of it,
+the city was lost; and so he pursued these undertakings with the utmost
+diligence.</p>
+
+<div class="figcenter">
+<a name="img022" id="img022"></a>
+<img src="images/img022-tb.jpg" width="350" height="455" alt="Tomb of Giuliano De' Medici." title="">
+<p class="caption">TOMB OF GIULIANO DE' MEDICI<br>
+(<i>After</i> Michelagnolo. <i>Florence: New Sacristy of S. Lorenzo</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img022.jpg">View larger image</a></span></p>
+</div>
+
+<p>At this same time he continued the work in the above-mentioned
+sacristy, in which were seven statues that were left partly finished and
+partly not. With these, and with the architectural inventions of the
+tombs, it must be confessed that he surpassed every man in these three
+professions; to which testimony is borne by the statues of marble, blocked
+out and finished by him, which are to be seen in that place. One is Our
+Lady, who is in a sitting attitude, with the right leg crossed over the left
+and one knee placed upon the other, and the Child, with the thighs astride
+the leg that is uppermost, turns in a most beautiful attitude towards
+His Mother, hungry for her milk, and she, while holding Him with one
+hand and supporting herself with the other, bends forward to give it to
+Him; and although the figure is not equal in every part, and it was left
+rough and showing the marks of the gradine, yet with all its imperfections
+there may be recognized in it the full perfection of the work. Even
+more did he cause everyone to marvel by the circumstance that in making
+the tombs of Duke Giuliano and Duke Lorenzo de' Medici he considered
+<span class="pagenum"><a id="Page_46" name="Page_46"></a>[Pg 46]</span> that earth alone was not enough to give them honourable burial in their
+greatness, and desired that all the phases of the world should be there,
+and that their sepulchres should be surrounded and covered by four
+statues; wherefore he gave to one Night and Day, and to the other Dawn
+and Twilight; which statues, most beautifully wrought in form, in attitude,
+and in the masterly treatment of the muscles, would suffice, if that
+art were lost, to restore her to her pristine lustre. There, among the
+other statues, are the two Captains, armed; one the pensive Duke Lorenzo,
+the very presentment of wisdom, with legs so beautiful and so well
+wrought, that there is nothing better to be seen by mortal eye; and the
+other is Duke Giuliano, so proud a figure, with the head, the throat,
+the setting of the eyes, the profile of the nose, the opening of the mouth,
+and the hair all so divine, to say nothing of the hands, arms, knees, feet,
+and, in short, every other thing that he carved therein, that the eye can
+never be weary or have its fill of gazing at them; and, of a truth, whoever
+studies the beauty of the buskins and the cuirass, believes it to be celestial
+rather than mortal. But what shall I say of the Dawn, a nude woman,
+who is such as to awaken melancholy in the soul and to render impotent
+the style of sculpture? In her attitude may be seen her effort, as she
+rises, heavy with sleep, and raises herself from her downy bed; and it
+seems that in awakening she has found the eyes of that great Duke closed
+in death, so that she is agonized with bitter grief, weeping in her own
+unchangeable beauty in token of her great sorrow. And what can I say
+of the Night, a statue not rare only, but unique? Who is there who
+has ever seen in that art in any age, ancient or modern, statues of such
+a kind? For in her may be seen not only the stillness of one sleeping,
+but the grief and melancholy of one who has lost a great and honoured
+possession; and we must believe that this is that night of darkness that
+obscures all those who thought for some time, I will not say to surpass,
+but to equal Michelagnolo in sculpture and design. In that statue is
+infused all the somnolence that is seen in sleeping forms; wherefore many
+verses in Latin and rhymes in the vulgar tongue were written in her
+praise by persons of great learning, such as these, of which the author
+is not known&mdash;</p>
+
+<p class="poem">
+<span class="pagenum"><a id="Page_47" name="Page_47"></a>[Pg 47]</span> <span class="min2em">La Notte che tu vedi in si dolci atti</span><br>
+    Dormire, fu da un Angelo scolpita<br>
+    In questo sasso; e perche dorme, ha vita.<br>
+    Destala, se no 'l credi, e parleratti.</p>
+
+<p>To which Michelagnolo, speaking in the person of Night, answered
+thus&mdash;</p>
+
+<p class="poem">
+<span class="min2em">Grato mi è il sonno, e più l'esser di sasso;</span><br>
+    Mentre che il danno e la vergogna dura,<br>
+    Non veder' non sentir' m'è gran ventura.<br>
+    Però non mi destar'; deh parla basso.</p>
+
+<p>Truly, if the enmity that there is between Fortune and Genius,
+between the envy of the one and the excellence of the other, had not
+prevented such a work from being carried to completion, Art was like to
+prove to Nature that she surpassed her by a great measure in every conception.</p>
+
+<p>While Michelagnolo was labouring with the greatest solicitude and
+love at these works, there came in 1529 the siege of Florence, which hindered
+their completion only too effectually, and was the reason that he
+did little or no more work upon them, the citizens having laid upon him
+the charge of fortifying not only the hill of S. Miniato, but also the city,
+as we have related. And thus, having lent a thousand crowns to that
+Republic, and being elected one of the Nine, a military Council appointed
+for the war, he turned all his mind and soul to perfecting those
+fortifications. But in the end, when the enemy had closed round the
+city, and all hope of assistance was failing little by little, and the difficulties
+of maintaining the defence were increasing, and it appeared to
+Michelagnolo that he was in a sorry pass with regard to his personal
+safety, he determined to leave Florence and make his way to Venice,
+without making himself known to anyone on the road. He set out
+secretly, therefore, by way of the hill of S. Miniato, without anyone
+knowing of it, taking with him Antonio Mini, his disciple, and the goldsmith
+Piloto, his faithful friend; and each of them carried a number of
+crowns on his person, sewn into his quilted doublet. Having arrived in
+Ferrara, they rested there; and it happened that on account of the alarm
+<span class="pagenum"><a id="Page_48" name="Page_48"></a>[Pg 48]</span> caused by the war and the league of the Emperor and the Pope, who
+were besieging Florence, Duke Alfonso d'Este was keeping strict watch
+in Ferrara, and required to be secretly informed by the hosts who gave
+lodging to travellers of the names of all those who lodged with them
+from one day to another; and he caused a list of all foreigners, with
+their nationality, to be brought to him every day. It came to pass, then,
+that when Michelagnolo had dismounted with his companions, intending
+to stay there without revealing himself, this became known in that way
+to the Duke, who was very glad, because he had already become his
+friend. That Prince was a man of lofty mind, delighting constantly in
+persons of ability all his life long, and he straightway sent some of the
+first men of his Court with orders to conduct him in the name of his
+Excellency to the Palace, where the Duke was, to remove thither his
+horses and all his baggage, and to give him a handsome lodging in that
+Palace. Michelagnolo, finding himself in the power of another, was
+constrained to obey and to make the best of a bad business, and he went
+with those courtiers to the Duke, but without removing his baggage from
+the inn. Thereupon the Duke, after first complaining of his reserve,
+gave him a great reception; and then, making him rich and honourable
+presents, he sought to detain him in Ferrara with the promise of a fine
+salary. He, having his mind set on something else, would not consent to
+remain; but the Duke again made him a free offer of all that was in
+his power, praying him that he should at least not depart as long as the
+war continued. Whereupon Michelagnolo, not wishing to be outdone in
+courtesy, thanked him warmly, and, turning towards his two companions,
+said that he had brought twelve thousand crowns to Ferrara, and that,
+if the Duke had need of them, they were at his disposal, together with
+himself. The Duke then took him through the Palace to divert him, as
+he had done on another occasion, and showed him all the beautiful things
+that he had there, including a portrait of himself by Tiziano, which was
+much commended by Michelagnolo. However, his Excellency was not
+able to keep him in the Palace, for he insisted on returning to the inn;
+wherefore the host who was lodging him received from the Duke a great
+abundance of things wherewith to do him honour, and also orders that
+<span class="pagenum"><a id="Page_49" name="Page_49"></a>[Pg 49]</span> at his departure he should not accept anything for his lodging. From
+Ferrara he made his way to Venice, where many gentlemen sought to
+become known to him; but he, who always had a very poor opinion of
+their knowledge of his profession, departed from the Giudecca, where he
+had his lodging. There, so it is said, he made for that city at that time,
+at the request of the Doge Gritti, a design for the bridge of the Rialto,
+which was very rare in invention and in ornamentation.</p>
+
+<p>Michelagnolo was invited with great insistence to go back to his
+native country, being urgently requested not to abandon his undertaking
+there, and receiving a safe-conduct; and finally, vanquished by love of
+her, he returned, but not without danger to his life. At this time he
+finished the Leda that he was painting, as has been related, at the request
+of Duke Alfonso; and it was afterwards taken to France by Antonio
+Mini, his disciple. And at this same time he saved the campanile of
+S. Miniato, a tower which sorely harassed the enemy's forces with its
+two pieces of artillery, so that their artillerists, having set to work to
+batter it with heavy cannon, had half ruined it, and were like to destroy
+it completely, when Michelagnolo protected it so well with bales of wool
+and stout mattresses suspended by cords, that it is still standing. It is
+said, also, that at the time of the siege there came to him an opportunity
+to acquire, according to a desire that he had long had, a block of marble
+of nine braccia which had come from Carrara, and which Pope Clement,
+after much rivalry and contention between him and Baccio Bandinelli,
+had given to Baccio. But Michelagnolo, now that such a matter was in
+the hands of the Commonwealth, asked for it from the Gonfalonier, who
+gave it to him that he might likewise try his hand upon it, although Baccio
+had already made a model and hacked away much of the stone in blocking
+it out. Thereupon Michelagnolo made a model, which was held to be
+a marvellous and very beautiful thing; but on the return of the Medici
+the marble was restored to Baccio.</p>
+
+<p>When peace had been made, Baccio Valori, the Pope's Commissioner,
+received orders to have some of the most partisan citizens arrested and
+imprisoned in the Bargello, and the same tribunal sought out Michelagnolo
+at his house; but he, fearing that, had fled secretly to the house of one
+<span class="pagenum"><a id="Page_50" name="Page_50"></a>[Pg 50]</span> who was much his friend, where he remained hidden many days. Finally,
+when the first fury had abated, Pope Clement, remembering the ability of
+Michelagnolo, caused a diligent search to be made for him, with orders
+that nothing should be said to him, but rather that his former appointments
+should be restored to him, and that he should attend to the work
+of S. Lorenzo, over which he placed as proveditor M. Giovan Battista
+Figiovanni, the old servant of the Medici family and Prior of S. Lorenzo.
+Thus reassured, Michelagnolo, in order to make Baccio Valori his friend,
+began a figure of three braccia in marble, which was an Apollo drawing
+an arrow from his quiver, and carried it almost to completion. It is now
+in the apartment of the Prince of Florence, and is a very rare work,
+although it is not completely finished.</p>
+
+<p>At this time a certain gentleman was sent to Michelagnolo by Duke
+Alfonso of Ferrara, who, having heard that the master had made some
+rare work for him with his own hand, did not wish to lose such a jewel.
+Having arrived in Florence and found Michelagnolo, the envoy presented
+to him letters of recommendation from that lord; whereupon Michelagnolo,
+receiving him courteously, showed him the Leda embracing the
+Swan that he had painted, with Castor and Pollux issuing from the Egg,
+in a large picture executed in distemper, as it were with the breath.
+The Duke's envoy, thinking from the praise that he heard everywhere
+of Michelagnolo that he should have done something great, and not recognizing
+the excellence and artistry of that figure, said to Michelagnolo:
+"Oh, this is but a trifle." Michelagnolo, knowing that no one is better
+able to pronounce judgment on works than those who have had long
+practise in them, asked him what was his vocation. And he answered,
+with a sneer, "I am a merchant"; believing that he had not been recognized
+by Michelagnolo as a gentleman, and as it were making fun of such
+a question, and at the same time affecting to despise the industry of the
+Florentines. Michelagnolo, who had understood perfectly the meaning
+of his words, at once replied: "You will find you have made a bad bargain
+this time for your master. Get you gone out of my sight."</p>
+
+<div class="figcenter">
+<a name="img023" id="img023"></a>
+<img src="images/img023-tb.jpg" width="300" height="512" alt="Apollo." title="">
+<p class="caption">APOLLO<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img023.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now in those days Antonio Mini, his disciple, who had two sisters
+waiting to be married, asked him for the Leda, and he gave it to him
+<span class="pagenum"><a id="Page_51" name="Page_51"></a>[Pg 51]</span> willingly, with the greater part of the designs and cartoons that he had
+made, which were divine things, and also two chests full of models, with
+a great number of finished cartoons for making pictures, and some of
+works that had been painted. When Antonio took it into his head to
+go to France, he carried all these with him; the Leda he sold to King
+Francis by means of some merchants, and it is now at Fontainebleau,
+but the cartoons and designs were lost, for he died there in a short time,
+and some were stolen; and so our country was deprived of all these
+valuable labours, which was an incalculable loss. The cartoon of the Leda
+has since come back to Florence, and Bernardo Vecchietti has it; and
+so also four pieces of the cartoons for the chapel, with nudes and Prophets,
+brought back by the sculptor Benvenuto Cellini, and now in the possession
+of the heirs of Girolamo degli Albizzi.</p>
+
+<p>It became necessary for Michelagnolo to go to Rome to see Pope
+Clement, who, although angry with him, yet, as the friend of every talent,
+forgave him everything, and gave him orders that he should return to
+Florence and have the library and sacristy of S. Lorenzo completely
+finished; and, in order to shorten that work, a vast number of statues
+that were to be included in it were distributed among other masters.
+Two he allotted to Tribolo, one to Raffaello da Montelupo, and one to
+Fra Giovanni Agnolo, the Servite friar, all sculptors; and he gave them
+assistance in these, making rough models in clay for each of them. Whereupon
+they all worked valiantly, and he, also, caused work to be pursued
+on the library, and thus the ceiling was finished in carved woodwork,
+which was executed after his models by the hands of the Florentines
+Carota and Tasso, excellent carvers and also masters of carpentry; and
+likewise the shelves for the books, which were executed at that time by
+Battista del Cinque and his friend Ciappino, good masters in that profession.
+And in order to give the work its final perfection there was
+summoned to Florence the divine Giovanni da Udine, who, together with
+others his assistants and also some Florentine masters, decorated the
+tribune with stucco; and they all sought with great solicitude to give
+completion to that vast undertaking.</p>
+
+<p>Now, just as Michelagnolo was about to have the statues carried
+<span class="pagenum"><a id="Page_52" name="Page_52"></a>[Pg 52]</span> into execution, at that very time the Pope took it into his head to have
+him near his person, being desirous to have the walls of the Chapel of
+Sixtus painted, where Michelagnolo had painted the vaulting for Julius II,
+his nephew. On the principal wall, where the altar is, Clement wished
+him to paint the Universal Judgment, to the end that he might display
+in that scene all that the art of design could achieve, and opposite to it,
+on the other wall, over the principal door, he had commanded that he
+should depict the scene when Lucifer was expelled for his pride from
+Heaven, and all those Angels who sinned with him were hurled after
+him into the centre of Hell: of which inventions it was found that Michelagnolo
+many years before had made various sketches and designs, one
+of which was afterwards carried into execution in the Church of the
+Trinità at Rome by a Sicilian painter, who stayed many months with
+Michelagnolo, to serve him and to grind his colours. This work, painted
+in fresco, is in the Chapel of S. Gregorio, in the cross of the church, and,
+although it is executed badly, there is a certain variety and terrible force
+in the attitudes and groups of those nudes that are raining down from
+Heaven, and of the others who, having fallen into the centre of the earth,
+are changed into various forms of Devils, very horrible and bizarre; and
+it is certainly an extraordinary fantasy. While Michelagnolo was
+directing the preparation of the designs and cartoons of the Last Judgment
+on the first wall, he never ceased for a single day to be at strife
+with the agents of the Duke of Urbino, by whom he was accused of
+having received sixteen thousand crowns from Julius II for the tomb.
+This accusation was more than he could bear, and he desired to finish the
+work some day, although he was already an old man, and he would have
+willingly stayed in Rome to finish it, now that he had found, without
+seeking it, such a pretext for not returning any more to Florence, since
+he had a great fear of Duke Alessandro de' Medici, whom he regarded as
+little his friend; for, when the Duke had given him to understand through
+Signor Alessandro Vitelli that he should select the best site for the building
+of the castle and citadel of Florence, he answered that he would not go
+save at the command of Pope Clement.</p>
+
+<p>Finally an agreement was formed in the matter of the tomb, that
+<span class="pagenum"><a id="Page_53" name="Page_53"></a>[Pg 53]</span> it should be finished in the following manner: there was no longer to be
+an isolated tomb in a rectangular shape, but only one of the original
+façades, in the manner that best pleased Michelagnolo, and he was to
+be obliged to place in it six statues by his own hand. In this contract
+that was made with the Duke of Urbino, his Excellency consented that
+Michelagnolo should be at the disposal of Pope Clement for four months
+in the year, either in Florence or wherever he might think fit to employ
+him. But, although it seemed to Michelagnolo that at last he had obtained
+some peace, he was not to be quit of it so easily, for Pope Clement,
+desiring to see the final proof of the force of his art, kept him occupied
+with the cartoon of the Judgment. However, contriving to convince the
+Pope that he was thus engaged, at the same time he kept working in
+secret, never relaxing his efforts, at the statues that were going into the
+above-named tomb.</p>
+
+<p>In the year 1533<a id="FNanchor1" name="FNanchor1"></a><a href="#Footnote1" title="Go to footnote 1" class="fnanchor">[1]</a> came the death of Pope Clement, whereupon the
+work of the library and sacristy in Florence, which had remained unfinished
+in spite of all the efforts made to finish it, was stopped. Then,
+at length, Michelagnolo thought to be truly free and able to give his
+attention to finishing the tomb of Julius II. But Paul III, not long
+after his election, had him summoned to his presence, and, besides paying
+him compliments and making him offers, requested him to enter his service
+and remain near his person. Michelagnolo refused, saying that he was
+not able to do it, being bound by contract to the Duke of Urbino until
+the tomb of Julius should be finished. The Pope flew into a rage and
+said: "I have had this desire for thirty years, and now that I am Pope
+do you think I shall not satisfy it? I shall tear up the contract, for I
+am determined to have you serve me, come what may." Michelagnolo,
+hearing this resolution, was tempted to leave Rome and in some way
+find means to give completion to the tomb; however, fearing, like a wise
+man, the power of the Pope, he resolved to try to keep him pacified with
+words, seeing that he was so old, until something should happen. The
+Pope, who wished to have some extraordinary work executed by Michelagnolo,
+went one day with ten Cardinals to visit him at his house, where he
+<span class="pagenum"><a id="Page_54" name="Page_54"></a>[Pg 54]</span> demanded to see all the statues for the tomb of Julius, which appeared
+to him marvellous, and particularly the Moses, which figure alone was said
+by the Cardinal of Mantua to be enough to do honour to Pope Julius.
+And after seeing the designs and cartoons that he was preparing for the
+wall of the chapel, which appeared to the Pope to be stupendous, he
+again besought Michelagnolo with great insistence that he should enter
+his service, promising that he would persuade the Duke of Urbino to
+content himself with three statues, and that the others should be given
+to other excellent masters to execute after his models. Whereupon, his
+Holiness having arranged this with the agents of the Duke, a new contract
+was made, which was confirmed by the Duke; and Michelagnolo of his
+own free will bound himself to pay for the other three statues and to
+have the tomb erected, depositing for this purpose in the bank of the
+Strozzi one thousand five hundred and eighty ducats. This he might
+have avoided, and it seemed to him that he had truly done enough to
+be free of such a long and troublesome undertaking; and afterwards he
+caused the tomb to be erected in S. Pietro in Vincola in the following
+manner. He erected the lower base, which was all carved, with four
+pedestals which projected outwards as much as was necessary to give
+space for the captive that was originally intended to stand on each of
+them, instead of which there was left a terminal figure; and since the
+lower part had thus a poor effect, he placed at the feet of each terminal
+figure a reversed console resting on the pedestal. Those four terminal
+figures had between them three niches, two of which (those at the sides)
+were round, and were to have contained the Victories. Instead of the
+Victories, he placed in one Leah, the daughter of Laban, to represent the
+Active Life, with a mirror in her hand to signify the consideration that
+we should give to our actions, and in the other hand a garland of flowers,
+to denote the virtues that adorn our life during its duration, and make it
+glorious after death; and the other figure was her sister Rachel, representing
+the Contemplative Life, with the hands clasped and one knee
+bent, and on the countenance a look as of ecstasy of spirit. These
+statues Michelagnolo executed with his own hand in less than a year.
+In the centre is the other niche, rectangular in shape, which in the original
+<span class="pagenum"><a id="Page_55" name="Page_55"></a>[Pg 55]</span> design was to have been one of the doors that were to lead into the little
+oval temple of the rectangular tomb; this having become a niche, there
+is placed in it, upon a dado of marble, the gigantic and most beautiful
+statue of Moses, of which we have already said enough. Above the heads
+of the terminal figures, which form capitals, are architrave, frieze, and
+cornice, which project beyond those figures and are carved with rich ornaments,
+foliage, ovoli, dentils, and other rich members, distributed over
+the whole work. Over that cornice rises another course, smooth and
+without carvings, but with different terminal figures standing directly
+above those below, after the manner of pilasters, with a variety of cornice-members;
+and since this course accompanies that below and resembles
+it in every part, there is in it a space similar to the other, forming a
+niche like that in which there is now the Moses, and in the niche, resting
+on projections of the cornice, is a sarcophagus of marble with the recumbent
+statue of Pope Julius, executed by the sculptor Maso dal Bosco,
+while in that niche, also, there stands a Madonna who is holding her
+Son in her arms, wrought by the sculptor Scherano da Settignano from
+a model by Michelagnolo; which statues are passing good. In two other
+rectangular niches, above the Active and the Contemplative Life, are two
+larger statues, a Prophet and a Sibyl seated, which were both executed
+by Raffaello da Montelupo, as has been related in the Life of his father
+Baccio, but little to the satisfaction of Michelagnolo. For its crowning
+completion this work had a different cornice, which, like those below,
+projected over the whole work; and above the terminal figures, as a finish,
+were candelabra of marble, with the arms of Pope Julius in the centre.
+Above the Prophet and the Sibyl, in the recess of each niche, he made a
+window for the convenience of the friars who officiate in that church,
+the choir having been made behind; which windows serve to send their
+voices into the church when they say the divine office, and permit the
+celebration to be seen. Truly this whole work has turned out very
+well, but not by a great measure as it had been planned in the original
+design.</p>
+
+<div class="figcenter">
+<a name="img024" id="img024"></a>
+<img src="images/img024-tb.jpg" width="350" height="451" alt="The Last Judgment." title="">
+<p class="caption">THE LAST JUDGMENT<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img024.jpg">View larger image</a></span></p>
+</div>
+
+<p>Michelagnolo resolved, since he could not do otherwise, to serve Pope
+Paul, who allowed him to continue the work as ordered by Clement,
+<span class="pagenum"><a id="Page_56" name="Page_56"></a>[Pg 56]</span> without changing anything in the inventions and the general conception
+that had been laid before him, thus showing respect for the genius of that
+great man, for whom he felt such reverence and love that he sought to
+do nothing but what pleased him; of which a proof was soon seen. His
+Holiness desired to place his own arms beneath the Jonas in the chapel,
+where those of Pope Julius II had previously been put; but Michelagnolo,
+being asked to do this, and not wishing to do a wrong to Julius and Clement,
+would not place them there, saying that they would not look well; and
+the Pope, in order not to displease him, was content to have it so, having
+recognized very well the excellence of such a man, and how he always
+followed what was just and honourable without any adulation or respect
+of persons&mdash;a thing that the great are wont to experience very seldom.
+Michelagnolo, then, caused a projection of well baked and chosen bricks
+to be carefully built on the wall of the above-named chapel (a thing which
+was not there before), and contrived that it should overhang half a braccio
+from above, so that neither dust nor any other dirt might be able to settle
+upon it. But I will not go into the particulars of the invention and composition
+of this scene, because so many copies of it, both large and small,
+have been printed, that it does not seem necessary to lose time in describing
+it. It is enough for us to perceive that the intention of this
+extraordinary man has been to refuse to paint anything but the human
+body in its best proportioned and most perfect forms and in the greatest
+variety of attitudes, and not this only, but likewise the play of the passions
+and contentments of the soul, being satisfied with justifying himself in
+that field in which he was superior to all his fellow-craftsmen, and to lay
+open the way of the grand manner in the painting of nudes, and his great
+knowledge in the difficulties of design; and, finally, he opened out the
+way to facility in this art in its principal province, which is the human
+body, and, attending to this single object, he left on one side the charms
+of colouring and the caprices and new fantasies of certain minute and
+delicate refinements which many other painters, perhaps not without
+some show of reason, have not entirely neglected. For some, not so well
+grounded in design, have sought with variety of tints and shades of
+colouring, with various new and bizarre inventions, and, in short, with the
+<span class="pagenum"><a id="Page_57" name="Page_57"></a>[Pg 57]</span> other method, to win themselves a place among the first masters; but
+Michelagnolo, standing always firmly rooted in his profound knowledge
+of art, has shown to those who know enough how they should attain to
+perfection.</p>
+
+<p>But to return to the story: Michelagnolo had already carried to completion
+more than three-fourths of the work, when Pope Paul went to
+see it. And Messer Biagio da Cesena, the master of ceremonies, a person
+of great propriety, who was in the chapel with the Pope, being asked
+what he thought of it, said that it was a very disgraceful thing to have
+made in so honourable a place all those nude figures showing their nakedness
+so shamelessly, and that it was a work not for the chapel of a Pope,
+but for a bagnio or tavern. Michelagnolo was displeased at this, and,
+wishing to revenge himself, as soon as Biagio had departed he portrayed
+him from life, without having him before his eyes at all, in the figure
+of Minos with a great serpent twisted round the legs, among a heap
+of Devils in Hell; nor was Messer Biagio's pleading with the Pope
+and with Michelagnolo to have it removed of any avail, for it was
+left there in memory of the occasion, and it is still to be seen at the
+present day.</p>
+
+<p>It happened at this time that Michelagnolo fell no small distance
+from the staging of this work, and hurt his leg; and in his pain and
+anger he would not be treated by anyone. Now there was living at
+this same time the Florentine Maestro Baccio Rontini, his friend, an
+ingenious physician, who had a great affection for his genius; and he,
+taking compassion on him, went one day to knock at his door. Receiving
+no answer either from the neighbours or from him, he so contrived to
+climb by certain secret ways from one room to another, that he came to
+Michelagnolo, who was in a desperate state. And then Maestro Biagio
+would never abandon him or take himself off until he was cured.</p>
+
+<p>Having recovered from this injury, he returned to his labour, and,
+working at it continually, he carried it to perfect completion in a few
+months, giving such force to the paintings in the work, that he justified
+the words of Dante&mdash;</p>
+
+<p class="poem">
+Morti li morti, i vivi parean vivi.</p>
+
+<p><span class="pagenum"><a id="Page_58" name="Page_58"></a>[Pg 58]</span> And here, also, may be seen the misery of the damned and the joy of the
+blessed. Wherefore, when this Judgment was thrown open to view,
+it proved that he had not only vanquished all the earlier masters who
+had worked there, but had sought to surpass the vaulting that he himself
+had made so famous, excelling it by a great measure and outstripping his
+own self. For he imagined to himself the terror of those days, and
+depicted, for the greater pain of all who have not lived well, the whole
+Passion of Christ, causing various naked figures in the air to carry the
+Cross, the Column, the Lance, the Sponge, the Nails, and the Crown of
+Thorns, all in different attitudes, executed to perfection in a triumph of
+facility over their difficulties. In that scene is Christ seated, with a
+countenance proud and terrible, turning towards the damned and cursing
+them; not without great fear in Our Lady, who, hearing and beholding
+that vast havoc, draws her mantle close around her. There are innumerable
+figures, Prophets and Apostles, that form a circle about Him, and
+in particular Adam and S. Peter, who are believed to have been placed
+there, one as the first parent of those thus brought to judgment, and the
+other as having been the first foundation of the Christian Church; and at
+His feet is a most beautiful S. Bartholomew, who is displaying his flayed
+skin. There is likewise a nude figure of S. Laurence; besides which,
+there are multitudes of Saints without number, both male and female,
+and other figures, men and women, around Him, near or distant, who
+embrace one another and make rejoicing, having received eternal blessedness
+by the grace of God and as the reward of their works. Beneath the
+feet of Christ are the Seven Angels with the Seven Trumpets described by
+S. John the Evangelist, who, as they sound the call to judgment, cause
+the hair of all who behold them to stand on end at the terrible wrath that
+their countenances reveal. Among others are two Angels that have
+each the Book of Life in the hands: and near them, on one side, not
+without beautiful consideration, are seen the Seven Mortal Sins in the
+forms of Devils, assailing and striving to drag down to Hell the souls that
+are flying towards Heaven, all with very beautiful attitudes and most
+admirable foreshortenings. Nor did he hesitate to show to the world,
+in the resurrection of the dead, how they take to themselves flesh and
+<span class="pagenum"><a id="Page_59" name="Page_59"></a>[Pg 59]</span> bones once more from the same earth, and how, assisted by others already
+alive, they go soaring towards Heaven, whence succour is brought to them
+by certain souls already blessed; not without evidence of all those marks
+of consideration that could be thought to be required in so great a work.
+For studies and labours of every kind were executed by him, which may
+be recognized throughout the whole work without exception; and this is
+manifested with particular clearness in the barque of Charon, who, in an
+attitude of fury, strikes with his oars at the souls dragged down by the
+Devils into the barque, after the likeness of the picture that the master's
+best-beloved poet, Dante, described when he said&mdash;</p>
+
+<p class="poem">
+<span class="min2em">Caron demonio con occhi di bragia,</span><br>
+    Loro accennando, tutte le raccoglie,<br>
+    Batte col remo qualunque si adagia.</p>
+
+<div class="figcenter">
+<a name="img025" id="img025"></a>
+<img src="images/img025-tb.jpg" width="500" height="373" alt="Charon's Boat: Detail from the Last Judgment." title="">
+<p class="caption">CHARON'S BOAT: DETAIL FROM THE LAST JUDGMENT<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img025.jpg">View larger image</a></span></p>
+</div>
+
+<p>Nor would it be possible to imagine how much variety there is in
+the heads of those Devils, which are truly monsters from Hell. In the
+sinners may be seen sin and the fear of eternal damnation; and, to say
+nothing of the beauty of every detail, it is extraordinary to see so great
+a work executed with such harmony of painting, that it appears as if done
+in one day, and with such finish as was never achieved in any miniature.
+And, of a truth, the terrible force and grandeur of the work, with the
+multitude of figures, are such that it is not possible to describe it, for it is
+filled with all the passions known to human creatures, and all expressed
+in the most marvellous manner. For the proud, the envious, the avaricious,
+the wanton, and all the other suchlike sinners can be distinguished
+with ease by any man of fine perception, because in figuring them Michelagnolo
+observed every rule of Nature in the expressions, in the attitudes,
+and in every other natural circumstance; a thing which, although great
+and marvellous, was not impossible to such a man, for the reason that he
+was always observant and shrewd and had seen men in plenty, and had
+acquired by commerce with the world that knowledge that philosophers
+gain from cogitation and from writings. Wherefore he who has judgment
+and understanding in painting perceives there the most terrible force of
+art, and sees in those figures such thoughts and passions as were never
+<span class="pagenum"><a id="Page_60" name="Page_60"></a>[Pg 60]</span> painted by any other but Michelagnolo. So, also, he may see there how
+the variety of innumerable attitudes is accomplished, in the strange and
+diverse gestures of young and old, male and female; and who is there who
+does not recognize in these the terrible power of his art, together with
+the grace that he had from Nature, since they move the hearts not only
+of those who have knowledge in that profession, but even of those who
+have none? There are foreshortenings that appear as if in relief, a harmony
+of painting that gives great softness, and fineness in the parts painted
+by him with delicacy, all showing in truth how pictures executed by good
+and true painters should be; and in the outlines of the forms turned by
+him in such a way as could not have been achieved by any other but
+Michelagnolo, may be seen the true Judgment and the true Damnation
+and Resurrection. This is for our art the exemplar and the grand manner
+of painting sent down to men on earth by God, to the end that they may
+see how Destiny works when intellects descend from the heights of
+Heaven to earth, and have infused in them divine grace and knowledge.
+This work leads after it bound in chains those who persuade themselves
+that they have mastered art; and at the sight of the strokes drawn by
+him in the outlines of no matter what figure, every sublime spirit, however
+mighty in design, trembles and is afraid. And while the eyes gaze at his
+labours in this work, the senses are numbed at the mere thought of what
+manner of things all other pictures, those painted and those still unpainted,
+would appear if placed in comparison with such perfection.
+Truly blessed may he be called, and blessed his memories, who has seen
+this truly stupendous marvel of our age! Most happy and most fortunate
+Paul III, in that God granted that under thy protection should be
+acquired the renown that the pens of writers shall give to his memory
+and thine! How highly are thy merits enhanced by his genius! And
+what good fortune have the craftsmen had in this age from his birth, in
+that they have seen the veil of every difficulty torn away, and have beheld
+in the pictures, sculptures, and architectural works executed by him all
+that can be imagined and achieved!</p>
+
+<div class="figcenter">
+<a name="img026" id="img026"></a>
+<img src="images/img026-tb.jpg" width="350" height="454" alt="S. Sebastian." title="">
+<p class="caption">S. SEBASTIAN<br>
+(<i>After the fresco by</i> Michelagnolo. <i>Rome: The Vatican, Sistine Chapel</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img026.jpg">View larger image</a></span></p>
+</div>
+
+<p>He toiled eight years over executing this work, and threw it open to
+view in the year 1541, I believe, on Christmas day, to the marvel and
+<span class="pagenum"><a id="Page_61" name="Page_61"></a>[Pg 61]</span> amazement of all Rome, nay, of the whole world; and I, who was that
+year in Venice, and went to Rome to see it, was struck dumb by its beauty.</p>
+
+<p>Pope Paul, as has been related, had caused a chapel called the
+Pauline to be erected on the same floor by Antonio da San Gallo, in imitation
+of that of Nicholas V; and in this he resolved that Michelagnolo
+should paint two great pictures with two large scenes. In one he painted
+the Conversion of S. Paul, with Jesus Christ in the air and a multitude
+of nude Angels making most beautiful movements, and below, all dazed
+and terrified, Paul fallen from his horse to the level of the ground, with his
+soldiers about him, some striving to raise him up, and others, struck
+with awe by the voice and splendour of Christ, are flying in beautiful
+attitudes and marvellous movements of panic, while the horse, taking to
+flight, appears to be carrying away in its headlong course him who seeks to
+hold it back; and this whole scene is executed with extraordinary design
+and art. In the other picture is the Crucifixion of S. Peter, who is
+fixed, a nude figure of rare beauty, upon the cross; showing the ministers
+of the crucifixion, after they have made a hole in the ground, seeking to
+raise the cross on high, to the end that he may remain crucified with
+his feet in the air; and there are many remarkable and beautiful considerations.
+Michelagnolo, as has been said elsewhere, gave his attention
+only to the perfection of art, and therefore there are no landscapes
+to be seen there, nor trees, nor buildings, nor any other distracting graces
+of art, for to these he never applied himself, as one, perchance, who would
+not abase his great genius to such things. These, executed by him at
+the age of seventy-five, were his last pictures, and, as he used himself to
+tell me, they cost him much fatigue, for the reason that painting, and
+particularly working in fresco, is no art for men who have passed a certain
+age. Michelagnolo arranged that Perino del Vaga, a very excellent
+painter, should decorate the vaulting with stucco and with many things
+in painting, after his designs, and such, also, was the wish of Pope
+Paul III; but the work was afterwards delayed, and nothing more was
+done, even as many undertakings are left unfinished, partly by the
+fault of want of resolution in the craftsmen, and partly by that of
+Princes little zealous in urging them on.</p>
+
+<p><span class="pagenum"><a id="Page_62" name="Page_62"></a>[Pg 62]</span> Pope Paul had made a beginning with the fortifying of the Borgo,
+and had summoned many gentlemen, together with Antonio da San
+Gallo, to a conference; but he wished that Michelagnolo also should have
+a part in this, knowing that the fortifications about the hill of S. Miniato
+in Florence had been constructed under his direction. After much discussion,
+Michelagnolo was asked what he thought; and he, having
+opinions contrary to San Gallo and many others, declared them freely.
+Whereupon San Gallo said to him that his arts were sculpture and painting,
+and not fortification. Michelagnolo replied that of sculpture and
+painting he knew little, but of fortification, what with the thought that
+he had devoted to it for a long time, and his experience in what he had
+done, it appeared to him that he knew more than either Antonio or any
+of his family; showing him in the presence of the company that he had
+made many errors in that art. Words rising high on either side, the
+Pope had to command silence; but no long time passed before Michelagnolo
+brought a design for all the fortifications of the Borgo, which
+laid open the way for all that has since been ordained and executed; and
+this was the reason that the great gate of S. Spirito, which was approaching
+completion under the direction of San Gallo, was left unfinished.</p>
+
+<div class="figcenter">
+<a name="img027" id="img027"></a>
+<img src="images/img027-tb.jpg" width="350" height="473" alt="Pietà." title="">
+<p class="caption">PIETÀ<br>
+(<i>After</i> Michelagnolo. <i>Florence: Duomo</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img027.jpg">View larger image</a></span></p>
+</div>
+
+<p>The spirit and genius of Michelagnolo could not rest without doing
+something; and, since he was not able to paint, he set to work on a piece
+of marble, intending to carve from it four figures in the round and larger
+than life, including a Dead Christ, for his own delight and to pass the
+time, and because, as he used to say, the exercise of the hammer kept
+him healthy in body. This Christ, taken down from the Cross, is supported
+by Our Lady, by Nicodemus, who bends down and assists her,
+planted firmly on his feet in a forceful attitude, and by one of the Maries,
+who also gives her aid, perceiving that the Mother, overcome by grief, is
+failing in strength and not able to uphold Him. Nor is there anywhere
+to be seen a dead form equal to that of Christ, who, sinking with the limbs
+hanging limp, lies in an attitude wholly different, not only from that of
+any other work by Michelagnolo, but from that of any other figure that
+was ever made. A laborious work is this, a rare achievement in a single
+stone, and truly divine; but, as will be related hereafter, it remained
+<span class="pagenum"><a id="Page_63" name="Page_63"></a>[Pg 63]</span> unfinished, and suffered many misfortunes, although Michelagnolo had
+intended that it should serve to adorn his own tomb, at the foot of that
+altar where he thought to place it.</p>
+
+<p>It happened in the year 1546 that Antonio da San Gallo died; whereupon,
+there being now no one to direct the building of S. Pietro, many
+suggestions were made by the superintendents to the Pope as to who
+should have it. Finally his Holiness, inspired, I believe, by God, resolved
+to send for Michelagnolo. But he, when asked to take Antonio's
+place, refused it, saying, in order to avoid such a burden, that architecture
+was not his proper art; and in the end, entreaties not availing,
+the Pope commanded that he should accept it, whereupon, to his great
+displeasure and against his wish, he was forced to undertake that enterprise.
+And one day among others that he went to S. Pietro to see the
+wooden model that San Gallo had made, and to examine the building, he
+found there the whole San Gallo faction, who, crowding before Michelagnolo,
+said to him in the best terms at their command that they rejoiced
+that the charge of the building was to be his, and that the model
+was a field where there would never be any want of pasture. "You
+speak the truth," answered Michelagnolo, meaning to infer, as he declared
+to a friend, that it was good for sheep and oxen, who knew nothing of
+art. And afterwards he used to say publicly that San Gallo had made
+it wanting in lights, that it had on the exterior too many ranges of
+columns one above another, and that, with its innumerable projections,
+pinnacles, and subdivisions of members, it was more akin to the German
+manner than to the good method of the ancients or to the gladsome and
+beautiful modern manner; and, in addition to this, that it was possible
+to save fifty years of time and more than three hundred thousand crowns
+of money in finishing the building, and to execute it with more majesty,
+grandeur, and facility, greater beauty and convenience, and better
+ordered design. This he afterwards proved by a model that he made,
+in order to bring it to the form in which the work is now seen constructed;
+and thus he demonstrated that what he said was nothing but the truth.
+This model cost him twenty-five crowns, and was made in a fortnight;
+that of San Gallo, as has been related, cost four thousand, and took
+<span class="pagenum"><a id="Page_64" name="Page_64"></a>[Pg 64]</span> many years to finish. From this and other circumstances it became
+evident that that fabric was but a shop and a business for making money,
+and that it would be continually delayed, with the intention of never
+finishing it, by those who had undertaken it as a means of profit.</p>
+
+<div class="figcenter">
+<a name="img028" id="img028"></a>
+<img src="images/img028-tb.jpg" width="500" height="365" alt="Stairs of the Palace of the Senators." title="">
+<p class="caption">STAIRS OF THE PALACE OF THE SENATORS<br>
+(<i>After</i> Michelagnolo. <i>Rome: The Capitol</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img028.jpg">View larger image</a></span></p>
+</div>
+
+<p>Such methods did not please our upright Michelagnolo, and in order
+to get rid of all these people, while the Pope was forcing him to accept
+the office of architect to the work, he said to them openly one day that
+they should use all the assistance of their friends and do all that they
+could to prevent him from entering on that office, because, if he were
+to undertake such a charge, he would not have one of them about the
+building. Which words, spoken in public, were taken very ill, as may be
+believed, and were the reason that they conceived a great hatred against
+him, which increased every day as they saw the whole design being
+changed, both within and without, so that they would scarcely let him
+live, seeking out daily new and various devices to harass him, as will
+be related in the proper place. Finally the Pope issued a Motu-proprio
+creating him head of that fabric, with full authority, and giving him
+power to do or undo whatever he chose, and to add, take away, or vary
+anything at his pleasure; and he decreed that all the officials employed
+in the work should be subservient to his will. Whereupon Michelagnolo,
+seeing the great confidence and trust that the Pope placed in him, desired,
+in order to prove his generosity, that it should be declared in the Motu-proprio
+that he was serving in the fabric for the love of God and without
+any reward. It is true that the Pope had formerly granted to him the
+ferry over the river at Parma,<a id="FNanchor2" name="FNanchor2"></a><a href="#Footnote2" title="Go to footnote 2" class="fnanchor">[2]</a> which yielded him about six hundred
+crowns; but he lost it at the death of Duke Pier Luigi Farnese, and in exchange
+for it he was given a Chancellery at Rimini, a post of less value.
+About that he showed no concern; and, although the Pope sent him money
+several times by way of salary, he would never accept it, to which witness
+is borne by Messer Alessandro Ruffini, Chamberlain to the Pope at that
+time, and by M. Pier Giovanni Aliotti, Bishop of Forlì. Finally the
+model that had been made by Michelagnolo was approved by the Pope;
+which model diminished S. Pietro in size, but gave it greater grandeur,
+<span class="pagenum"><a id="Page_65" name="Page_65"></a>[Pg 65]</span> to the satisfaction of all those who have judgment, although some who
+profess to be good judges, which in fact they are not, do not approve
+of it. He found that the four principal piers built by Bramante, and left
+by Antonio da San Gallo, which had to support the weight of the tribune,
+were weak; and these he partly filled up, and beside them he made two
+winding or spiral staircases, in which is an ascent so easy that the beasts
+of burden can climb them, carrying all the materials to the very top, and
+men on horseback, likewise, can go up to the uppermost level of the arches.
+The first cornice above the arches he constructed of travertine, curving
+in a round, which is an admirable and graceful thing, and very different
+from any other; nor could anything better of that kind be done. He
+also made a beginning with the two great recesses of the transepts; and
+whereas formerly, under the direction of Bramante, Baldassarre, and
+Raffaello, as has been related, eight tabernacles were being made on
+the side towards the Camposanto, and that plan was afterwards followed
+by San Gallo, Michelagnolo reduced these to three, with three chapels
+in the interior, and above them a vaulting of travertine, and a range of
+windows giving a brilliant light, which are varied in form and of a sublime
+grandeur. But, since these things are in existence, and are also to be
+seen in engraving, not only those of Michelagnolo, but those of San Gallo
+as well, I will not set myself to describe them, for it is in no way necessary.
+Let it suffice to say that he set himself, with all possible diligence, to
+cause the work to be carried on in those parts where the fabric was to be
+changed in design, to the end that it might remain so solid and stable
+that it might never be changed by another; which was the wise provision
+of a shrewd and prudent intellect, because it is not enough to do
+good work, if further precautions be not taken, seeing that the boldness
+and presumption of those who might be supposed to have knowledge
+if credit were placed rather in their words than in their deeds, and at
+times the favour of such as know nothing, may give rise to many misfortunes.</p>
+
+<p>The Roman people, with the sanction of that Pope, had a desire to
+give some useful, commodious, and beautiful form to the Campidoglio,
+and to furnish it with colonnades, ascents, and inclined approaches with
+<span class="pagenum"><a id="Page_66" name="Page_66"></a>[Pg 66]</span> and without steps, and also with the further adornment of the ancient
+statues that were already there, in order to embellish that place. For
+this purpose they sought the advice of Michelagnolo, who made them
+a most beautiful and very rich design, in which, on the side where the
+Senatore stands, towards the east, he arranged a façade of travertine,
+and a flight of steps that ascends from two sides to meet on a level space,
+from which one enters into the centre of the hall of that Palace, with rich
+curving wings adorned with balusters that serve as supports and parapets.
+And there, to enrich that part, he caused to be placed on certain bases
+the two ancient figures in marble of recumbent River Gods, each of nine
+braccia, and of rare workmanship, one of which is the Tiber and the
+other the Nile; and between them, in a niche, is to go a Jove. On the
+southern side, where there is the Palace of the Conservatori, in order that
+it might be made rectangular, there followed a rich and well varied
+façade, with a loggia at the foot full of columns and niches, where many
+ancient statues are to go; and all around are various ornaments, doors,
+windows, and the like, of which some are already in place. On the other
+side from this, towards the north, below the Araceli, there is to follow
+another similar façade; and before it, towards the west, is to be an
+ascent of baston-like steps, which will be almost level, with a border
+and parapet of balusters; here will be the principal entrance, with a
+colonnade, and bases on which will be placed all that wealth of noble
+statues in which the Campidoglio is now so rich. In the middle of the
+Piazza, on a base in the form of an oval, is placed the famous bronze horse
+on which is the statue of Marcus Aurelius, which the same Pope Paul
+caused to be removed from the Piazza di Laterano, where Sixtus IV
+had placed it. This edifice is now being made so beautiful that it is
+worthy to be numbered among the finest works that Michelagnolo has
+executed, and it is being carried to completion at the present day under
+the direction of M. Tommaso de' Cavalieri, a Roman gentleman who was,
+and still is, one of the greatest friends that Michelagnolo ever had, as will
+be related hereafter.</p>
+
+<div class="figcenter">
+<a name="img029" id="img029"></a>
+<img src="images/img029-tb.jpg" width="500" height="378" alt="Court of the Palazzo Farnese." title="">
+<p class="caption">COURT OF THE PALAZZO FARNESE<br>
+(<i>After</i> Michelagnolo. <i>Rome</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img029.jpg">View larger image</a></span></p>
+</div>
+
+<p>Pope Paul III had caused San Gallo, while he was alive, to carry
+forward the Palace of the Farnese family, but the great upper cornice,
+<span class="pagenum"><a id="Page_67" name="Page_67"></a>[Pg 67]</span> to finish the roof on the outer side, had still to be constructed, and his
+Holiness desired that Michelagnolo should execute it from his own designs
+and directions. Michelagnolo, not being able to refuse the Pope, who so
+esteemed and favoured him, caused a model of wood to be made, six
+braccia in length, and of the size that it was to be; and this he placed
+on one of the corners of the Palace, so that it might show what effect
+the finished work would have. It pleased his Holiness and all Rome,
+and that part of it has since been carried to completion which is now to
+be seen, proving to be the most varied and the most beautiful of all
+that have ever been known, whether ancient or modern. On this account,
+after San Gallo was dead, the Pope desired that Michelagnolo should
+have charge of the whole fabric as well; and there he made the great
+marble window with the beautiful columns of variegated marble, which
+is over the principal door of the Palace, with a large escutcheon of great
+beauty and variety, in marble, of Pope Paul III, the founder of that
+Palace. Within the Palace he continued, above the first range of the
+court, the two other ranges, with the most varied, graceful, and beautiful
+windows, ornaments and upper cornice that have ever been seen, so
+that, through the labours and the genius of that man that court has now
+become the most handsome in Europe. He widened and enlarged the
+Great Hall, and set in order the front vestibule, and caused the vaulting
+of that vestibule to be constructed in a new variety of curve, in the form
+of a half oval.</p>
+
+<p>Now in that year there was found at the Baths of Antoninus a mass
+of marble seven braccia in every direction, in which there had been
+carved by the ancients a Hercules standing upon a mound, who was
+holding the Bull by the horns, with another figure assisting him, and
+around that mound various figures of Shepherds, Nymphs, and different
+animals&mdash;a work of truly extraordinary beauty, showing figures so perfect
+in one single block without any added pieces, which was judged to
+have been intended for a fountain. Michelagnolo advised that it should
+be conveyed into the second court, and there restored so as to make it
+spout water in the original manner; all which advice was approved, and
+the work is still being restored at the present day with great diligence,
+<span class="pagenum"><a id="Page_68" name="Page_68"></a>[Pg 68]</span> by order of the Farnese family, for that purpose. At that time, also,
+Michelagnolo made a design for the building of a bridge across the River
+Tiber in a straight line with the Farnese Palace, to the end that it might
+be possible to go from that palace to another palace and gardens that
+they possessed in the Trastevere, and also to see at one glance in a straight
+line from the principal door which faces the Campo di Fiore, the court,
+the fountain, the Strada Giulia, the bridge, and the beauties of the
+other garden, even to the other door which opened on the Strada di
+Trastevere&mdash;a rare work, worthy of that Pontiff and of the judgment,
+design, and art of Michelagnolo.</p>
+
+<p>In the year 1547 died Sebastiano Viniziano, the Friar of the Piombo;
+and, Pope Paul proposing that the ancient statues of his Palace should
+be restored, Michelagnolo willingly favoured the Milanese sculptor
+Guglielmo della Porta, a young man of promise, who had been recommended
+by the above-named Fra Sebastiano to Michelagnolo, who,
+liking his work, presented him to Pope Paul for the restoration of those
+statues. And the matter went so far forward that Michelagnolo obtained
+for him the office of the Piombo, and he then set to work on restoring
+the statues, some of which are to be seen in that Palace at the present
+day. But Guglielmo, forgetting the benefits that he had received from
+Michelagnolo, afterwards became one of his opponents.</p>
+
+<p>In the year 1549 there took place the death of Pope Paul III;
+whereupon, after the election of Pope Julius III, Cardinal Farnese gave
+orders for a grand tomb to be made for his kinsman Pope Paul by the
+hand of Fra Guglielmo, who arranged to erect it in S. Pietro, below the
+first arch of the new church, beneath the tribune, which obstructed the
+floor of the church, and was, in truth, not the proper place. Michelagnolo
+advised, most judiciously, that it could not and should not stand there,
+and the Frate, believing that he was doing this out of envy, became
+filled with hatred against him; but afterwards he recognized that Michelagnolo
+had spoken the truth, and that the fault was his, in that he had had
+the opportunity and had not finished the work, as will be related in another
+place. And to this I can bear witness, for the reason that in the year
+1550 I had gone by order of Pope Julius III to Rome to serve him (and
+<span class="pagenum"><a id="Page_69" name="Page_69"></a>[Pg 69]</span> very willingly, for love of Michelagnolo), and I took part in that discussion.
+Michelagnolo desired that the tomb should be erected in one of
+the niches, where there is now the Column of the Possessed, which was
+the proper place, and I had so gone to work that Julius III was resolving
+to have his own tomb made in the other niche with the same design as
+that of Pope Paul, in order to balance that work; but the Frate, who set
+himself against this, brought it about that his own was never finished after
+all, and that the tomb of the other Pontiff was also not made; which
+had all been predicted by Michelagnolo.</p>
+
+<p>In the same year Pope Julius turned his attention to having a chapel
+of marble with two tombs constructed in the Church of S. Pietro a
+Montorio for Cardinal Antonio di Monte, his uncle, and Messer Fabiano,
+his grandfather, the first founder of the greatness of that illustrious house.
+For this work Vasari having made designs and models, Pope Julius,
+who always esteemed the genius of Michelagnolo and loved Vasari, desired
+that Michelagnolo should fix the price between them; and Vasari besought
+the Pope that he should prevail upon him to take it under his
+protection. Now Vasari had proposed Simone Mosca for the carvings
+of this work, and Raffaello da Montelupo for the statues; but Michelagnolo
+advised that no carvings of foliage should be made in it, not even
+in the architectural parts of the work, saying that where there are to be
+figures of marble there must not be any other thing. On which account
+Vasari feared that the work should be abandoned, because it would look
+poor; but in fact, when he saw it finished, he confessed that Michelagnolo
+had shown great judgment. Michelagnolo would not have
+Montelupo make the statues, remembering how badly he had acquitted
+himself in those of his own tomb of Julius II, and he was content, rather,
+that they should be entrusted to Bartolommeo Ammanati, whom Vasari
+had proposed, although Buonarroti had something of a private grievance
+against him, as also against Nanni di Baccio Bigio, caused by a reason
+which, if one considers it well, seems slight enough; for when they were
+very young, moved rather by love of art than by a desire to do wrong,
+they had entered with great pains into his house, and had taken from
+Antonio Mini, the disciple of Michelagnolo, many sheets with drawings;
+<span class="pagenum"><a id="Page_70" name="Page_70"></a>[Pg 70]</span> but these were afterwards all restored to him by order of the Tribunal
+of Eight, and, at the intercession of his friend Messer Giovanni Norchiati,
+Canon of S. Lorenzo, he would not have any other punishment inflicted
+on them. Vasari, when Michelagnolo spoke to him of this matter, said
+to him, laughing, that it did not seem to him that they deserved any
+blame, and that he himself, if he had ever been able, would have not
+taken a few drawings only, but robbed him of everything by his hand
+that he might have been able to seize, merely for the sake of learning art.
+One must look kindly, he said, on those who seek after excellence, and also
+reward them, and therefore such men must not be treated like those who
+go about stealing money, household property, and other things of value;
+and so the matter was turned into a jest. This was the reason that a
+beginning was made with the work of the Montorio, and that in the same
+year Vasari and Ammanati went to have the marble conveyed from
+Carrara to Rome for the execution of that work.</p>
+
+<p>At that time Vasari was with Michelagnolo every day; and one
+morning the Pope in his kindness gave them both leave that they might
+visit the Seven Churches on horseback (for it was Holy Year), and receive
+the Pardon in company. Whereupon, while going from one church to
+another, they had many useful and beautiful conversations on art and
+every industry, and out of these Vasari composed a dialogue, which will
+be published at some more favourable opportunity, together with other
+things concerning art. In that year Pope Julius III confirmed the Motu-proprio
+of Pope Paul III with regard to the building of S. Pietro; and
+although much evil was spoken to him of Michelagnolo by the friends
+of the San Gallo faction, in the matter of that fabric of S. Pietro, at that
+time the Pope would not listen to a word, for Vasari had demonstrated
+to him (as was the truth) that Michelagnolo had given life to the building,
+and also persuaded his Holiness that he should do nothing concerned
+with design without the advice of Michelagnolo. This promise the Pope
+kept ever afterwards, for neither at the Vigna Julia did he do anything
+without his counsel, nor at the Belvedere, where there was built the staircase
+that is there now, in place of the semicircular staircase that came forward,
+<span class="pagenum"><a id="Page_71" name="Page_71"></a>[Pg 71]</span> ascending in eight steps, and turned inwards in eight more steps,
+erected in former times by Bramante in the great recess in the centre
+of the Belvedere. And Michelagnolo designed and caused to be built
+the very beautiful quadrangular staircase, with balusters of peperino-stone,
+which is there at the present day.</p>
+
+<p>Vasari had finished in that year the printing of his work, the Lives
+of the Painters, Sculptors, and Architects, in Florence. Now he had
+not written the Life of any living master, although some who were old
+were still alive, save only of Michelagnolo; and in the book were many
+records of circumstances that Vasari had received from his lips, his age
+and his judgment being the greatest among all the craftsmen. Giorgio
+therefore presented the work to him, and he received it very gladly;
+and not long afterwards, having read it, Michelagnolo sent to him the
+following sonnet, written by himself, which I am pleased to include in
+this place in memory of his loving-kindness:</p>
+
+<p class="poem">
+<span class="min2em">Se con lo stile o co' colori havete</span><br>
+    Alla Natura pareggiato l'Arte,<br>
+    Anzi a quella scemato il pregio in parte,<br>
+    Che 'l bel di lei più bello a noi rendete,<br>
+<span class="min2em">Poichè con dotta man posto vi siete</span><br>
+    A più degno lavoro, a vergar carte,<br>
+    Quel che vi manca a lei di pregio in parte,<br>
+    Nel dar vita ad altrui tutto togliete.<br>
+<span class="min2em">Che se secolo alcuno omai contese</span><br>
+    In far bell'opre, almen cedale, poi<br>
+    Che convien', ch'al prescritto fine arrive.<br>
+<span class="min2em">Or le memorie altrui già spente accese</span><br>
+    Tornando fate, or che sien quelle, e voi,<br>
+    Mal grado d'esse, eternalmente vive.</p>
+
+<p>Vasari departed for Florence, and left to Michelagnolo the charge of
+having the work founded in the Montorio. Now Messer Bindo Altoviti,
+the Consul of the Florentine colony at that time, was much the friend
+of Vasari, and on this occasion Giorgio said to him that it would be well
+to have this work erected in the Church of S. Giovanni de' Fiorentini,
+and that he had already spoken of it with Michelagnolo, who would favour
+<span class="pagenum"><a id="Page_72" name="Page_72"></a>[Pg 72]</span> the enterprise; and that this would be a means of giving completion to
+that church. This proposal pleased Messer Bindo, and, being very
+intimate with the Pope, he urged it warmly upon him, demonstrating
+that it would be well that the chapel and the tombs which his Holiness
+was having executed for the Montorio should be placed in the Church of
+S. Giovanni de' Fiorentini; adding that the result would be that with
+this occasion and this spur the Florentine colony would undertake such
+expenditure that the church would receive its completion, and, if his
+Holiness were to build the principal chapel, the other merchants would
+build six chapels, and then little by little all the rest. Whereupon the
+Pope changed his mind, and, although the model for the work was already
+made and the price arranged, went to the Montorio and sent for Michelagnolo,
+to whom Vasari was writing every day, receiving answers from
+him according to the opportunities presented in the course of affairs.
+Michelagnolo then wrote to Vasari, on the first day of August in 1550,
+of the change that the Pope had made; and these are his words, written
+in his own hand:</p>
+
+<p class="right smcap">Rome.</p>
+
+<p class="smcap">"My dear Messer Giorgio,</p>
+
+<p>"With regard to the founding of the work at S. Pietro a
+Montorio, and how the Pope would not listen to a word, I wrote you
+nothing, knowing that you are kept informed by your man here. Now
+I must tell you what has happened, which is as follows. Yesterday morning
+the Pope, having gone to the said Montorio, sent for me. I met him
+on the bridge, on his way back, and had a long conversation with him
+about the tombs allotted to you; and in the end he told me that he was
+resolved that he would not place those tombs on that mount, but in the
+Church of the Florentines. He sought from me my opinion and also
+designs, and I encouraged him not a little, considering that by this
+means the said church would be finished. Respecting your three letters
+received, I have no pen wherewith to answer to such exalted matters,
+but if I should rejoice to be in some sort what you make me, I should
+rejoice for no other reason save that you might have a servant who might
+be worth something. But I do not marvel that you, who restore dead
+<span class="pagenum"><a id="Page_73" name="Page_73"></a>[Pg 73]</span> men to life, should lengthen the life of the living, or rather, that you
+should steal from death for an unlimited period those barely alive. To
+cut this short, such as I am, I am wholly yours,</p>
+
+<p class="right smcap">"Michelagnolo Buonarroti."</p>
+
+<p class="p2">While these matters were being discussed, and the Florentine colony
+was seeking to raise money, certain difficulties arose, on account of which
+they came to no decision, and the affair grew cold. Meanwhile, Vasari
+and Ammanati having by this time had all the marbles quarried at
+Carrara, a great part of them were sent to Rome, and with them
+Ammanati, through whom Vasari wrote to Buonarroti that he should
+ascertain from the Pope where he wanted the tomb, and, after receiving
+his orders, should have the work begun. The moment that Michelagnolo
+received the letter, he spoke to his Holiness; and with his own hand he
+wrote the following resolution to Vasari:</p>
+
+<p class="right">"<i>13th of October</i>, 1550.</p>
+
+<p class="smcap">"My dear Messer Giorgio,</p>
+
+<p>"The instant that Bartolommeo arrived here, I went to speak
+to the Pope, and, having perceived that he wished to begin the work
+once more at the Montorio, in the matter of the tombs, I looked for a
+mason from S. Pietro. 'Tantecose'<a id="FNanchor3" name="FNanchor3"></a><a href="#Footnote3" title="Go to footnote 3" class="fnanchor">[3]</a> heard this and insisted on sending
+one of his choosing, and I, to avoid contending with a man who commands
+the winds, have retired from the matter, because, he being a light-minded
+person, I would not care to be drawn into any entanglement.
+Enough that in my opinion there is no more thought to be given to the
+Church of the Florentines. Fare you well, and come back soon. Nothing
+else occurs to me."</p>
+
+<p class="p2">Michelagnolo used to call Monsignor di Forlì "Tantecose," because
+he insisted on doing everything himself. Being Chamberlain to the
+Pope, he had charge of the medals, jewels, cameos, little figures in bronze,
+pictures, and drawings, and desired that everything should depend on
+him. Michelagnolo was always anxious to avoid the man, because he
+<span class="pagenum"><a id="Page_74" name="Page_74"></a>[Pg 74]</span> had been constantly working against the master's interests, and therefore
+Buonarroti feared lest he might be drawn into some entanglement
+by the intrigues of such a man. In short, the Florentine colony lost a
+very fine opportunity for that church, and God knows when they will
+have such another; and to me it was an indescribable grief. I have
+desired not to omit to make this brief record, to the end that it may be
+seen that our Michelagnolo always sought to help his fellow-countrymen
+and his friends, and also art.</p>
+
+<p>Vasari had scarcely returned to Rome, when, before the beginning
+of the year 1551, the San Gallo faction arranged a conspiracy against
+Michelagnolo, whereby the Pope was to hold an assembly in S. Pietro,
+and to summon together the superintendents and all those who had the
+charge of the work, in order to show to the Pope, by means of false
+calumnies, that Michelagnolo had ruined that fabric, because, he having
+already built the apse of the King, where there are the three chapels,
+and having executed these with the three windows above, they, not
+knowing what was to be done with the vaulting, with feeble judgment
+had given the elder Cardinal Salviati and Marcello Cervini, who afterwards
+became Pope, to understand that S. Pietro was being left with
+little light. Whereupon, all being assembled, the Pope said to Michelagnolo
+that the deputies declared that the apse would give little light,
+and he answered: "I would like to hear these deputies speak in person."
+Cardinal Marcello replied: "We are here." Then Michelagnolo said to
+him: "Monsignore, above these windows, in the vaulting, which is to be
+made of travertine, there are to be three others." "You have never
+told us that," said the Cardinal. And Michelagnolo answered: "I am
+not obliged, nor do I intend to be obliged, to say either to your Highness
+or to any other person what I am bound or desirous to do. Your office
+is to obtain the money and to guard it from thieves, and the charge of
+the design for the building you must leave to me." And then, turning
+to the Pope, he said: "Holy Father, you see what my gains are, and that
+if these fatigues that I endure do not profit me in my mind, I am wasting
+my time and my work." The Pope, who loved him, laid his hands on
+his shoulders, and said: "You shall profit both in mind and in body;
+<span class="pagenum"><a id="Page_75" name="Page_75"></a>[Pg 75]</span> do not doubt it." Michelagnolo having thus been able to get rid of those
+persons, the Pope came to love him even more; and he commanded him
+and Vasari that on the day following they should both present themselves
+at the Vigna Julia, in which place his Holiness had many discussions with
+him, and they carried that work almost to the condition of perfect beauty
+in which it now is; nor did the Pope discuss or do anything in the matter
+of design without Michelagnolo's advice and judgment. And, among
+other things, since Michelagnolo went often with Vasari to visit him,
+the Pope insisted, once when he was at the fountain of the Acqua Vergine
+with twelve Cardinals, after Buonarroti had come up; the Pope, I say,
+insisted very strongly that he should sit beside him, although he sought
+most humbly to excuse himself; thus always honouring his genius as
+much as lay in his power.</p>
+
+<p>The Pope caused him to make the model of a façade for a palace
+that his Holiness desired to build beside S. Rocco, intending to avail himself
+of the Mausoleum of Augustus for the rest of the masonry; and, as a
+design for a façade, there is nothing to be seen that is more varied, more
+ornate, or more novel in manner and arrangement, for the reason that,
+as has been seen in all his works, he never consented to be bound by any
+law, whether ancient or modern, in matters of architecture, as one who
+had a brain always able to discover things new and well-varied, and in
+no way less beautiful. That model is now in the possession of Duke
+Cosimo de' Medici, who had it as a present from Pope Pius IV when he
+went to Rome; and he holds it among his dearest treasures. That Pope
+had such respect for Michelagnolo, that he was constantly taking up his
+defence against Cardinals and others who sought to calumniate him,
+and he desired that other craftsmen, however able and renowned they
+might be, should always go to seek him at his house; such, indeed, were
+the regard and reverence that he felt for him, that his Holiness did not
+venture, lest he might annoy him, to call upon Michelagnolo for many
+works which, although he was old, he could have executed.</p>
+
+<p>As far back as the time of Paul III Michelagnolo had made a
+beginning with the work of refounding, under his own direction, the Ponte
+S. Maria at Rome, which had been weakened by the constant flow of
+<span class="pagenum"><a id="Page_76" name="Page_76"></a>[Pg 76]</span> water and by age, and was falling into ruin. The refounding was contrived
+by Michelagnolo by means of caissons, and by making stout
+reinforcements against the piers; and already he had carried a great part
+of it to completion, and had spent large sums on wood and travertine on
+behalf of the work, when, in the time of Julius III, an assembly was held
+by the Clerks of the Chamber with a view to making an end of it, and a
+proposal was made among them by the architect Nanni di Baccio Bigio,
+saying that if it were allotted by contract to him it would be finished in
+a short time and without much expense; and this they suggested on
+the pretext, as it were, of doing a favour to Michelagnolo and relieving
+him of a burden, because he was old, alleging that he gave no thought to
+it, and that if matters remained as they were the end would never be
+seen. The Pope, who little liked being troubled, not thinking what the
+result might be, gave authority to the Clerks of the Chamber that they
+should have charge of the work, as a thing pertaining to them; and then,
+without Michelagnolo hearing another word about it, they gave it with
+all those materials, without any conditions, to Nanni, who gave no
+attention to the reinforcements, which were necessary for the refounding,
+but relieved the bridge of some weight, in consequence of having seen a
+great quantity of travertine wherewith it had been flanked and faced in
+ancient times, the result of which was to give weight to the bridge and
+to make it stouter, stronger, and more secure. In place of that he used
+gravel and other materials cast with cement, in such a manner that no
+defect could be seen in the inner part of the work, and on the outer side
+he made parapets and other things, insomuch that to the eye it appeared
+as if made altogether new; but it was made lighter all over and weakened
+throughout. Five years afterwards, when the flood of the year 1557
+came down, it happened that the bridge collapsed in such a manner as
+to make known the little judgment of the Clerks of the Chamber and the
+loss that Rome suffered by departing from the counsel of Michelagnolo,
+who predicted the ruin of the bridge many times to me and to his other
+friends. Thus I remember that he said to me, when we were passing
+there together on horseback, "Giorgio, this bridge is shaking under us;
+let us spur our horses, or it may fall while we are upon it."</p>
+
+<p><span class="pagenum"><a id="Page_77" name="Page_77"></a>[Pg 77]</span> But to return to the narrative interrupted above; when the work of
+the Montorio was finished, and that much to my satisfaction, I returned
+to Florence to re-enter the service of Duke Cosimo, which was in the year
+1554. The departure of Vasari grieved Michelagnolo, and likewise
+Giorgio, for the reason that Michelagnolo's adversaries kept harassing
+him every day, now in one way and now in another; wherefore they did
+not fail to write to one another daily. And in April of the same year,
+Vasari giving him the news that Leonardo, the nephew of Michelagnolo,
+had had a male child, that they had accompanied him to baptism with
+an honourable company of most noble ladies, and that they had
+revived the name of Buonarroto, Michelagnolo answered in a letter to
+Vasari in these words:</p>
+
+<p class="smcap">"Dear Friend Giorgio,</p>
+
+<p>"I have had the greatest pleasure from your letter, seeing
+that you still remember the poor old man, and even more because you
+were present at the triumph which, as you write, you witnessed in the
+birth of another Buonarroto; for which intelligence I thank you with all
+my heart and soul. But so much pomp does not please me, for man
+should not be laughing when all the world is weeping. It seems to me
+that Leonardo should not make so much rejoicing over a new birth, with
+all that gladness which should be reserved for the death of one who has
+lived well. Do not marvel if I delay to answer; I do it so as not to appear
+a merchant. As for the many praises that you send me in your letter, I
+tell you that if I deserved a single one of them, it would appear to me
+that in giving myself to you body and soul, I had truly given you something,
+and had discharged some infinitesimal part of the debt that I owe
+you; whereas I recognize you every hour as my creditor for more than I
+can repay, and, since I am an old man, I can now never hope to be able
+to square the account in this life, but perhaps in the next. Wherefore I
+pray you have patience, and remain wholly yours. Things here are much
+as usual."</p>
+
+<p class="p2">Already, in the time of Paul III, Duke Cosimo had sent Tribolo to
+Rome to see if he might be able to persuade Michelagnolo to return to
+<span class="pagenum"><a id="Page_78" name="Page_78"></a>[Pg 78]</span> Florence, in order to give completion to the Sacristy of S. Lorenzo. But
+Michelagnolo excused himself because, having grown old, he could not
+support the burden of such fatigues, and demonstrated to him with
+many reasons that he could not leave Rome. Whereupon Tribolo finally
+asked him about the staircase of the library of S. Lorenzo, for which
+Michelagnolo had caused many stones to be prepared, but there was no
+model of it nor any certainty as to the exact form, and, although there
+were some marks on a pavement and some other sketches in clay, the
+true and final design could not be found. However, no matter how
+much Tribolo might beseech him and invoke the name of the Duke,
+Michelagnolo would never answer a word save that he remembered
+nothing of it. Orders were given to Vasari by Duke Cosimo that he
+should write to Michelagnolo, requesting him to write saying what final
+form that staircase was to have; in the hope that through the friendship
+and love that he bore to Vasari, he would say something that might lead
+to some solution and to the completion of the work. Vasari wrote to
+Michelagnolo the mind of the Duke, saying that the execution of all that
+was to be done would fall to him; which he would do with that fidelity
+and care with which, as Michelagnolo knew, he was wont to treat such
+of his works as he had in charge. Wherefore Michelagnolo sent the
+directions for making the above-named staircase in a letter by his own
+hand on the 28th of September, 1555.</p>
+
+<div class="figcenter">
+<a name="img030" id="img030"></a>
+<img src="images/img030-tb.jpg" width="350" height="445" alt="Biblioteca Laurenziana." title="">
+<p class="caption">BIBLIOTECA LAURENZIANA<br>
+(<i>After</i> Michelagnolo. <i>Florence</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img030.jpg">View larger image</a></span></p>
+</div>
+
+<p class="smcap">"Messer Giorgio, Dear Friend,</p>
+
+<p>"Concerning the staircase for the library, of which so much
+has been said to me, you may believe that if I could remember how I had
+designed it, I would not need to be entreated. There does, indeed, come
+back to my mind, like a dream, a certain staircase; but I do not believe
+that it is exactly the one which I conceived at that time, because it comes
+out so stupid. However, I will describe it here. Take a quantity of
+oval boxes, each one palm in depth, but not of equal length and breadth.
+The first and largest place on the pavement at such a distance from the
+wall of the door as may make the staircase easy or steep, according to
+<span class="pagenum"><a id="Page_79" name="Page_79"></a>[Pg 79]</span> your pleasure. Upon this place another, which must be so much smaller
+in every direction as to leave on the first one below as much space as the
+foot requires in ascending; diminishing and drawing back the steps one
+after another towards the door, in accord with the ascent. And the
+diminution of the last step must reduce it to the proportion of the space
+of the door. The said part of the staircase with the oval steps must have
+two wings, one on one side and one on the other, with corresponding steps
+but not oval. Of these the central flight shall serve as the principal
+staircase, and from the centre of the staircase to the top the curves of the
+said wings shall meet the wall; but from the centre down to the pavement
+they shall stand, together with the whole staircase, at a distance of
+about three palms from the wall, in such a manner that the basement
+of the vestibule shall not be obstructed in any part, and every face shall
+be left free. I am writing nonsense; but I know well that you will find
+something to your purpose."</p>
+
+<p>Michelagnolo also wrote to Vasari in those days that Julius III
+being dead, and Marcellus elected, the faction that was against him, in
+consequence of the election of the new Pontiff, had again begun to harass
+him. Which hearing, and not liking these ways, the Duke caused
+Giorgio to write and tell him that he should leave Rome and come to live
+in Florence, where the Duke did not desire more than his advice and
+designs at times for his buildings, and that he would receive from that
+lord all that he might desire, without doing anything with his own hand.
+Again, there were carried to him by M. Leonardo Marinozzi, the private
+Chamberlain of Duke Cosimo, letters written by his Excellency; and so
+also by Vasari. But then, Marcellus being dead, and Paul IV having
+been elected, by whom once again numerous offers had been made to him
+from the very beginning, when he went to kiss his feet, the desire to
+finish the fabric of S. Pietro, and the obligation by which he thought
+himself bound to that task, kept him back; and, employing certain
+excuses, he wrote to the Duke that for the time being he was not able to
+serve him, and to Vasari a letter in these very words:</p>
+
+<p><span class="pagenum"><a id="Page_80" name="Page_80"></a>[Pg 80]</span> "<span class="smcap">Messer Giorgio, my dear Friend</span>,</p>
+
+<p>"I call God to witness how it was against my will and under
+the strongest compulsion that I was set to the building of S. Pietro in
+Rome by Pope Paul III, ten years ago. Had they continued to work at
+that fabric up to the present day, as they were doing then, I would now
+have reached such a point in the undertaking that I might be thinking
+of returning home; but for want of money it has been much retarded,
+and is still being retarded at the time when it has reached the most
+laborious and difficult stage, insomuch that to abandon it now would be
+nothing short of the greatest possible disgrace and sin, losing the reward
+of the labours that I have endured in those ten years for the love of God.
+I have made you this discourse in answer to your letter, and also because
+I have a letter from the Duke that has made me marvel much that his
+Excellency should have deigned to write so graciously; for which I thank
+God and his Excellency to the best of my power and knowledge. I
+wander from the subject, because I have lost my memory and my wits,
+and writing is a great affliction to me, for it is not my art. The conclusion
+is this: to make you understand what would be the result if I
+were to abandon the fabric and depart from Rome; firstly, I would please
+a number of thieves, and secondly, I would be the cause of its ruin, and
+perhaps, also, of its being suspended for ever."</p>
+
+<p class="p2">Continuing to write to Giorgio, Michelagnolo said to him, to excuse
+himself with the Duke, that he had a house and many convenient things
+at his disposal in Rome, which were worth thousands of crowns, in
+addition to being in danger of his life from disease of the kidneys, colic,
+and the stone, as happens to every old person, and as could be proved
+by Maestro Realdo, his physician, from whom he congratulated himself
+on having his life, after God; that for these reasons he was not able to
+leave Rome, and, finally, that he had no heart for anything but death.
+He besought Vasari, as he did in several other letters that Giorgio has
+by his hand, that he should recommend him to the Duke for pardon, in
+addition to what he wrote to the Duke, as I have said, to excuse himself.
+If Michelagnolo had been able to ride, he would have gone straightway
+to Florence, whence, I believe, he would never have consented to depart
+<span class="pagenum"><a id="Page_81" name="Page_81"></a>[Pg 81]</span> in order to return to Rome, so much was he influenced by the tenderness
+and love that he felt for the Duke; but meanwhile he gave his attention
+to working at many parts of the above-named fabric, in order so to fix
+the form that it might never again be changed. During this time certain
+persons had informed him that Pope Paul IV was minded to make him
+alter the façade of the chapel where the Last Judgment is, because, he
+said, those figures showed their nakedness too shamelessly. When,
+therefore, the mind of the Pope was made known to Michelagnolo, he
+answered: "Tell the Pope that it is no great affair, and that it can be
+altered with ease. Let him put the world right, and every picture will
+be put right in a moment." The office of the Chancellery of Rimini was
+taken away from Michelagnolo, but he would never speak of this to the
+Pope, who did not know it; and it was taken away from him by the
+Pope's Cup-bearer, who sought to have a hundred crowns a month given
+to him in respect of the fabric of S. Pietro, and caused a month's payment
+to be taken to his house, but Michelagnolo would not accept it. In the
+same year took place the death of Urbino, his servant, or rather, as he
+may be called, and as he had been, his companion. This man came to
+live with Michelagnolo in Florence in the year 1530, after the siege was
+finished, when his disciple Antonio Mini went to France; and he rendered
+very faithful service to Michelagnolo, insomuch that in twenty-six years
+that faithful and intimate service brought it about that Michelagnolo
+made him rich and so loved him, that in this, Urbino's last illness, old
+as he was, he nursed him and slept in his clothes at night to watch over
+him. Wherefore, after he was dead, Vasari wrote to Michelagnolo to
+console him, and he answered in these words:</p>
+
+<p class="smcap">"My dear Messer Giorgio,</p>
+
+<p>"I am scarce able to write, but, in reply to your letter, I
+shall say something. You know how Urbino died, wherein God has shown
+me very great grace, although it is also a grave loss and an infinite grief
+to me. This grace is that whereas when living he kept me alive, dying
+he has taught me to die not with regret, but with a desire for death. I
+have had him twenty-six years, and have found him a very rare and
+<span class="pagenum"><a id="Page_82" name="Page_82"></a>[Pg 82]</span> faithful servant; and now, when I had made him rich and was looking
+to him as the staff and repose of my old age, he has flown from me, nor
+is any hope left to me but to see him again in Paradise. And of this God
+has granted a sign in the happy death that he died, in that dying grieved
+him much less than leaving me in this traitorous world with so many
+afflictions; although the greater part of me is gone with him, and nothing
+is left me but infinite misery. I commend myself to you."</p>
+
+<p>Michelagnolo was employed in the time of Pope Paul IV on many
+parts of the fortifications of Rome, and also by Salustio Peruzzi, to whom
+that Pope, as has been related elsewhere, had given the charge of executing
+the great portal of the Castello di S. Angelo, which is now half ruined;
+and he occupied himself in distributing the statues of that work, examining
+the models of the sculptors, and correcting them. At that time the
+French army approached near to Rome, and Michelagnolo thought that
+he was like to come to an evil end together with that city; whereupon he
+resolved to fly from Rome with Antonio Franzese of Castel Durante,
+whom Urbino at his death had left in his house as his servant, and went
+secretly to the mountains of Spoleto, where he visited certain seats of
+hermits. Meanwhile Vasari wrote to him, sending him a little work that
+Carlo Lenzoni, a citizen of Florence, had left at his death to Messer
+Cosimo Bartoli, who was to have it printed and dedicated to Michelagnolo;
+which, when it was finished, Vasari sent in those days to Michelagnolo,
+and he, having received it, answered thus:</p>
+
+<p class="right"><i>September</i> 18, 1556.</p>
+
+<p class="smcap">"Messer Giorgio, dear Friend,</p>
+
+<p>"I have received Messer Cosimo's little book, which you send
+to me, and this shall be a letter of thanks. I pray you to give them to
+him, and send him my compliments.</p>
+
+<p>"I have had in these days great discomfort and expense, but also
+great pleasure, in visiting the hermits in the mountains of Spoleto, insomuch
+that less than half of me has returned to Rome, seeing that in truth
+there is no peace to be found save in the woods. I have nothing more
+to tell you. I am glad that you are well and happy, and I commend
+myself to you."</p>
+
+<p class="p2"><span class="pagenum"><a id="Page_83" name="Page_83"></a>[Pg 83]</span> Michelagnolo used to work almost every day, as a pastime, at that
+block with the four figures of which we have already spoken; which block
+he broke into pieces at this time for these reasons, either because it was
+hard and full of emery, and the chisel often struck sparks from it, or it
+may have been that the judgment of the man was so great that he was
+never content with anything that he did. A proof that this is true is that
+there are few finished statues to be seen out of all that he executed in
+the prime of his manhood, and that those completely finished were
+executed by him in his youth, such as the Bacchus, the Pietà in S. Maria
+della Febbre, the Giant of Florence, and the Christ of the Minerva, which
+it would not be possible to increase or diminish by as little as a grain of
+millet without spoiling them; and the others, with the exception of the
+Dukes Giuliano and Lorenzo, Night, Dawn, and Moses, with the other
+two, the whole number of these statues not amounting in all to eleven,
+the others, I say, were all left unfinished, and, moreover, they are many,
+Michelagnolo having been wont to say that if he had had to satisfy himself
+in what he did, he would have sent out few, nay, not one. For he had gone
+so far with his art and judgment, that, when he had laid bare a figure
+and had perceived in it the slightest degree of error, he would set it aside
+and run to lay his hand on another block of marble, trusting that the
+same would not happen to the new block; and he often said that this was
+the reason that he gave for having executed so few statues and pictures.
+This Pietà, when it was broken, he presented to Francesco Bandini.
+Now at this time Tiberio Calcagni, a Florentine sculptor, had become
+much the friend of Michelagnolo by means of Francesco Bandini and
+Messer Donato Giannotti; and being one day in Michelagnolo's house,
+where there was the Pietà, all broken, after a long conversation he asked
+him for what reason he had broken it up and destroyed labours so marvellous,
+and he answered that the reason was the importunity of his
+servant Urbino, who kept urging him every day to finish it, besides
+which, among other things, a piece of one of the elbows of the Madonna
+had been broken off, and even before that he had taken an aversion to it,
+and had had many misfortunes with it by reason of a flaw that was in the
+marble, so that he lost his patience and began to break it up; and he
+<span class="pagenum"><a id="Page_84" name="Page_84"></a>[Pg 84]</span> would have broken it altogether into pieces if his servant Antonio had not
+besought him that he should present it to him as it was. Whereupon
+Tiberio, having heard this, spoke to Bandini, who desired to have something
+by the hand of Michelagnolo, and Bandini contrived that Tiberio
+should promise to Antonio two hundred crowns of gold, and prayed
+Michelagnolo to consent that Tiberio should finish it for Bandini with the
+assistance of models by his hand, urging that thus his labour would not
+be thrown away. Michelagnolo was satisfied, and then made them a
+present of it. The work was carried away immediately, and then put
+together again and reconstructed with I know not what new pieces by
+Tiberio; but it was left unfinished by reason of the death of Bandini,
+Michelagnolo, and Tiberio. At the present day it is in the possession of
+Pier Antonio Bandini, the son of Francesco, at his villa on Monte Cavallo.
+But to return to Michelagnolo; it became necessary to find some work in
+marble on which he might be able to pass some time every day with the
+chisel, and another piece of marble was put before him, from which
+another Pietà had been already blocked out, different from the first and
+much smaller.</p>
+
+<div class="figcenter">
+<a name="img031" id="img031"></a>
+<img src="images/img031-tb.jpg" width="300" height="509" alt="Pietà." title="">
+<p class="caption">PIETÀ<br>
+(<i>After</i> Michelagnolo. <i>Rome: Palazzo Rondanini</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img031.jpg">View larger image</a></span></p>
+</div>
+
+<p>There had entered into the service of Paul IV, and also into the
+charge of the fabric of S. Pietro, the architect Pirro Ligorio, and he was
+now once more harassing Michelagnolo, going about saying that he had
+sunk into his second childhood. Wherefore, angered by such treatment,
+he would willingly have returned to Florence, and, having delayed to
+return, he was again urged in letters by Giorgio, but he knew that he
+was too old, having now reached the age of eighty-one. Writing at that
+time to Vasari by his courier, and sending him various spiritual sonnets,
+he said that he was come to the end of his life, that he must be careful
+where he directed his thoughts, that by reading he would see that he was
+at his last hour, and that there arose in his mind no thought upon which
+was not graved the image of death; and in one letter he said:</p>
+
+<p>"It is God's will, Vasari, that I should continue to live in misery
+for some years. I know that you will tell me that I am an old fool to
+wish to write sonnets, but since many say that I am in my second childhood,
+I have sought to act accordingly. By your letter I see the love
+<span class="pagenum"><a id="Page_85" name="Page_85"></a>[Pg 85]</span> that you bear me, and you may take it as certain that I would be glad
+to lay these feeble bones of mine beside those of my father, as you beg
+me to do; but by departing from here I would be the cause of the utter
+ruin of the fabric of S. Pietro, which would be a great disgrace and a very
+grievous sin. However, when it is so firmly established that it can never
+be changed, I hope to do all that you ask me, if it be not a sin to keep in
+anxious expectation certain gluttons that await my immediate departure."</p>
+
+<p>With this letter was the following sonnet, also written in his own
+hand:</p>
+
+<div class="poem">
+<p><span class="min2em">Giunto è già 'l corso della vita mia</span><br>
+    Con tempestoso mar' per fragil barca<br>
+    Al comun porto, ov'a render' si varca<br>
+    Conto e ragion' d'ogni opra trista e pia.<br>
+<span class="min2em">Onde l'affetuosa fantasia,</span><br>
+    Che l'arte mi fece idolo e monarca,<br>
+    Conosco or' ben' quant'era d'error' carca,<br>
+    E quel ch'a mal suo grado ognun' desia.<br>
+<span class="min2em">Gli amorosi pensier' già vani e lieti</span><br>
+    Che sien'or', s'a due morti mi avvicino?<br>
+    D'una so certo, e l'altra mi minaccia.<br>
+<span class="min2em">Nè pinger' nè scolpir' sia più che quieti</span><br>
+    L'anima volta a quello Amor Divino<br>
+    Ch'aperse a prender' noi in Croce le braccia.</p>
+</div>
+
+<p>Whereby it was evident that he was drawing towards God, abandoning
+the cares of art on account of the persecution of his malignant fellow-craftsmen,
+and also through the fault of certain overseers of the fabric,
+who would have liked, as he used to say, to dip their hands in the chest.
+By order of Duke Cosimo, a reply was written to Michelagnolo by Vasari
+in a letter of few words, exhorting him to repatriate himself, with a
+sonnet corresponding in the rhymes. Michelagnolo would willingly have
+left Rome, but he was so weary and aged, that although, as will be told
+below, he was determined to go back, while the spirit was willing the
+flesh was weak, and that kept him in Rome. It happened in June of the
+year 1557, he having made a model for the vault that was to cover the
+apse, which was being built of travertine in the Chapel of the King, that,
+from his not being able to go there as he had been wont, an error arose,
+<span class="pagenum"><a id="Page_86" name="Page_86"></a>[Pg 86]</span> in that the capomaestro took the measurements over the whole body of
+the vault with one single centre, whereas there should have been a great
+number; and Michelagnolo, as the friend and confidant of Vasari, sent him
+designs by his own hand, with these words written at the foot of two
+of them:</p>
+
+<p>"The centre marked with red was used by the capomaestro over the
+body of the whole vault; then, when he began to pass to the half-circle,
+which is at the summit of the vault, he became aware of the error which
+that centre was producing, as may be seen here in the design, marked
+in black. With this error the vault has gone so far forward, that we have
+to displace a great number of stones, for in that vault there is being
+placed no brick-work, but all travertine, and the diameter of the circle,
+without the cornice that borders it, is twenty-two palms. This error,
+after I had made an exact model, as I do of everything, has been caused
+by my not being able, on account of my old age, to go there often; so
+that, whereas I believed that the vault was now finished, it will not be
+finished all this winter, and, if it were possible to die of shame and grief,
+I should not be alive now. I pray you account to the Duke for my not
+being at this moment in Florence."</p>
+
+<div class="figcenter">
+<a name="img032" id="img032"></a>
+<img src="images/img032-tb.jpg" width="350" height="455" alt="S. Peter's." title="">
+<p class="caption">S. PETER'S<br>
+(<i>After</i> Michelagnolo. <i>Rome</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img032.jpg">View larger image</a></span></p>
+</div>
+
+<p>And continuing in the other design, where he had drawn the plan,
+he said this:</p>
+
+<p class="smcap">"Messer Giorgio,</p>
+
+<p>"To the end that it may be easier to understand the difficulty
+of the vault by observing its rise from the level of the ground, let me
+explain that I have been forced to divide it into three vaults, corresponding
+to the windows below divided by pilasters; and you see that they
+go pyramidally into the centre of the summit of the vault, as also do
+the base and sides of the same. It was necessary to regulate them with
+an infinite number of centres, and there are in them so many changes in
+various directions, from point to point, that no fixed rule can be maintained.
+And the circles and squares that come in the middle of their
+deepest parts have to diminish and increase in so many directions, and
+to go to so many points, that it is a difficult thing to find the true method.
+<span class="pagenum"><a id="Page_87" name="Page_87"></a>[Pg 87]</span> Nevertheless, having the model, such as I make for everything, they
+should never have committed so great an error as to seek to regulate
+with one single centre all those three shells; whence it has come about
+that we have been obliged with shame and loss to pull down, as we are
+still doing, a great number of stones. The vault, with its sections and
+hewn stone-work, is all of travertine, like all the rest below; a thing not
+customary in Rome."</p>
+
+<p>Michelagnolo was excused by Duke Cosimo, hearing of these misfortunes,
+from coming to Florence; the Duke saying to him that his
+contentment and the continuation of S. Pietro were more dear to him
+than anything in the world, and that he should rest in peace. Whereupon
+Michelagnolo wrote to Vasari, on the same sheet in which he thanked
+the Duke to the best of his power and knowledge for such kindness,
+saying, "God give me grace that I may be able to serve him with this
+my poor person, for my memory and my brain are gone to await him
+elsewhere." The date of this letter was August in the year 1557. Thus,
+then, Michelagnolo learned that the Duke esteemed his life and his honour
+more than he did himself, who so revered him. All these things, and
+many more that it is not necessary to mention, we have in our possession,
+written in his hand.</p>
+
+<p>Michelagnolo by this time was reduced to a feeble condition, and it
+was evident that little was being done in S. Pietro, now that he had
+carried on a great part of the frieze of the windows within, and of the
+double columns without, which curve above the great round cornice<a id="FNanchor4" name="FNanchor4"></a><a href="#Footnote4" title="Go to footnote 4" class="fnanchor">[4]</a>
+where the cupola is to be placed, as will be related; and he was exhorted
+and urged by his greatest friends, such as the Cardinal of Carpi, Messer
+Donato Giannotti, Francesco Bandini, Tommaso de' Cavalieri, and Lottino
+that, since he saw the delay in the raising of the cupola, he should at least
+make a model of it. He stayed many months without making up his
+mind to this, but in the end he made a beginning, and then little by little
+constructed a small model in clay, from which, as an exemplar, and from
+the plans and profiles that he had drawn, it might be possible afterwards
+<span class="pagenum"><a id="Page_88" name="Page_88"></a>[Pg 88]</span> to make a larger one of wood. This, having made a beginning with it,
+he caused to be constructed in little more than a year by Maestro Giovanni
+Franzese, with much study and pains; and he made it on such a scale
+that the smaller proportions of the model, measured by the old Roman
+palm, corresponded with complete exactness to those of the large work,
+he having fashioned with diligence in that model all the members of
+columns, bases, capitals, doors, windows, cornices, projections, and likewise
+every least thing, knowing that in such a work no less should be
+done, for in all Christendom, nay, in all the world, there is not to be
+found or seen any fabric more ornate or more grand. And I cannot
+but think that, if we have given up time to noting smaller things, it
+is even more useful, and also our duty, to describe this manner of design
+for building the structure of this tribune with the form, order, and method
+that Michelagnolo thought to give it; wherefore with such brevity as we
+may we will give a simple description of it, to the end that, if it should
+ever be the fate of this work, which God forbid, to be disturbed by the
+envy and malice of presumptuous persons after the death of Michelagnolo,
+even as we have seen it disturbed up to the present during his lifetime,
+these my writings, such as they may be, may be able to assist the faithful
+who are to be the executors of the mind of that rare man, and also to
+restrain the malignant desires of those who may seek to alter it, and so
+at one and the same time assist, delight, and open the minds of those
+beautiful intellects that are the friends of this profession and regard it
+as their joy.</p>
+
+<div class="figcenter">
+<a name="img033" id="img033"></a>
+<img src="images/img033-tb.jpg" width="500" height="369" alt="S. Peter's." title="">
+<p class="caption">S. PETER'S<br>
+(<i>After</i> Michelagnolo. <i>Rome</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img033.jpg">View larger image</a></span></p>
+</div>
+
+<p>I must begin by saying that according to this model, made under the
+direction of Michelagnolo, I find that in the great work the whole space
+within the tribune will be one hundred and eighty-six palms, speaking of
+its width from wall to wall above the great cornice of travertine that
+curves in a round in the interior, resting on the four great double piers
+that rise from the ground with their capitals carved in the Corinthian
+Order, accompanied by their architrave, frieze, and cornice, likewise of
+travertine; which great cornice, curving right round over the great niches,
+rests supported upon the four great arches of the three niches and of the
+entrance, which form the cross of the building. Then there begins to
+<span class="pagenum"><a id="Page_89" name="Page_89"></a>[Pg 89]</span> spring the first part of the tribune, the rise of which commences in a
+basement of travertine with a platform six palms broad, where one can
+walk; and this basement curves in a round in the manner of a well, and
+its thickness is thirty-three palms and eleven inches, the height to the
+cornice eleven palms and ten inches, the cornice over it about eight
+palms, and its projection six and a half palms. Into this basement you
+enter, in order to ascend the tribune, by four entrances that are over the
+arches of the niches, and the thickness of the basement is divided into
+three parts; that on the inner side is fifteen palms, that on the outer side
+is eleven palms, and that in the centre is seven palms and eleven inches,
+which make up the thickness of thirty-three palms and eleven inches.
+The space in the centre is hollow and serves as a passage, which is two
+squares in height and curves in a continuous round, with a barrel-shaped
+vault; and in line with the four entrances are eight doors, each of which
+rises in four steps, one of them leading to the level platform of the cornice
+of the first basement, six palms and a half in breadth, and another leading
+to the inner cornice that curves round the tribune, eight palms and three-quarters
+broad, on which platforms, by each door, you can walk conveniently
+both within and without the edifice, and from one entrance to
+another in a curve of two hundred and one palms, so that, the sections
+being four, the whole circuit comes to be eight hundred and four palms.
+We now have to ascend from the level of this basement, upon which rest
+the columns and pilasters, and which forms the frieze of the windows
+within all the way round, being fourteen palms and one inch in height,
+and around it, on the outer side, there is at the foot a short order of
+cornice-work, and so also at the top, which does not project more than
+ten inches, and all of travertine; and so in the thickness of the third part,
+above that on the inner side, which we have described as fifteen palms
+thick, there is made in every quarter-section a staircase, one half of which
+ascends in one direction and the second half in another, the width being
+four palms and a quarter; and this staircase leads to the level of the
+columns. Above this level there begin to rise, in line with the solid
+parts of the basement, eighteen large piers all of travertine, each adorned
+with two columns on the outer side and pilasters on the inner, as will be
+<span class="pagenum"><a id="Page_90" name="Page_90"></a>[Pg 90]</span> described below, and between the piers are left the spaces where there
+are to be all the windows that are to give light to the tribune. These
+piers, on the sides pointing towards the central point of the tribune, are
+thirty-six palms in extent, and on the front sides nineteen and a half.
+Each of them, on the outer side, has two columns, the lowest dado of which
+is eight palms and three-quarters broad and one palm and a half high,
+the base five palms and eight inches broad and ... palms and
+eleven inches high, the shaft of the column forty-three and a half palms
+high, five palms and six inches thick at the foot and four palms and
+nine inches at the top, the Corinthian capital six palms and a half high,
+with the crown of mouldings nine palms. Of these columns three
+quarters are to be seen, and the other quarter is merged into the corner,
+with the accompaniment of the half of a pilaster that makes a salient
+angle on the inner side, and this is accompanied in the central inner
+space by the opening of an arched door, five palms wide and thirteen
+palms and five inches high, from the summit of which to the capitals of
+the pilasters and columns there is a filling of solid masonry, serving as a
+connection with two other pilasters that are similar to those that form
+a salient angle beside the columns. These two pilasters correspond to
+the others, and adorn the sides of sixteen windows that go right round
+the tribune, each with a light twelve palms and a half wide and about
+twenty-two palms high. These windows are to be adorned on the outer
+side with varied architraves two palms and three-quarters high, and on
+the inner side they are to be adorned with orders likewise varied, with
+pediments and quarter-rounds; and they are wide without and more
+narrow within, and so, also, they are sloped away at the foot of the inner
+side, so that they may give light over the frieze and cornice. Each of
+them is bordered by two flat pilasters that correspond in height to the
+columns without, so that there come to be thirty-six columns without
+and thirty-six pilasters within; over which pilasters is the architrave,
+which is four palms and three-quarters in height, the frieze four and a
+half, and the cornice four and two-thirds, with a projection of five palms;
+and above this is to go a range of balusters, so that one may be able to
+walk all the way round there with safety. And in order that it may be
+<span class="pagenum"><a id="Page_91" name="Page_91"></a>[Pg 91]</span> possible to climb conveniently from the level where the columns begin,
+another staircase ascends in the same line within the thickness of the
+part that is fifteen palms wide, in the same manner and of the same
+width, with two branches or ascents, all the way up to the summit of
+the columns, with their capitals, architraves, friezes, and cornices; insomuch
+that, without obstructing the light of the windows, these stairs pass
+at the top into a spiral staircase of the same breadth, which finally reaches
+the level where the turning of the tribune is to begin.</p>
+
+<p>All this order, distribution, and ornamentation is so well varied,
+commodious, rich, durable, and strong, and serves so well to support the
+two vaults of the cupola that is to be turned upon it, that it is a very
+ingenious thing, and it is all so well considered and then executed in
+masonry, that there is nothing to be seen by the eyes of one who has
+knowledge and understanding that is more pleasing, more beautiful, or
+wrought with greater mastery, both on account of the binding together
+and mortising of the stones and because it has in it in every part strength
+and eternal life, and also because of the great judgment wherewith he
+contrived to carry away the rain-water by many hidden channels, and,
+finally, because he brought it to such perfection, that all other fabrics that
+have been built and seen up to the present day appear as nothing in comparison
+with the grandeur of this one. And it has been a very great loss
+that those whose duty it was did not put all their power into the undertaking,
+for the reason that, before death took away from us that rare man,
+we should have seen that beautiful and terrible structure already raised.</p>
+
+<p>Up to this point has Michelagnolo carried the masonry of the work;
+and it only remains to make a beginning with the vaulting of the tribune,
+of which, since the model has come down to us, we shall proceed to
+describe the design that he has left to the end that it may be carried out.
+He turned the curve of this vault on three points that make a triangle,
+in this manner:</p>
+
+<p class="center">A&nbsp;&nbsp;&nbsp;B<br>
+ C</p>
+
+<p>The point C, which is the lowest, is the principal one, wherewith he turned
+the first half-circle of the tribune, with which he gave the form, height
+<span class="pagenum"><a id="Page_92" name="Page_92"></a>[Pg 92]</span> and breadth of this vault, which he ordered to be built entirely of bricks
+well baked and fired, laid herring-bone fashion. This shell he makes
+four palms and a half thick, and as thick at the top as at the foot, and
+leaving beside it, in the centre, a space four palms and a half wide at the
+foot, which is to serve for the ascent of the stairs that are to lead to the
+lantern, rising from the platform of the cornice where there are balusters.
+The arch of the interior of the other shell, which is to be wider at the
+foot and narrower at the top, is turned on the point marked B, and the
+thickness of the shell at the foot is four palms and a half. And the last
+arch, which is to be turned in order to make the exterior of the cupola,
+wider at the foot and narrowing towards the top, is to be raised on the
+point marked A, which arch turned, there remains at the top all the hollow
+space of the interior for the ascent of the stairs, which are eight palms
+high, so that one may climb them upright; and the thickness of that shell
+comes to diminish little by little, insomuch that, being as before four
+palms and a half at the foot, it decreases at the top to three palms and
+a half. And the outer shell comes to be so well bound to the inner shell
+with bonds and with the stairs, that the one supports the other; while of
+the eight parts into which the fabric is divided at the base, the four
+over the arches are left hollow, in order to put less weight upon the
+arches, and the other four are bound and chained together with bonds
+upon the piers, so that the structure may have everlasting life.</p>
+
+<p>The stairs in the centre between one shell and the other are constructed
+in this form; from the level where the springing of the vault
+begins they rise in each of the four sections, and each ascends from two
+entrances, the stairs intersecting one another in the form of an X, until
+they have covered the half of the arch marked C, on the upper side of the
+shell, when, having ascended straight up the half of that arch, the remaining
+space is then easily climbed circle after circle and step after
+step in a direct line, until finally one arrives at the eye of the cupola,
+where the rise of the lantern begins, around which, in accord with the
+diminution of the compartments that spring above the piers, there is a
+smaller range of double pilasters and windows similar to those that are
+constructed in the interior, as will be described below.</p>
+
+<p><span class="pagenum"><a id="Page_93" name="Page_93"></a>[Pg 93]</span> Over the first great cornice within the tribune there begin at the
+foot the compartments for the recesses that are in the vault of the tribune,
+which are formed by sixteen projecting ribs. These at the foot are as
+broad as the breadth of the two pilasters which at the lower end border
+each window below the vault of the tribune, and they rise, diminishing
+pyramidally, as far as the eye of the lantern; at the foot they rest on
+pedestals of the same breadth and twelve palms high, and these pedestals
+rest on the level platform of the cornice which goes in a circle right
+round the tribune. Above this, in the recessed spaces between the ribs,
+there are eight large ovals, each twenty-nine palms high, and over them
+a number of straight-sided compartments that are wider at the foot and
+narrower at the top, and twenty-four palms high, and then, the ribs
+drawing together, there comes above each straight-sided compartment
+a round fourteen palms high; so that there come to be eight ovals, eight
+straight-sided compartments, and eight rounds, each range forming
+recesses that grow more shallow in succession. The ground of all these
+displays extraordinary richness, for Michelagnolo intended to make the
+ribs and the ornaments of the said ovals, straight-sided compartments,
+and rounds, all corniced in travertine.</p>
+
+<p>It remains for us to make mention of the surface and adornment
+of the arch on that side of the vault where the roofing is to go, which
+begins to rise from a base twenty-five palms and a half high, which has
+at the foot a basement that has a projection of two palms, as have the
+crowning mouldings at the top. The covering or roofing with which he
+proposed to cover it is of lead, such as covers the roof of the old S. Pietro
+at the present day, and is divided into sixteen sections from one solid
+base to another, each base beginning where the two columns end, which
+are one on either side of it. In each of these sections, in the centre, he
+made two windows to give light to the inner space where the ascent of
+the stairs is, between the two shells, so that in all they are thirty-two.
+These, by means of brackets that support a quarter-round, he made
+projecting from the roof in such a manner as to protect the lofty and
+novel view-point from the rain. In a line with the centre of the solid
+base between each two columns, above which was the crowning cornice,
+<span class="pagenum"><a id="Page_94" name="Page_94"></a>[Pg 94]</span> sprang a rib, one to each, wider at the foot and narrowing at the top;
+in all sixteen ribs, five palms broad, in the centre of each of which was a
+quadrangular channel one palm and a half wide, within which is formed
+an ascent of steps about one palm high, by which to ascend or descend
+between the platform at the foot and the summit where the lantern
+begins. These are to be built of travertine and constructed with mortisings,
+to the end that the joins may be protected against water and ice
+during times of rain.</p>
+
+<p>The design for the lantern is reduced in the same proportion as all
+the rest of the work, so that, taking lines round the circumference, everything
+comes to diminish in exact accord, and with proportionate measurements
+it rises as a simple temple with round columns two by two, like
+those on the solid bases below. These have pilasters to correspond to
+them, and one can walk all the way round and see from the central spaces
+between the pilasters, where the windows are, the interior of the tribune
+and the church. Above this, architrave, frieze, and cornice curve in a
+round, projecting over each pair of columns; and over these columns, in
+a line with them, spring some caulicoles, which, together with some
+niches that divide them, rise to find the end of the lantern, which, beginning
+to draw together, grows gradually narrower for a third of its height,
+in the manner of a round pyramid, until it reaches the ball, upon which,
+as the final crown of the structure, goes the cross. Many particulars and
+minute details I might have mentioned, such as air-holes for protection
+against earthquakes, water-conduits, the various lights, and other conveniences,
+but I omit them because the work is not yet come to completion,
+being content to have touched on the principal parts as well as
+I have been able. For, since every part is in existence and can be seen,
+it is enough to have made this brief sketch, which is a great light to him
+who has no knowledge of the structure.</p>
+
+<p>The completion of this model caused the greatest satisfaction not only
+to all his friends, but to all Rome, the form of the fabric having been
+thus settled and established. It then came to pass that Paul IV died,
+and after him was elected Pius IV, who, while causing the building of the
+little palace in the wood of the Belvedere to be continued by Pirro Ligorio,
+<span class="pagenum"><a id="Page_95" name="Page_95"></a>[Pg 95]</span> who remained architect to the Palace, made many gracious offers and
+advances to Michelagnolo. The Motu-proprio originally received by
+Michelagnolo from Paul III, and then from Julius III and Paul IV, in
+respect of the fabric of S. Pietro, he confirmed in his favour, and he
+restored to him a part of the revenues and allowances taken away by
+Paul IV, employing him in many of his works of building; and in his
+time he caused the fabric of S. Pietro to be carried on vigorously. He
+made use of Michelagnolo, in particular, in preparing a design for the
+tomb of the Marchese Marignano, his brother, which, destined to be
+erected in the Duomo of Milan, was allotted by his Holiness to the
+Chevalier Leone Lioni of Arezzo, a most excellent sculptor and much
+the friend of Michelagnolo; the form of which tomb will be described in
+the proper place.</p>
+
+<p>At this time the Chevalier Leone made a very lively portrait of
+Michelagnolo in a medal, and to please him he fashioned on the reverse
+a blind man led by a dog, with these letters around:</p>
+
+<p class="poem smcap">DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.</p>
+
+<p>And Michelagnolo, since it pleased him much, presented him a model in
+wax of Hercules crushing Antæus, by his own hand, with certain of his
+designs. Of Michelagnolo we have no other portraits but two in painting,
+one by the hand of Bugiardini and the other by Jacopo del Conte,
+one in bronze executed in full-relief by Daniello Ricciarelli, and this one
+by the Chevalier Leone; from which portraits so many copies have been
+made, that I have seen a good number in many places in Italy and in
+foreign parts.</p>
+
+<p>The same year Cardinal Giovanni de' Medici, the son of Duke Cosimo,
+went to Rome to receive the hat from Pius IV, and it fell to Vasari, as
+his servant and familiar friend, to go with him; which Vasari went there
+willingly and stayed about a month, in order to enjoy Michelagnolo, who
+received him with great affection and was always with him. Vasari had
+taken with him, by order of his Excellency, a model in wood of the whole
+Ducal Palace of Florence, together with designs of the new apartments
+that had been built and painted by him; which Michelagnolo desired to
+see both in the model and in the designs, since, being old, he was not
+<span class="pagenum"><a id="Page_96" name="Page_96"></a>[Pg 96]</span> able to see the works themselves. These works, which were abundant
+and well varied, with different inventions and fancies, began with the
+Castration of Uranus and continued in stories of Saturn, Ops, Ceres,
+Jove, Juno, and Hercules, each room having one of these names, with the
+stories in various compartments; even as the other chambers and halls,
+which were beneath these, had the names of the heroes of the House of
+Medici, beginning with the elder Cosimo, and continuing with Lorenzo,
+Leo X, Clement VII, Signor Giovanni, Duke Alessandro, and Duke
+Cosimo, in each of which were not only the stories of their actions, but
+also portraits of them, of their children, and of all the ancients renowned
+in statesmanship, in arms, and in letters, taken from the life. Of these
+Vasari had written a Dialogue in which he explained all the stories, the
+end of the whole invention, and how the fables above harmonized with
+the stories below; which was read to Michelagnolo by Annibale Caro,
+and he took the greatest pleasure in it. This Dialogue, when Vasari shall
+have more time, will be published.</p>
+
+<p>The result of all this was as follows. Vasari was desirous of setting
+his hand to the Great Hall, and since, as has been said elsewhere, the
+ceiling was low, making it stunted and wanting in lights, he had a desire
+to raise that ceiling. Now the Duke would not make up his mind to
+give him leave that it should be raised; not that the Duke feared the cost,
+as was seen afterwards, but rather the danger of raising the beams of the
+roof thirteen braccia. However, like a man of judgment, his Excellency
+consented that the advice of Michelagnolo should be taken, and Michelagnolo,
+having seen in that model the Hall as it then was, and afterwards,
+all the beams having been removed and replaced by other beams with a
+new invention in the ceiling and walls, the same Hall as it has since been
+made, with the invention of the stories likewise designed therein, liked it
+and straightway became not a judge but a supporter, and the rather as
+he saw the facile method of raising the beams and the roof, and the plan
+for executing the whole work in a short time. Wherefore, on Vasari's
+return, he wrote to the Duke that he should carry out that undertaking,
+since it was worthy of his greatness.</p>
+
+<div class="figcenter">
+<a name="img034" id="img034"></a>
+<img src="images/img034-tb.jpg" width="300" height="401" alt="Porta Pia." title="">
+<p class="caption">PORTA PIA<br>
+(<i>After</i> Michelagnolo. <i>Rome</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img034.jpg">View larger image</a></span></p>
+</div>
+
+<p>The same year Duke Cosimo went to Rome with the Lady Duchess
+<span class="pagenum"><a id="Page_97" name="Page_97"></a>[Pg 97]</span> Leonora, his consort, and Michelagnolo, after the Duke's arrival, went
+straightway to see him. The Duke, after receiving him with many
+endearments, caused him, out of respect for his great genius, to sit by his
+side, and with much familiarity talked to him of all that he had caused
+to be done in painting and sculpture at Florence, and also of all that
+he was minded to have done, and in particular of the Hall; and Michelagnolo
+again encouraged and reassured him in that matter, lamenting,
+since he loved that Lord, that he was not young enough to be able to
+serve him. His Excellency said that he had discovered the way to work
+porphyry, a thing which Michelagnolo could not believe, and the Duke
+therefore sent him, as has been related in the first chapter of the Treatise
+on Theory, the head of Christ wrought by the sculptor Francesco del
+Tadda, at which he was astonished; and he visited the Duke several
+times the while that he stayed in Rome, to his vast satisfaction. He did
+the same a short time afterwards when the most Illustrious Don Francesco
+de' Medici, the Duke's son, went there, in whom Michelagnolo took
+much delight from the marks of regard and affection shown to him by
+his most Illustrious Excellency, who spoke with him always cap in hand,
+having infinite reverence for so rare a man; and Michelagnolo wrote to
+Vasari that it vexed him to be old and infirm, for he would have liked
+to do something for that Lord, but he was going about trying to buy
+some beautiful antique to send to him in Florence.</p>
+
+<p>Being requested at this time by the Pope for a design for the Porta
+Pia, Michelagnolo made three, all fantastic and most beautiful, of which
+the Pope chose the least costly for putting into execution; and it is now
+to be seen erected there, with much credit to him. Perceiving the inclination
+of the Pope, and hoping that he would restore the other gates
+of Rome, he made many other designs for him; and he did the like, at the
+request of the same Pontiff, in the matter of the new Church of S. Maria
+degli Angeli in the Baths of Diocletian, in order to convert them into a
+temple for the use of Christians. A design by his hand prevailed over
+many others made by excellent architects, being executed with such
+beautiful considerations for the convenience of the Carthusian Friars,
+who have now carried it almost to completion, that it caused his Holiness
+<span class="pagenum"><a id="Page_98" name="Page_98"></a>[Pg 98]</span> and all the prelates and lords of the Court to marvel at the judgment
+of the lovely conceptions that he had drawn, availing himself of all the
+skeleton of those baths, out of which was seen formed a most beautiful
+temple, with an entrance surpassing the expectations of all the architects;
+from which he acquired infinite praise and honour. For that place, also,
+he designed for his Holiness a Ciborium of the Sacrament in bronze, cast
+for the most part by Maestro Jacopo Ciciliano, an excellent bronze-caster,
+who makes his works come out very delicate and fine, without any roughness,
+so that they can be polished with little labour; in which field he is
+a rare master, and gave much satisfaction to Michelagnolo.</p>
+
+<div class="figcenter">
+<a name="img035" id="img035"></a>
+<img src="images/img035-tb.jpg" width="350" height="466" alt="S. Maria Degli Angeli." title="">
+<p class="caption">S. MARIA DEGLI ANGELI<br>
+(<i>After</i> Michelagnolo. <i>Rome</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img035.jpg">View larger image</a></span></p>
+</div>
+
+<p>The Florentine colony had often talked among themselves of giving
+a good beginning to the Church of S. Giovanni in the Strada Giulia.
+Finally, all the heads of the richest houses having assembled together,
+they each promised to contribute in due proportion according to their
+means towards that fabric, insomuch that they contrived to collect a
+good sum of money; and then it was discussed among them whether it
+were better to follow the old lines or to have something new and finer.
+It was determined that something new should be erected upon the old
+foundations, and finally they elected three men to have the charge of the
+fabric, who were Francesco Bandini, Uberto Ubaldini, and Tommaso
+de' Bardi; and these requested Michelagnolo for a design, recommending
+themselves to him on the ground that it was a disgrace to their colony
+to have thrown away so much money without any kind of profit, and
+that, if his genius did not avail to finish the work, they had no other
+resource. He promised them to do it, with as much lovingness as he
+had ever shown in any work in the past, because in this his old age he
+readily gave his attention to sacred things, such as might redound to
+the honour of God, and also from affection for his fellow-Florentines,
+whom he loved always. Michelagnolo had with him at this conference
+the Florentine sculptor Tiberio Calcagni, a young man very ardent to
+learn art, who, after going to Rome, had turned his mind to the study
+of architecture. Loving him, Michelagnolo had given him to finish, as
+has been related, the Pietà in marble that he had broken, and, in addition,
+a head of Brutus in marble with the breast, considerably larger than
+<span class="pagenum"><a id="Page_99" name="Page_99"></a>[Pg 99]</span> life, to the end that he might finish it. Of this the head alone was carved,
+with certain most minute gradines, and he had taken it from a portrait
+of Brutus cut in a very ancient cornelian that was in the possession of
+Signor Giuliano Cesarino; which Michelagnolo was doing for Cardinal
+Ridolfi at the entreaty of Messer Donato Giannotti, his very dear friend,
+and it is a rare work. Michelagnolo, then, in matters of architecture,
+not being able by reason of old age to draw any more or to make accurate
+lines, was making use of Tiberio, because he was very gentle and discreet;
+and thus, desiring to avail himself of him in such an undertaking,
+he laid on him the charge of tracing the plan of the site of the above-named
+church. That plan having been traced and carried straightway
+to Michelagnolo, at a time when it was not thought that he was doing
+anything, he gave them to understand through Tiberio that he had
+carried out their wishes, and finally showed them five most beautiful
+ground-plans of temples; which having seen, they marvelled. He said
+to them that they should choose one that pleased them, and they, not
+wishing to do it, left the matter to his judgment, but he insisted that they
+should decide of their own free will; wherefore they all with one accord
+chose the richest. This having been adopted, Michelagnolo said to
+them that if they carried such a design to completion, neither the Greeks
+nor the Romans ever in their times executed such a work; words that
+neither before nor afterwards ever issued from the mouth of Michelagnolo,
+for he was very modest. Finally it was agreed that the direction should
+be left entirely to Michelagnolo, and that the labour of executing that
+work should fall to Tiberio; with all which they were content, Buonarroti
+promising them that Tiberio would serve them excellently well. And
+so, having given the ground-plan to Tiberio to be drawn accurately and
+with correct measurements, he drew for him the profiles both within and
+without, and bade him make a model of clay, teaching him the way to
+execute it so that it might stand firm. In ten days Tiberio executed a
+model of eight palms, which much pleased the whole Florentine colony,
+so that afterwards they caused to be made from it a model of wood,
+which is now in the residence of the Consuls of that colony; a thing as
+rare in its beauty, richness, and great variety, as any temple that has
+<span class="pagenum"><a id="Page_100" name="Page_100"></a>[Pg 100]</span> ever been seen. A beginning was made with the building, and five
+thousand crowns were spent; but the funds for the fabric failed, and so
+it was abandoned, at which Michelagnolo felt very great displeasure.
+He obtained for Tiberio the commission to finish under his direction, at
+S. Maria Maggiore, a chapel begun for Cardinal Santa Fiore; but it was
+left unfinished, on account of the death of the Cardinal, of Michelagnolo,
+and of Tiberio himself, the death of which young man was a very great
+loss.</p>
+
+<div class="figcenter">
+<a name="img036" id="img036"></a>
+<img src="images/img036-tb.jpg" width="300" height="435" alt="Brutus." title="">
+<p class="caption">BRUTUS<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<br><i>Brogi</i><br>
+<span class="link"><a href="images/img036.jpg">View larger image</a></span></p>
+</div>
+
+<p>Michelagnolo had been seventeen years in the fabric of S. Pietro,
+and several times the deputies had tried to remove him from that position,
+but they had not succeeded, and they were seeking to oppose him in
+every matter now with one vexatious pretext and now with another,
+hoping that out of weariness, being now so old that he could do no more,
+he would retire before them. It happened in those days that Cesare da
+Castel Durante, who had been the overseer, died, and Michelagnolo, to
+the end that the fabric might not suffer, sent there Luigi Gaeta, who was
+too young but very competent, until he should find a man after his desire.
+The deputies (some of whom had many times made efforts to place there
+Nanni di Baccio Bigio, who was always urging them and promising
+great things), in order to be able to disturb the affairs of the fabric at their
+pleasure, sent Luigi Gaeta away, which having heard, Michelagnolo, as
+in anger, would no longer show himself at the fabric; whereupon they
+began to give out that he could do no more, that it was necessary to
+give him a substitute, and that he himself had said that he did not wish
+to be embroiled any longer with S. Pietro. All this came to the ears of
+Michelagnolo, who sent Daniello Ricciarelli of Volterra to Bishop Ferratino,
+one of the superintendents, who had said to the Cardinal of Carpi that
+Michelagnolo had told one of his servants that he did not wish to be
+mixed up with the fabric any longer; and Daniello said that this was by
+no means Michelagnolo's desire. Ferratino complained that Michelagnolo
+would not make his conception known, adding that it would be well for
+him to provide a substitute, and that he would have gladly accepted
+Daniello; and with this Michelagnolo appeared to be content. Thereupon
+Ferratino, having had the deputies informed in the name of Michelagnolo
+<span class="pagenum"><a id="Page_101" name="Page_101"></a>[Pg 101]</span> that they now had a substitute, presented not Daniello, but in his place
+Nanni di Baccio Bigio, who came in and was accepted by the superintendents.
+Before very long he gave orders to make a scaffolding of wood
+from the side of the Pope's stables, where the hill is, to rise above the
+great recess that is turned towards that side, and caused some stout
+beams of fir to be cut, saying that too many ropes were consumed in
+drawing up the materials, and that it was better to raise them by his
+method. Which having heard, Michelagnolo went straight to the Pope,
+who was on the Piazza di Campidoglio, and made so much noise that his
+Holiness made him go at once into a room, where he said: "Holy Father,
+there has been appointed as my substitute by the deputies a man of
+whom I know nothing; but if they are convinced, and also your Holiness,
+that I am no longer the proper man, I will return to rest in Florence,
+where I will enjoy the favours of that great Duke who has so long desired
+me, and will finish my life in my own house; I therefore beg your gracious
+leave." The Pope was vexed at this, and, consoling him with kind words,
+ordained that he should come to speak with him on the following day at
+the Araceli. There, having caused the deputies of the fabric to be
+assembled together, he desired to be informed of the reasons of what had
+happened: whereupon their answer was that the fabric was going to ruin,
+and that errors were being made in it. Which having heard not to be
+the truth, the Pope commanded Signor Gabrio Scerbellone that he should
+go to see the fabric for himself, and that Nanni, who was making these
+assertions, should show it to him. This was carried out, and Signor
+Gabrio found that the whole story was a malicious slander, and not the
+truth; wherefore Nanni was dismissed from that fabric with no very
+flattering words in the presence of many lords, being also reproached that
+by his fault the bridge of Santa Maria fell into ruin, and that at Ancona,
+seeking to do great things at little cost in the matter of cleaning out the
+harbour, he filled it up more in one day than the sea had done in ten
+years. Such was the end of Nanni in the fabric of S. Pietro. For that
+work Michelagnolo for seventeen years attended constantly to nothing
+but to establishing it securely with directions, doubting on account of
+those envious persecutions lest it might come to be changed after his
+<span class="pagenum"><a id="Page_102" name="Page_102"></a>[Pg 102]</span> death; so that at the present day it is strong enough to allow the vaulting
+to be raised with perfect security. Thus it has been seen that God, who
+is the protector of the good, defended him as long as he lived, and worked
+for the benefit of the fabric and for the defence of the master until his
+death. Moreover, Pius IV, living after him, commanded the superintendents
+of the fabric that nothing of what Michelagnolo had directed
+should be changed; and with even greater authority his successor, Pius V,
+caused it to be carried out, who, lest disorder should arise, insisted that
+the designs made by Michelagnolo should be carried into execution with
+the utmost fidelity, so that, when the architects Pirro Ligorio and Jacopo
+Vignuola were in charge of it, and Pirro wished presumptuously to disturb
+and alter those directions, he was removed with little honour from
+that fabric, and only Vignuola remained. Finally, that Pontiff being
+full of zeal no less for the honour of the fabric of S. Pietro than for the
+Christian religion, in the year 1565, when Vasari went to kiss the feet of
+his Holiness, and in the year 1566, when he was again summoned, nothing
+was discussed save the means to ensure the observing of the designs left
+by Michelagnolo; and his Holiness, in order to obviate all chance of disorder,
+commanded Vasari that he should go with Messer Guglielmo
+Sangalletti, the private treasurer of his Holiness, to seek out Bishop
+Ferratino, the head of the superintendents of S. Pietro, with orders from
+the Pontiff that he should listen to all the suggestions and records of
+importance that Vasari might impart to him, to the end that no words
+of any malignant and presumptuous person might ever cause to be disturbed
+any line or order left by the excellent genius of Michelagnolo of
+happy memory; and at that interview was present Messer Giovan Battista
+Altoviti, who was much the friend of Vasari and of these arts. And
+Ferratino, having heard a discourse that Vasari made to him, readily
+accepted every record, and promised to observe and to cause to be
+observed with the utmost fidelity in that fabric every order and design
+that Michelagnolo had left for that purpose, and, in addition, to be the
+protector, defender, and preserver of the labours of that great man.</p>
+
+<p>But to return to Michelagnolo: I must relate that about a year before
+his death, Vasari secretly prevailed upon Duke Cosimo de' Medici to persuade
+<span class="pagenum"><a id="Page_103" name="Page_103"></a>[Pg 103]</span> the Pope by means of Messer Averardo Serristori, his Ambassador,
+that, since Michelagnolo was much reduced, a diligent watch should be
+kept on those who were about him to take care of him, or who visited
+him at his house, and that, in the event of some sudden accident happening
+to him, such as might well happen to an old man, he should make
+arrangements for his property, designs, cartoons, models, money, and
+all his other possessions at the time of his death, to be set down in an
+inventory and placed in security, for the sake of the fabric of S. Pietro,
+so that, if there were things pertaining to that fabric, and also to the
+sacristy, library, and façade of S. Lorenzo, they might not be taken
+away, as is often wont to happen; and in the end, all this being duly
+carried out, such diligence had its reward. Leonardo, the nephew of
+Michelagnolo, was desirous to go during the coming Lent to Rome, as
+one who guessed that he was now come to the end of his life; and at this
+Michelagnolo was content. When, therefore, he fell sick of a slow fever,
+he straightway caused Daniello to write to Leonardo that he should
+come; but the illness grew worse, although Messer Federigo Donati, his
+physician, and his other attendants were about him, and with perfect
+consciousness he made his will in three sentences, leaving his soul in the
+hands of God, his body to the earth, and his substance to his nearest
+relatives, and enjoining on his friends that, at his passing from this life,
+they should recall to him the agony of Jesus Christ. And so at the
+twenty-third hour of the seventeenth day of February, in the year 1563
+(after the Florentine reckoning, which according to the Roman would be
+1564), he breathed his last, to go to a better life.</p>
+
+<p>Michelagnolo was much inclined to the labours of art, seeing that
+everything, however difficult, succeeded with him, he having had from
+nature a genius very apt and ardent in these most noble arts of design.
+Moreover, in order to be entirely perfect, innumerable times he made
+anatomical studies, dissecting men's bodies in order to see the principles
+of their construction and the concatenation of the bones, muscles, veins,
+and nerves, the various movements and all the postures of the human
+body; and not of men only, but also of animals, and particularly of
+horses, which last he much delighted to keep. Of all these he desired to
+<span class="pagenum"><a id="Page_104" name="Page_104"></a>[Pg 104]</span> learn the principles and laws in so far as touched his art, and this knowledge
+he so demonstrated in the works that fell to him to handle, that
+those who attend to no other study than this do not know more. He so
+executed his works, whether with the brush or with the chisel, that they
+are almost inimitable, and he gave to his labours, as has been said, such
+art and grace, and a loveliness of such a kind, that (be it said without
+offence to any) he surpassed and vanquished the ancients; having been
+able to wrest things out of the greatest difficulties with such facility, that
+they do not appear wrought with effort, although whoever draws his
+works after him finds enough in imitating them.</p>
+
+<p>The genius of Michelagnolo was recognized in his lifetime, and not,
+as happens to many, after death, for it has been seen that Julius II,
+Leo X, Clement VII, Paul III, Julius III, Paul IV, and Pius IV, all
+supreme Pontiffs, always wished to have him near them, and also, as is
+known, Suleiman, Emperor of the Turks, Francis of Valois, King of
+France, the Emperor Charles V, the Signoria of Venice, and finally, as
+has been related, Duke Cosimo de' Medici; all offering him honourable
+salaries, for no other reason but to avail themselves of his great genius.
+This does not happen save to men of great worth, such as he was; and
+it is evident and well known that all these three arts were so perfected
+in him, that it is not found that among persons ancient or modern, in all
+the many years that the sun has been whirling round, God has granted
+this to any other but Michelagnolo. He had imagination of such a kind,
+and so perfect, and the things conceived by him in idea were such, that
+often, through not being able to express with the hands conceptions so
+terrible and grand, he abandoned his works&mdash;nay, destroyed many of
+them; and I know that a little before he died he burned a great number
+of designs, sketches, and cartoons made with his own hand, to the end
+that no one might see the labours endured by him and his methods of
+trying his genius, and that he might not appear less than perfect. Of
+such I have some by his hand, found in Florence, and placed in my book
+of drawings; from which, although the greatness of that brain is seen in
+them, it is evident that when he wished to bring forth Minerva from the
+head of Jove, he had to use Vulcan's hammer. Thus he used to make
+<span class="pagenum"><a id="Page_105" name="Page_105"></a>[Pg 105]</span> his figures in the proportion of nine, ten, and even twelve heads, seeking
+nought else but that in putting them all together there should be a certain
+harmony of grace in the whole, which nature does not present; saying
+that it was necessary to have the compasses in the eyes and not in the
+hand, because the hands work and the eye judges; which method he used
+also in architecture.</p>
+
+<p>No one should think it strange that Michelagnolo delighted in solitude,
+he having been one who was enamoured of his art, which claims a
+man, with all his thoughts, for herself alone; moreover, it is necessary
+that he who wishes to attend to her studies should shun society, and,
+while attending to the considerations of art, he is never alone or without
+thoughts. And those who attributed it to caprice and eccentricity are
+wrong, because he who wishes to work well must withdraw himself from
+all cares and vexations, since art demands contemplation, solitude, and
+ease of life, and will not suffer the mind to wander. For all this, he
+prized the friendship of many great persons and of learned and ingenious
+men, at convenient times; and these he maintained. Thus the great
+Cardinal Ippolito de' Medici loved him greatly, and, having heard that
+a Turkish horse that he possessed pleased Michelagnolo because of its
+beauty, it was sent as a present to him by the liberality of that lord,
+with ten mules laden with fodder, and a serving-man to attend to it; and
+Michelagnolo accepted it willingly. The illustrious Cardinal Pole was
+much his friend, Michelagnolo being enamoured of his goodness and his
+talents; also Cardinal Farnese, and Santa Croce, which latter afterwards
+became Pope Marcellus, Cardinal Ridolfi, Cardinal Maffeo, Monsignor
+Bembo, Carpi, and many other Cardinals, Bishops, and Prelates, whom
+it is not necessary to name. Others were Monsignor Claudio Tolomei,
+the Magnificent Messer Ottaviano de' Medici, his gossip, whose son he
+held at baptism, and Messer Bindo Altoviti, to whom he presented that
+cartoon of the Chapel in which Noah, drunk with wine, is derided by one
+of his sons, and his nakedness is covered by the two others; M. Lorenzo
+Ridolfi, M. Annibale Caro, and M. Giovan Francesco Lottini of Volterra.
+But infinitely more than any of the others he loved M. Tommaso de'
+Cavalieri, a Roman gentleman, for whom, being a young man and much
+<span class="pagenum"><a id="Page_106" name="Page_106"></a>[Pg 106]</span> inclined to these arts, he made, to the end that he might learn to draw,
+many most superb drawings of divinely beautiful heads, designed in
+black and red chalk; and then he drew for him a Ganymede rapt to
+Heaven by Jove's Eagle, a Tityus with the Vulture devouring his heart,
+the Chariot of the Sun falling with Phaëthon into the Po, and a Bacchanal
+of children, which are all in themselves most rare things, and drawings
+the like of which have never been seen. Michelagnolo made a life-size
+portrait of Messer Tommaso in a cartoon, and neither before nor afterwards
+did he take the portrait of anyone, because he abhorred executing
+a resemblance to the living subject, unless it were of extraordinary
+beauty. These drawings, on account of the great delight that M. Tommaso
+took in them, were the reason that he afterwards obtained a good
+number, miraculous things, which Michelagnolo once drew for Fra Sebastiano
+Viniziano, who carried them into execution; and in truth he rightly
+treasures them as reliques, and he has courteously given craftsmen access
+to them. Of a truth Michelagnolo always placed his affections with
+persons noble, deserving, and worthy of them, for he had true judgment
+and taste in all things.</p>
+
+<div class="figcenter">
+<a name="img037" id="img037"></a>
+<img src="images/img037-tb.jpg" width="300" height="478" alt="Unfinished Figure." title="">
+<p class="caption">UNFINISHED FIGURE<br>
+(<i>After</i> Michelagnolo. <i>Florence: Museo Nazionale</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img037.jpg">View larger image</a></span></p>
+</div>
+
+<p>M. Tommaso afterwards caused Michelagnolo to make many designs
+for friends, such as that of the picture for Cardinal di Cesis, wherein is
+Our Lady receiving the Annunciation from the Angel, a novel thing,
+which was afterwards executed in colours by Marcello Mantovano and
+placed in the marble chapel which that Cardinal caused to be built in
+the Church of the Pace at Rome. So, also, with another Annunciation
+coloured likewise by the hand of Marcello in a picture in the Church of
+S. Giovanni Laterano, the design of which belongs to Duke Cosimo de'
+Medici, having been presented after Michelagnolo's death by his nephew
+Leonardo Buonarroti to his Excellency, who cherishes it as a jewel,
+together with a Christ praying in the Garden and many other designs,
+sketches, and cartoons by the hand of Michelagnolo, and likewise the
+statue of Victory with a captive beneath, five braccia in height, and
+four captives in the rough which serve to teach us how to carve figures
+from the marble by a method secure from any chance of spoiling the
+stone; which method is as follows. You take a figure in wax or some
+<span class="pagenum"><a id="Page_107" name="Page_107"></a>[Pg 107]</span> other solid material, and lay it horizontally in a vessel of water, which
+water being by its nature flat and level at the surface, as you raise the
+said figure little by little from the level, so it comes about that the more
+salient parts are revealed, while the lower parts&mdash;those, namely, on the
+under side of the figure&mdash;remain hidden, until in the end it all comes into
+view. In the same manner must figures be carved out of marble with
+the chisel, first laying bare the more salient parts, and then little by
+little the lower parts; and this method may be seen to have been followed
+by Michelagnolo in the above-mentioned captives, which his
+Excellency wishes to be used as exemplars for his Academicians.</p>
+
+<p>Michelagnolo loved his fellow-craftsmen, and held intercourse with
+them, as with Jacopo Sansovino, Rosso, Pontormo, Daniello da Volterra,
+and Giorgio Vasari of Arezzo, to which last he showed innumerable kindnesses;
+and he was the reason that Giorgio gave his attention to architecture,
+intending to make use of him some day, and he readily conferred
+and discussed matters of art with him. Those who say that he was not
+willing to teach are wrong, because he was always willing with his intimates
+and with anyone who asked him for counsel; and I have been
+present on many such occasions, but of these, out of consideration, I say
+nothing, not wishing to reveal the deficiencies of others. It may be
+urged that he had bad fortune with those who lived with him in his
+house, which was because he hit upon natures little able to imitate him.
+Thus, Pietro Urbano of Pistoia, his pupil, was a man of parts, but would
+never exert himself. Antonio Mini was willing, but had no aptitude of
+brain; and when the wax is hard it does not readily take an impression.
+Ascanio dalla Ripa Transone took great pains, but of this no fruits were
+ever seen either in designs or in finished works, and he toiled several
+years over a picture for which Michelagnolo had given him a cartoon.
+In the end, all the good expectation in which he was held vanished in
+smoke; and I remember that Michelagnolo would be seized with compassion
+for his toil, and would assist him with his own hand, but this
+profited him little. If he had found a nature after his heart, as he told
+me several times, in spite of his age he would often have made anatomical
+studies, and would have written upon them, for the benefit of his fellow-craftsmen;
+<span class="pagenum"><a id="Page_108" name="Page_108"></a>[Pg 108]</span> for he was disappointed by several. But he did not trust
+himself, through not being able to express himself in writing as he would
+have liked, because he was not practised in diction, although in the prose
+of his letters he explained his conceptions very well in a few words. He
+much delighted in readings of the poets in the vulgar tongue, and particularly
+of Dante, whom he much admired, imitating him in his conceptions
+and inventions; and so with Petrarca, having delighted to make
+madrigals and sonnets of great weight, upon which commentaries have
+been written. M. Benedetto Varchi gave a lecture in the Florentine
+Academy upon that sonnet which begins&mdash;</p>
+
+<p class="poem">
+Non ha l'ottimo artista alcun concetto<br>
+Ch'un marmo solo in se non circonscriva.</p>
+
+<p>Michelagnolo sent a vast number by his own hand&mdash;receiving
+answers in rhyme and in prose&mdash;to the most illustrious Marchioness of
+Pescara, of whose virtues he was enamoured, and she likewise of his;
+and she went many times to Rome from Viterbo to visit him, and Michelagnolo
+designed for her a Dead Christ in the lap of Our Lady, with two
+little Angels, all most admirable, and a Christ fixed on the Cross, who,
+with the head uplifted, is recommending His Spirit to the Father, a
+divine work; and also a Christ with the Woman of Samaria at the well.
+He much delighted in the sacred Scriptures, like the excellent Christian
+that he was; and he held in great veneration the works written by Fra
+Girolamo Savonarola, because he had heard the voice of that friar in the
+pulpit. He greatly loved human beauty for the sake of imitation in art,
+being able to select from the beautiful the most beautiful, for without
+this imitation no perfect work can be done; but not with lascivious and
+disgraceful thoughts, as he proved by his way of life, which was very
+frugal. Thus, when he was young, all intent on his work, he contented
+himself with a little bread and wine, and this he continued when old
+until the time when he was painting the Judgment in the Chapel, taking
+his refreshment in the evening when he had finished the day's work, but
+always very frugally. And, although he was rich, he lived like a poor
+man, nor did any friend ever eat at his table, or rarely; and he would not
+<span class="pagenum"><a id="Page_109" name="Page_109"></a>[Pg 109]</span> accept presents from anyone, because it appeared to him that if anyone
+gave him something, he would be bound to him for ever. This sober life
+kept him very active and in want of very little sleep, and often during
+the night, not being able to sleep, he would rise to labour with the chisel;
+having made a cap of thick paper, and over the centre of his head he kept
+a lighted candle, which in this way threw light over where he was working
+without encumbering his hands. Vasari, who had seen the cap several
+times, reflecting that he did not use wax, but candles of pure goat's
+tallow, which are excellent, sent him four bundles of these, which weighed
+forty libbre. And his servant with all courtesy carried them to him at
+the second hour of the evening, and presented them to him; but Michelagnolo
+refused them, declaring that he did not want them; and then the
+servant said: "They have broken my arms on the way between the
+bridge and here, and I shall not carry them back to the house. Now
+here in front of your door there is a solid heap of mud; they will stand
+in it beautifully, and I will set them all alight." Michelagnolo said to
+him: "Put them down here, for I will not have you playing pranks at
+my door."</p>
+
+<p>He told me that often in his youth he slept in his clothes, being
+weary with labour and not caring to take them off only to have to put
+them on again later. There are some who have taxed him with being
+avaricious, but they are mistaken, for both with works of art and with
+his substance he proved the contrary. Of works of art, as has been seen
+and related, he presented to M. Tommaso de' Cavalieri, to Messer Bindo,
+and to Fra Sebastiano, designs of considerable value; and to Antonio
+Mini, his pupil, all his designs, all his cartoons, and the picture of the
+Leda, and all the models in clay and wax that he ever made, which, as
+has been related, were all left in France. To Gherardo Perini, a Florentine
+gentleman who was very much his friend, he gave three sheets with
+some divine heads in black chalk, which since Perini's death have come
+into the hands of the most illustrious Don Francesco, Prince of Florence,
+who treasures them as jewels, as indeed they are; for Bartolommeo Bettini
+he made a cartoon, which he presented to him, of a Venus with a
+Cupid that is kissing her, a divine thing, which is now in the possession
+<span class="pagenum"><a id="Page_110" name="Page_110"></a>[Pg 110]</span> of Bettini's heirs in Florence, and for the Marchese del Vasto he made a
+cartoon of a "Noli me Tangere," a rare thing; and these two last were
+painted excellently well by Pontormo, as has been related. He presented
+the two Captives to Signor Ruberto Strozzi, and the Pietà in
+marble, which he broke, to Antonio, his servant, and to Francesco Bandini.
+I know not, therefore, how this man can be taxed with avarice, he
+having given away so many things for which he could have obtained
+thousands of crowns. What better proof can I give than this, that I
+know from personal experience that he made many designs and went to
+see many pictures and buildings, without demanding any payment?
+But let us come to the money earned by him by the sweat of his brow,
+not from revenues, not from traffickings, but from his own study and
+labour. Can he be called avaricious who succoured many poor persons,
+as he did, and secretly married off a good number of girls, and enriched
+those who served him and assisted him in his works, as with his servant
+Urbino, whom he made a very rich man? This Urbino was his man of
+all work, and had served him a long time; and Michelagnolo said to him:
+"If I die, what will you do?" And he answered: "I will serve another
+master." "You poor creature," said Michelagnolo, "I will save you
+from such misery"; and presented two thousand crowns to him in one
+sum, an act such as is generally left to Cæsars and Pontiffs. To his
+nephew, moreover, he gave three and four thousand crowns at a time,
+and at the end he left him ten thousand crowns, besides the property in
+Rome.</p>
+
+<p>Michelagnolo was a man of tenacious and profound memory, so that,
+on seeing the works of others only once, he remembered them perfectly,
+and could avail himself of them in such a manner, that scarcely anyone
+has ever noticed it; nor did he ever do anything that resembled another
+thing by his hand, because he remembered everything that he had done.
+In his youth, being once with his painter-friends, they played for a
+supper for him who should make a figure most completely wanting in
+design and clumsy, after the likeness of the puppet-figures which those
+make who know nothing, scrawling upon walls; and in this he availed
+himself of his memory, for he remembered having seen one of those
+<span class="pagenum"><a id="Page_111" name="Page_111"></a>[Pg 111]</span> absurdities on a wall, and drew it exactly as if he had had it before him,
+and thus surpassed all those painters&mdash;a thing difficult for a man so
+steeped in design, and accustomed to choice works, to come out of with
+credit. He was full of disdain, and rightly, against anyone who did him
+an injury, but he was never seen to run to take revenge; nay, rather, he
+was most patient, modest in all his ways, very prudent and wise in his
+speech, with answers full of weight, and at times sayings most ingenious,
+amusing, and acute. He said many things that have been written down
+by me, of which I shall include only a few, because it would take too
+long to give them all. A friend having spoken to him of death, saying
+that it must grieve him much, because he had lived in continual labour
+in matters of art, and had never had any repose, he answered that all
+that was nothing, because, if life is a pleasure to us, death, being likewise
+by the hand of one and the same master, should not displease us. To a
+citizen who found him by Orsanmichele in Florence, where he had stopped
+to gaze at Donato's statue of S. Mark, and who asked him what he
+thought of that figure, Michelagnolo answered that he had never seen a
+figure that had more of the air of a good man than that one, and that,
+if S. Mark was like that, one could give credence to what he had written.
+Being shown the drawing of a boy then beginning to learn to draw, who
+was recommended to him, some persons excusing him because it was not
+long since he had applied himself to art, he replied: "That is evident."
+He said a similar thing to a painter who had painted a Pietà, and had
+not acquitted himself well: "It is indeed a pitiful thing to see." Having
+heard that Sebastiano Viniziano had to paint a friar in the chapel of
+S. Pietro a Montorio, he said that this would spoil the work for him; and
+being asked why he said that, he answered: "Since they have spoiled the
+world, which is so large, it would not be surprising if they were to spoil
+such a small thing as that chapel." A painter had executed a work with
+very great pains, toiling over it a long time; but when it was given to
+view he had made a considerable profit. Michelagnolo was asked what he
+thought of the craftsman, and he answered: "As long as this man strives
+to be rich, he will always remain a poor creature." One of his friends
+who was a churchman, and used formerly to say Mass, having arrived in
+<span class="pagenum"><a id="Page_112" name="Page_112"></a>[Pg 112]</span> Rome all covered with points and silk, saluted Michelagnolo; but he pretended
+not to see him, so that the friend was forced to declare his name
+to him. Michelagnolo expressed marvel that he should be in that habit,
+and then added, as it were to congratulate him: "Oh, but you are magnificent!
+If you were as fine within as I see you to be without, it would
+be well with your soul." The same man had recommended a friend to
+Michelagnolo (who had given him a statue to execute), praying him that
+he should have something more given to him, which Michelagnolo
+graciously did; but the envy of the friend, who had made the request to
+Michelagnolo only in the belief that he would not grant it, brought it
+about that, perceiving that the master had granted it after all, he complained
+of it. This matter was reported to Michelagnolo, and he answered
+that he did not like men made like sewers, using a metaphor from architecture,
+and meaning that it is difficult to have dealings with men who
+have two mouths. Being asked by a friend what he thought of one
+who had counterfeited in marble some of the most celebrated antique
+figures, and boasted that in his imitations he had surpassed the antiques
+by a great measure, Michelagnolo replied: "He who goes behind others
+can never go in front of them, and he who is not able to work well for
+himself cannot make good use of the works of others." A certain painter,
+I know not who, had executed a work wherein was an ox, which looked
+better than any other part; and Michelagnolo, being asked why the
+painter had made the ox more lifelike than the rest, said: "Any painter
+can make a good portrait of himself." Passing by S. Giovanni in Florence,
+he was asked his opinion of those doors, and he answered: "They
+are so beautiful that they would do well at the gates of Paradise." While
+serving a Prince who kept changing plans every day, and would never
+stand firm, Michelagnolo said to a friend: "This lord has a brain like a
+weather-cock, which turns round with every wind that blows on it."
+He went to see a work of sculpture which was about to be sent out
+because it was finished, and the sculptor was taking much trouble to
+arrange the lights from the windows, to the end that it might show up
+well; whereupon Michelagnolo said to him: "Do not trouble yourself;
+the important thing will be the light of the Piazza"; meaning to infer
+<span class="pagenum"><a id="Page_113" name="Page_113"></a>[Pg 113]</span> that when works are in public places, the people must judge whether
+they are good or bad. There was a great Prince in Rome who had a
+notion to play the architect, and he had caused certain niches to be
+built in which to place figures, each three squares high, with a ring at
+the top; and having tried to place various statues within these niches,
+which did not turn out well, he asked Michelagnolo what he should place
+in them, and he answered: "Hang bunches of eels from those rings."
+There was appointed to the government of the fabric of S. Pietro a gentleman
+who professed to understand Vitruvius, and to be a critic of the
+work done. Michelagnolo was told, "You have obtained for the fabric
+one who has a great intelligence"; and he answered, "That is true, but
+he has a bad judgment." A painter had executed a scene, and had
+copied many things from various other works, both drawings and pictures,
+nor was there anything in that work that was not copied. It was
+shown to Michelagnolo, who, having seen it, was asked by a very dear
+friend what he thought of it, and he replied: "He has done well, but I
+know not what this scene will do on the day of Judgment, when all
+bodies shall recover their members, for there will be nothing left of it"&mdash;a
+warning to those who practise art, that they should make a habit of
+working by themselves. Passing through Modena, he saw many beautiful
+figures by the hand of Maestro Antonio Bigarino,<a id="FNanchor5" name="FNanchor5"></a><a href="#Footnote5" title="Go to footnote 5" class="fnanchor">[5]</a> a sculptor of Modena,
+made of terra-cotta and coloured in imitation of marble, which appeared
+to him to be excellent works; and, since that sculptor did not know how
+to work marble, Michelagnolo said: "If this clay were to become marble,
+woe to the ancient statues." Michelagnolo was told that he should show
+resentment against Nanni di Baccio Bigio, who was seeking every day to
+compete with him; but he answered: "He who contends with men of no
+account never gains a victory." A priest, his friend, said to him: "It is
+a pity that you have not taken a wife, so that you might have had many
+children and left them all your honourable labours." And Michelagnolo
+replied: "I have only too much of a wife in this art of mine, who has
+always kept me in tribulation, and my children shall be the works that
+I may leave, which, even if they are naught, will live a while. Woe to
+<span class="pagenum"><a id="Page_114" name="Page_114"></a>[Pg 114]</span> Lorenzo di Bartoluccio Ghiberti, if he had not made the gates of S. Giovanni,
+for his children and grandchildren sold or squandered all that he
+left, but the gates are still standing." Vasari, sent by Julius III to
+Michelagnolo's house for a design at the first hour of the night, found
+him working at the Pietà in marble that he broke. Michelagnolo, recognizing
+him by the knock at the door, left his work and took a lamp with
+his hand by the handle; Vasari explained what he wanted, whereupon
+Michelagnolo sent Urbino upstairs for the design, and then they entered
+into another conversation. Meanwhile Vasari turned his eyes to examine
+a leg of the Christ at which he was working, seeking to change it; and,
+in order to prevent Vasari from seeing it, he let the lamp fall from his
+hand, and they were left in darkness. He called to Urbino to bring a
+light, and meanwhile came forth from the enclosure where the work was,
+and said: "I am so old that death often pulls me by the cloak, that I
+may go with him, and one day this body of mine will fall like the lamp,
+and the light of my life will be spent."</p>
+
+<p>For all this, he took pleasure in certain kinds of men after his taste,
+such as Menighella, a commonplace and clownish painter of Valdarno,
+who was a most diverting person. He would come at times to Michelagnolo,
+that he might make for him a design of S. Rocco or S. Anthony,
+to be painted for peasants; and Michelagnolo, who was with difficulty
+persuaded to work for Kings, would deign to set aside all his other work
+and make him simple designs suited to his manner and his wishes, as
+Menighella himself used to say. Among other things, Menighella persuaded
+him to make a model of a Crucifix, which was very beautiful; of
+this he made a mould, from which he formed copies in pasteboard and
+other materials, and these he went about selling throughout the countryside.
+Michelagnolo would burst out laughing at him, particularly because
+he used to meet with fine adventures, as with a countryman who commissioned
+him to paint a S. Francis, and was displeased because Menighella
+had made the vestment grey, whereas he would have liked it of
+a finer colour; whereupon Menighella painted over the Saint's shoulders
+a pluvial of brocade, and so contented him.</p>
+
+<p>He loved, likewise, the stone-cutter Topolino, who had a notion of
+<span class="pagenum"><a id="Page_115" name="Page_115"></a>[Pg 115]</span> being an able sculptor, but was in truth very feeble. This man spent
+many years in the mountains of Carrara, sending marble to Michelagnolo;
+nor would he ever send a boatload without adding to it three or four
+little figures blocked out with his own hand, at which Michelagnolo would
+die of laughing. Finally Topolino returned, and, having blocked out a
+Mercury from a piece of marble, he set himself to finish it; and one day,
+when there was little left to do, he desired that Michelagnolo should see
+it, and straitly besought him that he should tell him his opinion. "You
+are a madman to try to make figures, Topolino," said Michelagnolo.
+"Do you not see that your Mercury is more than a third of a braccio
+too short between the knees and the feet, and that you have made him
+a dwarf and all misshapen?" "Oh, that is nothing! If there is nothing
+else wrong, I will put it right; leave it to me." Michelagnolo laughed
+once more at his simplicity; and when he was gone, Topolino took a
+piece of marble, and, having cut the Mercury a quarter of a braccio
+below the knees, he let it into the new piece of marble and joined it
+neatly together, making a pair of buskins for the Mercury, the tops of
+which were above the joins; and so he added the length required. Then
+he invited Michelagnolo to come, and showed him his work once again;
+and the master laughed, marvelling that such simpletons, when driven
+by necessity, form resolutions of which able men are not capable.</p>
+
+<p>While Michelagnolo was having the tomb of Julius II finished, he
+caused a marble-hewer to execute a terminal figure for placing in the
+tomb in S. Pietro in Vincola, saying to him, "Cut away this to-day,"
+"Level that," "Polish here"; insomuch that, without the other noticing
+it, he enabled him to make a figure. Wherefore, when it was finished,
+the man gazed at it marvelling; and Michelagnolo said: "What do you
+think of it?" "I think it fine," he answered, "and I am much obliged
+to you." "Why so?" asked Michelagnolo. "Because by your means
+I have discovered a talent that I did not know I possessed."</p>
+
+<p>Now, to be brief, I must record that the master's constitution was
+very sound, for he was lean and well knit together with nerves, and
+although as a boy he was delicate, and as a man he had two serious
+illnesses, he could always endure any fatigue and had no infirmity, save
+<span class="pagenum"><a id="Page_116" name="Page_116"></a>[Pg 116]</span> that in his old age he suffered from dysuria and from gravel, which in the
+end developed into the stone; wherefore for many years he was syringed
+by the hand of Maestro Realdo Colombo, his very dear friend, who
+treated him with great diligence. He was of middle stature, broad in
+the shoulders, but well proportioned in all the rest of the body. In his
+latter years he wore buskins of dogskin on the legs, next to the skin,
+constantly for whole months together, so that afterwards, when he
+sought to take them off, on drawing them off the skin often came away
+with them. Over the stockings he wore boots of cordwain fastened on
+the inside, as a protection against damp. His face was round, the brow
+square and spacious, with seven straight lines, and the temples projected
+considerably beyond the ears; which ears were somewhat on the large
+side, and stood out from the cheeks. The body was in proportion to the
+face, or rather on the large side; the nose somewhat flattened, as was
+said in the Life of Torrigiano, who broke it for him with his fist; the
+eyes rather on the small side, of the colour of horn, spotted with blueish
+and yellowish gleams; the eyebrows with few hairs, the lips thin, with
+the lower lip rather thicker and projecting a little, the chin well shaped
+and in proportion with the rest, the hair black, but mingled with white
+hairs, like the beard, which was not very long, forked, and not very thick.</p>
+
+<p>Truly his coming was to the world, as I said at the beginning, an
+exemplar sent by God to the men of our arts, to the end that they might
+learn from his life the nature of noble character, and from his works
+what true and excellent craftsmen ought to be. And I, who have to
+praise God for infinite blessings, as is seldom wont to happen with men
+of our profession, count it among the greatest blessings that I was born
+at the time when Michelagnolo was alive, that I was thought worthy to
+have him as my master, and that he was so much my friend and intimate,
+as everyone knows, and as the letters written by him to me, now in my
+possession, bear witness; and out of love for truth, and also from the
+obligation that I feel to his loving kindness, I have contrived to write
+many things of him, and all true, which many others have not been able
+to do. Another blessing he used to point out to me himself: "You should
+thank God, Giorgio, who has caused you to serve Duke Cosimo, who, in
+<span class="pagenum"><a id="Page_117" name="Page_117"></a>[Pg 117]</span> his contentment that you should build and paint and carry into execution
+his conceptions and designs, has grudged no expense; and you will
+remember, if you consider it, that the others whose Lives you have written
+did not have such advantages."</p>
+
+<p>With most honourable obsequies, and with a concourse of all the
+craftsmen, all his friends, and all the Florentine colony, Michelagnolo
+was given burial in a sepulchre at S. Apostolo, in the sight of all Rome;
+his Holiness having intended to make him some particular memorial and
+tomb in S. Pietro at Rome. Leonardo, his nephew, arrived when all was
+over, although he travelled post. When Duke Cosimo was informed of
+the event, he confirmed his resolve that since he had not been able to
+have him and honour him alive, he would have him brought to Florence
+and not hesitate to honour him with all manner of pomp after death;
+and the body was sent secretly in a bale, under the title of merchandise,
+which method was adopted lest there might be a tumult in Rome, and
+lest perchance the body of Michelagnolo might be detained and prevented
+from leaving Rome for Florence. But before the body arrived, the news
+of the death having been heard, the principal painters, sculptors, and
+architects were assembled together at the summons of the Lieutenant of
+their Academy, and they were reminded by that Lieutenant, who at that
+time was the Reverend Don Vincenzio Borghini, that they were obliged
+by virtue of their statutes to pay due honour to the death of any of their
+brethren, and that, they having done this so lovingly and with such
+universal satisfaction in the obsequies of Fra Giovanni Agnolo Montorsoli,
+who had been the first to die after the creation of the Academy, they
+should look well to what it might be proper for them to do in honour of
+Buonarroti, who had been elected by an unanimous vote of the whole
+body of the Company as the first Academician and the head of them all.
+To which proposal they all replied, as men most deeply indebted and
+affected to the genius of so great a man, that at all costs pains should be
+taken to do him honour in the best and finest ways available to them.
+This done, in order not to have to assemble so many persons together
+every day, to their great inconvenience, and to the end that matters
+might proceed more quietly, four men were elected as heads of the
+<span class="pagenum"><a id="Page_118" name="Page_118"></a>[Pg 118]</span> obsequies and the funeral pomp that were to be held; the painters Agnolo
+Bronzino and Giorgio Vasari, and the sculptors Benvenuto Cellini and
+Bartolommeo Ammanati, all men of illustrious name and eminent ability
+in their arts; to the end, I say, that they might consult and determine
+between themselves and the Lieutenant what was to be done in each
+particular, and in what way, with authority and power to dispose of the
+whole body of the Company and Academy. This charge they accepted
+all the more willingly because all the members, young and old, each in
+his own profession, offered their services for the execution of such pictures
+and statues as had to be done for that funeral pomp. They then ordained
+that the Lieutenant, in pursuance of his office, and the Consuls, in the
+name of the Company and Academy, should lay the whole matter before
+the Lord Duke, and beseech him for all the aids and favours that might
+be necessary, and especially for permission to have those obsequies held
+in S. Lorenzo, the church of the most illustrious House of Medici; wherein
+are the greater part of the works by the hand of Michelagnolo that there
+are to be seen in Florence; and, in addition, that his Excellency should
+allow Messer Benedetto Varchi to compose and deliver the funeral
+oration, to the end that the excellent genius of Michelagnolo might be
+extolled by the rare eloquence of a man so great as was Varchi, who,
+being in the particular service of his Excellency, would not have undertaken
+such a charge without a word from him, although they were very
+certain that, as one most loving by nature and deeply affected to the
+memory of Michelagnolo, of himself he would never have refused. This
+done, and the Academicians dismissed, the above-named Lieutenant
+wrote to the Lord Duke a letter of this precise tenor:</p>
+
+<p>"The Academy and Company of Painters and Sculptors having
+resolved among themselves, if it should please your most illustrious
+Excellency, to do honour in some sort to the memory of Michelagnolo
+Buonarroti, both from the general obligation due from their profession
+to the extraordinary genius of one who was perhaps the greatest craftsman
+who has ever lived, and from their particular obligation through their
+belonging to a common country, and also because of the great advantage
+<span class="pagenum"><a id="Page_119" name="Page_119"></a>[Pg 119]</span> that these professions have received from the perfection of his works
+and inventions, insomuch that they hold themselves obliged to prove
+their affection to his genius in whatever way they are able, they have
+laid this their desire before your illustrious Excellency in a letter, and
+have besought you, as their peculiar refuge, for a certain measure of
+assistance. I, entreated by them, and being, as I think, obliged because
+your most illustrious Excellency has been content that I should be again
+this year in their Company with the title of your Lieutenant, with the
+added reason that the proposal is a generous one and worthy of virtuous
+and grateful minds, and, above all, knowing how your most illustrious
+Excellency is the patron of talent, and as it were a haven and unique
+protector for ingenious persons in this age, even surpassing in this respect
+your forefathers, who bestowed extraordinary favours on those excellent
+in these professions, as, by order of the Magnificent Lorenzo, Giotto,
+already so long dead, received a statue in the principal church, and Fra
+Filippo a most beautiful tomb of marble at his expense, while many others
+obtained the greatest benefits and honours on various occasions; moved,
+I say, by all these reasons, I have taken it upon myself to recommend
+to your most illustrious Excellency the petition of this Academy, that
+they may be able to do honour to the genius of Michelagnolo, the particular
+nursling and pupil of the school of the Magnificent Lorenzo,
+which will be an extraordinary pleasure to them, a vast satisfaction to
+men in general, no small incitement to the professors of these arts, and
+to all Italy a proof of the lofty mind and overflowing goodness of your
+most illustrious Excellency, whom may God long preserve in happiness
+for the benefit of your people and the support of every talent."</p>
+
+<p>To which letter the above-named Lord Duke answered thus:</p>
+
+<p class="smcap">"Reverend and Well-Beloved Friend,</p>
+
+<p>"The zeal that this Academy has displayed, and continues to
+display, to honour the memory of Michelagnolo Buonarroti, who has
+passed from this to a better life, has given us much consolation for the
+loss of a man so extraordinary; and we wish not only to satisfy them in
+all that they have demanded in their memorial, but also to have his
+<span class="pagenum"><a id="Page_120" name="Page_120"></a>[Pg 120]</span> remains brought to Florence, which, according as we are informed, was
+his own desire. All this we are writing to the aforesaid Academy, to
+encourage them to celebrate by every possible means the genius of that
+great man. May God content you in your desire."</p>
+
+<p class="p2">Of the letter, or rather, memorial, of which mention has been made
+above, addressed by the Academy to the Lord Duke, the tenor was as
+follows:</p>
+
+<p class="smcap">"Most Illustrious, etc.</p>
+
+<p>"The Academy and the Men of the Company of Design,
+created by the grace and favour of your most illustrious Excellency,
+knowing with what solicitude and affection you caused the body of
+Michelagnolo Buonarroti to be brought to Florence by means of your
+representative in Rome, have assembled together and have unanimously
+determined that they shall celebrate his obsequies in the best manner
+in their power and knowledge. Wherefore they, knowing that your most
+illustrious Excellency was revered by him as much as you yourself loved
+him, beseech you that you should deign in your infinite goodness and
+liberality to grant to them, first, that they may be allowed to celebrate
+the said obsequies in the Church of S. Lorenzo, a church built by your
+ancestors, in which are so many beautiful works wrought by his hand,
+both in architecture and in sculpture, and near which you are minded
+to have erected a place that shall be as it were a nest and an abiding school
+of architecture, sculpture, and painting, for the above-named Academy
+and Company of Design. Secondly, they pray you that you should
+consent to grant a commission to Messer Benedetto Varchi that he shall
+not only compose the funeral oration, but also deliver it with his own
+mouth, as he has promised most freely that he would do, when besought
+by us, in the event of your most illustrious Excellency consenting. In
+the third place, they entreat and pray you that you should deign,
+in the same goodness and liberality of your heart, to supply them with
+all that may be necessary for them in celebrating the above-mentioned
+obsequies, over and above their own resources, which are very small.
+All these matters, and each singly, have been discussed and determined
+<span class="pagenum"><a id="Page_121" name="Page_121"></a>[Pg 121]</span> in the presence and with the consent of the most Magnificent and Reverend
+Monsignor, Messer Vincenzio Borghini, Prior of the Innocenti and
+Lieutenant of your most illustrious Excellency in the aforesaid Academy
+and Company of Design, which, etc."</p>
+
+<p class="p2">To which letter of the Academy the Duke made this reply:</p>
+
+<p class="smcap">"Well-Beloved Academicians,</p>
+
+<p>"We are well content to give full satisfaction to your petitions,
+so great is the affection that we have always borne to the rare genius of
+Michelagnolo Buonarroti, and that we still bear to all your profession;
+do not hesitate, therefore, to carry out all that you have proposed to do
+in his obsequies, for we will not fail to supply whatever you need. Meanwhile,
+we have written to Messer Benedetto Varchi in the matter of the
+oration, and to the Director of the Hospital with regard to anything
+more that may be necessary in this undertaking. Fare you well.</p>
+
+<p class="right smcap">"Pisa."</p>
+
+<p class="p2">The letter to Varchi was as follows:</p>
+
+<p class="smcap">"Messer Benedetto, our Well-Beloved,</p>
+
+<p>"The affection that we bear to the rare genius of Michelagnolo
+Buonarroti makes us desire that his memory should be honoured and
+celebrated in every possible way. It will be pleasing to us, therefore,
+that you for love of us shall undertake the charge of composing the
+oration that is to be delivered at his obsequies, according to the arrangements
+made by the deputies of the Academy; and still more pleasing that
+it should be delivered by your own lips. Fare you well."</p>
+
+<p class="p2">Messer Bernardino Grazzini, also, wrote to the above-named deputies
+that they could not have expected in the Duke any desire in that matter
+more ardent than that which he had shown, and that they might be
+assured of every aid and favour from his most illustrious Excellency.</p>
+
+<p>While these matters were being discussed in Florence, Leonardo
+Buonarroti, Michelagnolo's nephew (who, when informed of his uncle's
+illness, had made his way to Rome by post, but had not found him alive),
+having heard from Daniello da Volterra, who had been the very familiar
+<span class="pagenum"><a id="Page_122" name="Page_122"></a>[Pg 122]</span> friend of Michelagnolo, and also from others who had been about the
+person of that saintly old man, that he had requested and prayed
+that his body should be carried to Florence, that most noble city of his
+birth, of which he was always a most tender lover; Leonardo, I say, with
+prompt and therefore good resolution, removed the body cautiously
+from Rome and sent it off to Florence in a bale, as if it had been a piece
+of merchandise. And here I must not omit to say that this final resolution
+of Michelagnolo's proved a thing against the opinion of certain
+persons, but nevertheless very true, namely, that his absence for so many
+years from Florence had been caused by no other thing but the nature
+of the air, for the reason that experience had taught him that the air of
+Florence, being sharp and subtle, was very injurious to his constitution,
+while that of Rome, softer and more temperate, had kept him in perfect
+health up to his ninetieth year, with all the senses as lively and sound
+as they had ever been, and with such strength, for his age, that up to the
+last day he had never ceased to work at something.</p>
+
+<p>Since, then, the coming of the bale was so sudden and so unexpected
+that for the time being it was not possible to do what was done afterwards,
+the body of Michelagnolo, on arriving in Florence, was placed with
+the coffin, at the desire of the deputies, on the same day that it arrived in
+the city (namely, on the 11th of March, which was a Saturday), in the
+Company of the Assumption, which is under the high-altar of S. Pietro
+Maggiore, beneath the steps at the back; but it was not touched in any
+way whatever. The next day, which was Sunday of the second week in
+Lent, all the painters, sculptors, and architects assembled as quietly as
+possible round S. Pietro, whither they had brought nothing but a pall of
+velvet, all bordered and embroidered in gold, which covered the coffin
+and the whole bier; upon which coffin was an image of Christ Crucified.
+Then, about the middle hour of the night, all having gathered around the
+body, all at once the oldest and most eminent craftsmen laid their hands
+on a great quantity of torches that had been carried there, and the younger
+men took up the bier with such eagerness, that blessed was he who could
+approach it and place his shoulders under it, believing as it were that in
+the time to come they would be able to claim the glory of having borne
+<span class="pagenum"><a id="Page_123" name="Page_123"></a>[Pg 123]</span> the remains of the greatest man that there had ever been in their arts.
+The sight of a certain number of persons assembled about S. Pietro
+had caused, as always happens in such cases, many others to stop there,
+and the rather as it had been trumpeted abroad that the body of Michelagnolo
+had arrived, and was to be carried to S. Croce. And although,
+as I have said, every precaution had been taken that the matter should
+not become known, lest the report might spread through the city, and
+there might flock thither such a multitude that it would not be possible
+to avoid a certain degree of tumult and confusion, and also because they
+desired that the little which they wished to do at that time should be done
+with more quiet than pomp, reserving the rest for a more convenient
+time with greater leisure; nevertheless, both the one thing and the other
+took a contrary course, for with regard to the multitude, the news, as has
+been related, passing from lip to lip, in the twinkling of an eye the church
+was so filled, that in the end it was with the greatest difficulty that the
+body was carried from the church to the sacristy, in order to take it out
+of the bale and then place it in the sepulchre. With regard to the
+question of honour, although it cannot be denied that to see in funeral
+pomps a great show of priests, a large quantity of wax tapers, and a
+great number of mourners dressed in black, is a thing of grand and magnificent
+appearance, it does not follow that it was not also a great thing
+to see thus assembled in a small company, without preparation, all those
+eminent men who are now in such repute, and who will be even more in
+the future, honouring that body with such loving and affectionate offices.
+And, in truth, the number of such craftsmen in Florence&mdash;and they were
+all there&mdash;has always been very great, for the reason that these arts have
+always flourished in Florence in such a manner, that I believe that it
+may be said without prejudice to other cities that their principal and true
+nest and domicile is Florence, not otherwise than Athens once was of the
+sciences. In addition to that number of craftsmen, there were so many
+citizens following them, and so many at the sides of the streets where
+the procession passed, that there was no place for any more; and, what
+is an even greater thing, there was nothing heard but praises in every
+man's mouth of the merits of Michelagnolo, all saying that true genius
+<span class="pagenum"><a id="Page_124" name="Page_124"></a>[Pg 124]</span> has such force that, after all expectation of such honour and profit as
+can be obtained from a gifted man has failed, nevertheless, by its own
+nature and peculiar merits, it remains honoured and beloved. For
+these reasons that demonstration was more vivid in effect and more
+precious than any pomp of gold and trappings that could have been
+contrived.</p>
+
+<p>The body having been carried with so beautiful a train into S. Croce,
+after the friars had finished the ceremonies that were customary for the
+dead, it was borne&mdash;not without very great difficulty, as has been related,
+by reason of the concourse of people&mdash;into the sacristy, where the
+above-named Lieutenant, who had been present in virtue of his office,
+thinking to do a thing pleasing to many, and also (as he afterwards confessed)
+desiring to see in death one whom he had not seen in life, or had
+seen at such an early age that he had lost all memory of him, then resolved
+to have the coffin opened. This done, when he and all the rest of us
+present thought to find the body already marred and putrefied, because
+Michelagnolo had been dead twenty-five days and twenty-two in the
+coffin, we found it so perfect in every part, and so free from any noisome
+odour, that we were ready to believe that it was rather at rest in a sweet
+and most peaceful sleep; and, besides that the features of the face were
+exactly as in life (except that there was something of the colour of death),
+it had no member that was marred or revealed any corruption, and the
+head and cheeks were not otherwise to the touch than as if he had passed
+away but a few hours before.</p>
+
+<p>When the tumult of the people had abated, arrangements were made
+to place the body in a sepulchre in the church, beside the altar of the
+Cavalcanti, by the door that leads into the cloister of the chapter-house.
+Meanwhile the news had spread through the city, and such a multitude
+of young people flocked thither to see the corpse, that there was great
+difficulty in contriving to close the tomb; and if it had been day, instead
+of night, we would have been forced to leave it open many hours in order
+to satisfy the public. The following morning, while the painters and
+sculptors were commencing to make arrangements for the memorial of
+honour, many choice spirits, such as have always abounded in Florence,
+<span class="pagenum"><a id="Page_125" name="Page_125"></a>[Pg 125]</span> began to attach above the aforesaid sepulchre verses both Latin and in
+the vulgar tongue, and so it was continued for some time; but those
+compositions that were printed at that time were but a small part with
+respect to the many that were written.</p>
+
+<p>Now to come to the obsequies, which were not held the day after the
+day of S. John, as had been intended, but were postponed until the 14th of
+July. The three deputies (for Benvenuto Cellini, having felt somewhat
+indisposed from the beginning, had never taken any part in the matter),
+having appointed the sculptor Zanobi Lastricati as their proveditor,
+resolved that they would do something ingenious and worthy of their
+arts rather than costly and full of pomp. And, in truth, since honour
+was to be paid (said those deputies and their proveditor) to such a man
+as Michelagnolo, and by men of the profession that he had practised,
+men rich rather in talents than in excess of means, that must be done
+not with regal pomp or superfluous vanities, but with inventions and
+works abounding in spirit and loveliness, such as issue from the knowledge
+and readiness of hand of our craftsmen; thus honouring art with art.
+For although, they said, we may expect from his Excellency the Lord
+Duke any sum of money that may be necessary, and we have already
+received such amounts as we have demanded, nevertheless we must hold
+it as certain that from us there is expected something ingenious and
+pleasing in invention and art, rather than rich through vast expense or
+grand by reason of superb appurtenances. But, notwithstanding this,
+it was seen in the end that the work was equal in magnificence to any
+that ever issued from the hands of those Academicians, and that this
+memorial of honour was no less truly magnificent than it was ingenious
+and full of fanciful and praiseworthy inventions.</p>
+
+<p>Finally, then, it was arranged that in the central nave of S. Lorenzo,
+between the two lateral doors, of which one leads out of the church and
+the other into the cloister, there should be erected, as was done, a
+catafalque of a rectangular form, twenty-eight braccia high, eleven
+braccia long, and nine broad, with a figure of Fame on the summit. On
+the base of the catafalque, which rose two braccia from the ground, on
+the part looking towards the principal door of the church, there were
+<span class="pagenum"><a id="Page_126" name="Page_126"></a>[Pg 126]</span> placed two most beautiful recumbent figures of Rivers, one representing
+the Arno and the other the Tiber. Arno had a horn of plenty, full of
+flowers and fruits, signifying thereby the fruits that have come to these
+professions from the city of Florence, which have been of such a kind
+and so many that they have filled the world, and particularly Rome, with
+extraordinary beauty. This was demonstrated excellently well by the
+other River, representing, as has been said, the Tiber, in that, extending
+one arm, it had the hands full of flowers and fruits received from the horn
+of plenty of the Arno, which lay beside it, face to face; and it served also to
+demonstrate, by enjoying the fruits of Arno, that Michelagnolo had lived
+a great part of his life in Rome, and had executed there those marvels
+that cause amazement to the world. Arno had for a sign the Lion, and
+Tiber the She-Wolf, with the infants Romulus and Remus; and they were
+both colossal figures of extraordinary grandeur and beauty, in the likeness
+of marble. One, the Tiber, was by the hand of Giovanni di Benedetto
+of Castello, a pupil of Bandinelli, and the other by Battista di Benedetto,
+a pupil of Ammanati; both excellent young men of the highest promise.</p>
+
+<p>From this level rose façades of five braccia and a half, with the
+proper cornices above and below, and also at the corners, leaving space
+for four pictures, one in the centre of each. In the first of these, which
+was on the façade where the two Rivers were, there was painted in
+chiaroscuro (as were also all the other pictures of this structure) the
+Magnificent Lorenzo de' Medici, the Elder, receiving Michelagnolo as a
+boy in his garden, of which there has been an account in another place,
+after he had seen certain specimens of his handiwork, which foreshadowed,
+as early flowers, the fruits that afterwards issued in abundance from the
+living force and grandeur of his genius. Such, then, was the story
+contained in that picture, which was painted by Mirabello and Girolamo
+del Crocifissaio, so called, who, as very dear friends and companions,
+undertook to do the work together. In it were animated and lively
+attitudes, and there could be seen the above-named Magnificent Lorenzo,
+portrayed from nature, graciously receiving Michelagnolo, a boy all full
+of reverence, into his garden, and, after an examination, handing him
+over to some masters who should teach him.</p>
+
+<p><span class="pagenum"><a id="Page_127" name="Page_127"></a>[Pg 127]</span> In the second scene, which came, continuing the same order, to face
+towards the lateral door that leads out of the church, was figured Pope
+Clement, who, contrary to the expectation of the public, which thought
+that his Holiness felt disdain against Michelagnolo on account of his
+actions in the siege of Florence, not only assures his safety and shows
+himself lovingly disposed towards him, but sets him to work on the new
+sacristy and the library of S. Lorenzo, in which places how divinely well
+he worked has been already told. In this picture, then, there was painted
+by the hand of Federigo Fiammingo, called Del Padovano, with much
+dexterity and great sweetness of manner, Michelagnolo showing to the
+Pope the ground-plan of that sacristy, and behind him were borne,
+partly by little Angels and partly by other figures, the models of the
+library and sacristy and of the statues that are there, finished, at the
+present day; which was all very well composed and executed with diligence.</p>
+
+<p>In the third picture, which stood on the first level, like the others
+described above, and looked towards the high-altar, was a great Latin
+epitaph composed by the most learned M. Pier Vettori, the sense of which
+was in the Florentine speech as follows:</p>
+
+<p>"The Academy of Painters, Sculptors, and Architects, with the
+favour and assistance of Duke Cosimo de' Medici, their head and the
+supreme protector of these arts, admiring the extraordinary genius of
+Michelagnolo Buonarroti, and seeking to acknowledge in part the benefits
+received from his divine works, has dedicated this memorial, born from
+their own hands and from all the affection of their hearts, to the excellence
+and genius of the greatest painter, sculptor, and architect that there has
+ever been."</p>
+
+<p>The Latin words were these:</p>
+
+<p class="quote10 smcap">
+COLLEGIUM PICTORUM, STATUARIORUM, ARCHITECTORUM, AUSPICIO
+OPEQUE SIBI PROMPTA COSIMI DUCIS AUCTORIS SUORUM COMMODORUM,
+SUSPICIENS SINGULAREM VIRTUTEM MICHAELIS ANGELI BONARROTÆ,
+INTELLIGENSQUE QUANTO SIBI AUXILIO SEMPER FUERINT PRÆCLARA
+IPSIUS OPERA, STUDUIT SE GRATUM ERGA ILLUM OSTENDERE, SUMMUM
+OMNIUM QUI UNQUAM FUERINT P.S.A., IDEOQUE MONUMENTUM HOC SUIS
+MANIBUS EXTRUCTUM MAGNO ANIMI ARDORE IPSIUS MEMORIÆ DEDICAVIT.</p>
+
+<p><span class="pagenum"><a id="Page_128" name="Page_128"></a>[Pg 128]</span> This epitaph was supported by two little Angels, who, with weeping
+faces, and extinguishing each a torch, appeared to be lamenting that a
+genius so great and so rare was now spent.</p>
+
+<p>Next, in the picture which came to face towards the door that leads
+into the cloister, was Michelagnolo making, on account of the siege of
+Florence, the fortifications of the hill of San Miniato, which were held
+to be impregnable and a marvellous work. This was by the hand of
+Lorenzo Sciorini, a pupil of Bronzino and a young man of excellent
+promise.</p>
+
+<p>This lowest part, or, so to speak, the base of the whole structure,
+had at every corner a pedestal that projected, and upon every pedestal
+was a statue larger than life, which had beneath it another, as it were subjugated
+and vanquished, of similar size, but each constrained in a different
+and extravagant attitude. The first, on the right hand going towards
+the high-altar, was a young man, slender and the very presentment of
+pure spirit, and of a most lively beauty, representing Genius, with two
+little wings over the temples, in the guise wherein at times Mercury is
+painted; and beneath this young man, wrought with incredible diligence,
+was a marvellous figure with asses' ears, representing Ignorance, the
+mortal enemy of Genius. These two statues were by the hand of
+Vincenzio Danti of Perugia, of whom and of his works, which are renowned
+among the young modern sculptors, we shall speak at greater length in
+another place.</p>
+
+<p>Upon the next pedestal, which, being on the right hand of the
+approach towards the high-altar, looked towards the new sacristy, was a
+woman representing Christian Piety, which, being composed of religion
+and every other excellence, is nothing less than an aggregate of all those
+virtues that we have called the Theological, and of those that were named
+by the Gentiles the Moral; wherefore it was right that, since the genius
+of a Christian, adorned by most saintly character, was being celebrated
+by Christians, a seemly and honourable place should be given to this
+Piety, which is concerned with the law of God and the salvation of souls,
+seeing that all other ornaments of body and mind, where she is lacking,
+are to be held in little estimation, or rather, none. This figure, who had
+<span class="pagenum"><a id="Page_129" name="Page_129"></a>[Pg 129]</span> beneath her, prostrate and trampled under foot by her, Vice, or rather,
+Impiety, was by the hand of Valerio Cioli, who is a young man of ability
+and fine spirit, and deserves the name of a very judicious and diligent
+sculptor. Opposite to this, on the side towards the old sacristy, was
+another similar figure made with much judgment to represent Minerva,
+or rather, Art; for the reason that it may be said with truth that after
+excellence of character and life, which must always hold the first place
+among the good, it was Art that gave to this man not only honour and
+profit, but also so much glory, that he may be said to have enjoyed in his
+lifetime such fruits as able and illustrious men have great difficulty in
+wresting even after death from the grasp of Fame, by means of their
+finest works; and, what is more, that he so vanquished envy, that by
+common consent, without any contradiction, he has obtained the rank
+and fame of the best and highest excellence. And for this reason this
+figure had beneath her feet Envy, who was an old woman lean and
+withered, with the eyes of a viper; in short, with features that all breathed
+out venom and poison, besides which she was girt with serpents, and had
+a viper in her hand. These two statues were by the hand of a boy of
+very tender years, called Lazzaro Calamech of Carrara, who at the present
+day, although still a mere lad, has given in some works of painting and
+sculpture convincing proofs of a beautiful and most lively genius. By
+the hand of Andrea Calamech, the uncle of the above-mentioned Lazzaro,
+and pupil of Ammanati, were the two statues placed upon the fourth
+pedestal, which was opposite to the organ and looked towards the
+principal doors of the church. The first of these was made to represent
+Study, for the reason that those who exert themselves little and sluggishly
+can never acquire repute, as Michelagnolo did, who from his early boyhood,
+from fifteen to ninety years of age, as has been seen above, never
+ceased to labour. This statue of Study, which was well in keeping with
+that great man, was a bold and vigorous youth, who had at the end of the
+arms, just above the joint of the hands, two little wings signifying rapidity
+and frequency of working; and he had prostrate beneath him, as a
+prisoner, Idleness or Indolence, who was a sluggish and weary woman,
+heavy and somnolent in her whole attitude.</p>
+
+<p><span class="pagenum"><a id="Page_130" name="Page_130"></a>[Pg 130]</span> These four figures, disposed in the manner that has been described,
+made a very handsome and magnificent composition, and had all the
+appearance of marble, because a coat of white had been laid over the clay,
+which resulted in a very beautiful effect. From this level, upon which
+the above-named figures rested, there rose another base, likewise rectangular
+and about four braccia high, but smaller in length and breadth
+than that below by the extent of the projection and cornice-work upon
+which those figures rested; and on every side this had a painted compartment
+six braccia and a half in length and three in height. Above
+this rose a platform in the same manner as that below, but smaller; and
+upon every corner, on the projection of a socle, sat a figure of the size of
+life, or rather more. These were four women, who, from the instruments
+that they had, were easily recognized as Painting, Sculpture, Architecture,
+and Poetry; placed there for reasons that have been perceived
+in the narration of Michelagnolo's Life.</p>
+
+<p>Now, going from the principal door of the church towards the high-altar,
+in the first picture of the second range of the catafalque&mdash;namely,
+above the scene in which, as has been related, Lorenzo de' Medici is
+receiving Michelagnolo into his garden&mdash;there was painted in a most
+beautiful manner, to suggest Architecture, Michelagnolo in the presence
+of Pope Pius IV, with a model in his hand of the stupendous pile of the
+Cupola of S. Pietro in Rome. This scene, which was much extolled, was
+painted by Piero Francia, a Florentine painter, with beautiful manner
+and invention; and the statue, or rather, image of Architecture, which
+was on the left hand of this scene, was by the hand of Giovanni di
+Benedetto of Castello, who with so much credit to himself, as has been
+related, executed also the Tiber, one of the two Rivers that were on the
+front part of the catafalque. In the second picture, continuing to go
+forward on the right hand towards the lateral door that leads out of the
+church, was seen (to suggest Painting) Michelagnolo painting that so
+much but never sufficiently extolled Judgment: that Judgment, I mean,
+which is an exemplar in foreshortenings and all the other difficulties of
+art. This picture, which was executed by Michele di Ridolfo's young
+men with much diligence and grace, had likewise, on the left hand (namely,
+<span class="pagenum"><a id="Page_131" name="Page_131"></a>[Pg 131]</span> at the corner looking towards the new sacristy), its appropriate image, a
+statue of Painting, wrought by Battista del Cavaliere, a young man no
+less excellent in sculpture than remarkable for his goodness, modesty,
+and character. In the third picture, facing towards the high-altar (in
+that, namely, which was above the epitaph already mentioned), there
+was to be seen, to suggest Sculpture, Michelagnolo speaking with a
+woman, who by many signs could be recognized as Sculpture; and it
+appeared that he was taking counsel with her. Michelagnolo had about
+him some of the most excellent works that he executed in sculpture; and
+the woman held a little tablet with these words of Boethius:</p>
+
+<p class="poem smcap">SIMILI SUB IMAGINE FORMANS.</p>
+
+<p>Beside that picture, which was the work of Andrea del Minga, and
+executed by him with beautiful invention and manner, there was on the
+left hand the statue of Sculpture, wrought very well by the sculptor
+Antonio di Gino Lorenzi. In the fourth of those four scenes, which faced
+towards the organ, there could be seen, to suggest Poetry, Michelagnolo
+all intent on writing some composition, and about him the Nine Muses,
+marvellous in their grace and beauty and with their distinctive garments,
+according as they are described by the poets, and before them Apollo
+with the lyre in his hand, his crown of laurel on his head, and another
+crown in the hand, which he made as if to place on the head of Michelagnolo.
+Near the gladsome and beautiful composition of this scene,
+painted in a very lovely manner, with most vivacious and spirited attitudes,
+by Giovan Maria Butteri, there was on the left hand the statue of
+Poetry, the work of Domenico Poggini, a man much practised not only
+in sculpture and in striking impressions of coins and medals with great
+beauty, but also in working in bronze and likewise in poetry.</p>
+
+<p>Of such a kind, then, was the ornamentation of the catafalque,
+which so diminished from course to course that it was possible to walk
+round each, and it was much after the likeness of the Mausoleum of
+Augustus in Rome; although perchance, from being rectangular, it rather
+resembled the Septizonium of Severus, not that near the Campidoglio,
+which is commonly so called in error, but the true one, which is to be
+<span class="pagenum"><a id="Page_132" name="Page_132"></a>[Pg 132]</span> seen in stamp in the "Nuove Rome," near the Baths of Antoninus. Up
+to this point the catafalque had three levels; where the Rivers lay was
+the first, the second where the pairs of figures rested, and the third where
+the single figures had their feet. From this last level rose a base, or
+rather, socle, one braccio high, and much less in length and breadth than
+that last level; upon the projections of that base sat the above-named
+single figures, and around it could be read these words:</p>
+
+<p class="poem smcap">SIC ARS EXTOLLITUR ARTE.</p>
+
+<p>Upon this base stood a pyramid nine braccia high, on two sides of
+which (namely, that which looked towards the principal door, and that
+which faced towards the high-altar), at the foot, were two ovals with
+the head of Michelagnolo portrayed from nature in relief and executed
+very well by Santi Buglioni. At the summit of the pyramid was a ball
+in due proportion with the pyramid, such as might have contained the
+ashes of him who was being honoured, and upon the ball was a figure
+of Fame, larger than life and in the likeness of marble, and in the act, as
+it were, of taking flight, and at the same time of causing the praises and
+glory of that great craftsman to resound throughout the world through
+a trumpet which branched into three mouths. That Fame was by the
+hand of Zanobi Lastricati, who, besides the labours that he had as
+proveditor for the whole work, desired also not to fail to show, with
+much honour to himself, the virtue of his hand and brain. In all, from
+the level of the ground to the head of the Fame, the height, as has been
+related, was twenty-eight braccia.</p>
+
+<p>Besides the catafalque described above, the whole church was draped
+with black baize and serge, hung not on the columns in the centre, as is
+usual, but on the chapels that are all around; and there was no space
+between the pilasters that enclose those chapels and correspond to the
+columns, that had not some adornment in painting, which, making an
+ingenious, pleasing, and beautiful display, caused marvel and at the
+same time the greatest delight.</p>
+
+<p>Now, to begin with one end: in the space of the first chapel that is
+beside the high-altar, as you go towards the old sacristy, was a picture
+<span class="pagenum"><a id="Page_133" name="Page_133"></a>[Pg 133]</span> six braccia in height and eight in length, in which, with novel and as it
+were poetical invention, was Michelagnolo in the centre, already come to
+the Elysian fields, where, on his right hand, were figures considerably
+larger than life of the most famous and most highly celebrated sculptors
+and painters of antiquity. Each of these could be recognized by some
+notable sign; Praxiteles by the Satyr that is in the Vigna of Pope
+Julius III, Apelles by the portrait of Alexander the Great, Zeuxis by a
+little panel on which were figured the grapes that deceived the birds,
+and Parrhasius with the covering counterfeited in painting over his
+picture; and, even as these, so the others were known by other signs.
+On the left hand were those who have been illustrious in these arts in our
+own centuries, from Cimabue to the present day. Thus Giotto could be
+recognized there by a little panel on which was seen the portrait of Dante
+as a young man, in the manner in which he may be seen in S. Croce,
+painted by Giotto himself; Masaccio by his portrait from life, Donatello
+likewise by his portrait, and also by his Zuccone from the Campanile,
+which was by his side, and Filippo Brunelleschi by the representation of
+his Cupola of S. Maria del Fiore; and there were portrayed from life,
+without other signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra
+Giovanni Agnolo, Jacopo da Pontormo, Francesco Salviati, and others.
+All these were about him with the same expressions of welcome as the
+ancients, full of love and admiration, in the same manner as Virgil was
+received by the other poets on his return, according to the fable of the
+divine poet Dante, from whom, in addition to the invention, there was
+taken also the verse that could be read in a scroll both above and in the
+hand of the River Arno, which lay at the feet of Michelagnolo, most
+beautiful in features and in attitude:</p>
+
+<p class="poem">
+TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.</p>
+
+<p>This picture, by the hand of Alessandro Allori, the pupil of Bronzino,
+an excellent painter and a not unworthy disciple and pupil of so great
+a master, was consummately extolled by all those who saw it. In the
+space of the Chapel of the most holy Sacrament, at the head of the
+transept, there was in a picture, five braccia in length and four in breadth,
+<span class="pagenum"><a id="Page_134" name="Page_134"></a>[Pg 134]</span> Michelagnolo with all the school of the arts about him, little children,
+boys, and young men of every age up to twenty-four, who were offering
+to him, as to a being sacred and divine, the firstfruits of their labours,
+such as pictures, sculptures, and models; and he was receiving them
+courteously, and was instructing them in the matters of art, while they
+were listening most intently and gazing upon him with expressions and
+attitudes truly full of beauty and grace. And, to tell the truth, the whole
+composition of this picture could not have been, in a certain sense, better
+done, nor could anything more beautiful have been desired in any of the
+figures, wherefore Battista, the pupil of Pontormo, who had done the
+work, received infinite praise for it; and the verses that were to be read
+at the foot of the scene, ran thus:</p>
+
+<p class="poem smcap">
+TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS<br>
+SUPPEDITAS PRÆCEPTA TUIS EX, INCLYTE, CHARTIS.</p>
+
+<p>Going, then, from the place where was the picture described above,
+towards the principal doors of the church, almost at the corner and just
+before arriving at the organ, in a picture six braccia long and four high
+that was in the space of a chapel, there was depicted the extraordinary
+and unexampled favour that was paid to the rare genius of Michelagnolo
+by Pope Julius III, who, wishing to avail himself in certain buildings of
+the judgment of that great man, had him summoned to his presence at
+his villa, where, having invited him to sit by his side, they talked a good
+time together, while Cardinals, Bishops, and other personages of the
+Court, whom they had about them, remained constantly standing. This
+event, I say, was seen to have been depicted with such fine composition
+and so much relief, and with such liveliness and spirit in the figures, that
+perchance it might not have turned out better from the hands of an
+eminent, aged, and well-practised master; wherefore Jacopo Zucchi, a
+young man, the pupil of Giorgio Vasari, who executed the work in a
+beautiful manner, proved that a most honourable result could be expected
+from him. Not far from this, on the same side (namely, a little below
+the organ), Giovanni Strada, an able Flemish painter, had depicted in
+a picture six braccia long and four high the story of Michelagnolo's
+<span class="pagenum"><a id="Page_135" name="Page_135"></a>[Pg 135]</span> going to Venice at the time of the siege of Florence; where, living in
+that quarter of that most noble city which is called the Giudecca, the
+Doge Andrea Gritti and the Signoria sent some gentlemen and others to
+visit him and make him very great offers. In representing that event the
+above-named painter showed great judgment and much knowledge,
+which did him great honour, both in the whole composition and in every
+part of it, for in the attitudes, the lively expressions of the faces, and the
+movements of every figure, were seen invention, design, and excellent grace.</p>
+
+<p>Now, returning to the high-altar, and facing towards the new sacristy:
+in the first picture found there, which came in the space of the first chapel,
+there was depicted by the hand of Santi Titi, a young man of most
+beautiful judgment and much practised in painting both in Florence and
+in Rome, another signal favour paid to the genius of Michelagnolo, as I
+believe I mentioned above, by the most illustrious Lord, Don Francesco
+de' Medici, Prince of Florence, who, happening to be in Rome about three
+years before Michelagnolo died, and receiving a visit from him, the moment
+that Buonarroti entered the Prince rose to his feet, and then, in order to
+do honour to that great man and to his truly venerable age, with the
+greatest courtesy that ever young Prince showed, insisted&mdash;although
+Michelagnolo, who was very modest, protested against it&mdash;that he should
+sit in his own chair, from which he had risen, standing afterwards on his
+feet to hear him with the attention and reverence that children are wont
+to pay to a well-beloved father. At the feet of the Prince was a boy,
+executed with great diligence, who had in his hands a mazzocchio,<a id="FNanchor6" name="FNanchor6"></a><a href="#Footnote6" title="Go to footnote 6" class="fnanchor">[6]</a> or
+Ducal cap, and around them were some soldiers dressed in ancient fashion,
+and painted with much spirit and a beautiful manner; but beyond all the
+rest, most beautifully wrought, most lifelike and most natural were the
+Prince and Michelagnolo, insomuch that it appeared as if the old man were
+in truth speaking, and the young man most intently listening to his words.</p>
+
+<p>In another picture, nine braccia in height and twelve in length,
+which was opposite to the Chapel of the Sacrament, Bernardo Timante
+Buontalenti, a painter much beloved and favoured by the most illustrious
+Prince, had figured with most beautiful invention the Rivers of the three
+<span class="pagenum"><a id="Page_136" name="Page_136"></a>[Pg 136]</span> principal parts of the world, come, as it were, all grieving and sorrowful,
+to lament with Arno on their common loss and to console him; and these
+Rivers were the Nile, the Ganges, and the Po. The Nile had as a symbol
+a crocodile, and, to signify the fertility of his country, a garland of ears
+of corn; the Ganges, a gryphon-bird and a chaplet of gems; the Po, a
+swan and a crown of black amber. These Rivers, having been conducted
+into Tuscany by the Fame, who was to be seen on high, as it were in flight,
+were standing round Arno, who was crowned with cypress and held his
+vase, drained empty, uplifted with one hand, and in the other a branch of
+cypress, and beneath him was a lion. And, to signify that the soul of
+Michelagnolo had flown to the highest felicity in Heaven, the judicious
+painter had depicted in the air a Splendour representing the celestial light,
+towards which the blessed soul, in the form of a little Angel, was winging
+its way; with this lyric verse:</p>
+
+<p class="poem smcap">VIVENS ORBE PETO LAUDIBUS ÆTHERA.</p>
+
+<p>At the sides, upon two bases, were two figures in the act of holding
+open a curtain within which, so it appeared, were the above-named
+Rivers, the soul of Michelagnolo, and the Fame; and each of those two
+figures had another beneath it. That which was on the right hand of the
+Rivers, representing Vulcan, had a torch in the hand; and the figure
+representing Hatred, which had the neck under Vulcan's feet in an attitude
+of great constraint, and as it were struggling to writhe free, had as
+symbol a vulture, with this verse:</p>
+
+<p class="poem smcap">SURGERE QUID PROPERAS ODIUM CRUDELE? JACETO.</p>
+
+<p>And that because things superhuman, and almost divine, should in
+no way be regarded with envy or hatred. The other, representing Aglaia,
+one of the Three Graces and wife of Vulcan, to signify Proportion, had
+in her hand a lily, both because flowers are dedicated to the Graces, and
+also because the lily is held to be not inappropriate to the rites of death.
+The figure which was lying beneath Aglaia, and which was painted to
+represent Disproportion, had as symbol a monkey, or rather, ape, and
+above her this verse:</p>
+
+<p class="poem smcap">VIVUS ET EXTINCTUS DOCUIT SIC STERNERE TURPE.</p>
+
+<p><span class="pagenum"><a id="Page_137" name="Page_137"></a>[Pg 137]</span> And under the Rivers were these two other verses:</p>
+
+<p class="poem smcap">VENIMUS, ARNE, TUO CONFIXA IN VULNERE M&OElig;STA<br>
+FLUMINA, UT EREPTUM MUNDO PLOREMUS HONOREM.</p>
+
+<p>This picture was held to be very beautiful in the invention, in the
+composition of the whole scene and the loveliness of the figures, and in
+the beauty of the verses, and because the painter honoured Michelagnolo
+with this his labour, not by commission, but spontaneously and with
+such assistance as his own merit enabled him to obtain from his courteous
+and honourable friends; and for this reason he deserved to be even more
+highly commended.</p>
+
+<p>In another picture, six braccia in length and four in height, near
+the lateral door that leads out of the church, Tommaso da San Friano,
+a young painter of much ability, had painted Michelagnolo as Ambassador
+of his country at the Court of Pope Julius II; as we have related that he
+went, and for what reasons, sent by Soderini. Not far distant from the
+above-named picture (namely, a little below that lateral door which
+leads out of the church), in another picture of the same size, Stefano
+Pieri, a pupil of Bronzino and a young man of great diligence and industry,
+had painted a scene that had in truth happened several times in Rome
+not long before&mdash;namely, Michelagnolo seated in a room by the side of the
+most illustrious Lord Duke Cosimo, who stood conversing with him; of
+all which enough has been said above.</p>
+
+<p>Over the said black draperies with which, as has been told, the whole
+church was hung all round, wherever there were no painted scenes or
+pictures, there were in each of the spaces of the chapels images of death,
+devices, and other suchlike things, all different from those that are
+generally made, and very fanciful and beautiful. Some of these, as it
+were lamenting that they had been forced to deprive the world of such
+a man, had these words in a scroll:</p>
+
+<p class="poem smcap">COEGIT DURA NECESSITAS.</p>
+
+<p>And near them was a globe of the world, from which had sprung a lily,
+which had three flowers and was broken in the middle, executed with
+<span class="pagenum"><a id="Page_138" name="Page_138"></a>[Pg 138]</span> most beautiful fantasy and invention by the above-named Alessandro
+Allori. There were other Deaths, also, depicted with other inventions,
+but that one was most extolled upon whose neck, as she lay prostrate on
+the ground, Eternity, with a palm in the hand, had planted one of her
+feet, and, regarding her with a look of disdain, appeared to be saying to
+her: "Be it necessity or thy will, thou hast done nothing, for in spite of
+thee, come what may, Michelagnolo shall live." The motto ran thus:</p>
+
+<p class="poem smcap">VICIT INCLYTA VIRTUS.</p>
+
+<p>And all this was the invention of Vasari.</p>
+
+<p>I will not omit to say that each of these Deaths had on either side
+the device of Michelagnolo, which was three crowns, or rather, three
+circlets, intertwined together in such a manner, that the circumference
+of one passed through the centre of the two others, and so with each;
+which sign Michelagnolo used either to suggest that the three professions
+of sculpture, painting, and architecture are interwoven one with another
+and so bound together, that each of them receives benefit and adornment
+from the others, and they neither can nor should be separated; or, indeed,
+being a man of lofty genius, he may have had a more subtle meaning.
+But the Academicians, considering him to have been perfect in all these
+three professions, and that each of these had assisted and embellished
+the other, changed his three circlets into three crowns intertwined
+together, with the motto:</p>
+
+<p class="poem smcap">
+TERGEMINIS TOLLIT HONORIBUS.</p>
+
+<p>Which was intended to signify that in those three professions the crown
+of human perfection was justly due to him.</p>
+
+<p>On the pulpit from which Varchi delivered the funeral oration, which
+was afterwards printed, there was no ornamentation, because, that
+work having been executed in bronze, with scenes in half-relief and low-relief,
+by the excellent Donatello, any adornment that might have been
+added to it would have been by a great measure less beautiful. But on
+the other, which is opposite to the first, although it had not yet been
+raised on the columns, there was a picture, four braccia in height and
+<span class="pagenum"><a id="Page_139" name="Page_139"></a>[Pg 139]</span> little more than two in width, wherein there was painted with beautiful
+invention and excellent design, to represent Fame, or rather, Honour, a
+young man in a most beautiful attitude, with a trumpet in the right hand,
+and with the feet planted on Time and Death, in order to show that fame
+and honour, in spite of death and time, preserve alive to all eternity
+those who have laboured valiantly in this life. This picture was by the
+hand of Vincenzio Danti, the sculptor of Perugia, of whom we have
+spoken, and will speak again elsewhere.</p>
+
+<p>The church having been embellished in such a manner, adorned with
+lights, and filled with a countless multitude, for everyone had left every
+other care and flocked together to such an honourable spectacle, there
+entered behind the above-named Lieutenant of the Academy, accompanied
+by the Captain and Halberdiers of the Duke's Guard, the Consuls
+and the Academicians, and, in short, all the painters, sculptors, and
+architects of Florence. After all these had sat down between the catafalque
+and the high-altar, where they had been awaited for a good while
+by an infinite number of lords and gentlemen, who had been accommodated
+with seats according to the rank of each, there was begun a
+most solemn Mass for the dead, with music and ceremonies of every kind.
+Which finished, Varchi mounted the above-mentioned pulpit, who had
+never performed such an office since he did it for the most illustrious
+Lady Duchess of Ferrara, the daughter of Duke Cosimo; and there,
+with that elegance, those modes of utterance, and that voice which
+were the peculiar attributes of that great man in oratory, he recounted
+the praises and merits, life and works of the divine Michelagnolo
+Buonarroti.</p>
+
+<p>Of a truth, what great good fortune it was for Michelagnolo that he
+did not die before our Academy was created, whereby his funeral rites
+were celebrated with so much honour and such magnificent and honourable
+pomp! So, also, it must be considered most fortunate for him that
+it happened that he passed from this to an eternal and most blessed
+life before Varchi, seeing that he could not have been extolled by any
+more eloquent and learned man. That funeral oration by M. Benedetto
+Varchi was printed a short time afterwards, as was also, not long after
+<span class="pagenum"><a id="Page_140" name="Page_140"></a>[Pg 140]</span> that, another equally beautiful oration, likewise in praise of Michelagnolo
+and of painting, composed by the most noble and most learned M.
+Leonardo Salviati, at that time a young man of about twenty-two years
+of age, and of a rare and happy genius in all manner of compositions,
+both Latin and Tuscan, as is known even now, and will be better known in
+the future, to all the world. And what shall I say, what can I say, that
+would not be too little, of the capacity, goodness, and wisdom of the
+very reverend Lord Lieutenant, the above-named Don Vincenzio
+Borghini? Save that it was with him as their chief, their guide, and
+their counsellor, that the eminent men of the Academy and Company of
+Design celebrated those obsequies; for the reason that, although each of
+them was competent to do much more in his art than he did, nevertheless
+no enterprise is ever carried to a perfect and praiseworthy end save
+when one single man, in the manner of an experienced pilot and captain,
+has authority and power over all others. And since it was not possible
+that the whole city should see that funeral pomp in one day, by order of
+the Duke it was all left standing many weeks, for the satisfaction
+of his people and of the strangers who came from neighbouring places
+to see it.</p>
+
+<p>We shall not give in this place the great multitude of epitaphs and
+verses, both Latin and Tuscan, composed by many able men in honour
+of Michelagnolo; both because they would require a work to themselves,
+and because they have been written down and published by other writers
+elsewhere. But I will not omit to say in this last part, that after all the
+honours described above the Duke ordained that an honourable place
+should be given to Michelagnolo for his tomb in S. Croce, in which church
+he had purposed in his lifetime to be buried, because the sepulchre of his
+ancestors was there. And to Leonardo, the nephew of Michelagnolo, his
+Excellency gave all the marbles, both white and variegated, for that tomb,
+which was allotted to Battista Lorenzi, an able sculptor, to execute after
+the design of Giorgio Vasari, together with the head of Michelagnolo.
+And since there are to be three statues there, Painting, Sculpture, and
+Architecture, one of these was allotted to the above-named Battista, one
+to Giovanni dell'Opera, and the last to Valerio Cioli, Florentine sculptors;
+<span class="pagenum"><a id="Page_141" name="Page_141"></a>[Pg 141]</span> which statues are in process of being fashioned together with the tomb,
+and soon they will be seen finished and set in their places. The cost, over
+and above the marbles received from the Duke, has been borne by the
+same Leonardo Buonarroti. But his Excellency, in order not to fail in
+any respect in doing honour to that great man, will cause to be placed in
+the Duomo, as he has previously thought to do, a memorial with his name,
+besides the head, even as there are to be seen there the names and images
+of the other eminent Florentines.</p>
+
+<hr style="width: 65%;">
+<h2><a name="francescoprimaticcio" id="francescoprimaticcio"></a><span class="pagenum"><a id="Page_143" name="Page_143"></a>[Pg 143]</span> FRANCESCO PRIMATICCIO</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_francescoprimaticcio" id="life_of_francescoprimaticcio"></a><span class="pagenum"><a id="Page_145" name="Page_145"></a>[Pg 145]</span> DESCRIPTION OF THE WORKS OF FRANCESCO
+PRIMATICCIO<br>
+PAINTER AND ARCHITECT OF BOLOGNA, AND ABBOT OF S. MARTIN</h2>
+
+
+<p>Having treated hitherto of such of our craftsmen as are no longer alive
+among us&mdash;of those, namely, who have lived from 1200 until this year of
+1567&mdash;and having set Michelagnolo Buonarroti in the last place for many
+reasons, although two or three have died later than he, I have thought
+that it cannot be otherwise than a praiseworthy labour to make mention
+likewise in this our work of many noble craftsmen who are alive, and,
+for their merits, most worthy to be highly extolled and to be numbered
+among these last masters. This I do all the more willingly because they
+are all very much my friends and brothers, and the three most eminent
+are already so far advanced in years, that, having come to the furthest
+limit of old age, little more can be expected from them, although they
+still continue by a sort of habit to occupy themselves with some work.
+After these I will also make brief mention of those who under their
+discipline have become such, that they hold the first places among the
+craftsmen of our own day; and of others who in like manner are advancing
+towards perfection in our arts.</p>
+
+<p>Beginning, then, with Francesco Primaticcio, to go on afterwards to
+Tiziano Vecelli and Jacopo Sansovino: I have to record that the said
+Francesco, born in Bologna of the noble family of the Primaticci, much
+celebrated by Fra Leandro Alberti and by Pontano, was apprenticed in
+his early boyhood to commerce. But, that calling pleasing him little,
+not long afterwards, being exalted in mind and spirit, he set himself to
+practise design, to which he felt himself inclined by nature; and so, giving
+his attention to drawing, and at times to painting, no long time passed
+<span class="pagenum"><a id="Page_146" name="Page_146"></a>[Pg 146]</span> before he gave proof that he was likely to achieve an excellent result.
+Going afterwards to Mantua, where at that time Giulio Romano was
+working at the Palace of the Te for Duke Federigo, he employed such
+interest that he was set, in company with many other young men who
+were with Giulio, to labour at that work. There, attending to the
+studies of art with much industry and diligence for a period of six years,
+he learned very well to handle colours and to work in stucco; wherefore,
+among all the other young men who were labouring in the work of that
+Palace, Francesco came to be held one of the most excellent, and the best
+of all at drawing and colouring. This may be seen in a great chamber,
+round which he made two friezes of stucco, one above the other, with a
+great abundance of figures that represent the ancient Roman soldiery;
+and in the same Palace, likewise, he executed many works in painting
+that are to be seen there, after the designs of the above-named Giulio.
+Through these works Primaticcio came into such favour with that Duke,
+that, when King Francis of France heard with what quantity of ornaments
+he had caused the work of the Palace to be executed, and wrote to
+him that at all costs he should send him a young man able to work in
+painting and stucco, the Duke sent him Francesco Primaticcio, in the
+year 1531. And although the year before that the Florentine painter
+Rosso had gone into the service of the same King, as has been related,
+and had executed many works there, and in particular the pictures of
+Bacchus and Venus, Psyche and Cupid, nevertheless the first works in
+stucco that were done in France, and the first labours in fresco of any
+account, had their origin, it is said, from Primaticcio, who decorated in
+this manner many chambers, halls, and loggie for that King.</p>
+
+<div class="figcenter">
+<a name="img038" id="img038"></a>
+<img src="images/img038-tb.jpg" width="500" height="384" alt="Decorative Panels." title="">
+<p class="caption">DECORATIVE PANELS<br>
+(<i>After</i> Primaticcio. <i>Fontainebleau: Galerie Henry II</i>)<br>
+<i>X. Photo</i><br>
+<span class="link"><a href="images/img038.jpg">View larger image</a></span></p>
+</div>
+
+<p>Liking the manner of this painter, and his procedure in every matter,
+the King sent him in the year 1540 to Rome, to contrive to obtain certain
+antique marbles; in which Primaticcio served him with such diligence,
+that in a short time, what with heads, torsi, and figures, he bought one
+hundred and twenty-five pieces. And at that same time he caused to
+be moulded by Jacopo Barozzi of Vignuola, and by others, the bronze
+horse that is on the Campidoglio, a great part of the scenes on the
+Column, the statue of Commodus, the Venus, the Laocoon, the Tiber,
+<span class="pagenum"><a id="Page_147" name="Page_147"></a>[Pg 147]</span> the Nile, and the statue of Cleopatra, which are in the Belvedere; to the
+end that they might all be cast in bronze. Rosso having meanwhile died
+in France, and a long gallery therefore remaining unfinished which had
+been begun after his designs and in great part adorned with stucco-work
+and pictures, Primaticcio was recalled from Rome; whereupon he took
+ship with the above-mentioned marbles and moulds of antique figures,
+and returned to France. There, before any other thing, he cast according
+to those moulds and forms a great part of those antique figures, which
+came out so well, that they might be the originals; as may be seen in the
+Queen's garden at Fontainebleau, where they were placed, to the vast
+satisfaction of that King, who made in that place, one might say, another
+Rome. I will not omit to say that Primaticcio, in executing those statues,
+employed masters so excellent in the art of casting, that those works
+came out not only light, but with a surface so smooth, that it was hardly
+necessary to polish them.</p>
+
+<p>This work done, Primaticcio was commissioned to give completion
+to the gallery that Rosso had left unfinished; whereupon he set his hand
+to it, and in a short time delivered it finished with as many works in
+stucco and painting as have ever been executed in any place. Wherefore
+the King, finding that he had been well served in the period of eight years
+that this master had worked for him, had him placed among the number
+of his chamberlains; and a short time afterwards, which was in the year
+1544, he made him Abbot of S. Martin, considering that Francesco
+deserved no less. But for all this Francesco has never ceased to have
+many works in stucco and in painting executed in the service of his King
+and of the others who have governed that kingdom after Francis I.
+Among others who have assisted him in this, he has been served, to say
+nothing of many of his fellow-Bolognese, by Giovan Battista, the son of
+Bartolommeo Bagnacavallo, who has proved not less able than his
+father in many scenes and other works of Primaticcio's that he has
+carried into execution. Another who has served him for a considerable
+time is one Ruggieri da Bologna, who is still with him. In like manner,
+Prospero Fontana, a painter of Bologna, was summoned to France not
+long since by Primaticcio, who intended to make use of him; but, having
+<span class="pagenum"><a id="Page_148" name="Page_148"></a>[Pg 148]</span> fallen ill to the danger of his life immediately after his arrival, he returned
+to Bologna. To tell the truth, these two, Bagnacavallo and Fontana,
+are able men, and I, who have made considerable use both of the one and
+of the other, of the first at Rome, and of the second at Rimini and
+Florence, can declare this with certainty. But of all those who have
+assisted the Abbot Primaticcio, none has done him more honour than
+Niccolò da Modena, of whom mention has been made on another occasion,
+for by the excellence of his art this master has surpassed all the others.
+Thus he executed with his own hand, after the designs of the Abbot, a
+hall called the Ball-room, with such a vast number of figures, that it
+appears scarcely possible that they could be counted, and all as large as
+life and coloured in so bright a manner, that in the harmony of the
+fresco-colours they appear like work in oils. After this work he painted
+in the Great Gallery, likewise from the designs of the Abbot, sixty stories
+of the life and actions of Ulysses, but with a colouring much darker than
+the pictures in the Ball-room. This came about because he used no other
+colours but the earths in the pure state in which they are produced by
+Nature, without mixing with them, it may be said, any white, and so
+heavily loaded with darks in the deep parts, that these have extraordinary
+relief and force; besides which, he executed the whole work
+with such harmony, that it appears almost as if painted in one and the
+same day. Wherefore he merits extraordinary praise, particularly
+because he executed it in fresco, without ever retouching it "a secco,"
+as many at the present day are accustomed to do. The vaulting of this
+gallery, likewise, is all wrought in stucco and painting, executed with
+much diligence by the men mentioned above and other young painters,
+but still after the designs of the Abbot; as is also the old Hall, and likewise
+a lower gallery that is over the pond, which is most beautiful and better
+adorned with lovely works than any other part of that place; but to
+attempt to speak of it at any length would make too long a story.</p>
+
+<div class="figcenter">
+<a name="img039" id="img039"></a>
+<img src="images/img039-tb.jpg" width="350" height="454" alt="Decorative Panels." title="">
+<p class="caption">DECORATIVE PANELS<br>
+(<i>After the painting by</i> Primaticcio. <i>Fontainebleau: Escalier du Roi</i>)<br>
+<i>Mansell</i><br>
+<span class="link"><a href="images/img039.jpg">View larger image</a></span></p>
+</div>
+
+<p>At Meudon the same Abbot Primaticcio has made innumerable
+decorations for the Cardinal of Lorraine in a vast palace belonging to him,
+called the Grotto, a place so extraordinary in size, that, after the likeness
+of similar edifices of the ancients, it might be called the Thermæ, by
+<span class="pagenum"><a id="Page_149" name="Page_149"></a>[Pg 149]</span> reason of the vast number and grandeur of the loggie, staircases, and
+apartments, both public and private, that are there; and, to say nothing
+of other particulars, most beautiful is a room called the Pavilion, for it
+is all adorned with compartments and mouldings of stucco that are
+wrought with a view to being seen from below, and filled with a number
+of figures foreshortened in the same manner, which are very beautiful.
+Beneath this, then, is a large room with some fountains wrought in stucco,
+and full of figures in the round and compartments formed of shells and
+other products of the sea and natural objects, which are marvellous
+things and beautiful beyond measure; and the vaulting, likewise, is all
+most excellently wrought in stucco by the hand of Domenico del Barbiere,
+a Florentine painter, who is excellent not only in this kind of relief, but
+also in design, so that in some works that he has coloured he has given
+proofs of the rarest ability. In the same place, also, many figures of
+stucco in the round have been executed by a sculptor likewise of our
+country, called Ponzio, who has acquitted himself very well. But, since
+the works that have been executed in those places in the service of those
+lords are innumerable in their variety, I must touch only on the principal
+works of the Abbot, in order to show how rare he is in painting, in design,
+and in matters of architecture; although, in truth, it would not appear
+to me an excessive labour to enlarge on the particular works, if I had
+some true and clear information about them, as I have about works here.
+With regard to design, Primaticcio has been and still is most excellent,
+as may be seen from a drawing by his hand painted with the signs of the
+heavens, which is in our book, sent to me by Francesco himself; and I,
+both for love of him and because it is a thing of absolute perfection, hold
+it very dear.</p>
+
+<p>King Francis being dead, the Abbot remained in the same place
+and rank with King Henry, and served him as long as he lived; and
+afterwards he was created by King Francis II Commissary-General over
+all the buildings of the whole kingdom, in which office, one of great
+honour and much repute, there had previously acted the father of
+Cardinal della Bordagiera and Monseigneur de Villeroy. Since the
+death of Francis II, he has continued in the same office, serving the
+<span class="pagenum"><a id="Page_150" name="Page_150"></a>[Pg 150]</span> present King, by whose order and that of the Queen-Mother Primaticcio
+has made a beginning with the tomb of the above-named King Henry,
+making in the centre of a six-sided chapel the sepulchre of the King himself,
+and at four sides the sepulchres of his four children; while at one of
+the other two sides of the chapel is the altar, and at the other the door.
+And since there are going into this work innumerable statues in marble
+and bronzes and a number of scenes in low-relief, it will prove worthy
+of all these great Kings and of the excellence and genius of so rare a craftsman
+as is this Abbot of S. Martin, who in his best years has been most
+excellent and versatile in all things that pertain to our arts, seeing that
+he has occupied himself in the service of his lords not only in buildings,
+paintings, and stucco-work, but also in the preparations for many festivals
+and masquerades, with most beautiful and fantastic inventions.</p>
+
+<p>He has been very liberal and most loving towards his friends and
+relatives, and likewise towards the craftsmen who have served him. In
+Bologna he has conferred many benefits on his relatives, and has bought
+honourable dwellings for them and made them commodious and very
+ornate, as is that wherein there now lives M. Antonio Anselmi, who has
+for wife one of the nieces of our Abbot Primaticcio, who has also given
+in marriage another niece, the sister of the first-named, with honour and
+a good dowry. Primaticcio has always lived not like a painter and
+craftsman, but like a nobleman, and, as I have said, he has been very
+loving towards our craftsmen. When, as has been related, he sent for
+Prospero Fontana, he despatched to him a good sum of money, to the
+end that he might be able to make his way to France. This sum, having
+fallen ill, Prospero was not able to pay back or return by means of his
+works and labours; wherefore I, passing in the year 1563 through Bologna,
+recommended Prospero to him in this matter, and such was the courtesy
+of Primaticcio, that before I departed from Bologna I saw a writing by
+the hand of the Abbot in which he made a free gift to Prospero of all
+that sum of money which he had in hand for that purpose. For which
+reasons the affection that he has won among craftsmen is such, that they
+address and honour him as a father.</p>
+
+<p>Now, to say something more of Prospero, I must record that he
+<span class="pagenum"><a id="Page_151" name="Page_151"></a>[Pg 151]</span> was once employed with much credit to himself in Rome, by Pope
+Julius III, at his Palace, at the Vigna Giulia, and at the Palace of the
+Campo Marzio, which at that time belonged to Signor Balduino Monti,
+and now belongs to the Lord Cardinal Ernando de' Medici, the son of
+Duke Cosimo. In Bologna the same master has executed many works
+in oils and in fresco, and in particular an altar-piece in oils in the Madonna
+del Baracane, of a S. Catherine who is disputing with philosophers
+and doctors in the presence of the Tyrant, which is held to be a very
+beautiful work. And the same Prospero has painted many pictures in
+fresco in the principal chapel of the Palace where the Governor lives.</p>
+
+<p>Much the friend of Primaticcio, likewise, is Lorenzo Sabatini, an
+excellent painter; and if he had not been burdened with a wife and many
+children, the Abbot would have taken him to France, knowing that he
+has a very good manner and great mastery in all kinds of work, as may
+be seen from many things that he has done in Bologna. And in the year
+1566 Vasari made use of him in the festive preparations that were carried
+out in Florence for the above-mentioned nuptials of the Prince and her
+serene Highness Queen Joanna of Austria, causing him to execute, in the
+vestibule that is between the Sala dei Dugento and the Great Hall, six
+figures in fresco that are very beautiful and truly worthy to be praised.
+But since this able painter is constantly making progress, I shall say
+nothing more about him, save that, attending as he does to the studies
+of art, a most honourable result is expected from him.</p>
+
+<p>Now, in connection with the Abbot and the other Bolognese of
+whom mention has been made hitherto, I shall say something of Pellegrino
+Bolognese, a painter of the highest promise and most beautiful
+genius. This Pellegrino, after having attended in his early years to
+drawing the works by Vasari that are in the refectory of S. Michele in
+Bosco at Bologna, and those by other painters of good name, went in
+the year 1547 to Rome, where he occupied himself until the year 1550
+in drawing the most noteworthy works; executing during that time and
+also afterwards, in the Castello di S. Angelo, some things in connection
+with the works that Perino del Vaga carried out. In the centre of the
+vaulting of the Chapel of S. Dionigi, in the Church of S. Luigi de' Franzesi,
+<span class="pagenum"><a id="Page_152" name="Page_152"></a>[Pg 152]</span> he painted a battle-scene in fresco, in which he acquitted himself
+in such a manner, that, although Jacopo del Conte, a Florentine painter,
+and Girolamo Siciolante of Sermoneta had executed many works in the
+same chapel, Pellegrino proved to be in no way inferior to them; nay,
+it appears to many that he acquitted himself better than they did in
+the boldness, grace, colouring, and design of those his pictures. By
+reason of this Monsignor Poggio afterwards availed himself much of
+Pellegrino, for he had erected a palace on the Esquiline Hill, where he
+had a vineyard, without the Porta del Popolo, and he desired that
+Pellegrino should execute some figures for him on the façade, and then
+that he should paint the interior of a loggia that faces towards the Tiber,
+which he executed with such diligence, that it is held to be a work of
+much beauty and grace. In the house of Francesco Formento, between
+the Strada del Pellegrino and the Parione, he painted in a courtyard
+a façade and two figures besides. By order of the ministers of Pope
+Julius III, he executed a large escutcheon, with two figures, in the Belvedere;
+and without the Porta del Popolo, in the Church of S. Andrea,
+which that Pontiff had caused to be built, he painted a S. Peter and
+a S. Andrew, which two figures were much extolled, and the design of
+the S. Peter is in our book, together with other sheets drawn with much
+diligence by the same hand.</p>
+
+<div class="figcenter">
+<a name="img040" id="img040"></a>
+<img src="images/img040-tb.jpg" width="350" height="538" alt="The Adoration of the Shepherds." title="">
+<p class="caption">THE ADORATION OF THE SHEPHERDS<br>
+(<i>After the painting by</i> Pellegrino Tibaldi. <i>Vienna: Prince Liechtenstein</i>)<br>
+<i>Hanfstaengl</i><br>
+<span class="link"><a href="images/img040.jpg">View larger image</a></span></p>
+</div>
+
+<p>Being then sent to Bologna by Monsignor Poggio, he painted for
+him in his palace there many scenes in fresco, among which is one that
+is most beautiful, wherein from the many figures, both nude and clothed,
+and the lovely composition of the scene, it is evident that he surpassed
+himself, insomuch that he has never done any work since better than
+this. In S. Jacopo, in the same city, he began to paint a chapel likewise
+for Cardinal Poggio, which was afterwards finished by the above-mentioned
+Prospero Fontana. Being then taken by the Cardinal of Augsburg
+to the Madonna of Loreto, Pellegrino decorated for him a chapel most
+beautifully with stucco-work and pictures. On the vaulting, within a rich
+pattern of compartments in stucco, are the Nativity of Christ and His
+Presentation in the arms of Simeon at the Temple; and in the centre, in
+particular, is the Transfiguration of the Saviour on Mount Tabor, and
+<span class="pagenum"><a id="Page_153" name="Page_153"></a>[Pg 153]</span> with Him Moses, Elias, and the Disciples. In the altar-piece that is
+above the altar, he painted S. John the Baptist baptizing Christ; and in
+this he made a portrait of the above-named Cardinal, kneeling. On one
+of the façades at the sides he painted S. John preaching to the multitude,
+and on the other the Beheading of the same Saint. In the forecourt
+below the church he painted stories of the Judgment, and some figures in
+chiaroscuro in the place where the Theatines now have their Confessional.</p>
+
+<p>Being summoned not long afterwards to Ancona by Giorgio Morato,
+he painted for the Church of S. Agostino a large altar-piece in oils of
+Christ baptized by S. John, with S. Paul and other Saints on one side,
+and in the predella a good number of little figures, which are full of grace.
+For the same man he made in the Church of S. Ciriaco sul Monte a very
+beautiful ornament in stucco for the altar-piece of the high-altar, and
+within it a Christ of five braccia in full-relief, which was much extolled.
+In like manner, he has made in the same city a very large and very
+beautiful ornament of stucco for the high-altar of S. Domenico, and he
+would also have painted the altar-picture, but he had a difference with
+the patron of that work, and it was given to Tiziano Vecelli to execute,
+as will be related in the proper place. Finally, having undertaken to
+decorate in the same city of Ancona the Loggia de' Mercanti, which faces
+on one side over the sea-shore and on the other towards the principal
+street of the city, Pellegrino has adorned the vaulting, which is a new
+structure, with pictures and many large figures in stucco; in which work
+since he has exerted all the effort and study possible to him, it has turned
+out in truth full of beauty and grace, for the reason that, besides that all
+the figures are beautiful and well executed, there are some most lovely
+foreshortenings of nudes, in which it is evident that he has imitated with
+much diligence the works of Buonarroti that are in the Chapel in Rome.</p>
+
+<p>Now, since there are not in those parts any architects or engineers
+of account, or any who know more than he does, Pellegrino has taken it
+upon himself to give his attention to architecture and to the fortifying of
+places in that province; and, as one who has recognized that painting is
+more difficult and perhaps less advantageous than architecture, setting
+his painting somewhat on one side, he has executed many works for the
+<span class="pagenum"><a id="Page_154" name="Page_154"></a>[Pg 154]</span> fortification of Ancona and for many other places in the States of the
+Church, and particularly at Ravenna. Finally, he has made a beginning
+with a palace for the Sapienza, at Pavia, for Cardinal Borromeo. And
+at the present day, since he has not wholly abandoned painting, he is
+executing a scene in fresco, which will be very beautiful, in the refectory
+of S. Giorgio at Ferrara, for the Monks of Monte Oliveto; and of this
+Pellegrino himself not long ago showed me the design, which is very fine.
+But, seeing that he is a young man of thirty-five, and is constantly making
+more and more progress and advancing towards perfection, this much
+about him must suffice for the present. In like manner, I shall be brief in
+speaking of Orazio Fumaccini,<a id="FNanchor7" name="FNanchor7"></a><a href="#Footnote7" title="Go to footnote 7" class="fnanchor">[7]</a> a painter likewise from Bologna, who
+has executed in Rome, as has been related, above one of the doors of the
+Hall of Kings, a scene that is very fine, and in Bologna many much-extolled
+pictures; for he also is young, and he is acquitting himself in
+such a manner, that he will not be inferior to his elders, of whom we have
+made mention in these our Lives.</p>
+
+<p>The men of Romagna, also, spurred by the example of the Bolognese,
+their neighbours, have executed many noble works in our arts; for,
+besides Jacopone da Faenza, who, as has been related, painted the
+tribune of S. Vitale in Ravenna, there have been and still are many others
+after him who are excellent. Maestro Luca de' Longhi of Ravenna, a
+man of good, quiet, and studious nature, has painted in his native city of
+Ravenna and in the surrounding country many very beautiful panel-pictures
+in oils and portraits from nature; and of much charm, among
+others, are two little altar-pieces that he was commissioned not long
+since to paint for the Church of the Monks of Classi by the Reverend Don
+Antonio da Pisa, then Abbot of that Monastery; to say nothing of an
+infinite number of other works that this painter has executed. And, to
+tell the truth, if Maestro Luca had gone forth from Ravenna, where he
+has always lived and still lives with his family, being assiduous and very
+diligent, and of fine judgment, he would have become a very rare painter,
+because he has executed his works, as he still does, with patience and
+study; and to this I can bear witness, who know how much proficience he
+<span class="pagenum"><a id="Page_155" name="Page_155"></a>[Pg 155]</span> made during my sojourn of two months in Ravenna, both practising and
+discussing the matters of art; nor must I omit to say that a daughter of
+his, still but a little girl, called Barbara, draws very well, and has begun to
+do some work in colour with no little grace and excellence of manner.</p>
+
+<p>A rival of Luca, for a time, was Livio Agresti of Forlì, who, after
+he had executed for Abbot de' Grassi in the Church of the Spirito Santo
+some scenes in fresco and certain other works, departed from Ravenna
+and made his way to Rome. There, attending with much study to
+design, he became a well-practised master, as may be seen from some
+façades and other works in fresco that he executed at that time; and his
+first works, which are in Narni, have in them not a little of the good. In
+a chapel of the Church of the Santo Spirito, in Rome, he has painted a
+number of figures and scenes in fresco, which are executed with much
+industry and study, so that they are rightly extolled by everyone. That
+work was the reason, as has been related, that there was allotted to him
+one of the smaller scenes that are over the doors in the Hall of Kings in
+the Palace of the Vatican, in which he acquitted himself so well, that it
+can bear comparison with the others. The same master has executed for
+the Cardinal of Augsburg seven pieces with scenes painted on cloth of
+silver, which have been held to be very beautiful in Spain, where they
+have been sent by that same Cardinal as presents to King Philip, to be
+used as hangings in a chamber. Another picture on cloth of silver he
+has painted in the same manner, which is now to be seen in the Church
+of the Theatines at Forlì. Finally, having become a good and bold
+draughtsman, a well-practised colourist, fertile in the composition of
+scenes, and universal in his manner, he has been invited by the above-named
+Cardinal with a good salary to Augsburg, where he is constantly
+executing works worthy of much praise.</p>
+
+<p>But most rare among the other men of Romagna, in certain respects,
+is Marco da Faenza (for only so, and not otherwise, is he called), for the
+reason that he has no ordinary mastery in the work of fresco, being bold,
+resolute, and of a terrible force, and particularly in the manner and
+practice of making grotesques, in which he has no equal at the present
+day, nor one who even approaches his perfection. His works may be
+<span class="pagenum"><a id="Page_156" name="Page_156"></a>[Pg 156]</span> found throughout all Rome; and in Florence there is by his hand the
+greater part of the ornaments of twenty different rooms that are in the
+Ducal Palace, and the friezes of the ceiling in the Great Hall of that
+Palace, which was painted by Giorgio Vasari, as will be fully described
+in the proper place; not to mention that the decorations of the principal
+court of the same Palace, made in a short time for the coming of Queen
+Joanna, were executed in great part by the same man. And this must
+be enough of Marco, he being still alive and in the flower of his growth
+and activity.</p>
+
+<p>In Parma there is at the present day in the service of the Lord Duke
+Ottavio Farnese, a painter called Miruolo, a native, I believe, of Romagna,
+who, besides some works executed in Rome, has painted many scenes in
+fresco in a little palace that the same Lord Duke has caused to be built
+in the Castle of Parma. There, also, are some fountains constructed
+with fine grace by Giovanni Boscoli, a sculptor of Montepulciano, who,
+having worked in stucco for many years under Vasari in the Palace of the
+above-named Lord Duke Cosimo of Florence, has finally entered the
+service of the above-mentioned Lord Duke of Parma, with a good salary,
+and has executed, as he continues constantly to do, works worthy of his
+rare and most beautiful genius. In the same cities and provinces, also,
+are many other excellent and noble craftsmen; but, since they are still
+young, we shall defer to a more convenient time the making of that
+honourable mention of them that their talents and their works may have
+merited.</p>
+
+<p>And this is the end of the works of Abbot Primaticcio. I will add
+that, he having had himself portrayed in a pen-drawing by the Bolognese
+painter Bartolommeo Passerotto, who was very much his friend, that
+portrait has come into our hands, and we have it in our book of drawings
+by the hands of various excellent painters.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="tizianodacadore" id="tizianodacadore"></a><span class="pagenum"><a id="Page_157" name="Page_157"></a>[Pg 157]</span> TIZIANO DA CADORE</h2>
+
+
+<div class="figcenter">
+<a name="img041" id="img041"></a>
+<img src="images/img041-tb.jpg" width="500" height="388" alt="Tiziano: The Madonna of the Cherries." title="">
+<p class="caption">TIZIANO: THE MADONNA OF THE CHERRIES<br>
+(<i>Vienna: Imperial Gallery, 180. Panel</i>)<br>
+<span class="link"><a href="images/img041.jpg">View larger image</a></span></p>
+</div>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_tizianodacadore" id="life_of_tizianodacadore"></a><span class="pagenum"><a id="Page_159" name="Page_159"></a>[Pg 159]</span> DESCRIPTION OF THE WORKS OF TIZIANO DA CADORE<br>
+PAINTER</h2>
+
+
+<p>Tiziano was born at Cadore, a little township situated on the Piave and
+five miles distant from the pass of the Alps, in the year 1480, from the
+family of the Vecelli, one of the most noble in that place. At the age of
+ten, having a fine spirit and a lively intelligence, he was sent to Venice
+to the house of an uncle, an honoured citizen, who, perceiving the boy
+to be much inclined to painting, placed him with Gian Bellini, an excellent
+painter very famous at that time, as has been related. Under his discipline,
+attending to design, he soon showed that he was endowed by
+nature with all the gifts of intellect and judgment that are necessary for
+the art of painting; and since at that time Gian Bellini and the other
+painters of that country, from not being able to study ancient works,
+were much&mdash;nay, altogether&mdash;given to copying from the life whatever
+work they did, and that with a dry, crude, and laboured manner, Tiziano
+also for a time learned that method. But having come to about the
+year 1507, Giorgione da Castelfranco, not altogether liking that mode
+of working, began to give to his pictures more softness and greater
+relief, with a beautiful manner; nevertheless he used to set himself before
+living and natural objects and counterfeit them as well as he was able
+with colours, and paint them broadly with tints crude or soft according
+as the life demanded, without doing any drawing, holding it as certain
+that to paint with colours only, without the study of drawing on paper,
+was the true and best method of working, and the true design. For he
+did not perceive that for him who wishes to distribute his compositions
+and accommodate his inventions well, it is necessary that he should first
+put them down on paper in several different ways, in order to see how
+<span class="pagenum"><a id="Page_160" name="Page_160"></a>[Pg 160]</span> the whole goes together, for the reason that the idea is not able to see
+or imagine the inventions perfectly within herself, if she does not reveal
+and demonstrate her conception to the eyes of the body, that these may
+assist her to form a good judgment. Besides which, it is necessary to
+give much study to the nude, if you wish to comprehend it well, which
+you will never do, nor is it possible, without having recourse to paper;
+and to keep always before you, while you paint, persons naked or draped,
+is no small restraint, whereas, when you have formed your hand by
+drawing on paper, you then come little by little with greater ease to
+carry your conceptions into execution, designing and painting together.
+And so, gaining practice in art, you make both manner and judgment
+perfect, doing away with the labour and effort wherewith those pictures
+were executed of which we have spoken above, not to mention that by
+drawing on paper, you come to fill the mind with beautiful conceptions,
+and learn to counterfeit all the objects of nature by memory, without
+having to keep them always before you or being obliged to conceal
+beneath the glamour of colouring the painful fruits of your ignorance of
+design, in the manner that was followed for many years by the Venetian
+painters, Giorgione, Palma, Pordenone, and others, who never saw Rome
+or any other works of absolute perfection.</p>
+
+<div class="figcenter">
+<a name="img042" id="img042"></a>
+<img src="images/img042-tb.jpg" width="350" height="428" alt="Ariosto." title="">
+<p class="caption">ARIOSTO<br>
+(<i>After the painting by</i> Tiziano. <i>London: National Gallery, No. 1944</i>)<br>
+<i>Mansell</i><br>
+<span class="link"><a href="images/img042.jpg">View larger image</a></span></p>
+</div>
+
+<p>Tiziano, then, having seen the method and manner of Giorgione,
+abandoned the manner of Gian Bellini, although he had been accustomed
+to it for a long time, and attached himself to that of Giorgione; coming
+in a short time to imitate his works so well, that his pictures at times
+were mistaken for works by Giorgione, as will be related below. Then,
+having grown in age, practice, and judgment, Tiziano executed many
+works in fresco, which cannot be enumerated in order, being dispersed
+over various places; let it suffice that they were such, that the opinion
+was formed by many experienced judges that he would become, as he
+afterwards did, a most excellent painter. At the time when he first
+began to follow the manner of Giorgione, not being more than eighteen
+years of age, he made the portrait of a gentleman of the Barberigo family,
+his friend, which was held to be very beautiful, the likeness of the flesh-colouring
+being true and natural, and all the hairs so well distinguished
+<span class="pagenum"><a id="Page_161" name="Page_161"></a>[Pg 161]</span> one from another, that they might have been counted, as also might have
+been the stitches in a doublet of silvered satin that he painted in that
+work. In short, it was held to be so well done, and with such diligence,
+that if Tiziano had not written his name on a dark ground, it would have
+been taken for the work of Giorgione.</p>
+
+<p>Meanwhile Giorgione himself had executed the principal façade of
+the Fondaco de' Tedeschi, and by means of Barberigo there were allotted
+to Tiziano certain scenes on the same building, above the Merceria. After
+which work he painted a large picture with figures of the size of life,
+which is now in the hall of M. Andrea Loredano, who dwells near S.
+Marcuola. In that picture is painted Our Lady going into Egypt, in
+the midst of a great forest and certain landscapes that are very well
+done, because Tiziano had given his attention for many months to such
+things, and had kept in his house for that purpose some Germans who
+were excellent painters of landscapes and verdure. In the wood in that
+picture, likewise, he painted many animals, which he portrayed from the
+life; and they are truly natural, and almost alive. Next, in the house of
+M. Giovanni D'Anna, a Flemish gentleman and merchant, his gossip,
+he made his portrait, which has all the appearance of life, and also an
+"Ecce Homo" with many figures, which is held by Tiziano himself
+and by others to be a very beautiful work. The same master painted a
+picture of Our Lady with other figures the size of life, of men and children,
+all portrayed from the life and from persons of that house. Then in the
+year 1507, while the Emperor Maximilian was making war on the
+Venetians, Tiziano, according to his own account, painted an Angel
+Raphael with Tobias and a dog in the Church of S. Marziliano, with a
+distant landscape, where, in a little wood, S. John the Baptist is praying
+on his knees to Heaven, whence comes a radiance that illumines him;
+and this work it is thought that he executed before he made a beginning
+with the façade of the Fondaco de' Tedeschi. Concerning which façade,
+many gentlemen, not knowing that Giorgione was not working there
+any more and that Tiziano was doing it, who had uncovered one part,
+meeting with Giorgione, congratulated him in friendly fashion, saying
+that he was acquitting himself better in the façade towards the Merceria
+<span class="pagenum"><a id="Page_162" name="Page_162"></a>[Pg 162]</span> than he had done in that which is over the Grand Canal. At which
+circumstance Giorgione felt such disdain, that until Tiziano had completely
+finished the work and it had become well known that the same
+had done that part, he would scarcely let himself be seen; and from that
+time onward he would never allow Tiziano to associate with him or be
+his friend.</p>
+
+<div class="figcenter">
+<a name="img043" id="img043"></a>
+<img src="images/img043-tb.jpg" width="500" height="438" alt="Bacchanal." title="">
+<p class="caption">BACCHANAL<br>
+(<i>After the painting by</i> Tiziano. <i>Madrid: The Prado</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img043.jpg">View larger image</a></span></p>
+</div>
+
+<p>In the year after, 1508, Tiziano published in wood-engraving the
+Triumph of Faith, with an infinity of figures; our first Parents, the
+Patriarchs, the Prophets, the Sibyls, the Innocents, the Martyrs, the
+Apostles, and Jesus Christ borne in Triumph by the four Evangelists
+and the Four Doctors, with the Holy Confessors behind. In that work
+Tiziano displayed boldness, a beautiful manner, and the power to work
+with facility of hand; and I remember that Fra Sebastiano del Piombo,
+conversing of this, said to me that if Tiziano had been in Rome at that
+time, and had seen the works of Michelagnolo, those of Raffaello, and
+the ancient statues, and had studied design, he would have done things
+absolutely stupendous, considering the beautiful mastery that he had
+in colouring, and that he deserved to be celebrated as the finest and
+greatest imitator of Nature in the matter of colour in our times, and with
+the foundation of the grand method of design he might have equalled
+the Urbinate and Buonarroti. Afterwards, having gone to Vicenza,
+Tiziano painted the Judgment of Solomon in fresco, which was a beautiful
+work, under the little loggia where justice is administered in public
+audience. He then returned to Venice, and painted the façade of the
+Grimani. At Padua, in the Church of S. Antonio, he executed likewise in
+fresco some stories of the actions of that Saint, and for that of S. Spirito
+he painted a little altar-piece with a S. Mark seated in the midst of certain
+Saints, in whose faces are some portraits from life done in oils with the
+greatest diligence; which picture many have believed to be by the hand
+of Giorgione. Then, a scene having been left unfinished in the Hall of
+the Great Council through the death of Giovanni Bellini, wherein
+Frederick Barbarossa is kneeling at the door of the Church of S. Marco
+before Pope Alexander IV, who places his foot on Barbarossa's neck,
+Tiziano finished it, changing many things, and making there many
+<span class="pagenum"><a id="Page_163" name="Page_163"></a>[Pg 163]</span> portraits from life of his friends and others; for which he was rewarded
+by receiving from the Senate an office in the Fondaco de' Tedeschi, called
+the Senseria, which yields three hundred crowns a year. That office those
+Signori are accustomed to give to the most excellent painter of their city,
+on the condition that he shall be obliged from time to time to paint the
+portrait of their Prince or Doge, at his election, for the price of only
+eight crowns, which the Prince himself pays to him; which portrait is
+afterwards kept, in memory of him, in a public place in the Palace of
+S. Marco.</p>
+
+<div class="figcenter">
+<a name="img044" id="img044"></a>
+<img src="images/img044-tb.jpg" width="350" height="553" alt="Madonna with Saints and Donor." title="">
+<p class="caption">MADONNA WITH SAINTS AND DONOR<br>
+(<i>After the panel by</i> Tiziano da Cadore. <i>Ancona: S. Domenico</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img044.jpg">View larger image</a></span></p>
+</div>
+
+<p>In the year 1514 Duke Alfonso of Ferrara had caused a little chamber
+to be decorated, and had commissioned Dosso, the painter of Ferrara, to
+execute in certain compartments stories of Æneas, Mars, and Venus,
+and in a grotto Vulcan with two smiths at the forge; and he desired that
+there should also be there pictures by the hand of Gian Bellini. Bellini
+painted on another wall a vat of red wine with some Bacchanals around
+it, and Satyrs, musicians, and other men and women, all drunk with
+wine, and near them a nude and very beautiful Silenus, riding on his ass,
+with figures about him that have the hands full of fruits and grapes;
+which work was in truth executed and coloured with great diligence,
+insomuch that it is one of the most beautiful pictures that Gian Bellini
+ever painted, although in the manner of the draperies there is a certain
+sharpness after the German manner (nothing, indeed, of any account),
+because he imitated a picture by the Fleming Albrecht Dürer, which
+had been brought in those days to Venice and placed in the Church of
+S. Bartolommeo, a rare work and full of most beautiful figures painted in
+oils. On that vat Gian Bellini wrote these words:</p>
+
+<p class="poem smcap">Joannes Bellinus Venetus, P. 1514.</p>
+
+<p>That work he was not able to finish completely, because he was old,
+and Tiziano, as the most excellent of all the others, was sent for to the
+end that he might finish it; wherefore, being desirous to acquire excellence
+and to make himself known, he executed with much diligence two scenes
+that were wanting in that little chamber. In the first is a river of red
+wine, about which are singers and musicians, both men and women, as
+<span class="pagenum"><a id="Page_164" name="Page_164"></a>[Pg 164]</span> it were drunk, and a naked woman who is sleeping, so beautiful that
+she might be alive, together with other figures; and on this picture
+Tiziano wrote his name. In the other, which is next to it and seen first
+on entering, he painted many little boys and Loves in various attitudes,
+which much pleased that lord, as also did the other picture; but most
+beautiful of all is one of those boys who is making water into a river and
+is reflected in the water, while the others are around a pedestal that has
+the form of an altar, upon which is a statue of Venus with a sea-conch in
+the right hand, and Grace and Beauty about her, which are very lovely
+figures and executed with incredible diligence. On the door of a press,
+likewise, Tiziano painted an image of Christ from the waist upwards,
+marvellous, nay, stupendous, to whom a base Hebrew is showing the coin
+of Cæsar; which image, and also other pictures in that little chamber,
+our best craftsmen declare to be the finest and best executed that Tiziano
+has ever done, and indeed they are most rare. Wherefore he well deserved
+to be most liberally recompensed and rewarded by that lord, whom he
+portrayed excellently well with one arm resting on a great piece of
+artillery; and he also made a portrait of Signora Laura, who afterwards
+became the wife of the Duke, which is a stupendous work. And, in truth,
+gifts have great potency with those who labour for the love of art, when
+they are uplifted by the liberality of Princes. At that time Tiziano
+formed a friendship with the divine Messer Lodovico Ariosto, and was
+recognized by him as a most excellent painter and celebrated in his
+Orlando Furioso:</p>
+
+<p class="poem">
+<span class="add7em">... E Tizian che onora</span><br>
+Non men Cador, che quei Vinezia e Urbino.</p>
+
+<div class="figcenter">
+<a name="img045" id="img045"></a>
+<img src="images/img045-tb.jpg" width="500" height="199" alt="Tiziano: Sacred and Profane Love." title="">
+<p class="caption">TIZIANO: SACRED AND PROFANE LOVE<br>
+(<i>Rome: Borghese Gallery, 147. Canvas</i>)<br>
+<span class="link"><a href="images/img045.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having then returned to Venice, Tiziano painted on a canvas in
+oils, for the father-in-law of Giovanni da Castel Bolognese, a naked shepherd
+and a country-girl who is offering him some pipes, that he may play
+them, with a most beautiful landscape; which picture is now at Faenza,
+in the house of the said Giovanni. He then executed for the high-altar
+in the Church of the Friars Minors, called the Cà Grande, a picture of
+Our Lady ascending into Heaven, and below her the twelve Apostles,
+who are gazing upon her as she ascends; but of this work, from its having
+<span class="pagenum"><a id="Page_165" name="Page_165"></a>[Pg 165]</span> been painted on cloth, and perhaps not well kept, there is little to be seen.
+For the Chapel of the Pesari family, in the same church, he painted in an
+altar-piece the Madonna with the Child in her arms, a S. Peter and a
+S. George, and about them the patrons of the work, kneeling and portrayed
+from life; among whom are the Bishop of Paphos and his brother, then
+newly returned from the victory which that Bishop won against the
+Turks. For the little Church of S. Niccolò, in the same convent, he
+painted in an altar-piece S. Nicholas, S. Francis, S. Catharine, and also
+a nude S. Sebastian, portrayed from life and without any artifice that
+can be seen to have been used to enhance the beauty of the limbs and
+trunk, there being nothing there but what he saw in the work of nature,
+insomuch that it all appears as if stamped from the life, so fleshlike it is
+and natural; but for all that it is held to be beautiful, as is also very
+lovely the Madonna with the Child in her arms at whom all those figures
+are gazing. The subject of that picture was drawn on wood by Tiziano
+himself, and then engraved by others and printed. For the Church of
+S. Rocco, after the works described above, he painted a picture of Christ
+with the Cross on His shoulder, and about His neck a cord that is drawn
+by a Hebrew; and that figure, which many have believed to be by the
+hand of Giorgione, is now the object of the greatest devotion in Venice,
+and has received in alms more crowns than Tiziano and Giorgione ever
+gained in all their lives. Then he was invited to Rome by Bembo, whom
+he had already portrayed, and who was at that time Secretary to Pope
+Leo X, to the end that he might see Rome, Raffaello da Urbino, and
+others; but Tiziano delayed that visit so long from one day to another,
+that Leo died, and Raffaello in 1520, and after all he never went. For
+the Church of S. Maria Maggiore he painted a picture with S. John the
+Baptist in the Desert among some rocks, an Angel that appears as if
+alive, and a little piece of distant landscape with some trees upon the
+bank of a river, all full of grace.</p>
+
+<p>He made portraits from life of the Prince Grimani and Loredano,
+which were held to be admirable; and not long afterwards of King Francis,
+when he departed from Italy in order to return to France. And in the
+year when Andrea Gritti was elected Doge, Tiziano painted his portrait,
+<span class="pagenum"><a id="Page_166" name="Page_166"></a>[Pg 166]</span> which was a very rare thing, in a picture wherein are Our Lady, S. Mark,
+and S. Andrew with the countenance of that Doge; which picture, a
+most marvellous work, is in the Sala del Collegio. He has also painted
+portraits, in addition to those of the Doges named above (being obliged,
+as has been related, to do it), of others who have been Doges in their time;
+Pietro Lando, Francesco Donato, Marcantonio Trevisano, and Veniero.
+But by the two Doges and brothers Paoli<a id="FNanchor8" name="FNanchor8"></a><a href="#Footnote8" title="Go to footnote 8" class="fnanchor">[8]</a> he has been excused recently,
+because of his great age, from that obligation. Before the sack of Rome
+there had gone to live in Venice Pietro Aretino, a most famous poet of
+our times, and he became very much the friend of Tiziano and Sansovino;
+which brought great honour and advantage to Tiziano, for the reason that
+the poet made him known wherever his pen reached, and especially to
+Princes of importance, as will be told in the proper place.</p>
+
+<div class="figcenter">
+<a name="img046" id="img046"></a>
+<img src="images/img046-tb.jpg" width="300" height="524" alt="Tiziano: Charles V." title="">
+<p class="caption">CHARLES V<br>
+(<i>After the painting by</i> Tiziano. <i>Madrid: The Prado</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img046.jpg">View larger image</a></span></p>
+</div>
+
+<p>Meanwhile, to return to Tiziano's works, he painted the altar-piece
+for the altar of S. Piero Martire in the Church of SS. Giovanni e Polo,
+depicting therein that holy martyr larger than life, in a forest of very
+great trees, fallen to the ground and assailed by the fury of a soldier,
+who has wounded him so grievously in the head, that as he lies but half
+alive there is seen in his face the horror of death, while in another friar
+who runs forward in flight may be perceived the fear and terror of death.
+In the air are two nude Angels coming down from a flash of Heaven's
+lightning, which gives light to the landscape, which is most beautiful,
+and to the whole work besides, which is the most finished, the most
+celebrated, the greatest, and the best conceived and executed that
+Tiziano has as yet ever done in all his life. This work being seen by
+Gritti, who was always very much the friend of Tiziano, as also of Sansovino,
+he caused to be allotted to him a great scene of the rout of Chiaradadda,
+in the Hall of the Great Council. In it he painted a battle with
+soldiers in furious combat, while a terrible rain falls from Heaven; which
+work, wholly taken from life, is held to be the best of all the scenes that
+are in that Hall, and the most beautiful. And in the same Palace, at the
+foot of a staircase, he painted a Madonna in fresco. Having made not
+long afterwards for a gentleman of the Contarini family a picture of a
+<span class="pagenum"><a id="Page_167" name="Page_167"></a>[Pg 167]</span> very beautiful Christ, who is seated at table with Cleophas and Luke, it
+appeared to that gentleman that the work was worthy to be in a public
+place, as in truth it is. Wherefore having made a present of it, like a
+true lover of his country and of the commonwealth, to the Signoria, it
+was kept a long time in the apartments of the Doge; but at the present
+day it is in a public place, where it may be seen by everyone, in the
+Salotta d'Oro in front of the Hall of the Council of Ten, over the door.
+About the same time, also, he painted for the Scuola of S. Maria della
+Carità Our Lady ascending the steps of the Temple, with heads of every
+kind portrayed from nature; and for the Scuola of S. Fantino, likewise,
+a little altar-piece of S. Jerome in Penitence, which was much extolled
+by the craftsmen, but was consumed by fire two years ago together with
+the whole church.</p>
+
+<p>It is said that in the year 1530, the Emperor Charles V being in
+Bologna, Tiziano was invited to that city by Cardinal Ippolito de' Medici,
+through the agency of Pietro Aretino. There he made a most beautiful
+portrait of his Majesty in full armour, which so pleased him, that he
+caused a thousand crowns to be given to Tiziano; but of these he was
+obliged afterwards to give the half to the sculptor Alfonso Lombardi,
+who had made a model to be reproduced in marble, as was related in
+his Life.</p>
+
+<p>Having returned to Venice, Tiziano found that a number of gentlemen,
+who had taken Pordenone into their favour, praising much the
+works executed by him on the ceiling of the Sala de' Pregai and elsewhere,
+had caused a little altar-piece to be allotted to him in the Church
+of S. Giovanni Elemosinario, to the end that he might paint it in competition
+with Tiziano, who for the same place had painted a short time
+before the said S. Giovanni Elemosinario in the habit of a Bishop. But,
+for all the diligence that Pordenone devoted to that altar-piece, he was
+not able to equal or even by a great measure to approach to the work of
+Tiziano. Next, Tiziano executed a most beautiful altar-picture of an
+Annunciation for the Church of S. Maria degli Angeli at Murano, but he
+who had caused it to be painted not being willing to spend five hundred
+crowns upon it, which Tiziano was asking, by the advice of Messer Pietro
+<span class="pagenum"><a id="Page_168" name="Page_168"></a>[Pg 168]</span> Aretino he sent it as a gift to the above-named Emperor Charles V, who,
+liking that work vastly, made him a present of two thousand crowns;
+and where that picture was to have been placed, there was set in its stead
+one by the hand of Pordenone. Nor had any long time passed when
+Charles V, returning to Bologna for a conference with Pope Clement,
+at the time when he came with his army from Hungary, desired to be
+portrayed again by Tiziano. Before departing from Bologna, Tiziano
+also painted a portrait of the above-named Cardinal Ippolito de' Medici
+in Hungarian dress, and in a smaller picture the same man in full armour;
+both which portraits are now in the guardaroba of Duke Cosimo. At that
+same time he executed a portrait of Alfonso Davalos, Marchese del
+Vasto, and one of the above-named Pietro Aretino, who then contrived
+that he should become the friend and servant of Federigo Gonzaga,
+Duke of Mantua, with whom Tiziano went to his States and there
+painted a portrait of him, which is a living likeness, and then one
+of the Cardinal, his brother. These finished, he painted, for the adornment
+of a room among those of Giulio Romano, twelve figures
+from the waist upwards of the twelve Cæsars, very beautiful, beneath
+each of which the said Giulio afterwards painted a story from their
+lives.</p>
+
+<div class="figcenter">
+<a name="img047" id="img047"></a>
+<img src="images/img047-tb.jpg" width="350" height="465" alt="Tiziano: The Duke of Norfolk." title="">
+<p class="caption">TIZIANO: THE DUKE OF NORFOLK<br>
+(<i>Florence: Pitti, 92. Canvas</i>)<br>
+<span class="link"><a href="images/img047.jpg">View larger image</a></span></p>
+</div>
+
+<p>In Cadore, his native place, Tiziano has painted an altar-picture
+wherein are Our Lady, S. Tiziano the Bishop, and a portrait of himself
+kneeling. In the year when Pope Paul III went to Bologna, and from
+there to Ferrara, Tiziano, having gone to the Court, made a portrait
+of that Pope, which was a very beautiful work, and from it another for
+Cardinal S. Fiore; and both these portraits, for which he was very well
+paid by the Pope, are in Rome, one in the guardaroba of Cardinal Farnese,
+and the other in the possession of the heirs of the above-named Cardinal
+S. Fiore, and from them have been taken many copies, which are dispersed
+throughout Italy. At this same time, also, he made a portrait of
+Francesco Maria, Duke of Urbino, which was a marvellous work; wherefore
+M. Pietro Aretino on this account celebrated him in a sonnet that
+began:</p>
+
+<p class="poem">
+<span class="min2em">Se il chiaro Apelle con la man dell'arte</span><br>
+Rassembrò d'Alessandro il volto e il petto.</p>
+
+<p><span class="pagenum"><a id="Page_169" name="Page_169"></a>[Pg 169]</span> There are in the guardaroba of the same Duke, by the hand of Tiziano,
+two most lovely heads of women, and a young recumbent Venus with
+flowers and certain light draperies about her, very beautiful and well
+finished; and, in addition, a figure of S. Mary Magdalene with the hair
+all loose, which is a rare work. There, likewise, are the portraits of
+Charles V, King Francis as a young man, Duke Guidobaldo II, Pope
+Sixtus IV, Pope Julius II, Paul III, the old Cardinal of Lorraine, and
+Suleiman Emperor of the Turks; which portraits, I say, are by the hand
+of Tiziano, and most beautiful. In the same guardaroba, besides many
+other things, is a portrait of Hannibal the Carthaginian, cut in intaglio
+in an antique cornelian, and also a very beautiful head in marble by the
+hand of Donato.</p>
+
+<div class="figcenter">
+<a name="img048" id="img048"></a>
+<img src="images/img048-tb.jpg" width="350" height="460" alt="Pope Paul III." title="">
+<p class="caption">POPE PAUL III<br>
+(<i>After the painting by</i> Tiziano. <i>Naples: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img048.jpg">View larger image</a></span></p>
+</div>
+
+<p>In the year 1541 Tiziano painted for the Friars of S. Spirito, in
+Venice, the altar-piece of their high-altar, figuring in it the Descent of
+the Holy Spirit upon the Apostles, with a God depicted as of fire, and
+the Spirit as a Dove; which altar-piece becoming spoiled in no long time,
+after having many disputes with those friars he had to paint it again,
+and it is that which is over the altar at the present day. For the Church
+of S. Nazzaro in Brescia he executed the altar-piece of the high-altar in
+five pictures; in the central picture is Jesus Christ returning to life, with
+some soldiers around, and at the sides are S. Nazzaro, S. Sebastian, the
+Angel Gabriel, and the Virgin receiving the Annunciation. In a picture
+for the wall at the entrance of the Duomo of Verona, he painted an
+Assumption of Our Lady into Heaven, with the Apostles on the ground,
+which is held to be the best of the modern works in that city. In the
+year 1541 he made the portrait of Don Diego di Mendoza, at that time
+Ambassador of Charles V in Venice, a whole-length figure and standing,
+which was very beautiful; and from this Tiziano began what has since
+come into fashion, the making of certain portraits of full length. In the
+same manner he painted that of the Cardinal of Trento, then a young
+man, and for Francesco Marcolini the portrait of Messer Pietro Aretino,
+but this last was by no means as beautiful as one of that poet, likewise by
+the hand of Tiziano, which Aretino himself sent as a present to Duke
+Cosimo de' Medici, to whom he sent also the head of Signor Giovanni de'
+<span class="pagenum"><a id="Page_170" name="Page_170"></a>[Pg 170]</span> Medici, the father of the said Lord Duke. That head was copied from a
+cast taken from the face of that lord when he died at Mantua, which was
+in the possession of Aretino; and both these portraits are in the guardaroba
+of the same Lord Duke, among many other most noble pictures.</p>
+
+<p>The same year, Vasari having been thirteen months in Venice to
+execute, as has been related, a ceiling for Messer Giovanni Cornaro, and
+some works for the Company of the Calza, Sansovino, who was directing
+the fabric of S. Spirito, had commissioned him to make designs for three
+large pictures in oils which were to go into the ceiling, to the end that he
+might execute them in painting; but, Vasari having afterwards departed,
+those three pictures were allotted to Tiziano, who executed them most
+beautifully, from his having contrived with great art to make the figures
+foreshortened from below upwards. In one is Abraham sacrificing Isaac,
+in another David severing the neck of Goliath, and in the third Abel
+slain by his brother Cain. About the same time Tiziano painted a
+portrait of himself, in order to leave that memory of himself to his
+children.</p>
+
+<div class="figcenter">
+<a name="img049" id="img049"></a>
+<img src="images/img049-tb.jpg" width="500" height="350" alt="Danaë." title="">
+<p class="caption">DANAË<br>
+(<i>After the painting by</i> Tiziano. <i>Naples: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img049.jpg">View larger image</a></span></p>
+</div>
+
+<p>The year 1546 having come, he went at the invitation of Cardinal
+Farnese to Rome, where he found Vasari, who, having returned from
+Naples, was executing the Hall of the Cancelleria for the above-named
+Cardinal; whereupon, Tiziano having been recommended by that lord
+to Vasari, Giorgio kept him company lovingly in taking him about to see
+the sights of Rome. And then, after Tiziano had rested for some days,
+rooms were given to him in the Belvedere, to the end that he might set
+his hand to painting once more the portrait of Pope Paul, of full length,
+with one of Farnese and one of Duke Ottavio, which he executed excellently
+well and much to the satisfaction of those lords. At their persuasion
+he painted, for presenting to the Pope, a picture of Christ from the
+waist upwards in the form of an "Ecce Homo," which work, whether it
+was that the works of Michelagnolo, Raffaello, Polidoro, and others had
+made him lose some force, or for some other reason, did not appear to the
+painters, although it was a good picture, to be of the same excellence as
+many others by his hand, and particularly his portraits. Michelagnolo
+and Vasari, going one day to visit Tiziano in the Belvedere, saw in a
+<span class="pagenum"><a id="Page_171" name="Page_171"></a>[Pg 171]</span> picture that he had executed at that time a nude woman representing
+Danaë, who had in her lap Jove transformed into a rain of gold; and
+they praised it much, as one does in the painter's presence. After they
+had left him, discoursing of Tiziano's method, Buonarroti commended
+it not a little, saying that his colouring and his manner much pleased him,
+but that it was a pity that in Venice men did not learn to draw well from
+the beginning, and that those painters did not pursue a better method
+in their studies. "For," he said, "if this man had been in any way
+assisted by art and design, as he is by nature, and above all in counterfeiting
+the life, no one could do more or work better, for he has a fine
+spirit and a very beautiful and lively manner." And in fact this is true,
+for the reason that he who has not drawn much nor studied the choicest
+ancient and modern works, cannot work well from memory by himself or
+improve the things that he copies from life, giving them the grace and
+perfection wherein art goes beyond the scope of nature, which generally
+produces some parts that are not beautiful.</p>
+
+<p>Tiziano, finally departing from Rome, with many gifts received from
+those lords, and in particular a benefice of good value for his son Pomponio,
+set himself on the road to return to Venice, after Orazio, his other son,
+had made a portrait of Messer Battista Ceciliano, an excellent player on
+the bass-viol, which was a very good work, and he himself had executed
+some other portraits for Duke Guidobaldo of Urbino. Arriving in
+Florence, and seeing the rare works of that city, he was amazed by them
+no less than he had been by those of Rome. And besides that, he visited
+Duke Cosimo, who was at Poggio a Caiano, offering to paint his portrait;
+to which his Excellency did not give much heed, perchance in order not
+to do a wrong to the many noble craftsmen of his city and dominion.</p>
+
+<p>Then, having arrived in Venice, Tiziano finished for the Marchese del
+Vasto an Allocution (for so they called it) made by that lord to his soldiers;
+and after that he took the portrait of Charles V, that of the Catholic
+King, and many others. These works finished, he painted a little altar-piece
+of the Annunciation for the Church of S. Maria Nuova in Venice;
+and then, employing the assistance of his young men, he executed a Last
+Supper in the refectory of SS. Giovanni e Polo, and for the high-altar of
+<span class="pagenum"><a id="Page_172" name="Page_172"></a>[Pg 172]</span> the Church of S. Salvadore an altar-piece in which is a Christ Transfigured
+on Mount Tabor, and for another altar in the same church a Madonna
+receiving the Annunciation from the Angel. But these last works,
+although there is something of the good to be seen in them, are not much
+esteemed by him, and have not the perfection that his other pictures have.
+And since the works of Tiziano are without number, and particularly the
+portraits, it is almost impossible to make mention of them all; wherefore
+I shall speak only of the most remarkable, but without order of time, it
+being of little import to know which was first and which later. Several
+times, as has been related, he painted the portrait of Charles V, and in
+the end he was summoned for that purpose to the Court, where he portrayed
+him as he was in those his later years; and the work of Tiziano
+so pleased that all-conquering Emperor, that after he had once seen it
+he would not be portrayed by other painters. Each time that he painted
+him, he received a thousand crowns of gold as a present, and he was
+made by his Majesty a Chevalier, with a revenue of two hundred crowns
+on the Chamber of Naples. In like manner, when he portrayed Philip,
+King of Spain, the son of Charles, he received from him a fixed allowance
+of two hundred crowns more; insomuch that, adding those four hundred
+to the three hundred that he has on the Fondaco de' Tedeschi from the
+Signori of Venice, he has without exerting himself a fixed income of seven
+hundred crowns every year. Of the same Charles V and King Philip
+Tiziano sent portraits to the Lord Duke Cosimo, who has them in his
+guardaroba. He portrayed Ferdinand, King of the Romans, who afterwards
+became Emperor, and both his sons, Maximilian, now Emperor,
+and his brother. He also portrayed Queen Maria, and, for the Emperor
+Charles V, the Duke of Saxony when he was a prisoner. But what a
+waste of time is this? There has been scarce a single lord of great name,
+or Prince, or great lady, who has not been portrayed by Tiziano, a painter
+of truly extraordinary excellence in this field of art. He painted portraits
+of King Francis I of France, as has been related, Francesco Sforza, Duke
+of Milan, the Marquis of Pescara, Antonio da Leva, Massimiano Stampa,
+Signor Giovan Battista Castaldo, and other lords without number.</p>
+
+<div class="figcenter">
+<a name="img050" id="img050"></a>
+<img src="images/img050-tb.jpg" width="400" height="365" alt="Perseus and Andromeda." title="">
+<p class="caption">PERSEUS AND ANDROMEDA<br>
+(<i>After the painting by</i> Tiziano. <i>London: Hertford House</i>)<br>
+<i>Mansell</i><br>
+<span class="link"><a href="images/img050.jpg">View larger image</a></span></p>
+</div>
+
+<p>In like manner, besides the works mentioned above, at various times
+<span class="pagenum"><a id="Page_173" name="Page_173"></a>[Pg 173]</span> he has executed many others. In Venice, by order of Charles V, he
+painted in a great altar-piece the Triune God enthroned, Our Lady and
+the Infant Christ, with the Dove over Him, and the ground all of fire,
+signifying Love; and the Father is surrounded by fiery Cherubim. On
+one side is the same Charles V, and on the other the Empress, both
+clothed in linen garments, with the hands clasped in the attitude of
+prayer, among many Saints; all which was after the command of the
+Emperor, who, at that time at the height of his victories, began to show
+that he was minded to retire from the things of this world, as he afterwards
+did, in order to die like a true Christian, fearing God and desirous
+of his own salvation. Which picture the Emperor said to Tiziano that
+he wished to place in the monastery wherein afterwards he finished the
+course of his life; and since it is a very rare work, it is expected that it
+may soon be published in engravings. The same Tiziano executed for
+Queen Maria a Prometheus who is bound to Mount Caucasus and torn
+by Jove's Eagle, a Sisyphus in Hell who is toiling under his stone, and
+Tityus devoured by the Vulture. These her Majesty received, excepting
+the Prometheus, and with them a Tantalus of the same size (namely,
+that of life), on canvas and in oils. He executed, also, a Venus and
+Adonis that are marvellous, she having swooned, and the boy in the
+act of rising to leave her, with some dogs about him that are very natural.
+On a panel of the same size he represented Andromeda bound to the rock,
+and Perseus delivering her from the Sea-Monster, than which picture none
+could be more lovely; as is also another of Diana, who, bathing in a
+fount with her Nymphs, transforms Actæon into a stag. He also painted
+Europa passing over the sea on the back of the Bull. All these pictures
+are in the possession of the Catholic King, held very dear for the vivacity
+that Tiziano has given to the figures with his colours, making them
+natural and as if alive.</p>
+
+<div class="figcenter">
+<a name="img051" id="img051"></a>
+<img src="images/img051-tb.jpg" width="300" height="577" alt="Philip II." title="">
+<p class="caption">PHILIP II<br>
+(<i>After the painting by</i> Tiziano. <i>Naples: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img051.jpg">View larger image</a></span></p>
+</div>
+
+<p>It is true, however, that the method of work which he employed in
+these last pictures is no little different from the method of his youth, for
+the reason that the early works are executed with a certain delicacy and
+a diligence that are incredible, and they can be seen both from near and
+from a distance, and these last works are executed with bold strokes and
+<span class="pagenum"><a id="Page_174" name="Page_174"></a>[Pg 174]</span> dashed off with a broad and even coarse sweep of the brush, insomuch
+that from near little can be seen, but from a distance they appear perfect.
+This method has been the reason that many, wishing to imitate him
+therein and to play the practised master, have painted clumsy pictures;
+and this happens because, although many believe that they are done
+without effort, in truth it is not so, and they deceive themselves, for it is
+known that they are painted over and over again, and that he returned
+to them with his colours so many times, that the labour may be perceived.
+And this method, so used, is judicious, beautiful, and astonishing, because
+it makes pictures appear alive and painted with great art, but conceals
+the labour.</p>
+
+<div class="figcenter">
+<a name="img052" id="img052"></a>
+<img src="images/img052-tb.jpg" width="350" height="444" alt="Mary Magdalene." title="">
+<p class="caption">MARY MAGDALENE<br>
+(<i>After the painting by</i> Tiziano. <i>Naples: Museo Nazionale</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img052.jpg">View larger image</a></span></p>
+</div>
+
+<p>Tiziano painted recently in a picture three braccia high and four
+braccia broad, Jesus Christ as an Infant in the lap of Our Lady and
+adored by the Magi, with a good number of figures of one braccio each,
+which is a very lovely work, as is also another picture that he himself
+copied from that one and gave to the old Cardinal of Ferrara. Another
+picture, in which he depicted Christ mocked by the Jews, which is most
+beautiful, was placed in a chapel of the Church of S. Maria delle Grazie,
+in Milan. For the Queen of Portugal he painted a picture of a Christ
+scourged by Jews at the Column, a little less than the size of life, which
+is very beautiful. For the high-altar of S. Domenico, at Ancona, he
+painted an altar-piece with Christ on the Cross, and at the foot Our Lady,
+S. John, and S. Dominic, all most beautiful, and executed in his later
+manner with broad strokes, as has just been described above. And by
+the same hand, in the Church of the Crocicchieri at Venice, is the picture
+that is on the altar of S. Lorenzo, wherein is the martyrdom of that Saint,
+with a building full of figures, and S. Laurence lying half upon the gridiron,
+in foreshortening, with a great fire beneath him, and about it some who
+are kindling it. And since he counterfeited an effect of night, there are
+two servants with torches in their hands, which throw light where the
+glare of the fire below the gridiron does not reach, which is piled high
+and very fierce. Besides this, he depicted a lightning-flash, which,
+darting from Heaven and cleaving the clouds, overcomes the light of the
+fire and that of the torches, shining over the Saint and the other principal
+<span class="pagenum"><a id="Page_175" name="Page_175"></a>[Pg 175]</span> figures, and, in addition to those three lights, the figures that he painted
+in the distance at the windows of the building have the light of lamps and
+candles that are near them; and all, in short, is executed with beautiful
+art, judgment, and genius. In the Church of S. Sebastiano, on the altar
+of S. Niccolò, there is by the hand of the same Tiziano a little altar-piece
+of a S. Nicholas who appears as if alive, seated in a chair painted in the
+likeness of stone, with an Angel that is holding his mitre; which work he
+executed at the commission of Messer Niccolò Crasso, the advocate.
+Tiziano afterwards painted, for sending to the Catholic King, a figure of
+S. Mary Magdalene from the middle of the thighs upwards, all dishevelled;
+that is, with the hair falling over the shoulders, about the throat, and
+over the breast, the while that, raising the head with the eyes fixed on
+Heaven, she reveals remorse in the redness of the eyes, and in her tears
+repentance for her sins. Wherefore the picture moves mightily all who
+behold it; and, what is more, although she is very beautiful, it moves not
+to lust but to compassion. This picture, when it was finished, so pleased
+... Silvio, a Venetian gentleman, that in order to have it, being one
+who takes supreme delight in painting, he gave Tiziano a hundred crowns:
+wherefore Tiziano was forced to paint another, which was not less beautiful,
+for sending to the above-named Catholic King.</p>
+
+<p>There are also to be seen portraits from life by Tiziano of a Venetian
+citizen called Sinistri, who was much his friend, and of another named
+M. Paolo da Ponte, for whom he likewise portrayed a daughter that he
+had at that time, a most beautiful young woman called Signora Giulia da
+Ponte, a dear friend of Tiziano; and in like manner Signora Irene, a
+very lovely maiden, skilled in letters and music and a student of design,
+who, dying about seven years ago, was celebrated by the pens of almost
+all the writers of Italy. He portrayed M. Francesco Filetto, an orator of
+happy memory, and in the same picture, before him, his son, who seems
+as if alive; which portrait is in the house of Messer Matteo Giustiniani,
+a lover of these arts, who has also had a picture painted for himself by
+the painter Jacopo da Bassano, which is very beautiful, as also are many
+other works by that Bassano which are dispersed throughout Venice,
+and held in great price, particularly his little works and animals of every
+<span class="pagenum"><a id="Page_176" name="Page_176"></a>[Pg 176]</span> kind. Tiziano portrayed Bembo another time (namely, after he became
+a Cardinal), Fracastoro, and Cardinal Accolti of Ravenna, which last
+portrait Duke Cosimo has in his guardaroba; and our Danese, the sculptor,
+has in his house at Venice a portrait by the hand of Tiziano of a gentleman
+of the Delfini family. There may be seen portraits by the same hand
+of M. Niccolò Zono, of Rossa, wife of the Grand Turk, at the age of sixteen,
+and of Cameria, her daughter, with most beautiful dresses and adornments.
+In the house of M. Francesco Sonica, an advocate and a gossip
+of Tiziano, is a portrait by his hand of that M. Francesco, and in a large
+picture Our Lady flying to Egypt, who is seen to have dismounted from
+the ass and to have seated herself upon a stone on the road, with S. Joseph
+beside her, and a little S. John who is offering to the Infant Christ some
+flowers picked by the hand of an Angel from the branches of a tree that
+is in the middle of a wood full of animals, where in the distance the ass
+stands grazing. That picture, which is full of grace, the said gentleman
+has placed at the present day in a palace that he has built for himself at
+Padua, near S. Giustina. In the house of a gentleman of the Pisani
+family, near S. Marco, there is by the hand of Tiziano the portrait of a
+gentlewoman, which is a marvellous thing. And having made for
+Monsignor Giovanni della Casa, the Florentine, who has been illustrious
+in our times both for nobility of blood and as a man of letters, a very
+beautiful portrait of a gentlewoman whom that lord loved while he was
+in Venice, Tiziano was rewarded by being honoured by him with the
+lovely sonnet that begins&mdash;</p>
+
+<p class="poem">
+<span class="min2em">Ben vegg'io, Tiziano, in forme nuove</span><br>
+       L'idolo mio, che i begli occhi apre e gira (with what follows).</p>
+
+<p>Finally, this excellent painter sent to the above-named Catholic King
+a Last Supper of Christ with the Apostles, in a picture seven braccia long,
+which was a work of extraordinary beauty.</p>
+
+<div class="figcenter">
+<a name="img053" id="img053"></a>
+<img src="images/img053-tb.jpg" width="500" height="314" alt="Tiziano: The Education of Cupid." title="">
+<p class="caption">TIZIANO: THE EDUCATION OF CUPID<br>
+(<i>Rome: Borghese Gallery. Canvas</i>)<br>
+<span class="link"><a href="images/img053.jpg">View larger image</a></span></p>
+</div>
+
+<p>In addition to the works described and many others of less merit
+executed by this man, which are omitted for the sake of brevity, he has
+in his house, sketched in and begun, the following: the Martyrdom of
+S. Laurence, similar to that described above, and destined by him for
+<span class="pagenum"><a id="Page_177" name="Page_177"></a>[Pg 177]</span> sending to the Catholic King; a great canvas wherein is Christ on the
+Cross, with the Thieves, and at the foot the ministers of the crucifixion,
+which he is painting for Messer Giovanni d'Anna; and a picture which was
+begun for the Doge Grimani, father of the Patriarch of Aquileia. And
+for the Hall of the Great Palace of Brescia he has made a beginning with
+three large pictures that are to go in the ornamentation of the ceiling,
+as has been related in speaking of Cristofano and his brother, painters of
+Brescia. He also began, many years ago, for Alfonso I, Duke of Ferrara,
+a picture of a nude young woman bowing before Minerva, with another
+figure at the side, and a sea in the centre of which, in the distance, is
+Neptune in his car; but through the death of that lord, after whose fancy
+the work was being executed, it was not finished, and remained with
+Tiziano. He has also carried well forward, but not finished, a picture
+wherein is Christ appearing to Mary Magdalene in the Garden in the form
+of a gardener, with figures the size of life; another, also, of equal size,
+in which the Madonna and the other Maries being present, the Dead
+Christ is laid in the Sepulchre; likewise a picture of Our Lady, which is
+one of the best things that are in that house, and, as has been told, a
+portrait of himself that was finished by him four years ago, very beautiful
+and natural, and finally a S. Paul who is reading, a half-length figure,
+which has all the appearance of the real Saint filled with the Holy Spirit.</p>
+
+<div class="figcenter">
+<a name="img054" id="img054"></a>
+<img src="images/img054-tb.jpg" width="400" height="312" alt="The Entombment." title="">
+<p class="caption">THE ENTOMBMENT<br>
+(<i>After the painting by</i> Tiziano. <i>Madrid: The Prado</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img054.jpg">View larger image</a></span></p>
+</div>
+
+<p>All these works, I say, he has executed, with many others that I
+omit in order not to be wearisome, up to his present age of about seventy-six
+years. Tiziano has been very sound in health, and as fortunate as
+any man of his kind has ever been; and he has not received from Heaven
+anything save favours and blessings. In his house at Venice have been
+all the Princes, men of letters and persons of distinction who have gone
+to that city or lived there in his time, because, in addition to his excellence
+in art, he has shown great gentleness, beautiful breeding, and most
+courteous ways and manners. He has had in Venice some competitors,
+but not of much worth, so that he has surpassed them easily with the
+excellence of his art and with his power of attaching himself and making
+himself dear to the men of quality. He has earned much, for he has been
+very well paid for his works; but it would have been well for him in these
+<span class="pagenum"><a id="Page_178" name="Page_178"></a>[Pg 178]</span> his last years not to work save as a pastime, so as not to diminish with
+works of less excellence the reputation gained in his best years, when his
+natural powers were not declining and drawing towards imperfection.
+When Vasari, the writer of this history, was at Venice in the year 1566,
+he went to visit Tiziano, as one who was much his friend, and found him
+at his painting with brushes in his hand, although he was very old; and
+he had much pleasure in seeing him and discoursing with him. He made
+known to Vasari Messer Gian Maria Verdezotti, a young Venetian gentleman
+full of talent, a friend of Tiziano and passing able in drawing and
+painting, as he showed in some landscapes of great beauty drawn by him.
+This man has by the hand of Tiziano, whom he loves and cherishes as
+a father, two figures painted in oils within two niches, an Apollo and a
+Diana.</p>
+
+<p>Tiziano, then, having adorned with excellent pictures the city of
+Venice, nay, all Italy and other parts of the world, deserves to be loved
+and revered by the craftsmen, and in many things to be admired and
+imitated, as one who has executed and is still executing works worthy of
+infinite praise, which shall endure as long as the memory of illustrious
+men may live.</p>
+
+<div class="figcenter">
+<a name="img055" id="img055"></a>
+<img src="images/img055-tb.jpg" width="400" height="464" alt="Paris Bordone: The Venetian Lovers." title="">
+<p class="caption">PARIS BORDONE: THE VENETIAN LOVERS<br>
+(<i>Milan: Brera, 105. Canvas</i>)<br>
+<span class="link"><a href="images/img055.jpg">View larger image</a></span></p>
+</div>
+
+<p>Now, although many have been with Tiziano in order to learn, yet
+the number of those who can truly be called his disciples is not great, for
+the reason that he has not taught much, and each pupil has gained more
+or less knowledge according as he has been able to acquire it from the
+works executed by Tiziano. There has been with him, among others,
+one Giovanni, a Fleming, who has been a much-extolled master in figures
+both small and large, and in portraits marvellous, as may be seen in
+Naples, where he lived some time, and finally died. By his hand&mdash;and
+this must do him honour for all time&mdash;were the designs of the anatomical
+studies that the most excellent Andrea Vessalio caused to be engraved
+and published with his work. But he who has imitated Tiziano more
+than any other is Paris Bordone, who, born in Treviso from a father of
+Treviso and a Venetian mother, was taken at the age of eight to the house
+of some relatives in Venice. There, having learned his grammar and
+become an excellent musician, he went to be with Tiziano, but he did not
+<span class="pagenum"><a id="Page_179" name="Page_179"></a>[Pg 179]</span> spend many years with him, for he perceived that man to be not very ready
+to teach his young men, although besought by them most earnestly
+and invited by their patience to do his duty by them; and he resolved to
+leave him. He was much grieved that Giorgione should have died in
+those days, whose manner pleased him vastly, and even more his reputation
+for having taught well and willingly, and with lovingness, all that he
+knew; but, since there was nothing else to be done, Paris resolved in his
+mind that he would follow the manner of Giorgione. And so, setting
+himself to labour and to counterfeit the work of that master, he became
+such that he acquired very good credit; wherefore at the age of eighteen
+there was allotted to him an altar-piece that was to be painted for the
+Church of S. Niccolò, of the Friars Minors. Which having heard, Tiziano
+so went to work with various means and favours that he took it out of
+his hands, either to prevent him from being able to display his ability
+so soon, or perhaps drawn by his desire of gain.</p>
+
+<p>Afterwards Paris was summoned to Vicenza, to paint a scene in
+fresco in the Loggia of the Piazza where justice is administered, beside
+that of the Judgment of Solomon which Tiziano had previously executed;
+and he went very willingly, and painted there a story of Noah with his
+sons, which was held to be a work passing good in diligence and in design,
+and not less beautiful than that of Tiziano, insomuch that by those who
+know not the truth they are considered to be both by the same hand.
+Having returned to Venice, Paris executed some nudes in fresco at the
+foot of the bridge of the Rialto; by reason of which essay he was commissioned
+to paint some façades of houses in Venice. Being then summoned
+to Treviso, he painted there likewise some façades and other
+works, and in particular many portraits, which gave much satisfaction;
+that of the Magnificent M. Alberto Unigo, that of M. Marco Seravalle,
+and of M. Francesco da Quer, of the Canon Rovere, and of Monsignor
+Alberti. For the Duomo of that city, in an altar-piece in the centre of
+the church, at the instance of the reverend Vicar, he painted the Nativity
+of Jesus Christ, and then a Resurrection. For S. Francesco he executed
+another altar-piece at the request of the Chevalier Rovere, another for
+S. Girolamo, and one for Ognissanti, with different heads of Saints both
+<span class="pagenum"><a id="Page_180" name="Page_180"></a>[Pg 180]</span> male and female, all beautiful and varied in the attitudes and in the vestments.
+He executed another altar-piece for S. Lorenzo, and in S. Polo
+he painted three chapels, in the largest of which he depicted Christ rising
+from the dead, the size of life, and accompanied by a great multitude of
+Angels; in the second some Saints with many Angels about them, and
+in the third Jesus Christ upon a cloud, with Our Lady, who is presenting
+to Him S. Dominic. All these works have made him known as an able
+man and a lover of his city.</p>
+
+<p>In Venice, where he has dwelt almost always, he has executed many
+works at various times. But the most beautiful, the most remarkable
+and the most worthy of praise that Paris ever painted, was a scene in the
+Scuola of S. Marco, at SS. Giovanni e Polo, wherein is the story of the
+fisherman presenting to the Signoria of Venice the ring of S. Mark, with
+a very beautiful building in perspective, about which is seated the Senate
+with the Doge; among which Senators are many portraits from nature,
+lifelike and well painted beyond belief. The beauty of this work, executed
+so well and coloured in fresco, was the reason that he began to be
+employed by many gentlemen. Thus in the great house of the Foscari,
+near S. Barnaba, he executed many paintings and pictures, and among
+them a Christ who, having descended to the Limbo of Hell, is delivering
+the Holy Fathers; which is held to be a work out of the ordinary. For
+the Church of S. Giobbe in Canal Reio he painted a most beautiful altar-piece,
+and for S. Giovanni in Bragola another, and the same for S. Maria
+della Celeste and for S. Marina.</p>
+
+<div class="figcenter">
+<a name="img056" id="img056"></a>
+<img src="images/img056-tb.jpg" width="350" height="432" alt="The Fisherman and the Doge Gradenigo." title="">
+<p class="caption">THE FISHERMAN AND THE DOGE GRADENIGO<br>
+(<i>After the painting by</i> Paris Bordone. <i>Venice: Accademia</i>)
+<i>Anderson</i><br>
+<span class="link"><a href="images/img056.jpg">View larger image</a></span></p>
+</div>
+
+<p>But, knowing that he who wishes to be employed in Venice is obliged
+to endure too much servitude in paying court to one man or another,
+Paris resolved, as a man of quiet nature and far removed from certain
+methods of procedure, whenever an occasion might present itself, to go
+abroad to execute such works as Fortune might set before him, without
+having to go about begging. Wherefore, having made his way with a
+good opportunity into France in the year 1538, to serve King Francis,
+he executed for him many portraits of ladies and other pictures with
+various paintings; and at the same time he painted for Monseigneur de
+Guise a most beautiful church-picture, and a chamber-picture of Venus
+<span class="pagenum"><a id="Page_181" name="Page_181"></a>[Pg 181]</span> and Cupid. For the Cardinal of Lorraine he painted a Christ in an
+"Ecce Homo," a Jove with Io, and many other works. He sent to the
+King of Poland a picture wherein was Jove with a Nymph, which was
+held to be a very beautiful thing. And to Flanders he sent two other
+most beautiful pictures, a S. Mary Magdalene in the Desert accompanied
+by some Angels, and a Diana who is bathing with her Nymphs in a fount;
+which two pictures the Milanese Candiano caused him to paint, the
+physician of Queen Maria, as presents for her Highness. At Augsburg,
+in the Palace of the Fugger family, he executed many works of the greatest
+importance, to the value of three thousand crowns. And in the same
+city he painted for the Prineri, great men in that place, a large picture
+wherein he counterfeited in perspective all the five Orders of architecture,
+which was a very beautiful work; and another chamber-picture, which
+is in the possession of the Cardinal of Augsburg. At Crema he has executed
+two altar-pieces for S. Agostino, in one of which is portrayed Signor
+Giulio Manfrone, representing a S. George, in full armour. The same
+master has painted many works at Civitale di Belluno, which are extolled,
+and in particular an altar-piece in S. Maria and another in S. Giosef,
+which are very beautiful. He sent to Signor Ottaviano Grimaldo a portrait
+of him the size of life and most beautiful, and with it another picture,
+equal in size, of a very lustful woman. Having then gone to Milan, Paris
+painted for the Church of S. Celso an altar-piece with some figures in the
+air, and beneath them a very beautiful landscape, at the instance, so it
+is said, of Signor Carlo da Roma; and for the palace of the same lord two
+large pictures in oils, in one Venus and Mars under Vulcan's net, and in
+the other King David seeing Bathsheba being bathed by her serving-women
+in the fount; and also the portrait of that lord and that of Signora
+Paola Visconti, his consort, and some pieces of landscape not very large,
+but most beautiful. At this same time he painted many of Ovid's Fables
+for the Marchese d'Astorga, who took them with him to Spain; and for
+Signor Tommaso Marini, likewise, he painted many things of which there
+is no need to make mention.</p>
+
+<div class="figcenter">
+<a name="img057" id="img057"></a>
+<img src="images/img057-tb.jpg" width="400" height="506" alt="Portrait of a Lady." title="">
+<p class="caption">PORTRAIT OF A LADY<br>
+(<i>After the painting by</i> Paris Bordone. <i>London: National Gallery, No. 674</i>)<br>
+<i>M.S.</i><br>
+<span class="link"><a href="images/img057.jpg">View larger image</a></span></p>
+</div>
+
+<p>And this much it must suffice to have said of Paris, who, being
+seventy-five years of age, lives quietly at home with his comforts, and
+<span class="pagenum"><a id="Page_182" name="Page_182"></a>[Pg 182]</span> works for pleasure at the request of certain Princes and others his friends,
+avoiding rivalries and certain vain ambitions, lest he should suffer some
+hurt and have his supreme tranquillity and peace disturbed by those
+who walk not, as he says, in truth, but by dubious ways, malignantly
+and without charity; whereas he is accustomed to live simply and by
+a certain natural goodness, and knows nothing of subtleties or astuteness
+in his life. He has executed recently a most beautiful picture for the
+Duchess of Savoy, of a Venus and Cupid that are sleeping, guarded by a
+servant; all executed so well, that it is not possible to praise them enough.</p>
+
+<div class="figcenter">
+<a name="img058" id="img058"></a>
+<img src="images/img058-tb.jpg" width="400" height="528" alt="Vision of the Apocalypse." title="">
+<p class="caption">VISION OF THE APOCALYPSE<br>
+(<i>After the mosaic by</i> Zuccati. <i>Venice: S. Marco</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img058.jpg">View larger image</a></span></p>
+</div>
+
+<p>But here I must not omit to say that a kind of painting which is
+almost discontinued in every other place, namely, mosaic, is kept alive
+by the most Serene Senate of Venice. Of this the benign and as it were
+the principal reason has been Tiziano, who, so far as it has lain in him,
+has always taken pains that it should be practised in Venice, and has
+caused honourable salaries to be given to those who have worked at it.
+Wherefore various works have been executed in the Church of S. Marco,
+all the old works have been almost renewed, and this sort of painting has
+been carried to such a height of excellence as is possible, and to a different
+condition from that in which it was in Florence and Rome at the time of
+Giotto, Alesso Baldovinetti, the Ghirlandajo family, and the miniaturist
+Gherardo. And all that has been done in Venice has come from the
+design of Tiziano and other excellent painters, who have made drawings
+and coloured cartoons to the end that the works might be carried to such
+perfection as may be seen in those of the portico of S. Marco, where in a
+very beautiful niche there is a Judgment of Solomon so lovely, that in
+truth it would not be possible to do more with colours. In the same
+place is the genealogical tree of Our Lady by the hand of Lodovico Rosso,
+all full of Sibyls and Prophets executed in a delicate manner and put
+together very well, with a relief that is passing good. But none have
+worked better in this art in our times than Valerio and Vincenzio Zuccheri<a id="FNanchor9" name="FNanchor9"></a><a href="#Footnote9" title="Go to footnote 9" class="fnanchor">[9]</a>
+of Treviso, by whose hands are stories many and various that may
+be seen in S. Marco, and in particular that of the Apocalypse, wherein
+around the Throne of God are the Four Evangelists in the form of animals,
+<span class="pagenum"><a id="Page_183" name="Page_183"></a>[Pg 183]</span> the Seven Candlesticks, and many other things executed so well, that,
+looking at them from below, they appear as if done in oil-colours with
+the brush; besides that there may be seen in their hands and about them
+little pictures full of figures executed with the greatest diligence, insomuch
+that they have the appearance not of paintings only, but of miniatures,
+and yet they are made of stones joined together. There are also many
+portraits; the Emperor Charles V, Ferdinand his brother, who succeeded
+him in the Empire, and Maximilian, son of Ferdinand and now Emperor;
+likewise the head of the most illustrious Cardinal Bembo, the glory of our
+age, and that of the Magnificent ...; all executed with such diligence
+and unity, and so well harmonized in the lights, flesh-colours, tints,
+shadows, and every other thing, that there is nothing better to be seen,
+nor any more beautiful work in a similar material. And it is in truth a
+great pity that this most excellent art of working in mosaic, with its
+beauty and everlasting life, is not more in use than it is, and that, by the
+fault of the Princes who have the power, no attention is given to it.</p>
+
+<p>In addition to those named above, there has worked in mosaic at
+S. Marco, in competition with the Zuccheri, one Bartolommeo Bozzato,
+who also has acquitted himself in his works in such a manner as to deserve
+undying praise. But that which has been of the greatest assistance to
+all in this art, is the presence and advice of Tiziano; of whom, besides the
+men already named and many more, another disciple, helping him in
+many works, has been one Girolamo, whom I know by no other name
+than Girolamo di Tiziano.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="jacoposansovino" id="jacoposansovino"></a><span class="pagenum"><a id="Page_185" name="Page_185"></a>[Pg 185]</span> JACOPO SANSOVINO</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_jacoposansovino" id="life_of_jacoposansovino"></a><span class="pagenum"><a id="Page_187" name="Page_187"></a>[Pg 187]</span> DESCRIPTION OF THE WORKS OF JACOPO SANSOVINO<a id="FNanchor10" name="FNanchor10"></a><a href="#Footnote10" title="Go to footnote 10" class="fnanchor">[10]</a><br>
+SCULPTOR OF FLORENCE</h2>
+
+
+<p>The while that Andrea Contucci, the sculptor of Monte Sansovino, having
+already acquired in Italy and Spain the name of the most excellent
+sculptor and architect that there was in art after Buonarroti, was living
+in Florence in order to execute the two figures of marble that were to
+be placed over that door of the Temple of S. Giovanni which faces towards
+the Misericordia, a young man was entrusted to him to be taught the art
+of sculpture, the son of Antonio di Jacopo Tatti, whom Nature had endowed
+with a great genius, so that he gave much grace to the things
+that he did in relief. Whereupon Andrea, having recognized how excellent
+in sculpture the young man was destined to become, did not fail to
+teach him with all possible care all those things which might make him
+known as his disciple. And so, loving him very dearly, and doing his
+best for him with much affection, and being loved by the young man
+with equal tenderness, people judged that the pupil would not only
+become as excellent as his master, but would by a great measure surpass
+him. And such were the reciprocal friendliness and love between these
+two, as it were between father and son, that Jacopo in those early years
+began to be called no longer Tatti, but Sansovino, and so he has always
+been, and always will be.</p>
+
+<p>Now, Jacopo beginning to exercise his hand, he was so assisted by
+Nature in the things that he did, that, although at times he did not use
+<span class="pagenum"><a id="Page_188" name="Page_188"></a>[Pg 188]</span> much study and diligence in his work, nevertheless in what he did there
+could be seen facility, sweetness, grace, and a certain delicacy very
+pleasing to the eyes of craftsmen, insomuch that his every sketch, rough
+study, and model has always had a movement and a boldness that
+Nature is wont to give to but few sculptors. Moreover, the friendship
+and intercourse that Andrea del Sarto and Jacopo Sansovino had with
+each other in their childhood, and then in their youth, assisted not a
+little both the one and the other, for they followed the same manner in
+design and had the same grace in execution, one in painting and the
+other in sculpture, and, conferring together on the problems of art, and
+Jacopo making models of figures for Andrea, they gave one another very
+great assistance. And that this is true a proof is that in the altar-piece
+of S. Francesco, belonging to the Nuns of the Via Pentolini, there is a
+S. John the Evangelist which was copied from a most beautiful model
+in clay that Sansovino made in those days in competition with Baccio
+da Montelupo; for the Guild of Por Santa Maria wished to have a bronze
+statue of four braccia made for a niche at the corner of Orsanmichele,
+opposite to the Wool-Shearers, for which Jacopo made a more beautiful
+model in clay than Baccio, but nevertheless it was allotted to Montelupo,
+from his being an older master, rather than to Sansovino, although his
+work, young as he was, was the better. That model, which is a very
+beautiful thing, is now in the possession of the heirs of Nanni Unghero;
+for which Nanni, being then his friend, Sansovino made some models of
+large boys in clay, and the model for a figure of S. Nicholas of Tolentino,
+which were all executed of the size of life in wood, with the assistance
+of Sansovino, and placed in the Chapel of that Saint in the Church of
+S. Spirito.</p>
+
+<p>Becoming known for these reasons to all the craftsmen of Florence,
+and being considered a young man of fine parts and excellent character,
+Jacopo was invited by Giuliano da San Gallo, architect to Pope Julius II,
+to Rome, vastly to his satisfaction; and then, taking extraordinary
+pleasure in the ancient statues that are in the Belvedere, he set himself
+to draw them. Whereupon Bramante, who was likewise architect to
+Pope Julius, holding the first place at that time and dwelling in the
+<span class="pagenum"><a id="Page_189" name="Page_189"></a>[Pg 189]</span> Belvedere, having seen some drawings by this young man, and a nude
+recumbent figure of clay in full-relief, holding a vessel to contain ink,
+which he had made, liked them so much that he took him under his
+protection and ordered him that he should make a large copy in wax of
+the Laocoon, which he was having copied also by others, in order to take
+a cast in bronze&mdash;namely, by Zaccheria Zacchi of Volterra, the Spaniard
+Alonzo Berughetta, and Vecchio of Bologna. These, when all were
+finished, Bramante caused to be seen by Raffaello Sanzio of Urbino, in
+order to learn which of the four had acquitted himself best; whereupon
+it was judged by Raffaello that Sansovino, young as he was, had surpassed
+the others by a great measure. Then, by the advice of Cardinal
+Domenico Grimani, orders were given to Bramante that he should have
+Jacopo's copy cast in bronze; and so the mould was made, and the work,
+being cast in metal, came out very well. And afterwards, having been
+polished, it was given to the Cardinal, who held it as long as he lived
+not less dear than if it had been the antique; and when he came to die,
+he left it as a very rare thing to the most Serene Signoria of Venice,
+which, after having kept it many years in the press of the Hall of the
+Council of Ten, finally in the year 1534 presented it to the Cardinal of
+Lorraine, who took it to France.</p>
+
+<div class="figcenter">
+<a name="img059" id="img059"></a>
+<img src="images/img059-tb.jpg" width="300" height="536" alt="S. James." title="">
+<p class="caption">S. JAMES<br>
+(<i>After</i> Jacopo Sansovino. <i>Florence: Duomo</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img059.jpg">View larger image</a></span></p>
+</div>
+
+<p>While Sansovino was acquiring greater fame every day in Rome
+with his studies in art, being held in much consideration, Giuliano da
+San Gallo, who had been keeping him in his house in the Borgo Vecchio,
+fell ill; and when he departed from Rome in a litter, in order to go to
+Florence for a change of air, a room was found for Jacopo by Bramante,
+likewise in the Borgo Vecchio, in the Palace of Domenico della Rovere,
+Cardinal of San Clemente, where Pietro Perugino was also dwelling, who
+at that time was painting for Pope Julius the vaulting of the chamber
+in the Borgia Tower. Whereupon Pietro, having seen the beautiful
+manner of Sansovino, caused him to make many models in wax for
+himself, and among them a Christ taken down from the Cross in the
+round, with many ladders and figures, which was a very beautiful thing.
+This and other things of the same sort, and models of various fantasies,
+were all collected afterwards by M. Giovanni Gaddi, and they are now
+<span class="pagenum"><a id="Page_190" name="Page_190"></a>[Pg 190]</span> in his house on the Piazza di Madonna in Florence. And these works
+were the reason that Sansovino became very intimately associated with
+Maestro Luca Signorelli, the painter of Cortona, with Bramantino da
+Milano, with Bernardino Pinturicchio, with Cesare Cesariano, who was
+in repute at that time for his commentaries on Vitruvius, and with
+many other famous and beautiful intellects of that age. Bramante,
+then, desiring that Sansovino should become known to Pope Julius,
+arranged to have some antiques restored by him; whereupon Jacopo,
+setting to work, displayed such diligence and so much grace in restoring
+them, that the Pope and all who saw them judged that nothing better
+could be done. These praises so spurred Sansovino to surpass himself,
+that, having given himself beyond measure to his studies, and being,
+also, somewhat delicate in constitution and suffering from some excess
+such as young men commit, he became so ill that he was forced for the
+sake of his life to return to Florence, where, profiting by his native air,
+by the advantage of his youth, and by the diligence and care of the
+physicians, in a short time he completely recovered. Now Messer Piero
+Pitti was arranging at that time to have a Madonna of marble made for
+that façade of the Mercato Nuovo in Florence where the clock is, and it
+appeared to him, since there were in Florence many young men of ability
+and also old masters, that the work should be given to that one among
+them who might make the best model. Whereupon one was given to
+Baccio da Montelupo to execute, one to Zaccheria Zacchi of Volterra,
+who had likewise returned to Florence the same year, another to Baccio
+Bandinelli, and yet another to Sansovino; and when these were placed
+in comparison, the honour and the work were given by Lorenzo di Credi,
+an excellent painter and a person of judgment and probity, and likewise
+by the other judges, craftsmen, and connoisseurs, to Sansovino. But,
+although the work was therefore allotted to him, nevertheless so much
+delay was caused in procuring and conveying the marble for him, by the
+envious machinations of Averardo da Filicaia, who greatly favoured
+Bandinelli and hated Sansovino, that he was ordered by certain other
+citizens, having perceived that delay, to make one of the large Apostles
+in marble that were going into the Church of S. Maria del Fiore. Wherefore,
+<span class="pagenum"><a id="Page_191" name="Page_191"></a>[Pg 191]</span> having made the model of a S. James (which model, when the work
+was finished, came into the possession of Messer Bindo Altoviti), he
+began that figure and, continuing to work at it with all diligence and
+study, he carried it to completion so perfectly, that it is a miraculous
+figure and shows in all its parts that it was wrought with incredible
+study and care, the draperies, arms, and hands being undercut and
+executed with such art and such grace, that there is nothing better in
+marble to be seen. Thus, Sansovino showed in what way undercut
+draperies should be executed, having made these so delicate and so
+natural, that in some places he reduced the marble to the thickness that
+is seen in real folds and in the edges and hems of the borders of draperies;
+a difficult method, and one demanding much time and patience if you
+wish that it should so succeed as to display the perfection of art. That
+figure remained in the Office of Works from the time when it was finished
+by Sansovino until the year 1565, at which time, in the month of December,
+it was placed in the Church of S. Maria del Fiore to do honour to
+the coming of Queen Joanna of Austria, the wife of Don Francesco de'
+Medici, Prince of Florence and Siena. And there it is kept as a very
+rare work, together with the other Apostles, likewise in marble, executed
+in competition by other craftsmen, as has been related in their Lives.</p>
+
+<div class="figcenter">
+<a name="img060" id="img060"></a>
+<img src="images/img060-tb.jpg" width="300" height="473" alt="Bacchus." title="">
+<p class="caption">BACCHUS<br>
+(<i>After</i> Jacopo Sansovino. <i>Florence: Museo Nazionale</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img060.jpg">View larger image</a></span></p>
+</div>
+
+<p>At this same time he made for Messer Giovanni Gaddi a Venus of
+marble on a shell, of great beauty, as was also the model, which was in
+the house of Messer Francesco Montevarchi, a friend of these arts, but
+came to an evil end in the inundation of the River Arno in the year
+1558. He also made a boy of tow and a swan as beautiful as could be,
+of marble, for the same M. Giovanni Gaddi, together with many other
+things, which are all in his house. For Messer Bindo Altoviti he had a
+chimney-piece of great cost made, all in grey-stone carved by Benedetto
+da Rovezzano, which was placed in his house in Florence, and Messer
+Bindo caused Sansovino to make a scene with little figures for placing in
+the frieze of that chimney-piece, with Vulcan and other Gods, which was
+a very rare work; but much more beautiful are two boys of marble that
+were above the crown of the chimney-piece, holding some arms of the
+Altoviti in their hands, which have been removed by Signor Don Luigi
+<span class="pagenum"><a id="Page_192" name="Page_192"></a>[Pg 192]</span> di Toledo, who inhabits the house of the above-named Messer Bindo,
+and placed about a fountain in his garden, behind the Servite Friars, in
+Florence. Two other boys of extraordinary beauty, also of marble and
+by the same hand, who are likewise holding an escutcheon, are in the
+house of Giovan Francesco Ridolfi. All these works caused Sansovino
+to be held by the men of art and by all Florence to be a most excellent
+and gracious master; on which account Giovanni Bartolini, having
+caused a house to be built in his garden of Gualfonda, desired that Sansovino
+should make for him a young Bacchus in marble, of the size of life.
+Whereupon the model for this was made by Sansovino, and it pleased
+Giovanni so much, that he had him supplied with the marble, and Jacopo
+began it with such eagerness, that his hands and brain flew as he worked.
+This work, I say, he studied in such a manner, in order to make it perfect,
+that he set himself to portray from the life, although it was winter, an
+assistant of his called Pippo del Fabbro, making him stand naked a
+good part of the day. Which Pippo would have become a capable
+craftsman, for he was striving with every effort to imitate his master;
+but, whether it was the standing naked with the head uncovered at that
+season, or that he studied too much and suffered hardships, before the
+Bacchus was finished he went mad, copying the attitudes of that figure.
+And this he showed one day that it was raining in torrents, when, Sansovino
+calling out "Pippo!" and he not answering, the master afterwards
+saw him mounted on the summit of a chimney on the roof, wholly naked
+and striking the attitude of his Bacchus. At other times, taking a sheet
+or other large piece of cloth, and wetting it, he would wrap it round his
+naked body, as if he were a model of clay or rags, and arrange the folds;
+and then, climbing up to some extraordinary place, and settling himself
+now in one attitude and now in another, as a Prophet, an Apostle, a
+soldier, or something else, he would have himself portrayed, standing
+thus for a period of two hours without speaking, not otherwise than as
+if he had been a motionless statue. Many other amusing follies of that
+kind poor Pippo played, but above all he was never able to forget the
+Bacchus that Sansovino had made, save only when he died, a few years
+afterwards.</p>
+
+<div class="figcenter">
+<a name="img061" id="img061"></a>
+<img src="images/img061-tb.jpg" width="400" height="536" alt="Mars and Neptune." title="">
+<p class="caption">MARS AND NEPTUNE<br>
+(<i>After</i> Jacopo Sansovino. <i>Venice: Ducal Palace</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img061.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_193" name="Page_193"></a>[Pg 193]</span> But to return to the statue; when it was carried to completion, it
+was held to be the most beautiful work that had ever been executed by
+a modern master, seeing that in it Sansovino overcame a difficulty never
+yet attempted, in making an arm raised in the air and detached on every
+side, which holds between the fingers a cup all cut out of the same marble
+with such delicacy, that the attachment is very slight, besides which the
+attitude is so well conceived and balanced on every side, and the legs and
+arms are so beautiful and so well proportioned and attached to the trunk,
+that to the eye and to the touch the whole seems much more like living
+flesh; insomuch that the fame that it has from all who see it is well
+deserved, and even more. This work, I say, when finished, while Giovanni
+was alive, was visited in that courtyard in the Gualfonda by everyone,
+native and stranger alike, and much extolled. But afterwards, Giovanni
+being dead, his brother Gherardo Bartolini presented it to Duke Cosimo,
+who keeps it as a rare thing in his apartments, together with other most
+beautiful statues of marble that he possesses. For the same Giovanni
+Sansovino made a very beautiful Crucifix of wood, which is in their
+house in company with many works by the ancients and by the hand of
+Michelagnolo.</p>
+
+<p>In the year 1514, when festive preparations of great richness were
+to be made in Florence for the coming of Pope Leo X, orders were given
+by the Signoria and by Giuliano de' Medici that many triumphal arches
+of wood should be made in various parts of the city. Whereupon Sansovino
+not only executed the designs for many of these, but himself undertook
+in company with Andrea del Sarto to construct the façade of
+S. Maria del Fiore all of wood, with statues, scenes, and architectural
+orders, exactly in the manner wherein it would be well for it to be in
+order to remove all that there is in it of the German order of composition.
+Having therefore set his hand to this (to say nothing in this place of the
+awning of cloth that used to cover the Piazza of S. Maria del Fiore and
+that of S. Giovanni for the festival of S. John and for others of the greatest
+solemnity, since we have spoken sufficiently of this in another place),
+beneath that awning, I say, Sansovino constructed the said façade in
+the Corinthian Order, making it in the manner of a triumphal arch, and
+<span class="pagenum"><a id="Page_194" name="Page_194"></a>[Pg 194]</span> placing upon an immense base double columns on each side, and between
+them certain great niches filled with figures in the round that represented
+the Apostles. Above these were some large scenes in half-relief, made
+in the likeness of bronze, with stories from the Old Testament, some of
+which are still to be seen in the house of the Lanfredini on the bank of
+the Arno; and over them followed architraves, friezes, and cornices, projecting
+outwards, and then frontispieces of great beauty and variety;
+and in the angles of the arches, both in the wide parts and below, were
+stories painted in chiaroscuro by the hand of Andrea del Sarto, and very
+beautiful. In short, this work of Sansovino's was such that Pope Leo,
+seeing it, said that it was a pity that the real façade of that temple was
+not so built, which was begun by the German Arnolfo. The same Sansovino
+made among these festive preparations for the coming of Leo X,
+besides the said façade, a horse in the round all of clay and shearings of
+woollen cloth, in the act of rearing, and under it a figure of nine braccia,
+upon a pedestal of masonry. Which work was executed with such spirit
+and force, that it pleased Pope Leo and was much extolled by him;
+wherefore Sansovino was taken by Jacopo Salviati to kiss the feet of the
+Pope, who showed him many marks of affection.</p>
+
+<p>The Pope departed from Florence, and had a conference at Bologna
+with King Francis I of France; and then he resolved to return to Florence.
+Whereupon orders were given to Sansovino that he should make a
+triumphal arch at the Porta S. Gallo, and he, not falling back in any way
+from his own standard, executed it similar to the other works that he
+had done&mdash;namely, beautiful to a marvel, and full of statues and painted
+pictures wrought excellently well. His Holiness having then determined
+that the façade of S. Lorenzo should be executed in marble, the while
+that Raffaello da Urbino and Buonarroti were expected from Rome,
+Sansovino, by order of the Pope, made a design for it; which giving
+much satisfaction, Baccio d'Agnolo was commissioned to make a model
+of it in wood, which proved very beautiful. Meanwhile, Buonarroti had
+made another, and he and Sansovino were ordered to go to Pietrasanta;
+where, finding much marble, but difficult to transport, they lost so much
+time, that when they returned to Florence they found the Pope departed
+<span class="pagenum"><a id="Page_195" name="Page_195"></a>[Pg 195]</span> for Rome. Whereupon, both following after him with their models, each
+by himself, Jacopo arrived at the very moment when Buonarroti's model
+was being shown to his Holiness in the Torre Borgia; but he did not
+succeed in obtaining what he hoped, because, whereas he believed that
+he would at least make under Michelagnolo part of the statues that were
+going into that work, the Pope having spoken of it to him and Michelagnolo
+having given him so to understand, he perceived on arriving in
+Rome that Buonarroti wished to be alone in the work. Nevertheless,
+having made his way to Rome and not wishing to return to Florence
+without any result, he resolved to remain in Rome and there give his
+attention to sculpture and architecture. And so, having undertaken to
+execute for the Florentine Giovan Francesco Martelli a Madonna in
+marble larger than life, he made her most beautiful, with the Child in
+her arms; and this was placed upon an altar within the principal door
+of S. Agostino, on the right hand as one enters. The clay model of this
+statue he presented to the Priore de' Salviati, in Rome, who placed it in
+a chapel in his palace on the corner of the Piazza di S. Pietro, at the
+beginning of the Borgo Nuovo. After no long lapse of time he made for
+the altar of the chapel that the very reverend Cardinal Alborense had
+caused to be built in the Church of the Spaniards in Rome, a statue in
+marble of four braccia, worthy of no ordinary measure of praise, of a
+S. James, which has a movement full of grace and is executed with
+judgment and perfect art, so that it won him very great fame. And
+the while that he was executing these statues, he made the ground-plan
+and model, and then began the building, of the Church of S. Marcello for
+the Servite Friars, a work of truly great beauty. Continuing to be employed
+in matters of architecture, he built for Messer Marco Coscia a
+very beautiful loggia on the road that leads to Rome, at Pontemolle on
+the Via Appia.<a id="FNanchor11" name="FNanchor11"></a><a href="#Footnote11" title="Go to footnote 11" class="fnanchor">[11]</a> For the Company of the Crocifisso, attached to the
+Church of S. Marcello, he made a Crucifix for carrying in procession, a
+thing full of grace; and for Cardinal Antonio di Monte he began a great
+fabric at his villa without Rome, on the Acqua Vergine. And by the
+hand of Jacopo, perhaps, is a very beautiful portrait in marble of that
+<span class="pagenum"><a id="Page_196" name="Page_196"></a>[Pg 196]</span> elder Cardinal di Monte which is now in the Palace of Signor Fabiano
+at Monte Sansovino, over the door of the principal chamber off
+the hall. He directed, also, the building of the house of Messer Luigi
+Leoni, a most commodious edifice, and in the Banchi a palace beside
+the house of the Gaddi, which was bought afterwards by Filippo
+Strozzi&mdash;certainly a commodious and most beautiful fabric, with many
+ornaments.</p>
+
+<p>At this time, with the favour of Pope Leo, the Florentine colony had
+bestirred itself out of emulation of the Germans, Spaniards, and Frenchmen,
+who had either begun or finished the churches of their colonies in
+Rome, and had begun to perform their solemn offices in those already
+built and adorned; and the Florentines had sought leave likewise to
+build a church for themselves. For which the Pope having given instructions
+to Lodovico Capponi, the Consul of the Florentine colony at
+that time, it was determined that behind the Banchi, at the beginning
+of the Strada Giulia, on the bank of the Tiber, an immense church should
+be built, to be dedicated to S. John the Baptist; which might surpass in
+magnificence, grandeur, cost, ornamentation, and design, the churches of
+all the other colonies. There competed, then, in making designs for this
+work, Raffaello da Urbino, Antonio da San Gallo, Baldassarre da Siena,
+and Sansovino; and the Pope, when he had seen all their designs, extolled
+as the best that of Sansovino, because, besides other things, he had made
+at each of the four corners of that church a tribune, and a larger tribune
+in the centre, after the likeness of the plan that Sebastiano Serlio placed
+in his second book on Architecture. Whereupon, all the heads of the
+Florentine colony concurring with the will of the Pope, with much
+approval of Sansovino, the foundations were begun for a part of that
+church, altogether twenty-two canne<a id="FNanchor12" name="FNanchor12"></a><a href="#Footnote12" title="Go to footnote 12" class="fnanchor">[12]</a> in length. But, there being not
+enough space, and yet wishing to make the façade of the church in line
+with the houses of the Strada Giulia, they were obliged to stretch out
+into the stream of the Tiber at least fifteen canne; which pleasing many
+of them, because the grandeur as well as the cost was increased by making
+the foundations in the river, work was begun on this, and they spent
+<span class="pagenum"><a id="Page_197" name="Page_197"></a>[Pg 197]</span> upon it more than forty thousand crowns, which would have been enough
+to build half the masonry of the church.</p>
+
+<p>In the meantime Sansovino, who was the head of this fabric, while
+the foundations were being laid little by little, had a fall and suffered a
+serious injury; and after a few days he had himself carried to Florence
+for treatment, leaving the charge of laying the rest of the foundations,
+as has been related, to Antonio da San Gallo. But no long time passed
+before the Florentine colony, having lost by the death of Leo so great a
+support and so splendid a Prince, abandoned the building for the duration
+of the life of Pope Adrian VI. Then, Clement having been elected,
+it was ordained, in order to pursue the same order and design, that
+Sansovino should return and carry on that fabric in the same manner
+wherein he had first arranged it; and so a beginning was made once more
+with the work. Meanwhile, Sansovino undertook to make the tomb of
+the Cardinal of Arragon and that of Cardinal Aginense; and he had
+caused work to be begun on the marbles for the ornaments, and had
+made many models for the figures, and already Rome was in his hands,
+and he was executing many works of the greatest importance for all those
+lords, when God, in order to chastise that city and abate the pride of
+the inhabitants of Rome, permitted that Bourbon should come with his
+army on the 6th of May, 1527, and that the whole city should be sacked
+and put to fire and sword.</p>
+
+<p>In that ruin, besides many other beautiful intellects that came to
+an evil end, Sansovino was forced to his great loss to depart from Rome
+and to fly to Venice, intending from there to pass into France to enter
+the service of the King, whither he had been already invited. But,
+halting in that city in order to make himself ready and provide himself
+with many things, for he was despoiled of everything, it was announced
+to the Prince Andrea Gritti, who was much the friend of every talent,
+that Jacopo Sansovino was there. Whereupon there came to Gritti a
+desire to speak with him, because at that very time Cardinal Domenico
+Grimani had given him to understand that Sansovino would have been
+the man for the cupolas of S. Marco, their principal church, which, because
+of age and of weak foundations, and also from their being badly secured
+<span class="pagenum"><a id="Page_198" name="Page_198"></a>[Pg 198]</span> with chains, were all opening out and threatening to fall; and so he had
+him summoned. After many courtesies and long discussions, he said to
+Sansovino that he wished, or rather, prayed him, that he should find a
+remedy for the ruin of those tribunes; which Sansovino promised to do,
+and to put it right. And so, having agreed to do the work, he caused it
+to be taken in hand; and, having contrived all the scaffoldings in the
+interior and made supports of beams after the manner of stars, he propped
+in the central hollow of woodwork all the timbers that sustained the
+vault of each tribune, and encircled them on the inner side with curtains
+of woodwork, going on then to bind them on the outer side with chains
+of iron, to flank them with new walls, and to make at the foot new foundations
+for the piers that supported them, insomuch that he strengthened
+them vastly and made them for ever secure. By doing which he caused
+all Venice to marvel, and not only satisfied Gritti, but also&mdash;which was
+far more&mdash;rendered his ability so clearly manifest to that most illustrious
+Senate, that when the work was finished, the Protomaster to the Lords
+Procurators of S. Mark being dead, which is the highest office that those
+lords give to their architects and engineers, they gave it to him with the
+usual house and a passing handsome salary. Whereupon Sansovino,
+having accepted it most willingly and freed his mind of all doubt, became
+the head of all their fabrics, with honour and advantage for himself.</p>
+
+<div class="figcenter">
+<a name="img062" id="img062"></a>
+<img src="images/img062-tb.jpg" width="350" height="493" alt="The Library of S. Marco." title="">
+<p class="caption">THE LIBRARY OF S. MARCO<br>
+(<i>After</i> Jacopo Sansovino. <i>Venice</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img062.jpg">View larger image</a></span></p>
+</div>
+
+<p>First, then, he erected the public building of the Mint, which he
+designed and distributed in the interior with so much order and method,
+for the convenience and service of the many artificers, that in no place
+is there a Treasury ordered so well or with greater strength than that
+one, which he adorned altogether in the Rustic Order, very beautifully;
+which method, not having been used before in Venice, caused no little
+marvel in the men of that city. Wherefore, having recognized that the
+genius of Sansovino was equal to their every need in the service of the
+city, they caused him to attend for many years to the fortifications of
+their State. Nor did any long time pass before he took in hand, by
+order of the Council of Ten, the very rich and beautiful fabric of the
+Library of S. Marco, opposite to the Palazzo della Signoria, with such a
+wealth of carvings, cornices, columns, capitals, and half-length figures
+<span class="pagenum"><a id="Page_199" name="Page_199"></a>[Pg 199]</span> over the whole work, that it is a marvel; and it is all done without any
+sparing of expense, so that up to the present day it has cost one hundred
+and fifty thousand ducats. And it is held in great estimation in that
+city, because it is full of the richest pavements, stucco-work, and stories,
+distributed among the halls of the building, with public stairs adorned
+by various pictures, as has been related in the Life of Battista Franco;
+besides many other beautiful appurtenances, and the rich ornaments that
+it has at the principal door of entrance, which give it majesty and grandeur,
+making manifest the ability of Sansovino. This method of building
+was the reason that in that city, into which up to that time there had
+never entered any method save that of making their houses and palaces
+with the same order, each one always continuing the same things with
+the same measure and ancient use, without varying according to the
+sites as they found them or according to convenience&mdash;this, I say, was
+the reason that buildings both public and private began to be erected
+with new designs and better order.</p>
+
+<p>The first palace that he built was that of M. Giorgio Cornaro, a most
+beautiful work, erected with all proper appurtenances and ornaments at
+a cost of seventy thousand crowns. Moved by which, a gentleman of
+the Delfino family caused Sansovino to build a smaller one, at a cost of
+thirty thousand crowns, which was much extolled and very beautiful.
+Then he built that of Moro, at a cost of twenty thousand crowns, which
+likewise was much extolled; and afterwards many others of less cost in
+the city and the neighbourhood. Wherefore it may be said that at the
+present day that magnificent city, in the quantity and quality of her
+sumptuous and well-conceived edifices, shines resplendent and is in that
+respect what she is through the ability, industry, and art of Jacopo
+Sansovino, who therefore deserves the highest praise; seeing that with
+those works he has been the reason that the gentlemen of Venice have
+introduced modern architecture into their city, in that not only has that
+been done there which has passed through his hands, but also many&mdash;nay,
+innumerable&mdash;other works which have been executed by other
+masters, who have gone to live there and have achieved magnificent
+things. Jacopo also built the fabric of the loggia in the Piazza di S.
+<span class="pagenum"><a id="Page_200" name="Page_200"></a>[Pg 200]</span> Marco, in the Corinthian Order, which is at the foot of the Campanile of
+the said S. Marco, with a very rich ornamentation of columns, and four
+niches, in which are four figures the size of life and in bronze, of supreme
+beauty. And that work formed, as it were, a base of great beauty to
+the said campanile, which at the foot has a breadth, on one of the sides,
+of thirty-five feet, which is about the extent of Sansovino's ornamentation;
+and a height from the ground to the cornice, where are the windows
+of the bells, of one hundred and sixty feet. From the level of that
+cornice to the other above it, where there is the corridor, is twenty-five
+feet, and the other dado above is twenty-eight feet and a half high; and
+from that level of the corridor to the pyramid, spire, or pinnacle, whatever
+it may be called, is sixty feet. At the summit of that pinnacle the
+little square, upon which stands the Angel, is six feet high, and the said
+Angel, which revolves, is ten feet high; insomuch that the whole height
+comes to be two hundred and ninety-two feet. He also designed and
+executed for the Scuola, or rather, Confraternity and Company of the
+Misericordia, the fabric of that place, an immense building which cost
+one hundred and fifty thousand crowns; and he rebuilt the Church of
+S. Francesco della Vigna, where the Frati de' Zoccoli have their seat, a
+vast work and of much importance.</p>
+
+<div class="figcenter">
+<a name="img063" id="img063"></a>
+<img src="images/img063-tb.jpg" width="500" height="372" alt="Loggetta." title="">
+<p class="caption">LOGGETTA<br>
+(<i>After</i> Jacopo Sansovino. <i>Venice: Piazza di S. Marco</i>)<br>
+<i>Anderson</i><br>
+<span class="link"><a href="images/img063.jpg">View larger image</a></span></p>
+</div>
+
+<p>Nor for all this, the while that he has been giving his attention to
+so many buildings, has he ever ceased from executing every day for his
+own delight great and beautiful works of sculpture, in marble and in
+bronze; and over the holy-water font of the Friars of the Cà Grande
+there is a statue executed in marble by his hand, representing a S. John
+the Baptist, very beautiful and much extolled. At Padua, in the Chapel
+of the Santo, there is a large scene in marble by the same hand, with
+very beautiful figures in half-relief, of a miracle of S. Anthony of Padua;
+which scene is much esteemed in that place. For the entrance of the
+stairs of the Palace of S. Marco he is even now executing in marble, in
+the form of two most beautiful giants, each of seven braccia, a Neptune
+and a Mars, signifying the power that is exercised both on land and on
+sea by that most illustrious Republic. He made a very beautiful statue
+of a Hercules for the Duke of Ferrara; and for the Church of S. Marco
+<span class="pagenum"><a id="Page_201" name="Page_201"></a>[Pg 201]</span> he executed four scenes of bronze in half-relief, one braccio in height and
+one and a half in length, for placing around a pulpit, and containing
+stories of that Evangelist, which are held in great estimation for their
+variety. Over the door of the same S. Marco he has made a Madonna
+of marble, the size of life, which is held to be a very beautiful thing, and
+at the entrance of the sacristy in that place there is by his hand the
+door of bronze, divided into two most beautiful parts, with stories of
+Jesus Christ all in half-relief and wrought excellently well; and over the
+door of the Arsenal he has made a very lovely Madonna of marble, who
+is holding her Son in her arms. All which works not only have given
+lustre and adornment to that Republic, but also have caused Sansovino
+to become daily more known as a most excellent craftsman, and to be
+loved by those Signori and honoured by their magnificent liberality, and
+likewise by the other craftsmen; for every work of sculpture and architecture
+that has been executed in that city in his time has been referred
+to him. And in truth the excellence of Jacopo has well deserved to be
+held in the first rank in that city among the craftsmen of design, and his
+genius is rightly loved and revered by all men, both nobles and plebeians,
+for the reason that, besides other things, he has brought it about, as has
+been said, with his knowledge and judgment, that that city has been
+almost entirely made new and has learned the true and good manner of
+building.</p>
+
+<p>But, if she has received from him beauty and adornment, he, on the
+other hand, has received many benefits from her. Thus, in addition to
+other things, he has lived in her, from the time when he first went there
+to the age of seventy-eight years, full of health and strength; and the
+air and that sky have done so much for him, that he does not seem, one
+might say, more than forty. He has had, and still has, from a most
+talented son&mdash;a man of letters&mdash;two grandchildren, one male and the
+other female, both of them pictures of health and beauty, to his supreme
+contentment; and, what is more, he is still alive, full of happiness and
+with all the greatest conveniences and comforts that any man of his
+profession could have. He has always loved his brother-craftsmen, and
+in particular he has been very much the friend of the excellent and
+<span class="pagenum"><a id="Page_202" name="Page_202"></a>[Pg 202]</span> famous Tiziano, as he also was of M. Pietro Aretino during his lifetime.
+For all these reasons I have judged it well to make this honourable
+record of him, although he is still living, and particularly because now
+he is by way of doing little in sculpture.</p>
+
+<p>Sansovino had many disciples in Florence: Niccolò, called Tribolo,
+as has been related, and Solosmeo da Settignano, who finished with the
+exception of the large figures the whole of the tomb in marble that is at
+Monte Casino, wherein is the body of Piero de' Medici, who was drowned
+in the River Garigliano. His disciple, likewise, was Girolamo da Ferrara,
+called Lombardo, of whom there has been an account in the Life
+of Benvenuto Garofalo of Ferrara; which Girolamo has learned his
+art both from the first Sansovino and from this second one in such a
+manner, that, besides the works at Loreto of which we have spoken,
+both in marble and in bronze, he has executed many works in Venice.
+This master, although he came under Sansovino at the age of thirty and
+knowing little of design, being rather a man of letters and a courtier than
+a sculptor, although he had previously executed some works in sculpture,
+nevertheless applied himself in such a manner, that in a few years he
+made the proficience that may be perceived in his works in half-relief
+that are in the fabrics of the Library and the Loggia of the Campanile
+of S. Marco; in which he acquitted himself so well, that he was afterwards
+able to make by himself alone the statues of marble and the Prophets
+that he executed, as has been related, at the Madonna of Loreto.</p>
+
+<div class="figcenter">
+<a name="img064" id="img064"></a>
+<img src="images/img064-tb.jpg" width="500" height="370" alt="The Miracle of S. Anthony." title="">
+<p class="caption">THE MIRACLE OF S. ANTHONY<br>
+(<i>After the relief by</i> Jacopo Sansovino. <i>Padua: S. Antonio</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img064.jpg">View larger image</a></span></p>
+</div>
+
+<p>A disciple of Sansovino, also, was Jacopo Colonna, who died at
+Bologna thirty years ago while executing a work of importance. This
+Jacopo made for the Church of S. Salvadore in Venice a nude S. Jerome
+of marble, still to be seen in a niche near the organ, which was a beautiful
+figure and much extolled, and for S. Croce della Giudecca he made a
+Christ also nude and of marble, who is showing His Wounds, a work of
+beautiful artistry; and likewise for S. Giovanni Nuovo three figures,
+S. Dorothy, S. Lucia, and S. Catharine. In S. Marina may be seen a
+horse with an armed captain upon it, by his hand; and all these works
+can stand in comparison with any that are in Venice. In Padua, for the
+Church of S. Antonio, he executed in stucco the said Saint and S. Bernardino,
+<span class="pagenum"><a id="Page_203" name="Page_203"></a>[Pg 203]</span> clothed. Of the same material he made for Messer Luigi Cornaro
+a Minerva, a Venus, and a Diana, larger than life and in the round;
+in marble a Mercury, and in terra-cotta a nude Marzio as a young
+man, who is drawing a thorn from his foot, or rather, showing that he
+has drawn it out, he holds the foot with one hand, looking at the wound,
+and with the other hand seems to be about to cleanse it with a cloth;
+which last work, because it is the best that Jacopo ever did, the said
+Messer Luigi intends to have cast in bronze. For the same patron he
+made another Mercury of stone, which was afterwards presented to Duke
+Federigo of Mantua.</p>
+
+<p>Another disciple of Sansovino was Tiziano da Padova, a sculptor,
+who carved some little figures of marble in the Loggia of the Campanile
+of S. Marco at Venice; and in the Church of the same S. Marco there may
+be seen, likewise fashioned and cast in bronze by him, a large and beautiful
+cover for a basin in bronze, in the Chapel of S. Giovanni. This Tiziano
+had made a statue of S. John, with which were the four Evangelists and
+four stories of S. John, wrought with beautiful artistry for casting in
+bronze; but he died at the age of thirty-five, and the world was robbed
+of an excellent and valiant craftsman. And by the same hand is the
+vaulting of the Chapel of S. Antonio da Padova, with a very rich pattern
+of compartments in stucco. He had begun for the same chapel a grating
+of five arches in bronze, which were full of stories of that Saint, with
+other figures in half-relief and low-relief; but this, also, by reason of his
+death and of the disagreement of those who had the charge of having it
+done, remained unfinished. Many pieces of it had already been cast,
+which turned out very beautiful, and many others were made in wax,
+when he died, and for the said reasons the whole work was abandoned.
+The same Tiziano, when Vasari executed the above-described decorations
+for the gentlemen of the Company of the Calza in Canareio, made for
+that work some statues in clay and many terminal figures. And he was
+employed many times on ornaments for scenic settings, theatres, arches,
+and other suchlike things, whereby he won much honour; having executed
+works all full of invention, fantasy, and variety, and above all with
+great rapidity.</p>
+
+<p><span class="pagenum"><a id="Page_204" name="Page_204"></a>[Pg 204]</span> Pietro da Salò, also, was a disciple of Sansovino; and after having
+toiled at carving foliage up to the age of thirty, finally, assisted by Sansovino,
+who taught him, he set himself to make figures of marble. In
+which he so delighted, and studied in such a manner, that in two years
+he was working by himself; to which witness is borne by some passing
+good works by his hand that are in the tribune of S. Marco, and the
+statue of a Mars larger than life that is in the façade of the Palazzo
+Pubblico, which statue is in company with three others by the hands of
+good craftsmen. He also made two figures for the apartments of the
+Council of Ten, one male and the other female, in company with two
+others executed by Danese Cattaneo, a sculptor of highest renown, who,
+as will be related, was likewise a disciple of Sansovino; which figures
+serve to adorn a chimney-piece. Pietro made, in addition, three figures
+that are at S. Antonio, in the round and larger than life; and these are a
+Justice, a Fortitude, and a statue of a Captain-General of the Venetian
+forces, all executed with good mastery. He also made a statue of Justice
+in a beautiful attitude and with good design, which was placed upon a
+column in the Piazza of Murano, and another in the Piazza del Rialto in
+Venice, as a support for that stone where public proclamations are made,
+which is called the Gobbo<a id="FNanchor13" name="FNanchor13"></a><a href="#Footnote13" title="Go to footnote 13" class="fnanchor">[13]</a> di Rialto; and these works have made him
+known as a very good sculptor. For the Santo, in Padua, he made a
+very beautiful Thetis; and a Bacchus who is squeezing a bunch of grapes
+into a cup, which figure, the most difficult that he ever executed, and the
+best, he left at his death to his children, who have it still in their house,
+seeking to sell it to him who shall best recognize and reward the labour
+that their father endured for it.</p>
+
+<p>Likewise a disciple of Jacopo was Alessandro Vittoria of Trento, a
+most excellent sculptor and much the friend of study, who with a very
+beautiful manner has shown in many works that he has executed, as
+well in stucco as in marble, that he has a ready brain and a lovely style,
+and that his labours are worthy to be held in estimation. By the hand
+of this Alessandro, in Venice, at the principal door of the Library of
+S. Marco, are two great women of stone, each ten palms high, which are
+<span class="pagenum"><a id="Page_205" name="Page_205"></a>[Pg 205]</span> full of grace and beauty and worthy to be much extolled. He has made
+four figures for the tomb of the Contarini in the Santo of Padua, two
+slaves, or rather, captives, with a Fame and a Thetis, all of stone; and
+an Angel ten feet high, a very beautiful statue, which has been placed
+upon the Campanile of the Duomo in Verona. And to Dalmatia he sent
+four Apostles also of stone, each five feet high, for the Cathedral of Traù.
+He made, also, some figures in silver for the Scuola of S. Giovanni Evangelista
+in Venice, which were all in full-relief and rich in grace, and a
+S. Teodoro of two feet in silver, in the round. For the Chapel of the
+Grimani, in S. Sebastiano, he wrought two figures in marble, each three
+feet high; and then he made a Pietà, with two figures of stone, held to
+be good, which are at S. Salvadore in Venice. He made a Mercury, held
+to be a good figure, for the pulpit of the Palazzo di S. Marco, which looks
+out over the Piazza; and for S. Francesco della Vigna he made three
+figures large as life&mdash;S. Anthony, S. Sebastian, and S. Rocco&mdash;all of
+stone and full of beauty and grace, and well wrought. For the Church
+of the Crocicchieri he made in stucco two figures each six feet high, very
+beautiful, which are placed on the high-altar; and of the same material
+he made, as has been already told, all the ornaments that are in the
+vaulting of the new staircase of the Palazzo di S. Marco, with various
+patterns of compartments in stucco, where Battista Franco afterwards
+painted in the spaces the scenes, figures, and grotesques that are there.
+In like manner, Alessandro executed the ornaments of the staircase of
+the Library of S. Marco, all works of great mastery; and a chapel for the
+Friars Minors, and in the altar-piece of marble, which is very large and
+very beautiful, the Assumption of Our Lady in half-relief, with five great
+figures at the foot which have in them something of the grand and are
+made with a beautiful manner, a lovely and dignified flow of draperies,
+and much diligence of execution; which figures of marble&mdash;S. Jerome,
+S. John the Baptist, S. Peter, S. Andrew, and S. Leonardo&mdash;each six
+feet high, are the best of all the works that he has done up to the present.
+And as a crown to that chapel, on the frontispiece, are two figures likewise
+of marble, each eight feet high and very graceful. The same Vittoria
+has executed many portraits in marble and most beautiful heads,
+<span class="pagenum"><a id="Page_206" name="Page_206"></a>[Pg 206]</span> which are good likenesses, such as that of Signor Giovan Battista Feredo,
+placed in the Church of S. Stefano, that of Camillo Trevisano, the orator,
+placed in the Church of SS. Giovanni e Polo; the most illustrious Marc'Antonio
+Grimani, likewise placed in the Church of S. Sebastiano; and in
+S. Gimignano, the rector of that church. He has also portrayed Messer
+Andrea Loredano. M. Priano da Lagie, and two brothers of the Pellegrini
+family&mdash;M. Vincenzio and M. Giovan Battista&mdash;both orators. And since
+Vittoria is young and a willing worker, talented, amiable, desirous of
+acquiring name and fame, and, lastly, very gentle, we may believe that
+if he lives, we are destined to see most beautiful works come from him
+from day to day, worthy of his name of Vittoria, and that, if his life
+endures, he is like to be a most excellent sculptor and to win the palm
+from all the others of that country.</p>
+
+<p>There is also one Tommaso da Lugano, a sculptor, who likewise has
+been many years with Sansovino, and has made with the chisel many
+figures in the Library of S. Marco, very beautiful, in company with
+others. And then, having left Sansovino, he has made by himself a
+Madonna with the Child in her arms, and at her feet a little S. John,
+which are all three figures of such beautiful form, attitude, and manner,
+that they can stand among all the other beautiful modern statues that
+are in Venice; which work is placed in the Church of S. Bastiano. And a
+portrait of the Emperor Charles V, which he made from the breast
+upwards, of marble, has been held to be a marvellous thing, and was
+very dear to his Majesty. And since Tommaso has delighted to work
+rather in stucco than in marble or bronze, there are innumerable most
+beautiful figures by his hand and works executed by him in that material
+in the houses of various gentlemen of Venice. But it must suffice to have
+said this much of him.</p>
+
+<p>Of the Lombards, finally, it remains for us to make record of Jacopo
+Bresciano, a young man of twenty-four, who has not long parted from
+Sansovino. He has given proof at Venice, in the many years that he
+has been there, of being talented and likely to prove excellent, as he has
+since shown in the works that he has executed in his native Brescia,
+and particularly in the Palazzo Pubblico, and if he lives and studies,
+<span class="pagenum"><a id="Page_207" name="Page_207"></a>[Pg 207]</span> there will be seen from his hand, also, things greater and better, for he
+has a fine spirit and most beautiful gifts.</p>
+
+<p>Of our Tuscans, one of the disciples of Sansovino has been the
+Florentine Bartolommeo Ammanati, of whom record has already been
+made in many places in this work. This Bartolommeo, I say, worked
+under Sansovino in Venice; and then in Padua for Messer Marco da
+Mantova, a most excellent doctor of medicine, in whose house he made
+an immense giant from more than one piece of stone for his court, and his
+tomb, with many statues. Afterwards, Ammanati having gone to Rome
+in the year 1550, there were allotted to him by Giorgio Vasari four statues
+of marble, each of four braccia, for the tomb of the old Cardinal di Monte,
+which Pope Julius III had allotted to Giorgio himself in the Church of
+S. Pietro a Montorio, as will be related; which statues were held to be
+very beautiful. Wherefore Vasari, having conceived an affection for him,
+made him known to the said Julius III, who, having ordained what he
+wanted done, caused him to be set to work; and so both of them, Vasari
+and Ammanati, worked together for a time at the Vigna. But not long
+afterwards, when Vasari had gone to serve Duke Cosimo in Florence,
+the above-named Pope being dead, Ammanati, who found himself without
+work and badly recompensed by that Pontiff for his labours in Rome,
+wrote to Vasari, praying him that, even as he had assisted him in Rome,
+so he should assist him in Florence with the Duke. Whereupon Vasari,
+occupying himself with fervour in this matter, introduced him into the
+service of the Duke, for whom he has executed many statues in marble
+and in bronze that are not yet in position. For the garden of Castello
+he has made two figures in bronze larger than life&mdash;namely, a Hercules
+who is crushing Antæus, from which Antæus, in place of his spirit, there
+issues from the mouth water in great abundance. Finally, Ammanati has
+executed in marble the colossal figure of Neptune that is in the Piazza, ten
+braccia and a half in height; but since the work of the fountain, in the
+centre of which the said Neptune is to stand, is not finished, I shall say
+nothing more of it. The same Ammanati, as architect, is giving his attention
+with much honour and praise to the fabric of the Pitti, in which work
+he has a great opportunity to show the worth and grandeur of his mind, and
+<span class="pagenum"><a id="Page_208" name="Page_208"></a>[Pg 208]</span> the magnificence and great spirit of Duke Cosimo. I could tell many
+particulars of this sculptor, but since he is my friend, and another, so I hear,
+is writing his history, I shall say no more, in order not to set my hand to
+things that may be related by another better than I perhaps might be able.</p>
+
+<p>It remains for us to make mention, as the last of Sansovino's disciples,
+of Danese Cattaneo, the sculptor of Carrara, who was already
+with him in Venice when still a little boy. Parting from his master at
+the age of nineteen, he made by himself a boy of marble for S. Marco,
+and a S. Laurence for the Church of the Friars Minors; for S. Salvadore
+another boy in marble, and for SS. Giovanni e Polo the statue of a nude
+Bacchus, who is grasping a bunch of grapes from a vine which twines
+round a trunk that he has behind his legs, which statue is now in the
+house of the Mozzenighi at S. Barnaba. He has executed many figures
+for the Library of S. Marco and for the Loggia of the Campanile, together
+with others of whom there has been an account above; and, in addition
+to those named, the two that have been mentioned already as being in
+the apartments of the Council of Ten. He made portraits in marble of
+Cardinal Bembo and Contarini, the Captain-General of the Venetian
+forces, which are both in S. Antonio at Padua, with rich and beautiful
+ornaments about them. And in the same city of Padua, in S. Giovanni
+di Verdara, there is by the same hand the portrait of Messer Girolamo
+Gigante, a most learned jurist. And for S. Antonio della Giudecca, in
+Venice, he has made a very lifelike portrait of Giustiniano, the Lieutenant
+of the Grand Master of Malta, and that of Tiepolo, who was three times
+General; but these have not yet been set in their places. But the greatest
+work and the most distinguished that Danese has ever executed is a rich
+chapel of marble, with large figures, in S. Anastasia at Verona, for Signor
+Ercole Fregoso, in memory of Signor Jano, once Lord of Genoa, and
+then Captain-General of the Venetians, in whose service he died. This
+work is of the Corinthian Order, in the manner of a triumphal arch, and
+divided by four great columns, round and fluted, with capitals of olive-leaves,
+which rest upon a base of proportionate height, making the space
+in the centre as wide again as one of those at the sides; with an arch
+between the columns, above which there rest on the capitals the architrave
+<span class="pagenum"><a id="Page_209" name="Page_209"></a>[Pg 209]</span> and cornice, and in the centre, within the arch, a very beautiful
+decoration of pilasters, with cornice and frontispiece, and with a ground
+formed by a tablet of most beautiful black basanite, where there is the
+statue of a nude Christ, larger than life and in the round, a very good
+figure; which statue stands in the act of showing the Wounds, with a
+piece of drapery bound round the flanks and reaching between the legs
+to the ground. Over the angles of the arch are Signs of His Passion,
+and between the columns that are on the right side there stands upon a
+pedestal a statue in the round representing Signor Jano Fregoso, fully
+armed after the antique save that he shows the arms and legs nude, and
+he has the left hand upon the pommel of the sword at his girdle, and
+with the right hand he holds the general's baton; having behind him as a
+pendant, within the space between the columns, a Minerva in half-relief,
+who, poised in the air, holds with one hand a Ducal staff, such as that of
+the Doges of Venice, and with the other a banner containing the device
+of S. Mark. Between the two other columns, as the other pendant, is
+Military Valour in armour, on her head the helmet-crest with the house-leek
+upon it, and on her cuirass the device of an ermine that stands upon
+a rock surrounded by mire, with letters that run&mdash;"Potius mori quam
+f&oelig;dari," and with the device of the Fregosi; and above is a Victory, with
+a garland of laurel and a palm in the hands. Above the columns, architrave,
+frieze and cornice, is another range of pilasters, upon the crowns
+of which stand two figures of marble in the round, and two trophies
+likewise in the round and of the same size as the figures. Of these two
+statues, one is Fame in the act of taking flight, pointing with the right
+hand to Heaven, and with a trumpet that she is sounding; and this figure
+has light and most beautiful draperies about the body, and all the rest
+nude. The other, representing Eternity, is clothed in heavier vestments,
+and stands in majesty, holding in the left hand a round on which she is
+gazing, and with the right hand she grasps a hem of her garment wherein
+are globes that signify the various ages, with the celestial sphere encircled
+by the serpent that seizes the tail in the mouth. In the central space
+above the great cornice, which forms and separates those two other
+spaces, are three steps upon which are seated two large nude boys, who
+<span class="pagenum"><a id="Page_210" name="Page_210"></a>[Pg 210]</span> hold a great shield with the helmet above it, containing the devices of
+the Fregosi; and below those steps is an epitaph of basanite with large
+gilded letters. That whole work is truly worthy to be extolled, for
+Danese executed it with great diligence, and gave beautiful proportion
+and grace to the composition, and made each figure with great study.
+And Danese is not only, as has been described, an excellent sculptor,
+but also a good and much extolled poet, as his works clearly demonstrate,
+on which account he has always had intercourse and strait friendship
+with the greatest men and choicest spirits of our age; and of this may
+serve as a proof the work described above, executed by him with much
+poetic feeling. By the hand of Danese is the nude statue of the Sun
+above the ornament of the well in the courtyard of the Mint, at Venice;
+in place of which those Signori desired a Justice, but Danese considered
+that in that place the Sun is more appropriate. This figure has a bar of
+gold in the left hand, and in the right hand a sceptre, at the end of which
+he made an eye, and about the head the rays of the sun, and above all
+the globe of the world encircled by the serpent that holds the tail in the
+mouth, with some little mounds of gold about the globe, generated by
+him. Danese would have liked to make two other statues, that of the
+Moon for silver and another for copper, with that of the Sun for gold;
+but it was enough for those Signori that there should be that of gold, as
+the most perfect of all the metals. The same Danese has begun another
+work in memory of Prince Loredano, Doge of Venice, wherein it is hoped
+that in invention and fantasy he is to surpass by a great measure all his
+other labours; which work is to be placed in the Church of SS. Giovanni
+e Polo in Venice. But, since this master is alive and still constantly at
+work for the benefit of the world and of art, I shall say nothing more of
+him; nor of other disciples of Sansovino. I will not omit, however, to
+speak briefly of some other excellent craftsmen, sculptors and painters,
+from that dominion of Venice, taking my opportunity from those mentioned
+above, in order to make an end of speaking of them in this Life of
+Sansovino.</p>
+
+<div class="figcenter">
+<a name="img065" id="img065"></a>
+<img src="images/img065-tb.jpg" width="300" height="464" alt="Palazzo Chiericati." title="">
+<p class="caption">PALAZZO CHIERICATI<br>
+(<i>After</i> Andrea Palladio. <i>Vicenza</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img065.jpg">View larger image</a></span></p>
+</div>
+
+<p>Vicenza, then, has likewise had at various times sculptors, painters,
+and architects, of some of whom record was made in the Life of Vittore
+<span class="pagenum"><a id="Page_211" name="Page_211"></a>[Pg 211]</span> Scarpaccia, and particularly of those who flourished in the time of Mantegna
+and learned to draw from him; and such were Bartolommeo Montagna,
+Francesco Verbo, and Giovanni Speranza, all painters, by whose
+hands are many pictures that are dispersed throughout Vicenza. Now in
+the same city there are many sculptures by the hand of one Giovanni,
+a carver and architect, which are passing good, although his proper
+profession has been to carve foliage and animals, as he still does excellently
+well, although he is old. In like manner, Girolamo Pironi of
+Vicenza has executed praiseworthy works of sculpture and painting in
+many places in his city. But among all the masters of Vicenza he who
+most deserves to be extolled is the architect Andrea Palladio, from his
+being a man of singular judgment and brain, as many works demonstrate
+that were executed by him in his native country and elsewhere, and in
+particular the Palazzo della Comunità, a building much renowned, with
+two porticoes composed in the Doric Order with very beautiful columns.
+The same Palladio has erected a palace, beautiful and grand beyond all
+belief, with an infinity of the richest ornaments, for Count Ottavio de'
+Vieri, and another like it for Count Giuseppe di Porto, which could not
+be more beautiful or magnificent, nor more worthy than it is of no matter
+how great a Prince; and another is being built even now for Count Valerio
+Chiericati under the direction of the same master, very similar in majesty
+and grandeur to the ancient buildings so much extolled. For the Counts
+of Valmorana, likewise, he has now carried almost to completion another
+most superb palace, which does not yield in any particular to any of
+those mentioned above. In the same city, upon the piazza commonly
+called the Isola, he has built another very magnificent fabric for Signor
+Valerio Chiericati; and at Pugliano, a place in the Vicentino, a most
+beautiful house for the Chevalier, Signor Bonifazio Pugliana. In the
+same territory of Vicenza, at Finale, he has erected another fabric for
+Messer Biagio Saraceni; and one at Bagnolo for Signor Vittore Pisani,
+with a large and very rich court in the Doric Order with most beautiful
+columns. Near Vicenza, at the township of Lisiera, he has constructed
+for Signor Giovan Francesco Valmorana another very rich edifice, with
+four towers at the corners, which make a very fine effect. At Meledo,
+<span class="pagenum"><a id="Page_212" name="Page_212"></a>[Pg 212]</span> likewise, for Count Francesco Trissino and Lodovico his brother, he has
+begun a magnificent palace upon a hill of some eminence, with many
+ranges of loggie, staircases, and other appurtenances of a villa. At
+Campiglia, likewise in the Vicentino, he is making for Signor Mario
+Ropetta another similar habitation, with so many conveniences, rich
+apartments of rooms, loggie, staircases, and chambers dedicated to
+various virtues, that it will be, when once carried to completion, an abode
+rather for a King than for a nobleman. At Lunedo he has built another,
+in the manner of a villa, for Signor Girolamo de' Godi; and at Angarano
+another for Count Jacopo Angarano, which is truly most beautiful,
+although it appears a small thing to the great mind of that lord. At
+Quinto, also, near Vicenza, he erected not long ago another palace for
+Count Marc'Antonio Tiene, which has in it more of the grand and the
+magnificent than I could express. In short, Palladio has constructed
+so many vast and lovely buildings within and without Vicenza, that, even
+if there were no others there, they would suffice to make a very handsome
+city with most beautiful surroundings.</p>
+
+<p>In Venice the same Palladio has begun many buildings, but one that
+is marvellous and most notable among them all, in imitation of the
+houses that the ancients used to build, in the Monastery of the Carità.
+The atrium of this is forty feet wide and fifty-four feet long, which are
+exactly the diameters of the quadrangle, the wings being one-third and a
+half of the length. The columns, which are Corinthian, are three feet
+and a half in thickness and thirty-five feet high. From the atrium
+one goes into the peristyle, that is, into a clauster (for thus do the friars
+call their courts), which on the side towards the atrium is divided into
+five parts, and at the flanks into seven, with three orders of columns
+one above the other, of which the Doric is at the foot, and above it the
+Ionic and the Corinthian. Opposite to the atrium is the refectory, two
+squares in length, and as high as the level of the peristyle, with its
+officines around it, all most commodious. The stairs are spiral, in the
+form of an oval, and they have neither wall nor column, nor any part
+in the middle to support them; they are thirteen feet wide, and the steps
+by their position support one another, being fixed in the wall. This
+<span class="pagenum"><a id="Page_213" name="Page_213"></a>[Pg 213]</span> edifice is all built of baked stone, that is, of brick, save the bases of the
+columns, the capitals, the imposts of the arches, the stairs, the surface
+of the cornices, and the whole of the windows and doors. The same
+Palladio has built for the Black Friars of S. Benedict, in their Monastery
+of S. Giorgio Maggiore in Venice, a very large and most beautiful refectory
+with its vestibule in front, and has begun to found a new church, with
+such beautiful ordering, according as the model shows, that, if it is carried
+to completion, it will prove a stupendous and most lovely work. Besides
+this, he has begun the façade of the Church of S. Francesco della Vigna,
+which the very reverend Grimani, Patriarch of Aquileia, is causing to be
+made of Istrian stone, with a most magnificent disregard of expense;
+the columns are four palms thick at the foot, forty palms high, and in
+the Corinthian Order, and already the whole basement at the foot is
+built. At Gambaraie, a place seven miles distant from Venice, on the
+River Brenta, the same Palladio has made a very commodious habitation
+for M. Niccolò and M. Luigi Foscari, gentlemen of Venice. Another he
+has built at Marocco, a place in the Mestrino, for the Chevalier Mozzenigo;
+at Piombino one for M. Giorgio Cornaro, one at Montagnana for the
+Magnificent M. Francesco Pisani, and another at Cicogna in the territory
+of Padua for Count Adovardo da Tiene, a gentleman of Vicenza. At
+Udine, in Friuli, he has built one for Signor Floriano Antimini; at Motto,
+a township likewise in Friuli, one for the Magnificent M. Marco Zeno,
+with a most beautiful court and porticoes all the way round; and at
+Fratta, a township in the Polesine, a great fabric for Signor Francesco
+Badoaro, with some very beautiful and fantastic loggie. In like manner,
+near Asolo, a place in the territory of Treviso, he has erected a most
+commodious habitation for the very reverend S. Daniello Barbaro,
+Patriarch-Elect of Aquileia, who has written upon Vitruvius, and for
+the most illustrious M. Marc'Antonio, his brother, with such beautiful
+ordering, that nothing better or greater can ever be imagined. Among
+other things, he has made there a fountain very similar to that which
+Pope Julius caused to be made at his Vigna Giulia in Rome; with ornaments
+of stucco and paintings everywhere, executed by excellent masters.
+In Genoa M. Luca Giustiniano has erected a building with the design of
+<span class="pagenum"><a id="Page_214" name="Page_214"></a>[Pg 214]</span> Palladio, which is held to be very beautiful, as are also all those mentioned
+above; but it would have made too long a story to seek to recount the
+many particulars of the strange and lovely inventions and fantasies that
+are in them. But, since there is soon to come into the light of day a
+work of Palladio, in which will be printed two books of ancient edifices
+and one book of those that he himself has caused to be built, I shall
+say nothing more of him, because this will be enough to make him known
+as the excellent architect that he is held to be by all who see his beautiful
+works; besides which, being still young and attending constantly to the
+studies of his art, every day greater things may be expected of him.
+Nor will I omit to say that he has wedded to such gifts a nature so amiable
+and gentle, that it renders him well-beloved with everyone; wherefore
+he has won the honour of being accepted into the number of the
+Academicians of Design in Florence, together with Danese, Giuseppe
+Salviati, Tintoretto, and Battista Farinato of Verona, as will be told in
+another place, speaking of the said Academicians.</p>
+
+<p>Bonifazio, a Venetian painter, of whom I have never before received
+any information, is also worthy to be numbered in the company of these
+many excellent craftsmen, being a well-practised and able colourist.
+This master, besides many pictures and portraits that are dispersed
+throughout Venice, has executed for the altar of the Relics in the Church
+of the Servites, in the same city, an altar-piece wherein is a Christ with
+the Apostles about Him, and Philip who appears to be saying, "Domine,
+ostende nobis patrem," which is painted with a very good and beautiful
+manner. And for the altar of the Madonna in the Church of the Nuns
+of the Spirito Santo, he has executed another most beautiful altar-picture
+with a vast number of men, women, and children of every age,
+who in company with the Virgin are adoring a God the Father who is
+in the air with many Angels about Him. Another painter of passing
+good name in Venice is Jacopo Fallaro, who has painted on the doors
+of the organ in the Church of the Ingesuati the Blessed Giovanni Colombini
+receiving his habit in the Consistory from the Pope, with a good
+number of Cardinals. Another Jacopo, called Pisbolica, has executed
+an altar-piece for S. Maria Maggiore in Venice, wherein is Christ in the air
+<span class="pagenum"><a id="Page_215" name="Page_215"></a>[Pg 215]</span> with many Angels, and below Him Our Lady with the Apostles. And
+one Fabrizio Viniziano has painted on the façade of a chapel in the
+Church of S. Maria Sebenico the Consecration of the baptismal font, with
+many portraits from life executed with beautiful grace and a good manner.</p>
+
+
+<h3>NOTES.</h3>
+
+<h4>I., line 1, p. <a href="#Page_187">187</a>.</h4>
+
+<p>The family of the Tatti in Florence is recorded in the books of the
+Commune from the year 1300, because, having come from Lucca, a very
+noble city of Tuscany, it was always abundant in industrious and honoured
+men, and they were most highly favoured by the House of Medici. Of
+this family was born Jacopo, of whom we are writing in this place; and
+he was born from Antonio, a most excellent person, and from his wife
+Francesca, in the month of January, 1477. In the first years of his boyhood
+he was set, as is usual, to learn his letters; and, after beginning to show
+in these vivacity of brain and readiness of spirit, not long afterwards he
+applied himself of his own accord to drawing, giving evidence in a certain
+sort that nature was inclining him much more to this kind of work than
+to letters, for the reason that he went very unwillingly to school and
+learned much against his will the scabrous rudiments of grammar. His
+mother, whom he resembled strongly, perceiving this and fostering his
+genius, gave him assistance, causing him to be taught design in secret,
+because she loved the thought that her son should be a sculptor, perchance
+in emulation of the then rising glory of Michelagnolo Buonarroti,
+who at that time was still quite young; and also moved by a certain
+fateful augury, in that Michelagnolo and this Jacopo had been born in
+one and the same street, called Via S. Maria, near the Via Ghibellina.
+Now the boy, after some time, was placed to learn the trade of a merchant;
+in which delighting even less than in letters, he did and said so
+much, that he obtained leave from his father to attend without hindrance
+to that towards which he was urged by nature.</p>
+
+<p><span class="pagenum"><a id="Page_216" name="Page_216"></a>[Pg 216]</span> There had come to Florence at that time Andrea Contucci of Monte
+Sansovino, a township near Arezzo, risen to great fame in our days from
+having been the birthplace of Pope Julius III; which Andrea, having
+acquired in Italy and in Spain the name of the best sculptor and architect
+that there was in art after Buonarroti, was staying in Florence in order
+to execute two figures of marble. Etc.</p>
+
+
+<h4>II., line 18, p. <a href="#Page_197">197</a>.</h4>
+
+<p>(And he was executing many works of the greatest importance for all
+those lords), having been recognized by three Pontiffs, and especially
+by Pope Leo, who presented him with a Knighthood of S. Pietro, which
+he sold during his illness, doubting lest he might die; (when God, etc.).</p>
+
+
+<h4>III., line 22, p. <a href="#Page_198">198</a>.</h4>
+
+<p>Having then entered on that office, he began to occupy himself with
+every care, both with regard to buildings and in the management of the
+papers and of the books that he held by virtue of his office, acquitting
+himself with all possible diligence in the affairs of the Church of S. Marco,
+of the Commissions, which are a great number, and of the many other
+matters that are in the charge of those Procurators; and he showed
+extraordinary lovingness towards those Signori, in that, having turned
+his whole attention to benefiting them and to directing their affairs to
+the aggrandizement, embellishment, and ornamentation of the church,
+the city, and the public square (a thing never yet done by any other in
+that office), he provided them with various advantages, profits, and
+revenues by means of his inventions, with his ingenuity of brain and
+readiness of spirit, yet always with little or no expense to the Signori
+themselves. Among which benefits, one was this; in the year 1529
+there were between the two columns in the Piazza some butchers' stalls,
+and also between the one column and the other many wooden cabins
+to accommodate persons in their natural necessities&mdash;a thing most filthy
+and disgraceful, both for the dignity of the Palace and of the Piazza
+Pubblica, and for the strangers who, coming into Venice by way of S.
+Giorgio, saw first of all on arrival that filthiness. Jacopo, after demonstrating
+<span class="pagenum"><a id="Page_217" name="Page_217"></a>[Pg 217]</span> to the Prince Gritti the honourable and profitable nature of his
+design, caused those stalls and cabins to be removed; and, placing the
+stalls where they now are and making certain places for the sellers of
+herbs, he obtained for the Procurators an additional revenue of seven
+hundred ducats, embellishing at the same time the Piazza and the city.
+Not long afterwards, having perceived that in the Merceria (on the way
+to the Rialto, near the Clock), by removing a house that paid a rent of
+twenty-six ducats, a street could be made leading into the Spadaria,
+whereby the rent of the houses and shops all around would be increased,
+he threw down that house and increased their revenues by one hundred
+and fifty ducats a year. Besides this, by placing on that site the hostelry
+of the Pellegrino and another in the Campo Rusolo, he brought them in
+another four hundred ducats. He obtained for them similar benefits
+by the buildings in the Pescaria, and, on divers other occasions, by
+many houses and shops and other places belonging to those Signori, at
+various times; insomuch that the Procurators, having gained by his care
+a revenue of more than two thousand ducats, have been rightly moved
+to love him and to hold him dear.</p>
+
+<p>Not long afterwards, by order of the Procurators, he set his hand to
+the very rich and beautiful building of the Library opposite to the Palazzo
+Pubblico, with such a variety of architecture (for it is both Doric and
+Corinthian), and such a wealth of carvings, cornices, columns, capitals,
+and half-length figures throughout the whole work, that it is a marvel;
+and all without any sparing of expense, since it is full of the richest
+pavements, stucco-work and scenes throughout the halls of that place,
+and public staircases adorned with various pictures, as has been related
+in the Life of Battista Franco, not to speak of the appurtenances and rich
+ornaments that it has at the principal door of entrance, which give it
+majesty and grandeur, demonstrating the ability of Sansovino. Which
+method of building was the reason that in that city, into which there
+had not entered up to that time any other method but that of building
+their houses and palaces in one and the same order, each man always
+continuing the same things with the same measurements and ancient
+use, without varying according to the sites as they found them, or according
+<span class="pagenum"><a id="Page_218" name="Page_218"></a>[Pg 218]</span> to convenience; it was the reason, I say, that buildings both public
+and private began to be erected with new designs and better order, and
+according to the ancient teaching of Vitruvius; and that work, in the
+opinion of those who are good judges and have seen many parts of the
+world, is without any equal.</p>
+
+<p>He then built the Palace of Messer Giovanni Delfino, situated on the
+Grand Canal on the other side from the Rialto, opposite to the Riva del
+Ferro, at a cost of thirty thousand ducats. He built, likewise, that of
+Messer Leonardo Moro at S. Girolamo, a work of great cost, which has
+almost the appearance of a castle. And he erected the Palace of Messer
+Luigi de' Garzoni, wider by thirteen paces in every direction than is the
+Fondaco de' Tedeschi, with so many conveniences, that water runs
+through the whole fabric, which is adorned with four most beautiful
+figures by Sansovino; which palace is at Ponte Casale, in the neighbourhood
+of Venice. But the most beautiful is the Palace of Messer Giorgio
+Cornaro on the Grand Canal, which, without any doubt surpassing the
+others in convenience, majesty, and grandeur, is considered perhaps the
+finest that there is in Italy. He also built (to have done with speaking
+of private edifices) the Scuola or Confraternity of the Misericordia, a vast
+work costing one hundred and thirty thousand crowns, which, when
+carried to completion, will prove to be the most superb edifice in Italy.
+And his work, also, is the Church of S. Francesco della Vigna, where
+the Frati de' Zoccoli have their seat, a work of great size and importance;
+but the façade was by another master. The Loggia about the Campanile
+of S. Marco, in the Corinthian Order, was from his design, with a very
+rich ornament of columns, and with four niches, in which are four
+supremely beautiful figures in bronze, little less than the size of life,
+which are by his hand, together with various scenes and figures in low-relief.
+That work makes a most beautiful base to the said campanile,
+which has a thickness, on one of the sides, of thirty-five feet, which is
+about the extent of Sansovino's ornamentation. In height, from the
+ground to the cornice where are the windows of the bells, it is one hundred
+and sixty feet; from the level of that cornice to the other above it, where
+the corridor is, twenty-five feet; and the other dado above has a height
+<span class="pagenum"><a id="Page_219" name="Page_219"></a>[Pg 219]</span> of twenty-eight feet and a half. From that level of the corridor up to
+the pyramid is sixty feet; at the summit of which spire, the little square,
+upon which rests the Angel, is six feet high, and the said Angel, which
+turns with every wind, is ten feet high; insomuch that the whole height
+comes to be two hundred and ninety-two feet.</p>
+
+<p>But the finest, richest, and strongest of his edifices is the Mint of
+Venice, all of iron and stone, for there is not in it one single piece of
+wood, in order to render it absolutely safe from fire. And the interior
+is distributed with such order and convenience for the sake of the many
+artificers, that there is not in any part of the world a treasury better
+ordered, or with greater strength, than that one, which he built entirely
+in the Rustic Order and very beautiful; which method, not having been
+used before in that city, caused the inhabitants to marvel not a little.
+By his hand, also, may be seen the Church of S. Spirito on the lagoons,
+of a very delicate and pleasing workmanship; and in Venice there is the
+façade of S. Gimignano, which gives splendour to the Piazza, in the
+Merceria the façade of S. Giuliano, and in S. Salvadore the very rich tomb
+of the Prince Francesco Veniero. He also erected in the Rialto, on the
+Grand Canal, the new fabrics of the vaults, with such good design, that
+almost every day there assembles there a very convenient market of
+townsmen and of other persons who flock to that city. And a very
+marvellous thing and new was that which he did for the Tiepoli at the
+Misericordia, in that, they having on the canal a great palace with many
+regal chambers, and the whole building being badly founded in the
+water, so that it was likely enough that in a few years the edifice would
+fall to the ground, Sansovino rebuilt all the foundations in the canal
+below the palace with very large stones, maintaining the house on its
+feet with a marvellous support of props, while the owners lived in their
+house with perfect security.</p>
+
+<p>Nor for all this, while he has given his attention to so many buildings,
+has he ever ceased to occupy himself every day for his own delight with
+vast and beautiful works of sculpture, in marble and in bronze. Over
+the holy-water font of the Friars of the Cà Grande there is by his hand
+a statue made of marble, representing S. John the Baptist, which is
+<span class="pagenum"><a id="Page_220" name="Page_220"></a>[Pg 220]</span> very beautiful and highly extolled. At Padua, in the Chapel of the
+Santo, there is a large scene in marble by the same hand, with very
+beautiful figures in half-relief, of a miracle of S. Anthony of Padua;
+which is much esteemed in that place. For the entrance of the stairs
+of the Palace of S. Marco he is even now executing in marble in the forms
+of two very beautiful giants, each of seven braccia, a Neptune and a
+Mars, signifying the power which that most illustrious Republic has on
+land and sea. He made a most beautiful statue of Hercules for the
+Duke of Ferrara; and for the Church of S. Marco he made six scenes of
+bronze in half-relief, one braccio high and one and a half long, for placing
+on a pulpit, with stories of that Evangelist, which are held in much
+estimation for their variety. Over the door of the same S. Marco he
+made a Madonna of marble, the size of life, which is held to be a very
+beautiful thing; and at the entrance to the sacristy of that place there
+is by his hand the door of bronze divided into two most beautiful parts,
+with stories of Jesus Christ all in half-relief and wrought excellently
+well. And over the door of the Arsenal he made a very beautiful
+Madonna, who is holding her Son in her arms, of marble. All which
+works not only have given lustre and adornment to that Republic, but
+also have caused Sansovino to be better known every day as a most
+excellent craftsman, and loved and honoured by the magnificent liberality
+of those Signori, and likewise by the other craftsmen, every work of
+sculpture and architecture that has been executed in that city in his
+time being referred to him. And in truth the excellence of Jacopo has
+well deserved that he should be held in the first rank among the craftsmen
+of design in that city, and that his talents should be loved and
+revered by all without exception, both nobles and plebeians, for the
+reason that, besides other things, as has been told, with his judgment
+and knowledge he has brought it about that the city has been made
+almost entirely new and has learned the true and good method of building.</p>
+
+<p>Three most beautiful figures in stucco by his hand, also, may be seen
+in the possession of his son, one a Laocoon, another a Venus standing,
+and the third a Madonna with many children about her; which figures
+are so rare, that in Venice there is seen nothing to equal them. The
+<span class="pagenum"><a id="Page_221" name="Page_221"></a>[Pg 221]</span> said son also has in drawing sixty plans of temples and churches of
+Sansovino's invention, which are so excellent that from the days of the
+ancients to our own there have been seen none better conceived or more
+beautiful. These I have heard that the son will publish for the benefit
+of the world, and already he has had some pieces engraved, accompanying
+them with designs of the numberless labours that have been
+carried into execution by Sansovino in various parts of Italy.</p>
+
+<p>For all this, although occupied, as has been related, with the management
+of so many things both public and private, and both in the city
+and abroad (for strangers, also, ran to him for models and designs of
+buildings, for figures, or for counsel, as did the Duke of Ferrara, who
+obtained a Hercules in the form of a giant, the Duke of Mantua, and the
+Duke of Urbino), he was always very zealous in the private and particular
+service of each of his own Lords Procurators, who, availing themselves
+of him both in Venice and elsewhere, and not doing a single thing without
+his assistance or counsel, kept him continually at work not only for
+themselves, but also for their friends and relatives, without any reward,
+he consenting to endure any inconvenience and fatigue in order to satisfy
+them. But above all he was greatly loved and held in infinite price by
+the Prince Gritti, who delighted in beautiful intellects, by Messer Vettorio
+Grimani, brother of the Cardinal, and by Messer Giovanni da Legge the
+Chevalier, all Procurators, and by Messer Marc'Antonio Justiniano,
+who became acquainted with him in Rome. For these illustrious men,
+exalted in spirit and truly regal in mind, being conversant with the affairs
+of the world and well informed in the noble and excellent arts, soon
+recognized his merit and how worthy he was to be cherished and esteemed,
+and availed themselves of him in due measure; and they used to say, in
+accord with the whole city, that the Procurators never had and never
+would have at any time another equal to him, for they knew very well
+how celebrated and renowned his name was with the men and princes of
+intellect in Florence and Rome and throughout all Italy, and every one
+held it as certain that not he only but also his descendants and all his
+posterity deserved to be endowed for ever in return for his singular
+genius.</p>
+
+<p><span class="pagenum"><a id="Page_222" name="Page_222"></a>[Pg 222]</span> Jacopo was in body of ordinary stature, without any fat, and he
+walked with the person upright. He was white in complexion, with the
+beard red; and in his youth he was very graceful and handsome, and
+therefore much beloved by various women of some importance. After
+he became old, he had a venerable presence, with a beautiful white beard,
+and walked like a young man, insomuch that, having come to the age
+of ninety-three, he was still very strong and healthy and could see every
+least thing, however distant it might be, without spectacles, and when
+writing he kept his head erect, not bending over at all as is done by
+others. He delighted to dress handsomely, and was always very neat
+in his person; and he always took pleasure in women down to extreme
+old age, and much loved to talk of them. In his youth, by reason of his
+excesses, he was not very robust; but when he had become old he never
+suffered any illness, insomuch that for a period of fifty years, although
+at times he felt indisposed, he would never avail himself of any physician;
+nay, having had an apoplectic stroke for the fourth time at the age of
+eighty-four, he recovered by staying only two months in bed in a very dark
+and warm place, despising medicines. He had so good a stomach, that
+he was not afraid of anything, making no distinction between food that
+might be good and food that might be harmful; and in summer he lived
+almost entirely on fruits, eating very often as many as three cucumbers
+at a time, and half a citron, in his extreme old age. As for his qualities
+of mind, he was very prudent and foresaw future events in the matters
+of the present, weighing them against the past; and he was zealous in his
+affairs, not considering any fatigue, and never left his business to follow
+pleasures. He discoursed well and with many words upon no matter
+what subject that he understood, giving many illustrations with much
+grace; on which account he was very dear both to the great and to the
+small, and to his friends. And in his last years he had a memory still
+very fresh, and remembered in detail his childhood, the sack of Rome,
+and many things, fortunate or unfortunate, that he experienced in his
+time. He was courageous, and from his youth took delight in contending
+with those greater than himself, because, he used to say, by
+contending with the great a man advances, but against the little he
+<span class="pagenum"><a id="Page_223" name="Page_223"></a>[Pg 223]</span> lowers himself. He esteemed honour above everything in the world,
+wherefore in his affairs he was most loyal and a man of his word, and
+so pure in heart, that no offer, however great, could have corrupted
+him, although he was put to the test several times by his Signori, who
+for this and for other qualities regarded him not as their protomaster
+or minister, but as a father and brother, honouring him for his goodness,
+which was in no way feigned, but real. He was liberal with every man,
+and so loving towards his relatives, that he deprived himself of many
+comforts in order to assist them; although he lived always in repute and
+honour, as one who was observed by everyone. At times he let himself
+be overcome by anger, which was very great in him, but it soon passed;
+and very often with a few humble words you could make the tears come
+to his eyes.</p>
+
+<p>He had a surpassing love for the art of sculpture; such a love, indeed,
+that, to the end that it might be dispersed widely in various parts, he
+formed many disciples, making as it were a seminary of that art in
+Italy. Among these, very famous were Niccolò Tribolo and Solosmeo,
+Florentines; Danese Cattaneo of Carrara, a Tuscan, of supreme excellence
+in poetry as well as in sculpture; Girolamo da Ferrara, Jacopo Colonna
+of Venice, Luca Lancia of Naples, Tiziano da Padova, Pietro da Salò,
+Bartolommeo Ammanati of Florence, at the present day sculptor and
+protomaster to the great Duke of Tuscany, and, finally, Alessandro
+Vittoria of Trento, a rare master in portraits of marble, and Jacopo de'
+Medici of Brescia; who, reviving the memory of the excellence of their
+master, have employed their talents on many honoured works in various
+cities.</p>
+
+<p>Sansovino was much esteemed by Princes, among whom Alessandro
+de' Medici, Duke of Florence, sought his judgment in building the Citadel
+of that city. And Duke Cosimo in the year 1540, Sansovino having
+gone on his affairs to his native city, not only sought his counsel in the
+matter of that fortress, but also strove to engage him in his service,
+offering him a good salary; and on his return from Florence Duke Ercole
+of Ferrara detained him about his person and proposed various conditions
+to him, making every effort to keep him in Ferrara. But he, being used
+<span class="pagenum"><a id="Page_224" name="Page_224"></a>[Pg 224]</span> to Venice, and finding himself comfortable in that city, where he had
+lived a great part of his life, and having a singular love for the Procurators,
+by whom he was so much honoured, would never listen to any
+of them. He was also invited by Pope Paul III, who wished to advance
+him to the charge of S. Pietro in the place of Antonio da San Gallo, and
+with this Monsignor della Casa, who was then Legate in Venice, occupied
+himself much; but all was in vain, because he said that he was not minded
+to exchange the manner of life of a republic for that of living under an
+absolute Prince. And King Philip of Spain, on his way to Germany,
+showed him much kindness at Peschiera, whither Jacopo had gone to
+see him.</p>
+
+<p>He had an immoderate desire of glory, and by reason of that used
+to spend his own substance on others (not without notable harm to his
+descendants), in the hope that there might remain some memory of him.
+Good judges say that although he had to yield to Michelagnolo, yet in
+certain things he was his superior. Thus in the fashioning of draperies,
+in children, and in the expressions of women, Jacopo had no equal, for
+the reason that his draperies in marble were very delicate and well executed,
+with beautiful folds and curves that revealed the nude beneath
+the vestments; his children he made tender and soft, without those
+muscles that adults have, and with their little arms and legs as if of
+flesh, insomuch that they were in no way different from the life; and the
+expressions of his women were sweet and pleasing, and as gracious as
+could be, as is clearly seen from various Madonnas made by him in many
+places, of marble and in low-relief, and from his statues of Venus and
+other figures.</p>
+
+<p>Now this man, having thus become celebrated in sculpture and in
+architecture a master without a rival, and having lived in the grace of
+mankind and also of God, who bestowed upon him the genius that made
+him illustrious, as has been related, when he had come to the age of
+ninety-three, feeling somewhat weary in body, took to his bed in order
+to rest; in which having lain without any kind of suffering, although he
+strove to rise and dress himself as if well, for a period of a month and a
+half, failing little by little, he asked for the Sacraments of the Church,
+<span class="pagenum"><a id="Page_225" name="Page_225"></a>[Pg 225]</span> which having received, while still hoping to live a few years, he sank
+gradually and died on the 2nd of November in the year 1570; and although
+in his old age he had run the whole course of nature, yet his death was a
+grief to all Venice. He left behind him his son Francesco, born at Rome
+in the year 1521, a man learned both in the law and in the humanities,
+from whom Jacopo saw three grandchildren born; a male child called,
+like his grandfather, Jacopo, and two female, one called Fiorenza, who
+died, to his infinite grief and sorrow, and the other Aurora. His body
+was borne with much honour to his chapel in S. Gimignano, where there
+was erected to his memory by his son the marble statue made by Jacopo
+himself while he was alive, with the epitaph given below in memory of
+his great worth:</p>
+
+<p class="quote10 smcap">JACOBO SANSOVINO FLORENTINO QUI ROMÆ JULIO II, LEONI X,
+CLEMENTI VII, PONT. MAX., MAXIME GRATUS, VENETIIS ARCHITECTURÆ
+SCULPTURÆQUE INTERMORTUUM DECUS PRIMUS EXCITAVIT, QUIQUE A
+SENATU OB EXIMIAM VIRTUTEM LIBERALITER HONESTATUS, SUMMO
+CIVITATIS M&OElig;RORE DECESSIT, FRANCISCUS F. HOC MON. P. VIXIT ANN.
+XCIII. OB. V. CAL. DEC. MDLXX.</p>
+
+<p>His obsequies were likewise celebrated publicly at the Frari by the
+Florentine colony, with no slight pomp, and the oration was delivered by
+Messer Camillo Buonpigli, an excellent man.</p>
+
+<hr style="width: 65%;">
+<h2><a name="leonelioni" id="leonelioni"></a><span class="pagenum"><a id="Page_227" name="Page_227"></a>[Pg 227]</span> LEONE LIONI OF AREZZO</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_leonelioni" id="life_of_leonelioni"></a><span class="pagenum"><a id="Page_229" name="Page_229"></a>[Pg 229]</span> OF LEONE LIONI OF AREZZO, AND OTHER SCULPTORS
+AND ARCHITECTS</h2>
+
+
+<p>Since that which has been said above, here and there, of the Chevalier
+Leone, a sculptor of Arezzo, has been said incidentally, it cannot but be
+well to speak here in due order of his works, which are truly worthy to
+be celebrated and to pass into the memory of mankind. This Leone,
+then, having applied himself in the beginning to the goldsmith's art, and
+having made in his youth many beautiful works, and in particular portraits
+from life in dies of steel for medals, became in a few years so excellent,
+that he came to the knowledge of many great men and Princes, and
+particularly of the Emperor Charles V, by whom, having recognized his
+talents, he was set to works of greater importance than medals. Thus,
+not long after he became known to his Majesty, he made a statue of
+that Emperor in bronze, larger than life and in the round, which he then
+furnished with a very delicate suit of armour formed of two very thin
+shells, which can be put on and taken off with ease, and all wrought with
+such grace, that whoever sees the statue when covered does not notice
+it and can scarcely believe that it is nude below, and when it is nude no
+one would believe without difficulty that it could ever be so well clad in
+armour. This statue rests on the left leg, and with the right foot tramples
+on Fury, which is a recumbent figure bound in chains, with the torch
+beneath it and arms of various kinds. On the base of this work, which is
+now in Madrid, are these words:</p>
+
+<p class="poem smcap">CÆSARIS VIRTUTE FUROR DOMITUS.</p>
+
+<p>After these statues Leone made a great die for striking medals of his
+Majesty, and on the reverse the Giants being slain by Jove with thunderbolts.
+For all which works the Emperor gave to Leone a pension of
+<span class="pagenum"><a id="Page_230" name="Page_230"></a>[Pg 230]</span> one hundred and fifty ducats a year on the Mint of Milan, with a very
+commodious house in the Contrada de' Moroni, and made him a Chevalier
+and of his household, besides giving him many privileges of nobility for
+his descendants. And while Leone was with his Majesty in Brussels,
+he had his rooms in the palace of the Emperor himself, who at times
+would go for recreation to see him at work. Not long afterwards he made
+another statue of the Emperor, in marble, and also those of the Empress
+and King Philip, and a bust of the same Emperor for placing on high
+between two panels in bronze. He made, likewise in bronze, the head
+of Queen Maria, that of Ferdinand, at that time King of the Romans,
+that of Maximilian his son, now Emperor, and that of Queen Leonora,
+with many others, which were placed in the Gallery of the Palace of
+Binche by Queen Maria, who had caused them to be made. But they
+did not stay there long, because King Henry of France set fire to the
+building by way of revenge, leaving written there these words, "Vela
+fole Maria";<a id="FNanchor14" name="FNanchor14"></a><a href="#Footnote14" title="Go to footnote 14" class="fnanchor">[14]</a> I say by way of revenge, because a few years before that
+Queen had done the same to him. However it may have been, the work
+of that gallery did not proceed, and those statues are now partly in the
+Palace of the Catholic King at Madrid, and partly at Alicante, a sea-port,
+from which her Majesty intended to have them conveyed to Granada,
+where are the tombs of all the Kings of Spain. On returning from Spain,
+Leone brought with him two thousand crowns in cash, besides many
+other gifts and favours that were bestowed upon him by that Court.</p>
+
+<div class="figcenter">
+<a name="img066" id="img066"></a>
+<img src="images/img066-tb.jpg" width="500" height="376" alt="Tomb of Gian Jacopo Medici." title="">
+<p class="caption">TOMB OF GIAN JACOPO MEDICI<br>
+(<i>After</i> Leone Lioni. <i>Milan: Duomo</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img066.jpg">View larger image</a></span></p>
+</div>
+
+<p>For the Duke of Alva Leone has executed a head of the Duke, one
+of Charles V, and another of King Philip. For the very reverend Bishop
+of Arras, now Grand Cardinal, called Granvella, he has made some pieces
+in bronze of an oval form, each of two braccia, with rich borders, and
+containing half-length statues; in one is Charles V, in another King
+Philip, and in the third the Cardinal himself, portrayed from life, and
+all have bases with little figures of much grace. For Signor Vespasiano
+<span class="pagenum"><a id="Page_231" name="Page_231"></a>[Pg 231]</span> Gonzaga he has made in a great bust of bronze the portrait of Alva,
+which Gonzaga has placed in his house at Sabbionetto. For Signor
+Cesare Gonzaga he has executed, likewise in metal, a statue of four
+braccia, which has beneath it another figure that is entwined with a
+Hydra, in order to denote his father Don Ferrante, who by his worth
+and valour overcame the vicious envy that had sought to bring him into
+disgrace with Charles V in the matter of the government of Milan. This
+statue, which is clad in a toga and armed partly in the ancient and partly
+in the modern fashion, is to be taken to Guastalla and placed there in
+memory of that Don Ferrante, a most valorous captain.</p>
+
+<p>The same Leone has made, as has been told in another place, the
+tomb of Signor Giovanni Jacopo Medici, Marquis of Marignano and
+brother of Pope Pius IV, which stands in the Duomo of Milan, about
+twenty-eight palms in length and forty in height. This tomb is all of
+Carrara marble, and adorned with four columns, two of them black and
+white, which were sent by the Pope as rare things from Rome to Milan,
+and two others, larger, which are of a spotted stone similar to jasper;
+which are all accommodated under one and the same cornice, an unusual
+contrivance, by the desire of that Pope, who caused the whole work to be
+executed after the directions of Michelagnolo, excepting only the five
+figures of bronze that are there, which are by the hand of Leone. The
+first of these, the largest of them all, is the statue of the Marquis himself,
+standing upright and larger than life, which has in the right hand the
+baton of a General, and the left hand resting on a helmet that is on a very
+richly adorned trunk. On the left of this is a smaller statue, representing
+Peace, and on the right another signifying Military Virtue; and
+these are seated, and in aspect all sad and sorrowing. Of the other two,
+which are on high, one is Providence and the other Fame; and between
+them, on the same level, is a most beautiful Nativity of Christ in bronze,
+in low-relief. At the summit of the whole work are two figures of marble,
+which support that lord's escutcheon of balls. For this work seven
+thousand and eight hundred crowns were paid, according to the agreement
+made in Rome by the most illustrious Cardinal Morone and Signor
+Agabrio Scierbellone.</p>
+
+<p><span class="pagenum"><a id="Page_232" name="Page_232"></a>[Pg 232]</span> The same master has made for Signor Giovan Battista Castaldo a
+statue likewise in bronze, which is to be placed in I know not what
+monastery, with some ornaments. For the above-named Catholic King
+he has executed a Christ in marble, more than three braccia high, with
+the Cross and with other Mysteries of the Passion, which is much extolled.
+Finally, he has in hand the statue of Signor Alfonso Davalos, the Marchese
+del Vasto of famous memory, which was entrusted to him by the Marchese
+di Pescara, his son; four braccia high, and likely to prove an excellent
+figure when cast, by reason of the diligence that he is devoting to its
+execution, and the good fortune that Leone has always had in his castings.</p>
+
+<p>Leone, in order to display the greatness of his mind, the beautiful
+genius that he has received from Nature, and the favour of Fortune, has
+built at great expense and with most beautiful architecture a house in
+the Contrada de' Moroni, so full of fantastic inventions, that there is
+perhaps no other like it in all Milan. In the distribution of the façade
+there are upon pilasters six captives each of six braccia and all of pietra
+viva, and between these, in certain niches, Fates in imitation of the
+antique, with little terminal figures, windows, and cornices all different
+from the common use and very graceful; and all the parts below correspond
+with beautiful order to those above, and the frieze-ornaments
+are all of various instruments of the arts of design. From the principal
+door one enters by a passage into a courtyard, in the centre of which,
+upon four columns, is the horse with the statue of Marcus Aurelius,
+cast in gesso from the original which is in the Campidoglio. By means
+of that statue he has intended that his house should be dedicated to
+Marcus Aurelius; and as for the captives, that fancy is interpreted by
+various persons in various ways. Besides the horse, he has in that
+beautiful and most commodious habitation, as has been told in another
+place, as many casts in gesso as he has been able to obtain of famous
+works in sculpture and casting, both ancient and modern.</p>
+
+<p>A son of Leone, called Pompeo, who is now in the service of King
+Philip of Spain, is in no way inferior to his father in executing dies of
+steel for medals and in casting figures that are marvellous. Wherefore
+at that Court he has been a competitor of Giovan Paolo Poggini, a
+<span class="pagenum"><a id="Page_233" name="Page_233"></a>[Pg 233]</span> Florentine, who also works in the service of that King and has made
+most beautiful medals. But Pompeo, having served that King many
+years, intends to return to Milan in order to enjoy his Aurelian house
+and the other labours of his excellent father, the loving friend of every
+man of talent.</p>
+
+<p>And now to say something of medals, and of the steel dies with
+which they are made. I believe that it may be affirmed with truth that
+our modern intellects have achieved as much as the ancient Romans
+once did in the excellence of the figures, and that in the lettering and
+in other parts they have surpassed them. Which may be seen clearly
+in twelve reverses&mdash;besides many others&mdash;that Pietro Paolo Galeotto
+has executed recently in the medals of Duke Cosimo, and they are these;
+Pisa restored almost to her pristine condition by means of the Duke, he
+having drained the country round and dried the marshy places, and
+having made many other improvements; the waters conducted to Florence
+from various places, the ornate and magnificent building of the Magistrates
+erected for the public convenience, the union of the States of
+Florence and Siena, the building of a city and two fortresses in Elba,
+the column conveyed from Rome and placed on the Piazza di S. Trinita
+in Florence, the preservation, completion and enlargement of the Library
+of S. Lorenzo for the public good, the foundation of the Order of the
+Knights of S. Stephen, the resignation of the government to the Prince,
+the fortifying of the State, the militia or trained companies of his dominion,
+and the Pitti Palace with its gardens, waters, and buildings, a work of
+such regal magnificence; of which reverses I do not give here either the
+lettering that they have around them, or their explanation, having to
+treat of them in another place. All these twelve reverses are beautiful
+to a marvel and executed with much diligence and grace, as is also the
+head of the Duke, which is of perfect beauty; and medals and other
+works in stucco, likewise, as I have said on another occasion, are being
+made of absolute perfection at the present day. And recently Mario Capocaccia
+of Ancona has executed with coloured stucco, in little cases, heads
+and portraits that are truly most beautiful; such as a portrait of Pope
+Pius V, which I saw not long since, and that of Cardinal Alessandrino.
+<span class="pagenum"><a id="Page_234" name="Page_234"></a>[Pg 234]</span> I have seen, also, portraits of the same kind by the hands of the sons
+of Polidoro, a painter of Perugia, which are very beautiful.</p>
+
+<p>But to return to Milan; looking again a year ago over the works of
+the sculptor Gobbo, of whom mention has been made in another place,
+I did not see anything that was otherwise than ordinary, excepting an
+Adam and Eve, a Judith, and a S. Helena, in marble, which are about
+the Duomo; with two other statues of dead persons, representing Lodovico,
+called Il Moro, and Beatrice his wife, which were to be placed upon
+a tomb by the hand of Giovan Jacomo della Porta, sculptor and architect
+to the Duomo of Milan, who in his youth executed many works under
+the said Gobbo; and those named above, which were to go on that tomb,
+are wrought with a high finish. The same Giovan Jacomo has executed
+many beautiful works for the Certosa of Pavia, and in particular on the
+tomb of the Conte di Virtù and on the façade of the church. From him
+one his nephew learned his art, by name Guglielmo, who in Milan, about
+the year 1530, applied himself with much study to copying the works of
+Leonardo da Vinci, which gave him very great assistance. Whereupon
+he went with Giovan Jacomo to Genoa, when in the year 1531 the latter
+was invited to execute the sepulchre of S. John the Baptist, and he
+devoted himself with great study to design under Perino del Vaga; and,
+not therefore abandoning sculpture, he made one of the sixteen pedestals
+that are in that sepulchre, on which account, it being seen that he was
+acquitting himself very well, he was commissioned to make all the others.
+Next, he executed two Angels in marble, which are in the Company of
+S. Giovanni; and for the Bishop of Servega he made two portraits in
+marble, and a Moses larger than life, which was placed in the Church of
+S. Lorenzo. And then, after he had made a Ceres of marble that was
+placed over the door of the house of Ansaldo Grimaldi, he executed for
+placing over the Gate of the Cazzuola, in that city, a statue of S. Catharine
+of the size of life; and after that the three Graces, with four little boys, of
+marble, which were sent into Flanders to the Grand Equerry of the
+Emperor Charles V, together with another Ceres of the size of life.</p>
+
+<div class="figcenter">
+<a name="img067" id="img067"></a>
+<img src="images/img067-tb.jpg" width="300" height="511" alt="Eve." title="">
+<p class="caption">EVE<br>
+(<i>After</i> Cristofano Solari. <i>Milan: Duomo</i>)<br>
+<i>Brogi</i><br>
+<span class="link"><a href="images/img067.jpg">View larger image</a></span></p>
+</div>
+
+<p>Having executed these works in six years, Guglielmo in the year 1537
+made his way to Rome, where he was much recommended by his uncle
+<span class="pagenum"><a id="Page_235" name="Page_235"></a>[Pg 235]</span> Giovan Jacomo to the painter Fra Sebastiano Viniziano, his friend, to
+the end that he might recommend him, as he did, to Michelagnolo
+Buonarroti. Which Michelagnolo, seeing Guglielmo to be spirited and
+very assiduous in labouring, began to conceive an affection for him, and,
+before any other thing, caused him to restore some antique things in the
+Farnese Palace, in which he acquitted himself in such a manner, that
+Michelagnolo put him into the service of the Pope. Another proof of
+his powers had been seen already in a tomb that he had executed at the
+Botteghe Scure, for the most part of metal, for Bishop Sulisse, with
+many figures and scenes in low-relief&mdash;namely, the Cardinal Virtues and
+others, wrought with much grace, and besides these the figure of the
+Bishop himself, which afterwards went to Salamanca in Spain. Now,
+while Guglielmo was engaged in restoring the statues, which are now
+in the loggia that is before the upper hall in the Farnese Palace, there
+took place in the year 1547 the death of Fra Sebastiano Viniziano, who,
+as has been told, had administered the office of the Piombo. Whereupon
+Guglielmo, with the favour of Michelagnolo and of others, so wrought
+upon the Pope, that he obtained the said office of the Piombo, with the
+charge of executing the tomb of Pope Paul III, which was to be placed
+in S. Pietro. For this he availed himself in the model, with better design,
+of the scenes and figures of the Theological and Cardinal Virtues that
+he had made for the above-named Bishop Sulisse, placing at the corners
+four children in four partitions, and four cartouches, and making in
+addition a bronze statue of the said Pontiff seated, giving the benediction;
+which statue was seventeen palms high. But doubting, on account of
+the size of the casting, lest the metal might grow cold and the work
+therefore not succeed, he placed the metal in the vessel below, in such a
+way that it might be gradually sucked upwards. And with this unusual
+method that casting came out very well, and as clean as the wax, so that
+the very surface that came from the fire had no need at all to be polished,
+as may be seen from the statue itself, which was placed below the first
+arches that support the tribune of the new S. Pietro. On this tomb,
+which according to a design by his hand was to be isolated, were to be
+placed four figures, which he executed in marble with beautiful inventions
+<span class="pagenum"><a id="Page_236" name="Page_236"></a>[Pg 236]</span> according as he was directed by M. Annibale Caro, who had the charge
+of this from the Pope and Cardinal Farnese. One was Justice, which is
+a nude figure lying upon some draperies, with the belt of the sword across
+the breast, and the sword hidden; in one hand she has the fasces of consular
+jurisdiction, and in the other a flame of fire, and she is young in countenance,
+and has the hair plaited, the nose aquiline, and the aspect full of
+expression. The second was Prudence in the form of a matron, young
+in aspect, with a mirror in the hand, and a closed book, and partly nude,
+partly draped. The third was Abundance, a young woman crowned
+with ears of corn, with a horn of plenty in one hand and the ancient
+corn-measure in the other, and clothed in such a manner as to show the
+nude beneath the draperies. The fourth and last was Peace, who is a
+matron with a boy that has lost his eyes, and with the Caduceus of
+Mercury. He made, likewise, a scene also of metal and after the directions
+of the above-named Caro, which was to be placed in the work, with
+two River Gods, one representing a lake and the other a river that is in
+the domains of the Farnesi; and, besides all these things, there was to be
+there a mount covered with lilies, and with the rainbow of Iris. But
+the whole was not afterwards carried into execution, for the reasons
+that have been given in the Life of Michelagnolo. It may be believed
+that even as these parts are in themselves beautiful and wrought with
+much judgment, so they would have succeeded as a whole together; and
+yet it is the air of the piazza<a id="FNanchor15" name="FNanchor15"></a><a href="#Footnote15" title="Go to footnote 15" class="fnanchor">[15]</a> which gives the true light and enables us
+to form a correct judgment of a work.</p>
+
+<div class="figcenter">
+<a name="img068" id="img068"></a>
+<img src="images/img068-tb.jpg" width="400" height="547" alt="Tomb of Pope Paul III." title="">
+<p class="caption">TOMB OF POPE PAUL III<br>
+(<i>After</i> Guglielmo della Porta. <i>Rome: S. Peter's</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img068.jpg">View larger image</a></span></p>
+</div>
+
+<p>The same Fra Guglielmo has executed during a period of many
+years fourteen stories of the life of Christ, for casting in bronze; each of
+which is four palms in breadth and six in height, excepting only one,
+which is twelve palms high and six broad, wherein is the Nativity of
+Jesus Christ, with most beautiful fantasies of figures. In the other
+thirteen are, Mary going with the Infant Christ on the ass to Jerusalem,
+with two figures in strong relief, and many in half-relief and low-relief;
+the Last Supper, with thirteen figures well composed, and a very rich
+building; the Washing of the Disciples' feet; the Prayer in the Garden,
+<span class="pagenum"><a id="Page_237" name="Page_237"></a>[Pg 237]</span> with five figures, and at the foot a multitude of great variety; Christ
+led before Annas, with six large figures, many lower down, and one in the
+distance; the Scourging at the Column, the Crowning with Thorns, the
+"Ecce Homo," Pilate washing his hands; Christ bearing the Cross, with
+fifteen figures, and others in the distance, going to Mount Calvary;
+Christ Crucified, with eighteen figures; and Christ taken down from the
+Cross. All which scenes, if they were cast, would form a very rare work,
+seeing that they have been wrought with much study and labour. Pope
+Pius IV had intended to have them executed for one of the doors of
+S. Pietro, but he had not time, being overtaken by death. Recently
+Fra Guglielmo has executed models in wax for three altars in S. Pietro;
+Christ taken down from the Cross, Peter receiving the Keys of the Church,
+and the Coming of the Holy Spirit, which would all be beautiful scenes.</p>
+
+<p>In short, this man has had, and still has, the greatest opportunities
+to exert himself and to execute works, seeing that the office of the Piombo
+gives such a revenue that the holder can study and labour for glory,
+which he who has not such advantages is not able to do; and yet Fra
+Guglielmo has executed no finished work between 1547 and this year of
+1567. But it is the characteristic of those who hold that office to become
+sluggish and indolent; and that this is true, a proof is that this Guglielmo,
+before he became Friar of the Piombo, executed many heads in marble
+and other works, besides those that we have mentioned. It is true,
+indeed, that he has made four great Prophets in stucco, which are in the
+niches between the pilasters of the first great arch of S. Pietro. He also
+occupied himself much with the cars for the feast of Testaccio and other
+masquerades, which were held now many years ago in Rome.</p>
+
+<p>A pupil of this master has been one Guglielmo Tedesco, who, among
+other works, has executed a very rich and beautiful ornamentation of
+little statues in bronze, imitated from the best antiques, for a cabinet of
+wood (so it is called) which the Count of Pitigliano presented to the
+Lord Duke Cosimo. Which little figures are these; the horse of the
+Campidoglio, those of Monte Cavallo, the Farnese figures of Hercules,
+the Antinous and the Apollo of the Belvedere, and the heads of the Twelve
+Emperors, with others, all well wrought and very similar to the originals.</p>
+
+<p><span class="pagenum"><a id="Page_238" name="Page_238"></a>[Pg 238]</span> Milan has also had another sculptor, dead this year, called Tommaso
+Porta, who worked marble excellently well, and in particular
+counterfeited antique heads in marble, which have been sold as antiques;
+and masks he made so well that in them no one has equalled him, of
+which I have one in marble by his hand, placed on the chimney-piece
+of my house at Arezzo, which everyone takes for an antique. This
+Tommaso made the heads of the Twelve Emperors in marble, the size of
+life, which were the rarest things. These Pope Julius III took, making
+him a present of an office of a hundred crowns a year in the Segnatura;
+and he kept the heads I know not how many months in his chamber, as
+choice things. But by the agency (so it is believed) of the above-named
+Fra Guglielmo and others who were jealous of him, such measures were
+taken against him, that, with no regard for the dignity of the gift bestowed
+upon him by that Pontiff, they were sent back to his house; where they
+were afterwards bought from him on better terms by merchants, and then
+sent to Spain. Not one of our imitators of antiques was superior to this
+Tommaso, of whom it has seemed to me right that record should be
+made, and the rather as he has passed to a better life, leaving name and
+fame for his ability.</p>
+
+<p>Many works, likewise, have been executed in Rome by one Leonardo,
+a Milanese, who has made recently two statues of marble, S. Peter and
+S. Paul, for the Chapel of Cardinal Giovanni Riccio da Montepulciano,
+which are much extolled and held to be good and beautiful figures. And
+the sculptors Jacopo and Tommaso Casignuola have made in the Chapel
+of the Caraffi, in the Church of the Minerva, the tomb of Pope Paul IV,
+and, besides other ornaments, a statue formed of pieces which represents
+that Pope, with a mantle of veined brocatello marble, and the trimming
+and other things of veined marbles of various colours, which render it
+marvellous. And so we see added to the other industries of our modern
+intellects this new one, and that sculptors proceed with colours in their
+sculpture to imitate painting. Which tomb has been executed by means
+of the great saintliness, goodness and gratitude of Pope Pius V, a Pontiff
+and Holy Father truly most saintly, most blessed, and most worthy of
+long life.</p>
+
+<p><span class="pagenum"><a id="Page_239" name="Page_239"></a>[Pg 239]</span> Of Nanni di Baccio Bigio, a Florentine sculptor, besides what has been
+said of him in other places, I have to record that in his youth, under
+Raffaello da Montelupo, he applied himself in such a manner to sculpture,
+that in some little things that he did in marble he gave great promise
+that he would prove to be an able man. And having gone to Rome,
+under the sculptor Lorenzetto, while he gave his attention as his father
+had done also to architecture, he executed the statue of Pope Clement VII,
+which is in the choir of the Minerva, and a Pietà of marble, copied from
+that of Michelagnolo, which was placed in S. Maria de Anima, the Church
+of the Germans, as a work that is truly very beautiful. Another like it
+he made not long afterwards for Luigi del Riccio, a Florentine merchant,
+which is now in S. Spirito at Florence, in a chapel of that Luigi, who is
+no less extolled for such piety towards his native city than is Nanni for
+having executed the statue with much diligence and love. Nanni then
+applied himself under Antonio da San Gallo with more study to architecture,
+and gave his attention, while Antonio was alive, to the fabric
+of S. Pietro; where, falling from a staging sixty braccia high, and shattering
+himself, he escaped with his life by a miracle. Nanni has erected
+many edifices in Rome and in the country round, and has sought to
+obtain even more, and greater, as has been told in the Life of Michelagnolo.
+His work, also, is the Palace of Cardinal Montepulciano on the
+Strada Giulia, and a gate at Monte Sansovino built by order of Julius III,
+with a reservoir for water that is not finished, and a loggia and other
+apartments of the palace formerly built by the old Cardinal di Monte.
+And a work of Nanni, likewise, is the house of the Mattei, with many
+other buildings that have been erected or are still being constructed in
+Rome.</p>
+
+<p>A famous and most celebrated architect, also, among others of the
+present day, is Galeazzo Alessi of Perugia, who, serving in his youth
+the Cardinal of Rimini, whose chamberlain he became, executed among
+his first works, at the desire of that lord, the rebuilding of the apartments
+in the Fortress of Perugia, with so many conveniences and such beauty,
+that for a place so small it was a marvel, and many times already they
+have accommodated the Pope with all his Court. Then, after many
+<span class="pagenum"><a id="Page_240" name="Page_240"></a>[Pg 240]</span> other works that he executed for the said Cardinal, he was invited by
+the Genoese with much honour into the service of that Republic, for
+which the first work that he did was to restore and fortify the port and
+the mole; nay rather, to make it almost entirely different from what
+it was before. For, reaching out over a good space into the sea, he caused
+to be constructed a great and most beautiful port, which lies in a semicircle,
+very ornate with rustic columns and with niches about them, at
+the extremities of which semicircle there meet two little bastions, which
+defend that great port. On the piazza, then, above the mole and at the
+back of the great port, towards the city, he made a very large portico
+of the Doric Order, which accommodates the Guard, and over it, comprising
+all the space that it covers and likewise the two bastions and
+the gate, there is left a platform arranged for the operations of artillery,
+which commands the mole in the manner of a cavalier and defends the
+port both within and without. And besides this, which is finished,
+arrangements are being made for the enlargement of the city after his
+design, and his model has already been approved by the Signoria; and all
+with much praise for Galeazzo, who in these and other works has shown
+himself to be a most ingenious architect. The same Galeazzo has executed
+the new street of Genoa, with so many palaces built in the modern manner
+after his designs, that many declare that in no other city of Italy is there
+to be found a street more magnificent and grand than that one, nor one
+more full of the richest palaces, all built by those Signori with the persuasion
+and directions of Galeazzo, to whom all confess that they owe a
+very great obligation, in that he has been the inventor and executor of
+works which render their city, with regard to edifices, incomparably
+more grand and magnificent than it was before. The same master has
+built other streets without Genoa, and among others that which starts
+from Ponte Decimo on the way to Lombardy. He has restored the walls
+of the city towards the sea, and the fabric of the Duomo, making therein
+the tribune and the cupola; and he has built, also, many private edifices,
+such as the country palace of Messer Luca Giustiniano, that of Signor
+Ottaviano Grimaldi, the Palaces of two Doges, one for Signor Battista
+Grimaldi, and many others of which there is no need to speak.</p>
+
+<div class="figcenter">
+<a name="img069" id="img069"></a>
+<img src="images/img069-tb.jpg" width="500" height="389" alt="Palazzo Grimaldi." title="">
+<p class="caption">PALAZZO GRIMALDI<br>
+(<i>After</i> Galeazzo Alessi. <i>Genoa</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img069.jpg">View larger image</a></span></p>
+</div>
+
+<p><span class="pagenum"><a id="Page_241" name="Page_241"></a>[Pg 241]</span> Now I will not omit to say that he has made the lake and island of
+Signor Adamo Centurioni, abounding in waters and fountains contrived
+in various beautiful and fantastic ways, and also the fountain of the
+Captain Larcaro, near the city, which is a most remarkable work; but
+beyond all the different kinds of fountains that he has made for many
+persons, most beautiful is the bath that he has made in the house of
+Signor Giovan Battista Grimaldi at Bisagno. This bath, which in form
+is round, has in the centre a little basin wherein eight or ten persons can
+bathe without inconvenience; which basin has hot water from four heads
+of sea-monsters that appear as if issuing from it, and cold water from as
+many frogs that are over those heads of monsters. Around that basin,
+to which one descends by three circular steps, there curves a space wide
+enough for two persons to walk in comfort. The circular wall of the whole
+bath is divided into eight spaces, in four of which are four great niches,
+each of which contains a round basin that is raised a little from the
+ground, half being within the niche and half remaining without; and in
+the centre of each basin a man can bathe, hot and cold water coming
+from a great mask that pours it through the horns and draws it in again
+when necessary by the mouth. In one of the other four spaces is the
+door, and in the other three are windows and places to sit; and all the
+eight spaces are separated by terminal figures, which support the cornice
+upon which rests the round vaulting of the whole bath. From the centre
+of that vaulting hangs a great ball of crystal-glass, on which is painted
+the sphere of the heavens, and within it the globe of the earth, from
+certain parts of which, when one uses the bath at night, comes a brilliant
+light that renders the place as light as if it were mid-day. I forbear to
+speak of the anteroom, the dressing-room, and the small bath, which are
+full of stucco-ornaments, and of the pictures that adorn the place, so as
+not to be longer than is needful; let it suffice to say that they are in no
+way unworthy of so great a work.</p>
+
+<p>In Milan, under the direction of the same Galeazzo, has been built
+the Palace of Signor Tommaso Marini, Duke of Terranuova; and also,
+possibly, the façade of the fabric of S. Celso that is now being built, the
+auditorium of the Cambio, which is round in form, the already begun
+<span class="pagenum"><a id="Page_242" name="Page_242"></a>[Pg 242]</span> Church of S. Vittore, and many other edifices. He has also sent designs
+over all Italy and abroad, wherever he has not been able to be in person,
+of many edifices, palaces, and temples, of which I shall say no more;
+this much being enough to make him known as a talented and most
+excellent architect.</p>
+
+<p>I will not omit&mdash;seeing that he is one of our Italians, although I
+do not know any particulars of his works&mdash;that in France, so I am
+informed, a most excellent architect, and particularly in the work of
+fortification, is Rocco Guerrini of Marradi, who in the recent wars of
+that kingdom, to his great profit and honour, has executed many ingenious
+and laudable works.</p>
+
+<p>And so in this last part, in order not to defraud any man of the
+proper credit of his talent, I have discoursed of some sculptors and architects
+now living, of whom hitherto I had not had a convenient occasion
+to speak.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="giulioclovio" id="giulioclovio"></a><span class="pagenum"><a id="Page_243" name="Page_243"></a>[Pg 243]</span> DON GIULIO CLOVIO</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_giulioclovio" id="life_of_giulioclovio"></a><span class="pagenum"><a id="Page_245" name="Page_245"></a>[Pg 245]</span> OF DON GIULIO CLOVIO<br>
+MINIATURIST</h2>
+
+
+<p>There has never been, nor perhaps will there ever be for many centuries,
+a more rare or more excellent miniaturist, or we would rather say painter
+of little things, than Don Giulio Clovio, in that he has surpassed by a
+great measure all others who have ever been engaged in that kind of
+painting. This master was born in the province of Sclavonia, or rather,
+Croatia, at a place called Grisone, in the diocese of Madrucci, although
+his elders, of the family of the Clovi, had come from Macedonia; and the
+name given to him at baptism was Giorgio Giulio. As a child he gave
+his attention to letters; and then, by a natural instinct, to design. And
+having come to the age of eighteen, being desirous to make proficience,
+he came to Italy and placed himself in the service of Cardinal Marino
+Grimani, with whom for a period of three years he applied himself in such
+a manner to drawing, that he achieved a much better result than perhaps
+up to that time had been expected of him; as was seen in some designs
+of medals and their reverses that he made for that lord, drawn with the
+pen most minutely, with extreme and almost incredible diligence.
+Whereupon, having seen that he was more assisted by nature in little
+things than in great, he resolved, and wisely, that he would give his
+attention to miniature, since his works in that field were full of grace
+and beautiful to a marvel; being urged to this, also, by many friends,
+and in particular by Giulio Romano, a painter of bright renown, who
+was the man who before any other taught him the method of using tints
+and colours in gum and in distemper.</p>
+
+<div class="figcenter">
+<a name="img070" id="img070"></a>
+<img src="images/img070-tb.jpg" width="350" height="508" alt="The Deposition." title="">
+<p class="caption">THE DEPOSITION<br>
+(<i>After the painting upon parchment by</i> Giulio Clovio.
+<i>Florence: Pitti, No. 241</i>)<br>
+<i>Mansell</i><br>
+<span class="link"><a href="images/img070.jpg">View larger image</a></span></p>
+</div>
+
+<p>Among the first works that Clovio coloured was a Madonna, which,
+as a man of ingenious and beautiful spirit, he copied from the book of
+<span class="pagenum"><a id="Page_246" name="Page_246"></a>[Pg 246]</span> the Life of the Virgin; which Madonna was printed in wood-engraving
+among the first sheets of Albrecht Dürer. Whereupon, having acquitted
+himself well in that his first work, he made his way by means of Signor
+Alberto da Carpi, who was then serving in Hungary, into the service of
+King Louis and of Queen Maria, the sister of Charles V; for which King
+he executed a Judgment of Paris in chiaroscuro, which much pleased
+him, and for the Queen the Roman Lucretia killing herself, with some
+other things, which were held to be very beautiful. The death of that
+King then ensuing, and the ruin of everything in Hungary, Giorgio Giulio
+was forced to return to Italy; where he had no sooner arrived than the
+old Cardinal Campeggio took him into his service. Thereupon, being
+settled to his liking, he executed a Madonna in miniature for that lord,
+and some other little things, and disposed himself to attend at all costs
+with greater study to the matters of art; and so he set himself to draw,
+and to seek with every effort to imitate the works of Michelagnolo. But
+this fine resolution was interrupted by the unhappy sack of Rome in the
+year 1527, when the poor man, finding himself the prisoner of the
+Spaniards and maltreated, in his great misery had recourse to divine
+assistance, making a vow that if he escaped safely from that miserable
+ruin and out of the hands of those new Pharisees, he would straightway
+become a friar. Wherefore, having escaped by the grace of God and
+made his way to Mantua, he became a monk in the Monastery of
+S. Ruffino, a seat of the Order of Canons Regular of Scopeto; having been
+promised, besides peace and quiet of mind and tranquil leisure in the
+service of God, that he would have facilities for attending at times, as
+it were by way of pastime, to the work of miniature. Having thus taken
+the habit and the name of Don Giulio, at the end of a year he made his
+profession; and then for a period of three years he stayed peacefully
+enough among those fathers, changing from one monastery to another
+according to his pleasure, as has been related elsewhere, and always
+working at something. During that time he completed a great choir-book
+with delicate illuminations and most beautiful borderings, making
+in it, among other things, a Christ appearing to the Magdalene in the
+form of a gardener, which was held to be a rare thing. Wherefore,
+<span class="pagenum"><a id="Page_247" name="Page_247"></a>[Pg 247]</span> growing in courage, he depicted&mdash;but in figures much larger&mdash;the Adulterous
+Woman accused by the Jews before Christ, with a good number
+of figures; all which he copied from a picture that had been executed in
+those days by Tiziano Vecelli, that most excellent painter.</p>
+
+<p>Not long afterwards it happened that Don Giulio, in transferring
+himself from one monastery to another, as monks or friars do, by misfortune
+broke a leg. Being therefore conveyed by those fathers to the
+Monastery of Candiana, that he might be better attended, he lay there
+some time without recovering, perhaps having been wrongly treated,
+as is common, no less by the fathers than by the physicians. Which
+hearing, Cardinal Grimani, who much loved him for his excellence,
+obtained from the Pope the power to keep him in his service and to have
+him cured. Whereupon Don Giulio, having thrown off the habit, and his
+leg being healed, went to Perugia with the Cardinal, who was Legate
+there; and, setting to work, he executed for him in miniature these works;
+an Office of Our Lady, with four most beautiful stories, and in an Epistolar
+three large stories of S. Paul the Apostle, one of which was sent not long
+afterwards to Spain. He also made for him a very beautiful Pietà, and
+a Christ Crucified, which after the death of Grimani came into the hands
+of Messer Giovanni Gaddi, Clerk of the Chamber.</p>
+
+<p>All these works caused Don Giulio to become known in Rome as
+an excellent craftsman, and were the reason that Cardinal Alessandro
+Farnese, who has always assisted, favoured, and desired to have about
+him rare and gifted men, having heard his fame and seen his works,
+took him into his service, in which he has remained ever since and still
+remains, old as he is. For that lord, I say, he has executed an infinite
+number of the rarest miniatures, of which I shall mention here only a
+part, because to mention them all is almost impossible. In a little picture
+he has painted Our Lady with her Son in her arms, with many Saints
+and figures around, and Pope Paul III kneeling, portrayed from life so
+well, that for all the smallness of that miniature he seems as if alive;
+and all the other figures, likewise, appear to lack nothing save breath
+and speech. That little picture, as a thing truly of the rarest, was sent
+to Spain to the Emperor Charles V, who was amazed by it. After that
+<span class="pagenum"><a id="Page_248" name="Page_248"></a>[Pg 248]</span> work the Cardinal caused him to set his hand to executing in miniature
+the stories in an Office of Our Lady, written in lettering shaped by
+Monterchi, who is a rare master in such work. Whereupon Don Giulio,
+resolving that this work should be the highest flight of his powers, applied
+himself to it with so much study and diligence, that no other was ever
+executed with more; wherefore he has achieved with the brush things
+so stupendous, that it does not appear possible to go so far with the eye
+or with the hand. Don Giulio has divided this labour into twenty-six
+little scenes, each two sheets being next to one another, the figure and the
+prefiguration, and every little scene has around it an ornament different
+from the other, with figures and fantasies appropriate to the story that
+it represents. Nor do I wish to grudge the labour of describing them
+briefly, for the reason that everyone is not able to see them. On the
+first page, where Matins begin, is the Angel bringing the Annunciation
+to the Virgin Mary, and in the ornament a border full of little children
+that are marvellous; and in the other scene Isaiah speaking with King
+Ahaz. In the second, for Lauds, is the Visitation of the Virgin to
+Elizabeth, which has an ornament in imitation of metal; and in the
+opposite scene are Justice and Peace embracing one another. For
+Prime is the Nativity of Christ, and opposite, in the Earthly Paradise,
+Adam and Eve eating the Fruit; both the one and the other with ornaments
+full of nudes and other figures and animals, portrayed from nature.
+For Terce he has painted the Shepherds with the Angel appearing to
+them, and in the opposite scene the Tiburtine Sibyl showing to the
+Emperor Octavian the Virgin with Christ her Son in Heaven; both the
+one and the other with ornaments of various borders and figures, all
+coloured, and containing the portrait of Alexander the Great and of
+Cardinal Alessandro Farnese. For Sext there is the Circumcision of
+Christ, where Pope Paul III is portrayed for Simeon, and in the scene
+are portraits of Mancina and Settimia, gentlewomen of Rome, who were
+of surpassing beauty; and around it a border well adorned, which likewise
+encloses with the same design the other story that is beside it,
+wherein is S. John the Baptist baptizing Christ, a scene full of nudes.
+For Nones he has made there the Magi adoring Christ, and opposite to
+<span class="pagenum"><a id="Page_249" name="Page_249"></a>[Pg 249]</span> that Solomon adored by the Queen of Sheba, both one and the other with
+borders rich and varied, and at the foot of this the whole Feast of Testaccio
+executed with figures smaller than ants, which is a marvellous
+thing to see, that a work so small should have been executed to perfection
+with the point of a brush; this is one of the greatest things that mortal
+hand could do or mortal eye could behold, and in it are all the liveries
+that Cardinal Farnese devised at that time. For Vespers there is Our
+Lady flying with Christ into Egypt, and opposite is the Submersion of
+Pharaoh in the Red Sea; with varied borders at the sides. For Complines
+there is the Coronation of Our Lady in Heaven, with a multitude of
+Angels, and in the other scene opposite is Ahasuerus crowning Esther;
+with appropriate borders. For the Mass of the Madonna he has placed
+first, in a border in imitation of cameos, the Angel Gabriel announcing
+the Word to the Virgin; and the two scenes are Our Lady with Jesus
+Christ in her arms and God the Father creating Heaven and Earth.
+Before the Penitential Psalms is the Battle in which Uriah the Hittite
+was done to death by command of King David, wherein are horses and
+warriors wounded or dead, all marvellous; and opposite, in the other
+scene, David in Penitence; with ornaments and also little grotesques.
+But he who would sate himself with marvelling, let him look at the
+Litanies, where Don Giulio has woven a maze with the letters of the
+names of the Saints; and there in the margin above is a Heaven filled
+with Angels around the most holy Trinity, and one by one the Apostles
+and the other Saints; and on the other side the Heaven continues with
+Our Lady and all the Virgin Saints. On the margin below he has depicted
+with the most minute figures the procession that Rome holds for the
+solemn office of the Corpus Christi, thronged with officers with their
+torches, Bishops, and Cardinals, and the most Holy Sacrament borne
+by the Pope, with the rest of the Court and the Guard of Halberdiers,
+and finally Castel S. Angelo firing artillery; all such as to cause every
+acutest wit to marvel with amazement. At the beginning of the Office
+for the Dead are two scenes; Death triumphing over all mortals, mighty
+rulers of States and Kingdoms and the common herd alike, and opposite,
+in the other scene, the Resurrection of Lazarus, and also Death in combat
+<span class="pagenum"><a id="Page_250" name="Page_250"></a>[Pg 250]</span> with some on horseback. For the Office of the Cross he has made Christ
+Crucified, and opposite is Moses with the rain of serpents, and the same
+Moses placing on high the serpent of brass. For that of the Holy Spirit
+is that same Holy Spirit descending upon the Apostles, and opposite is the
+Building of the Tower of Nimrod.</p>
+
+<p>That work was executed by Don Giulio in a period of nine years
+with so much study and labour, that in a manner of speaking it would
+never be possible to pay for the work with no matter what price; nor is
+one able to see any more strange and beautiful variety than there is in
+all the scenes, of bizarre ornaments and various movements and postures
+of nudes both male and female, studied and well detailed in every part,
+and placed appropriately all around in those borders, in order to enrich
+the work. Which diversity of things infuses such beauty into that
+whole work, that it appears a thing divine and not human, and above
+all because with his colours and his manner of painting he has made the
+figures, the buildings and the landscapes recede and fade into the distance
+with all those considerations that perspective requires, and with the
+greatest perfection that is possible, insomuch that, whether near or far,
+they cause everyone to marvel; not to speak of the thousand different
+kinds of trees, wrought so well that they appear as if grown in Paradise.
+In the stories and inventions may be seen design, in the composition
+order and variety, and richness in the vestments, which are executed
+with such beauty and grace of manner, that it seems impossible that they
+could have been fashioned by the hand of man. Wherefore we may
+say, as we said at the beginning, that Don Giulio has surpassed in this
+field both ancients and moderns, and that he has been in our times a new,
+if smaller, Michelagnolo.</p>
+
+<p>The same master once executed a small picture with little figures for
+the Cardinal of Trent, so pleasing and so beautiful, that that lord made
+a present of it to the Emperor Charles V; and afterwards, for the same
+lord, he painted another of Our Lady, and with it the portrait of King
+Philip, which were very beautiful and therefore presented to the said
+Catholic King. For the above-named Cardinal Farnese he painted a
+little picture of Our Lady with her Son in her arms, S. Elizabeth, a
+<span class="pagenum"><a id="Page_251" name="Page_251"></a>[Pg 251]</span> young S. John, and other figures, which was sent to Ruy Gomez in
+Spain. In another, which the above-named Cardinal now has, he painted
+S. John the Baptist in the Desert, with landscapes and animals of great
+beauty, and another like it he executed afterwards for the same lord,
+for sending to King Philip; and a Pietà, which he painted with the
+Madonna and many other figures, was presented by the same Farnese
+to Pope Paul IV, who as long as he lived would always have it beside
+him. And a scene in which David is cutting off the head of the giant
+Goliath, was presented by the same Cardinal to Madama Margherita of
+Austria, who sent it to King Philip, her brother, together with another
+which that most illustrious lady caused Don Giulio to execute as a companion
+to it, wherein was Judith severing the head of Holofernes.</p>
+
+<p>Many years ago Don Giulio stayed many months with Duke Cosimo,
+and during that time executed some works for him, part of which were
+sent to the Emperor and other lords, and part remained with his most
+illustrious Excellency, who, among other things, caused him to copy a
+little head of Christ from one of great antiquity that his Excellency
+himself possesses, which once belonged to Godfrey of Bouillon, King of
+Jerusalem; which head, they say, is more like the true image of the
+Saviour than any other that there may be. Don Giulio painted for the
+said Lord Duke a Christ on the Cross with the Magdalene at the foot,
+which is a marvellous thing, and a little picture of a Pietà, of which we
+have the design in our book together with another, also by the hand of
+Don Giulio, of Our Lady standing with her Son in her arms, dressed in
+the Jewish manner, with a choir of Angels about her, and many nude
+souls in the act of commending themselves to her. But to return to the
+Lord Duke; he has always loved dearly the excellence of Don Giulio,
+and sought to obtain works by his hand; and if it had not been for the
+regard that he felt for Farnese, he would not have let him go when he
+stayed some months, as I have said, in his service in Florence. The
+Duke, then, besides the works mentioned, has a little picture by the hand
+of Don Giulio, wherein is Ganymede borne to Heaven by Jove transformed
+into an Eagle, copied from the one that Michelagnolo once drew,
+which is now in the possession of Tommaso de' Cavalieri, as has been
+<span class="pagenum"><a id="Page_252" name="Page_252"></a>[Pg 252]</span> told elsewhere. In like manner, the Duke has in his study a S. John
+the Baptist seated upon a rock, and some portraits by the same hand,
+which are admirable.</p>
+
+<p>Don Giulio once executed a picture of a Pietà, with the Maries and
+other figures around, for the Marchioness of Pescara, and another like it
+in every part for Cardinal Farnese, who sent it to the Empress, who is
+now the wife of Maximilian and sister of King Philip; and another little
+picture by the same master's hand he sent to his Imperial Majesty, in
+which, in a most beautiful little landscape, is S. George killing the Serpent,
+executed with supreme diligence. But this was surpassed in
+beauty and design by a larger picture that Don Giulio painted for a
+Spanish gentleman, in which is the Emperor Trajan as he is seen in
+medals with the Province of Judæa on the reverse; which picture was
+sent to the above-named Maximilian, now Emperor.</p>
+
+<p>For the same Cardinal Farnese he has executed two other little
+pictures; in one is Jesus Christ nude, with the Cross in His hands, and
+in the other is Christ led by the Jews and accompanied by a vast multitude
+to Mount Calvary, with the Cross on His shoulder, and behind
+Him Our Lady and the other Maries in attitudes full of grace, such as
+might move to pity a heart of stone. And in two large sheets for a
+Missal, he has painted for that Cardinal Jesus Christ instructing the
+Apostles in the doctrine of the Holy Evangel, and the Universal Judgment&mdash;a
+work so beautiful, nay, so marvellous, so stupendous, that I
+am confounded at the thought of it; and I hold it as certain that it is not
+possible, I do not say to execute, but to see or even imagine anything
+in miniature more beautiful.</p>
+
+<p>It is a notable thing that in many of these works, and particularly
+in the Office of the Madonna described above, Don Giulio has made some
+little figures not larger than very small ants, with all the members so
+depicted and distinguished, that more could not have been done in
+figures of the size of life; and that everywhere there are dispersed portraits
+from nature of men and women, not less like the reality than if
+they had been executed, large as life and very natural, by Tiziano or
+Bronzino. Besides which, in some ornaments of the borders there may
+<span class="pagenum"><a id="Page_253" name="Page_253"></a>[Pg 253]</span> be seen little figures both nude and in other manners, painted in the
+likeness of cameos, which, marvellously small as they are, resemble in
+those proportions the most colossal giants; such is the art and surpassing
+diligence that Don Giulio uses in his work. Of him I have wished to
+give to the world this information, to the end that those may know
+something of him who are not or will not be able to see any of his works,
+from their being almost all in the hands of great lords and personages.
+I say almost all, because I know that some private persons have in little
+cases most beautiful portraits by his hand, of various lords, their friends,
+or ladies loved by them. But, however that may be, it is certain that the
+works of men such as Don Giulio are not public, nor in places where
+they can be seen by everyone, like the pictures, sculptures, and buildings
+of the other masters of these our arts.</p>
+
+<p>At the present day Don Giulio, although he is old and does not study
+or attend to anything save to seeking the salvation of his soul by good
+and holy works and by a life wholly apart from the things of the world,
+and is in every way an old man, yet continues constantly to work at
+something, there where he lives well attended and in perfect peace in
+the Palace of the Farnesi, where he is most courteous in showing his
+work with much willingness to all who go to visit and see him, as they</p>
+visit the other marvels of Rome.
+
+
+<hr style="width: 65%;">
+<h2><a name="craftsmen" id="craftsmen"></a><span class="pagenum"><a id="Page_255" name="Page_255"></a>[Pg 255]</span> DIVERS ITALIAN CRAFTSMEN</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_craftsmen" id="life_of_craftsmen"></a><span class="pagenum"><a id="Page_257" name="Page_257"></a>[Pg 257]</span> OF DIVERS ITALIAN CRAFTSMEN STILL LIVING</h2>
+
+
+<p>There is now living in Rome one who is certainly very excellent in his
+profession, Girolamo Siciolante of Sermoneta, of whom, although something
+has been said in the Life of Perino del Vaga, whose disciple he was,
+assisting him in the works of Castel S. Angelo and in many others, nevertheless
+it cannot but be well to say also here so much as his great excellence
+truly deserves. Among the first works, then, that this Girolamo
+executed by himself, was an altar-piece twelve palms high painted by him
+in oils at the age of twenty, which is now in the Badia of S. Stefano,
+near his native town of Sermoneta; wherein, large as life, are S. Peter,
+S. Stephen, and S. John the Baptist, with certain children. After that
+altar-piece, which was much extolled, he painted for the Church of
+S. Apostolo, in Rome, an altar-piece in oils with the Dead Christ, Our
+Lady, S. John, the Magdalene, and other figures, all executed with
+diligence. Then in the Pace, in the marble chapel that Cardinal Cesis
+caused to be constructed, he decorated the whole vaulting with stucco-work
+in a pattern of four pictures, painting therein the Nativity of Jesus
+Christ, the Adoration of the Magi, the Flight into Egypt, and the Massacre
+of the Innocents; all which was a work worthy of much praise and executed
+with invention, judgment, and diligence. For that same church, not
+long after, the same Girolamo painted an altar-piece fifteen palms high,
+which is beside the high-altar, of the Nativity of Jesus Christ, which
+was very beautiful; and then in another altar-piece in oils, for the Sacristy
+of the Church of S. Spirito in Rome, the Descent of the Holy Spirit upon
+the Apostles, which is a work full of grace. In like manner, in the
+Church of S. Maria de Anima, the church of the German colony, he
+painted in fresco the whole of the Chapel of the Fugger family (for which
+<span class="pagenum"><a id="Page_258" name="Page_258"></a>[Pg 258]</span> Giulio Romano once executed the altar-piece), with large scenes of the
+Life of Our Lady. For the high-altar of S. Jacopo degli Spagnuoli he
+painted in a large altar-piece a very beautiful Christ on the Cross with
+some Angels about Him, Our Lady, and S. John, and besides this two
+large pictures that are one on either side of it, each nine palms high
+and with a single figure, S. James the Apostle and S. Alfonso the Bishop;
+in which pictures it is evident that he used much study and diligence.
+On the Piazza Giudea, in the Church of S. Tommaso, he painted in fresco
+the whole of a chapel that looks out over the court of the Cenci Palace,
+depicting there the Nativity of the Madonna, the Annunciation by the
+Angel, and the Birth of Our Saviour Jesus Christ. For Cardinal Capodiferro
+he painted a hall in his palace, which is very beautiful, with
+stories of the ancient Romans. And at Bologna he once executed for
+the Church of S. Martino the altar-piece of the high-altar, which was
+much commended. For Signor Pier Luigi Farnese, Duke of Parma and
+Piacenza, whom he served for some time, he executed many works, and
+in particular a picture that is in Piacenza, painted for a chapel, wherein
+are Our Lady, S. Joseph, S. Michael, S. John the Baptist, and an Angel,
+of eight palms.</p>
+
+<div class="figcenter">
+<a name="img071" id="img071"></a>
+<img src="images/img071-tb.jpg" width="300" height="499" alt="The Martyrdom of S. Catharine." title="">
+<p class="caption">THE MARTYRDOM OF S. CATHARINE<br>
+(<i>After the painting by</i> Sermoneta. <i>Rome: S. Maria Maggiore</i>)<br>
+<i>Alinari</i><br>
+<span class="link"><a href="images/img071.jpg">View larger image</a></span></p>
+</div>
+
+<p>After his return from Lombardy he painted in the Minerva, in the
+passage of the sacristy, a Christ on the Cross, and another in the church.
+Then he painted in oils a S. Catharine and a S. Agatha; and in S. Luigi
+he executed a scene in fresco in competition with Pellegrino Pellegrini
+of Bologna and the Florentine Jacopo del Conte. In an altar-piece in
+oils, sixteen palms high, executed not long since for the Church of S. Alò,
+opposite to the Misericordia, a Company of the Florentines, he painted
+Our Lady, S. James the Apostle, and the Bishops S. Alò and S. Martino;
+and in S. Lorenzo in Lucina, in the Chapel of the Countess of Carpi, he
+painted in fresco a S. Francis who is receiving the Stigmata. In the
+Hall of Kings, at the time of Pope Pius IV, as has been related, he executed
+a scene in fresco over the door of the Chapel of Sixtus; in that scene,
+which was much extolled, Pepin, King of the Franks, is presenting
+Ravenna to the Roman Church, and is leading as prisoner Astulf, King
+of the Lombards; and we have the design of it by Girolamo's own hand
+<span class="pagenum"><a id="Page_259" name="Page_259"></a>[Pg 259]</span> in our book, with many others by the same master. And, finally, he
+has now in hand the Chapel of Cardinal Cesis in S. Maria Maggiore, for
+which he has already executed in a large altar-piece the Martyrdom of
+S. Catharine on the wheel, which is a most beautiful picture, as are the
+others on which both there and elsewhere, with much study, he is continually
+at work. I shall not make mention of the portraits and other
+pictures and little works of Girolamo, because, besides that they are
+without number, these are enough to make him known as a valiant and
+excellent painter.</p>
+
+<p>Having said above, in the Life of Perino del Vaga, that the painter
+Marcello Mantovano worked many years under him at pictures that gave
+him a great name, I have to say in this place, coming more to particulars,
+that he once painted in the Church of S. Spirito the whole Chapel of
+S. Giovanni Evangelista and its altar-piece, with the portrait of a Knight
+Commander of the same S. Spirito, who built that church and constructed
+that chapel; which portrait is a very good likeness, and the altar-piece
+most beautiful. Whereupon a Friar of the Piombo, having seen his
+beautiful manner, caused him to paint in fresco in the Pace, over the door
+that leads from the church into the convent, Jesus Christ as a boy disputing
+with the Doctors in the Temple, which is a very lovely work. But
+since he has always delighted to make portraits and little things, abandoning
+larger works, he has executed an infinite number of these; and among
+them may be seen some of Pope Paul III, which are beautiful and speaking
+likenesses. In like manner, from the designs of Michelagnolo and from
+his works he has executed a vast number of things likewise small, and
+among these he has depicted in one of his works the whole façade of the
+Judgment, which is a rare thing and executed excellently well; and in
+truth, for small paintings, it would not be possible to do better. For
+which reason, finally, that most gentle Messer Tommaso de' Cavalieri,
+who has always favoured him, has caused him to paint after the design
+of Michelagnolo an altar-picture of the Annunciation of the Virgin, most
+beautiful, for the Church of S. Giovanni Laterano; which design by
+Buonarroti's own hand, imitated by this Marcello, Leonardo Buonarroti,
+the nephew of Michelagnolo, presented to the Lord Duke Cosimo together
+<span class="pagenum"><a id="Page_260" name="Page_260"></a>[Pg 260]</span> with some others of fortifications and architecture and other things of
+the rarest. And this must suffice for Marcello, who has been attending
+lately to working at little things, executing them with a truly supreme
+and incredible patience.</p>
+
+<p>Of Jacopo del Conte, a Florentine, who like those named above dwells
+in Rome, enough will have been said, what with this and other places,
+after certain other particulars have been given here. This Jacopo, then,
+having been much inclined from his earliest youth to portraying from the
+life, has desired that this should be his principal profession, although on
+occasions he has executed altar-pictures and works in fresco in some
+numbers, both in Rome and without. Of his portraits&mdash;not to speak of
+them all, which would make a very long story&mdash;I shall say only that he
+has portrayed all the Pontiffs that there have been from Pope Paul III
+to the present day, and all the lords and ambassadors of importance
+who have been at that Court, and likewise the military captains and
+great men of the house of Colonna and of the Orsini, Signor Piero Strozzi,
+and an infinite number of Bishops, Cardinals, and other great prelates
+and lords, not to speak of many men of letters and other men of quality;
+all which has caused him to acquire fame, honour, and profit in Rome,
+so that he lives honourably and much at his ease with his family in that
+city. From his boyhood he drew so well that he gave promise, if he
+should persevere, of becoming excellent, and so in truth he would have
+been, but, as I have said, he turned to that to which he felt himself inclined
+by nature. Nevertheless, his works cannot but be praised. By his hand
+is a Dead Christ in an altar-piece that is in the Church of the Popolo, and
+in another that he has executed for the Chapel of S. Dionigi in S. Luigi,
+with stories, is the first-named Saint. But the most beautiful work that
+he ever did was in two scenes in fresco that he once painted, as has been
+told in another place, in the Florentine Company of the Misericordia,
+with an altar-picture of Christ taken down from the Cross, with the
+Thieves fixed on their crosses, and the Madonna in a swoon, painted in
+oil-colours, all beautiful and executed with diligence and with great
+credit to him. He has made many pictures throughout Rome, and
+figures in various manners, and has executed a number of full-length
+<span class="pagenum"><a id="Page_261" name="Page_261"></a>[Pg 261]</span> portraits, both nude and draped, of men and women, which have proved
+very beautiful, because the subjects were not otherwise. He has also
+portrayed, according as occasions arose, many heads of noble ladies,
+gentlewomen and princesses who have been in Rome; and among others,
+I know that he once portrayed Signora Livia Colonna, a most noble lady,
+incomparable in her illustrious blood, her virtue, and her beauty. And
+let this suffice for Jacopo del Conte, who is still living and constantly at
+work.</p>
+
+<p>I might have made known, also, many from our Tuscany and from
+other parts of Italy, their names and their works, which I have passed
+over lightly, because many of them, being old, have ceased to work, and
+others who are young are now trying their hands and will become known
+better by their works than by means of writings. But of Adone Doni
+of Assisi, because he is still living and working, although I made mention
+of him in the Life of Cristofano Gherardi, I shall give some particulars of
+his works, such as are in Perugia and throughout all Umbria, and in
+particular many altar-pieces in Foligno. But his best works are in
+S. Maria degli Angeli at Assisi, in the little chapel where S. Francis
+died, wherein are some stories of the life of that Saint executed in oils
+on the walls, which are much extolled, besides which, he has painted
+the Passion of Christ in fresco at the head of the refectory of that convent,
+in addition to many other works that have done him honour; and his
+gentleness and courtesy have caused him to be considered liberal and
+courteous.</p>
+
+<p>In Orvieto there are two young men also of that same profession,
+one a painter called Cesare del Nebbia, and the other a sculptor, both
+well on the way to bringing it about that their city, which up to the
+present has always invited foreign masters to adorn her, will no longer be
+obliged, if they follow up the beginnings that they have made, to seek
+other masters. There is working at Orvieto, in S. Maria, the Duomo
+of that city, a young painter called Niccolò dalle Pomarancie, who,
+having executed an altar-piece wherein is Christ raising Lazarus, has
+given signs&mdash;not to speak of other works in fresco&mdash;of winning a name
+among the others named above.</p>
+
+<p><span class="pagenum"><a id="Page_262" name="Page_262"></a>[Pg 262]</span> And now that we are come to the end of our Italian masters still
+living, I shall say only that no less service has been rendered by one
+Lodovico, a Florentine sculptor, who, so I am told, has executed notable
+works in England and at Bari; but, since I have not found here either
+his relatives or his family name, and have not seen his works, I am not
+able (as I fain would) to make any other record of him than this mention
+of his name.</p>
+
+<hr style="width: 65%;">
+<h2><a name="flemings" id="flemings"></a><span class="pagenum"><a id="Page_263" name="Page_263"></a>[Pg 263]</span> DIVERS FLEMINGS</h2>
+
+<hr style="width: 65%;">
+<h2><a name="life_of_flemings" id="life_of_flemings"></a><span class="pagenum"><a id="Page_265" name="Page_265"></a>[Pg 265]</span> OF DIVERS FLEMINGS</h2>
+
+
+<p>Now, although in many places mention has been made of the works of
+certain excellent Flemish painters and of their engravings, but without
+any order, I shall not withhold the names of certain others&mdash;for of their
+works I have not been able to obtain full information&mdash;who have been
+in Italy, and I have known the greater number of them, in order to learn
+the Italian manner; believing that no less is due to their industry and
+to the labour endured by them in our arts. Leaving aside, then, Martin
+of Holland, Jan van Eyck of Bruges, and Hubert his brother, who in
+1510 invented and brought to light the method of painting in oil-colours,
+as has been told elsewhere, and left many works by his hand in Ghent,
+Ypres, and Bruges, where he lived and died in honour; after them, I say,
+there followed Roger van der Weyden of Brussels, who executed many
+works in several places, but principally in his native city, and for the
+Town Hall four most beautiful panel-pictures in oils, of things appertaining
+to Justice. A disciple of that Roger was Hans,<a id="FNanchor16" name="FNanchor16"></a><a href="#Footnote16" title="Go to footnote 16" class="fnanchor">[16]</a> by whom, as
+has been told, we have in Florence the Passion of Christ in a little picture
+that is in the hands of the Duke. To him there succeeded the Fleming
+Louis of Louvain, Pieter Christus, Justus of Ghent, Hugo of Antwerp,
+and many others, who, for the reason that they never went forth from
+their own country, always adhered to the Flemish manner. And if
+Albrecht Dürer, of whom we have spoken at some length, did once come
+to Italy, nevertheless he kept always to one and the same manner;
+although he was spirited and vivacious, particularly in his heads, as is
+well known to all Europe.</p>
+
+<p>But, leaving these, and together with them Lucas of Holland and
+<span class="pagenum"><a id="Page_266" name="Page_266"></a>[Pg 266]</span> others, I became acquainted in Rome, in 1532, with one Michael Coxie,
+who gave no little study to the Italian manner, and executed many works
+in fresco in that city, and in particular two chapels in S. Maria de Anima.
+Having then returned to his own country and made himself known as an
+able man, I hear that among other works he executed for King Philip
+of Spain an altar-picture copied from one by the above-named Jan van
+Eyck that is in Ghent; and in that copy, which was taken into Spain, is
+the Triumph of the Agnus Dei. There studied in Rome, not long afterwards,
+Martin Heemskerk, a good master of figures and landscapes, who
+has executed in Flanders many pictures and many designs for copper-engravings,
+which, as has been related elsewhere, have been engraved by
+Hieronymus Cock, whom I came to know in Rome while I was serving
+Cardinal Ippolito de' Medici. And all these have been most beautiful
+inventors of stories, and close observers of the Italian manner.</p>
+
+<div class="figcenter">
+<a name="img072" id="img072"></a>
+<img src="images/img072-tb.jpg" width="400" height="486" alt="Portrait of a Man." title="">
+<p class="caption">PORTRAIT OF A MAN<br>
+(<i>After the painting by</i> Johannes Calcar. <i>Paris: Louvre, No. 1185</i>)<br>
+<i>X phot.</i><br>
+<span class="link"><a href="images/img072.jpg">View larger image</a></span></p>
+</div>
+
+<p>In Naples, also, in the year 1545, I came to know Johann of Calcar,
+a Flemish painter, who became very much my friend; a very rare craftsman,
+and so well practised in the Italian manner, that his works were
+not recognized as by the hand of a Fleming. But he died young in
+Naples, while great things were expected of him; and he drew for Vessalio
+his studies in anatomy. Before him, however, there was much in repute
+one Dirk of Louvain, a good master in that manner; and also Quentin of
+the same place, who in his figures always followed nature as well as he
+was able, as also did a son of his called Johann. Joost van Cleef, likewise,
+was a great colourist and rare in making portraits from life, for which
+King Francis of France employed him much in executing many portraits
+of various lords and ladies. Famous painters of the same province, also,
+have been&mdash;and some of them still are&mdash;Jan van Hemessen, Matthys
+Cock of Antwerp, Bernard of Brussels, Jan Cornelis of Amsterdam,
+Lambert of the same city, Hendrik of Dinant, Joachim Patinier of
+Bouvignes, and Jan Scorel, Canon of Utrecht, who carried into Flanders
+many new methods of painting taken from Italy. Besides these, there
+have been Jean Bellegambe of Douai, Dirk of Haarlem, from the same
+place, and Franz Mostaert, who was passing skilful in painting landscapes
+in oils, fantasies, bizarre inventions, dreams, and suchlike imaginings.
+<span class="pagenum"><a id="Page_267" name="Page_267"></a>[Pg 267]</span> Hieronymus Bosch and Pieter Brueghel of Breda were imitators
+of that Mostaert, and Lancelot Blondeel has been excellent in painting
+fires, nights, splendours, devils, and other things of that kind. Pieter
+Koeck has had much invention in stories, and has made very beautiful
+cartoons for tapestries and arras-hangings; with a good manner and
+practice in matters of architecture, on which account he has translated
+into the Teuton tongue the works on architecture of Sebastiano Serlio of
+Bologna. And Jean Gossart of Mabuse was almost the first who took
+from Italy into Flanders the true method of making scenes full of nude
+figures and poetical inventions; and by his hand is a large altar-piece in
+the Abbey of Middelburg in Zeeland. Of all these information has been
+received from Maestro Giovanni Strada of Bruges, a painter, and from
+Giovan Bologna of Douai, a sculptor; both Flemings and men of excellence,
+as we shall relate in the Treatise on the Academicians.</p>
+
+<p>As for those of the same province who are still living and in repute,
+the first among them, both for his works in painting and for his many
+copper-plate engravings, is Franz Floris of Antwerp, a disciple of the
+above-mentioned Lambert Lombard. This Floris, who is held to be
+most excellent, has worked in such a manner in every field of his profession,
+that no one, they say there, has expressed better the emotions
+of the soul, sorrow, gladness, and the other passions, and all with most
+beautiful and bizarre inventions; insomuch that, likening him to the
+Urbinate, they call him the Flemish Raffaello. It is true that this is not
+demonstrated to us fully by the printed sheets, for the reason that the
+engraver, be he ever so able, never by a great measure equals the originals
+or the design and manner of him who has drawn them. A fellow-disciple
+with Floris, learning under the discipline of the same master, has been
+Willem Key of Breda, and also of Antwerp, a temperate, serious, and
+judicious man, and a close imitator of the life and the objects of nature,
+and in addition passing fertile in invention, and one who more than any
+other executes his pictures with good gradation and all full of sweetness
+and grace; and although he has not the facility, boldness, and terrible
+force of his brother-disciple Floris, for all that he is held to be truly
+excellent. Michael Coxie, of whom I have spoken above, saying that
+<span class="pagenum"><a id="Page_268" name="Page_268"></a>[Pg 268]</span> he carried the Italian manner into Flanders, is much celebrated among
+the Flemish craftsmen for being profoundly serious and making his
+figures such that they have in them much of the virile and severe; wherefore
+the Fleming Messer Domenicus Lampsonius, of whom mention will
+be made in the proper place, discoursing of the two masters named above
+and of this Michael, likens them to a fine trio in music, in which each
+plays his part with excellence. Much esteemed, also, among the same
+men, is Antonius Moor of Utrecht in Holland, painter to the Catholic
+King, whose colours, they say, in portraying whatever he may choose
+from nature, vie with the reality and deceive the eye most beautifully.
+The same Lampsonius writes to me that Moor, who is a man of very gentle
+ways and much beloved, has painted a most beautiful altar-picture of
+Christ rising from the dead, with two Angels, S. Peter, and S. Paul,
+which is a marvellous thing. Marten de Vos, who copies excellently well
+from nature, is held to be good in invention and colouring. But in the
+matter of making beautiful landscapes, none are equal to Jakob Grimmer,
+Hans Bol, and others, all of Antwerp and able men, of whom, nevertheless,
+I have not been able to obtain particular information. Pieter
+Aertsen, called Long Peter, painted in his native city of Amsterdam an
+altar-picture with wing-panels, containing Our Lady and other Saints;
+which whole work cost two thousand crowns. They also celebrate as
+a good painter Lambert of Amsterdam, who dwelt many years in Venice,
+and had the Italian manner very well. This Lambert was the father of
+Federigo, of whom, from his being one of our Academicians, record will
+be made in the proper place. Pieter Brueghel of Antwerp, likewise, they
+celebrate as an excellent master, and Lambert van Noort of Amersfort
+in Holland, and as a good architect Gilis Mostaert, brother of the above-named
+Franz; and Pieter Pourbus, a mere lad, has given proof that he is
+destined to become an excellent painter.</p>
+
+<p>Now, that we may learn something of the miniaturists of those
+countries: they say that these have been excellent there, Marinus of
+Zierickzee, Lucas Horebout of Ghent, Simon Bening of Bruges, and
+Gerard; and likewise some women, Susanna, sister of the said Lucas,
+who was invited for that work into the service of Henry VIII, King of
+<span class="pagenum"><a id="Page_269" name="Page_269"></a>[Pg 269]</span> England, and lived there in honour all the rest of her life; Clara Skeysers
+of Ghent, who at the age of eighty died, so they say, a virgin; Anna,
+daughter of Meister Seghers, a physician; Levina, daughter of the above-named
+Meister Simon of Bruges, who was married by the said Henry of
+England to a nobleman, and held in estimation by Queen Mary, even
+as she is now by Queen Elizabeth; and likewise Catharina, daughter of
+Meister Jan van Hemessen, who went to Spain into the service of the
+Queen of Hungary, with a good salary. In short, many other women in
+those parts have been excellent miniaturists.</p>
+
+<p>In the work of glass and of making windows there have been many
+able men in the same province; Arthus van Noort of Nymwegen, Borghese
+of Antwerp, Dierick Jacobsz Vellaert, Dirk van Staren of Kampen, and
+Jan Haeck of Antwerp, by whom are the windows in the Chapel of the
+Sacrament in the Church of S. Gudule in Brussels. And here in Tuscany
+many very beautiful windows of fired glass have been made for the Duke
+of Florence by Wouter Crabeth and Giorgio, Flemings and able men,
+from the designs of Vasari.</p>
+
+<p>In architecture and sculpture the most celebrated Flemings are
+Sebastian van Oja of Utrecht, who served Charles V in some fortifications,
+and then King Philip; Willem van Antwerp; Willem Keur of
+Holland, a good architect and sculptor; Jan van Dalen, sculptor, poet
+and architect; and Jakob Breuck, sculptor and architect, who executed
+many works for the Queen Regent of Hungary, and was the master of
+Giovan Bologna of Douai, one of our Academicians, of whom we shall
+speak in a short time. Jan de Mynsheere of Ghent, also, is held to be a
+good architect, and Matthaeus Manemaker of Antwerp, who is with the
+King of the Romans, an excellent sculptor; and Cornelis Floris, brother
+of the above-named Franz, is likewise an excellent sculptor and architect,
+and the first who introduced into Flanders the method of making
+grotesques. Others who give their attention to sculpture, with much
+honour to themselves, are Willem Paludanus, a very studious and diligent
+sculptor, brother of the above-named Heinrich; Jan der Sart of Nymwegen,
+Simon van Delft, and Joost Janszoon of Amsterdam. And Lambert
+Suavius of Liège is a very good architect and master in engraving
+<span class="pagenum"><a id="Page_270" name="Page_270"></a>[Pg 270]</span> prints with the burin, wherein he has been followed by Joris Robyn of
+Ypres, Dirk Volkaerts and Philip Galle, both of Haarlem, Lucas van
+Leyden, and many others; who have all been in Italy in order to learn
+and to draw the antiquities, and to return home, as for the most part
+they have done, excellent masters. But greater than any of those named
+above has been Lambert Lombard of Liège, a man great in letters,
+judicious in painting, and excellent in architecture, the master of Franz
+Floris and Willem Key; of the excellencies of which Lambert and of others
+I have received much information in letters from M. Domenicus Lampsonius
+of Liège, a man well lettered and of much judgment in everything,
+who was the familiar confidant of Cardinal Pole of England during
+his lifetime, and now is secretary to Monsignor the Prince Bishop of
+Liège. That gentleman, I say, once sent me the life of the said Lambert
+written in Latin, and he has saluted me several times in the name of
+many of our craftsmen from that province; and a letter that I have by his
+hand, dated October 30, 1564, is written in this tenor:</p>
+
+<p>"For four years back I have had it constantly in mind to thank
+you, honoured Sir, for two very great benefits that I have received from
+you, although I know that this will appear to you a strange exordium
+from one whom you have never seen or known. And strange, indeed, it
+would be, if I had not known you, which has been from the time when
+my good fortune, or rather, our Lord God, willed that by His Grace there
+should come into my hands, I know not in what way, your most excellent
+writings concerning the architects, painters, and sculptors. But at that
+time I did not know one word of Italian, whereas now, thanks be to God,
+for all that I have never seen Italy, by reading your writings I have
+gained such little knowledge as has encouraged me to write you this letter.
+And to this desire to learn your tongue I have been attracted by your
+writings, which perhaps those of no other man could have done; being
+drawn to seek to understand them by a natural and irresistible love that
+I have borne from childhood to these three most beautiful arts, but above
+all to that most pleasing to every age, sex, and rank, and hurtful to
+none, your art of painting. In which art, although I was at that time
+<span class="pagenum"><a id="Page_271" name="Page_271"></a>[Pg 271]</span> wholly ignorant and wanting in judgment, now, by means of the frequently
+reiterated reading of your writings, I understand so much&mdash;little
+though it may be, and as it were nothing&mdash;as is yet enough to enable
+me to lead an agreeable and happy life; and this I value more than all
+the honours, comforts and riches of this world. By this little I mean
+only that I could copy with oil-colours, as with any kind of drawing-instrument,
+the objects of nature, and particularly nudes and vestments
+of every sort; but I have not had courage enough to plunge deeper, as
+for example, to paint things more hazardous which require a hand more
+practised and sure, such as landscapes, trees, waters, clouds, splendours,
+fires, etc. And although in these things, as also in inventions, up to a
+certain point, it is possible that in case of necessity I could show that I
+have made some little proficience by means of the reading I have mentioned,
+yet I have been content, as I have said, to confine myself to
+making only portraits, and the rather because the many occupations
+which my office necessarily involves do not permit me to do more. And
+in order to prove myself in some way appreciative and grateful for these
+benefits, that by your means I have learned a most beautiful tongue
+and the art of painting, I would have sent you with this letter a little
+portrait of my face, taken with a mirror, had I not doubted whether my
+letter would find you in Rome or not, since at the present moment you
+might perchance be living in Florence or your native city of Arezzo."</p>
+
+<p>This letter contains, in addition, many other particulars that are not
+here to the point. In others, since, he has prayed me in the name of
+many honourable gentlemen of those parts, who have heard that these
+Lives are being reprinted, that I should add to them three treatises on
+sculpture, painting, and architecture, with drawings of figures, by way
+of elucidation according to necessity, in order to expound the secrets
+of the arts, as Albrecht Dürer and Serlio have done, and Leon Battista
+Alberti, who has been translated by M. Cosimo Bartoli, a gentleman and
+Academician of Florence. Which I would have done more than willingly,
+but my intention has been only to describe the lives and works of our
+craftsmen, and not to teach the arts, with the methods of drawing the
+<span class="pagenum"><a id="Page_272" name="Page_272"></a>[Pg 272]</span> lines of painting, architecture, and sculpture; besides which, the work
+having grown under my hands for many reasons, it will be perchance
+too long, even without adding treatises. But it was not possible or right
+for me to do otherwise than I have done, or to defraud anyone of his due
+praise and honour, nor yet the world of the pleasure and profit that I
+hope may be derived from these labours.</p>
+
+
+<hr style="width: 65%;">
+<h2><a name="index_name_vol_9" id="index_name_vol_9"></a><span class="pagenum"><a id="Page_273" name="Page_273"></a>[Pg 273]</span> INDEX OF NAMES<br>
+OF THE CRAFTSMEN MENTIONED IN VOLUME IX</h2>
+
+
+<ul class="none">
+<li>Abate, Niccolò dell' (Niccolò da Modena),
+<a href="#Page_148">148</a></li>
+
+<li>Adone Doni,
+<a href="#Page_261">261</a></li>
+
+<li>Aertsen, Pieter,
+<a href="#Page_268">268</a></li>
+
+<li>Agnolo, Baccio d',
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_194">194</a></li>
+
+<li>Agnolo Bronzino,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a>,
+<a href="#Page_128">128</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_137">137</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Agnolo di Donnino,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Agresti, Livio (Livio da Forlì),
+<a href="#Page_155">155</a></li>
+
+<li>Aimo, Domenico (Vecchio),
+<a href="#Page_189">189</a></li>
+
+<li>Alberti, Leon Batista,
+<a href="#Page_271">271</a></li>
+
+<li>Albrecht Dürer,
+<a href="#Page_163">163</a>,
+<a href="#Page_246">246</a>,
+<a href="#Page_265">265</a>,
+<a href="#Page_271">271</a></li>
+
+<li>Alessandro Allori (Alessandro del Bronzino),
+<a href="#Page_133">133</a>,
+<a href="#Page_138">138</a></li>
+
+<li>Alessandro (Scherano da Settignano),
+<a href="#Page_55">55</a></li>
+
+<li>Alessandro Vittoria,
+<a href="#Page_204">204</a>-206,
+<a href="#Page_223">223</a></li>
+
+<li>Alessi, Galeazzo,
+<a href="#Page_239">239</a>-242</li>
+
+<li>Alesso Baldovinetti,
+<a href="#Page_182">182</a></li>
+
+<li>Alfonso Lombardi,
+<a href="#Page_167">167</a></li>
+
+<li>Allori, Alessandro (Alessandro del Bronzino),
+<a href="#Page_133">133</a>,
+<a href="#Page_138">138</a></li>
+
+<li>Alonzo Berughetta,
+<a href="#Page_20">20</a>,
+<a href="#Page_189">189</a></li>
+
+<li>Ammanati, Bartolommeo,
+<a href="#Page_69">69</a>,
+<a href="#Page_70">70</a>,
+<a href="#Page_73">73</a>,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a>,
+<a href="#Page_126">126</a>,
+<a href="#Page_129">129</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_208">208</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Amsterdam, Lambert of (Lambert Lombard),
+<a href="#Page_266">266</a>-268,
+<a href="#Page_270">270</a></li>
+
+<li>Andrea Calamech,
+<a href="#Page_129">129</a></li>
+
+<li>Andrea Contucci (Andrea Sansovino),
+<a href="#Page_15">15</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_216">216</a></li>
+
+<li>Andrea del Minga,
+<a href="#Page_131">131</a></li>
+
+<li>Andrea del Sarto,
+<a href="#Page_20">20</a>,
+<a href="#Page_43">43</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_193">193</a>,
+<a href="#Page_194">194</a></li>
+
+<li>Andrea Mantegna,
+<a href="#Page_211">211</a></li>
+
+<li>Andrea Palladio,
+<a href="#Page_211">211</a>-214</li>
+
+<li>Andrea Sansovino (Andrea Contucci),
+<a href="#Page_15">15</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_216">216</a></li>
+
+<li>Anna Seghers,
+<a href="#Page_269">269</a></li>
+
+<li>Antonio Begarelli (Modena),
+<a href="#Page_113">113</a></li>
+
+<li>Antonio da San Gallo (the elder),
+<a href="#Page_16">16</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a></li>
+
+<li>Antonio da San Gallo (the younger),
+<a href="#Page_61">61</a>-67,
+<a href="#Page_196">196</a>,
+<a href="#Page_197">197</a>,
+<a href="#Page_224">224</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Antonio di Gino Lorenzi,
+<a href="#Page_131">131</a></li>
+
+<li>Antonio di Marco di Giano (Carota),
+<a href="#Page_51">51</a></li>
+
+<li>Antonio Mini,
+<a href="#Page_47">47</a>-51,
+<a href="#Page_69">69</a>,
+<a href="#Page_81">81</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_109">109</a></li>
+
+<li>Antonius Moor,
+<a href="#Page_268">268</a></li>
+
+<li>Antwerp, Hugo of,
+<a href="#Page_265">265</a></li>
+
+<li>Antwerp, Willem van,
+<a href="#Page_269">269</a></li>
+
+<li>Apelles,
+<a href="#Page_133">133</a>,
+<a href="#Page_168">168</a></li>
+
+<li>Arca, Niccolò dell',
+<a href="#Page_11">11</a></li>
+
+<li>Aretino, Leone (Leone Lioni), <i>Life</i>,
+<a href="#Page_229">229</a>-232.
+<a href="#Page_95">95</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Aristotile (Bastiano) da San Gallo,
+<a href="#Page_20">20</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Arnolfo di Lapo,
+<a href="#Page_194">194</a></li>
+
+<li>Arthus van Noort,
+<a href="#Page_269">269</a></li>
+
+<li>Ascanio Condivi (Ascanio dalla Ripa Transone),
+<a href="#Page_5">5</a>,
+<a href="#Page_107">107</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Baccio Bandinelli,
+<a href="#Page_20">20</a>,
+<a href="#Page_49">49</a>,
+<a href="#Page_126">126</a>,
+<a href="#Page_190">190</a></li>
+
+<li>Baccio d'Agnolo,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_194">194</a></li>
+
+<li>Baccio da Montelupo,
+<a href="#Page_55">55</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_190">190</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Bagnacavallo, Bartolommeo da,
+<a href="#Page_147">147</a></li>
+
+<li>Bagnacavallo, Giovan Battista da,
+<a href="#Page_147">147</a>,
+<a href="#Page_148">148</a></li>
+
+<li>Baldassarre Peruzzi,
+<a href="#Page_65">65</a>,
+<a href="#Page_196">196</a></li>
+
+<li>Baldovinetti, Alesso,
+<a href="#Page_182">182</a></li>
+
+<li>Bandinelli, Baccio,
+<a href="#Page_20">20</a>,
+<a href="#Page_49">49</a>,
+<a href="#Page_126">126</a>,
+<a href="#Page_190">190</a></li>
+
+<li>Bandini, Giovanni di Benedetto (Giovanni dell'Opera),
+<a href="#Page_126">126</a>,
+<a href="#Page_130">130</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Barbara de' Longhi,
+<a href="#Page_155">155</a></li>
+
+<li>Barbiere, Domenico del,
+<a href="#Page_149">149</a></li>
+
+<li>Barozzi, Jacopo (Vignuola),
+<a href="#Page_102">102</a>,
+<a href="#Page_146">146</a>,
+<a href="#Page_147">147</a></li>
+
+<li>Bartolommeo Ammanati,
+<a href="#Page_69">69</a>,
+<a href="#Page_70">70</a>,
+<a href="#Page_73">73</a>,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a>,
+<a href="#Page_126">126</a>,
+<a href="#Page_129">129</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_208">208</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Bartolommeo Bozzato (Girolamo Bozza),
+<a href="#Page_183">183</a></li>
+
+<li>Bartolommeo da Bagnacavallo,
+<a href="#Page_147">147</a></li>
+
+<li>Bartolommeo Montagna,
+<a href="#Page_211">211</a></li>
+
+<li>Bartolommeo Passerotto,
+<a href="#Page_156">156</a></li>
+
+<li>Bartolommeo Suardi (Bramantino da Milano),
+<a href="#Page_190">190</a></li>
+
+<li>Bassano, Jacopo da,
+<a href="#Page_175">175</a>,
+<a href="#Page_176">176</a></li>
+
+<li>Bastiano (Aristotile) da San Gallo,
+<a href="#Page_20">20</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Battista del Cavaliere (Battista Lorenzi),
+<a href="#Page_131">131</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Battista del Cinque,
+<a href="#Page_51">51</a></li>
+
+<li>Battista del Tasso,
+<a href="#Page_51">51</a></li>
+
+<li>Battista di Benedetto Fiammeri,
+<a href="#Page_126">126</a></li>
+
+<li>Battista Farinato,
+<a href="#Page_214">214</a></li>
+
+<li>Battista Franco,
+<a href="#Page_199">199</a>,
+<a href="#Page_205">205</a>,
+<a href="#Page_217">217</a></li>
+
+<li>Battista Lorenzi (Battista del Cavaliere),
+<a href="#Page_131">131</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Battista Naldini,
+<a href="#Page_134">134</a></li>
+
+<li>Begarelli, Antonio (Modena),
+<a href="#Page_113">113</a></li>
+
+<li>Bellegambe, Jean,
+<a href="#Page_266">266</a></li>
+
+<li>Bellini, Giovanni,
+<a href="#Page_159">159</a>,
+<a href="#Page_160">160</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_163">163</a></li>
+
+<li>Benedetto da Rovezzano,
+<a href="#Page_191">191</a></li>
+
+<li>Bening, Levina,
+<a href="#Page_269">269</a></li>
+
+<li>Bening, Simon,
+<a href="#Page_268">268</a></li>
+
+<li>Benvenuto Cellini,
+<a href="#Page_51">51</a>,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a></li>
+
+<li>Benvenuto Garofalo,
+<a href="#Page_202">202</a></li>
+
+<li>Bernard of Brussels,
+<a href="#Page_266">266</a></li>
+
+<li>Bernardino Pinturicchio,
+<a href="#Page_190">190</a></li>
+
+<li>Bernardo Timante Buontalenti,
+<a href="#Page_135">135</a>-137</li>
+
+<li>Bertoldo, 8</li>
+
+<li>Berughetta, Alonzo,
+<a href="#Page_20">20</a>,
+<a href="#Page_189">189</a></li>
+
+<li>Bigio, Nanni di Baccio,
+<a href="#Page_69">69</a>,
+<a href="#Page_76">76</a>,
+<a href="#Page_100">100</a>,
+<a href="#Page_101">101</a>,
+<a href="#Page_113">113</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Blondeel, Lancelot,
+<a href="#Page_267">267</a></li>
+
+<li>Bol, Hans,
+<a href="#Page_268">268</a></li>
+
+<li>Bologna, Giovan,
+<a href="#Page_267">267</a>,
+<a href="#Page_269">269</a></li>
+
+<li>Bologna, Ruggieri da,
+<a href="#Page_147">147</a></li>
+
+<li>Bolognese, Pellegrino (Pellegrino Pellegrini, or Tibaldi),
+<a href="#Page_151">151</a>-154,
+<a href="#Page_258">258</a></li>
+
+<li>Bonifazio (of Venice),
+<a href="#Page_214">214</a></li>
+
+<li>Bordone, Paris,
+<a href="#Page_178">178</a>-182</li>
+
+<li>Borghese (of Antwerp),
+<a href="#Page_269">269</a></li>
+
+<li>Bosch, Hieronymus,
+<a href="#Page_267">267</a></li>
+
+<li>Bosco, Maso dal (Maso Boscoli),
+<a href="#Page_55">55</a></li>
+
+<li>Boscoli, Giovanni,
+<a href="#Page_156">156</a></li>
+
+<li>Boscoli, Maso (Maso dal Bosco),
+<a href="#Page_55">55</a></li>
+
+<li>Bozzato, Bartolommeo (Girolamo Bozza),
+<a href="#Page_183">183</a></li>
+
+<li>Bramante da Urbino,
+<a href="#Page_27">27</a>-29,
+<a href="#Page_31">31</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_71">71</a>,
+<a href="#Page_188">188</a>-190</li>
+
+<li>Bramantino da Milano (Bartolommeo Suardi),
+<a href="#Page_190">190</a></li>
+
+<li>Bresciano, Jacopo (Jacopo de' Medici),
+<a href="#Page_206">206</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Breuck, Jakob,
+<a href="#Page_269">269</a></li>
+
+<li>Bronzino, Agnolo,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a>,
+<a href="#Page_128">128</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_137">137</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Bronzino, Alessandro del (Alessandro Allori),
+<a href="#Page_133">133</a>,
+<a href="#Page_138">138</a></li>
+
+<li>Brueghel, Pieter,
+<a href="#Page_267">267</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Brunelleschi, Filippo,
+<a href="#Page_43">43</a>,
+<a href="#Page_44">44</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Brussels, Bernard of,
+<a href="#Page_266">266</a></li>
+
+<li>Bugiardini, Giuliano,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_95">95</a></li>
+
+<li>Buglioni, Santi,
+<a href="#Page_132">132</a></li>
+
+<li>Buonarroti, Michelagnolo, <i>Life</i>,
+<a href="#Page_3">3</a>-141.
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_171">171</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_193">193</a>-195,
+<a href="#Page_215">215</a>,
+<a href="#Page_216">216</a>,
+<a href="#Page_224">224</a>,
+<a href="#Page_231">231</a>,
+<a href="#Page_235">235</a>,
+<a href="#Page_236">236</a>,
+<a href="#Page_239">239</a>,
+<a href="#Page_246">246</a>,
+<a href="#Page_250">250</a>,
+<a href="#Page_251">251</a>,
+<a href="#Page_259">259</a></li>
+
+<li>Buontalenti, Bernardo Timante,
+<a href="#Page_135">135</a>-137</li>
+
+<li>Butteri, Giovan Maria,
+<a href="#Page_131">131</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Cadore, Tiziano da (Tiziano Vecelli), <i>Life</i>,
+<a href="#Page_159">159</a>-178.
+<a href="#Page_48">48</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_159">159</a>-179,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a>,
+<a href="#Page_201">201</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_247">247</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Calamech, Andrea,
+<a href="#Page_129">129</a></li>
+
+<li>Calamech, Lazzaro,
+<a href="#Page_129">129</a></li>
+
+<li>Calcagni, Tiberio,
+<a href="#Page_83">83</a>,
+<a href="#Page_84">84</a>,
+<a href="#Page_98">98</a>-100</li>
+
+<li>Calcar, Johann of (Giovanni Fiammingo),
+<a href="#Page_178">178</a>,
+<a href="#Page_266">266</a></li>
+
+<li>Capocaccia, Mario,
+<a href="#Page_233">233</a></li>
+
+<li>Caravaggio, Polidoro da,
+<a href="#Page_170">170</a></li>
+
+<li>Carota (Antonio di Marco di Giano),
+<a href="#Page_51">51</a></li>
+
+<li>Carpaccio, Vittore (Vittore Scarpaccia),
+<a href="#Page_210">210</a>,
+<a href="#Page_211">211</a></li>
+
+<li>Carrara, Danese da (Danese Cattaneo),
+<a href="#Page_176">176</a>,
+<a href="#Page_204">204</a>,
+<a href="#Page_208">208</a>-210,
+<a href="#Page_214">214</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Casignuola, Jacopo,
+<a href="#Page_238">238</a></li>
+
+<li>Casignuola, Tommaso,
+<a href="#Page_238">238</a></li>
+
+<li>Castel Bolognese, Giovanni da,
+<a href="#Page_164">164</a></li>
+
+<li>Castelfranco, Giorgione da,
+<a href="#Page_159">159</a>-162,
+<a href="#Page_165">165</a>,
+<a href="#Page_179">179</a></li>
+
+<li>Catharina van Hemessen,
+<a href="#Page_269">269</a></li>
+
+<li>Cattaneo, Danese (Danese da Carrara),
+<a href="#Page_176">176</a>,
+<a href="#Page_204">204</a>,
+<a href="#Page_208">208</a>-210,
+<a href="#Page_214">214</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Cavaliere, Battista del (Battista Lorenzi),
+<a href="#Page_131">131</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Cavalori, Mirabello (Mirabello di Salincorno),
+<a href="#Page_126">126</a></li>
+
+<li>Cellini, Benvenuto,
+<a href="#Page_51">51</a>,
+<a href="#Page_118">118</a>,
+<a href="#Page_125">125</a></li>
+
+<li>Cesare Cesariano,
+<a href="#Page_190">190</a></li>
+
+<li>Cesare del Nebbia,
+<a href="#Page_261">261</a></li>
+
+<li>Cesariano, Cesare,
+<a href="#Page_190">190</a></li>
+
+<li>Christus, Pieter,
+<a href="#Page_265">265</a></li>
+
+<li>Ciappino,
+<a href="#Page_51">51</a></li>
+
+<li>Ciciliano, Jacopo,
+<a href="#Page_98">98</a></li>
+
+<li>Cimabue, Giovanni,
+<a href="#Page_133">133</a></li>
+
+<li>Cinque, Battista del,
+<a href="#Page_51">51</a></li>
+
+<li>Cioli, Valerio,
+<a href="#Page_129">129</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Clara Skeysers,
+<a href="#Page_269">269</a></li>
+
+<li>Cleef, Joost van,
+<a href="#Page_266">266</a></li>
+
+<li>Clovio, Don Giulio, <i>Life</i>,
+<a href="#Page_245">245</a>-253</li>
+
+<li>Cock, Hieronymus,
+<a href="#Page_266">266</a></li>
+
+<li>Cock, Matthys,
+<a href="#Page_266">266</a></li>
+
+<li>Colonna, Jacopo,
+<a href="#Page_202">202</a>,
+<a href="#Page_203">203</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Condivi, Ascanio (Ascanio dalla Ripa Transone),
+<a href="#Page_5">5</a>,
+<a href="#Page_107">107</a></li>
+
+<li>Conte, Jacopo del,
+<a href="#Page_95">95</a>,
+<a href="#Page_152">152</a>,
+<a href="#Page_258">258</a>,
+<a href="#Page_260">260</a>,
+<a href="#Page_261">261</a></li>
+
+<li>Contucci, Andrea (Andrea Sansovino),
+<a href="#Page_15">15</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_216">216</a></li>
+
+<li>Cornelis Floris,
+<a href="#Page_269">269</a></li>
+
+<li>Cornelis, Jan,
+<a href="#Page_266">266</a></li>
+
+<li>Coxie, Michael,
+<a href="#Page_266">266</a>-268</li>
+
+<li>Crabeth, Wouter,
+<a href="#Page_269">269</a></li>
+
+<li>Credi, Lorenzo di,
+<a href="#Page_190">190</a></li>
+
+<li>Cristofano Gherardi,
+<a href="#Page_261">261</a></li>
+
+<li>Cristofano Gobbo (Cristofano Solari),
+<a href="#Page_14">14</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Cristofano Rosa,
+<a href="#Page_177">177</a></li>
+
+<li>Cristofano Solari (Cristofano Gobbo),
+<a href="#Page_14">14</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Crocifissaio, Girolamo del (Girolamo Macchietti),
+<a href="#Page_126">126</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Dalen, Jan van,
+<a href="#Page_269">269</a></li>
+
+<li>Danese Cattaneo (Danese da Carrara),
+<a href="#Page_176">176</a>,
+<a href="#Page_204">204</a>,
+<a href="#Page_208">208</a>-210,
+<a href="#Page_214">214</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Daniello Ricciarelli (Daniello da Volterra),
+<a href="#Page_95">95</a>,
+<a href="#Page_100">100</a>,
+<a href="#Page_101">101</a>,
+<a href="#Page_103">103</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_121">121</a>,
+<a href="#Page_122">122</a></li>
+
+<li>Dante, Girolamo (Girolamo di Tiziano),
+<a href="#Page_183">183</a></li>
+
+<li>Danti, Vincenzio,
+<a href="#Page_128">128</a>,
+<a href="#Page_139">139</a></li>
+
+<li>David Ghirlandajo,
+<a href="#Page_5">5</a>,
+<a href="#Page_6">6</a>,
+<a href="#Page_182">182</a></li>
+
+<li>Delft, Simon van,
+<a href="#Page_269">269</a></li>
+
+<li>Dierick Jacobsz Vellaert,
+<a href="#Page_269">269</a></li>
+
+<li>Dinant, Hendrik of,
+<a href="#Page_266">266</a></li>
+
+<li>Dirk of Haarlem,
+<a href="#Page_266">266</a></li>
+
+<li>Dirk of Louvain,
+<a href="#Page_266">266</a></li>
+
+<li>Dirk van Staren,
+<a href="#Page_269">269</a></li>
+
+<li>Dirk Volkaerts,
+<a href="#Page_270">270</a></li>
+
+<li>Domenico Aimo (Vecchio),
+<a href="#Page_189">189</a></li>
+
+<li>Domenico del Barbiere,
+<a href="#Page_149">149</a></li>
+
+<li>Domenico Ghirlandajo,
+<a href="#Page_5">5</a>-9,
+<a href="#Page_182">182</a></li>
+
+<li>Domenico Poggini,
+<a href="#Page_131">131</a></li>
+
+<li>Domenicus Lampsonius,
+<a href="#Page_268">268</a>,
+<a href="#Page_270">270</a>,
+<a href="#Page_271">271</a></li>
+
+<li>Don Giulio Clovio, <i>Life</i>,
+<a href="#Page_245">245</a>-253</li>
+
+<li>Donato (Donatello),
+<a href="#Page_8">8</a>,
+<a href="#Page_10">10</a>,
+<a href="#Page_111">111</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_138">138</a>,
+<a href="#Page_169">169</a></li>
+
+<li>Doni, Adone,
+<a href="#Page_261">261</a></li>
+
+<li>Donnino, Agnolo di,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Dosso Dossi,
+<a href="#Page_163">163</a></li>
+
+<li>Dürer, Albrecht,
+<a href="#Page_163">163</a>,
+<a href="#Page_246">246</a>,
+<a href="#Page_265">265</a>,
+<a href="#Page_271">271</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Eyck, Hubert van,
+<a href="#Page_265">265</a></li>
+
+<li>Eyck, Jan van,
+<a href="#Page_265">265</a>,
+<a href="#Page_266">266</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Fabbro, Pippo del,
+<a href="#Page_192">192</a></li>
+
+<li>Fabrizio Viniziano,
+<a href="#Page_215">215</a></li>
+
+<li>Faenza, Jacopone da,
+<a href="#Page_154">154</a></li>
+
+<li>Faenza, Marco da (Marco Marchetti),
+<a href="#Page_155">155</a>,
+<a href="#Page_156">156</a></li>
+
+<li>Fallaro, Jacopo,
+<a href="#Page_214">214</a></li>
+
+<li>Farinato, Battista,
+<a href="#Page_214">214</a></li>
+
+<li>Federigo Fiammingo (Federigo di Lamberto, or Del Padovano),
+<a href="#Page_127">127</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Ferrarese, Girolamo (Girolamo Lombardi),
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Fiammeri, Battista di Benedetto,
+<a href="#Page_126">126</a></li>
+
+<li>Fiammingo, Federigo (Federigo di Lamberto, or Del Padovano),
+<a href="#Page_127">127</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Fiammingo, Giorgio,
+<a href="#Page_269">269</a></li>
+
+<li>Fiammingo, Giovanni (Johann of Calcar),
+<a href="#Page_178">178</a>,
+<a href="#Page_266">266</a></li>
+
+<li>Fiesole, Simone da,
+<a href="#Page_15">15</a>,
+<a href="#Page_16">16</a></li>
+
+<li>Filippo Brunelleschi,
+<a href="#Page_43">43</a>,
+<a href="#Page_44">44</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Filippo Lippi, Fra,
+<a href="#Page_119">119</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Floris, Cornelis,
+<a href="#Page_269">269</a></li>
+
+<li>Floris, Franz,
+<a href="#Page_267">267</a>-270</li>
+
+<li>Fontana, Prospero,
+<a href="#Page_147">147</a>,
+<a href="#Page_148">148</a>,
+<a href="#Page_150">150</a>-152</li>
+
+<li>Forlì, Livio da (Livio Agresti),
+<a href="#Page_155">155</a></li>
+
+<li>Fra Filippo Lippi,
+<a href="#Page_119">119</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Fra Giovanni Agnolo Montorsoli,
+<a href="#Page_51">51</a>,
+<a href="#Page_117">117</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Fra Guglielmo della Porta,
+<a href="#Page_68">68</a>,
+<a href="#Page_69">69</a>,
+<a href="#Page_234">234</a>-238</li>
+
+<li>Fra Sebastiano Viniziano del Piombo,
+<a href="#Page_68">68</a>,
+<a href="#Page_106">106</a>,
+<a href="#Page_109">109</a>,
+<a href="#Page_111">111</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_235">235</a></li>
+
+<li>Francesco del Tadda,
+<a href="#Page_97">97</a></li>
+
+<li>Francesco Francia,
+<a href="#Page_26">26</a>,
+<a href="#Page_27">27</a></li>
+
+<li>Francesco Granacci,
+<a href="#Page_5">5</a>,
+<a href="#Page_6">6</a>,
+<a href="#Page_8">8</a>,
+<a href="#Page_20">20</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Francesco Primaticcio, <i>Description of Works</i>,
+<a href="#Page_145">145</a>-150.
+<a href="#Page_151">151</a>,
+<a href="#Page_156">156</a></li>
+
+<li>Francesco Salviati,
+<a href="#Page_133">133</a></li>
+
+<li>Francesco Verbo (Verlo),
+<a href="#Page_211">211</a></li>
+
+<li>Francia, Francesco,
+<a href="#Page_26">26</a>,
+<a href="#Page_27">27</a></li>
+
+<li>Francia, Piero,
+<a href="#Page_130">130</a></li>
+
+<li>Franciabigio,
+<a href="#Page_20">20</a></li>
+
+<li>Franco, Battista,
+<a href="#Page_199">199</a>,
+<a href="#Page_205">205</a>,
+<a href="#Page_217">217</a></li>
+
+<li>Franz Floris,
+<a href="#Page_267">267</a>-270</li>
+
+<li>Franz Mostaert,
+<a href="#Page_266">266</a>-268</li>
+
+<li>Franzese, Giovanni,
+<a href="#Page_88">88</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Gaddi, Taddeo,
+<a href="#Page_133">133</a></li>
+
+<li>Galeazzo Alessi,
+<a href="#Page_239">239</a>-242</li>
+
+<li>Galeotto, Pietro Paolo,
+<a href="#Page_233">233</a></li>
+
+<li>Galle, Philip,
+<a href="#Page_270">270</a></li>
+
+<li>Garofalo, Benvenuto,
+<a href="#Page_202">202</a></li>
+
+<li>Gerard,
+<a href="#Page_268">268</a></li>
+
+<li>Ghent, Justus of,
+<a href="#Page_265">265</a></li>
+
+<li>Gherardi, Cristofano,
+<a href="#Page_261">261</a></li>
+
+<li>Gherardo,
+<a href="#Page_182">182</a></li>
+
+<li>Ghiberti, Lorenzo,
+<a href="#Page_114">114</a></li>
+
+<li>Ghirlandajo, David,
+<a href="#Page_5">5</a>,
+<a href="#Page_6">6</a>,
+<a href="#Page_182">182</a></li>
+
+<li>Ghirlandajo, Domenico,
+<a href="#Page_5">5</a>-9,
+<a href="#Page_182">182</a></li>
+
+<li>Ghirlandajo, Michele di Ridolfo,
+<a href="#Page_130">130</a></li>
+
+<li>Ghirlandajo, Ridolfo,
+<a href="#Page_20">20</a></li>
+
+<li>Gian Maria Verdezotti,
+<a href="#Page_178">178</a></li>
+
+<li>Giano, Antonio di Marco di (Carota),
+<a href="#Page_51">51</a></li>
+
+<li>Gilis Mostaert,
+<a href="#Page_268">268</a></li>
+
+<li>Giorgio Fiammingo,
+<a href="#Page_269">269</a></li>
+
+<li>Giorgio Vasari. See Vasari (Giorgio)</li>
+
+<li>Giorgione da Castelfranco,
+<a href="#Page_159">159</a>-162,
+<a href="#Page_165">165</a>,
+<a href="#Page_179">179</a></li>
+
+<li>Giotto,
+<a href="#Page_3">3</a>,
+<a href="#Page_119">119</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_182">182</a></li>
+
+<li>Giovan Battista da Bagnacavallo,
+<a href="#Page_147">147</a>,
+<a href="#Page_148">148</a></li>
+
+<li>Giovan Bologna,
+<a href="#Page_267">267</a>,
+<a href="#Page_269">269</a></li>
+
+<li>Giovan Jacomo della Porta,
+<a href="#Page_234">234</a>,
+<a href="#Page_235">235</a></li>
+
+<li>Giovan Maria Butteri,
+<a href="#Page_131">131</a></li>
+
+<li>Giovan Paolo Poggini,
+<a href="#Page_232">232</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Giovanni (of Vicenza),
+<a href="#Page_211">211</a></li>
+
+<li>Giovanni Agnolo Montorsoli, Fra,
+<a href="#Page_51">51</a>,
+<a href="#Page_117">117</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Giovanni Antonio Licinio (Pordenone),
+<a href="#Page_160">160</a>,
+<a href="#Page_167">167</a>,
+<a href="#Page_168">168</a></li>
+
+<li>Giovanni Bellini,
+<a href="#Page_159">159</a>,
+<a href="#Page_160">160</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_163">163</a></li>
+
+<li>Giovanni Boscoli,
+<a href="#Page_156">156</a></li>
+
+<li>Giovanni Cimabue,
+<a href="#Page_133">133</a></li>
+
+<li>Giovanni da Castel Bolognese,
+<a href="#Page_164">164</a></li>
+
+<li>Giovanni da Udine,
+<a href="#Page_42">42</a>,
+<a href="#Page_51">51</a></li>
+
+<li>Giovanni dell'Opera (Giovanni di Benedetto Bandini),
+<a href="#Page_126">126</a>,
+<a href="#Page_130">130</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Giovanni Fiammingo (Johann of Calcar),
+<a href="#Page_178">178</a>,
+<a href="#Page_266">266</a></li>
+
+<li>Giovanni Franzese,
+<a href="#Page_88">88</a></li>
+
+<li>Giovanni Pisano,
+<a href="#Page_11">11</a></li>
+
+<li>Giovanni Speranza,
+<a href="#Page_211">211</a></li>
+
+<li>Giovanni Strada (Jan van der Straet),
+<a href="#Page_134">134</a>,
+<a href="#Page_135">135</a>,
+<a href="#Page_267">267</a></li>
+
+<li>Girolamo Bozza (Bartolommeo Bozzato),
+<a href="#Page_183">183</a></li>
+
+<li>Girolamo da Sermoneta (Girolamo Siciolante),
+<a href="#Page_152">152</a>,
+<a href="#Page_257">257</a>-259</li>
+
+<li>Girolamo Dante (Girolamo di Tiziano),
+<a href="#Page_183">183</a></li>
+
+<li>Girolamo del Crocifissaio (Girolamo Macchietti),
+<a href="#Page_126">126</a></li>
+
+<li>Girolamo di Tiziano (Girolamo Dante),
+<a href="#Page_183">183</a></li>
+
+<li>Girolamo Ferrarese (Girolamo Lombardi),
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Girolamo Macchietti (Girolamo del Crocifissaio),
+<a href="#Page_126">126</a></li>
+
+<li>Girolamo Miruoli,
+<a href="#Page_156">156</a></li>
+
+<li>Girolamo Pironi,
+<a href="#Page_211">211</a></li>
+
+<li>Girolamo Siciolante (Girolamo da Sermoneta),
+<a href="#Page_152">152</a>,
+<a href="#Page_257">257</a>-259</li>
+
+<li>Giuliano Bugiardini,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_95">95</a></li>
+
+<li>Giuliano da San Gallo,
+<a href="#Page_16">16</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_189">189</a></li>
+
+<li>Giulio Clovio, Don, <i>Life</i>,
+<a href="#Page_245">245</a>-253</li>
+
+<li>Giulio Romano,
+<a href="#Page_146">146</a>,
+<a href="#Page_168">168</a>,
+<a href="#Page_245">245</a>,
+<a href="#Page_257">257</a>,
+<a href="#Page_258">258</a></li>
+
+<li>Giuseppe Salviati (Giuseppe Porta),
+<a href="#Page_214">214</a></li>
+
+<li>Gobbo, Cristofano (Cristofano Solari),
+<a href="#Page_14">14</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Gossart, Jean,
+<a href="#Page_267">267</a></li>
+
+<li>Granacci, Francesco,
+<a href="#Page_5">5</a>,
+<a href="#Page_6">6</a>,
+<a href="#Page_8">8</a>,
+<a href="#Page_20">20</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Grimmer, Jakob,
+<a href="#Page_268">268</a></li>
+
+<li>Guerrini, Rocco,
+<a href="#Page_242">242</a></li>
+
+<li>Guglielmo della Porta, Fra,
+<a href="#Page_68">68</a>,
+<a href="#Page_69">69</a>,
+<a href="#Page_234">234</a>-238</li>
+
+<li>Guglielmo Tedesco,
+<a href="#Page_237">237</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Haarlem, Dirk of,
+<a href="#Page_266">266</a></li>
+
+<li>Haeck, Jan,
+<a href="#Page_269">269</a></li>
+
+<li>Hans Bol,
+<a href="#Page_268">268</a></li>
+
+<li>Hans Memling,
+<a href="#Page_265">265</a></li>
+
+<li>Heemskerk, Martin,
+<a href="#Page_266">266</a></li>
+
+<li>Heinrich Paludanus,
+<a href="#Page_269">269</a></li>
+
+<li>Hemessen, Catharina van,
+<a href="#Page_269">269</a></li>
+
+<li>Hemessen, Jan van,
+<a href="#Page_266">266</a>,
+<a href="#Page_269">269</a></li>
+
+<li>Hendrik of Dinant,
+<a href="#Page_266">266</a></li>
+
+<li>Hieronymus Bosch,
+<a href="#Page_267">267</a></li>
+
+<li>Hieronymus Cock,
+<a href="#Page_266">266</a></li>
+
+<li>Horebout, Lucas,
+<a href="#Page_268">268</a></li>
+
+<li>Horebout, Susanna,
+<a href="#Page_268">268</a>,
+<a href="#Page_269">269</a></li>
+
+<li>Hubert van Eyck,
+<a href="#Page_265">265</a></li>
+
+<li>Hugo of Antwerp,
+<a href="#Page_265">265</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Indaco, Jacopo L',
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Irene di Spilimbergo,
+<a href="#Page_175">175</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Jacopo Barozzi (Vignuola),
+<a href="#Page_102">102</a>,
+<a href="#Page_146">146</a>,
+<a href="#Page_147">147</a></li>
+
+<li>Jacopo Bresciano (Jacopo de' Medici),
+<a href="#Page_206">206</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Jacopo Casignuola,
+<a href="#Page_238">238</a></li>
+
+<li>Jacopo Ciciliano,
+<a href="#Page_98">98</a></li>
+
+<li>Jacopo Colonna,
+<a href="#Page_202">202</a>,
+<a href="#Page_203">203</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Jacopo da Bassano,
+<a href="#Page_175">175</a>,
+<a href="#Page_176">176</a></li>
+
+<li>Jacopo da Pontormo,
+<a href="#Page_20">20</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_110">110</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_134">134</a></li>
+
+<li>Jacopo de' Medici (Jacopo Bresciano),
+<a href="#Page_206">206</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Jacopo del Conte,
+<a href="#Page_95">95</a>,
+<a href="#Page_152">152</a>,
+<a href="#Page_258">258</a>,
+<a href="#Page_260">260</a>,
+<a href="#Page_261">261</a></li>
+
+<li>Jacopo di Sandro,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Jacopo Fallaro,
+<a href="#Page_214">214</a></li>
+
+<li>Jacopo L'Indaco,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Jacopo Palma,
+<a href="#Page_160">160</a></li>
+
+<li>Jacopo Pisbolica,
+<a href="#Page_214">214</a>,
+<a href="#Page_215">215</a></li>
+
+<li>Jacopo Sansovino (Jacopo Tatti), <i>Life</i>,
+<a href="#Page_187">187</a>-202,
+<a href="#Page_215">215</a>-225.
+<a href="#Page_20">20</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_166">166</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_187">187</a>-204,
+<a href="#Page_206">206</a>-208,
+<a href="#Page_210">210</a>,
+<a href="#Page_215">215</a>-225</li>
+
+<li>Jacopo Tintoretto,
+<a href="#Page_214">214</a></li>
+
+<li>Jacopo Zucchi,
+<a href="#Page_134">134</a></li>
+
+<li>Jacopone da Faenza,
+<a href="#Page_154">154</a></li>
+
+<li>Jakob Breuck,
+<a href="#Page_269">269</a></li>
+
+<li>Jakob Grimmer,
+<a href="#Page_268">268</a></li>
+
+<li>Jan Cornelis,
+<a href="#Page_266">266</a></li>
+
+<li>Jan de Mynsheere,
+<a href="#Page_269">269</a></li>
+
+<li>Jan der Sart,
+<a href="#Page_269">269</a></li>
+
+<li>Jan Haeck,
+<a href="#Page_269">269</a></li>
+
+<li>Jan Scorel,
+<a href="#Page_266">266</a></li>
+
+<li>Jan van Dalen,
+<a href="#Page_269">269</a></li>
+
+<li>Jan van der Straet (Giovanni Strada),
+<a href="#Page_134">134</a>,
+<a href="#Page_135">135</a>,
+<a href="#Page_267">267</a></li>
+
+<li>Jan van Eyck,
+<a href="#Page_265">265</a>,
+<a href="#Page_266">266</a></li>
+
+<li>Jan van Hemessen,
+<a href="#Page_266">266</a>,
+<a href="#Page_269">269</a></li>
+
+<li>Janszoon, Joost,
+<a href="#Page_269">269</a></li>
+
+<li>Jean Bellegambe,
+<a href="#Page_266">266</a></li>
+
+<li>Jean Gossart,
+<a href="#Page_267">267</a></li>
+
+<li>Joachim Patinier,
+<a href="#Page_266">266</a></li>
+
+<li>Johann of Calcar (Giovanni Fiammingo),
+<a href="#Page_178">178</a>,
+<a href="#Page_266">266</a></li>
+
+<li>Johann of Louvain,
+<a href="#Page_266">266</a></li>
+
+<li>Joost Janszoon,
+<a href="#Page_269">269</a></li>
+
+<li>Joost van Cleef,
+<a href="#Page_266">266</a></li>
+
+<li>Joris Robyn,
+<a href="#Page_270">270</a></li>
+
+<li>Justus of Ghent,
+<a href="#Page_265">265</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Keur, Willem,
+<a href="#Page_269">269</a></li>
+
+<li>Key, Willem,
+<a href="#Page_267">267</a>,
+<a href="#Page_268">268</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Koeck, Pieter,
+<a href="#Page_267">267</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Lambert Lombard (Lambert of Amsterdam),
+<a href="#Page_266">266</a>-268,
+<a href="#Page_270">270</a></li>
+
+<li>Lambert Suavius,
+<a href="#Page_269">269</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Lambert Van Noort,
+<a href="#Page_268">268</a></li>
+
+<li>Lamberto, Federigo di (Federigo Fiammingo, or Del Padovano),
+<a href="#Page_127">127</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Lampsonius, Domenicus,
+<a href="#Page_268">268</a>,
+<a href="#Page_270">270</a>,
+<a href="#Page_271">271</a></li>
+
+<li>Lancelot Blondeel,
+<a href="#Page_267">267</a></li>
+
+<li>Lancia, Luca,
+<a href="#Page_223">223</a></li>
+
+<li>Lapo, Arnolfo di,
+<a href="#Page_194">194</a></li>
+
+<li>Lastricati, Zanobi,
+<a href="#Page_125">125</a>,
+<a href="#Page_132">132</a></li>
+
+<li>Lazzaro Calamech,
+<a href="#Page_129">129</a></li>
+
+<li>Leon Batista Alberti,
+<a href="#Page_271">271</a></li>
+
+<li>Leonardo da Vinci,
+<a href="#Page_15">15</a>,
+<a href="#Page_19">19</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Leonardo Milanese,
+<a href="#Page_238">238</a></li>
+
+<li>Leone Lioni (Leone Aretino), <i>Life</i>,
+<a href="#Page_229">229</a>-232.
+<a href="#Page_95">95</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Levina Bening,
+<a href="#Page_269">269</a></li>
+
+<li>Leyden, Lucas van,
+<a href="#Page_265">265</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Licinio, Giovanni Antonio (Pordenone),
+<a href="#Page_160">160</a>,
+<a href="#Page_167">167</a>,
+<a href="#Page_168">168</a></li>
+
+<li>Ligorio, Pirro,
+<a href="#Page_84">84</a>,
+<a href="#Page_94">94</a>,
+<a href="#Page_95">95</a>,
+<a href="#Page_102">102</a></li>
+
+<li>L'Indaco, Jacopo,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Lioni, Leone (Leone Aretino), <i>Life</i>,
+<a href="#Page_229">229</a>-232.
+<a href="#Page_95">95</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Lioni, Pompeo,
+<a href="#Page_232">232</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Lippi, Fra Filippo,
+<a href="#Page_119">119</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Livio Agresti (Livio da Forlì),
+<a href="#Page_155">155</a></li>
+
+<li>Lodovico (of Florence),
+<a href="#Page_262">262</a></li>
+
+<li>Lodovico Rosso,
+<a href="#Page_182">182</a></li>
+
+<li>Lombard, Lambert (Lambert of Amsterdam),
+<a href="#Page_266">266</a>-268,
+<a href="#Page_270">270</a></li>
+
+<li>Lombardi, Alfonso,
+<a href="#Page_167">167</a></li>
+
+<li>Lombardi, Girolamo (Girolamo Ferrarese),
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Longhi, Barbara de',
+<a href="#Page_155">155</a></li>
+
+<li>Longhi, Luca de',
+<a href="#Page_154">154</a>,
+<a href="#Page_155">155</a></li>
+
+<li>Lorenzetto,
+<a href="#Page_20">20</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Lorenzi, Antonio di Gino,
+<a href="#Page_131">131</a></li>
+
+<li>Lorenzi, Battista (Battista del Cavaliere),
+<a href="#Page_131">131</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Lorenzo della Sciorina (Lorenzo Sciorini),
+<a href="#Page_128">128</a></li>
+
+<li>Lorenzo di Credi,
+<a href="#Page_190">190</a></li>
+
+<li>Lorenzo Ghiberti,
+<a href="#Page_114">114</a></li>
+
+<li>Lorenzo Sabatini,
+<a href="#Page_151">151</a></li>
+
+<li>Lorenzo Sciorini (Lorenzo della Sciorina),
+<a href="#Page_128">128</a></li>
+
+<li>Louis of Louvain,
+<a href="#Page_265">265</a></li>
+
+<li>Louvain, Dirk of,
+<a href="#Page_266">266</a></li>
+
+<li>Louvain, Johann of,
+<a href="#Page_266">266</a></li>
+
+<li>Louvain, Louis of,
+<a href="#Page_265">265</a></li>
+
+<li>Louvain, Quentin of,
+<a href="#Page_266">266</a></li>
+
+<li>Luca de' Longhi,
+<a href="#Page_154">154</a>,
+<a href="#Page_155">155</a></li>
+
+<li>Luca Lancia,
+<a href="#Page_223">223</a></li>
+
+<li>Luca Signorelli,
+<a href="#Page_190">190</a></li>
+
+<li>Lucas Horebout,
+<a href="#Page_268">268</a></li>
+
+<li>Lucas van Leyden,
+<a href="#Page_265">265</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Lugano, Tommaso da,
+<a href="#Page_206">206</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Macchietti, Girolamo (Girolamo del Crocifissaio),
+<a href="#Page_126">126</a></li>
+
+<li>Manemaker, Matthaeus,
+<a href="#Page_269">269</a></li>
+
+<li>Mantegna, Andrea,
+<a href="#Page_211">211</a></li>
+
+<li>Marcello Mantovano (Marcello Venusti),
+<a href="#Page_106">106</a>,
+<a href="#Page_259">259</a>,
+<a href="#Page_260">260</a></li>
+
+<li>Marco da Faenza (Marco Marchetti),
+<a href="#Page_155">155</a>,
+<a href="#Page_156">156</a></li>
+
+<li>Marinus (of Zierickzee),
+<a href="#Page_268">268</a></li>
+
+<li>Mario Capocaccia,
+<a href="#Page_233">233</a></li>
+
+<li>Marten de Vos,
+<a href="#Page_268">268</a></li>
+
+<li>Martin Heemskerk,
+<a href="#Page_266">266</a></li>
+
+<li>Martin Schongauer (Martino),
+<a href="#Page_7">7</a>,
+<a href="#Page_265">265</a></li>
+
+<li>Masaccio,
+<a href="#Page_10">10</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Maso dal Bosco (Maso Boscoli),
+<a href="#Page_55">55</a></li>
+
+<li>Matthaeus Manemaker,
+<a href="#Page_269">269</a></li>
+
+<li>Matthys Cock,
+<a href="#Page_266">266</a></li>
+
+<li>Maturino,
+<a href="#Page_20">20</a></li>
+
+<li>Medici, Jacopo de' (Jacopo Bresciano),
+<a href="#Page_206">206</a>,
+<a href="#Page_207">207</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Memling, Hans,
+<a href="#Page_265">265</a></li>
+
+<li>Menighella,
+<a href="#Page_114">114</a></li>
+
+<li>Michael Coxie,
+<a href="#Page_266">266</a>-268</li>
+
+<li>Michelagnolo Buonarroti, <i>Life</i>,
+<a href="#Page_3">3</a>-141.
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_171">171</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_193">193</a>-195,
+<a href="#Page_215">215</a>,
+<a href="#Page_216">216</a>,
+<a href="#Page_224">224</a>,
+<a href="#Page_231">231</a>,
+<a href="#Page_235">235</a>,
+<a href="#Page_236">236</a>,
+<a href="#Page_239">239</a>,
+<a href="#Page_246">246</a>,
+<a href="#Page_250">250</a>,
+<a href="#Page_251">251</a>,
+<a href="#Page_259">259</a></li>
+
+<li>Michele di Ridolfo Ghirlandajo,
+<a href="#Page_130">130</a></li>
+
+<li>Milanese, Leonardo,
+<a href="#Page_238">238</a></li>
+
+<li>Milano, Bramantino da (Bartolommeo Suardi),
+<a href="#Page_190">190</a></li>
+
+<li>Minga, Andrea del,
+<a href="#Page_131">131</a></li>
+
+<li>Mini, Antonio,
+<a href="#Page_47">47</a>-51,
+<a href="#Page_69">69</a>,
+<a href="#Page_81">81</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_109">109</a></li>
+
+<li>Minio, Tiziano (Tiziano da Padova),
+<a href="#Page_203">203</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Mirabello di Salincorno (Mirabello Cavalori),
+<a href="#Page_126">126</a></li>
+
+<li>Miruoli, Girolamo,
+<a href="#Page_156">156</a></li>
+
+<li>Modena (Antonio Begarelli),
+<a href="#Page_113">113</a></li>
+
+<li>Modena, Niccolò da (Niccolò dell'Abate),
+<a href="#Page_148">148</a></li>
+
+<li>Montagna, Bartolommeo,
+<a href="#Page_211">211</a></li>
+
+<li>Montelupo, Baccio da,
+<a href="#Page_55">55</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_190">190</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Montelupo, Raffaello da,
+<a href="#Page_51">51</a>,
+<a href="#Page_55">55</a>,
+<a href="#Page_69">69</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Montorsoli, Fra Giovanni Agnolo,
+<a href="#Page_51">51</a>,
+<a href="#Page_117">117</a>,
+<a href="#Page_133">133</a></li>
+
+<li>Moor, Antonius,
+<a href="#Page_268">268</a></li>
+
+<li>Mosca, Simone,
+<a href="#Page_69">69</a></li>
+
+<li>Mostaert, Franz,
+<a href="#Page_266">266</a>-268</li>
+
+<li>Mostaert, Gilis,
+<a href="#Page_268">268</a></li>
+
+<li>Mynsheere, Jan de,
+<a href="#Page_269">269</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Naldini, Battista,
+<a href="#Page_134">134</a></li>
+
+<li>Nanni di Baccio Bigio,
+<a href="#Page_69">69</a>,
+<a href="#Page_76">76</a>,
+<a href="#Page_100">100</a>,
+<a href="#Page_101">101</a>,
+<a href="#Page_113">113</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Nanni Unghero,
+<a href="#Page_188">188</a></li>
+
+<li>Nebbia, Cesare del,
+<a href="#Page_261">261</a></li>
+
+<li>Niccolò (Tribolo),
+<a href="#Page_20">20</a>,
+<a href="#Page_51">51</a>,
+<a href="#Page_77">77</a>,
+<a href="#Page_78">78</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Niccolò da Modena (Niccolò dell'Abate),
+<a href="#Page_148">148</a></li>
+
+<li>Niccolò dalle Pomarancie,
+<a href="#Page_261">261</a></li>
+
+<li>Niccolò dell'Abate (Niccolò da Modena),
+<a href="#Page_148">148</a></li>
+
+<li>Niccolò dell'Arca,
+<a href="#Page_11">11</a></li>
+
+<li>Noort, Arthus van,
+<a href="#Page_269">269</a></li>
+
+<li>Noort, Lambert van,
+<a href="#Page_268">268</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Oja, Sebastian van,
+<a href="#Page_269">269</a></li>
+
+<li>Opera, Giovanni dell' (Giovanni di Benedetto Bandini),
+<a href="#Page_126">126</a>,
+<a href="#Page_130">130</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Orazio Sammacchini,
+<a href="#Page_154">154</a></li>
+
+<li>Orazio Vecelli,
+<a href="#Page_171">171</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Padova, Tiziano da (Tiziano Minio),
+<a href="#Page_203">203</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Padovano, Federigo del (Federigo di Lamberto, or Fiammingo),
+<a href="#Page_127">127</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Palladio, Andrea,
+<a href="#Page_211">211</a>-214</li>
+
+<li>Palma, Jacopo,
+<a href="#Page_160">160</a></li>
+
+<li>Paludanus, Heinrich,
+<a href="#Page_269">269</a></li>
+
+<li>Paludanus, Willem,
+<a href="#Page_269">269</a></li>
+
+<li>Paolo Ponzio,
+<a href="#Page_149">149</a></li>
+
+<li>Paolo Uccello,
+<a href="#Page_133">133</a></li>
+
+<li>Paris Bordone,
+<a href="#Page_178">178</a>-182</li>
+
+<li>Parrhasius,
+<a href="#Page_133">133</a></li>
+
+<li>Passerotto, Bartolommeo,
+<a href="#Page_156">156</a></li>
+
+<li>Patinier, Joachim,
+<a href="#Page_266">266</a></li>
+
+<li>Pellegrino Bolognese (Pellegrino Pellegrini or Tibaldi),
+<a href="#Page_151">151</a>-154,
+<a href="#Page_258">258</a></li>
+
+<li>Perino del Vaga,
+<a href="#Page_20">20</a>,
+<a href="#Page_61">61</a>,
+<a href="#Page_151">151</a>,
+<a href="#Page_234">234</a>,
+<a href="#Page_257">257</a>,
+<a href="#Page_259">259</a></li>
+
+<li>Perugino, Pietro,
+<a href="#Page_189">189</a></li>
+
+<li>Peruzzi, Baldassarre,
+<a href="#Page_65">65</a>,
+<a href="#Page_196">196</a></li>
+
+<li>Peruzzi, Salustio,
+<a href="#Page_82">82</a></li>
+
+<li>Philip Galle,
+<a href="#Page_270">270</a></li>
+
+<li>Pieri, Stefano,
+<a href="#Page_137">137</a></li>
+
+<li>Piero Francia,
+<a href="#Page_130">130</a></li>
+
+<li>Pieter Aertsen,
+<a href="#Page_268">268</a></li>
+
+<li>Pieter Brueghel,
+<a href="#Page_267">267</a>,
+<a href="#Page_268">268</a></li>
+
+<li>Pieter Christus,
+<a href="#Page_265">265</a></li>
+
+<li>Pieter Koeck,
+<a href="#Page_267">267</a></li>
+
+<li>Pieter Pourbus,
+<a href="#Page_268">268</a></li>
+
+<li>Pietro da Salò,
+<a href="#Page_204">204</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Pietro Paolo Galeotto,
+<a href="#Page_233">233</a></li>
+
+<li>Pietro Perugino,
+<a href="#Page_189">189</a></li>
+
+<li>Pietro Urbano,
+<a href="#Page_44">44</a>,
+<a href="#Page_107">107</a></li>
+
+<li>Piloto,
+<a href="#Page_42">42</a>,
+<a href="#Page_43">43</a>,
+<a href="#Page_47">47</a>,
+<a href="#Page_48">48</a></li>
+
+<li>Pinturicchio, Bernardino,
+<a href="#Page_190">190</a></li>
+
+<li>Piombo, Fra Sebastiano Viniziano del,
+<a href="#Page_68">68</a>,
+<a href="#Page_106">106</a>,
+<a href="#Page_109">109</a>,
+<a href="#Page_111">111</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_235">235</a></li>
+
+<li>Pippo del Fabbro,
+<a href="#Page_192">192</a></li>
+
+<li>Pironi, Girolamo,
+<a href="#Page_211">211</a></li>
+
+<li>Pirro Ligorio,
+<a href="#Page_84">84</a>,
+<a href="#Page_94">94</a>,
+<a href="#Page_95">95</a>,
+<a href="#Page_102">102</a></li>
+
+<li>Pisano, Giovanni,
+<a href="#Page_11">11</a></li>
+
+<li>Pisbolica, Jacopo,
+<a href="#Page_214">214</a>,
+<a href="#Page_215">215</a></li>
+
+<li>Poggini, Domenico,
+<a href="#Page_131">131</a></li>
+
+<li>Poggini, Giovan Paolo,
+<a href="#Page_232">232</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Polidoro (of Perugia),
+<a href="#Page_234">234</a></li>
+
+<li>Polidoro da Caravaggio,
+<a href="#Page_170">170</a></li>
+
+<li>Pomarancie, Niccolò dalle,
+<a href="#Page_261">261</a></li>
+
+<li>Pompeo Lioni,
+<a href="#Page_232">232</a>,
+<a href="#Page_233">233</a></li>
+
+<li>Pontormo, Jacopo da,
+<a href="#Page_20">20</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_110">110</a>,
+<a href="#Page_133">133</a>,
+<a href="#Page_134">134</a></li>
+
+<li>Ponzio, Paolo,
+<a href="#Page_149">149</a></li>
+
+<li>Pordenone (Giovanni Antonio Licinio),
+<a href="#Page_160">160</a>,
+<a href="#Page_167">167</a>,
+<a href="#Page_168">168</a></li>
+
+<li>Porta, Fra Guglielmo della,
+<a href="#Page_68">68</a>,
+<a href="#Page_69">69</a>,
+<a href="#Page_234">234</a>-238</li>
+
+<li>Porta, Giovan Jacomo della,
+<a href="#Page_234">234</a>,
+<a href="#Page_235">235</a></li>
+
+<li>Porta, Giuseppe (Giuseppe Salviati),
+<a href="#Page_214">214</a></li>
+
+<li>Porta, Tommaso,
+<a href="#Page_238">238</a></li>
+
+<li>Pourbus, Pieter,
+<a href="#Page_268">268</a></li>
+
+<li>Praxiteles,
+<a href="#Page_133">133</a></li>
+
+<li>Primaticcio, Francesco, <i>Description of Works</i>,
+<a href="#Page_145">145</a>-150.
+<a href="#Page_151">151</a>,
+<a href="#Page_156">156</a></li>
+
+<li>Prospero Fontana,
+<a href="#Page_147">147</a>,
+<a href="#Page_148">148</a>,
+<a href="#Page_150">150</a>-152</li>
+</ul>
+
+<ul class="none p2">
+<li>Quentin of Louvain,
+<a href="#Page_266">266</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Raffaello da Montelupo,
+<a href="#Page_51">51</a>,
+<a href="#Page_55">55</a>,
+<a href="#Page_69">69</a>,
+<a href="#Page_239">239</a></li>
+
+<li>Raffaello Sanzio (Raffaello da Urbino),
+<a href="#Page_20">20</a>,
+<a href="#Page_27">27</a>,
+<a href="#Page_28">28</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_31">31</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_165">165</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_189">189</a>,
+<a href="#Page_194">194</a>,
+<a href="#Page_196">196</a>,
+<a href="#Page_267">267</a></li>
+
+<li>Ricciarelli, Daniello (Daniello da Volterra),
+<a href="#Page_95">95</a>,
+<a href="#Page_100">100</a>,
+<a href="#Page_101">101</a>,
+<a href="#Page_103">103</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_121">121</a>,
+<a href="#Page_122">122</a></li>
+
+<li>Ridolfo Ghirlandajo,
+<a href="#Page_20">20</a></li>
+
+<li>Ripa Transone, Ascanio dalla (Ascanio Condivi),
+<a href="#Page_5">5</a>,
+<a href="#Page_107">107</a></li>
+
+<li>Robyn, Joris,
+<a href="#Page_270">270</a></li>
+
+<li>Rocco Guerrini,
+<a href="#Page_242">242</a></li>
+
+<li>Roger van der Weyden,
+<a href="#Page_265">265</a></li>
+
+<li>Romano, Giulio,
+<a href="#Page_146">146</a>,
+<a href="#Page_168">168</a>,
+<a href="#Page_245">245</a>,
+<a href="#Page_257">257</a>,
+<a href="#Page_258">258</a></li>
+
+<li>Rosa, Cristofano,
+<a href="#Page_177">177</a></li>
+
+<li>Rosa, Stefano,
+<a href="#Page_177">177</a></li>
+
+<li>Rosso,
+<a href="#Page_20">20</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_146">146</a>,
+<a href="#Page_147">147</a></li>
+
+<li>Rosso, Lodovico,
+<a href="#Page_182">182</a></li>
+
+<li>Rovezzano, Benedetto da,
+<a href="#Page_191">191</a></li>
+
+<li>Ruggieri da Bologna,
+<a href="#Page_147">147</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Sabatini, Lorenzo,
+<a href="#Page_151">151</a></li>
+
+<li>Salincorno, Mirabello di (Mirabello Cavalori),
+<a href="#Page_126">126</a></li>
+
+<li>Salò, Pietro da,
+<a href="#Page_204">204</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Salustio Peruzzi,
+<a href="#Page_82">82</a></li>
+
+<li>Salviati, Francesco,
+<a href="#Page_133">133</a></li>
+
+<li>Salviati, Giuseppe (Giuseppe Porta),
+<a href="#Page_214">214</a></li>
+
+<li>Sammacchini, Orazio,
+<a href="#Page_154">154</a></li>
+
+<li>San Friano, Tommaso da,
+<a href="#Page_137">137</a></li>
+
+<li>San Gallo, Antonio da (the elder),
+<a href="#Page_16">16</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a></li>
+
+<li>San Gallo, Antonio da (the younger),
+<a href="#Page_61">61</a>-67,
+<a href="#Page_196">196</a>,
+<a href="#Page_197">197</a>,
+<a href="#Page_224">224</a>,
+<a href="#Page_239">239</a></li>
+
+<li>San Gallo, Aristotile (Bastiano) da,
+<a href="#Page_20">20</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>San Gallo, Giuliano da,
+<a href="#Page_16">16</a>,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_189">189</a></li>
+
+<li>Sandro, Jacopo di,
+<a href="#Page_29">29</a>,
+<a href="#Page_30">30</a></li>
+
+<li>Sansovino, Andrea (Andrea Contucci),
+<a href="#Page_15">15</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_216">216</a></li>
+
+<li>Sansovino, Jacopo (Jacopo Tatti), <i>Life</i>,
+<a href="#Page_187">187</a>-202,
+<a href="#Page_215">215</a>-225.
+<a href="#Page_20">20</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_166">166</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_187">187</a>-204,
+<a href="#Page_206">206</a>-208,
+<a href="#Page_210">210</a>,
+<a href="#Page_215">215</a>-225</li>
+
+<li>Santi Buglioni,
+<a href="#Page_132">132</a></li>
+
+<li>Santi Titi,
+<a href="#Page_135">135</a></li>
+
+<li>Sanzio, Raffaello (Raffaello da Urbino),
+<a href="#Page_20">20</a>,
+<a href="#Page_27">27</a>,
+<a href="#Page_28">28</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_31">31</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_165">165</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_189">189</a>,
+<a href="#Page_194">194</a>,
+<a href="#Page_196">196</a>,
+<a href="#Page_267">267</a></li>
+
+<li>Sart, Jan der,
+<a href="#Page_269">269</a></li>
+
+<li>Sarto, Andrea del,
+<a href="#Page_20">20</a>,
+<a href="#Page_43">43</a>,
+<a href="#Page_188">188</a>,
+<a href="#Page_193">193</a>,
+<a href="#Page_194">194</a></li>
+
+<li>Scarpaccia, Vittore (Vittore Carpaccio),
+<a href="#Page_210">210</a>,
+<a href="#Page_211">211</a></li>
+
+<li>Scherano da Settignano (Alessandro),
+<a href="#Page_55">55</a></li>
+
+<li>Schongauer, Martin (Martino),
+<a href="#Page_7">7</a>,
+<a href="#Page_265">265</a></li>
+
+<li>Sciorini, Lorenzo (Lorenzo della Sciorina),
+<a href="#Page_128">128</a></li>
+
+<li>Scorel, Jan,
+<a href="#Page_266">266</a></li>
+
+<li>Sebastian van Oja,
+<a href="#Page_269">269</a></li>
+
+<li>Sebastiano Serlio,
+<a href="#Page_196">196</a>,
+<a href="#Page_267">267</a>,
+<a href="#Page_271">271</a></li>
+
+<li>Sebastiano Viniziano del Piombo, Fra,
+<a href="#Page_68">68</a>,
+<a href="#Page_106">106</a>,
+<a href="#Page_109">109</a>,
+<a href="#Page_111">111</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_235">235</a></li>
+
+<li>Seghers, Anna,
+<a href="#Page_269">269</a></li>
+
+<li>Serlio, Sebastiano,
+<a href="#Page_196">196</a>,
+<a href="#Page_267">267</a>,
+<a href="#Page_271">271</a></li>
+
+<li>Sermoneta, Girolamo da (Girolamo Siciolante),
+<a href="#Page_152">152</a>,
+<a href="#Page_257">257</a>-259</li>
+
+<li>Settignano, Scherano da (Alessandro),
+<a href="#Page_55">55</a></li>
+
+<li>Settignano, Solosmeo da,
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Siciolante, Girolamo (Girolamo da Sermoneta),
+<a href="#Page_152">152</a>,
+<a href="#Page_257">257</a>-259</li>
+
+<li>Signorelli, Luca,
+<a href="#Page_190">190</a></li>
+
+<li>Simon Bening,
+<a href="#Page_268">268</a></li>
+
+<li>Simon van Delft,
+<a href="#Page_269">269</a></li>
+
+<li>Simone da Fiesole,
+<a href="#Page_15">15</a>,
+<a href="#Page_16">16</a></li>
+
+<li>Simone Mosca,
+<a href="#Page_69">69</a></li>
+
+<li>Skeysers, Clara,
+<a href="#Page_269">269</a></li>
+
+<li>Solari, Cristofano (Cristofano Gobbo),
+<a href="#Page_14">14</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Solosmeo da Settignano,
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Speranza, Giovanni,
+<a href="#Page_211">211</a></li>
+
+<li>Spilimbergo, Irene di,
+<a href="#Page_175">175</a></li>
+
+<li>Staren, Dirk van,
+<a href="#Page_269">269</a></li>
+
+<li>Stefano Pieri,
+<a href="#Page_137">137</a></li>
+
+<li>Stefano Rosa,
+<a href="#Page_177">177</a></li>
+
+<li>Strada, Giovanni (Jan van der Straet),
+<a href="#Page_134">134</a>,
+<a href="#Page_135">135</a>,
+<a href="#Page_267">267</a></li>
+
+<li>Suardi, Bartolommeo (Bramantino da Milano),
+<a href="#Page_190">190</a></li>
+
+<li>Suavius, Lambert,
+<a href="#Page_269">269</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Susanna Horebout,
+<a href="#Page_268">268</a>,
+<a href="#Page_269">269</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Tadda, Francesco del,
+<a href="#Page_97">97</a></li>
+
+<li>Taddeo Gaddi,
+<a href="#Page_133">133</a></li>
+
+<li>Tasso, Battista del,
+<a href="#Page_51">51</a></li>
+
+<li>Tatti, Jacopo (Jacopo Sansovino), <i>Life</i>,
+<a href="#Page_187">187</a>-202,
+<a href="#Page_215">215</a>-225.
+<a href="#Page_20">20</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_166">166</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_187">187</a>-204,
+<a href="#Page_206">206</a>-208,
+<a href="#Page_210">210</a>,
+<a href="#Page_215">215</a>-225</li>
+
+<li>Tedesco, Guglielmo,
+<a href="#Page_237">237</a></li>
+
+<li>Tibaldi, Pellegrino (Pellegrino Pellegrini or Bolognese),
+<a href="#Page_151">151</a>-154,
+<a href="#Page_258">258</a></li>
+
+<li>Tiberio Calcagni,
+<a href="#Page_83">83</a>,
+<a href="#Page_84">84</a>,
+<a href="#Page_98">98</a>-100</li>
+
+<li>Tintoretto, Jacopo,
+<a href="#Page_214">214</a></li>
+
+<li>Titi, Santi,
+<a href="#Page_135">135</a></li>
+
+<li>Tiziano, Girolamo di (Girolamo Dante),
+<a href="#Page_183">183</a></li>
+
+<li>Tiziano da Cadore (Tiziano Vecelli), <i>Life</i>,
+<a href="#Page_159">159</a>-178.
+<a href="#Page_48">48</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_159">159</a>-179,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a>,
+<a href="#Page_201">201</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_247">247</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Tiziano da Padova (Tiziano Minio),
+<a href="#Page_203">203</a>,
+<a href="#Page_223">223</a></li>
+
+<li>Tiziano Vecelli (Tiziano da Cadore), <i>Life</i>,
+<a href="#Page_159">159</a>-178.
+<a href="#Page_48">48</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_159">159</a>-179,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a>,
+<a href="#Page_201">201</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_247">247</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Tommaso Casignuola,
+<a href="#Page_238">238</a></li>
+
+<li>Tommaso da Lugano,
+<a href="#Page_206">206</a></li>
+
+<li>Tommaso da San Friano,
+<a href="#Page_137">137</a></li>
+
+<li>Tommaso Porta,
+<a href="#Page_238">238</a></li>
+
+<li>Topolino,
+<a href="#Page_114">114</a>,
+<a href="#Page_115">115</a></li>
+
+<li>Torrigiano,
+<a href="#Page_8">8</a>,
+<a href="#Page_10">10</a>,
+<a href="#Page_116">116</a></li>
+
+<li>Tribolo (Niccolò),
+<a href="#Page_20">20</a>,
+<a href="#Page_51">51</a>,
+<a href="#Page_77">77</a>,
+<a href="#Page_78">78</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_223">223</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Uccello, Paolo,
+<a href="#Page_133">133</a></li>
+
+<li>Udine, Giovanni da,
+<a href="#Page_42">42</a>,
+<a href="#Page_51">51</a></li>
+
+<li>Unghero, Nanni,
+<a href="#Page_188">188</a></li>
+
+<li>Urbano, Pietro,
+<a href="#Page_44">44</a>,
+<a href="#Page_107">107</a></li>
+
+<li>Urbino, Bramante da,
+<a href="#Page_27">27</a>-29,
+<a href="#Page_31">31</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_71">71</a>,
+<a href="#Page_188">188</a>-190</li>
+
+<li>Urbino, Raffaello da (Raffaello Sanzio),
+<a href="#Page_20">20</a>,
+<a href="#Page_27">27</a>,
+<a href="#Page_28">28</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_31">31</a>,
+<a href="#Page_40">40</a>,
+<a href="#Page_41">41</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_165">165</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_189">189</a>,
+<a href="#Page_194">194</a>,
+<a href="#Page_196">196</a>,
+<a href="#Page_267">267</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Vaga, Perino del,
+<a href="#Page_20">20</a>,
+<a href="#Page_61">61</a>,
+<a href="#Page_151">151</a>,
+<a href="#Page_234">234</a>,
+<a href="#Page_257">257</a>,
+<a href="#Page_259">259</a></li>
+
+<li>Valerio Cioli,
+<a href="#Page_129">129</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_141">141</a></li>
+
+<li>Valerio Zuccati,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a></li>
+
+<li>Vasari, Giorgio&mdash;</li>
+
+<li><span class="add1em">as art-collector,
+<a href="#Page_6">6</a>,
+<a href="#Page_16">16</a>,
+<a href="#Page_104">104</a>,
+<a href="#Page_149">149</a>,
+<a href="#Page_152">152</a>,
+<a href="#Page_156">156</a>,
+<a href="#Page_238">238</a>,
+<a href="#Page_251">251</a>,
+<a href="#Page_258">258</a>,
+<a href="#Page_259">259</a></span></li>
+
+<li><span class="add1em">as author,
+<a href="#Page_4">4</a>-8,
+<a href="#Page_22">22</a>,
+<a href="#Page_27">27</a>,
+<a href="#Page_30">30</a>,
+<a href="#Page_32">32</a>,
+<a href="#Page_35">35</a>,
+<a href="#Page_46">46</a>,
+<a href="#Page_47">47</a>,
+<a href="#Page_55">55</a>,
+<a href="#Page_56">56</a>,
+<a href="#Page_60">60</a>,
+<a href="#Page_61">61</a>,
+<a href="#Page_63">63</a>,
+<a href="#Page_65">65</a>,
+<a href="#Page_68">68</a>-88,
+<a href="#Page_91">91</a>,
+<a href="#Page_93">93</a>-97,
+<a href="#Page_102">102</a>-104,
+<a href="#Page_107">107</a>,
+<a href="#Page_109">109</a>-112,
+<a href="#Page_114">114</a>-118,
+<a href="#Page_122">122</a>-125,
+<a href="#Page_128">128</a>,
+<a href="#Page_130">130</a>,
+<a href="#Page_134">134</a>,
+<a href="#Page_135">135</a>,
+<a href="#Page_137">137</a>-140,
+<a href="#Page_145">145</a>,
+<a href="#Page_147">147</a>-151,
+<a href="#Page_154">154</a>-156,
+<a href="#Page_160">160</a>,
+<a href="#Page_162">162</a>,
+<a href="#Page_169">169</a>-172,
+<a href="#Page_177">177</a>,
+<a href="#Page_178">178</a>,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a>,
+<a href="#Page_187">187</a>,
+<a href="#Page_192">192</a>,
+<a href="#Page_193">193</a>,
+<a href="#Page_199">199</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_206">206</a>-208,
+<a href="#Page_210">210</a>,
+<a href="#Page_212">212</a>,
+<a href="#Page_214">214</a>,
+<a href="#Page_215">215</a>,
+<a href="#Page_218">218</a>,
+<a href="#Page_221">221</a>,
+<a href="#Page_230">230</a>,
+<a href="#Page_232">232</a>-234,
+<a href="#Page_238">238</a>,
+<a href="#Page_239">239</a>,
+<a href="#Page_241">241</a>,
+<a href="#Page_242">242</a>,
+<a href="#Page_245">245</a>,
+<a href="#Page_247">247</a>,
+<a href="#Page_248">248</a>,
+<a href="#Page_250">250</a>-253,
+<a href="#Page_259">259</a>-262,
+<a href="#Page_265">265</a>-272</span></li>
+
+<li><span class="add1em">as painter,
+<a href="#Page_23">23</a>,
+<a href="#Page_32">32</a>,
+<a href="#Page_43">43</a>,
+<a href="#Page_95">95</a>,
+<a href="#Page_96">96</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_117">117</a>,
+<a href="#Page_118">118</a>,
+<a href="#Page_134">134</a>,
+<a href="#Page_138">138</a>,
+<a href="#Page_148">148</a>,
+<a href="#Page_151">151</a>,
+<a href="#Page_155">155</a>,
+<a href="#Page_156">156</a>,
+<a href="#Page_170">170</a>,
+<a href="#Page_203">203</a>,
+<a href="#Page_269">269</a>-271</span></li>
+
+<li><span class="add1em">as architect,
+<a href="#Page_68">68</a>-73,
+<a href="#Page_77">77</a>-79,
+<a href="#Page_95">95</a>,
+<a href="#Page_96">96</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_117">117</a>,
+<a href="#Page_140">140</a>,
+<a href="#Page_207">207</a></span></li>
+
+<li>Vecchio (Domenico Aimo),
+<a href="#Page_189">189</a></li>
+
+<li>Vecelli, Orazio,
+<a href="#Page_171">171</a></li>
+
+<li>Vecelli, Tiziano (Tiziano da Cadore), <i>Life</i>,
+<a href="#Page_159">159</a>-178.
+<a href="#Page_48">48</a>,
+<a href="#Page_145">145</a>,
+<a href="#Page_153">153</a>,
+<a href="#Page_159">159</a>-179,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a>,
+<a href="#Page_201">201</a>,
+<a href="#Page_202">202</a>,
+<a href="#Page_247">247</a>,
+<a href="#Page_252">252</a></li>
+
+<li>Vellaert, Dierick Jacobsz,
+<a href="#Page_269">269</a></li>
+
+<li>Venusti, Marcello (Marcello Mantovano),
+<a href="#Page_106">106</a>,
+<a href="#Page_259">259</a>,
+<a href="#Page_260">260</a></li>
+
+<li>Verbo (Verlo), Francesco,
+<a href="#Page_211">211</a></li>
+
+<li>Verdezotti, Gian Maria,
+<a href="#Page_178">178</a></li>
+
+<li>Verlo (Verbo), Francesco,
+<a href="#Page_211">211</a></li>
+
+<li>Vignuola (Jacopo Barozzi),
+<a href="#Page_102">102</a>,
+<a href="#Page_146">146</a>,
+<a href="#Page_147">147</a></li>
+
+<li>Vincenzio Danti,
+<a href="#Page_128">128</a>,
+<a href="#Page_139">139</a></li>
+
+<li>Vincenzio Zuccati,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a></li>
+
+<li>Vinci, Leonardo da,
+<a href="#Page_15">15</a>,
+<a href="#Page_19">19</a>,
+<a href="#Page_234">234</a></li>
+
+<li>Viniziano, Fabrizio,
+<a href="#Page_215">215</a></li>
+
+<li>Vitruvius,
+<a href="#Page_44">44</a>,
+<a href="#Page_113">113</a>,
+<a href="#Page_190">190</a>,
+<a href="#Page_213">213</a>,
+<a href="#Page_218">218</a></li>
+
+<li>Vittore Scarpaccia (Vittore Carpaccio),
+<a href="#Page_210">210</a>,
+<a href="#Page_211">211</a></li>
+
+<li>Vittoria, Alessandro,
+<a href="#Page_204">204</a>-206,
+<a href="#Page_223">223</a></li>
+
+<li>Volkaerts, Dirk,
+<a href="#Page_270">270</a></li>
+
+<li>Volterra, Daniello da (Daniello Ricciarelli),
+<a href="#Page_95">95</a>,
+<a href="#Page_100">100</a>,
+<a href="#Page_101">101</a>,
+<a href="#Page_103">103</a>,
+<a href="#Page_107">107</a>,
+<a href="#Page_121">121</a>,
+<a href="#Page_122">122</a></li>
+
+<li>Volterra, Zaccheria da (Zaccheria Zacchi),
+<a href="#Page_189">189</a>,
+<a href="#Page_190">190</a></li>
+
+<li>Vos, Marten de,
+<a href="#Page_268">268</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Weyden, Roger van der,
+<a href="#Page_265">265</a></li>
+
+<li>Willem Keur,
+<a href="#Page_269">269</a></li>
+
+<li>Willem Key,
+<a href="#Page_267">267</a>,
+<a href="#Page_268">268</a>,
+<a href="#Page_270">270</a></li>
+
+<li>Willem Paludanus,
+<a href="#Page_269">269</a></li>
+
+<li>Willem van Antwerp,
+<a href="#Page_269">269</a></li>
+
+<li>Wouter Crabeth,
+<a href="#Page_269">269</a></li>
+</ul>
+
+<ul class="none p2">
+<li>Zaccheria Zacchi (Zaccheria da Volterra),
+<a href="#Page_189">189</a>,
+<a href="#Page_190">190</a></li>
+
+<li>Zanobi Lastricati,
+<a href="#Page_125">125</a>,
+<a href="#Page_132">132</a></li>
+
+<li>Zeuxis,
+<a href="#Page_133">133</a></li>
+
+<li>Zuccati, Valerio,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a></li>
+
+<li>Zuccati, Vincenzio,
+<a href="#Page_182">182</a>,
+<a href="#Page_183">183</a></li>
+
+<li>Zucchi, Jacopo,
+<a href="#Page_134">134</a></li>
+</ul>
+
+<p class="center">END OF VOL. IX.</p>
+
+<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> 1534.</p></div>
+
+<div class="footnote"><p><a name="Footnote2" id="Footnote2"></a><a href="#FNanchor2"><span class="label">[2]</span></a> Piacenza.</p></div>
+
+<div class="footnote"><p><a name="Footnote3" id="Footnote3"></a><a href="#FNanchor3"><span class="label">[3]</span></a> Busybody, or Jack-of-all-Trades.</p></div>
+
+<div class="footnote"><p><a name="Footnote4" id="Footnote4"></a><a href="#FNanchor4"><span class="label">[4]</span></a> Drum.</p></div>
+
+<div class="footnote"><p><a name="Footnote5" id="Footnote5"></a><a href="#FNanchor5"><span class="label">[5]</span></a> Begarelli.</p></div>
+
+<div class="footnote"><p><a name="Footnote6" id="Footnote6"></a><a href="#FNanchor6"><span class="label">[6]</span></a> See note on p. 132, vol. ii.</p></div>
+
+<div class="footnote"><p><a name="Footnote7" id="Footnote7"></a><a href="#FNanchor7"><span class="label">[7]</span></a> Sammacchini.</p></div>
+
+<div class="footnote"><p><a name="Footnote8" id="Footnote8"></a><a href="#FNanchor8"><span class="label">[8]</span></a> Priuli.</p></div>
+
+<div class="footnote"><p><a name="Footnote9" id="Footnote9"></a><a href="#FNanchor9"><span class="label">[9]</span></a> Zuccati.</p></div>
+
+<div class="footnote"><p><a name="Footnote10" id="Footnote10"></a><a href="#FNanchor10"><span class="label">[10]</span></a> After the death of Jacopo Sansovino in 1570, Vasari published a separate Life of
+him, containing an account of his death and other additional information. Such passages
+as contain information that is new or expressed differently from that of the Edition of
+1568 will be found in the notes at the end of this Life.</p></div>
+
+<div class="footnote"><p><a name="Footnote11" id="Footnote11"></a><a href="#FNanchor11"><span class="label">[11]</span></a> Via Flaminia.</p></div>
+
+<div class="footnote"><p><a name="Footnote12" id="Footnote12"></a><a href="#FNanchor12"><span class="label">[12]</span></a> A "canna" is equal to about four braccia.</p></div>
+
+<div class="footnote"><p><a name="Footnote13" id="Footnote13"></a><a href="#FNanchor13"><span class="label">[13]</span></a> Hunchback.</p></div>
+
+<div class="footnote"><p><a name="Footnote14" id="Footnote14"></a><a href="#FNanchor14"><span class="label">[14]</span></a> The story runs that in the year 1533 Queen Maria attacked and destroyed the Castle
+of Folembrai, and that in the following year King Henry of France, out of revenge, destroyed
+the fortress of Binche in Upper Hainault, leaving on the ruined walls the words "Voilà
+Folembrai"; which in the Italian have been corrupted into "Vela fole Maria."</p></div>
+
+<div class="footnote"><p><a name="Footnote15" id="Footnote15"></a><a href="#FNanchor15"><span class="label">[15]</span></a> See last line on p. <a href="#Page_112">112</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote16" id="Footnote16"></a><a href="#FNanchor16"><span class="label">[16]</span></a> Hans Memling.</p></div>
+</div>
+<p>&nbsp;</p>
+
+<div class="trans-note"><center>Transcriber's note:</center>
+<br>
+Obvious printer's errors have been corrected.<br>
+<br>
+Hyphenation and accentuation have been made consisstent. All
+other inconsistencies are as in the original.<br>
+<br>
+The author's spelling has been retained.</div>
+
+<p>&nbsp;</p>
+<hr class="full" noshade>
+<p>***END OF THE PROJECT GUTENBERG EBOOK LIVES OF THE MOST EMINENT PAINTERS, SCULPTORS &amp; ARCHITECTS***</p>
+<p>******* This file should be named 32362-h.txt or 32362-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br>
+<a href="http://www.gutenberg.org/dirs/3/2/3/6/32362">http://www.gutenberg.org/3/2/3/6/32362</a></p>
+<p>Updated editions will replace the previous one--the old editions
+will be renamed.</p>
+
+<p>Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
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+The Project Gutenberg eBook, Lives of the Most Eminent Painters, Sculptors
+& Architects, by Giorgio Vasari, Translated by Gaston Du C. de Vere
+
+
+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 & Architects
+       Vol. IX (of 10) Michelagnolo to the Flemings
+
+
+Author: Giorgio Vasari
+
+
+
+Release Date: May 13, 2010  [eBook #32362]
+Most recently updated: July 16, 2010
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK LIVES OF THE MOST EMINENT
+PAINTERS, SCULPTORS & ARCHITECTS***
+
+
+E-text prepared by Mark C. Orton, Christine P. Travers, and the Project
+Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) from
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+
+Transcriber's note:
+
+      Obvious printer's errors have been corrected.
+
+      Hyphenation and accentuation have been made consistent.
+      All other inconsistencies are as in the original.
+
+      The author's spelling has been retained.
+
+      Text enclosed by equal signs was in bold face (=bold=).
+
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS
+
+by
+
+GIORGIO VASARI:
+
+Volume IX. Michelagnolo to the Flemings 1915
+
+Newly Translated by GASTON Du C. DE VERE.
+
+With Five Hundred Illustrations: In Ten Volumes
+
+
+
+
+
+
+
+[Illustration: 1511-1574]
+
+Philip Lee Warner, Publisher to the Medici Society, Limited
+7 Grafton St. London, W. 1912-15
+
+
+
+
+CONTENTS OF VOLUME IX
+
+                                                                    PAGE
+
+    MICHELAGNOLO BUONARROTI                                            1
+
+    FRANCESCO PRIMATICCIO                                            143
+
+    TIZIANO DA CADORE                                                157
+
+    JACOPO SANSOVINO                                                 185
+
+    LEONE LIONI OF AREZZO                                            227
+
+    DON GIULIO CLOVIO                                                243
+
+    DIVERS ITALIAN CRAFTSMEN STILL LIVING                            255
+
+    DIVERS FLEMINGS                                                  263
+
+    INDEX OF NAMES                                                   273
+
+
+
+
+ILLUSTRATIONS TO VOLUME IX
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+
+    MICHELAGNOLO BUONARROTI
+        The Holy Family
+            Florence: Uffizi, 1,239                                    4
+
+    TIZIANO DA CADORE
+        The Madonna of the Cherries
+            Vienna: Imperial Gallery, 180                            158
+
+    TIZIANO DA CADORE
+        Sacred and Profane Love
+            Rome: Borghese Gallery, 147                              164
+
+    TIZIANO DA CADORE
+        The Duke of Norfolk
+            Florence: Pitti, 92                                      168
+
+    TIZIANO DA CADORE
+        The Education of Cupid
+            Rome: Borghese Gallery, 170                              176
+
+    PARIS BORDONE
+        The Venetian Lovers
+            Milan: Brera, 105                                        178
+
+
+PLATES IN MONOCHROME
+
+    MICHELAGNOLO BUONARROTI
+        The Battle of the Centaurs
+            Florence: Museo Buonarroti                                 8
+
+    MICHELAGNOLO BUONARROTI
+        The Angel with the Candlestick
+            Bologna: S. Domenico                                      10
+
+    MICHELAGNOLO BUONARROTI
+        Bacchus
+            Florence: Museo Nazionale                                 12
+
+    MICHELAGNOLO BUONARROTI
+        Pieta
+            Rome: S. Peter's                                          14
+
+    MICHELAGNOLO BUONARROTI
+        Wax Models for the David
+            Florence: Museo Buonarroti                                16
+
+    MICHELAGNOLO BUONARROTI
+        Madonna, Child, and S. John
+            Florence: Museo Nazionale                                 18
+
+    MICHELAGNOLO BUONARROTI
+        Young Captive
+            Paris: Louvre                                             20
+
+    MICHELAGNOLO BUONARROTI
+        Victory
+            Florence: Museo Nazionale                                 22
+
+    MICHELAGNOLO BUONARROTI
+        Moses
+            Rome: S. Pietro in Vincoli                                24
+
+    MICHELAGNOLO BUONARROTI
+        Tomb of Pope Julius II
+            Rome: S. Pietro in Vincoli                                24
+
+    MICHELAGNOLO BUONARROTI
+        God Dividing the Waters from the Earth
+            Rome: Sistine Chapel                                      28
+
+    MICHELAGNOLO BUONARROTI
+        The Creation of Eve
+            Rome: Sistine Chapel                                      28
+
+    MICHELAGNOLO BUONARROTI
+        The Creation of Adam
+            Rome: Sistine Chapel                                      32
+
+    MICHELAGNOLO BUONARROTI
+        The Fall and the Expulsion
+            Rome: Sistine Chapel                                      32
+
+    MICHELAGNOLO BUONARROTI
+        The Lybian Sibyl
+            Rome: Sistine Chapel                                      36
+
+    MICHELAGNOLO BUONARROTI
+        Decorative Figure
+            Rome: Sistine Chapel                                      38
+
+    MICHELAGNOLO BUONARROTI
+        The New Sacristy
+            Florence: S. Lorenzo                                      40
+
+    MICHELAGNOLO BUONARROTI
+        Madonna and Child
+            Florence: S. Lorenzo                                      42
+
+    MICHELAGNOLO BUONARROTI
+        Giuliano de' Medici
+            Florence: S. Lorenzo                                      44
+
+    MICHELAGNOLO BUONARROTI
+        Tomb of Giuliano de' Medici
+            Florence: S. Lorenzo                                      44
+
+    MICHELAGNOLO BUONARROTI
+        Apollo
+            Florence: Museo Nazionale                                 50
+
+    MICHELAGNOLO BUONARROTI
+        The Last Judgment
+            Rome: Sistine Chapel                                      56
+
+    MICHELAGNOLO BUONARROTI
+        Charon's Boat
+            Rome: Sistine Chapel                                      58
+
+    MICHELAGNOLO BUONARROTI
+        S. Sebastian
+            Rome: Sistine Chapel                                      60
+
+    MICHELAGNOLO BUONARROTI
+        Pieta
+            Florence: Duomo                                           62
+
+    MICHELAGNOLO BUONARROTI
+        Stairs of the Palace of the Senators
+            Rome: The Capitol                                         64
+
+    MICHELAGNOLO BUONARROTI
+        Court of the Palazzo Farnese
+            Rome                                                      66
+
+    MICHELAGNOLO BUONARROTI
+        Biblioteca Laurenziana
+            Florence                                                  78
+
+    MICHELAGNOLO BUONARROTI
+        Pieta
+            Rome: Palazzo Rondanini                                   84
+
+    MICHELAGNOLO BUONARROTI
+        S. Peter's
+            Rome                                                      86
+
+    MICHELAGNOLO BUONARROTI
+        S. Peter's
+            Rome                                                      88
+
+    MICHELAGNOLO BUONARROTI
+        Porta Pia
+            Rome                                                      96
+
+    MICHELAGNOLO BUONARROTI
+        S. Maria degli Angeli
+            Rome                                                      98
+
+    MICHELAGNOLO BUONARROTI
+        Brutus
+            Florence: Museo Nazionale                                100
+
+    MICHELAGNOLO BUONARROTI
+        Unfinished Figure
+            Florence: Museo Nazionale                                106
+
+    FRANCESCO PRIMATICCIO
+        Galerie Henry IV
+            Fontainebleau                                            146
+
+    FRANCESCO PRIMATICCIO
+        Escalier du Roi
+            Fontainebleau                                            148
+
+    PELLEGRINO TIBALDI
+        The Adoration of the Shepherds
+            Vienna: Collection of Prince Liechtenstein               152
+
+    TIZIANO DA CADORE
+        Ariosto
+            London: National Gallery, 1,944                          160
+
+    TIZIANO DA CADORE
+        Bacchanal
+            Madrid: The Prado, 450                                   162
+
+    TIZIANO DA CADORE
+        Madonna With Saints and Donor
+            Ancona: S. Domenico                                      162
+
+    TIZIANO DA CADORE
+        Charles V with Dog
+            Madrid: The Prado, 453                                   166
+
+    TIZIANO DA CADORE
+        Pope Paul III
+            Naples: Museo Nazionale                                  168
+
+    TIZIANO DA CADORE
+        Danae
+            Naples: Museo Nazionale                                  170
+
+    TIZIANO DA CADORE
+        Perseus and Andromeda
+            London: Wallace Collection, 11                           172
+
+    TIZIANO DA CADORE
+        Philip II
+            Naples: Museo Nazionale                                  172
+
+    TIZIANO DA CADORE
+        Mary Magdalene
+            Naples: Museo Nazionale                                  174
+
+    TIZIANO DA CADORE
+        The Entombment
+            Madrid: The Prado, 464                                   176
+
+    PARIS BORDONE
+        The Fisherman and the Doge Gradenigo
+            Venice: Accademia, 320                                   180
+
+    PARIS BORDONE
+        Portrait of a Woman
+            London: National Gallery, 674                            180
+
+    ZUCCATI
+        Vision of the Apocalypse
+            Venice: S. Marco                                         182
+
+    JACOPO SANSOVINO
+        S. James
+            Florence: Duomo                                          190
+
+    JACOPO SANSOVINO
+        Bacchus
+            Florence: Museo Nazionale                                192
+
+    JACOPO SANSOVINO
+        Mars and Neptune
+            Venice: Ducal Palace                                     196
+
+    JACOPO SANSOVINO
+        Library of S. Marco
+            Venice                                                   198
+
+    JACOPO SANSOVINO
+        Loggetta
+            Venice                                                   200
+
+    JACOPO SANSOVINO
+        Miracle of S. Anthony
+            Padua: S. Antonio                                        202
+
+    ANDREA PALLADIO
+        Palazzo della Comunita
+            Vicenza                                                  210
+
+    LEONE LEONI
+        Tomb of Gian Jacopo Medici
+            Milan: Duomo                                             230
+
+    CRISTOFANO SOLARI (IL GOBBO)
+        Eve
+            Milan: Duomo                                             234
+
+    GUGLIELMO DELLA PORTA
+        Tomb of Pope Paul III
+            Rome: S. Peter's                                         236
+
+    GALEAZZO ALESSI
+        Palazzo Grimaldi
+            Genoa                                                    240
+
+    GIULIO CLOVIO
+        Pieta
+            Florence: Pitti, 241                                     246
+
+    GIROLAMO SERMONETA
+        Martyrdom of S. Catherine
+            Rome: S. Maria Maggiore                                  258
+
+    JOHANNES CALCAR
+        Portrait of a Man
+            Paris: Louvre, 1,185                                     266
+
+
+
+
+MICHELAGNOLO BUONARROTI
+
+
+
+
+LIFE OF MICHELAGNOLO BUONARROTI
+
+PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE
+
+
+While the most noble and industrious spirits were striving, by the
+light of the famous Giotto and of his followers, to give to the world
+a proof of the ability that the benign influence of the stars and the
+proportionate admixture of humours had given to their intellects, and
+while, desirous to imitate with the excellence of their art the
+grandeur of Nature in order to approach as near as possible to that
+supreme knowledge that many call understanding, they were universally
+toiling, although in vain, the most benign Ruler of Heaven in His
+clemency turned His eyes to the earth, and, having perceived the
+infinite vanity of all those labours, the ardent studies without any
+fruit, and the presumptuous self-sufficiency of men, which is even
+further removed from truth than is darkness from light, and desiring
+to deliver us from such great errors, became minded to send down to
+earth a spirit with universal ability in every art and every
+profession, who might be able, working by himself alone, to show what
+manner of thing is the perfection of the art of design in executing
+the lines, contours, shadows, and high lights, so as to give relief to
+works of painting, and what it is to work with correct judgment in
+sculpture, and how in architecture it is possible to render
+habitations secure and commodious, healthy and cheerful,
+well-proportioned, and rich with varied ornaments. He was pleased, in
+addition, to endow him with the true moral philosophy and with the
+ornament of sweet poesy, to the end that the world might choose him
+and admire him as its highest exemplar in the life, works, saintliness
+of character, and every action of human creatures, and that he might
+be acclaimed by us as a being rather divine than human. And since He
+saw that in the practice of these rare exercises and arts--namely, in
+painting, in sculpture, and in architecture--the Tuscan intellects
+have always been exalted and raised high above all others, from their
+being diligent in the labours and studies of every faculty beyond no
+matter what other people of Italy, He chose to give him Florence, as
+worthy beyond all other cities, for his country, in order to bring all
+the talents to their highest perfection in her, as was her due, in the
+person of one of her citizens.
+
+[Illustration: MICHELAGNOLO BUONARROTI: THE HOLY FAMILY
+
+(_Florence: Uffizi, 1239. Panel_)]
+
+There was born a son, then, in the Casentino, in the year 1474, under
+a fateful and happy star, from an excellent and noble mother, to
+Lodovico di Leonardo Buonarroti Simoni, a descendant, so it is said,
+of the most noble and most ancient family of the Counts of Canossa. To
+that Lodovico, I say, who was in that year Podesta of the township of
+Chiusi and Caprese, near the Sasso della Vernia, where S. Francis
+received the Stigmata, in the Diocese of Arezzo, a son was born on the
+6th of March, a Sunday, about the eighth hour of the night, to which
+son he gave the name Michelagnolo, because, inspired by some influence
+from above, and giving it no more thought, he wished to suggest that
+he was something celestial and divine beyond the use of mortals, as
+was afterwards seen from the figures of his horoscope, he having had
+Mercury and Venus in the second house of Jupiter, with happy augury,
+which showed that from the art of his brain and of his hand there
+would be seen to issue forth works marvellous and stupendous. Having
+finished his office as Podesta, Lodovico returned to Florence and
+settled in the village of Settignano, at a distance of three miles
+from the city, where he had a farm that had belonged to his
+forefathers; which place abounds with stone and is all full of
+quarries of grey-stone, which is constantly being worked by
+stone-cutters and sculptors, who for the most part are born in the
+place. Michelagnolo was put out to nurse by Lodovico in that village
+with the wife of a stone-cutter: wherefore the same Michelagnolo,
+discoursing once with Vasari, said to him jestingly, "Giorgio, if I
+have anything of the good in my brain, it has come from my being born
+in the pure air of your country of Arezzo, even as I also sucked in
+with my nurse's milk the chisels and hammer with which I make my
+figures." In time Lodovico's family increased, and, being in poor
+circumstances, with slender revenues, he set about apprenticing his
+sons to the Guilds of Silk and Wool. Michelagnolo, who by that time
+was well grown, was placed to be schooled in grammar with Maestro
+Francesco da Urbino; but, since his genius drew him to delight in
+design, all the time that he could snatch he would spend in drawing in
+secret, being scolded for this by his father and his other elders, and
+at times beaten, they perchance considering that to give attention to
+that art, which was not known by them, was a mean thing and not worthy
+of their ancient house.
+
+At this time Michelagnolo had formed a friendship with Francesco
+Granacci, who, likewise a lad, had placed himself with Domenico
+Ghirlandajo in order to learn the art of painting; wherefore Granacci,
+loving Michelagnolo, and perceiving that he was much inclined to
+design, supplied him daily with drawings by Ghirlandajo, who at that
+time was reputed to be one of the best masters that there were not
+only in Florence, but throughout all Italy. Whereupon, the desire to
+work at art growing greater every day in Michelagnolo, Lodovico,
+perceiving that he could not divert the boy from giving his attention
+to design, and that there was no help for it, and wishing to derive
+some advantage from it and to enable him to learn that art, resolved
+on the advice of friends to apprentice him with Domenico Ghirlandajo.
+Michelagnolo, when he was placed with Domenico Ghirlandajo, was
+fourteen years of age. Now he who wrote his life after the year 1550,
+when I wrote these Lives the first time, has said that some persons,
+through not having associated with him, have related things that never
+happened, and have left out many that are worthy to be recorded, and
+has touched on this circumstance in particular, taxing Domenico with
+jealousy and saying that he never offered any assistance to
+Michelagnolo; which is clearly false, as may be seen from an entry by
+the hand of Lodovico, the father of Michelagnolo, written in one of
+Domenico's books, which book is now in the possession of his heirs.
+That entry runs thus: "1488, I record, this first day of April, that
+I, Lodovico di Leonardo di Buonarrota, placed Michelagnolo my son with
+Domenico and David di Tommaso di Currado for the three years next to
+come, on these terms and conditions, that the said Michelagnolo shall
+remain with the above-named persons for the said period of time, in
+order to learn to paint and to exercise that vocation; that the said
+persons shall have command over him; and that the same Domenico and
+David shall be bound to give him in those three years twenty-four
+florins of full weight, the first year six florins, the second year
+eight florins, and the third ten florins; in all, the sum of
+ninety-six lire." And next, below this, is another record, or rather,
+entry, also written in the hand of LOdovico: "The aforesaid
+Michelagnolo has received of that sum, this sixteenth day of April,
+two gold florins in gold. I, Lodovico di Leonardo, his father, have
+received twelve lire and twelve soldi as cash due to him." These
+entries I have copied from the book itself, in order to prove that all
+that was written at that time, as well as all that is about to be
+written, is the truth; nor do I know that anyone has been more
+associated with him than I have been, or has been a more faithful
+friend and servant to him, as can be proved even to one who knows not
+the facts, neither do I believe that there is anyone who can show a
+greater number of letters written by his own hand, or any written with
+greater affection than he has expressed to me. I have made this
+digression for the sake of truth, and it must suffice for all the rest
+of his Life. Let us now return to our story.
+
+When the ability as well as the person of Michelagnolo had grown in
+such a manner, that Domenico, seeing him execute some works beyond the
+scope of a boy, was astonished, since it seemed to him that he not
+only surpassed the other disciples, of whom he had a great number, but
+very often equalled the things done by himself as master, it happened
+that one of the young men who were learning under Domenico copied with
+the pen some draped figures of women from works by Ghirlandajo;
+whereupon Michelagnolo took that drawing and with a thicker pen
+outlined one of those women with new lineaments, in the manner that it
+should have been in order to be perfect. And it is a marvellous thing
+to see the difference between the two manners, and the judgment and
+excellence of a mere lad who was so spirited and bold, that he had the
+courage to correct the work of his master. That sheet is now in my
+possession, treasured as a relic; and I received it from Granacci to
+put in my book of drawings together with others by the same hand,
+which I received from Michelagnolo. In the year 1550, when Giorgio was
+in Rome, he showed it to Michelagnolo, who recognized it and was
+pleased to see it again, saying modestly that he knew more of the art
+when he was a boy than he did at that time, when he was an old man.
+
+Now it happened that when Domenico was at work on the great chapel of
+S. Maria Novella, one day that he was out Michelagnolo set himself to
+draw the staging from the reality, with some desks and all the
+appliances of art, and some of the young men who were working there.
+Whereupon, when Domenico had returned and seen Michelagnolo's drawing,
+he said, "This boy knows more about it than I do;" and he was struck
+with amazement at the novel manner and the novel method of imitation
+that a mere boy of such tender age displayed by reason of the judgment
+bestowed upon him by Heaven, for these, in truth, were as marvellous
+as could have been looked for in the workmanship of a craftsman who
+had laboured for many years. And this was because all the power and
+knowledge of the gracious gifts of his nature were exercised by study
+and by the practice of art, wherefore these gifts produced every day
+fruits more divine in Michelagnolo, as began to be made clearly
+manifest in the copy that he executed of a printed sheet by the German
+Martino, which gave him a very great name. For there had come to
+Florence at that time a scene by the above-named Martino, of the
+Devils beating S. Anthony, engraved on copper, and Michelagnolo copied
+it with the pen in such a manner that it could not be detected, and
+then painted that same sheet in colours, going at times, in order to
+counterfeit certain strange forms of devils, to buy fishes that had
+scales bizarre in colouring; and in that work he showed so much
+ability, that he acquired thereby credit and fame. He also
+counterfeited sheets by the hands of various old masters, making them
+so similar that they could not be detected, for, tinting them and
+giving them the appearance of age with smoke and various other
+materials, he made them so dark that they looked old, and, when
+compared with the originals, one could not be distinguished from the
+other. Nor did he do this with any other purpose but to obtain the
+originals from the hands of their owners by giving them the copies,
+for he admired them for the excellence of their art and sought to
+surpass them in his own practice; on which account he acquired a very
+great name.
+
+[Illustration: THE BATTLE OF THE CENTAURS
+
+(_After the relief by =Michelangelo=. Florence: Museo Buonarroti_)
+
+_Alinari_]
+
+At that time the Magnificent Lorenzo de' Medici kept the sculptor
+Bertoldo in his garden on the Piazza di S. Marco, not so much as
+custodian or guardian of the many beautiful antiques that he had
+collected and gathered together at great expense in that place, as
+because, desiring very earnestly to create a school of excellent
+painters and sculptors, he wished that these should have as their
+chief and guide the above-named Bertoldo, who was a disciple of
+Donato. Bertoldo, although he was so old that he was not able to work,
+was nevertheless a well-practised master and in much repute, not only
+because he had polished with great diligence the pulpits cast by his
+master Donato, but also on account of many castings in bronze that he
+had executed himself, of battles and certain other small works, in the
+execution of which there was no one to be found in Florence at that
+time who surpassed him. Now Lorenzo, who bore a very great love to
+painting and to sculpture, was grieved that there were not to be found
+in his time sculptors noble and famous enough to equal the many
+painters of the highest merit and reputation, and he determined, as I
+have said, to found a school. To this end he besought Domenico
+Ghirlandajo that, if he had among the young men in his workshop any
+that were inclined to sculpture, he might send them to his garden,
+where he wished to train and form them in such a manner as might do
+honour to himself, to Domenico, and to the whole city. Whereupon there
+were given to him by Domenico as the best of his young men, among
+others, Michelagnolo and Francesco Granacci; and they, going to the
+garden, found there that Torrigiano, a young man of the Torrigiani
+family, was executing in clay some figures in the round that had been
+given to him by Bertoldo. Michelagnolo, seeing this, made some out of
+emulation; wherefore Lorenzo, seeing his fine spirit, always regarded
+him with much expectation. And he, thus encouraged, after some days
+set himself to counterfeit from a piece of marble an antique head of a
+Faun that was there, old and wrinkled, which had the nose injured and
+the mouth laughing. Michelagnolo, who had never yet touched marble
+or chisels, succeeded so well in counterfeiting it, that the
+Magnificent Lorenzo was astonished; and then, perceiving that,
+departing from the form of the antique head, he had opened out the
+mouth after his own fancy and had made a tongue, with all the teeth
+showing, that lord, jesting pleasantly, as was his wont, said to him,
+"Surely you should have known that old folks never have all their
+teeth, and that some are always wanting." It appeared to Michelagnolo,
+in his simplicity, both fearing and loving that lord, that he had
+spoken the truth; and no sooner had Lorenzo departed than he
+straightway broke one of the teeth and hollowed out the gum, in such a
+manner, that it seemed as if the tooth had dropped out. And then he
+awaited with eagerness the return of the Magnificent Lorenzo, who,
+when he had come and had seen the simplicity and excellence of
+Michelagnolo, laughed at it more than once, relating it as a miracle
+to his friends. Moreover, having made a resolve to assist and favour
+Michelagnolo, he sent for his father Lodovico and asked for the boy
+from him, saying that he wished to maintain him as one of his own
+children; and Lodovico gave him up willingly. Thereupon the
+Magnificent Lorenzo granted him a chamber in his own house and had him
+attended, and he ate always at his table with his own children and
+with other persons of quality and of noble blood who lived with that
+lord, by whom he was much honoured. This was in the year after he had
+been placed with Domenico, when Michelagnolo was about fifteen or
+sixteen years of age; and he lived in that house four years, which was
+until the death of the Magnificent Lorenzo in 1492. During that time,
+then, Michelagnolo had five ducats a month from that lord as an
+allowance and also to help his father; and for his particular
+gratification Lorenzo gave him a violet cloak, and to his father an
+office in the Customs. Truth to tell, all the young men in the garden
+were salaried, some little and some much, by the liberality of that
+magnificent and most noble citizen, and rewarded by him as long as he
+lived.
+
+At this time, at the advice of Poliziano, a man eminent in letters,
+Michelagnolo executed from a piece of marble given to him by that lord
+the Battle of Hercules with the Centaurs, which was so beautiful that
+now, to those who study it from time to time, it appears as if by the
+hand not of a youth but of a master of repute, perfected by study and
+well practised in that art. It is now in his house, treasured in
+memory of him by his nephew Leonardo as a rare thing, which indeed it
+is. That Leonardo, not many years since, had in his house in memory of
+his uncle a Madonna of marble in low-relief by the hand of
+Michelagnolo, little more than one braccio in height, in which when a
+lad, at this same time, wishing to counterfeit the manner of
+Donatello, he acquitted himself so well that it seems as if by
+Donatello's hand, save that there may be seen in it more grace and
+more design. That work Leonardo afterwards gave to Duke Cosimo de'
+Medici, who treasures it as a unique thing, for we have no other
+low-relief in sculpture by his hand save that one.
+
+Now, returning to the garden of the Magnificent Lorenzo; that garden
+was full of antiques and richly adorned with excellent pictures, all
+gathered together in that place for their beauty, for study, and for
+pleasure. Michelagnolo always had the keys, and he was much more
+earnest than the others in his every action, and showed himself always
+alert, bold, and resolute. He drew for many months from the pictures
+of Masaccio in the Carmine, where he copied those works with so much
+judgment, that the craftsmen and all other men were astonished, in
+such sort that envy grew against him together with his fame. It is
+said that Torrigiano, after contracting a friendship with him, mocked
+him, being moved by envy at seeing him more honoured than himself and
+more able in art, and struck him a blow of the fist on the nose with
+such force, that he broke and crushed it very grievously and marked
+him for life; on which account Torrigiano was banished from Florence,
+as has been related in another place.
+
+[Illustration: THE ANGEL WITH THE CANDLESTICK
+
+(_After =Michelagnolo=. Bologna: S. Domenico_)
+
+_Alinari_]
+
+When the Magnificent Lorenzo died, Michelagnolo returned to his
+father's house in infinite sorrow at the death of so great a man, the
+friend of every talent. There he bought a great piece of marble, and
+from it carved a Hercules of four braccia, which stood for many years
+in the Palace of the Strozzi; this was esteemed an admirable work, and
+afterwards, in the year of the siege, it was sent into France to King
+Francis by Giovan Battista della Palla. It is said that Piero de'
+Medici, who had been left heir to his father Lorenzo, having long
+been intimate with Michelagnolo, used often to send for him when he
+wished to buy antiques, such as cameos and other carved stones. One
+winter, when much snow fell in Florence, he caused him to make in his
+courtyard a statue of snow, which was very beautiful; and he honoured
+Michelagnolo on account of his talents in such a manner, that his
+father, beginning to see that he was esteemed among the great, clothed
+him much more honourably than he had been wont to do.
+
+For the Church of S. Spirito in the city of Florence Michelagnolo made
+a Crucifix of wood, which was placed, as it still is, above the
+lunette of the high-altar; doing this to please the Prior, who placed
+rooms at his disposal, in which he was constantly flaying dead bodies,
+in order to study the secrets of anatomy, thus beginning to give
+perfection to the great knowledge of design that he afterwards
+acquired. It came about that the Medici were driven out of Florence,
+and a few weeks before that Michelagnolo had gone to Bologna, and then
+to Venice, fearing, as he saw the insolence and bad government of
+Piero de' Medici, lest some evil thing might befall him from his being
+the servant of that family; but, not having found any means of living
+in Venice, he returned to Bologna. There he had the misfortune to
+neglect, through lack of thought, when entering by the gate, to learn
+the countersign for going out again, a command having been issued at
+that time, as a precaution, at the desire of Messer Giovanni
+Bentivogli, that all strangers who had not the countersign should be
+fined fifty Bolognese lire; and having fallen into such a predicament,
+nor having the means to pay, Michelagnolo by chance was seen by Messer
+Giovan Francesco Aldovrandi, one of the Sixteen of the Government, who
+had compassion on him, and, having made him tell his story, liberated
+him, and then kept him in his house for more than a year. One day
+Aldovrandi took him to see the tomb of S. Dominic, made, as has been
+related, by Giovanni Pisano and then by Maestro Niccolo dell'Arca,
+sculptors of olden days. In that work there were wanting a S. Petronio
+and an Angel holding a candelabrum, figures of about one braccio, and
+Aldovrandi asked him if he felt himself able to make them; and he
+answered Yes. Whereupon he had the marble given to him, and
+Michelagnolo executed them in such a manner, that they are the best
+figures that are there; and Messer Francesco Aldovrandi caused thirty
+ducats to be given to him for the two. Michelagnolo stayed a little
+more than a year in Bologna, and he would have stayed there even
+longer, in order to repay the courtesy of Aldovrandi, who loved him
+both for his design and because, liking Michelagnolo's Tuscan
+pronunciation in reading, he was pleased to hear from his lips the
+works of Dante, Petrarca, Boccaccio, and other Tuscan poets. But,
+since he knew that he was wasting his time, he was glad to return to
+Florence.
+
+[Illustration: BACCHUS
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+There he made for Lorenzo di Pier Francesco de' Medici a S. Giovannino
+of marble, and then set himself to make from another piece of marble a
+Cupid that was sleeping, of the size of life. This, when finished, was
+shown by means of Baldassarre del Milanese to Lorenzo di Pier
+Francesco as a beautiful thing, and he, having pronounced the same
+judgment, said to Michelagnolo: "If you were to bury it under ground
+and then sent it to Rome treated in such a manner as to make it look
+old, I am certain that it would pass for an antique, and you would
+thus obtain much more for it than by selling it here." It is said that
+Michelagnolo handled it in such a manner as to make it appear an
+antique; nor is there any reason to marvel at that, seeing that he had
+genius enough to do it, and even more. Others maintain that Milanese
+took it to Rome and buried it in a vineyard that he had there, and
+then sold it as an antique to Cardinal San Giorgio for two hundred
+ducats. Others, again, say that Milanese sold to the Cardinal one that
+Michelagnolo had made for him, and that he wrote to Lorenzo di Pier
+Francesco that he should cause thirty crowns to be given to
+Michelagnolo, saying that he had not received more for the Cupid, and
+thus deceiving the Cardinal, Lorenzo di Pier Francesco, and
+Michelagnolo; but afterwards, having received information from one who
+had seen that the boy was fashioned in Florence, the Cardinal
+contrived to learn the truth by means of a messenger, and so went to
+work that Milanese's agent had to restore the money and take back the
+Cupid. That work, having come into the possession of Duke Valentino,
+was presented by him to the Marchioness of Mantua, who took it to
+her own country, where it is still to be seen at the present day.
+This affair did not happen without some censure attaching to Cardinal
+San Giorgio, in that he did not recognize the value of the work, which
+consisted in its perfection; for modern works, if only they be
+excellent, are as good as the ancient. What greater vanity is there
+than that of those who concern themselves more with the name than the
+fact? But of that kind of men, who pay more attention to the
+appearance than to the reality, there are some to be found at any
+time.
+
+Now this event brought so much reputation to Michelagnolo, that he was
+straightway summoned to Rome and engaged by Cardinal San Giorgio, with
+whom he stayed nearly a year, although, as one little conversant with
+our arts, he did not commission Michelagnolo to do anything. At that
+time a barber of the Cardinal, who had been a painter, and could paint
+with great diligence in distemper-colours, but knew nothing of design,
+formed a friendship with Michelagnolo, who made for him a cartoon of
+S. Francis receiving the Stigmata. That cartoon was painted very
+carefully in colours by the barber on a little panel; and the picture
+is now to be seen in S. Pietro a Montorio in the first chapel on the
+left hand as one enters the church. The talent of Michelagnolo was
+then clearly recognized by a Roman gentleman named Messer Jacopo
+Galli, an ingenious person, who caused him to make a Cupid of marble
+as large as life, and then a figure of a Bacchus ten palms high, who
+has a cup in the right hand, and in the left hand the skin of a tiger,
+with a bunch of grapes at which a little satyr is trying to nibble. In
+that figure it may be seen that he sought to achieve a certain fusion
+in the members that is marvellous, and in particular that he gave it
+both the youthful slenderness of the male and the fullness and
+roundness of the female--a thing so admirable, that he proved himself
+excellent in statuary beyond any other modern that had worked up to
+that time. On which account, during his stay in Rome, he made so much
+proficience in the studies of art, that it was a thing incredible to
+see his exalted thoughts and the difficulties of the manner exercised
+by him with such supreme facility; to the amazement not only of those
+who were not accustomed to see such things, but also of those familiar
+with good work, for the reason that all the works executed up to that
+time appeared as nothing in comparison with his. These things awakened
+in Cardinal di San Dionigi, called Cardinal de Rohan, a Frenchman, a
+desire to leave in a city so famous some worthy memorial of himself by
+the hand of so rare a craftsman; and he caused him to make a Pieta of
+marble in the round, which, when finished, was placed in the Chapel of
+the Vergine Maria della Febbre in S. Pietro, where the Temple of Mars
+used to be. To this work let no sculptor, however rare a craftsman,
+ever think to be able to approach in design or in grace, or ever to be
+able with all the pains in the world to attain to such delicacy and
+smoothness or to perforate the marble with such art as Michelagnolo
+did therein, for in it may be seen all the power and worth of art.
+Among the lovely things to be seen in the work, to say nothing of the
+divinely beautiful draperies, is the body of Christ; nor let anyone
+think to see greater beauty of members or more mastery of art in any
+body, or a nude with more detail in the muscles, veins, and nerves
+over the framework of the bones, nor yet a corpse more similar than
+this to a real corpse. Here is perfect sweetness in the expression of
+the head, harmony in the joints and attachments of the arms, legs, and
+trunk, and the pulses and veins so wrought, that in truth Wonder
+herself must marvel that the hand of a craftsman should have been able
+to execute so divinely and so perfectly, in so short a time, a work so
+admirable; and it is certainly a miracle that a stone without any
+shape at the beginning should ever have been reduced to such
+perfection as Nature is scarcely able to create in the flesh. Such
+were Michelagnolo's love and zeal together in this work, that he left
+his name--a thing that he never did again in any other work--written
+across a girdle that encircles the bosom of Our Lady. And the reason
+was that one day Michelagnolo, entering the place where it was set up,
+found there a great number of strangers from Lombardy, who were
+praising it highly, and one of them asked one of the others who had
+done it, and he answered, "Our Gobbo from Milan." Michelagnolo stood
+silent, but thought it something strange that his labours should be
+attributed to another; and one night he shut himself in there, and,
+having brought a little light and his chisels, carved his name upon
+it. And truly the work is such, that an exalted spirit has said, as
+to a real and living figure--
+
+  Bellezza ed Onestate
+  E Doglia e Pieta in vivo marmo morte,
+  Deh, come voi pur fate,
+  Non piangete si forte,
+  Che anzi tempo risveglisi da morte;
+  E pur mal grado suo
+  Nostro Signore, e tuo
+  Sposo, Figliuolo, e Padre,
+  Unica Sposa sua, Figliuola, e Madre.
+
+From this work he acquired very great fame, and although certain
+persons, rather fools than otherwise, say that he has made Our Lady
+too young, are these so ignorant as not to know that unspotted virgins
+maintain and preserve their freshness of countenance a long time
+without any mark, and that persons afflicted as Christ was do the
+contrary? That circumstance, therefore, won an even greater increase
+of glory and fame for his genius than all his previous works.
+
+[Illustration: PIETA
+
+(_After =Michelagnolo=. Rome: S. Peter's_)
+
+_Anderson_]
+
+Letters were written to him from Florence by some of his friends,
+saying that he should return, because it was not unlikely that he
+might obtain the spoiled block of marble lying in the Office of Works,
+which Piero Soderini, who at that time had been made Gonfalonier of
+the city for life, had very often talked of having executed by
+Leonardo da Vinci, and was then arranging to give to Maestro Andrea
+Contucci of Monte Sansovino, an excellent sculptor, who was seeking to
+obtain it. Now, however difficult it might be to carve a complete
+figure out of it without adding pieces (for which work of finishing it
+without adding pieces none of the others, save Buonarroti alone, had
+courage enough), Michelagnolo had felt a desire for it for many years
+back; and, having come to Florence, he sought to obtain it. This block
+of marble was nine braccia high, and from it, unluckily, one Maestro
+Simone da Fiesole had begun a giant, and he had managed to work so
+ill, that he had hacked a hole between the legs, and it was altogether
+misshapen and reduced to ruin, insomuch that the Wardens of Works of
+S. Maria del Fiore, who had the charge of the undertaking, had placed
+it on one side without troubling to have it finished; and so it had
+remained for many years past, and was likely to remain. Michelagnolo
+measured it all anew, considering whether he might be able to carve a
+reasonable figure from that block by accommodating himself as to the
+attitude to the marble as it had been left all misshapen by Maestro
+Simone; and he resolved to ask for it from Soderini and the Wardens,
+by whom it was granted to him as a thing of no value, they thinking
+that whatever he might make of it would be better than the state in
+which it was at that time, seeing that neither in pieces nor in that
+condition could it be of any use to their building. Whereupon
+Michelagnolo made a model of wax, fashioning in it, as a device for
+the Palace, a young David with a sling in his hand, to the end that,
+even as he had defended his people and governed them with justice, so
+those governing that city might defend her valiantly and govern her
+justly. And he began it in the Office of Works of S. Maria del Fiore,
+in which he made an enclosure of planks and masonry, thus surrounding
+the marble; and, working at it continuously without anyone seeing it,
+he carried it to perfect completion. The marble had already been
+spoilt and distorted by Maestro Simone, and in some places it was not
+enough to satisfy the wishes of Michelagnolo for what he would have
+liked to do with it; and he therefore suffered certain of the first
+marks of Maestro Simone's chisel to remain on the extremity of the
+marble, some of which are still to be seen. And truly it was a miracle
+on the part of Michelagnolo to restore to life a thing that was dead.
+
+This statue, when finished, was of such a kind that many disputes took
+place as to how to transport it to the Piazza della Signoria.
+Whereupon Giuliano da San Gallo and his brother Antonio made a very
+strong framework of wood and suspended the figure from it with ropes,
+to the end that it might not hit against the wood and break to pieces,
+but might rather keep rocking gently; and they drew it with windlasses
+over flat beams laid upon the ground, and then set it in place. On the
+rope which held the figure suspended he made a slip-knot which was
+very easy to undo but tightened as the weight increased, which is a
+most beautiful and ingenious thing; and I have in my book a drawing of
+it by his own hand--an admirable, secure, and strong contrivance for
+suspending weights.
+
+[Illustration: WAX MODELS FOR THE DAVID
+
+(_After =Michelagnolo=. Florence: Museo Buonarroti_)
+
+_Alinari_]
+
+It happened at this time that Piero Soderini, having seen it in
+place, was well pleased with it, but said to Michelagnolo, at a
+moment when he was retouching it in certain parts, that it seemed to
+him that the nose of the figure was too thick. Michelagnolo noticed
+that the Gonfalonier was beneath the Giant, and that his point of view
+prevented him from seeing it properly; but in order to satisfy him he
+climbed upon the staging, which was against the shoulders, and quickly
+took up a chisel in his left hand, with a little of the marble-dust
+that lay upon the planks of the staging, and then, beginning to strike
+lightly with the chisel, let fall the dust little by little, nor
+changed the nose a whit from what it was before. Then, looking down at
+the Gonfalonier, who stood watching him, he said, "Look at it now." "I
+like it better," said the Gonfalonier, "you have given it life." And
+so Michelagnolo came down, laughing to himself at having satisfied
+that lord, for he had compassion on those who, in order to appear full
+of knowledge, talk about things of which they know nothing.
+
+When it was built up, and all was finished, he uncovered it, and it
+cannot be denied that this work has carried off the palm from all
+other statues, modern or ancient, Greek or Latin; and it may be said
+that neither the Marforio at Rome, nor the Tiber and the Nile of the
+Belvedere, nor the Giants of Monte Cavallo, are equal to it in any
+respect, with such just proportion, beauty and excellence did
+Michelagnolo finish it. For in it may be seen most beautiful contours
+of legs, with attachments of limbs and slender outlines of flanks that
+are divine; nor has there ever been seen a pose so easy, or any grace
+to equal that in this work, or feet, hands and head so well in accord,
+one member with another, in harmony, design, and excellence of
+artistry. And, of a truth, whoever has seen this work need not trouble
+to see any other work executed in sculpture, either in our own or in
+other times, by no matter what craftsman. Michelagnolo received from
+Piero Soderini in payment for it four hundred crowns; and it was set
+in place in the year 1504. In consequence of the fame that he thereby
+won as a sculptor, he made for the above-named Gonfalonier a most
+beautiful David of bronze, which Soderini sent to France; and at this
+time, also, he began, but did not finish, two medallions of
+marble--one for Taddeo Taddei, which is now in his house, and another
+that he began for Bartolommeo Pitti, which was presented by Fra
+Miniato Pitti of Monte Oliveto, a man with a rare knowledge in
+cosmography and many other sciences, and particularly in painting, to
+Luigi Guicciardini, who was much his friend. These works were held to
+be admirable in their excellence; and at this same time, also, he
+blocked out a statue of S. Matthew in marble in the Office of Works of
+S. Maria del Fiore, which statue, rough as it is, reveals its full
+perfection and teaches sculptors in what manner figures can be carved
+out of marble without their coming out misshapen, so that it may be
+possible to go on ever improving them by removing more of the marble
+with judgment, and also to draw back and change some part, according
+as the necessity may arise. He also made a medallion in bronze of a
+Madonna, which he cast in bronze at the request of certain Flemish
+merchants of the Moscheroni family, persons of high nobility in their
+own country, who paid him a hundred crowns for it, and intended to
+send it to Flanders.
+
+[Illustration: MADONNA, CHILD, AND S. JOHN
+
+(_After the relief by =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Anderson_]
+
+There came to Agnolo Doni, a Florentine citizen and a friend of
+Michelagnolo, who much delighted to have beautiful things both by
+ancient and by modern craftsmen, a desire to possess some work by
+Michelagnolo; wherefore that master began for him a round picture
+containing a Madonna, who, kneeling on both knees, has an Infant in
+her arms and presents Him to Joseph, who receives Him. Here
+Michelagnolo expresses in the turn of the head of the Mother of Christ
+and in the gaze of her eyes, which she keeps fixed on the supreme
+beauty of her Son, her marvellous contentment and her lovingness in
+sharing it with that saintly old man, who receives Him with equal
+affection, tenderness, and reverence, as may be seen very readily in
+his countenance, without considering it long. Nor was this enough for
+Michelagnolo, who, the better to show how great was his art, made in
+the background of his work a number of nudes, some leaning, some
+standing, and some seated; and with such diligence and finish he
+executed this work, that without a doubt, of his pictures on panel,
+which indeed are but few, it is held to be the most finished and the
+most beautiful work that there is to be found. When it was
+completed, he sent it covered up to Agnolo's house by a messenger,
+with a note demanding seventy ducats in payment. It seemed strange to
+Agnolo, who was a careful person, to spend so much on a picture,
+although he knew that it was worth more, and he said to the messenger
+that forty was enough, which he gave to him. Thereupon Michelagnolo
+sent them back to him, with a message to say that he should send back
+either one hundred ducats or the picture. Then Agnolo, who liked the
+work, said, "I will give him these seventy," but he was not content;
+indeed, angered by Agnolo's breach of faith, he demanded the double of
+what he had asked the first time, so that, if Agnolo wanted the
+picture, he was forced to send him a hundred and forty.
+
+It happened that while Leonardo da Vinci, that rare painter, was
+painting in the Great Council Hall, as has been related in his Life,
+Piero Soderini, who was then Gonfalonier, moved by the great ability
+that he saw in Michelagnolo, caused a part of that Hall to be allotted
+to him; which was the reason that he executed the other facade in
+competition with Leonardo, taking as his subject the War of Pisa. To
+this end Michelagnolo was given a room in the Hospital of the Dyers at
+S. Onofrio, and there he began a vast cartoon, but would never consent
+that anyone should see it. And this he filled with naked men that were
+bathing in the River Arno on account of the heat, when suddenly the
+alarm sounded in the camp, announcing that the enemy were attacking;
+and, as the soldiers were springing out of the water to dress
+themselves, there could be seen, depicted by the divine hands of
+Michelagnolo, some hastening to arm themselves in order to give
+assistance to their companions, others buckling on their cuirasses,
+many fastening other armour on their bodies, and a vast number
+beginning the fray and fighting on horseback. There was, among other
+figures, an old man who had a garland of ivy on his head to shade it,
+and he, having sat down in order to put on his hose, into which his
+legs would not go because they were wet with water, and hearing the
+cries and tumult of the soldiers and the uproar of the drummers, was
+struggling to draw on one stocking by force; and, besides that all the
+muscles and nerves of his figure could be perceived, his mouth was so
+distorted as to show clearly how he was straining and struggling even
+to the very tips of his toes. There were also drummers, and figures
+with their clothes in their arms running to the combat; and there were
+to be seen the most extravagant attitudes, some standing, some
+kneeling or bent double, others stretched horizontally and struggling
+in mid-air, and all with masterly foreshortenings. There were also
+many figures in groups, all sketched in various manners, some outlined
+with charcoal, some drawn with strokes, others stumped in and
+heightened with lead-white, Michelagnolo desiring to show how much he
+knew in his profession. Wherefore the craftsmen were seized with
+admiration and astonishment, seeing the perfection of art revealed to
+them in that drawing by Michelagnolo; and some who saw them, after
+beholding figures so divine, declare that there has never been seen
+any work, either by his hand or by the hands of others, no matter how
+great their genius, that can equal it in divine beauty of art. And, in
+truth, it is likely enough, for the reason that since the time when it
+was finished and carried to the Sala del Papa with great acclamation
+from the world of art and extraordinary glory for Michelagnolo, all
+those who studied from that cartoon and drew those figures--as was
+afterwards the custom in Florence for many years both for strangers
+and for natives--became persons eminent in art, as we have since seen.
+For among those who studied the cartoon were Aristotile da San Gallo,
+the friend of Michelagnolo, Ridolfo Ghirlandajo, Raffaello Sanzio of
+Urbino, Francesco Granacci, Baccio Bandinelli, and the Spaniard Alonzo
+Berughetta, and then there followed Andrea del Sarto, Franciabigio,
+Jacopo Sansovino, Rosso, Maturino, Lorenzetto, Tribolo, who was then a
+boy, Jacopo da Pontormo, and Perino del Vaga; and all these became
+excellent Florentine masters. The cartoon having thus become a school
+for craftsmen, it was taken into the Great Upper Hall in the house of
+the Medici; and this was the reason that it was left with too little
+caution in the hands of the craftsmen, insomuch that during the
+illness of Duke Giuliano, while no one was expecting such a thing, it
+was torn up and divided into many pieces, as has been related
+elsewhere, and scattered over various places, to which some pieces
+bear witness that are still to be seen in Mantua, in the house of M.
+Uberto Strozzi, a gentleman of that city, where they are treasured
+with great reverence; and, indeed, they seem to the eye things rather
+divine than human.
+
+[Illustration: YOUNG CAPTIVE
+
+(_After =Michelagnolo=. Paris: Louvre_)
+
+_Alinari_]
+
+The name of Michelagnolo, by reason of the Pieta that he had made, the
+Giant in Florence, and the cartoon, had become so famous, that in the
+year 1503, Pope Alexander VI having died and Julius II having been
+elected, at which time Michelagnolo was about twenty-nine years of
+age, he was summoned with much graciousness by Julius II, who wished
+to set him to make his tomb; and for the expenses of the journey a
+hundred crowns were paid to him by the Pope's representatives. Having
+made his way to Rome, he spent many months there before he was made to
+set his hand to any work. But finally the Pope's choice fell on a
+design that he had made for that tomb, an excellent testimony to the
+genius of Michelagnolo, which in beauty and magnificence, abundance of
+ornamentation and richness of statuary, surpassed every ancient or
+imperial tomb. Whereupon Pope Julius took courage, and thus resolved
+to set his hand to make anew the Church of S. Pietro in Rome, in order
+to erect the tomb in it, as has been related in another place. And so
+Michelagnolo set to work with high hopes; and, in order to make a
+beginning, he went to Carrara to excavate all the marble, with two
+assistants, receiving a thousand crowns on that account from Alamanno
+Salviati in Florence. There, in those mountains, he spent eight months
+without other moneys or supplies; and he had many fantastic ideas of
+carving great statues in those quarries, in order to leave memorials
+of himself, as the ancients had done before him, being invited by
+those masses of stone. Then, having picked out the due quantity of
+marbles, he caused them to be loaded on board ship at the coast and
+then conveyed to Rome, where they filled half the Piazza di S. Pietro,
+round about S. Caterina, and between the church and the corridor that
+goes to the Castello. In that place Michelagnolo had prepared his room
+for executing the figures and the rest of the tomb; and, to the end
+that the Pope might be able to come at his convenience to see him at
+work, he had caused a drawbridge to be constructed between the
+corridor and that room, which led to a great intimacy between them.
+But in time these favours brought much annoyance and even persecution
+upon him, and stirred up much envy against him among his
+fellow-craftsmen.
+
+[Illustration: VICTORY
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Anderson_]
+
+Of this work Michelagnolo executed during the lifetime and after the
+death of Julius four statues completely finished and eight only
+blocked out, as will be related in the proper place; and since the
+work was designed with extraordinary invention, we will describe here
+below the plan that he adopted. In order to produce an effect of
+supreme grandeur, he decided that it should be wholly isolated, so as
+to be seen from all four sides, each side in one direction being
+twelve braccia and each in the other eighteen, so that the proportions
+were a square and a half. It had a range of niches running right round
+the outer side, which were divided one from another by terminal
+figures clothed from the middle upwards, which with their heads
+supported the first cornice, and each terminal figure had bound to it,
+in a strange and bizarre attitude, a naked captive, whose feet rested
+on a projection of the base. These captives were all provinces
+subjugated by that Pontiff and rendered obedient to the Apostolic
+Church; and there were various other statues, likewise bound, of all
+the noble arts and sciences, which were thus shown to be subject to
+death no less than was that Pontiff, who made such honourable use of
+them. On the corners of the first cornice were to go four large
+figures, the Active and the Contemplative Life, S. Paul, and Moses.
+The structure rose above the cornice in steps gradually diminishing,
+with a frieze of scenes in bronze, and with other figures, children
+and ornaments all around, and at the summit, as a crown to the work,
+were two figures, one of which was Heaven, who, smiling, was
+supporting a bier on her shoulder, together with Cybele, the Goddess
+of Earth, who appeared to be grieving that she was left in a world
+robbed of all virtue by the death of such a man; and Heaven appeared
+to be smiling with gladness that his soul had passed to celestial
+glory. The work was so arranged that one might enter and come out
+again by the ends of the quadrangular structure, between the niches,
+and the interior curved in the form of an oval after the manner of a
+temple, in the centre of which was the sarcophagus wherein was to be
+laid the dead body of that Pope. And, finally, there were to be in
+this whole work forty statues of marble, without counting the other
+scenes, children, and ornaments, the carvings covering the cornices,
+and the other architectural members of the work. Michelagnolo
+ordained, to expedite the labour, that a part of the marbles should
+be conveyed to Florence, where he intended at times to spend the
+summer months in order to avoid the malaria of Rome; and there he
+executed one side of the work in many pieces, complete in every
+detail. In Rome he finished entirely with his own hand two of the
+captives, figures divinely beautiful, and other statues, than which
+none better have ever been seen; but in the end they were never placed
+in position, and those captives were presented by him to S. Ruberto
+Strozzi, when Michelagnolo happened to be lying ill in his house;
+which captives were afterwards sent as presents to King Francis, and
+they are now at Ecouen in France. Eight statues, likewise, he blocked
+out in Rome, and in Florence he blocked out five and finished a
+Victory with a captive beneath, which are now in the possession of
+Duke Cosimo, having been presented by Michelagnolo's nephew, Leonardo,
+to his Excellency, who has placed the Victory in the Great Hall of his
+Palace, which was painted by Vasari.
+
+He finished the Moses, a statue in marble of five braccia, which no
+modern work will ever equal in beauty; and of the ancient statues,
+also, the same may be said. For, seated in an attitude of great
+dignity, he rests one arm on the Tables, which he holds with one hand,
+and with the other he holds his beard, which is long and waving, and
+carved in the marble in such sort, that the hairs--in which the
+sculptor finds such difficulty--are wrought with the greatest
+delicacy, soft, feathery, and detailed in such a manner, that one
+cannot but believe that his chisel was changed into a pencil. To say
+nothing of the beauty of the face, which has all the air of a true
+Saint and most dread Prince, you seem, while you gaze upon it, to wish
+to demand from him the veil wherewith to cover that face, so
+resplendent and so dazzling it appears to you, and so well has
+Michelagnolo expressed the divinity that God infused in that most holy
+countenance. In addition, there are draperies carved out and finished
+with most beautiful curves of the borders; while the arms with their
+muscles, and the hands with their bones and nerves, are carried to
+such a pitch of beauty and perfection, and the legs, knees, and feet
+are covered with buskins so beautifully fashioned, and every part of
+the work is so finished, that Moses may be called now more than ever
+the friend of God, seeing that He has deigned to assemble together and
+prepare his body for the Resurrection before that of any other, by the
+hands of Michelagnolo. Well may the Hebrews continue to go there, as
+they do every Sabbath, both men and women, like flocks of starlings,
+to visit and adore that statue; for they will be adoring a thing not
+human but divine.
+
+[Illustration: MOSES
+
+(_After =Michelagnolo=. Rome: S. Pietro in Vincoli_)
+
+_Anderson_]
+
+Finally all the agreements for this work were made, and the end came
+into view; and of the four sides one of the smaller ones was
+afterwards erected in S. Pietro in Vincola. It is said that while
+Michelagnolo was executing the work, there came to the Ripa all the
+rest of the marbles for the tomb that had remained at Carrara, which
+were conveyed to the Piazza di S. Pietro, where the others were; and,
+since it was necessary to pay those who had conveyed them,
+Michelagnolo went, as was his custom, to the Pope. But, his Holiness
+having on his hands that day some important business concerning
+Bologna, he returned to his house and paid for those marbles out of
+his own purse, thinking to have the order for them straightway from
+his Holiness. He returned another day to speak of them to the Pope,
+but found difficulty in entering, for one of the grooms told him that
+he had orders not to admit him, and that he must have patience. A
+Bishop then said to the groom, "Perhaps you do not know this man?"
+"Only too well do I know him," answered the groom; "but I am here to
+do as I am commanded by my superiors and by the Pope." This action
+displeased Michelagnolo, and, considering that it was contrary to what
+he had experienced before, he said to the Pope's groom that he should
+tell his Holiness that from that time forward, when he should want
+him, it would be found that he had gone elsewhere; and then, having
+returned to his house, at the second hour of the night he set out on
+post-horses, leaving two servants to sell all the furniture of his
+house to the Jews and to follow him to Florence, whither he was bound.
+Having arrived at Poggibonzi, a place in the Florentine territory, and
+therefore safe, he stopped; and almost immediately five couriers
+arrived with letters from the Pope to bring him back. Despite their
+entreaties and also the letters, which ordered him to return to Rome
+under threat of punishment, he would not listen to a word; but
+finally the prayers of the couriers induced him to write a few
+words in reply to his Holiness, asking for pardon, but saying that he
+would never again return to his presence, since he had caused him to
+be driven away like a criminal, that his faithful service had not
+deserved such treatment, and that his Holiness should look elsewhere
+for someone to serve him.
+
+[Illustration: TOMB OF POPE JULIUS II
+
+(_After =Michelagnolo=. Rome: S. Pietro in Vincoli_)
+
+_Alinari_]
+
+After arriving at Florence, Michelagnolo devoted himself during the
+three months that he stayed there to finishing the cartoon for the
+Great Hall, which Piero Soderini, the Gonfalonier, desired that he
+should carry into execution. During that time there came to the
+Signoria three Briefs commanding them to send Michelagnolo back to
+Rome: wherefore he, perceiving this vehemence on the part of the Pope,
+and not trusting him, conceived the idea, so it is said, of going to
+Constantinople to serve the Grand Turk, who desired to secure him, by
+means of certain Friars of S. Francis, to build a bridge crossing from
+Constantinople to Pera. However, he was persuaded by Piero Soderini,
+although very unwilling, to go to meet the Pope as a person of public
+importance with the title of Ambassador of the city, to reassure him;
+and finally the Gonfalonier recommended him to his brother Cardinal
+Soderini for presentation to the Pope, and sent him off to Bologna,
+where his Holiness had already arrived from Rome. His departure from
+Rome is also explained in another way--namely, that the Pope became
+angered against Michelagnolo, who would not allow any of his works to
+be seen; that Michelagnolo suspected his own men, doubting (as
+happened more than once) that the Pope disguised himself and saw what
+he was doing on certain occasions when he himself was not at home or
+at work; and that on one occasion, when the Pope had bribed his
+assistants to admit him to see the chapel of his uncle Sixtus, which,
+as was related a little time back, he caused Buonarroti to paint,
+Michelagnolo, having waited in hiding because he suspected the
+treachery of his assistants, threw planks down at the Pope when he
+entered the chapel, not considering who it might be, and drove him
+forth in a fury. It is enough for us to know that in the one way or
+the other he fell out with the Pope and then became afraid, so that he
+had to fly from his presence.
+
+Now, having arrived in Bologna, he had scarcely drawn off his
+riding-boots when he was conducted by the Pope's servants to his
+Holiness, who was in the Palazzo de' Sedici; and he was accompanied by
+a Bishop sent by Cardinal Soderini, because the Cardinal, being ill,
+was not able to go himself. Having come into the presence of the Pope,
+Michelagnolo knelt down, but his Holiness looked askance at him, as if
+in anger, and said to him, "Instead of coming yourself to meet us, you
+have waited for us to come to meet you!" meaning to infer that Bologna
+is nearer to Florence than Rome. Michelagnolo, with a courtly gesture
+of the hands, but in a firm voice, humbly begged for pardon, saying in
+excuse that he had acted as he had done in anger, not being able to
+endure to be driven away so abruptly, but that, if he had erred, his
+Holiness should once more forgive him. The Bishop who had presented
+Michelagnolo to his Holiness, making excuse for him, said to the Pope
+that such men were ignorant creatures, that they were worth nothing
+save in their own art, and that he should freely pardon him. The Pope,
+seized with anger, belaboured the Bishop with a staff that he had in
+his hand, saying to him, "It is you that are ignorant, who level
+insults at him that we ourselves do not think of uttering;" and then
+the Bishop was driven out by the groom with fisticuffs. When he had
+gone, the Pope, having discharged his anger upon him, gave
+Michelagnolo his benediction; and the master was detained in Bologna
+with gifts and promises, until finally his Holiness commanded him that
+he should make a statue of bronze in the likeness of Pope Julius, five
+braccia in height. In this work he showed most beautiful art in the
+attitude, which had an effect of much majesty and grandeur, and
+displayed richness and magnificence in the draperies, and in the
+countenance, spirit, force, resolution, and stern dignity; and it was
+placed in a niche over the door of S. Petronio. It is said that while
+Michelagnolo was working at it, he received a visit from Francia, a
+most excellent goldsmith and painter, who wished to see it, having
+heard so much praise and fame of him and of his works, and not having
+seen any of them, so that agents had been set to work to enable him to
+see it, and he had obtained permission. Whereupon, seeing the artistry
+of Michelagnolo, he was amazed: and then, being asked by Michelagnolo
+what he thought of that figure, Francia answered that it was a most
+beautiful casting and a fine material. Wherefore Michelagnolo,
+considering that he had praised the bronze rather than the
+workmanship, said to him, "I owe the same obligation to Pope Julius,
+who has given it to me, that you owe to the apothecaries who give you
+your colours for painting;" and in his anger, in the presence of all
+the gentlemen there, he declared that Francia was a fool. In the same
+connection, when a son of Francia's came before him and was announced
+as a very beautiful youth, Michelagnolo said to him, "Your father's
+living figures are finer than those that he paints." Among the same
+gentlemen was one, whose name I know not, who asked Michelagnolo which
+he thought was the larger, the statue of the Pope or a pair of oxen;
+and he answered, "That depends on the oxen. If they are these
+Bolognese oxen, then without a doubt our Florentine oxen are not so
+big."
+
+Michelagnolo had the statue finished in clay before the Pope departed
+from Bologna for Rome, and his Holiness, having gone to see it, but
+not knowing what was to be placed in the left hand, and seeing the
+right hand raised in a proud gesture, asked whether it was pronouncing
+a benediction or a curse. Michelagnolo answered that it was
+admonishing the people of Bologna to mind their behaviour, and asked
+his Holiness to decide whether he should place a book in the left
+hand; and he said, "Put a sword there, for I know nothing of letters."
+The Pope left a thousand crowns in the bank of M. Anton Maria da
+Lignano for the completion of the statue, and at the end of the
+sixteen months that Michelagnolo toiled over the work it was placed on
+the frontispiece in the facade of the Church of S. Petronio, as has
+been related; and we have also spoken of its size. This statue was
+destroyed by the Bentivogli, and the bronze was sold to Duke Alfonso
+of Ferrara, who made with it a piece of artillery called La Giulia;
+saving only the head, which is to be found in his guardaroba.
+
+[Illustration: GOD DIVIDING THE WATERS FROM THE EARTH
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+When the Pope had returned to Rome and Michelagnolo was at work on the
+statue, Bramante, the friend and relative of Raffaello da Urbino, and
+for that reason little the friend of Michelagnolo, perceiving that the
+Pope held in great favour and estimation the works that he executed in
+sculpture, was constantly planning with Raffaello in Michelagnolo's
+absence to remove from the mind of his Holiness the idea of causing
+Michelagnolo, after his return, to devote himself to finishing his
+tomb; saying that for a man to prepare himself a tomb during his own
+lifetime was an evil augury and a hurrying on of his death. And they
+persuaded his Holiness that on the return of Michelagnolo, he should
+cause him to paint in memory of his uncle Sixtus the vaulting of the
+chapel that he had built in the Palace. In this manner it seemed
+possible to Bramante and other rivals of Michelagnolo to draw him away
+from sculpture, in which they saw him to be perfect, and to plunge him
+into despair, they thinking that if they compelled him to paint, he
+would do work less worthy of praise, since he had no experience of
+colours in fresco, and that he would prove inferior to Raffaello, and,
+even if he did succeed in the work, in any case it would make him
+angry against the Pope; so that in either event they would achieve
+their object of getting rid of him. And so, when Michelagnolo returned
+to Rome, the Pope was not disposed at that time to finish his tomb,
+and requested him to paint the vaulting of the chapel. Michelagnolo,
+who desired to finish the tomb, believing the vaulting of that chapel
+to be a great and difficult labour, and considering his own want of
+practice in colours, sought by every means to shake such a burden from
+his shoulders, and proposed Raffaello for the work. But the more he
+refused, the greater grew the desire of the Pope, who was headstrong
+in his undertakings, and, in addition, was being spurred on anew by
+the rivals of Michelagnolo, and especially by Bramante; so that his
+Holiness, who was quick-tempered, was on the point of becoming enraged
+with Michelagnolo. Whereupon Michelagnolo, perceiving that his
+Holiness was determined in the matter, resolved to do it; and the Pope
+commanded Bramante to erect the scaffolding from which the vaulting
+might be painted. Bramante made it all supported by ropes, piercing
+the vaulting; which having perceived, Michelagnolo inquired of
+Bramante how he was to proceed to fill up the holes when he had
+finished painting it, and he replied that he would think of that
+afterwards, and that it could not be done otherwise. Michelagnolo
+recognized that Bramante was either not very competent for such a work
+or else little his friend, and he went to the Pope and said to him
+that the scaffolding was not satisfactory, and that Bramante had not
+known how to make it; and the Pope answered, in the presence of
+Bramante, that he should make it after his own fashion. And so he
+commanded that it should be erected upon props so as not to touch the
+walls, a method of making scaffoldings for vaults that he taught
+afterwards to Bramante and others, whereby many fine works have been
+executed. Thus he enabled a poor creature of a carpenter, who rebuilt
+the scaffolding, to dispense with so many of the ropes, that, after
+selling them (for Michelagnolo gave them to him), he made up a dowry
+for his daughter.
+
+[Illustration: THE CREATION OF EVE
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+He then set his hand to making the cartoons for that vaulting; and the
+Pope decided, also, that the walls which the masters before him in the
+time of Sixtus had painted should be scraped clean, and decreed that
+he should have fifteen thousand ducats for the whole cost of the work;
+which price was fixed through Giuliano da San Gallo. Thereupon, forced
+by the magnitude of the undertaking to resign himself to obtaining
+assistance, Michelagnolo sent for men to Florence; and he determined
+to demonstrate in such a work that those who had painted there before
+him were destined to be vanquished by his labours, and also resolved
+to show to the modern craftsmen how to draw and paint. Having begun
+the cartoons, he finished them; and the circumstances of the work
+spurred him to soar to great heights, both for his own fame and for
+the welfare of art. And then, desiring to paint it in fresco-colours,
+and not having any experience of them, there came from Florence to
+Rome certain of his friends who were painters, to the end that they
+might give him assistance in such a work, and also that he might learn
+from them the method of working in fresco, in which some of them were
+well-practised; and among these were Granaccio, Giuliano Bugiardini,
+Jacopo di Sandro, the elder Indaco, Agnolo di Donnino, and Aristotile.
+Having made a commencement with the work, he caused them to begin some
+things as specimens; but, perceiving that their efforts were very far
+from what he desired, and not being satisfied with them, he resolved
+one morning to throw to the ground everything that they had done.
+Then, shutting himself up in the chapel, he would never open to them,
+nor even allowed himself to be seen by them when he was at home. And
+so, when the jest appeared to them to be going too far, they resigned
+themselves to it and returned in shame to Florence. Thereupon
+Michelagnolo, having made arrangements to paint the whole work by
+himself, carried it well on the way to completion with the utmost
+solicitude, labour, and study; nor would he ever let himself be seen,
+lest he should give any occasion to compel him to show it, so that the
+desire in the minds of everyone to see it grew greater every day.
+
+Pope Julius was always very desirous to see any undertakings that he
+was having carried out, and therefore became more eager than ever to
+see this one, which was hidden from him. And so one day he resolved to
+go to see it, but was not admitted, for Michelagnolo would never have
+consented to show it to him; out of which affair arose the quarrel
+that has been described, when he had to depart from Rome because he
+would not show his work to the Pope. Now, when a third of the work was
+finished (as I ascertained from him in order to clear up all doubts),
+it began to throw out certain spots of mould, one winter that the
+north wind was blowing. The reason of this was that the Roman lime,
+which is made of travertine and white in colour, does not dry very
+readily, and, when mixed with pozzolana, which is of a tawny colour,
+makes a dark mixture which, when soft, is very watery; and when the
+wall has been well soaked, it often breaks out into an efflorescence
+in the drying; and thus this salt efflorescence of moisture came out
+in many places, but in time the air consumed it. Michelagnolo was in
+despair over this, and was unwilling to continue the work, asking the
+Pope to excuse him, since he was not succeeding; but his Holiness sent
+Giuliano da San Gallo to see him, and he, having told him whence the
+defect arose and taught him how to remove the spots of mould,
+encouraged him to persevere.
+
+Now, when he had finished half of it, the Pope, who had subsequently
+gone to see it several times (mounting certain ladders with the
+assistance of Michelagnolo), insisted that it should be thrown open,
+for he was hasty and impatient by nature, and could not wait for it to
+be completely finished and to receive, as the saying is, the final
+touch. No sooner was it thrown open than all Rome was drawn to see it,
+and the Pope was the first, not having the patience to wait until the
+dust caused by the dismantling of the scaffolding had settled.
+Thereupon Raffaello da Urbino, who was very excellent in imitation,
+after seeing it straightway changed his manner, and without losing any
+time, in order to display his ability, painted the Prophets and Sibyls
+in the work of the Pace; and at the same time Bramante sought to have
+the other half of the chapel entrusted by the Pope to Raffaello. Which
+hearing, Michelagnolo complained of Bramante, and revealed to the Pope
+without any reserve many faults both in his life and in his
+architectural works; of which last, in the building of S. Pietro, as
+was seen afterwards, Michelagnolo became the corrector. But the Pope,
+recognizing more clearly every day the ability of Michelagnolo,
+desired that he should continue the work, judging, after he had seen
+it uncovered, that he could make the second half considerably better;
+and so in twenty months he carried that work to perfect completion by
+himself alone, without the assistance even of anyone to grind his
+colours. Michelagnolo complained at times that on account of the haste
+that the Pope imposed on him he was not able to finish it in his own
+fashion, as he would have liked; for his Holiness was always asking
+him importunately when he would finish it. On one occasion, among
+others, he replied, "It will be finished when I shall have satisfied
+myself in the matter of art." "But it is our pleasure," answered the
+Pope, "that you should satisfy us in our desire to have it done
+quickly;" and he added, finally, that if Michelagnolo did not finish
+the work quickly he would have him thrown down from the scaffolding.
+Whereupon Michelagnolo, who feared and had good reason to fear the
+anger of the Pope, straightway finished all that was wanting, without
+losing any time, and, after taking down the rest of the scaffolding,
+threw it open to view on the morning of All Saints' Day, when the Pope
+went into the chapel to sing Mass, to the great satisfaction of the
+whole city. Michelagnolo desired to retouch some parts "a secco," as
+the old masters had done on the scenes below, painting backgrounds,
+draperies, and skies in ultramarine, and ornaments in gold in certain
+places, to the end that this might produce greater richness and a more
+striking effect; and the Pope, having learned that this ornamentation
+was wanting, and hearing the work praised so much by all who had seen
+it, wished him to finish it; but, since it would have been too long a
+labour for Michelagnolo to rebuild the scaffolding, it was left as it
+was. His Holiness, often seeing Michelagnolo, would say to him that
+the chapel should be enriched with colours and gold, since it looked
+poor. And Michelagnolo would answer familiarly, "Holy Father, in those
+times men did not bedeck themselves with gold, and those that are
+painted there were never very rich, but rather holy men, on which
+account they despised riches."
+
+For this work Michelagnolo was paid by the Pope three thousand crowns
+on several occasions, of which he had to spend twenty-five on colours.
+The work was executed with very great discomfort to himself, from his
+having to labour with his face upwards, which so impaired his sight
+that for a time, which was not less than several months, he was not
+able to read letters or look at drawings save with his head backwards.
+And to this I can bear witness, having painted five vaulted chambers
+in the great apartments in the Palace of Duke Cosimo, when, if I had
+not made a chair on which I could rest my head and lie down at my
+work, I would never have finished it; even so, it has so ruined my
+sight and injured my head, that I still feel the effects, and I am
+astonished that Michelagnolo endured all that discomfort so well. But
+in truth, becoming more and more kindled every day by his fervour in
+the work, and encouraged by the proficience and improvement that he
+made, he felt no fatigue and cared nothing for discomfort.
+
+[Illustration: THE CREATION OF ADAM
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+The distribution of this work is contrived with six pendentives on
+either side, with one in the centre of the walls at the foot and at
+the head, and on these he painted Sibyls and Prophets, six braccia in
+height; in the centre of the vault the history of the world from the
+Creation down to the Deluge and the Drunkenness of Noah, and in the
+lunettes all the Genealogy of Christ. In these compartments he used no
+rule of perspectives in foreshortening, nor is there any fixed point
+of view, but he accommodated the compartments to the figures rather
+than the figures to the compartments, being satisfied to execute those
+figures, both the nude and the draped, with the perfection of design,
+so that another such work has never been and never can be done, and it
+is scarcely possible even to imitate his achievement. This work, in
+truth, has been and still is the lamp of our art, and has bestowed
+such benefits and shed so much light on the art of painting, that
+it has served to illuminate a world that had lain in darkness for so
+many hundreds of years. And it is certain that no man who is a painter
+need think any more to see new inventions, attitudes, and draperies
+for the clothing of figures, novel manners of expression, and things
+painted with greater variety and force, because he gave to this work
+all the perfection that can be given to any work executed in such a
+field of art. And at the present day everyone is amazed who is able to
+perceive in it the excellence of the figures, the perfection of the
+foreshortenings, and the extraordinary roundness of the contours,
+which have in them slenderness and grace, being drawn with the beauty
+of proportion that is seen in beautiful nudes; and these, in order to
+display the supreme perfection of art, he made of all ages, different
+in expression and in form, in countenance and in outline, some more
+slender and some fuller in the members; as may also be seen in the
+beautiful attitudes, which are all different, some seated, some
+moving, and others upholding certain festoons of oak-leaves and
+acorns, placed there as the arms and device of Pope Julius, and
+signifying that at that time and under his government was the age of
+gold; for Italy was not then in the travail and misery that she has
+since suffered. Between them, also, they hold some medallions
+containing stories in relief in imitation of bronze and gold, taken
+from the Book of Kings.
+
+[Illustration: THE FALL AND THE EXPULSION
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Besides this, in order to display the perfection of art and also the
+greatness of God, he painted in a scene God dividing Light from
+Darkness, wherein may be seen His Majesty as He rests self-sustained
+with the arms outstretched, and reveals both love and power. In the
+second scene he depicted with most beautiful judgment and genius God
+creating the Sun and Moon, in which He is supported by many little
+Angels, in an attitude sublime and terrible by reason of the
+foreshortenings in the arms and legs. In the same scene Michelagnolo
+depicted Him after the Blessing of the Earth and the Creation of the
+Animals, when He is seen on that vaulting as a figure flying in
+foreshortening; and wherever you go throughout the chapel, it turns
+constantly and faces in every direction. So, also, in the next scene,
+where He is dividing the Water from the Earth; and both these are
+very beautiful figures and refinements of genius such as could be
+produced only by the divine hands of Michelagnolo. He then went on,
+beyond that scene, to the Creation of Adam, wherein he figured God as
+borne by a group of nude Angels of tender age, which appear to be
+supporting not one figure only, but the whole weight of the world;
+this effect being produced by the venerable majesty of His form and by
+the manner of the movement with which He embraces some of the little
+Angels with one arm, as if to support Himself, and with the other
+extends the right hand towards Adam, a figure of such a kind in its
+beauty, in the attitude, and in the outlines, that it appears as if
+newly fashioned by the first and supreme Creator rather than by the
+brush and design of a mortal man. Beyond this, in another scene, he
+made God taking our mother Eve from Adam's side, in which may be seen
+those two nude figures, one as it were dead from his being the thrall
+of sleep, and the other become alive and filled with animation by the
+blessing of God. Very clearly do we see from the brush of this most
+gifted craftsman the difference that there is between sleep and
+wakefulness, and how firm and stable, speaking humanly, the Divine
+Majesty may appear.
+
+Next to this there follows the scene when Adam, at the persuasion of a
+figure half woman and half serpent, brings death upon himself and upon
+us by the Forbidden Fruit; and there, also, are seen Adam and Eve
+driven from Paradise. In the figure of the Angel is shown with
+nobility and grandeur the execution of the mandate of a wrathful Lord,
+and in the attitude of Adam the sorrow for his sin together with the
+fear of death, as likewise in the woman may be seen shame, abasement,
+and the desire to implore pardon, as she presses the arms to the
+breast, clasps the hands palm to palm, and sinks the neck into the
+bosom, and also turns the head towards the Angel, having more fear of
+the justice of God than hope in His mercy. Nor is there less beauty in
+the story of the sacrifice of Cain and Abel; wherein are some who are
+bringing up the wood, some who are bent down and blowing at the fire,
+and others who are cutting the throat of the victim; which certainly
+is all executed with not less consideration and attention than the
+others. He showed the same art and the same judgment in the story of
+the Deluge, wherein are seen various deaths of men, who, terrified by
+the horror of those days, are striving their utmost in different ways
+to save their lives. For in the faces of those figures may be seen
+life a prey to death, not less than fear, terror, and disregard of
+everything; and compassion is visible in many that are assisting one
+another to climb to the summit of a rock in search of safety, among
+them one who, having embraced one half dead, is striving his utmost to
+save him, than which Nature herself could show nothing better. Nor can
+I tell how well expressed is the story of Noah, who, drunk with wine,
+is sleeping naked, and has before him one son who is laughing at him
+and two who are covering him up--a scene incomparable in the beauty of
+the artistry, and not to be surpassed save by himself alone.
+
+[Illustration: THE LYBIAN SIBYL
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Then, as if his genius had taken courage from what it had achieved up
+to that time, it soared upwards and proved itself even greater in the
+five Sibyls and seven Prophets that are painted there, each five
+braccia or more in height. In all these are well-varied attitudes,
+beautiful draperies, and different vestments; and all, in a word, are
+wrought with marvellous invention and judgment, and to him who can
+distinguish their expressions they appear divine. Jeremiah is seen
+with the legs crossed, holding one hand to the beard, and resting that
+elbow on the knee; the other hand rests in his lap, and he has the
+head bowed in a manner that clearly demonstrates the melancholy,
+cogitation, anxious thought and bitterness of soul that his people
+cause him. Equally fine, also, are two little children that are behind
+him, and likewise the first Sibyl, beyond him in the direction of the
+door, in which figure, wishing to depict old age, in addition to
+enveloping her in draperies, he sought to show that her blood is
+already frozen by time; besides which, since her sight has become
+feeble, he has made her as she reads bring the book very close to her
+eyes. Beyond this figure follows the Prophet Ezekiel, an old man, who
+has a grace and a movement that are most beautiful, and is much
+enveloped in draperies, while with one hand he holds a roll of
+prophecies, and with the other uplifted, turning his head, he appears
+to be about to utter great and lofty words; and behind him he has two
+boys who hold his books. Next to him follows a Sibyl, who is doing the
+contrary to the Erythraean Sibyl that we described above, for, holding
+her book away from her, she seeks to turn a page, while with one knee
+over the other she sits sunk within herself, pondering gravely over
+what she is to write; and then a boy who is behind her, blowing on a
+burning brand, lights her lamp. This figure is of extraordinary beauty
+in the expression of the face, in the head-dress, and in the
+arrangement of the draperies; besides which she has the arms nude,
+which are equal to the other parts. Beyond this Sibyl he painted the
+Prophet Joel, who, sunk within himself, has taken a scroll and reads
+it with great attention and appreciation: and from his aspect it is so
+clearly evident that he is satisfied with that which he finds written
+there, that he looks like a living person who has applied his thoughts
+intently to some matter. Over the door of the chapel, likewise, he
+placed the aged Zaccharias, who, seeking through his written book for
+something that he cannot find, stands with one leg on high and the
+other low; and, while the ardour of the search after something that he
+cannot find causes him to stand thus, he takes no notice of the
+discomfort that he suffers in such a posture. This figure is very
+beautiful in its aspect of old age, and somewhat full in form, and has
+draperies with few folds, which are most beautiful. In addition, there
+is another Sibyl, who is next in the direction of the altar on the
+other side, displaying certain writings, and, with her boys in
+attendance, is no less worthy of praise than are the others. Beyond
+her is the Prophet Isaiah, who, wholly absorbed in his own thoughts,
+has the legs crossed over one another, and, holding one hand in his
+book to mark the place where he was reading, has placed the elbow of
+the other arm upon the book, with the cheek pressed against the hand;
+and, being called by one of the boys that he has behind him, he turns
+only the head, without disturbing himself otherwise. Whoever shall
+consider his countenance, shall see touches truly taken from Nature
+herself, the true mother of art, and a figure which, when well studied
+in every part, can teach in liberal measure all the precepts of the
+good painter. Beyond this Prophet is an aged Sibyl of great beauty,
+who, as she sits, studies from a book in an attitude of extraordinary
+grace, not to speak of the beautiful attitudes of the two boys that
+are about her. Nor may any man think with all his imaginings to be
+able to attain to the excellence of the figure of a youth representing
+Daniel, who, writing in a great book, is taking certain things from
+other writings and copying them with extraordinary attention; and as
+a support for the weight of the book Michelagnolo painted a boy
+between his legs, who is upholding it while he writes, all which no
+brush held by a human hand, however skilful, will ever be able to
+equal. And so, also, with the beautiful figure of the Libyan Sibyl,
+who, having written a great volume drawn from many books, is in an
+attitude of womanly grace, as if about to rise to her feet; and in one
+and the same movement she makes as if to rise and to close the book--a
+thing most difficult, not to say impossible, for any other but the
+master of the work.
+
+And what can be said of the four scenes at the corners, on the
+spandrels of that vaulting; in one of which David, with all the boyish
+strength that he can exert in the conquest of a giant, is cutting off
+his head, bringing marvel to the faces of some soldiers who are about
+the camp. And so, also, do men marvel at the beautiful attitudes that
+Michelagnolo depicted in the story of Judith, at the opposite corner,
+in which may be seen the trunk of Holofernes, robbed of life but still
+quivering, while Judith is placing the lifeless head in a basket on
+the head of her old serving-woman, who, being tall in stature, is
+stooping to the end that Judith may be able to reach up to her and
+adjust the weight well; and the servant, while upholding the burden
+with her hands, seeks to conceal it, and, turning her head towards the
+trunk, which, although dead, draws up an arm and a leg and makes a
+noise in the tent, she shows in her expression fear of the camp and
+terror of the dead body--a picture truly full of thought. But more
+beautiful and more divine than this or any of the others is the story
+of the Serpents of Moses, which is above the left-hand corner of the
+altar; for the reason that in it is seen the havoc wrought by death,
+the rain of serpents, their stings and their bites, and there may also
+be perceived the serpent of brass that Moses placed upon a pole. In
+this scene are shown vividly the various deaths that those die who are
+robbed of all hope by the bite of the serpents, and one sees the
+deadly venom causing vast numbers to die in terror and convulsions, to
+say nothing of the rigid legs and twisted arms of those who remain in
+the attitudes in which they were struck down, unable to move, and the
+marvellous heads that are shrieking and thrown backwards in despair.
+Not less beautiful than all these are those who, having looked upon
+the serpent, and feeling their pains alleviated by the sight of it,
+are gazing on it with profound emotion; and among them is a woman who
+is supported by another figure in such a manner that the assistance
+rendered to her by him who upholds her is no less manifest than her
+pressing need in such sudden alarm and hurt. In the next scene,
+likewise, in which Ahasuerus, reclining in a bed, is reading his
+chronicles, are figures of great beauty, and among them three figures
+eating at a table, which represent the council that was held for the
+deliverance of the Jewish people and the hanging of Haman. The figure
+of Haman was executed by Michelagnolo in an extraordinary manner of
+foreshortening, for he counterfeited the trunk that supports his
+person, and that arm which comes forward, not as painted things but as
+real and natural, standing out in relief, and so also that leg which
+he stretches outwards and other parts that bend inwards: which figure,
+among all that are beautiful and difficult, is certainly the most
+beautiful and the most difficult.
+
+[Illustration: DECORATIVE FIGURE
+
+(_After the fresco by =Michelagnolo Buonarroti=. Rome: Sistine
+Chapel_)
+
+_Anderson_]
+
+It would take too long to describe all the beautiful fantasies in the
+different actions in the part where there is all the Genealogy of the
+Fathers, beginning with the sons of Noah, to demonstrate the Genealogy
+of Jesus Christ, in which figures is a variety of things that it is
+not possible to enumerate, such as draperies, expressions of heads,
+and an infinite number of novel and extraordinary fancies, all most
+beautifully considered. Nothing there but is carried into execution
+with genius: all the figures there are masterly and most beautifully
+foreshortened, and everything that you look at is divine and beyond
+praise. And who will not be struck dumb with admiration at the sight
+of the sublime force of Jonas, the last figure in the chapel, wherein
+by the power of art the vaulting, which in fact springs forward in
+accord with the curve of the masonry, yet, being in appearance pushed
+back by that figure, which bends inwards, seems as if straight, and,
+vanquished by the art of design with its lights and shades, even
+appears in truth to recede inwards? Oh, truly happy age of ours, and
+truly blessed craftsmen! Well may you be called so, seeing that in our
+time you have been able to illumine anew in such a fount of light
+the darkened sight of your eyes, and to see all that was difficult
+made smooth by a master so marvellous and so unrivalled! Certainly the
+glory of his labours makes you known and honoured, in that he has
+stripped from you that veil which you had over the eyes of your minds,
+which were so full of darkness, and has delivered the truth from the
+falsehood that overshadowed your intellects. Thank Heaven, therefore,
+for this, and strive to imitate Michelagnolo in everything.
+
+When the work was thrown open, the whole world could be heard running
+up to see it, and, indeed, it was such as to make everyone astonished
+and dumb. Wherefore the Pope, having been magnified by such a result
+and encouraged in his heart to undertake even greater enterprises,
+rewarded Michelagnolo liberally with money and rich gifts: and
+Michelagnolo would say at times of the extraordinary favours that the
+Pope conferred upon him, that they showed that he fully recognized his
+worth, and that, if by way of proving his friendliness he sometimes
+played him strange tricks, he would heal the wound with signal gifts
+and favours. As when, Michelagnolo once demanding from him leave to go
+to Florence for the festival of S. John, and asking money for that
+purpose, the Pope said, "Well, but when will you have this chapel
+finished?" "As soon as I can, Holy Father." The Pope, who had a staff
+in his hand, struck Michelagnolo, saying, "As soon as I can! As soon
+as I can! I will soon make you finish it!" Whereupon Michelagnolo went
+back to his house to get ready to go to Florence; but the Pope
+straightway sent Cursio, his Chamberlain, to Michelagnolo with five
+hundred crowns to pacify him, fearing lest he might commit one of his
+caprices, and Cursio made excuse for the Pope, saying that such things
+were favours and marks of affection. And Michelagnolo, who knew the
+Pope's nature and, after all, loved him, laughed over it all, for he
+saw that in the end everything turned to his profit and advantage, and
+that the Pontiff would do anything to keep a man such as himself as
+his friend.
+
+When the chapel was finished, before the Pope was overtaken by death,
+his Holiness commanded Cardinal Santiquattro and Cardinal Aginense,
+his nephew, in the event of his death, that they should cause his
+tomb to be finished, but on a smaller scale than before. To this work
+Michelagnolo set himself once again, and so made a beginning gladly
+with the tomb, hoping to carry it once and for all to completion
+without so many impediments; but he had from it ever afterwards
+vexations, annoyances, and travails, more than from any other work
+that he did in all his life, and it brought upon him for a long time,
+in a certain sense, the accusation of being ungrateful to that Pope,
+who had so loved and favoured him. Thus, when he had returned to the
+tomb, and was working at it continually, and also at times preparing
+designs from which he might be able to execute the facades of the
+chapel, envious Fortune decreed that that memorial, which had been
+begun with such perfection, should be left unfinished. For at that
+time there took place the death of Pope Julius, and the work was
+abandoned on account of the election of Pope Leo X, who, being no less
+splendid than Julius in mind and spirit, had a desire to leave in his
+native city (of which he was the first Pope), in memory of himself and
+of a divine craftsman who was his fellow-citizen, such marvels as only
+a mighty Prince like himself could undertake. Wherefore he gave orders
+that the facade of S. Lorenzo, a church built by the Medici family in
+Florence, should be erected for him, which was the reason that the
+work of the tomb of Julius was left unfinished; and he demanded advice
+and designs from Michelagnolo, and desired that he should be the head
+of that work. Michelagnolo made all the resistance that he could,
+pleading that he was pledged in the matter of the tomb to Santiquattro
+and Aginense, but the Pope answered him that he was not to think of
+that, and that he himself had already seen to it and contrived that
+Michelagnolo should be released by them; promising, also, that he
+should be able to work in Florence, as he had already begun to do, at
+the figures for that tomb. All this was displeasing to the Cardinals,
+and also to Michelagnolo, who went off in tears.
+
+[Illustration: THE NEW SACRISTY
+
+(_After =Michelangelo=. Florence: S. Lorenzo_)
+
+_Alinari_]
+
+Many and various were the discussions that arose on this subject, on
+the ground that such a work as that facade should have been
+distributed among several persons, and in the matter of the
+architecture many craftsmen flocked to Rome to see the Pope, and made
+designs; Baccio d'Agnolo, Antonio da San Gallo, Andrea Sansovino and
+Jacopo Sansovino, and the gracious Raffaello da Urbino, who was
+afterwards summoned to Florence for that purpose at the time of the
+Pope's visit. Thereupon Michelagnolo resolved to make a model and not
+to accept anyone beyond himself as his guide or superior in the
+architecture of such a work; but this refusal of assistance was the
+reason that neither he nor any other executed the work, and that those
+masters returned in despair to their customary pursuits. Michelagnolo,
+going to Carrara, had an order authorizing that a thousand crowns
+should be paid to him by Jacopo Salviati; but on his arrival Jacopo
+was shut up in his room on business with some citizens, and
+Michelagnolo, refusing to wait for an audience, departed without
+saying a word and went straightway to Carrara. Jacopo heard of
+Michelagnolo's arrival, and, not finding him in Florence, sent him a
+thousand crowns to Carrara. The messenger demanded that Michelagnolo
+should write him a receipt, to which he answered that the money was
+for the expenses of the Pope and not for his own interest, and that
+the messenger might take it back, but that he was not accustomed to
+write out quittances or receipts for others; whereupon the other
+returned in alarm to Jacopo without a receipt.
+
+While Michelagnolo was at Carrara and was having marble quarried for
+the tomb of Julius, thinking at length to finish it, no less than for
+the facade, a letter was written to him saying that Pope Leo had heard
+that in the mountains of Pietrasanta near Seravezza, in the Florentine
+dominion, at the summit of the highest mountain, which is called Monte
+Altissimo, there were marbles of the same excellence and beauty as
+those of Carrara. This Michelagnolo already knew, but it seems that he
+would not take advantage of it because of his friendship with the
+Marchese Alberigo, Lord of Carrara, and, in order to do him a good
+service, chose to quarry those of Carrara rather than those of
+Seravezza; or it may have been that he judged it to be a long
+undertaking and likely to waste much time, as indeed it did. However,
+he was forced to go to Seravezza, although he pleaded in protest that
+it would be more difficult and costly, as in truth it was, especially
+at the beginning, and, moreover, that the report about the marble was
+perhaps not true; but for all that the Pope would not hear a word of
+objection. Thereupon it was decided to make a road for several miles
+through the mountains, breaking down rocks with hammers and pickaxes
+to obtain a level, and sinking piles in the marshy places; and there
+Michelagnolo spent many years in executing the wishes of the Pope.
+Finally five columns of the proper size were excavated, one of which
+is on the Piazza di S. Lorenzo in Florence, and the others are on the
+sea-shore. And for this reason the Marchese Alberigo, who saw his
+business ruined, became the bitter enemy of Michelagnolo, who was not
+to blame. Michelagnolo, in addition to these columns, excavated many
+other marbles there, which are still in the quarries, abandoned there
+for more than thirty years. But at the present day Duke Cosimo has
+given orders for the road to be finished, of which there are still two
+miles to make over very difficult ground, for the transportation of
+these marbles, and also a road from another quarry of excellent marble
+that was discovered at that time by Michelagnolo, in order to be able
+to finish many beautiful undertakings. In the same district of
+Seravezza he discovered a mountain of variegated marble that is very
+hard and very beautiful, below Stazema, a village in those mountains;
+where the same Duke Cosimo has caused a paved road of more than four
+miles to be made, for conveying the marble to the sea.
+
+But to return to Michelagnolo: having gone back to Florence, he lost
+much time now in one thing and now in another. And he made at that
+time for the Palace of the Medici a model for the knee-shaped windows
+of those rooms that are at the corner, where Giovanni da Udine adorned
+the chamber in stucco and painting, which is a much extolled work; and
+he caused to be made for them by the goldsmith Piloto, but under his
+own direction, those jalousies of perforated copper, which are
+certainly admirable things. Michelagnolo consumed many years in
+quarrying marbles, although it is true that while they were being
+excavated he made models of wax and other things for the work. But
+this undertaking was delayed so long, that the money assigned by the
+Pope for the purpose was spent on the war in Lombardy; and at the
+death of Leo the work was left unfinished, nothing being accomplished
+save the laying of a foundation in front to support it, and the
+transportation of a large column of marble from Carrara to the Piazza
+di S. Lorenzo.
+
+[Illustration: MADONNA AND CHILD
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+The death of Leo completely dismayed the craftsmen and the arts
+both in Rome and in Florence; and while Adrian VI was alive
+Michelagnolo gave his attention in Florence to the tomb of Julius. But
+after the death of Adrian Clement VII was elected, who was no less
+desirous than Leo and his other predecessors to leave his fame
+established by the arts of architecture, sculpture, and painting. At
+this time, which was the year 1525, Giorgio Vasari was taken as a
+little boy to Florence by the Cardinal of Cortona, and placed with
+Michelagnolo to learn art. But Michelagnolo was then summoned to Rome
+by Pope Clement VII, who had made a beginning with the library of S.
+Lorenzo and also the new sacristy, in which he proposed to place the
+marble tombs that he was having made for his forefathers; and he
+resolved that Vasari should go to work with Andrea del Sarto until he
+should himself be free again, and went in person to Andrea's workshop
+to present him.
+
+Michelagnolo departed for Rome in haste, harassed once again by
+Francesco Maria, Duke of Urbino, the nephew of Pope Julius, who
+complained of him, saying that he had received sixteen thousand crowns
+for the above-named tomb, yet was living a life of pleasure in
+Florence; and he threatened in his anger that, if Michelagnolo did not
+give his attention to the work, he would make him rue it. Having
+arrived in Rome, Pope Clement, who wished to make use of him, advised
+him to draw up his accounts with the agents of the Duke, believing
+that after all that he had done he must be their creditor rather than
+their debtor; and so the matter rested. After discussing many things
+together, they resolved to finish completely the library and new
+sacristy of S. Lorenzo in Florence. Michelagnolo therefore departed
+from Rome, and raised the cupola that is now to be seen, causing it to
+be wrought in various orders of composition; and he had a ball with
+seventy-two faces made by the goldsmith Piloto, which is very
+beautiful. It happened, while Michelagnolo was raising the cupola,
+that he was asked by some friends, "Should you not make your lantern
+very different from that of Filippo Brunelleschi?" And he answered
+them, "Different it can be made with ease, but better, no." He made
+four tombs in that sacristy, to adorn the walls and to contain the
+bodies of the fathers of the two Popes, the elder Lorenzo and his
+brother Giuliano, and those of Giuliano, the brother of Leo, and of
+Duke Lorenzo, his nephew. And since he wished to execute the work in
+imitation of the old sacristy that Filippo Brunelleschi had built, but
+with another manner of ornamentation, he made in it an ornamentation
+in a composite order, in a more varied and more original manner than
+any other master at any time, whether ancient or modern, had been able
+to achieve, for in the novelty of the beautiful cornices, capitals,
+bases, doors, tabernacles, and tombs, he departed not a little from
+the work regulated by measure, order, and rule, which other men did
+according to a common use and after Vitruvius and the antiquities, to
+which he would not conform. That licence has done much to give courage
+to those who have seen his methods to set themselves to imitate him,
+and new fantasies have since been seen which have more of the
+grotesque than of reason or rule in their ornamentation. Wherefore the
+craftsmen owe him an infinite and everlasting obligation, he having
+broken the bonds and chains by reason of which they had always
+followed a beaten path in the execution of their works. And even more
+did he demonstrate and seek to make known such a method afterwards in
+the library of S. Lorenzo, at the same place; in the beautiful
+distribution of the windows, in the pattern of the ceiling, and in the
+marvellous entrance of the vestibule. Nor was there ever seen a more
+resolute grace, both in the whole and in the parts, as in the
+consoles, tabernacles, and cornices, nor any staircase more
+commodious; in which last he made such bizarre breaks in the outlines
+of the steps, and departed so much from the common use of others, that
+everyone was amazed.
+
+[Illustration: GIULIANO DE' MEDICI
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+At this time he sent his disciple Pietro Urbano of Pistoia to Rome to
+carry to completion a nude Christ holding the Cross, a most admirable
+figure, which was placed beside the principal chapel of the Minerva,
+at the commission of Messer Antonio Metelli. About the same time there
+took place the sack of Rome and the expulsion of the Medici from
+Florence; by reason of which upheaval those who governed the city of
+Florence resolved to rebuild the fortifications, and therefore made
+Michelagnolo Commissary General over all that work. Whereupon he made
+designs and caused fortifications to be built for several parts of the
+city, and finally encircled the hill of San Miniato with bastions,
+which he made not with sods of earth, wood, and bundles of
+brushwood, as is generally done, but with a stout base of chestnut,
+oak, and other good materials interwoven, and in place of sods he took
+unbaked bricks made with tow and the dung of cattle, squared with very
+great diligence. And for this reason he was sent by the Signoria of
+Florence to Ferrara, to inspect the fortifications of Duke Alfonso I,
+and so also his artillery and munitions; where he received many
+courtesies from that lord, who besought him that he should do
+something for him with his own hand at his leisure, and Michelagnolo
+promised that he would. After his return, he was continually engaged
+in fortifying the city, but, although he was thus occupied,
+nevertheless he kept working at a picture of a Leda for that Duke,
+painted with his own hand in distemper-colours, which was a divine
+thing, as will be related in the proper place; also continuing the
+statues for the tombs of S. Lorenzo, but in secret. At this time
+Michelagnolo spent some six months on the hill of San Miniato in order
+to press on the fortification of that hill, because if the enemy
+became master of it, the city was lost; and so he pursued these
+undertakings with the utmost diligence.
+
+[Illustration: TOMB OF GIULIANO DE' MEDICI
+
+(_After =Michelagnolo=. Florence: New Sacristy of S. Lorenzo_)
+
+_Anderson_]
+
+At this same time he continued the work in the above-mentioned
+sacristy, in which were seven statues that were left partly finished
+and partly not. With these, and with the architectural inventions of
+the tombs, it must be confessed that he surpassed every man in these
+three professions; to which testimony is borne by the statues of
+marble, blocked out and finished by him, which are to be seen in that
+place. One is Our Lady, who is in a sitting attitude, with the right
+leg crossed over the left and one knee placed upon the other, and the
+Child, with the thighs astride the leg that is uppermost, turns in a
+most beautiful attitude towards His Mother, hungry for her milk, and
+she, while holding Him with one hand and supporting herself with the
+other, bends forward to give it to Him; and although the figure is not
+equal in every part, and it was left rough and showing the marks of
+the gradine, yet with all its imperfections there may be recognized in
+it the full perfection of the work. Even more did he cause everyone to
+marvel by the circumstance that in making the tombs of Duke Giuliano
+and Duke Lorenzo de' Medici he considered that earth alone was not
+enough to give them honourable burial in their greatness, and desired
+that all the phases of the world should be there, and that their
+sepulchres should be surrounded and covered by four statues; wherefore
+he gave to one Night and Day, and to the other Dawn and Twilight;
+which statues, most beautifully wrought in form, in attitude, and in
+the masterly treatment of the muscles, would suffice, if that art were
+lost, to restore her to her pristine lustre. There, among the other
+statues, are the two Captains, armed; one the pensive Duke Lorenzo,
+the very presentment of wisdom, with legs so beautiful and so well
+wrought, that there is nothing better to be seen by mortal eye; and
+the other is Duke Giuliano, so proud a figure, with the head, the
+throat, the setting of the eyes, the profile of the nose, the opening
+of the mouth, and the hair all so divine, to say nothing of the hands,
+arms, knees, feet, and, in short, every other thing that he carved
+therein, that the eye can never be weary or have its fill of gazing at
+them; and, of a truth, whoever studies the beauty of the buskins and
+the cuirass, believes it to be celestial rather than mortal. But what
+shall I say of the Dawn, a nude woman, who is such as to awaken
+melancholy in the soul and to render impotent the style of sculpture?
+In her attitude may be seen her effort, as she rises, heavy with
+sleep, and raises herself from her downy bed; and it seems that in
+awakening she has found the eyes of that great Duke closed in death,
+so that she is agonized with bitter grief, weeping in her own
+unchangeable beauty in token of her great sorrow. And what can I say
+of the Night, a statue not rare only, but unique? Who is there who has
+ever seen in that art in any age, ancient or modern, statues of such a
+kind? For in her may be seen not only the stillness of one sleeping,
+but the grief and melancholy of one who has lost a great and honoured
+possession; and we must believe that this is that night of darkness
+that obscures all those who thought for some time, I will not say to
+surpass, but to equal Michelagnolo in sculpture and design. In that
+statue is infused all the somnolence that is seen in sleeping forms;
+wherefore many verses in Latin and rhymes in the vulgar tongue were
+written in her praise by persons of great learning, such as these, of
+which the author is not known--
+
+  La Notte che tu vedi in si dolci atti
+      Dormire, fu da un Angelo scolpita
+      In questo sasso; e perche dorme, ha vita.
+      Destala, se no 'l credi, e parleratti.
+
+To which Michelagnolo, speaking in the person of Night, answered
+thus--
+
+  Grato mi e il sonno, e piu l'esser di sasso;
+      Mentre che il danno e la vergogna dura,
+      Non veder' non sentir' m'e gran ventura.
+      Pero non mi destar'; deh parla basso.
+
+Truly, if the enmity that there is between Fortune and Genius, between
+the envy of the one and the excellence of the other, had not prevented
+such a work from being carried to completion, Art was like to prove to
+Nature that she surpassed her by a great measure in every conception.
+
+While Michelagnolo was labouring with the greatest solicitude and love
+at these works, there came in 1529 the siege of Florence, which
+hindered their completion only too effectually, and was the reason
+that he did little or no more work upon them, the citizens having laid
+upon him the charge of fortifying not only the hill of S. Miniato, but
+also the city, as we have related. And thus, having lent a thousand
+crowns to that Republic, and being elected one of the Nine, a military
+Council appointed for the war, he turned all his mind and soul to
+perfecting those fortifications. But in the end, when the enemy had
+closed round the city, and all hope of assistance was failing little
+by little, and the difficulties of maintaining the defence were
+increasing, and it appeared to Michelagnolo that he was in a sorry
+pass with regard to his personal safety, he determined to leave
+Florence and make his way to Venice, without making himself known to
+anyone on the road. He set out secretly, therefore, by way of the hill
+of S. Miniato, without anyone knowing of it, taking with him Antonio
+Mini, his disciple, and the goldsmith Piloto, his faithful friend; and
+each of them carried a number of crowns on his person, sewn into his
+quilted doublet. Having arrived in Ferrara, they rested there; and it
+happened that on account of the alarm caused by the war and the league
+of the Emperor and the Pope, who were besieging Florence, Duke Alfonso
+d'Este was keeping strict watch in Ferrara, and required to be
+secretly informed by the hosts who gave lodging to travellers of the
+names of all those who lodged with them from one day to another; and
+he caused a list of all foreigners, with their nationality, to be
+brought to him every day. It came to pass, then, that when
+Michelagnolo had dismounted with his companions, intending to stay
+there without revealing himself, this became known in that way to the
+Duke, who was very glad, because he had already become his friend.
+That Prince was a man of lofty mind, delighting constantly in persons
+of ability all his life long, and he straightway sent some of the
+first men of his Court with orders to conduct him in the name of his
+Excellency to the Palace, where the Duke was, to remove thither his
+horses and all his baggage, and to give him a handsome lodging in that
+Palace. Michelagnolo, finding himself in the power of another, was
+constrained to obey and to make the best of a bad business, and he
+went with those courtiers to the Duke, but without removing his
+baggage from the inn. Thereupon the Duke, after first complaining of
+his reserve, gave him a great reception; and then, making him rich and
+honourable presents, he sought to detain him in Ferrara with the
+promise of a fine salary. He, having his mind set on something else,
+would not consent to remain; but the Duke again made him a free offer
+of all that was in his power, praying him that he should at least not
+depart as long as the war continued. Whereupon Michelagnolo, not
+wishing to be outdone in courtesy, thanked him warmly, and, turning
+towards his two companions, said that he had brought twelve thousand
+crowns to Ferrara, and that, if the Duke had need of them, they were
+at his disposal, together with himself. The Duke then took him through
+the Palace to divert him, as he had done on another occasion, and
+showed him all the beautiful things that he had there, including a
+portrait of himself by Tiziano, which was much commended by
+Michelagnolo. However, his Excellency was not able to keep him in the
+Palace, for he insisted on returning to the inn; wherefore the host
+who was lodging him received from the Duke a great abundance of
+things wherewith to do him honour, and also orders that at his
+departure he should not accept anything for his lodging. From Ferrara
+he made his way to Venice, where many gentlemen sought to become known
+to him; but he, who always had a very poor opinion of their knowledge
+of his profession, departed from the Giudecca, where he had his
+lodging. There, so it is said, he made for that city at that time, at
+the request of the Doge Gritti, a design for the bridge of the Rialto,
+which was very rare in invention and in ornamentation.
+
+Michelagnolo was invited with great insistence to go back to his
+native country, being urgently requested not to abandon his
+undertaking there, and receiving a safe-conduct; and finally,
+vanquished by love of her, he returned, but not without danger to his
+life. At this time he finished the Leda that he was painting, as has
+been related, at the request of Duke Alfonso; and it was afterwards
+taken to France by Antonio Mini, his disciple. And at this same time
+he saved the campanile of S. Miniato, a tower which sorely harassed
+the enemy's forces with its two pieces of artillery, so that their
+artillerists, having set to work to batter it with heavy cannon, had
+half ruined it, and were like to destroy it completely, when
+Michelagnolo protected it so well with bales of wool and stout
+mattresses suspended by cords, that it is still standing. It is said,
+also, that at the time of the siege there came to him an opportunity
+to acquire, according to a desire that he had long had, a block of
+marble of nine braccia which had come from Carrara, and which Pope
+Clement, after much rivalry and contention between him and Baccio
+Bandinelli, had given to Baccio. But Michelagnolo, now that such a
+matter was in the hands of the Commonwealth, asked for it from the
+Gonfalonier, who gave it to him that he might likewise try his hand
+upon it, although Baccio had already made a model and hacked away much
+of the stone in blocking it out. Thereupon Michelagnolo made a model,
+which was held to be a marvellous and very beautiful thing; but on the
+return of the Medici the marble was restored to Baccio.
+
+When peace had been made, Baccio Valori, the Pope's Commissioner,
+received orders to have some of the most partisan citizens arrested
+and imprisoned in the Bargello, and the same tribunal sought out
+Michelagnolo at his house; but he, fearing that, had fled secretly to
+the house of one who was much his friend, where he remained hidden
+many days. Finally, when the first fury had abated, Pope Clement,
+remembering the ability of Michelagnolo, caused a diligent search to
+be made for him, with orders that nothing should be said to him, but
+rather that his former appointments should be restored to him, and
+that he should attend to the work of S. Lorenzo, over which he placed
+as proveditor M. Giovan Battista Figiovanni, the old servant of the
+Medici family and Prior of S. Lorenzo. Thus reassured, Michelagnolo,
+in order to make Baccio Valori his friend, began a figure of three
+braccia in marble, which was an Apollo drawing an arrow from his
+quiver, and carried it almost to completion. It is now in the
+apartment of the Prince of Florence, and is a very rare work, although
+it is not completely finished.
+
+At this time a certain gentleman was sent to Michelagnolo by Duke
+Alfonso of Ferrara, who, having heard that the master had made some
+rare work for him with his own hand, did not wish to lose such a
+jewel. Having arrived in Florence and found Michelagnolo, the envoy
+presented to him letters of recommendation from that lord; whereupon
+Michelagnolo, receiving him courteously, showed him the Leda embracing
+the Swan that he had painted, with Castor and Pollux issuing from the
+Egg, in a large picture executed in distemper, as it were with the
+breath. The Duke's envoy, thinking from the praise that he heard
+everywhere of Michelagnolo that he should have done something great,
+and not recognizing the excellence and artistry of that figure, said
+to Michelagnolo: "Oh, this is but a trifle." Michelagnolo, knowing
+that no one is better able to pronounce judgment on works than those
+who have had long practise in them, asked him what was his vocation.
+And he answered, with a sneer, "I am a merchant"; believing that he
+had not been recognized by Michelagnolo as a gentleman, and as it were
+making fun of such a question, and at the same time affecting to
+despise the industry of the Florentines. Michelagnolo, who had
+understood perfectly the meaning of his words, at once replied: "You
+will find you have made a bad bargain this time for your master. Get
+you gone out of my sight."
+
+[Illustration: APOLLO
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+Now in those days Antonio Mini, his disciple, who had two sisters
+waiting to be married, asked him for the Leda, and he gave it to him
+willingly, with the greater part of the designs and cartoons that he
+had made, which were divine things, and also two chests full of
+models, with a great number of finished cartoons for making pictures,
+and some of works that had been painted. When Antonio took it into his
+head to go to France, he carried all these with him; the Leda he sold
+to King Francis by means of some merchants, and it is now at
+Fontainebleau, but the cartoons and designs were lost, for he died
+there in a short time, and some were stolen; and so our country was
+deprived of all these valuable labours, which was an incalculable
+loss. The cartoon of the Leda has since come back to Florence, and
+Bernardo Vecchietti has it; and so also four pieces of the cartoons
+for the chapel, with nudes and Prophets, brought back by the sculptor
+Benvenuto Cellini, and now in the possession of the heirs of Girolamo
+degli Albizzi.
+
+It became necessary for Michelagnolo to go to Rome to see Pope
+Clement, who, although angry with him, yet, as the friend of every
+talent, forgave him everything, and gave him orders that he should
+return to Florence and have the library and sacristy of S. Lorenzo
+completely finished; and, in order to shorten that work, a vast number
+of statues that were to be included in it were distributed among other
+masters. Two he allotted to Tribolo, one to Raffaello da Montelupo,
+and one to Fra Giovanni Agnolo, the Servite friar, all sculptors; and
+he gave them assistance in these, making rough models in clay for each
+of them. Whereupon they all worked valiantly, and he, also, caused
+work to be pursued on the library, and thus the ceiling was finished
+in carved woodwork, which was executed after his models by the hands
+of the Florentines Carota and Tasso, excellent carvers and also
+masters of carpentry; and likewise the shelves for the books, which
+were executed at that time by Battista del Cinque and his friend
+Ciappino, good masters in that profession. And in order to give the
+work its final perfection there was summoned to Florence the divine
+Giovanni da Udine, who, together with others his assistants and also
+some Florentine masters, decorated the tribune with stucco; and they
+all sought with great solicitude to give completion to that vast
+undertaking.
+
+Now, just as Michelagnolo was about to have the statues carried into
+execution, at that very time the Pope took it into his head to have
+him near his person, being desirous to have the walls of the Chapel of
+Sixtus painted, where Michelagnolo had painted the vaulting for Julius
+II, his nephew. On the principal wall, where the altar is, Clement
+wished him to paint the Universal Judgment, to the end that he might
+display in that scene all that the art of design could achieve, and
+opposite to it, on the other wall, over the principal door, he had
+commanded that he should depict the scene when Lucifer was expelled
+for his pride from Heaven, and all those Angels who sinned with him
+were hurled after him into the centre of Hell: of which inventions it
+was found that Michelagnolo many years before had made various
+sketches and designs, one of which was afterwards carried into
+execution in the Church of the Trinita at Rome by a Sicilian painter,
+who stayed many months with Michelagnolo, to serve him and to grind
+his colours. This work, painted in fresco, is in the Chapel of S.
+Gregorio, in the cross of the church, and, although it is executed
+badly, there is a certain variety and terrible force in the attitudes
+and groups of those nudes that are raining down from Heaven, and of
+the others who, having fallen into the centre of the earth, are
+changed into various forms of Devils, very horrible and bizarre; and
+it is certainly an extraordinary fantasy. While Michelagnolo was
+directing the preparation of the designs and cartoons of the Last
+Judgment on the first wall, he never ceased for a single day to be at
+strife with the agents of the Duke of Urbino, by whom he was accused
+of having received sixteen thousand crowns from Julius II for the
+tomb. This accusation was more than he could bear, and he desired to
+finish the work some day, although he was already an old man, and he
+would have willingly stayed in Rome to finish it, now that he had
+found, without seeking it, such a pretext for not returning any more
+to Florence, since he had a great fear of Duke Alessandro de' Medici,
+whom he regarded as little his friend; for, when the Duke had given
+him to understand through Signor Alessandro Vitelli that he should
+select the best site for the building of the castle and citadel of
+Florence, he answered that he would not go save at the command of Pope
+Clement.
+
+Finally an agreement was formed in the matter of the tomb, that it
+should be finished in the following manner: there was no longer to be
+an isolated tomb in a rectangular shape, but only one of the original
+facades, in the manner that best pleased Michelagnolo, and he was to
+be obliged to place in it six statues by his own hand. In this
+contract that was made with the Duke of Urbino, his Excellency
+consented that Michelagnolo should be at the disposal of Pope Clement
+for four months in the year, either in Florence or wherever he might
+think fit to employ him. But, although it seemed to Michelagnolo that
+at last he had obtained some peace, he was not to be quit of it so
+easily, for Pope Clement, desiring to see the final proof of the force
+of his art, kept him occupied with the cartoon of the Judgment.
+However, contriving to convince the Pope that he was thus engaged, at
+the same time he kept working in secret, never relaxing his efforts,
+at the statues that were going into the above-named tomb.
+
+In the year 1533[1] came the death of Pope Clement, whereupon the work
+of the library and sacristy in Florence, which had remained unfinished
+in spite of all the efforts made to finish it, was stopped. Then, at
+length, Michelagnolo thought to be truly free and able to give his
+attention to finishing the tomb of Julius II. But Paul III, not long
+after his election, had him summoned to his presence, and, besides
+paying him compliments and making him offers, requested him to enter
+his service and remain near his person. Michelagnolo refused, saying
+that he was not able to do it, being bound by contract to the Duke of
+Urbino until the tomb of Julius should be finished. The Pope flew into
+a rage and said: "I have had this desire for thirty years, and now
+that I am Pope do you think I shall not satisfy it? I shall tear up
+the contract, for I am determined to have you serve me, come what
+may." Michelagnolo, hearing this resolution, was tempted to leave Rome
+and in some way find means to give completion to the tomb; however,
+fearing, like a wise man, the power of the Pope, he resolved to try to
+keep him pacified with words, seeing that he was so old, until
+something should happen. The Pope, who wished to have some
+extraordinary work executed by Michelagnolo, went one day with ten
+Cardinals to visit him at his house, where he demanded to see all the
+statues for the tomb of Julius, which appeared to him marvellous, and
+particularly the Moses, which figure alone was said by the Cardinal of
+Mantua to be enough to do honour to Pope Julius. And after seeing the
+designs and cartoons that he was preparing for the wall of the chapel,
+which appeared to the Pope to be stupendous, he again besought
+Michelagnolo with great insistence that he should enter his service,
+promising that he would persuade the Duke of Urbino to content himself
+with three statues, and that the others should be given to other
+excellent masters to execute after his models. Whereupon, his Holiness
+having arranged this with the agents of the Duke, a new contract was
+made, which was confirmed by the Duke; and Michelagnolo of his own
+free will bound himself to pay for the other three statues and to have
+the tomb erected, depositing for this purpose in the bank of the
+Strozzi one thousand five hundred and eighty ducats. This he might
+have avoided, and it seemed to him that he had truly done enough to be
+free of such a long and troublesome undertaking; and afterwards he
+caused the tomb to be erected in S. Pietro in Vincola in the following
+manner. He erected the lower base, which was all carved, with four
+pedestals which projected outwards as much as was necessary to give
+space for the captive that was originally intended to stand on each of
+them, instead of which there was left a terminal figure; and since the
+lower part had thus a poor effect, he placed at the feet of each
+terminal figure a reversed console resting on the pedestal. Those four
+terminal figures had between them three niches, two of which (those at
+the sides) were round, and were to have contained the Victories.
+Instead of the Victories, he placed in one Leah, the daughter of
+Laban, to represent the Active Life, with a mirror in her hand to
+signify the consideration that we should give to our actions, and in
+the other hand a garland of flowers, to denote the virtues that adorn
+our life during its duration, and make it glorious after death; and
+the other figure was her sister Rachel, representing the Contemplative
+Life, with the hands clasped and one knee bent, and on the countenance
+a look as of ecstasy of spirit. These statues Michelagnolo executed
+with his own hand in less than a year. In the centre is the other
+niche, rectangular in shape, which in the original design was to have
+been one of the doors that were to lead into the little oval temple of
+the rectangular tomb; this having become a niche, there is placed in
+it, upon a dado of marble, the gigantic and most beautiful statue of
+Moses, of which we have already said enough. Above the heads of the
+terminal figures, which form capitals, are architrave, frieze, and
+cornice, which project beyond those figures and are carved with rich
+ornaments, foliage, ovoli, dentils, and other rich members,
+distributed over the whole work. Over that cornice rises another
+course, smooth and without carvings, but with different terminal
+figures standing directly above those below, after the manner of
+pilasters, with a variety of cornice-members; and since this course
+accompanies that below and resembles it in every part, there is in it
+a space similar to the other, forming a niche like that in which there
+is now the Moses, and in the niche, resting on projections of the
+cornice, is a sarcophagus of marble with the recumbent statue of Pope
+Julius, executed by the sculptor Maso dal Bosco, while in that niche,
+also, there stands a Madonna who is holding her Son in her arms,
+wrought by the sculptor Scherano da Settignano from a model by
+Michelagnolo; which statues are passing good. In two other rectangular
+niches, above the Active and the Contemplative Life, are two larger
+statues, a Prophet and a Sibyl seated, which were both executed by
+Raffaello da Montelupo, as has been related in the Life of his father
+Baccio, but little to the satisfaction of Michelagnolo. For its
+crowning completion this work had a different cornice, which, like
+those below, projected over the whole work; and above the terminal
+figures, as a finish, were candelabra of marble, with the arms of Pope
+Julius in the centre. Above the Prophet and the Sibyl, in the recess
+of each niche, he made a window for the convenience of the friars who
+officiate in that church, the choir having been made behind; which
+windows serve to send their voices into the church when they say the
+divine office, and permit the celebration to be seen. Truly this whole
+work has turned out very well, but not by a great measure as it had
+been planned in the original design.
+
+         [Footnote 1: 1534.]
+
+[Illustration: THE LAST JUDGMENT
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Michelagnolo resolved, since he could not do otherwise, to serve Pope
+Paul, who allowed him to continue the work as ordered by Clement,
+without changing anything in the inventions and the general conception
+that had been laid before him, thus showing respect for the genius of
+that great man, for whom he felt such reverence and love that he
+sought to do nothing but what pleased him; of which a proof was soon
+seen. His Holiness desired to place his own arms beneath the Jonas in
+the chapel, where those of Pope Julius II had previously been put; but
+Michelagnolo, being asked to do this, and not wishing to do a wrong to
+Julius and Clement, would not place them there, saying that they would
+not look well; and the Pope, in order not to displease him, was
+content to have it so, having recognized very well the excellence of
+such a man, and how he always followed what was just and honourable
+without any adulation or respect of persons--a thing that the great
+are wont to experience very seldom. Michelagnolo, then, caused a
+projection of well baked and chosen bricks to be carefully built on
+the wall of the above-named chapel (a thing which was not there
+before), and contrived that it should overhang half a braccio from
+above, so that neither dust nor any other dirt might be able to settle
+upon it. But I will not go into the particulars of the invention and
+composition of this scene, because so many copies of it, both large
+and small, have been printed, that it does not seem necessary to lose
+time in describing it. It is enough for us to perceive that the
+intention of this extraordinary man has been to refuse to paint
+anything but the human body in its best proportioned and most perfect
+forms and in the greatest variety of attitudes, and not this only, but
+likewise the play of the passions and contentments of the soul, being
+satisfied with justifying himself in that field in which he was
+superior to all his fellow-craftsmen, and to lay open the way of the
+grand manner in the painting of nudes, and his great knowledge in the
+difficulties of design; and, finally, he opened out the way to
+facility in this art in its principal province, which is the human
+body, and, attending to this single object, he left on one side the
+charms of colouring and the caprices and new fantasies of certain
+minute and delicate refinements which many other painters, perhaps not
+without some show of reason, have not entirely neglected. For some,
+not so well grounded in design, have sought with variety of tints and
+shades of colouring, with various new and bizarre inventions, and,
+in short, with the other method, to win themselves a place among the
+first masters; but Michelagnolo, standing always firmly rooted in his
+profound knowledge of art, has shown to those who know enough how they
+should attain to perfection.
+
+But to return to the story: Michelagnolo had already carried to
+completion more than three-fourths of the work, when Pope Paul went to
+see it. And Messer Biagio da Cesena, the master of ceremonies, a
+person of great propriety, who was in the chapel with the Pope, being
+asked what he thought of it, said that it was a very disgraceful thing
+to have made in so honourable a place all those nude figures showing
+their nakedness so shamelessly, and that it was a work not for the
+chapel of a Pope, but for a bagnio or tavern. Michelagnolo was
+displeased at this, and, wishing to revenge himself, as soon as Biagio
+had departed he portrayed him from life, without having him before his
+eyes at all, in the figure of Minos with a great serpent twisted round
+the legs, among a heap of Devils in Hell; nor was Messer Biagio's
+pleading with the Pope and with Michelagnolo to have it removed of any
+avail, for it was left there in memory of the occasion, and it is
+still to be seen at the present day.
+
+It happened at this time that Michelagnolo fell no small distance from
+the staging of this work, and hurt his leg; and in his pain and anger
+he would not be treated by anyone. Now there was living at this same
+time the Florentine Maestro Baccio Rontini, his friend, an ingenious
+physician, who had a great affection for his genius; and he, taking
+compassion on him, went one day to knock at his door. Receiving no
+answer either from the neighbours or from him, he so contrived to
+climb by certain secret ways from one room to another, that he came to
+Michelagnolo, who was in a desperate state. And then Maestro Biagio
+would never abandon him or take himself off until he was cured.
+
+Having recovered from this injury, he returned to his labour, and,
+working at it continually, he carried it to perfect completion in a
+few months, giving such force to the paintings in the work, that he
+justified the words of Dante--
+
+  Morti li morti, i vivi parean vivi.
+
+And here, also, may be seen the misery of the damned and the joy of
+the blessed. Wherefore, when this Judgment was thrown open to view, it
+proved that he had not only vanquished all the earlier masters who had
+worked there, but had sought to surpass the vaulting that he himself
+had made so famous, excelling it by a great measure and outstripping
+his own self. For he imagined to himself the terror of those days, and
+depicted, for the greater pain of all who have not lived well, the
+whole Passion of Christ, causing various naked figures in the air to
+carry the Cross, the Column, the Lance, the Sponge, the Nails, and the
+Crown of Thorns, all in different attitudes, executed to perfection in
+a triumph of facility over their difficulties. In that scene is Christ
+seated, with a countenance proud and terrible, turning towards the
+damned and cursing them; not without great fear in Our Lady, who,
+hearing and beholding that vast havoc, draws her mantle close around
+her. There are innumerable figures, Prophets and Apostles, that form a
+circle about Him, and in particular Adam and S. Peter, who are
+believed to have been placed there, one as the first parent of those
+thus brought to judgment, and the other as having been the first
+foundation of the Christian Church; and at His feet is a most
+beautiful S. Bartholomew, who is displaying his flayed skin. There is
+likewise a nude figure of S. Laurence; besides which, there are
+multitudes of Saints without number, both male and female, and other
+figures, men and women, around Him, near or distant, who embrace one
+another and make rejoicing, having received eternal blessedness by the
+grace of God and as the reward of their works. Beneath the feet of
+Christ are the Seven Angels with the Seven Trumpets described by S.
+John the Evangelist, who, as they sound the call to judgment, cause
+the hair of all who behold them to stand on end at the terrible wrath
+that their countenances reveal. Among others are two Angels that have
+each the Book of Life in the hands: and near them, on one side, not
+without beautiful consideration, are seen the Seven Mortal Sins in the
+forms of Devils, assailing and striving to drag down to Hell the souls
+that are flying towards Heaven, all with very beautiful attitudes and
+most admirable foreshortenings. Nor did he hesitate to show to the
+world, in the resurrection of the dead, how they take to themselves
+flesh and bones once more from the same earth, and how, assisted by
+others already alive, they go soaring towards Heaven, whence succour
+is brought to them by certain souls already blessed; not without
+evidence of all those marks of consideration that could be thought to
+be required in so great a work. For studies and labours of every kind
+were executed by him, which may be recognized throughout the whole
+work without exception; and this is manifested with particular
+clearness in the barque of Charon, who, in an attitude of fury,
+strikes with his oars at the souls dragged down by the Devils into the
+barque, after the likeness of the picture that the master's
+best-beloved poet, Dante, described when he said--
+
+     Caron demonio con occhi di bragia,
+         Loro accennando, tutte le raccoglie,
+         Batte col remo qualunque si adagia.
+
+[Illustration: CHARON'S BOAT: DETAIL FROM THE LAST JUDGMENT
+
+(_After the fresco by =Michelangelo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+Nor would it be possible to imagine how much variety there is in the
+heads of those Devils, which are truly monsters from Hell. In the
+sinners may be seen sin and the fear of eternal damnation; and, to say
+nothing of the beauty of every detail, it is extraordinary to see so
+great a work executed with such harmony of painting, that it appears
+as if done in one day, and with such finish as was never achieved in
+any miniature. And, of a truth, the terrible force and grandeur of the
+work, with the multitude of figures, are such that it is not possible
+to describe it, for it is filled with all the passions known to human
+creatures, and all expressed in the most marvellous manner. For the
+proud, the envious, the avaricious, the wanton, and all the other
+suchlike sinners can be distinguished with ease by any man of fine
+perception, because in figuring them Michelagnolo observed every rule
+of Nature in the expressions, in the attitudes, and in every other
+natural circumstance; a thing which, although great and marvellous,
+was not impossible to such a man, for the reason that he was always
+observant and shrewd and had seen men in plenty, and had acquired by
+commerce with the world that knowledge that philosophers gain from
+cogitation and from writings. Wherefore he who has judgment and
+understanding in painting perceives there the most terrible force of
+art, and sees in those figures such thoughts and passions as were
+never painted by any other but Michelagnolo. So, also, he may see
+there how the variety of innumerable attitudes is accomplished, in the
+strange and diverse gestures of young and old, male and female; and
+who is there who does not recognize in these the terrible power of his
+art, together with the grace that he had from Nature, since they move
+the hearts not only of those who have knowledge in that profession,
+but even of those who have none? There are foreshortenings that appear
+as if in relief, a harmony of painting that gives great softness, and
+fineness in the parts painted by him with delicacy, all showing in
+truth how pictures executed by good and true painters should be; and
+in the outlines of the forms turned by him in such a way as could not
+have been achieved by any other but Michelagnolo, may be seen the true
+Judgment and the true Damnation and Resurrection. This is for our art
+the exemplar and the grand manner of painting sent down to men on
+earth by God, to the end that they may see how Destiny works when
+intellects descend from the heights of Heaven to earth, and have
+infused in them divine grace and knowledge. This work leads after it
+bound in chains those who persuade themselves that they have mastered
+art; and at the sight of the strokes drawn by him in the outlines of
+no matter what figure, every sublime spirit, however mighty in design,
+trembles and is afraid. And while the eyes gaze at his labours in this
+work, the senses are numbed at the mere thought of what manner of
+things all other pictures, those painted and those still unpainted,
+would appear if placed in comparison with such perfection. Truly
+blessed may he be called, and blessed his memories, who has seen this
+truly stupendous marvel of our age! Most happy and most fortunate Paul
+III, in that God granted that under thy protection should be acquired
+the renown that the pens of writers shall give to his memory and
+thine! How highly are thy merits enhanced by his genius! And what good
+fortune have the craftsmen had in this age from his birth, in that
+they have seen the veil of every difficulty torn away, and have beheld
+in the pictures, sculptures, and architectural works executed by him
+all that can be imagined and achieved!
+
+[Illustration: S. SEBASTIAN
+
+(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
+Chapel_)
+
+_Anderson_]
+
+He toiled eight years over executing this work, and threw it open to
+view in the year 1541, I believe, on Christmas day, to the marvel
+and amazement of all Rome, nay, of the whole world; and I, who was
+that year in Venice, and went to Rome to see it, was struck dumb by
+its beauty.
+
+Pope Paul, as has been related, had caused a chapel called the Pauline
+to be erected on the same floor by Antonio da San Gallo, in imitation
+of that of Nicholas V; and in this he resolved that Michelagnolo
+should paint two great pictures with two large scenes. In one he
+painted the Conversion of S. Paul, with Jesus Christ in the air and a
+multitude of nude Angels making most beautiful movements, and below,
+all dazed and terrified, Paul fallen from his horse to the level of
+the ground, with his soldiers about him, some striving to raise him
+up, and others, struck with awe by the voice and splendour of Christ,
+are flying in beautiful attitudes and marvellous movements of panic,
+while the horse, taking to flight, appears to be carrying away in its
+headlong course him who seeks to hold it back; and this whole scene is
+executed with extraordinary design and art. In the other picture is
+the Crucifixion of S. Peter, who is fixed, a nude figure of rare
+beauty, upon the cross; showing the ministers of the crucifixion,
+after they have made a hole in the ground, seeking to raise the cross
+on high, to the end that he may remain crucified with his feet in the
+air; and there are many remarkable and beautiful considerations.
+Michelagnolo, as has been said elsewhere, gave his attention only to
+the perfection of art, and therefore there are no landscapes to be
+seen there, nor trees, nor buildings, nor any other distracting graces
+of art, for to these he never applied himself, as one, perchance, who
+would not abase his great genius to such things. These, executed by
+him at the age of seventy-five, were his last pictures, and, as he
+used himself to tell me, they cost him much fatigue, for the reason
+that painting, and particularly working in fresco, is no art for men
+who have passed a certain age. Michelagnolo arranged that Perino del
+Vaga, a very excellent painter, should decorate the vaulting with
+stucco and with many things in painting, after his designs, and such,
+also, was the wish of Pope Paul III; but the work was afterwards
+delayed, and nothing more was done, even as many undertakings are left
+unfinished, partly by the fault of want of resolution in the
+craftsmen, and partly by that of Princes little zealous in urging
+them on.
+
+Pope Paul had made a beginning with the fortifying of the Borgo, and
+had summoned many gentlemen, together with Antonio da San Gallo, to a
+conference; but he wished that Michelagnolo also should have a part in
+this, knowing that the fortifications about the hill of S. Miniato in
+Florence had been constructed under his direction. After much
+discussion, Michelagnolo was asked what he thought; and he, having
+opinions contrary to San Gallo and many others, declared them freely.
+Whereupon San Gallo said to him that his arts were sculpture and
+painting, and not fortification. Michelagnolo replied that of
+sculpture and painting he knew little, but of fortification, what with
+the thought that he had devoted to it for a long time, and his
+experience in what he had done, it appeared to him that he knew more
+than either Antonio or any of his family; showing him in the presence
+of the company that he had made many errors in that art. Words rising
+high on either side, the Pope had to command silence; but no long time
+passed before Michelagnolo brought a design for all the fortifications
+of the Borgo, which laid open the way for all that has since been
+ordained and executed; and this was the reason that the great gate of
+S. Spirito, which was approaching completion under the direction of
+San Gallo, was left unfinished.
+
+[Illustration: PIETA
+
+(_After =Michelagnolo=. Florence: Duomo_)
+
+_Alinari_]
+
+The spirit and genius of Michelagnolo could not rest without doing
+something; and, since he was not able to paint, he set to work on a
+piece of marble, intending to carve from it four figures in the round
+and larger than life, including a Dead Christ, for his own delight and
+to pass the time, and because, as he used to say, the exercise of the
+hammer kept him healthy in body. This Christ, taken down from the
+Cross, is supported by Our Lady, by Nicodemus, who bends down and
+assists her, planted firmly on his feet in a forceful attitude, and by
+one of the Maries, who also gives her aid, perceiving that the Mother,
+overcome by grief, is failing in strength and not able to uphold Him.
+Nor is there anywhere to be seen a dead form equal to that of Christ,
+who, sinking with the limbs hanging limp, lies in an attitude wholly
+different, not only from that of any other work by Michelagnolo, but
+from that of any other figure that was ever made. A laborious work is
+this, a rare achievement in a single stone, and truly divine; but,
+as will be related hereafter, it remained unfinished, and suffered
+many misfortunes, although Michelagnolo had intended that it should
+serve to adorn his own tomb, at the foot of that altar where he
+thought to place it.
+
+It happened in the year 1546 that Antonio da San Gallo died;
+whereupon, there being now no one to direct the building of S. Pietro,
+many suggestions were made by the superintendents to the Pope as to
+who should have it. Finally his Holiness, inspired, I believe, by God,
+resolved to send for Michelagnolo. But he, when asked to take
+Antonio's place, refused it, saying, in order to avoid such a burden,
+that architecture was not his proper art; and in the end, entreaties
+not availing, the Pope commanded that he should accept it, whereupon,
+to his great displeasure and against his wish, he was forced to
+undertake that enterprise. And one day among others that he went to S.
+Pietro to see the wooden model that San Gallo had made, and to examine
+the building, he found there the whole San Gallo faction, who,
+crowding before Michelagnolo, said to him in the best terms at their
+command that they rejoiced that the charge of the building was to be
+his, and that the model was a field where there would never be any
+want of pasture. "You speak the truth," answered Michelagnolo, meaning
+to infer, as he declared to a friend, that it was good for sheep and
+oxen, who knew nothing of art. And afterwards he used to say publicly
+that San Gallo had made it wanting in lights, that it had on the
+exterior too many ranges of columns one above another, and that, with
+its innumerable projections, pinnacles, and subdivisions of members,
+it was more akin to the German manner than to the good method of the
+ancients or to the gladsome and beautiful modern manner; and, in
+addition to this, that it was possible to save fifty years of time and
+more than three hundred thousand crowns of money in finishing the
+building, and to execute it with more majesty, grandeur, and facility,
+greater beauty and convenience, and better ordered design. This he
+afterwards proved by a model that he made, in order to bring it to the
+form in which the work is now seen constructed; and thus he
+demonstrated that what he said was nothing but the truth. This model
+cost him twenty-five crowns, and was made in a fortnight; that of San
+Gallo, as has been related, cost four thousand, and took many years to
+finish. From this and other circumstances it became evident that that
+fabric was but a shop and a business for making money, and that it
+would be continually delayed, with the intention of never finishing
+it, by those who had undertaken it as a means of profit.
+
+[Illustration: STAIRS OF THE PALACE OF THE SENATORS
+
+(_After =Michelagnolo=. Rome: The Capitol_)
+
+_Anderson_]
+
+Such methods did not please our upright Michelagnolo, and in order to
+get rid of all these people, while the Pope was forcing him to accept
+the office of architect to the work, he said to them openly one day
+that they should use all the assistance of their friends and do all
+that they could to prevent him from entering on that office, because,
+if he were to undertake such a charge, he would not have one of them
+about the building. Which words, spoken in public, were taken very
+ill, as may be believed, and were the reason that they conceived a
+great hatred against him, which increased every day as they saw the
+whole design being changed, both within and without, so that they
+would scarcely let him live, seeking out daily new and various devices
+to harass him, as will be related in the proper place. Finally the
+Pope issued a Motu-proprio creating him head of that fabric, with full
+authority, and giving him power to do or undo whatever he chose, and
+to add, take away, or vary anything at his pleasure; and he decreed
+that all the officials employed in the work should be subservient to
+his will. Whereupon Michelagnolo, seeing the great confidence and
+trust that the Pope placed in him, desired, in order to prove his
+generosity, that it should be declared in the Motu-proprio that he was
+serving in the fabric for the love of God and without any reward. It
+is true that the Pope had formerly granted to him the ferry over the
+river at Parma,[2] which yielded him about six hundred crowns; but he
+lost it at the death of Duke Pier Luigi Farnese, and in exchange for
+it he was given a Chancellery at Rimini, a post of less value. About
+that he showed no concern; and, although the Pope sent him money
+several times by way of salary, he would never accept it, to which
+witness is borne by Messer Alessandro Ruffini, Chamberlain to the Pope
+at that time, and by M. Pier Giovanni Aliotti, Bishop of Forli.
+Finally the model that had been made by Michelagnolo was approved by
+the Pope; which model diminished S. Pietro in size, but gave it
+greater grandeur, to the satisfaction of all those who have judgment,
+although some who profess to be good judges, which in fact they are
+not, do not approve of it. He found that the four principal piers
+built by Bramante, and left by Antonio da San Gallo, which had to
+support the weight of the tribune, were weak; and these he partly
+filled up, and beside them he made two winding or spiral staircases,
+in which is an ascent so easy that the beasts of burden can climb
+them, carrying all the materials to the very top, and men on
+horseback, likewise, can go up to the uppermost level of the arches.
+The first cornice above the arches he constructed of travertine,
+curving in a round, which is an admirable and graceful thing, and very
+different from any other; nor could anything better of that kind be
+done. He also made a beginning with the two great recesses of the
+transepts; and whereas formerly, under the direction of Bramante,
+Baldassarre, and Raffaello, as has been related, eight tabernacles
+were being made on the side towards the Camposanto, and that plan was
+afterwards followed by San Gallo, Michelagnolo reduced these to three,
+with three chapels in the interior, and above them a vaulting of
+travertine, and a range of windows giving a brilliant light, which are
+varied in form and of a sublime grandeur. But, since these things are
+in existence, and are also to be seen in engraving, not only those of
+Michelagnolo, but those of San Gallo as well, I will not set myself to
+describe them, for it is in no way necessary. Let it suffice to say
+that he set himself, with all possible diligence, to cause the work to
+be carried on in those parts where the fabric was to be changed in
+design, to the end that it might remain so solid and stable that it
+might never be changed by another; which was the wise provision of a
+shrewd and prudent intellect, because it is not enough to do good
+work, if further precautions be not taken, seeing that the boldness
+and presumption of those who might be supposed to have knowledge if
+credit were placed rather in their words than in their deeds, and at
+times the favour of such as know nothing, may give rise to many
+misfortunes.
+
+         [Footnote 2: Piacenza.]
+
+The Roman people, with the sanction of that Pope, had a desire to give
+some useful, commodious, and beautiful form to the Campidoglio, and
+to furnish it with colonnades, ascents, and inclined approaches with
+and without steps, and also with the further adornment of the ancient
+statues that were already there, in order to embellish that place. For
+this purpose they sought the advice of Michelagnolo, who made them a
+most beautiful and very rich design, in which, on the side where the
+Senatore stands, towards the east, he arranged a facade of travertine,
+and a flight of steps that ascends from two sides to meet on a level
+space, from which one enters into the centre of the hall of that
+Palace, with rich curving wings adorned with balusters that serve as
+supports and parapets. And there, to enrich that part, he caused to be
+placed on certain bases the two ancient figures in marble of recumbent
+River Gods, each of nine braccia, and of rare workmanship, one of
+which is the Tiber and the other the Nile; and between them, in a
+niche, is to go a Jove. On the southern side, where there is the
+Palace of the Conservatori, in order that it might be made
+rectangular, there followed a rich and well varied facade, with a
+loggia at the foot full of columns and niches, where many ancient
+statues are to go; and all around are various ornaments, doors,
+windows, and the like, of which some are already in place. On the
+other side from this, towards the north, below the Araceli, there is
+to follow another similar facade; and before it, towards the west, is
+to be an ascent of baston-like steps, which will be almost level, with
+a border and parapet of balusters; here will be the principal
+entrance, with a colonnade, and bases on which will be placed all that
+wealth of noble statues in which the Campidoglio is now so rich. In
+the middle of the Piazza, on a base in the form of an oval, is placed
+the famous bronze horse on which is the statue of Marcus Aurelius,
+which the same Pope Paul caused to be removed from the Piazza di
+Laterano, where Sixtus IV had placed it. This edifice is now being
+made so beautiful that it is worthy to be numbered among the finest
+works that Michelagnolo has executed, and it is being carried to
+completion at the present day under the direction of M. Tommaso de'
+Cavalieri, a Roman gentleman who was, and still is, one of the
+greatest friends that Michelagnolo ever had, as will be related
+hereafter.
+
+[Illustration: COURT OF THE PALAZZO FARNESE
+
+(_After =Michelagnolo=. Rome_)
+
+_Anderson_]
+
+Pope Paul III had caused San Gallo, while he was alive, to carry
+forward the Palace of the Farnese family, but the great upper
+cornice, to finish the roof on the outer side, had still to be
+constructed, and his Holiness desired that Michelagnolo should execute
+it from his own designs and directions. Michelagnolo, not being able
+to refuse the Pope, who so esteemed and favoured him, caused a model
+of wood to be made, six braccia in length, and of the size that it was
+to be; and this he placed on one of the corners of the Palace, so that
+it might show what effect the finished work would have. It pleased his
+Holiness and all Rome, and that part of it has since been carried to
+completion which is now to be seen, proving to be the most varied and
+the most beautiful of all that have ever been known, whether ancient
+or modern. On this account, after San Gallo was dead, the Pope desired
+that Michelagnolo should have charge of the whole fabric as well; and
+there he made the great marble window with the beautiful columns of
+variegated marble, which is over the principal door of the Palace,
+with a large escutcheon of great beauty and variety, in marble, of
+Pope Paul III, the founder of that Palace. Within the Palace he
+continued, above the first range of the court, the two other ranges,
+with the most varied, graceful, and beautiful windows, ornaments and
+upper cornice that have ever been seen, so that, through the labours
+and the genius of that man that court has now become the most handsome
+in Europe. He widened and enlarged the Great Hall, and set in order
+the front vestibule, and caused the vaulting of that vestibule to be
+constructed in a new variety of curve, in the form of a half oval.
+
+Now in that year there was found at the Baths of Antoninus a mass of
+marble seven braccia in every direction, in which there had been
+carved by the ancients a Hercules standing upon a mound, who was
+holding the Bull by the horns, with another figure assisting him, and
+around that mound various figures of Shepherds, Nymphs, and different
+animals--a work of truly extraordinary beauty, showing figures so
+perfect in one single block without any added pieces, which was judged
+to have been intended for a fountain. Michelagnolo advised that it
+should be conveyed into the second court, and there restored so as to
+make it spout water in the original manner; all which advice was
+approved, and the work is still being restored at the present day
+with great diligence, by order of the Farnese family, for that
+purpose. At that time, also, Michelagnolo made a design for the
+building of a bridge across the River Tiber in a straight line with
+the Farnese Palace, to the end that it might be possible to go from
+that palace to another palace and gardens that they possessed in the
+Trastevere, and also to see at one glance in a straight line from the
+principal door which faces the Campo di Fiore, the court, the
+fountain, the Strada Giulia, the bridge, and the beauties of the other
+garden, even to the other door which opened on the Strada di
+Trastevere--a rare work, worthy of that Pontiff and of the judgment,
+design, and art of Michelagnolo.
+
+In the year 1547 died Sebastiano Viniziano, the Friar of the Piombo;
+and, Pope Paul proposing that the ancient statues of his Palace should
+be restored, Michelagnolo willingly favoured the Milanese sculptor
+Guglielmo della Porta, a young man of promise, who had been
+recommended by the above-named Fra Sebastiano to Michelagnolo, who,
+liking his work, presented him to Pope Paul for the restoration of
+those statues. And the matter went so far forward that Michelagnolo
+obtained for him the office of the Piombo, and he then set to work on
+restoring the statues, some of which are to be seen in that Palace at
+the present day. But Guglielmo, forgetting the benefits that he had
+received from Michelagnolo, afterwards became one of his opponents.
+
+In the year 1549 there took place the death of Pope Paul III;
+whereupon, after the election of Pope Julius III, Cardinal Farnese
+gave orders for a grand tomb to be made for his kinsman Pope Paul by
+the hand of Fra Guglielmo, who arranged to erect it in S. Pietro,
+below the first arch of the new church, beneath the tribune, which
+obstructed the floor of the church, and was, in truth, not the proper
+place. Michelagnolo advised, most judiciously, that it could not and
+should not stand there, and the Frate, believing that he was doing
+this out of envy, became filled with hatred against him; but
+afterwards he recognized that Michelagnolo had spoken the truth, and
+that the fault was his, in that he had had the opportunity and had not
+finished the work, as will be related in another place. And to this I
+can bear witness, for the reason that in the year 1550 I had gone by
+order of Pope Julius III to Rome to serve him (and very willingly, for
+love of Michelagnolo), and I took part in that discussion.
+Michelagnolo desired that the tomb should be erected in one of the
+niches, where there is now the Column of the Possessed, which was the
+proper place, and I had so gone to work that Julius III was resolving
+to have his own tomb made in the other niche with the same design as
+that of Pope Paul, in order to balance that work; but the Frate, who
+set himself against this, brought it about that his own was never
+finished after all, and that the tomb of the other Pontiff was also
+not made; which had all been predicted by Michelagnolo.
+
+In the same year Pope Julius turned his attention to having a chapel
+of marble with two tombs constructed in the Church of S. Pietro a
+Montorio for Cardinal Antonio di Monte, his uncle, and Messer Fabiano,
+his grandfather, the first founder of the greatness of that
+illustrious house. For this work Vasari having made designs and
+models, Pope Julius, who always esteemed the genius of Michelagnolo
+and loved Vasari, desired that Michelagnolo should fix the price
+between them; and Vasari besought the Pope that he should prevail upon
+him to take it under his protection. Now Vasari had proposed Simone
+Mosca for the carvings of this work, and Raffaello da Montelupo for
+the statues; but Michelagnolo advised that no carvings of foliage
+should be made in it, not even in the architectural parts of the work,
+saying that where there are to be figures of marble there must not be
+any other thing. On which account Vasari feared that the work should
+be abandoned, because it would look poor; but in fact, when he saw it
+finished, he confessed that Michelagnolo had shown great judgment.
+Michelagnolo would not have Montelupo make the statues, remembering
+how badly he had acquitted himself in those of his own tomb of Julius
+II, and he was content, rather, that they should be entrusted to
+Bartolommeo Ammanati, whom Vasari had proposed, although Buonarroti
+had something of a private grievance against him, as also against
+Nanni di Baccio Bigio, caused by a reason which, if one considers it
+well, seems slight enough; for when they were very young, moved rather
+by love of art than by a desire to do wrong, they had entered with
+great pains into his house, and had taken from Antonio Mini, the
+disciple of Michelagnolo, many sheets with drawings; but these were
+afterwards all restored to him by order of the Tribunal of Eight, and,
+at the intercession of his friend Messer Giovanni Norchiati, Canon of
+S. Lorenzo, he would not have any other punishment inflicted on them.
+Vasari, when Michelagnolo spoke to him of this matter, said to him,
+laughing, that it did not seem to him that they deserved any blame,
+and that he himself, if he had ever been able, would have not taken a
+few drawings only, but robbed him of everything by his hand that he
+might have been able to seize, merely for the sake of learning art.
+One must look kindly, he said, on those who seek after excellence, and
+also reward them, and therefore such men must not be treated like
+those who go about stealing money, household property, and other
+things of value; and so the matter was turned into a jest. This was
+the reason that a beginning was made with the work of the Montorio,
+and that in the same year Vasari and Ammanati went to have the marble
+conveyed from Carrara to Rome for the execution of that work.
+
+At that time Vasari was with Michelagnolo every day; and one morning
+the Pope in his kindness gave them both leave that they might visit
+the Seven Churches on horseback (for it was Holy Year), and receive
+the Pardon in company. Whereupon, while going from one church to
+another, they had many useful and beautiful conversations on art and
+every industry, and out of these Vasari composed a dialogue, which
+will be published at some more favourable opportunity, together with
+other things concerning art. In that year Pope Julius III confirmed
+the Motu-proprio of Pope Paul III with regard to the building of S.
+Pietro; and although much evil was spoken to him of Michelagnolo by
+the friends of the San Gallo faction, in the matter of that fabric of
+S. Pietro, at that time the Pope would not listen to a word, for
+Vasari had demonstrated to him (as was the truth) that Michelagnolo
+had given life to the building, and also persuaded his Holiness that
+he should do nothing concerned with design without the advice of
+Michelagnolo. This promise the Pope kept ever afterwards, for neither
+at the Vigna Julia did he do anything without his counsel, nor at the
+Belvedere, where there was built the staircase that is there now, in
+place of the semicircular staircase that came forward, ascending in
+eight steps, and turned inwards in eight more steps, erected in former
+times by Bramante in the great recess in the centre of the Belvedere.
+And Michelagnolo designed and caused to be built the very beautiful
+quadrangular staircase, with balusters of peperino-stone, which is
+there at the present day.
+
+Vasari had finished in that year the printing of his work, the Lives
+of the Painters, Sculptors, and Architects, in Florence. Now he had
+not written the Life of any living master, although some who were old
+were still alive, save only of Michelagnolo; and in the book were many
+records of circumstances that Vasari had received from his lips, his
+age and his judgment being the greatest among all the craftsmen.
+Giorgio therefore presented the work to him, and he received it very
+gladly; and not long afterwards, having read it, Michelagnolo sent to
+him the following sonnet, written by himself, which I am pleased to
+include in this place in memory of his loving-kindness:
+
+  Se con lo stile o co' colori havete
+      Alla Natura pareggiato l'Arte,
+      Anzi a quella scemato il pregio in parte,
+      Che 'l bel di lei piu bello a noi rendete,
+  Poiche con dotta man posto vi siete
+      A piu degno lavoro, a vergar carte,
+      Quel che vi manca a lei di pregio in parte,
+      Nel dar vita ad altrui tutto togliete.
+  Che se secolo alcuno omai contese
+      In far bell'opre, almen cedale, poi
+      Che convien', ch'al prescritto fine arrive.
+  Or le memorie altrui gia spente accese
+      Tornando fate, or che sien quelle, e voi,
+      Mal grado d'esse, eternalmente vive.
+
+Vasari departed for Florence, and left to Michelagnolo the charge of
+having the work founded in the Montorio. Now Messer Bindo Altoviti,
+the Consul of the Florentine colony at that time, was much the friend
+of Vasari, and on this occasion Giorgio said to him that it would be
+well to have this work erected in the Church of S. Giovanni de'
+Fiorentini, and that he had already spoken of it with Michelagnolo,
+who would favour the enterprise; and that this would be a means of
+giving completion to that church. This proposal pleased Messer Bindo,
+and, being very intimate with the Pope, he urged it warmly upon him,
+demonstrating that it would be well that the chapel and the tombs
+which his Holiness was having executed for the Montorio should be
+placed in the Church of S. Giovanni de' Fiorentini; adding that the
+result would be that with this occasion and this spur the Florentine
+colony would undertake such expenditure that the church would receive
+its completion, and, if his Holiness were to build the principal
+chapel, the other merchants would build six chapels, and then little
+by little all the rest. Whereupon the Pope changed his mind, and,
+although the model for the work was already made and the price
+arranged, went to the Montorio and sent for Michelagnolo, to whom
+Vasari was writing every day, receiving answers from him according to
+the opportunities presented in the course of affairs. Michelagnolo
+then wrote to Vasari, on the first day of August in 1550, of the
+change that the Pope had made; and these are his words, written in his
+own hand:
+
+                                                            ROME.
+
+"MY DEAR MESSER GIORGIO,
+
+"With regard to the founding of the work at S. Pietro a Montorio, and
+how the Pope would not listen to a word, I wrote you nothing, knowing
+that you are kept informed by your man here. Now I must tell you what
+has happened, which is as follows. Yesterday morning the Pope, having
+gone to the said Montorio, sent for me. I met him on the bridge, on
+his way back, and had a long conversation with him about the tombs
+allotted to you; and in the end he told me that he was resolved that
+he would not place those tombs on that mount, but in the Church of the
+Florentines. He sought from me my opinion and also designs, and I
+encouraged him not a little, considering that by this means the said
+church would be finished. Respecting your three letters received, I
+have no pen wherewith to answer to such exalted matters, but if I
+should rejoice to be in some sort what you make me, I should rejoice
+for no other reason save that you might have a servant who might be
+worth something. But I do not marvel that you, who restore dead men to
+life, should lengthen the life of the living, or rather, that you
+should steal from death for an unlimited period those barely alive. To
+cut this short, such as I am, I am wholly yours,
+
+                                       "MICHELAGNOLO BUONARROTI."
+
+While these matters were being discussed, and the Florentine colony
+was seeking to raise money, certain difficulties arose, on account of
+which they came to no decision, and the affair grew cold. Meanwhile,
+Vasari and Ammanati having by this time had all the marbles quarried
+at Carrara, a great part of them were sent to Rome, and with them
+Ammanati, through whom Vasari wrote to Buonarroti that he should
+ascertain from the Pope where he wanted the tomb, and, after receiving
+his orders, should have the work begun. The moment that Michelagnolo
+received the letter, he spoke to his Holiness; and with his own hand
+he wrote the following resolution to Vasari:
+
+                                        "_13th of October_, 1550.
+
+"MY DEAR MESSER GIORGIO,
+
+"The instant that Bartolommeo arrived here, I went to speak to the
+Pope, and, having perceived that he wished to begin the work once more
+at the Montorio, in the matter of the tombs, I looked for a mason from
+S. Pietro. 'Tantecose'[3] heard this and insisted on sending one of
+his choosing, and I, to avoid contending with a man who commands the
+winds, have retired from the matter, because, he being a light-minded
+person, I would not care to be drawn into any entanglement. Enough
+that in my opinion there is no more thought to be given to the Church
+of the Florentines. Fare you well, and come back soon. Nothing else
+occurs to me."
+
+         [Footnote 3: Busybody, or Jack-of-all-Trades.]
+
+Michelagnolo used to call Monsignor di Forli "Tantecose," because he
+insisted on doing everything himself. Being Chamberlain to the Pope,
+he had charge of the medals, jewels, cameos, little figures in bronze,
+pictures, and drawings, and desired that everything should depend on
+him. Michelagnolo was always anxious to avoid the man, because he had
+been constantly working against the master's interests, and therefore
+Buonarroti feared lest he might be drawn into some entanglement by the
+intrigues of such a man. In short, the Florentine colony lost a very
+fine opportunity for that church, and God knows when they will have
+such another; and to me it was an indescribable grief. I have desired
+not to omit to make this brief record, to the end that it may be seen
+that our Michelagnolo always sought to help his fellow-countrymen and
+his friends, and also art.
+
+Vasari had scarcely returned to Rome, when, before the beginning of
+the year 1551, the San Gallo faction arranged a conspiracy against
+Michelagnolo, whereby the Pope was to hold an assembly in S. Pietro,
+and to summon together the superintendents and all those who had the
+charge of the work, in order to show to the Pope, by means of false
+calumnies, that Michelagnolo had ruined that fabric, because, he
+having already built the apse of the King, where there are the three
+chapels, and having executed these with the three windows above, they,
+not knowing what was to be done with the vaulting, with feeble
+judgment had given the elder Cardinal Salviati and Marcello Cervini,
+who afterwards became Pope, to understand that S. Pietro was being
+left with little light. Whereupon, all being assembled, the Pope said
+to Michelagnolo that the deputies declared that the apse would give
+little light, and he answered: "I would like to hear these deputies
+speak in person." Cardinal Marcello replied: "We are here." Then
+Michelagnolo said to him: "Monsignore, above these windows, in the
+vaulting, which is to be made of travertine, there are to be three
+others." "You have never told us that," said the Cardinal. And
+Michelagnolo answered: "I am not obliged, nor do I intend to be
+obliged, to say either to your Highness or to any other person what I
+am bound or desirous to do. Your office is to obtain the money and to
+guard it from thieves, and the charge of the design for the building
+you must leave to me." And then, turning to the Pope, he said: "Holy
+Father, you see what my gains are, and that if these fatigues that I
+endure do not profit me in my mind, I am wasting my time and my work."
+The Pope, who loved him, laid his hands on his shoulders, and said:
+"You shall profit both in mind and in body; do not doubt it."
+Michelagnolo having thus been able to get rid of those persons, the
+Pope came to love him even more; and he commanded him and Vasari that
+on the day following they should both present themselves at the Vigna
+Julia, in which place his Holiness had many discussions with him, and
+they carried that work almost to the condition of perfect beauty in
+which it now is; nor did the Pope discuss or do anything in the matter
+of design without Michelagnolo's advice and judgment. And, among other
+things, since Michelagnolo went often with Vasari to visit him, the
+Pope insisted, once when he was at the fountain of the Acqua Vergine
+with twelve Cardinals, after Buonarroti had come up; the Pope, I say,
+insisted very strongly that he should sit beside him, although he
+sought most humbly to excuse himself; thus always honouring his genius
+as much as lay in his power.
+
+The Pope caused him to make the model of a facade for a palace that
+his Holiness desired to build beside S. Rocco, intending to avail
+himself of the Mausoleum of Augustus for the rest of the masonry; and,
+as a design for a facade, there is nothing to be seen that is more
+varied, more ornate, or more novel in manner and arrangement, for the
+reason that, as has been seen in all his works, he never consented to
+be bound by any law, whether ancient or modern, in matters of
+architecture, as one who had a brain always able to discover things
+new and well-varied, and in no way less beautiful. That model is now
+in the possession of Duke Cosimo de' Medici, who had it as a present
+from Pope Pius IV when he went to Rome; and he holds it among his
+dearest treasures. That Pope had such respect for Michelagnolo, that
+he was constantly taking up his defence against Cardinals and others
+who sought to calumniate him, and he desired that other craftsmen,
+however able and renowned they might be, should always go to seek him
+at his house; such, indeed, were the regard and reverence that he felt
+for him, that his Holiness did not venture, lest he might annoy him,
+to call upon Michelagnolo for many works which, although he was old,
+he could have executed.
+
+As far back as the time of Paul III Michelagnolo had made a beginning
+with the work of refounding, under his own direction, the Ponte S.
+Maria at Rome, which had been weakened by the constant flow of water
+and by age, and was falling into ruin. The refounding was contrived by
+Michelagnolo by means of caissons, and by making stout reinforcements
+against the piers; and already he had carried a great part of it to
+completion, and had spent large sums on wood and travertine on behalf
+of the work, when, in the time of Julius III, an assembly was held by
+the Clerks of the Chamber with a view to making an end of it, and a
+proposal was made among them by the architect Nanni di Baccio Bigio,
+saying that if it were allotted by contract to him it would be
+finished in a short time and without much expense; and this they
+suggested on the pretext, as it were, of doing a favour to
+Michelagnolo and relieving him of a burden, because he was old,
+alleging that he gave no thought to it, and that if matters remained
+as they were the end would never be seen. The Pope, who little liked
+being troubled, not thinking what the result might be, gave authority
+to the Clerks of the Chamber that they should have charge of the work,
+as a thing pertaining to them; and then, without Michelagnolo hearing
+another word about it, they gave it with all those materials, without
+any conditions, to Nanni, who gave no attention to the reinforcements,
+which were necessary for the refounding, but relieved the bridge of
+some weight, in consequence of having seen a great quantity of
+travertine wherewith it had been flanked and faced in ancient times,
+the result of which was to give weight to the bridge and to make it
+stouter, stronger, and more secure. In place of that he used gravel
+and other materials cast with cement, in such a manner that no defect
+could be seen in the inner part of the work, and on the outer side he
+made parapets and other things, insomuch that to the eye it appeared
+as if made altogether new; but it was made lighter all over and
+weakened throughout. Five years afterwards, when the flood of the year
+1557 came down, it happened that the bridge collapsed in such a manner
+as to make known the little judgment of the Clerks of the Chamber and
+the loss that Rome suffered by departing from the counsel of
+Michelagnolo, who predicted the ruin of the bridge many times to me
+and to his other friends. Thus I remember that he said to me, when we
+were passing there together on horseback, "Giorgio, this bridge is
+shaking under us; let us spur our horses, or it may fall while we are
+upon it."
+
+But to return to the narrative interrupted above; when the work of the
+Montorio was finished, and that much to my satisfaction, I returned to
+Florence to re-enter the service of Duke Cosimo, which was in the year
+1554. The departure of Vasari grieved Michelagnolo, and likewise
+Giorgio, for the reason that Michelagnolo's adversaries kept harassing
+him every day, now in one way and now in another; wherefore they did
+not fail to write to one another daily. And in April of the same year,
+Vasari giving him the news that Leonardo, the nephew of Michelagnolo,
+had had a male child, that they had accompanied him to baptism with an
+honourable company of most noble ladies, and that they had revived the
+name of Buonarroto, Michelagnolo answered in a letter to Vasari in
+these words:
+
+"DEAR FRIEND GIORGIO,
+
+"I have had the greatest pleasure from your letter, seeing that you
+still remember the poor old man, and even more because you were
+present at the triumph which, as you write, you witnessed in the birth
+of another Buonarroto; for which intelligence I thank you with all my
+heart and soul. But so much pomp does not please me, for man should
+not be laughing when all the world is weeping. It seems to me that
+Leonardo should not make so much rejoicing over a new birth, with all
+that gladness which should be reserved for the death of one who has
+lived well. Do not marvel if I delay to answer; I do it so as not to
+appear a merchant. As for the many praises that you send me in your
+letter, I tell you that if I deserved a single one of them, it would
+appear to me that in giving myself to you body and soul, I had truly
+given you something, and had discharged some infinitesimal part of the
+debt that I owe you; whereas I recognize you every hour as my creditor
+for more than I can repay, and, since I am an old man, I can now never
+hope to be able to square the account in this life, but perhaps in the
+next. Wherefore I pray you have patience, and remain wholly yours.
+Things here are much as usual."
+
+Already, in the time of Paul III, Duke Cosimo had sent Tribolo to
+Rome to see if he might be able to persuade Michelagnolo to return to
+Florence, in order to give completion to the Sacristy of S. Lorenzo.
+But Michelagnolo excused himself because, having grown old, he could
+not support the burden of such fatigues, and demonstrated to him with
+many reasons that he could not leave Rome. Whereupon Tribolo finally
+asked him about the staircase of the library of S. Lorenzo, for which
+Michelagnolo had caused many stones to be prepared, but there was no
+model of it nor any certainty as to the exact form, and, although
+there were some marks on a pavement and some other sketches in clay,
+the true and final design could not be found. However, no matter how
+much Tribolo might beseech him and invoke the name of the Duke,
+Michelagnolo would never answer a word save that he remembered nothing
+of it. Orders were given to Vasari by Duke Cosimo that he should write
+to Michelagnolo, requesting him to write saying what final form that
+staircase was to have; in the hope that through the friendship and
+love that he bore to Vasari, he would say something that might lead to
+some solution and to the completion of the work. Vasari wrote to
+Michelagnolo the mind of the Duke, saying that the execution of all
+that was to be done would fall to him; which he would do with that
+fidelity and care with which, as Michelagnolo knew, he was wont to
+treat such of his works as he had in charge. Wherefore Michelagnolo
+sent the directions for making the above-named staircase in a letter
+by his own hand on the 28th of September, 1555.
+
+[Illustration: BIBLIOTECA LAURENZIANA
+
+(_After =Michelagnolo=. Florence_)
+
+_Alinari_]
+
+"MESSER GIORGIO, DEAR FRIEND,
+
+"Concerning the staircase for the library, of which so much has been
+said to me, you may believe that if I could remember how I had
+designed it, I would not need to be entreated. There does, indeed,
+come back to my mind, like a dream, a certain staircase; but I do not
+believe that it is exactly the one which I conceived at that time,
+because it comes out so stupid. However, I will describe it here. Take
+a quantity of oval boxes, each one palm in depth, but not of equal
+length and breadth. The first and largest place on the pavement at
+such a distance from the wall of the door as may make the staircase
+easy or steep, according to your pleasure. Upon this place another,
+which must be so much smaller in every direction as to leave on the
+first one below as much space as the foot requires in ascending;
+diminishing and drawing back the steps one after another towards the
+door, in accord with the ascent. And the diminution of the last step
+must reduce it to the proportion of the space of the door. The said
+part of the staircase with the oval steps must have two wings, one on
+one side and one on the other, with corresponding steps but not oval.
+Of these the central flight shall serve as the principal staircase,
+and from the centre of the staircase to the top the curves of the said
+wings shall meet the wall; but from the centre down to the pavement
+they shall stand, together with the whole staircase, at a distance of
+about three palms from the wall, in such a manner that the basement of
+the vestibule shall not be obstructed in any part, and every face
+shall be left free. I am writing nonsense; but I know well that you
+will find something to your purpose."
+
+Michelagnolo also wrote to Vasari in those days that Julius III being
+dead, and Marcellus elected, the faction that was against him, in
+consequence of the election of the new Pontiff, had again begun to
+harass him. Which hearing, and not liking these ways, the Duke caused
+Giorgio to write and tell him that he should leave Rome and come to
+live in Florence, where the Duke did not desire more than his advice
+and designs at times for his buildings, and that he would receive from
+that lord all that he might desire, without doing anything with his
+own hand. Again, there were carried to him by M. Leonardo Marinozzi,
+the private Chamberlain of Duke Cosimo, letters written by his
+Excellency; and so also by Vasari. But then, Marcellus being dead, and
+Paul IV having been elected, by whom once again numerous offers had
+been made to him from the very beginning, when he went to kiss his
+feet, the desire to finish the fabric of S. Pietro, and the obligation
+by which he thought himself bound to that task, kept him back; and,
+employing certain excuses, he wrote to the Duke that for the time
+being he was not able to serve him, and to Vasari a letter in these
+very words:
+
+"MESSER GIORGIO, MY DEAR FRIEND,
+
+"I call God to witness how it was against my will and under the
+strongest compulsion that I was set to the building of S. Pietro in
+Rome by Pope Paul III, ten years ago. Had they continued to work at
+that fabric up to the present day, as they were doing then, I would
+now have reached such a point in the undertaking that I might be
+thinking of returning home; but for want of money it has been much
+retarded, and is still being retarded at the time when it has reached
+the most laborious and difficult stage, insomuch that to abandon it
+now would be nothing short of the greatest possible disgrace and sin,
+losing the reward of the labours that I have endured in those ten
+years for the love of God. I have made you this discourse in answer to
+your letter, and also because I have a letter from the Duke that has
+made me marvel much that his Excellency should have deigned to write
+so graciously; for which I thank God and his Excellency to the best of
+my power and knowledge. I wander from the subject, because I have lost
+my memory and my wits, and writing is a great affliction to me, for it
+is not my art. The conclusion is this: to make you understand what
+would be the result if I were to abandon the fabric and depart from
+Rome; firstly, I would please a number of thieves, and secondly, I
+would be the cause of its ruin, and perhaps, also, of its being
+suspended for ever."
+
+Continuing to write to Giorgio, Michelagnolo said to him, to excuse
+himself with the Duke, that he had a house and many convenient things
+at his disposal in Rome, which were worth thousands of crowns, in
+addition to being in danger of his life from disease of the kidneys,
+colic, and the stone, as happens to every old person, and as could be
+proved by Maestro Realdo, his physician, from whom he congratulated
+himself on having his life, after God; that for these reasons he was
+not able to leave Rome, and, finally, that he had no heart for
+anything but death. He besought Vasari, as he did in several other
+letters that Giorgio has by his hand, that he should recommend him to
+the Duke for pardon, in addition to what he wrote to the Duke, as I
+have said, to excuse himself. If Michelagnolo had been able to ride,
+he would have gone straightway to Florence, whence, I believe, he
+would never have consented to depart in order to return to Rome, so
+much was he influenced by the tenderness and love that he felt for the
+Duke; but meanwhile he gave his attention to working at many parts of
+the above-named fabric, in order so to fix the form that it might
+never again be changed. During this time certain persons had informed
+him that Pope Paul IV was minded to make him alter the facade of the
+chapel where the Last Judgment is, because, he said, those figures
+showed their nakedness too shamelessly. When, therefore, the mind of
+the Pope was made known to Michelagnolo, he answered: "Tell the Pope
+that it is no great affair, and that it can be altered with ease. Let
+him put the world right, and every picture will be put right in a
+moment." The office of the Chancellery of Rimini was taken away from
+Michelagnolo, but he would never speak of this to the Pope, who did
+not know it; and it was taken away from him by the Pope's Cup-bearer,
+who sought to have a hundred crowns a month given to him in respect of
+the fabric of S. Pietro, and caused a month's payment to be taken to
+his house, but Michelagnolo would not accept it. In the same year took
+place the death of Urbino, his servant, or rather, as he may be
+called, and as he had been, his companion. This man came to live with
+Michelagnolo in Florence in the year 1530, after the siege was
+finished, when his disciple Antonio Mini went to France; and he
+rendered very faithful service to Michelagnolo, insomuch that in
+twenty-six years that faithful and intimate service brought it about
+that Michelagnolo made him rich and so loved him, that in this,
+Urbino's last illness, old as he was, he nursed him and slept in his
+clothes at night to watch over him. Wherefore, after he was dead,
+Vasari wrote to Michelagnolo to console him, and he answered in these
+words:
+
+"MY DEAR MESSER GIORGIO,
+
+"I am scarce able to write, but, in reply to your letter, I shall say
+something. You know how Urbino died, wherein God has shown me very
+great grace, although it is also a grave loss and an infinite grief to
+me. This grace is that whereas when living he kept me alive, dying he
+has taught me to die not with regret, but with a desire for death. I
+have had him twenty-six years, and have found him a very rare and
+faithful servant; and now, when I had made him rich and was looking to
+him as the staff and repose of my old age, he has flown from me, nor
+is any hope left to me but to see him again in Paradise. And of this
+God has granted a sign in the happy death that he died, in that dying
+grieved him much less than leaving me in this traitorous world with so
+many afflictions; although the greater part of me is gone with him,
+and nothing is left me but infinite misery. I commend myself to you."
+
+Michelagnolo was employed in the time of Pope Paul IV on many parts of
+the fortifications of Rome, and also by Salustio Peruzzi, to whom that
+Pope, as has been related elsewhere, had given the charge of executing
+the great portal of the Castello di S. Angelo, which is now half
+ruined; and he occupied himself in distributing the statues of that
+work, examining the models of the sculptors, and correcting them. At
+that time the French army approached near to Rome, and Michelagnolo
+thought that he was like to come to an evil end together with that
+city; whereupon he resolved to fly from Rome with Antonio Franzese of
+Castel Durante, whom Urbino at his death had left in his house as his
+servant, and went secretly to the mountains of Spoleto, where he
+visited certain seats of hermits. Meanwhile Vasari wrote to him,
+sending him a little work that Carlo Lenzoni, a citizen of Florence,
+had left at his death to Messer Cosimo Bartoli, who was to have it
+printed and dedicated to Michelagnolo; which, when it was finished,
+Vasari sent in those days to Michelagnolo, and he, having received it,
+answered thus:
+
+                                           "_September_ 18, 1556.
+
+"MESSER GIORGIO, DEAR FRIEND,
+
+"I have received Messer Cosimo's little book, which you send to me,
+and this shall be a letter of thanks. I pray you to give them to him,
+and send him my compliments.
+
+"I have had in these days great discomfort and expense, but also great
+pleasure, in visiting the hermits in the mountains of Spoleto,
+insomuch that less than half of me has returned to Rome, seeing that
+in truth there is no peace to be found save in the woods. I have
+nothing more to tell you. I am glad that you are well and happy, and I
+commend myself to you."
+
+Michelagnolo used to work almost every day, as a pastime, at that
+block with the four figures of which we have already spoken; which
+block he broke into pieces at this time for these reasons, either
+because it was hard and full of emery, and the chisel often struck
+sparks from it, or it may have been that the judgment of the man was
+so great that he was never content with anything that he did. A proof
+that this is true is that there are few finished statues to be seen
+out of all that he executed in the prime of his manhood, and that
+those completely finished were executed by him in his youth, such as
+the Bacchus, the Pieta in S. Maria della Febbre, the Giant of
+Florence, and the Christ of the Minerva, which it would not be
+possible to increase or diminish by as little as a grain of millet
+without spoiling them; and the others, with the exception of the Dukes
+Giuliano and Lorenzo, Night, Dawn, and Moses, with the other two, the
+whole number of these statues not amounting in all to eleven, the
+others, I say, were all left unfinished, and, moreover, they are many,
+Michelagnolo having been wont to say that if he had had to satisfy
+himself in what he did, he would have sent out few, nay, not one. For
+he had gone so far with his art and judgment, that, when he had laid
+bare a figure and had perceived in it the slightest degree of error,
+he would set it aside and run to lay his hand on another block of
+marble, trusting that the same would not happen to the new block; and
+he often said that this was the reason that he gave for having
+executed so few statues and pictures. This Pieta, when it was broken,
+he presented to Francesco Bandini. Now at this time Tiberio Calcagni,
+a Florentine sculptor, had become much the friend of Michelagnolo by
+means of Francesco Bandini and Messer Donato Giannotti; and being one
+day in Michelagnolo's house, where there was the Pieta, all broken,
+after a long conversation he asked him for what reason he had broken
+it up and destroyed labours so marvellous, and he answered that the
+reason was the importunity of his servant Urbino, who kept urging him
+every day to finish it, besides which, among other things, a piece of
+one of the elbows of the Madonna had been broken off, and even before
+that he had taken an aversion to it, and had had many misfortunes with
+it by reason of a flaw that was in the marble, so that he lost his
+patience and began to break it up; and he would have broken it
+altogether into pieces if his servant Antonio had not besought him
+that he should present it to him as it was. Whereupon Tiberio, having
+heard this, spoke to Bandini, who desired to have something by the
+hand of Michelagnolo, and Bandini contrived that Tiberio should
+promise to Antonio two hundred crowns of gold, and prayed Michelagnolo
+to consent that Tiberio should finish it for Bandini with the
+assistance of models by his hand, urging that thus his labour would
+not be thrown away. Michelagnolo was satisfied, and then made them a
+present of it. The work was carried away immediately, and then put
+together again and reconstructed with I know not what new pieces by
+Tiberio; but it was left unfinished by reason of the death of Bandini,
+Michelagnolo, and Tiberio. At the present day it is in the possession
+of Pier Antonio Bandini, the son of Francesco, at his villa on Monte
+Cavallo. But to return to Michelagnolo; it became necessary to find
+some work in marble on which he might be able to pass some time every
+day with the chisel, and another piece of marble was put before him,
+from which another Pieta had been already blocked out, different from
+the first and much smaller.
+
+[Illustration: PIETA
+
+(_After =Michelagnolo=. Rome: Palazzo Rondanini_)
+
+_Alinari_]
+
+There had entered into the service of Paul IV, and also into the
+charge of the fabric of S. Pietro, the architect Pirro Ligorio, and he
+was now once more harassing Michelagnolo, going about saying that he
+had sunk into his second childhood. Wherefore, angered by such
+treatment, he would willingly have returned to Florence, and, having
+delayed to return, he was again urged in letters by Giorgio, but he
+knew that he was too old, having now reached the age of eighty-one.
+Writing at that time to Vasari by his courier, and sending him various
+spiritual sonnets, he said that he was come to the end of his life,
+that he must be careful where he directed his thoughts, that by
+reading he would see that he was at his last hour, and that there
+arose in his mind no thought upon which was not graved the image of
+death; and in one letter he said:
+
+"It is God's will, Vasari, that I should continue to live in misery
+for some years. I know that you will tell me that I am an old fool to
+wish to write sonnets, but since many say that I am in my second
+childhood, I have sought to act accordingly. By your letter I see the
+love that you bear me, and you may take it as certain that I would
+be glad to lay these feeble bones of mine beside those of my father,
+as you beg me to do; but by departing from here I would be the cause
+of the utter ruin of the fabric of S. Pietro, which would be a great
+disgrace and a very grievous sin. However, when it is so firmly
+established that it can never be changed, I hope to do all that you
+ask me, if it be not a sin to keep in anxious expectation certain
+gluttons that await my immediate departure."
+
+With this letter was the following sonnet, also written in his own
+hand:
+
+  Giunto e gia 'l corso della vita mia
+      Con tempestoso mar' per fragil barca
+      Al comun porto, ov'a render' si varca
+      Conto e ragion' d'ogni opra trista e pia.
+  Onde l'affetuosa fantasia,
+      Che l'arte mi fece idolo e monarca,
+      Conosco or' ben' quant'era d'error' carca,
+      E quel ch'a mal suo grado ognun' desia.
+  Gli amorosi pensier' gia vani e lieti
+      Che sien'or', s'a due morti mi avvicino?
+      D'una so certo, e l'altra mi minaccia.
+  Ne pinger' ne scolpir' sia piu che quieti
+      L'anima volta a quello Amor Divino
+      Ch'aperse a prender' noi in Croce le braccia.
+
+Whereby it was evident that he was drawing towards God, abandoning the
+cares of art on account of the persecution of his malignant
+fellow-craftsmen, and also through the fault of certain overseers of
+the fabric, who would have liked, as he used to say, to dip their
+hands in the chest. By order of Duke Cosimo, a reply was written to
+Michelagnolo by Vasari in a letter of few words, exhorting him to
+repatriate himself, with a sonnet corresponding in the rhymes.
+Michelagnolo would willingly have left Rome, but he was so weary and
+aged, that although, as will be told below, he was determined to go
+back, while the spirit was willing the flesh was weak, and that kept
+him in Rome. It happened in June of the year 1557, he having made a
+model for the vault that was to cover the apse, which was being built
+of travertine in the Chapel of the King, that, from his not being
+able to go there as he had been wont, an error arose, in that the
+capomaestro took the measurements over the whole body of the vault
+with one single centre, whereas there should have been a great number;
+and Michelagnolo, as the friend and confidant of Vasari, sent him
+designs by his own hand, with these words written at the foot of two
+of them:
+
+"The centre marked with red was used by the capomaestro over the body
+of the whole vault; then, when he began to pass to the half-circle,
+which is at the summit of the vault, he became aware of the error
+which that centre was producing, as may be seen here in the design,
+marked in black. With this error the vault has gone so far forward,
+that we have to displace a great number of stones, for in that vault
+there is being placed no brick-work, but all travertine, and the
+diameter of the circle, without the cornice that borders it, is
+twenty-two palms. This error, after I had made an exact model, as I do
+of everything, has been caused by my not being able, on account of my
+old age, to go there often; so that, whereas I believed that the vault
+was now finished, it will not be finished all this winter, and, if it
+were possible to die of shame and grief, I should not be alive now. I
+pray you account to the Duke for my not being at this moment in
+Florence."
+
+[Illustration: S. PETER'S
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+And continuing in the other design, where he had drawn the plan, he
+said this:
+
+"MESSER GIORGIO,
+
+"To the end that it may be easier to understand the difficulty of the
+vault by observing its rise from the level of the ground, let me
+explain that I have been forced to divide it into three vaults,
+corresponding to the windows below divided by pilasters; and you see
+that they go pyramidally into the centre of the summit of the vault,
+as also do the base and sides of the same. It was necessary to
+regulate them with an infinite number of centres, and there are in
+them so many changes in various directions, from point to point, that
+no fixed rule can be maintained. And the circles and squares that come
+in the middle of their deepest parts have to diminish and increase in
+so many directions, and to go to so many points, that it is a
+difficult thing to find the true method. Nevertheless, having the
+model, such as I make for everything, they should never have committed
+so great an error as to seek to regulate with one single centre all
+those three shells; whence it has come about that we have been obliged
+with shame and loss to pull down, as we are still doing, a great
+number of stones. The vault, with its sections and hewn stone-work, is
+all of travertine, like all the rest below; a thing not customary in
+Rome."
+
+Michelagnolo was excused by Duke Cosimo, hearing of these misfortunes,
+from coming to Florence; the Duke saying to him that his contentment
+and the continuation of S. Pietro were more dear to him than anything
+in the world, and that he should rest in peace. Whereupon Michelagnolo
+wrote to Vasari, on the same sheet in which he thanked the Duke to the
+best of his power and knowledge for such kindness, saying, "God give
+me grace that I may be able to serve him with this my poor person, for
+my memory and my brain are gone to await him elsewhere." The date of
+this letter was August in the year 1557. Thus, then, Michelagnolo
+learned that the Duke esteemed his life and his honour more than he
+did himself, who so revered him. All these things, and many more that
+it is not necessary to mention, we have in our possession, written in
+his hand.
+
+Michelagnolo by this time was reduced to a feeble condition, and it
+was evident that little was being done in S. Pietro, now that he had
+carried on a great part of the frieze of the windows within, and of
+the double columns without, which curve above the great round
+cornice[4] where the cupola is to be placed, as will be related; and
+he was exhorted and urged by his greatest friends, such as the
+Cardinal of Carpi, Messer Donato Giannotti, Francesco Bandini, Tommaso
+de' Cavalieri, and Lottino that, since he saw the delay in the raising
+of the cupola, he should at least make a model of it. He stayed many
+months without making up his mind to this, but in the end he made a
+beginning, and then little by little constructed a small model in
+clay, from which, as an exemplar, and from the plans and profiles
+that he had drawn, it might be possible afterwards to make a larger
+one of wood. This, having made a beginning with it, he caused to be
+constructed in little more than a year by Maestro Giovanni Franzese,
+with much study and pains; and he made it on such a scale that the
+smaller proportions of the model, measured by the old Roman palm,
+corresponded with complete exactness to those of the large work, he
+having fashioned with diligence in that model all the members of
+columns, bases, capitals, doors, windows, cornices, projections, and
+likewise every least thing, knowing that in such a work no less should
+be done, for in all Christendom, nay, in all the world, there is not
+to be found or seen any fabric more ornate or more grand. And I cannot
+but think that, if we have given up time to noting smaller things, it
+is even more useful, and also our duty, to describe this manner of
+design for building the structure of this tribune with the form,
+order, and method that Michelagnolo thought to give it; wherefore with
+such brevity as we may we will give a simple description of it, to the
+end that, if it should ever be the fate of this work, which God
+forbid, to be disturbed by the envy and malice of presumptuous persons
+after the death of Michelagnolo, even as we have seen it disturbed up
+to the present during his lifetime, these my writings, such as they
+may be, may be able to assist the faithful who are to be the executors
+of the mind of that rare man, and also to restrain the malignant
+desires of those who may seek to alter it, and so at one and the same
+time assist, delight, and open the minds of those beautiful intellects
+that are the friends of this profession and regard it as their joy.
+
+         [Footnote 4: Drum.]
+
+[Illustration: S. PETER'S
+
+(_After =Michelagnolo=. Rome_)
+
+_Anderson_]
+
+I must begin by saying that according to this model, made under the
+direction of Michelagnolo, I find that in the great work the whole
+space within the tribune will be one hundred and eighty-six palms,
+speaking of its width from wall to wall above the great cornice of
+travertine that curves in a round in the interior, resting on the four
+great double piers that rise from the ground with their capitals
+carved in the Corinthian Order, accompanied by their architrave,
+frieze, and cornice, likewise of travertine; which great cornice,
+curving right round over the great niches, rests supported upon the
+four great arches of the three niches and of the entrance, which
+form the cross of the building. Then there begins to spring the first
+part of the tribune, the rise of which commences in a basement of
+travertine with a platform six palms broad, where one can walk; and
+this basement curves in a round in the manner of a well, and its
+thickness is thirty-three palms and eleven inches, the height to the
+cornice eleven palms and ten inches, the cornice over it about eight
+palms, and its projection six and a half palms. Into this basement you
+enter, in order to ascend the tribune, by four entrances that are over
+the arches of the niches, and the thickness of the basement is divided
+into three parts; that on the inner side is fifteen palms, that on the
+outer side is eleven palms, and that in the centre is seven palms and
+eleven inches, which make up the thickness of thirty-three palms and
+eleven inches. The space in the centre is hollow and serves as a
+passage, which is two squares in height and curves in a continuous
+round, with a barrel-shaped vault; and in line with the four entrances
+are eight doors, each of which rises in four steps, one of them
+leading to the level platform of the cornice of the first basement,
+six palms and a half in breadth, and another leading to the inner
+cornice that curves round the tribune, eight palms and three-quarters
+broad, on which platforms, by each door, you can walk conveniently
+both within and without the edifice, and from one entrance to another
+in a curve of two hundred and one palms, so that, the sections being
+four, the whole circuit comes to be eight hundred and four palms. We
+now have to ascend from the level of this basement, upon which rest
+the columns and pilasters, and which forms the frieze of the windows
+within all the way round, being fourteen palms and one inch in height,
+and around it, on the outer side, there is at the foot a short order
+of cornice-work, and so also at the top, which does not project more
+than ten inches, and all of travertine; and so in the thickness of the
+third part, above that on the inner side, which we have described as
+fifteen palms thick, there is made in every quarter-section a
+staircase, one half of which ascends in one direction and the second
+half in another, the width being four palms and a quarter; and this
+staircase leads to the level of the columns. Above this level there
+begin to rise, in line with the solid parts of the basement, eighteen
+large piers all of travertine, each adorned with two columns on the
+outer side and pilasters on the inner, as will be described below, and
+between the piers are left the spaces where there are to be all the
+windows that are to give light to the tribune. These piers, on the
+sides pointing towards the central point of the tribune, are
+thirty-six palms in extent, and on the front sides nineteen and a
+half. Each of them, on the outer side, has two columns, the lowest
+dado of which is eight palms and three-quarters broad and one palm and
+a half high, the base five palms and eight inches broad and ... palms
+and eleven inches high, the shaft of the column forty-three and a half
+palms high, five palms and six inches thick at the foot and four palms
+and nine inches at the top, the Corinthian capital six palms and a
+half high, with the crown of mouldings nine palms. Of these columns
+three quarters are to be seen, and the other quarter is merged into
+the corner, with the accompaniment of the half of a pilaster that
+makes a salient angle on the inner side, and this is accompanied in
+the central inner space by the opening of an arched door, five palms
+wide and thirteen palms and five inches high, from the summit of which
+to the capitals of the pilasters and columns there is a filling of
+solid masonry, serving as a connection with two other pilasters that
+are similar to those that form a salient angle beside the columns.
+These two pilasters correspond to the others, and adorn the sides of
+sixteen windows that go right round the tribune, each with a light
+twelve palms and a half wide and about twenty-two palms high. These
+windows are to be adorned on the outer side with varied architraves
+two palms and three-quarters high, and on the inner side they are to
+be adorned with orders likewise varied, with pediments and
+quarter-rounds; and they are wide without and more narrow within, and
+so, also, they are sloped away at the foot of the inner side, so that
+they may give light over the frieze and cornice. Each of them is
+bordered by two flat pilasters that correspond in height to the
+columns without, so that there come to be thirty-six columns without
+and thirty-six pilasters within; over which pilasters is the
+architrave, which is four palms and three-quarters in height, the
+frieze four and a half, and the cornice four and two-thirds, with a
+projection of five palms; and above this is to go a range of
+balusters, so that one may be able to walk all the way round there
+with safety. And in order that it may be possible to climb
+conveniently from the level where the columns begin, another staircase
+ascends in the same line within the thickness of the part that is
+fifteen palms wide, in the same manner and of the same width, with two
+branches or ascents, all the way up to the summit of the columns, with
+their capitals, architraves, friezes, and cornices; insomuch that,
+without obstructing the light of the windows, these stairs pass at the
+top into a spiral staircase of the same breadth, which finally reaches
+the level where the turning of the tribune is to begin.
+
+All this order, distribution, and ornamentation is so well varied,
+commodious, rich, durable, and strong, and serves so well to support
+the two vaults of the cupola that is to be turned upon it, that it is
+a very ingenious thing, and it is all so well considered and then
+executed in masonry, that there is nothing to be seen by the eyes of
+one who has knowledge and understanding that is more pleasing, more
+beautiful, or wrought with greater mastery, both on account of the
+binding together and mortising of the stones and because it has in it
+in every part strength and eternal life, and also because of the great
+judgment wherewith he contrived to carry away the rain-water by many
+hidden channels, and, finally, because he brought it to such
+perfection, that all other fabrics that have been built and seen up to
+the present day appear as nothing in comparison with the grandeur of
+this one. And it has been a very great loss that those whose duty it
+was did not put all their power into the undertaking, for the reason
+that, before death took away from us that rare man, we should have
+seen that beautiful and terrible structure already raised.
+
+Up to this point has Michelagnolo carried the masonry of the work; and
+it only remains to make a beginning with the vaulting of the tribune,
+of which, since the model has come down to us, we shall proceed to
+describe the design that he has left to the end that it may be carried
+out. He turned the curve of this vault on three points that make a
+triangle, in this manner:
+
+  A B
+   C
+
+The point C, which is the lowest, is the principal one, wherewith he
+turned the first half-circle of the tribune, with which he gave the
+form, height and breadth of this vault, which he ordered to be built
+entirely of bricks well baked and fired, laid herring-bone fashion.
+This shell he makes four palms and a half thick, and as thick at the
+top as at the foot, and leaving beside it, in the centre, a space four
+palms and a half wide at the foot, which is to serve for the ascent of
+the stairs that are to lead to the lantern, rising from the platform
+of the cornice where there are balusters. The arch of the interior of
+the other shell, which is to be wider at the foot and narrower at the
+top, is turned on the point marked B, and the thickness of the shell
+at the foot is four palms and a half. And the last arch, which is to
+be turned in order to make the exterior of the cupola, wider at the
+foot and narrowing towards the top, is to be raised on the point
+marked A, which arch turned, there remains at the top all the hollow
+space of the interior for the ascent of the stairs, which are eight
+palms high, so that one may climb them upright; and the thickness of
+that shell comes to diminish little by little, insomuch that, being as
+before four palms and a half at the foot, it decreases at the top to
+three palms and a half. And the outer shell comes to be so well bound
+to the inner shell with bonds and with the stairs, that the one
+supports the other; while of the eight parts into which the fabric is
+divided at the base, the four over the arches are left hollow, in
+order to put less weight upon the arches, and the other four are bound
+and chained together with bonds upon the piers, so that the structure
+may have everlasting life.
+
+The stairs in the centre between one shell and the other are
+constructed in this form; from the level where the springing of the
+vault begins they rise in each of the four sections, and each ascends
+from two entrances, the stairs intersecting one another in the form of
+an X, until they have covered the half of the arch marked C, on the
+upper side of the shell, when, having ascended straight up the half of
+that arch, the remaining space is then easily climbed circle after
+circle and step after step in a direct line, until finally one arrives
+at the eye of the cupola, where the rise of the lantern begins, around
+which, in accord with the diminution of the compartments that spring
+above the piers, there is a smaller range of double pilasters and
+windows similar to those that are constructed in the interior, as
+will be described below.
+
+Over the first great cornice within the tribune there begin at the
+foot the compartments for the recesses that are in the vault of the
+tribune, which are formed by sixteen projecting ribs. These at the
+foot are as broad as the breadth of the two pilasters which at the
+lower end border each window below the vault of the tribune, and they
+rise, diminishing pyramidally, as far as the eye of the lantern; at
+the foot they rest on pedestals of the same breadth and twelve palms
+high, and these pedestals rest on the level platform of the cornice
+which goes in a circle right round the tribune. Above this, in the
+recessed spaces between the ribs, there are eight large ovals, each
+twenty-nine palms high, and over them a number of straight-sided
+compartments that are wider at the foot and narrower at the top, and
+twenty-four palms high, and then, the ribs drawing together, there
+comes above each straight-sided compartment a round fourteen palms
+high; so that there come to be eight ovals, eight straight-sided
+compartments, and eight rounds, each range forming recesses that grow
+more shallow in succession. The ground of all these displays
+extraordinary richness, for Michelagnolo intended to make the ribs and
+the ornaments of the said ovals, straight-sided compartments, and
+rounds, all corniced in travertine.
+
+It remains for us to make mention of the surface and adornment of the
+arch on that side of the vault where the roofing is to go, which
+begins to rise from a base twenty-five palms and a half high, which
+has at the foot a basement that has a projection of two palms, as have
+the crowning mouldings at the top. The covering or roofing with which
+he proposed to cover it is of lead, such as covers the roof of the old
+S. Pietro at the present day, and is divided into sixteen sections
+from one solid base to another, each base beginning where the two
+columns end, which are one on either side of it. In each of these
+sections, in the centre, he made two windows to give light to the
+inner space where the ascent of the stairs is, between the two shells,
+so that in all they are thirty-two. These, by means of brackets that
+support a quarter-round, he made projecting from the roof in such a
+manner as to protect the lofty and novel view-point from the rain. In
+a line with the centre of the solid base between each two columns,
+above which was the crowning cornice, sprang a rib, one to each, wider
+at the foot and narrowing at the top; in all sixteen ribs, five palms
+broad, in the centre of each of which was a quadrangular channel one
+palm and a half wide, within which is formed an ascent of steps about
+one palm high, by which to ascend or descend between the platform at
+the foot and the summit where the lantern begins. These are to be
+built of travertine and constructed with mortisings, to the end that
+the joins may be protected against water and ice during times of rain.
+
+The design for the lantern is reduced in the same proportion as all
+the rest of the work, so that, taking lines round the circumference,
+everything comes to diminish in exact accord, and with proportionate
+measurements it rises as a simple temple with round columns two by
+two, like those on the solid bases below. These have pilasters to
+correspond to them, and one can walk all the way round and see from
+the central spaces between the pilasters, where the windows are, the
+interior of the tribune and the church. Above this, architrave,
+frieze, and cornice curve in a round, projecting over each pair of
+columns; and over these columns, in a line with them, spring some
+caulicoles, which, together with some niches that divide them, rise to
+find the end of the lantern, which, beginning to draw together, grows
+gradually narrower for a third of its height, in the manner of a round
+pyramid, until it reaches the ball, upon which, as the final crown of
+the structure, goes the cross. Many particulars and minute details I
+might have mentioned, such as air-holes for protection against
+earthquakes, water-conduits, the various lights, and other
+conveniences, but I omit them because the work is not yet come to
+completion, being content to have touched on the principal parts as
+well as I have been able. For, since every part is in existence and
+can be seen, it is enough to have made this brief sketch, which is a
+great light to him who has no knowledge of the structure.
+
+The completion of this model caused the greatest satisfaction not only
+to all his friends, but to all Rome, the form of the fabric having
+been thus settled and established. It then came to pass that Paul IV
+died, and after him was elected Pius IV, who, while causing the
+building of the little palace in the wood of the Belvedere to be
+continued by Pirro Ligorio, who remained architect to the Palace, made
+many gracious offers and advances to Michelagnolo. The Motu-proprio
+originally received by Michelagnolo from Paul III, and then from
+Julius III and Paul IV, in respect of the fabric of S. Pietro, he
+confirmed in his favour, and he restored to him a part of the revenues
+and allowances taken away by Paul IV, employing him in many of his
+works of building; and in his time he caused the fabric of S. Pietro
+to be carried on vigorously. He made use of Michelagnolo, in
+particular, in preparing a design for the tomb of the Marchese
+Marignano, his brother, which, destined to be erected in the Duomo of
+Milan, was allotted by his Holiness to the Chevalier Leone Lioni of
+Arezzo, a most excellent sculptor and much the friend of Michelagnolo;
+the form of which tomb will be described in the proper place.
+
+At this time the Chevalier Leone made a very lively portrait of
+Michelagnolo in a medal, and to please him he fashioned on the reverse
+a blind man led by a dog, with these letters around:
+
+  DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.
+
+And Michelagnolo, since it pleased him much, presented him a model in
+wax of Hercules crushing Antaeus, by his own hand, with certain of his
+designs. Of Michelagnolo we have no other portraits but two in
+painting, one by the hand of Bugiardini and the other by Jacopo del
+Conte, one in bronze executed in full-relief by Daniello Ricciarelli,
+and this one by the Chevalier Leone; from which portraits so many
+copies have been made, that I have seen a good number in many places
+in Italy and in foreign parts.
+
+The same year Cardinal Giovanni de' Medici, the son of Duke Cosimo,
+went to Rome to receive the hat from Pius IV, and it fell to Vasari,
+as his servant and familiar friend, to go with him; which Vasari went
+there willingly and stayed about a month, in order to enjoy
+Michelagnolo, who received him with great affection and was always
+with him. Vasari had taken with him, by order of his Excellency, a
+model in wood of the whole Ducal Palace of Florence, together with
+designs of the new apartments that had been built and painted by him;
+which Michelagnolo desired to see both in the model and in the
+designs, since, being old, he was not able to see the works
+themselves. These works, which were abundant and well varied, with
+different inventions and fancies, began with the Castration of Uranus
+and continued in stories of Saturn, Ops, Ceres, Jove, Juno, and
+Hercules, each room having one of these names, with the stories in
+various compartments; even as the other chambers and halls, which were
+beneath these, had the names of the heroes of the House of Medici,
+beginning with the elder Cosimo, and continuing with Lorenzo, Leo X,
+Clement VII, Signor Giovanni, Duke Alessandro, and Duke Cosimo, in
+each of which were not only the stories of their actions, but also
+portraits of them, of their children, and of all the ancients renowned
+in statesmanship, in arms, and in letters, taken from the life. Of
+these Vasari had written a Dialogue in which he explained all the
+stories, the end of the whole invention, and how the fables above
+harmonized with the stories below; which was read to Michelagnolo by
+Annibale Caro, and he took the greatest pleasure in it. This Dialogue,
+when Vasari shall have more time, will be published.
+
+The result of all this was as follows. Vasari was desirous of setting
+his hand to the Great Hall, and since, as has been said elsewhere, the
+ceiling was low, making it stunted and wanting in lights, he had a
+desire to raise that ceiling. Now the Duke would not make up his mind
+to give him leave that it should be raised; not that the Duke feared
+the cost, as was seen afterwards, but rather the danger of raising the
+beams of the roof thirteen braccia. However, like a man of judgment,
+his Excellency consented that the advice of Michelagnolo should be
+taken, and Michelagnolo, having seen in that model the Hall as it then
+was, and afterwards, all the beams having been removed and replaced by
+other beams with a new invention in the ceiling and walls, the same
+Hall as it has since been made, with the invention of the stories
+likewise designed therein, liked it and straightway became not a judge
+but a supporter, and the rather as he saw the facile method of raising
+the beams and the roof, and the plan for executing the whole work in a
+short time. Wherefore, on Vasari's return, he wrote to the Duke that
+he should carry out that undertaking, since it was worthy of his
+greatness.
+
+[Illustration: PORTA PIA
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+The same year Duke Cosimo went to Rome with the Lady Duchess
+Leonora, his consort, and Michelagnolo, after the Duke's arrival,
+went straightway to see him. The Duke, after receiving him with many
+endearments, caused him, out of respect for his great genius, to sit
+by his side, and with much familiarity talked to him of all that he
+had caused to be done in painting and sculpture at Florence, and also
+of all that he was minded to have done, and in particular of the Hall;
+and Michelagnolo again encouraged and reassured him in that matter,
+lamenting, since he loved that Lord, that he was not young enough to
+be able to serve him. His Excellency said that he had discovered the
+way to work porphyry, a thing which Michelagnolo could not believe,
+and the Duke therefore sent him, as has been related in the first
+chapter of the Treatise on Theory, the head of Christ wrought by the
+sculptor Francesco del Tadda, at which he was astonished; and he
+visited the Duke several times the while that he stayed in Rome, to
+his vast satisfaction. He did the same a short time afterwards when
+the most Illustrious Don Francesco de' Medici, the Duke's son, went
+there, in whom Michelagnolo took much delight from the marks of regard
+and affection shown to him by his most Illustrious Excellency, who
+spoke with him always cap in hand, having infinite reverence for so
+rare a man; and Michelagnolo wrote to Vasari that it vexed him to be
+old and infirm, for he would have liked to do something for that Lord,
+but he was going about trying to buy some beautiful antique to send to
+him in Florence.
+
+Being requested at this time by the Pope for a design for the Porta
+Pia, Michelagnolo made three, all fantastic and most beautiful, of
+which the Pope chose the least costly for putting into execution; and
+it is now to be seen erected there, with much credit to him.
+Perceiving the inclination of the Pope, and hoping that he would
+restore the other gates of Rome, he made many other designs for him;
+and he did the like, at the request of the same Pontiff, in the matter
+of the new Church of S. Maria degli Angeli in the Baths of Diocletian,
+in order to convert them into a temple for the use of Christians. A
+design by his hand prevailed over many others made by excellent
+architects, being executed with such beautiful considerations for the
+convenience of the Carthusian Friars, who have now carried it almost
+to completion, that it caused his Holiness and all the prelates and
+lords of the Court to marvel at the judgment of the lovely conceptions
+that he had drawn, availing himself of all the skeleton of those
+baths, out of which was seen formed a most beautiful temple, with an
+entrance surpassing the expectations of all the architects; from which
+he acquired infinite praise and honour. For that place, also, he
+designed for his Holiness a Ciborium of the Sacrament in bronze, cast
+for the most part by Maestro Jacopo Ciciliano, an excellent
+bronze-caster, who makes his works come out very delicate and fine,
+without any roughness, so that they can be polished with little
+labour; in which field he is a rare master, and gave much satisfaction
+to Michelagnolo.
+
+[Illustration: S. MARIA DEGLI ANGELI
+
+(_After =Michelagnolo=. Rome_)
+
+_Alinari_]
+
+The Florentine colony had often talked among themselves of giving a
+good beginning to the Church of S. Giovanni in the Strada Giulia.
+Finally, all the heads of the richest houses having assembled
+together, they each promised to contribute in due proportion according
+to their means towards that fabric, insomuch that they contrived to
+collect a good sum of money; and then it was discussed among them
+whether it were better to follow the old lines or to have something
+new and finer. It was determined that something new should be erected
+upon the old foundations, and finally they elected three men to have
+the charge of the fabric, who were Francesco Bandini, Uberto Ubaldini,
+and Tommaso de' Bardi; and these requested Michelagnolo for a design,
+recommending themselves to him on the ground that it was a disgrace to
+their colony to have thrown away so much money without any kind of
+profit, and that, if his genius did not avail to finish the work, they
+had no other resource. He promised them to do it, with as much
+lovingness as he had ever shown in any work in the past, because in
+this his old age he readily gave his attention to sacred things, such
+as might redound to the honour of God, and also from affection for his
+fellow-Florentines, whom he loved always. Michelagnolo had with him at
+this conference the Florentine sculptor Tiberio Calcagni, a young man
+very ardent to learn art, who, after going to Rome, had turned his
+mind to the study of architecture. Loving him, Michelagnolo had given
+him to finish, as has been related, the Pieta in marble that he had
+broken, and, in addition, a head of Brutus in marble with the
+breast, considerably larger than life, to the end that he might
+finish it. Of this the head alone was carved, with certain most minute
+gradines, and he had taken it from a portrait of Brutus cut in a very
+ancient cornelian that was in the possession of Signor Giuliano
+Cesarino; which Michelagnolo was doing for Cardinal Ridolfi at the
+entreaty of Messer Donato Giannotti, his very dear friend, and it is a
+rare work. Michelagnolo, then, in matters of architecture, not being
+able by reason of old age to draw any more or to make accurate lines,
+was making use of Tiberio, because he was very gentle and discreet;
+and thus, desiring to avail himself of him in such an undertaking, he
+laid on him the charge of tracing the plan of the site of the
+above-named church. That plan having been traced and carried
+straightway to Michelagnolo, at a time when it was not thought that he
+was doing anything, he gave them to understand through Tiberio that he
+had carried out their wishes, and finally showed them five most
+beautiful ground-plans of temples; which having seen, they marvelled.
+He said to them that they should choose one that pleased them, and
+they, not wishing to do it, left the matter to his judgment, but he
+insisted that they should decide of their own free will; wherefore
+they all with one accord chose the richest. This having been adopted,
+Michelagnolo said to them that if they carried such a design to
+completion, neither the Greeks nor the Romans ever in their times
+executed such a work; words that neither before nor afterwards ever
+issued from the mouth of Michelagnolo, for he was very modest. Finally
+it was agreed that the direction should be left entirely to
+Michelagnolo, and that the labour of executing that work should fall
+to Tiberio; with all which they were content, Buonarroti promising
+them that Tiberio would serve them excellently well. And so, having
+given the ground-plan to Tiberio to be drawn accurately and with
+correct measurements, he drew for him the profiles both within and
+without, and bade him make a model of clay, teaching him the way to
+execute it so that it might stand firm. In ten days Tiberio executed a
+model of eight palms, which much pleased the whole Florentine colony,
+so that afterwards they caused to be made from it a model of wood,
+which is now in the residence of the Consuls of that colony; a thing
+as rare in its beauty, richness, and great variety, as any temple
+that has ever been seen. A beginning was made with the building, and
+five thousand crowns were spent; but the funds for the fabric failed,
+and so it was abandoned, at which Michelagnolo felt very great
+displeasure. He obtained for Tiberio the commission to finish under
+his direction, at S. Maria Maggiore, a chapel begun for Cardinal Santa
+Fiore; but it was left unfinished, on account of the death of the
+Cardinal, of Michelagnolo, and of Tiberio himself, the death of which
+young man was a very great loss.
+
+[Illustration: BRUTUS
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Brogi_]
+
+Michelagnolo had been seventeen years in the fabric of S. Pietro, and
+several times the deputies had tried to remove him from that position,
+but they had not succeeded, and they were seeking to oppose him in
+every matter now with one vexatious pretext and now with another,
+hoping that out of weariness, being now so old that he could do no
+more, he would retire before them. It happened in those days that
+Cesare da Castel Durante, who had been the overseer, died, and
+Michelagnolo, to the end that the fabric might not suffer, sent there
+Luigi Gaeta, who was too young but very competent, until he should
+find a man after his desire. The deputies (some of whom had many times
+made efforts to place there Nanni di Baccio Bigio, who was always
+urging them and promising great things), in order to be able to
+disturb the affairs of the fabric at their pleasure, sent Luigi Gaeta
+away, which having heard, Michelagnolo, as in anger, would no longer
+show himself at the fabric; whereupon they began to give out that he
+could do no more, that it was necessary to give him a substitute, and
+that he himself had said that he did not wish to be embroiled any
+longer with S. Pietro. All this came to the ears of Michelagnolo, who
+sent Daniello Ricciarelli of Volterra to Bishop Ferratino, one of the
+superintendents, who had said to the Cardinal of Carpi that
+Michelagnolo had told one of his servants that he did not wish to be
+mixed up with the fabric any longer; and Daniello said that this was
+by no means Michelagnolo's desire. Ferratino complained that
+Michelagnolo would not make his conception known, adding that it would
+be well for him to provide a substitute, and that he would have gladly
+accepted Daniello; and with this Michelagnolo appeared to be content.
+Thereupon Ferratino, having had the deputies informed in the name of
+Michelagnolo that they now had a substitute, presented not Daniello,
+but in his place Nanni di Baccio Bigio, who came in and was accepted
+by the superintendents. Before very long he gave orders to make a
+scaffolding of wood from the side of the Pope's stables, where the
+hill is, to rise above the great recess that is turned towards that
+side, and caused some stout beams of fir to be cut, saying that too
+many ropes were consumed in drawing up the materials, and that it was
+better to raise them by his method. Which having heard, Michelagnolo
+went straight to the Pope, who was on the Piazza di Campidoglio, and
+made so much noise that his Holiness made him go at once into a room,
+where he said: "Holy Father, there has been appointed as my substitute
+by the deputies a man of whom I know nothing; but if they are
+convinced, and also your Holiness, that I am no longer the proper man,
+I will return to rest in Florence, where I will enjoy the favours of
+that great Duke who has so long desired me, and will finish my life in
+my own house; I therefore beg your gracious leave." The Pope was vexed
+at this, and, consoling him with kind words, ordained that he should
+come to speak with him on the following day at the Araceli. There,
+having caused the deputies of the fabric to be assembled together, he
+desired to be informed of the reasons of what had happened: whereupon
+their answer was that the fabric was going to ruin, and that errors
+were being made in it. Which having heard not to be the truth, the
+Pope commanded Signor Gabrio Scerbellone that he should go to see the
+fabric for himself, and that Nanni, who was making these assertions,
+should show it to him. This was carried out, and Signor Gabrio found
+that the whole story was a malicious slander, and not the truth;
+wherefore Nanni was dismissed from that fabric with no very flattering
+words in the presence of many lords, being also reproached that by his
+fault the bridge of Santa Maria fell into ruin, and that at Ancona,
+seeking to do great things at little cost in the matter of cleaning
+out the harbour, he filled it up more in one day than the sea had done
+in ten years. Such was the end of Nanni in the fabric of S. Pietro.
+For that work Michelagnolo for seventeen years attended constantly to
+nothing but to establishing it securely with directions, doubting on
+account of those envious persecutions lest it might come to be
+changed after his death; so that at the present day it is strong
+enough to allow the vaulting to be raised with perfect security. Thus
+it has been seen that God, who is the protector of the good, defended
+him as long as he lived, and worked for the benefit of the fabric and
+for the defence of the master until his death. Moreover, Pius IV,
+living after him, commanded the superintendents of the fabric that
+nothing of what Michelagnolo had directed should be changed; and with
+even greater authority his successor, Pius V, caused it to be carried
+out, who, lest disorder should arise, insisted that the designs made
+by Michelagnolo should be carried into execution with the utmost
+fidelity, so that, when the architects Pirro Ligorio and Jacopo
+Vignuola were in charge of it, and Pirro wished presumptuously to
+disturb and alter those directions, he was removed with little honour
+from that fabric, and only Vignuola remained. Finally, that Pontiff
+being full of zeal no less for the honour of the fabric of S. Pietro
+than for the Christian religion, in the year 1565, when Vasari went to
+kiss the feet of his Holiness, and in the year 1566, when he was again
+summoned, nothing was discussed save the means to ensure the observing
+of the designs left by Michelagnolo; and his Holiness, in order to
+obviate all chance of disorder, commanded Vasari that he should go
+with Messer Guglielmo Sangalletti, the private treasurer of his
+Holiness, to seek out Bishop Ferratino, the head of the
+superintendents of S. Pietro, with orders from the Pontiff that he
+should listen to all the suggestions and records of importance that
+Vasari might impart to him, to the end that no words of any malignant
+and presumptuous person might ever cause to be disturbed any line or
+order left by the excellent genius of Michelagnolo of happy memory;
+and at that interview was present Messer Giovan Battista Altoviti, who
+was much the friend of Vasari and of these arts. And Ferratino, having
+heard a discourse that Vasari made to him, readily accepted every
+record, and promised to observe and to cause to be observed with the
+utmost fidelity in that fabric every order and design that
+Michelagnolo had left for that purpose, and, in addition, to be the
+protector, defender, and preserver of the labours of that great man.
+
+But to return to Michelagnolo: I must relate that about a year before
+his death, Vasari secretly prevailed upon Duke Cosimo de' Medici to
+persuade the Pope by means of Messer Averardo Serristori, his
+Ambassador, that, since Michelagnolo was much reduced, a diligent
+watch should be kept on those who were about him to take care of him,
+or who visited him at his house, and that, in the event of some sudden
+accident happening to him, such as might well happen to an old man, he
+should make arrangements for his property, designs, cartoons, models,
+money, and all his other possessions at the time of his death, to be
+set down in an inventory and placed in security, for the sake of the
+fabric of S. Pietro, so that, if there were things pertaining to that
+fabric, and also to the sacristy, library, and facade of S. Lorenzo,
+they might not be taken away, as is often wont to happen; and in the
+end, all this being duly carried out, such diligence had its reward.
+Leonardo, the nephew of Michelagnolo, was desirous to go during the
+coming Lent to Rome, as one who guessed that he was now come to the
+end of his life; and at this Michelagnolo was content. When,
+therefore, he fell sick of a slow fever, he straightway caused
+Daniello to write to Leonardo that he should come; but the illness
+grew worse, although Messer Federigo Donati, his physician, and his
+other attendants were about him, and with perfect consciousness he
+made his will in three sentences, leaving his soul in the hands of
+God, his body to the earth, and his substance to his nearest
+relatives, and enjoining on his friends that, at his passing from this
+life, they should recall to him the agony of Jesus Christ. And so at
+the twenty-third hour of the seventeenth day of February, in the year
+1563 (after the Florentine reckoning, which according to the Roman
+would be 1564), he breathed his last, to go to a better life.
+
+Michelagnolo was much inclined to the labours of art, seeing that
+everything, however difficult, succeeded with him, he having had from
+nature a genius very apt and ardent in these most noble arts of
+design. Moreover, in order to be entirely perfect, innumerable times
+he made anatomical studies, dissecting men's bodies in order to see
+the principles of their construction and the concatenation of the
+bones, muscles, veins, and nerves, the various movements and all the
+postures of the human body; and not of men only, but also of animals,
+and particularly of horses, which last he much delighted to keep. Of
+all these he desired to learn the principles and laws in so far as
+touched his art, and this knowledge he so demonstrated in the works
+that fell to him to handle, that those who attend to no other study
+than this do not know more. He so executed his works, whether with the
+brush or with the chisel, that they are almost inimitable, and he gave
+to his labours, as has been said, such art and grace, and a loveliness
+of such a kind, that (be it said without offence to any) he surpassed
+and vanquished the ancients; having been able to wrest things out of
+the greatest difficulties with such facility, that they do not appear
+wrought with effort, although whoever draws his works after him finds
+enough in imitating them.
+
+The genius of Michelagnolo was recognized in his lifetime, and not, as
+happens to many, after death, for it has been seen that Julius II, Leo
+X, Clement VII, Paul III, Julius III, Paul IV, and Pius IV, all
+supreme Pontiffs, always wished to have him near them, and also, as is
+known, Suleiman, Emperor of the Turks, Francis of Valois, King of
+France, the Emperor Charles V, the Signoria of Venice, and finally, as
+has been related, Duke Cosimo de' Medici; all offering him honourable
+salaries, for no other reason but to avail themselves of his great
+genius. This does not happen save to men of great worth, such as he
+was; and it is evident and well known that all these three arts were
+so perfected in him, that it is not found that among persons ancient
+or modern, in all the many years that the sun has been whirling round,
+God has granted this to any other but Michelagnolo. He had imagination
+of such a kind, and so perfect, and the things conceived by him in
+idea were such, that often, through not being able to express with the
+hands conceptions so terrible and grand, he abandoned his works--nay,
+destroyed many of them; and I know that a little before he died he
+burned a great number of designs, sketches, and cartoons made with his
+own hand, to the end that no one might see the labours endured by him
+and his methods of trying his genius, and that he might not appear
+less than perfect. Of such I have some by his hand, found in Florence,
+and placed in my book of drawings; from which, although the greatness
+of that brain is seen in them, it is evident that when he wished to
+bring forth Minerva from the head of Jove, he had to use Vulcan's
+hammer. Thus he used to make his figures in the proportion of nine,
+ten, and even twelve heads, seeking nought else but that in putting
+them all together there should be a certain harmony of grace in the
+whole, which nature does not present; saying that it was necessary to
+have the compasses in the eyes and not in the hand, because the hands
+work and the eye judges; which method he used also in architecture.
+
+No one should think it strange that Michelagnolo delighted in
+solitude, he having been one who was enamoured of his art, which
+claims a man, with all his thoughts, for herself alone; moreover, it
+is necessary that he who wishes to attend to her studies should shun
+society, and, while attending to the considerations of art, he is
+never alone or without thoughts. And those who attributed it to
+caprice and eccentricity are wrong, because he who wishes to work well
+must withdraw himself from all cares and vexations, since art demands
+contemplation, solitude, and ease of life, and will not suffer the
+mind to wander. For all this, he prized the friendship of many great
+persons and of learned and ingenious men, at convenient times; and
+these he maintained. Thus the great Cardinal Ippolito de' Medici loved
+him greatly, and, having heard that a Turkish horse that he possessed
+pleased Michelagnolo because of its beauty, it was sent as a present
+to him by the liberality of that lord, with ten mules laden with
+fodder, and a serving-man to attend to it; and Michelagnolo accepted
+it willingly. The illustrious Cardinal Pole was much his friend,
+Michelagnolo being enamoured of his goodness and his talents; also
+Cardinal Farnese, and Santa Croce, which latter afterwards became Pope
+Marcellus, Cardinal Ridolfi, Cardinal Maffeo, Monsignor Bembo, Carpi,
+and many other Cardinals, Bishops, and Prelates, whom it is not
+necessary to name. Others were Monsignor Claudio Tolomei, the
+Magnificent Messer Ottaviano de' Medici, his gossip, whose son he held
+at baptism, and Messer Bindo Altoviti, to whom he presented that
+cartoon of the Chapel in which Noah, drunk with wine, is derided by
+one of his sons, and his nakedness is covered by the two others; M.
+Lorenzo Ridolfi, M. Annibale Caro, and M. Giovan Francesco Lottini of
+Volterra. But infinitely more than any of the others he loved M.
+Tommaso de' Cavalieri, a Roman gentleman, for whom, being a young man
+and much inclined to these arts, he made, to the end that he might
+learn to draw, many most superb drawings of divinely beautiful heads,
+designed in black and red chalk; and then he drew for him a Ganymede
+rapt to Heaven by Jove's Eagle, a Tityus with the Vulture devouring
+his heart, the Chariot of the Sun falling with Phaethon into the Po,
+and a Bacchanal of children, which are all in themselves most rare
+things, and drawings the like of which have never been seen.
+Michelagnolo made a life-size portrait of Messer Tommaso in a cartoon,
+and neither before nor afterwards did he take the portrait of anyone,
+because he abhorred executing a resemblance to the living subject,
+unless it were of extraordinary beauty. These drawings, on account of
+the great delight that M. Tommaso took in them, were the reason that
+he afterwards obtained a good number, miraculous things, which
+Michelagnolo once drew for Fra Sebastiano Viniziano, who carried them
+into execution; and in truth he rightly treasures them as reliques,
+and he has courteously given craftsmen access to them. Of a truth
+Michelagnolo always placed his affections with persons noble,
+deserving, and worthy of them, for he had true judgment and taste in
+all things.
+
+[Illustration: UNFINISHED FIGURE
+
+(_After =Michelagnolo=. Florence: Museo Nazionale_)
+
+_Brogi_]
+
+M. Tommaso afterwards caused Michelagnolo to make many designs for
+friends, such as that of the picture for Cardinal di Cesis, wherein is
+Our Lady receiving the Annunciation from the Angel, a novel thing,
+which was afterwards executed in colours by Marcello Mantovano and
+placed in the marble chapel which that Cardinal caused to be built in
+the Church of the Pace at Rome. So, also, with another Annunciation
+coloured likewise by the hand of Marcello in a picture in the Church
+of S. Giovanni Laterano, the design of which belongs to Duke Cosimo
+de' Medici, having been presented after Michelagnolo's death by his
+nephew Leonardo Buonarroti to his Excellency, who cherishes it as a
+jewel, together with a Christ praying in the Garden and many other
+designs, sketches, and cartoons by the hand of Michelagnolo, and
+likewise the statue of Victory with a captive beneath, five braccia in
+height, and four captives in the rough which serve to teach us how to
+carve figures from the marble by a method secure from any chance of
+spoiling the stone; which method is as follows. You take a figure in
+wax or some other solid material, and lay it horizontally in a vessel
+of water, which water being by its nature flat and level at the
+surface, as you raise the said figure little by little from the level,
+so it comes about that the more salient parts are revealed, while the
+lower parts--those, namely, on the under side of the figure--remain
+hidden, until in the end it all comes into view. In the same manner
+must figures be carved out of marble with the chisel, first laying
+bare the more salient parts, and then little by little the lower
+parts; and this method may be seen to have been followed by
+Michelagnolo in the above-mentioned captives, which his Excellency
+wishes to be used as exemplars for his Academicians.
+
+Michelagnolo loved his fellow-craftsmen, and held intercourse with
+them, as with Jacopo Sansovino, Rosso, Pontormo, Daniello da Volterra,
+and Giorgio Vasari of Arezzo, to which last he showed innumerable
+kindnesses; and he was the reason that Giorgio gave his attention to
+architecture, intending to make use of him some day, and he readily
+conferred and discussed matters of art with him. Those who say that he
+was not willing to teach are wrong, because he was always willing with
+his intimates and with anyone who asked him for counsel; and I have
+been present on many such occasions, but of these, out of
+consideration, I say nothing, not wishing to reveal the deficiencies
+of others. It may be urged that he had bad fortune with those who
+lived with him in his house, which was because he hit upon natures
+little able to imitate him. Thus, Pietro Urbano of Pistoia, his pupil,
+was a man of parts, but would never exert himself. Antonio Mini was
+willing, but had no aptitude of brain; and when the wax is hard it
+does not readily take an impression. Ascanio dalla Ripa Transone took
+great pains, but of this no fruits were ever seen either in designs or
+in finished works, and he toiled several years over a picture for
+which Michelagnolo had given him a cartoon. In the end, all the good
+expectation in which he was held vanished in smoke; and I remember
+that Michelagnolo would be seized with compassion for his toil, and
+would assist him with his own hand, but this profited him little. If
+he had found a nature after his heart, as he told me several times, in
+spite of his age he would often have made anatomical studies, and
+would have written upon them, for the benefit of his fellow-craftsmen;
+for he was disappointed by several. But he did not trust himself,
+through not being able to express himself in writing as he would have
+liked, because he was not practised in diction, although in the prose
+of his letters he explained his conceptions very well in a few words.
+He much delighted in readings of the poets in the vulgar tongue, and
+particularly of Dante, whom he much admired, imitating him in his
+conceptions and inventions; and so with Petrarca, having delighted to
+make madrigals and sonnets of great weight, upon which commentaries
+have been written. M. Benedetto Varchi gave a lecture in the
+Florentine Academy upon that sonnet which begins--
+
+  Non ha l'ottimo artista alcun concetto
+  Ch'un marmo solo in se non circonscriva.
+
+Michelagnolo sent a vast number by his own hand--receiving answers in
+rhyme and in prose--to the most illustrious Marchioness of Pescara, of
+whose virtues he was enamoured, and she likewise of his; and she went
+many times to Rome from Viterbo to visit him, and Michelagnolo
+designed for her a Dead Christ in the lap of Our Lady, with two little
+Angels, all most admirable, and a Christ fixed on the Cross, who, with
+the head uplifted, is recommending His Spirit to the Father, a divine
+work; and also a Christ with the Woman of Samaria at the well. He much
+delighted in the sacred Scriptures, like the excellent Christian that
+he was; and he held in great veneration the works written by Fra
+Girolamo Savonarola, because he had heard the voice of that friar in
+the pulpit. He greatly loved human beauty for the sake of imitation in
+art, being able to select from the beautiful the most beautiful, for
+without this imitation no perfect work can be done; but not with
+lascivious and disgraceful thoughts, as he proved by his way of life,
+which was very frugal. Thus, when he was young, all intent on his
+work, he contented himself with a little bread and wine, and this he
+continued when old until the time when he was painting the Judgment in
+the Chapel, taking his refreshment in the evening when he had finished
+the day's work, but always very frugally. And, although he was rich,
+he lived like a poor man, nor did any friend ever eat at his table,
+or rarely; and he would not accept presents from anyone, because it
+appeared to him that if anyone gave him something, he would be bound
+to him for ever. This sober life kept him very active and in want of
+very little sleep, and often during the night, not being able to
+sleep, he would rise to labour with the chisel; having made a cap of
+thick paper, and over the centre of his head he kept a lighted candle,
+which in this way threw light over where he was working without
+encumbering his hands. Vasari, who had seen the cap several times,
+reflecting that he did not use wax, but candles of pure goat's tallow,
+which are excellent, sent him four bundles of these, which weighed
+forty libbre. And his servant with all courtesy carried them to him at
+the second hour of the evening, and presented them to him; but
+Michelagnolo refused them, declaring that he did not want them; and
+then the servant said: "They have broken my arms on the way between
+the bridge and here, and I shall not carry them back to the house. Now
+here in front of your door there is a solid heap of mud; they will
+stand in it beautifully, and I will set them all alight." Michelagnolo
+said to him: "Put them down here, for I will not have you playing
+pranks at my door."
+
+He told me that often in his youth he slept in his clothes, being
+weary with labour and not caring to take them off only to have to put
+them on again later. There are some who have taxed him with being
+avaricious, but they are mistaken, for both with works of art and with
+his substance he proved the contrary. Of works of art, as has been
+seen and related, he presented to M. Tommaso de' Cavalieri, to Messer
+Bindo, and to Fra Sebastiano, designs of considerable value; and to
+Antonio Mini, his pupil, all his designs, all his cartoons, and the
+picture of the Leda, and all the models in clay and wax that he ever
+made, which, as has been related, were all left in France. To Gherardo
+Perini, a Florentine gentleman who was very much his friend, he gave
+three sheets with some divine heads in black chalk, which since
+Perini's death have come into the hands of the most illustrious Don
+Francesco, Prince of Florence, who treasures them as jewels, as indeed
+they are; for Bartolommeo Bettini he made a cartoon, which he
+presented to him, of a Venus with a Cupid that is kissing her, a
+divine thing, which is now in the possession of Bettini's heirs in
+Florence, and for the Marchese del Vasto he made a cartoon of a "Noli
+me Tangere," a rare thing; and these two last were painted excellently
+well by Pontormo, as has been related. He presented the two Captives
+to Signor Ruberto Strozzi, and the Pieta in marble, which he broke, to
+Antonio, his servant, and to Francesco Bandini. I know not, therefore,
+how this man can be taxed with avarice, he having given away so many
+things for which he could have obtained thousands of crowns. What
+better proof can I give than this, that I know from personal
+experience that he made many designs and went to see many pictures and
+buildings, without demanding any payment? But let us come to the money
+earned by him by the sweat of his brow, not from revenues, not from
+traffickings, but from his own study and labour. Can he be called
+avaricious who succoured many poor persons, as he did, and secretly
+married off a good number of girls, and enriched those who served him
+and assisted him in his works, as with his servant Urbino, whom he
+made a very rich man? This Urbino was his man of all work, and had
+served him a long time; and Michelagnolo said to him: "If I die, what
+will you do?" And he answered: "I will serve another master." "You
+poor creature," said Michelagnolo, "I will save you from such misery";
+and presented two thousand crowns to him in one sum, an act such as is
+generally left to Caesars and Pontiffs. To his nephew, moreover, he
+gave three and four thousand crowns at a time, and at the end he left
+him ten thousand crowns, besides the property in Rome.
+
+Michelagnolo was a man of tenacious and profound memory, so that, on
+seeing the works of others only once, he remembered them perfectly,
+and could avail himself of them in such a manner, that scarcely anyone
+has ever noticed it; nor did he ever do anything that resembled
+another thing by his hand, because he remembered everything that he
+had done. In his youth, being once with his painter-friends, they
+played for a supper for him who should make a figure most completely
+wanting in design and clumsy, after the likeness of the puppet-figures
+which those make who know nothing, scrawling upon walls; and in this
+he availed himself of his memory, for he remembered having seen one
+of those absurdities on a wall, and drew it exactly as if he had had
+it before him, and thus surpassed all those painters--a thing
+difficult for a man so steeped in design, and accustomed to choice
+works, to come out of with credit. He was full of disdain, and
+rightly, against anyone who did him an injury, but he was never seen
+to run to take revenge; nay, rather, he was most patient, modest in
+all his ways, very prudent and wise in his speech, with answers full
+of weight, and at times sayings most ingenious, amusing, and acute. He
+said many things that have been written down by me, of which I shall
+include only a few, because it would take too long to give them all. A
+friend having spoken to him of death, saying that it must grieve him
+much, because he had lived in continual labour in matters of art, and
+had never had any repose, he answered that all that was nothing,
+because, if life is a pleasure to us, death, being likewise by the
+hand of one and the same master, should not displease us. To a citizen
+who found him by Orsanmichele in Florence, where he had stopped to
+gaze at Donato's statue of S. Mark, and who asked him what he thought
+of that figure, Michelagnolo answered that he had never seen a figure
+that had more of the air of a good man than that one, and that, if S.
+Mark was like that, one could give credence to what he had written.
+Being shown the drawing of a boy then beginning to learn to draw, who
+was recommended to him, some persons excusing him because it was not
+long since he had applied himself to art, he replied: "That is
+evident." He said a similar thing to a painter who had painted a
+Pieta, and had not acquitted himself well: "It is indeed a pitiful
+thing to see." Having heard that Sebastiano Viniziano had to paint a
+friar in the chapel of S. Pietro a Montorio, he said that this would
+spoil the work for him; and being asked why he said that, he answered:
+"Since they have spoiled the world, which is so large, it would not be
+surprising if they were to spoil such a small thing as that chapel." A
+painter had executed a work with very great pains, toiling over it a
+long time; but when it was given to view he had made a considerable
+profit. Michelagnolo was asked what he thought of the craftsman, and
+he answered: "As long as this man strives to be rich, he will always
+remain a poor creature." One of his friends who was a churchman, and
+used formerly to say Mass, having arrived in Rome all covered with
+points and silk, saluted Michelagnolo; but he pretended not to see
+him, so that the friend was forced to declare his name to him.
+Michelagnolo expressed marvel that he should be in that habit, and
+then added, as it were to congratulate him: "Oh, but you are
+magnificent! If you were as fine within as I see you to be without, it
+would be well with your soul." The same man had recommended a friend
+to Michelagnolo (who had given him a statue to execute), praying him
+that he should have something more given to him, which Michelagnolo
+graciously did; but the envy of the friend, who had made the request
+to Michelagnolo only in the belief that he would not grant it, brought
+it about that, perceiving that the master had granted it after all, he
+complained of it. This matter was reported to Michelagnolo, and he
+answered that he did not like men made like sewers, using a metaphor
+from architecture, and meaning that it is difficult to have dealings
+with men who have two mouths. Being asked by a friend what he thought
+of one who had counterfeited in marble some of the most celebrated
+antique figures, and boasted that in his imitations he had surpassed
+the antiques by a great measure, Michelagnolo replied: "He who goes
+behind others can never go in front of them, and he who is not able to
+work well for himself cannot make good use of the works of others." A
+certain painter, I know not who, had executed a work wherein was an
+ox, which looked better than any other part; and Michelagnolo, being
+asked why the painter had made the ox more lifelike than the rest,
+said: "Any painter can make a good portrait of himself." Passing by S.
+Giovanni in Florence, he was asked his opinion of those doors, and he
+answered: "They are so beautiful that they would do well at the gates
+of Paradise." While serving a Prince who kept changing plans every
+day, and would never stand firm, Michelagnolo said to a friend: "This
+lord has a brain like a weather-cock, which turns round with every
+wind that blows on it." He went to see a work of sculpture which was
+about to be sent out because it was finished, and the sculptor was
+taking much trouble to arrange the lights from the windows, to the end
+that it might show up well; whereupon Michelagnolo said to him: "Do
+not trouble yourself; the important thing will be the light of the
+Piazza"; meaning to infer that when works are in public places, the
+people must judge whether they are good or bad. There was a great
+Prince in Rome who had a notion to play the architect, and he had
+caused certain niches to be built in which to place figures, each
+three squares high, with a ring at the top; and having tried to place
+various statues within these niches, which did not turn out well, he
+asked Michelagnolo what he should place in them, and he answered:
+"Hang bunches of eels from those rings." There was appointed to the
+government of the fabric of S. Pietro a gentleman who professed to
+understand Vitruvius, and to be a critic of the work done.
+Michelagnolo was told, "You have obtained for the fabric one who has a
+great intelligence"; and he answered, "That is true, but he has a bad
+judgment." A painter had executed a scene, and had copied many things
+from various other works, both drawings and pictures, nor was there
+anything in that work that was not copied. It was shown to
+Michelagnolo, who, having seen it, was asked by a very dear friend
+what he thought of it, and he replied: "He has done well, but I know
+not what this scene will do on the day of Judgment, when all bodies
+shall recover their members, for there will be nothing left of it"--a
+warning to those who practise art, that they should make a habit of
+working by themselves. Passing through Modena, he saw many beautiful
+figures by the hand of Maestro Antonio Bigarino,[5] a sculptor of
+Modena, made of terra-cotta and coloured in imitation of marble, which
+appeared to him to be excellent works; and, since that sculptor did
+not know how to work marble, Michelagnolo said: "If this clay were to
+become marble, woe to the ancient statues." Michelagnolo was told that
+he should show resentment against Nanni di Baccio Bigio, who was
+seeking every day to compete with him; but he answered: "He who
+contends with men of no account never gains a victory." A priest, his
+friend, said to him: "It is a pity that you have not taken a wife, so
+that you might have had many children and left them all your
+honourable labours." And Michelagnolo replied: "I have only too much
+of a wife in this art of mine, who has always kept me in tribulation,
+and my children shall be the works that I may leave, which, even if
+they are naught, will live a while. Woe to Lorenzo di Bartoluccio
+Ghiberti, if he had not made the gates of S. Giovanni, for his
+children and grandchildren sold or squandered all that he left, but
+the gates are still standing." Vasari, sent by Julius III to
+Michelagnolo's house for a design at the first hour of the night,
+found him working at the Pieta in marble that he broke. Michelagnolo,
+recognizing him by the knock at the door, left his work and took a
+lamp with his hand by the handle; Vasari explained what he wanted,
+whereupon Michelagnolo sent Urbino upstairs for the design, and then
+they entered into another conversation. Meanwhile Vasari turned his
+eyes to examine a leg of the Christ at which he was working, seeking
+to change it; and, in order to prevent Vasari from seeing it, he let
+the lamp fall from his hand, and they were left in darkness. He called
+to Urbino to bring a light, and meanwhile came forth from the
+enclosure where the work was, and said: "I am so old that death often
+pulls me by the cloak, that I may go with him, and one day this body
+of mine will fall like the lamp, and the light of my life will be
+spent."
+
+         [Footnote 5: Begarelli.]
+
+For all this, he took pleasure in certain kinds of men after his
+taste, such as Menighella, a commonplace and clownish painter of
+Valdarno, who was a most diverting person. He would come at times to
+Michelagnolo, that he might make for him a design of S. Rocco or S.
+Anthony, to be painted for peasants; and Michelagnolo, who was with
+difficulty persuaded to work for Kings, would deign to set aside all
+his other work and make him simple designs suited to his manner and
+his wishes, as Menighella himself used to say. Among other things,
+Menighella persuaded him to make a model of a Crucifix, which was very
+beautiful; of this he made a mould, from which he formed copies in
+pasteboard and other materials, and these he went about selling
+throughout the countryside. Michelagnolo would burst out laughing at
+him, particularly because he used to meet with fine adventures, as
+with a countryman who commissioned him to paint a S. Francis, and was
+displeased because Menighella had made the vestment grey, whereas he
+would have liked it of a finer colour; whereupon Menighella painted
+over the Saint's shoulders a pluvial of brocade, and so contented him.
+
+He loved, likewise, the stone-cutter Topolino, who had a notion of
+being an able sculptor, but was in truth very feeble. This man spent
+many years in the mountains of Carrara, sending marble to
+Michelagnolo; nor would he ever send a boatload without adding to it
+three or four little figures blocked out with his own hand, at which
+Michelagnolo would die of laughing. Finally Topolino returned, and,
+having blocked out a Mercury from a piece of marble, he set himself to
+finish it; and one day, when there was little left to do, he desired
+that Michelagnolo should see it, and straitly besought him that he
+should tell him his opinion. "You are a madman to try to make figures,
+Topolino," said Michelagnolo. "Do you not see that your Mercury is
+more than a third of a braccio too short between the knees and the
+feet, and that you have made him a dwarf and all misshapen?" "Oh, that
+is nothing! If there is nothing else wrong, I will put it right; leave
+it to me." Michelagnolo laughed once more at his simplicity; and when
+he was gone, Topolino took a piece of marble, and, having cut the
+Mercury a quarter of a braccio below the knees, he let it into the new
+piece of marble and joined it neatly together, making a pair of
+buskins for the Mercury, the tops of which were above the joins; and
+so he added the length required. Then he invited Michelagnolo to come,
+and showed him his work once again; and the master laughed, marvelling
+that such simpletons, when driven by necessity, form resolutions of
+which able men are not capable.
+
+While Michelagnolo was having the tomb of Julius II finished, he
+caused a marble-hewer to execute a terminal figure for placing in the
+tomb in S. Pietro in Vincola, saying to him, "Cut away this to-day,"
+"Level that," "Polish here"; insomuch that, without the other noticing
+it, he enabled him to make a figure. Wherefore, when it was finished,
+the man gazed at it marvelling; and Michelagnolo said: "What do you
+think of it?" "I think it fine," he answered, "and I am much obliged
+to you." "Why so?" asked Michelagnolo. "Because by your means I have
+discovered a talent that I did not know I possessed."
+
+Now, to be brief, I must record that the master's constitution was
+very sound, for he was lean and well knit together with nerves, and
+although as a boy he was delicate, and as a man he had two serious
+illnesses, he could always endure any fatigue and had no infirmity,
+save that in his old age he suffered from dysuria and from gravel,
+which in the end developed into the stone; wherefore for many years he
+was syringed by the hand of Maestro Realdo Colombo, his very dear
+friend, who treated him with great diligence. He was of middle
+stature, broad in the shoulders, but well proportioned in all the rest
+of the body. In his latter years he wore buskins of dogskin on the
+legs, next to the skin, constantly for whole months together, so that
+afterwards, when he sought to take them off, on drawing them off the
+skin often came away with them. Over the stockings he wore boots of
+cordwain fastened on the inside, as a protection against damp. His
+face was round, the brow square and spacious, with seven straight
+lines, and the temples projected considerably beyond the ears; which
+ears were somewhat on the large side, and stood out from the cheeks.
+The body was in proportion to the face, or rather on the large side;
+the nose somewhat flattened, as was said in the Life of Torrigiano,
+who broke it for him with his fist; the eyes rather on the small side,
+of the colour of horn, spotted with blueish and yellowish gleams; the
+eyebrows with few hairs, the lips thin, with the lower lip rather
+thicker and projecting a little, the chin well shaped and in
+proportion with the rest, the hair black, but mingled with white
+hairs, like the beard, which was not very long, forked, and not very
+thick.
+
+Truly his coming was to the world, as I said at the beginning, an
+exemplar sent by God to the men of our arts, to the end that they
+might learn from his life the nature of noble character, and from his
+works what true and excellent craftsmen ought to be. And I, who have
+to praise God for infinite blessings, as is seldom wont to happen with
+men of our profession, count it among the greatest blessings that I
+was born at the time when Michelagnolo was alive, that I was thought
+worthy to have him as my master, and that he was so much my friend and
+intimate, as everyone knows, and as the letters written by him to me,
+now in my possession, bear witness; and out of love for truth, and
+also from the obligation that I feel to his loving kindness, I have
+contrived to write many things of him, and all true, which many others
+have not been able to do. Another blessing he used to point out to me
+himself: "You should thank God, Giorgio, who has caused you to serve
+Duke Cosimo, who, in his contentment that you should build and paint
+and carry into execution his conceptions and designs, has grudged no
+expense; and you will remember, if you consider it, that the others
+whose Lives you have written did not have such advantages."
+
+With most honourable obsequies, and with a concourse of all the
+craftsmen, all his friends, and all the Florentine colony,
+Michelagnolo was given burial in a sepulchre at S. Apostolo, in the
+sight of all Rome; his Holiness having intended to make him some
+particular memorial and tomb in S. Pietro at Rome. Leonardo, his
+nephew, arrived when all was over, although he travelled post. When
+Duke Cosimo was informed of the event, he confirmed his resolve that
+since he had not been able to have him and honour him alive, he would
+have him brought to Florence and not hesitate to honour him with all
+manner of pomp after death; and the body was sent secretly in a bale,
+under the title of merchandise, which method was adopted lest there
+might be a tumult in Rome, and lest perchance the body of Michelagnolo
+might be detained and prevented from leaving Rome for Florence. But
+before the body arrived, the news of the death having been heard, the
+principal painters, sculptors, and architects were assembled together
+at the summons of the Lieutenant of their Academy, and they were
+reminded by that Lieutenant, who at that time was the Reverend Don
+Vincenzio Borghini, that they were obliged by virtue of their statutes
+to pay due honour to the death of any of their brethren, and that,
+they having done this so lovingly and with such universal satisfaction
+in the obsequies of Fra Giovanni Agnolo Montorsoli, who had been the
+first to die after the creation of the Academy, they should look well
+to what it might be proper for them to do in honour of Buonarroti, who
+had been elected by an unanimous vote of the whole body of the Company
+as the first Academician and the head of them all. To which proposal
+they all replied, as men most deeply indebted and affected to the
+genius of so great a man, that at all costs pains should be taken to
+do him honour in the best and finest ways available to them. This
+done, in order not to have to assemble so many persons together every
+day, to their great inconvenience, and to the end that matters might
+proceed more quietly, four men were elected as heads of the obsequies
+and the funeral pomp that were to be held; the painters Agnolo
+Bronzino and Giorgio Vasari, and the sculptors Benvenuto Cellini and
+Bartolommeo Ammanati, all men of illustrious name and eminent ability
+in their arts; to the end, I say, that they might consult and
+determine between themselves and the Lieutenant what was to be done in
+each particular, and in what way, with authority and power to dispose
+of the whole body of the Company and Academy. This charge they
+accepted all the more willingly because all the members, young and
+old, each in his own profession, offered their services for the
+execution of such pictures and statues as had to be done for that
+funeral pomp. They then ordained that the Lieutenant, in pursuance of
+his office, and the Consuls, in the name of the Company and Academy,
+should lay the whole matter before the Lord Duke, and beseech him for
+all the aids and favours that might be necessary, and especially for
+permission to have those obsequies held in S. Lorenzo, the church of
+the most illustrious House of Medici; wherein are the greater part of
+the works by the hand of Michelagnolo that there are to be seen in
+Florence; and, in addition, that his Excellency should allow Messer
+Benedetto Varchi to compose and deliver the funeral oration, to the
+end that the excellent genius of Michelagnolo might be extolled by the
+rare eloquence of a man so great as was Varchi, who, being in the
+particular service of his Excellency, would not have undertaken such a
+charge without a word from him, although they were very certain that,
+as one most loving by nature and deeply affected to the memory of
+Michelagnolo, of himself he would never have refused. This done, and
+the Academicians dismissed, the above-named Lieutenant wrote to the
+Lord Duke a letter of this precise tenor:
+
+"The Academy and Company of Painters and Sculptors having resolved
+among themselves, if it should please your most illustrious
+Excellency, to do honour in some sort to the memory of Michelagnolo
+Buonarroti, both from the general obligation due from their profession
+to the extraordinary genius of one who was perhaps the greatest
+craftsman who has ever lived, and from their particular obligation
+through their belonging to a common country, and also because of the
+great advantage that these professions have received from the
+perfection of his works and inventions, insomuch that they hold
+themselves obliged to prove their affection to his genius in whatever
+way they are able, they have laid this their desire before your
+illustrious Excellency in a letter, and have besought you, as their
+peculiar refuge, for a certain measure of assistance. I, entreated by
+them, and being, as I think, obliged because your most illustrious
+Excellency has been content that I should be again this year in their
+Company with the title of your Lieutenant, with the added reason that
+the proposal is a generous one and worthy of virtuous and grateful
+minds, and, above all, knowing how your most illustrious Excellency is
+the patron of talent, and as it were a haven and unique protector for
+ingenious persons in this age, even surpassing in this respect your
+forefathers, who bestowed extraordinary favours on those excellent in
+these professions, as, by order of the Magnificent Lorenzo, Giotto,
+already so long dead, received a statue in the principal church, and
+Fra Filippo a most beautiful tomb of marble at his expense, while many
+others obtained the greatest benefits and honours on various
+occasions; moved, I say, by all these reasons, I have taken it upon
+myself to recommend to your most illustrious Excellency the petition
+of this Academy, that they may be able to do honour to the genius of
+Michelagnolo, the particular nursling and pupil of the school of the
+Magnificent Lorenzo, which will be an extraordinary pleasure to them,
+a vast satisfaction to men in general, no small incitement to the
+professors of these arts, and to all Italy a proof of the lofty mind
+and overflowing goodness of your most illustrious Excellency, whom may
+God long preserve in happiness for the benefit of your people and the
+support of every talent."
+
+To which letter the above-named Lord Duke answered thus:
+
+"REVEREND AND WELL-BELOVED FRIEND,
+
+"The zeal that this Academy has displayed, and continues to display,
+to honour the memory of Michelagnolo Buonarroti, who has passed from
+this to a better life, has given us much consolation for the loss of a
+man so extraordinary; and we wish not only to satisfy them in all
+that they have demanded in their memorial, but also to have his
+remains brought to Florence, which, according as we are informed, was
+his own desire. All this we are writing to the aforesaid Academy, to
+encourage them to celebrate by every possible means the genius of that
+great man. May God content you in your desire."
+
+Of the letter, or rather, memorial, of which mention has been made
+above, addressed by the Academy to the Lord Duke, the tenor was as
+follows:
+
+"MOST ILLUSTRIOUS, ETC.
+
+"The Academy and the Men of the Company of Design, created by the
+grace and favour of your most illustrious Excellency, knowing with
+what solicitude and affection you caused the body of Michelagnolo
+Buonarroti to be brought to Florence by means of your representative
+in Rome, have assembled together and have unanimously determined that
+they shall celebrate his obsequies in the best manner in their power
+and knowledge. Wherefore they, knowing that your most illustrious
+Excellency was revered by him as much as you yourself loved him,
+beseech you that you should deign in your infinite goodness and
+liberality to grant to them, first, that they may be allowed to
+celebrate the said obsequies in the Church of S. Lorenzo, a church
+built by your ancestors, in which are so many beautiful works wrought
+by his hand, both in architecture and in sculpture, and near which you
+are minded to have erected a place that shall be as it were a nest and
+an abiding school of architecture, sculpture, and painting, for the
+above-named Academy and Company of Design. Secondly, they pray you
+that you should consent to grant a commission to Messer Benedetto
+Varchi that he shall not only compose the funeral oration, but also
+deliver it with his own mouth, as he has promised most freely that he
+would do, when besought by us, in the event of your most illustrious
+Excellency consenting. In the third place, they entreat and pray you
+that you should deign, in the same goodness and liberality of your
+heart, to supply them with all that may be necessary for them in
+celebrating the above-mentioned obsequies, over and above their own
+resources, which are very small. All these matters, and each singly,
+have been discussed and determined in the presence and with the
+consent of the most Magnificent and Reverend Monsignor, Messer
+Vincenzio Borghini, Prior of the Innocenti and Lieutenant of your most
+illustrious Excellency in the aforesaid Academy and Company of Design,
+which, etc."
+
+To which letter of the Academy the Duke made this reply:
+
+"WELL-BELOVED ACADEMICIANS,
+
+"We are well content to give full satisfaction to your petitions, so
+great is the affection that we have always borne to the rare genius of
+Michelagnolo Buonarroti, and that we still bear to all your
+profession; do not hesitate, therefore, to carry out all that you have
+proposed to do in his obsequies, for we will not fail to supply
+whatever you need. Meanwhile, we have written to Messer Benedetto
+Varchi in the matter of the oration, and to the Director of the
+Hospital with regard to anything more that may be necessary in this
+undertaking. Fare you well.
+
+                                                          "PISA."
+
+The letter to Varchi was as follows:
+
+"MESSER BENEDETTO, OUR WELL-BELOVED,
+
+"The affection that we bear to the rare genius of Michelagnolo
+Buonarroti makes us desire that his memory should be honoured and
+celebrated in every possible way. It will be pleasing to us,
+therefore, that you for love of us shall undertake the charge of
+composing the oration that is to be delivered at his obsequies,
+according to the arrangements made by the deputies of the Academy; and
+still more pleasing that it should be delivered by your own lips. Fare
+you well."
+
+Messer Bernardino Grazzini, also, wrote to the above-named deputies
+that they could not have expected in the Duke any desire in that
+matter more ardent than that which he had shown, and that they might
+be assured of every aid and favour from his most illustrious
+Excellency.
+
+While these matters were being discussed in Florence, Leonardo
+Buonarroti, Michelagnolo's nephew (who, when informed of his uncle's
+illness, had made his way to Rome by post, but had not found him
+alive), having heard from Daniello da Volterra, who had been the very
+familiar friend of Michelagnolo, and also from others who had been
+about the person of that saintly old man, that he had requested and
+prayed that his body should be carried to Florence, that most noble
+city of his birth, of which he was always a most tender lover;
+Leonardo, I say, with prompt and therefore good resolution, removed
+the body cautiously from Rome and sent it off to Florence in a bale,
+as if it had been a piece of merchandise. And here I must not omit to
+say that this final resolution of Michelagnolo's proved a thing
+against the opinion of certain persons, but nevertheless very true,
+namely, that his absence for so many years from Florence had been
+caused by no other thing but the nature of the air, for the reason
+that experience had taught him that the air of Florence, being sharp
+and subtle, was very injurious to his constitution, while that of
+Rome, softer and more temperate, had kept him in perfect health up to
+his ninetieth year, with all the senses as lively and sound as they
+had ever been, and with such strength, for his age, that up to the
+last day he had never ceased to work at something.
+
+Since, then, the coming of the bale was so sudden and so unexpected
+that for the time being it was not possible to do what was done
+afterwards, the body of Michelagnolo, on arriving in Florence, was
+placed with the coffin, at the desire of the deputies, on the same day
+that it arrived in the city (namely, on the 11th of March, which was a
+Saturday), in the Company of the Assumption, which is under the
+high-altar of S. Pietro Maggiore, beneath the steps at the back; but
+it was not touched in any way whatever. The next day, which was Sunday
+of the second week in Lent, all the painters, sculptors, and
+architects assembled as quietly as possible round S. Pietro, whither
+they had brought nothing but a pall of velvet, all bordered and
+embroidered in gold, which covered the coffin and the whole bier; upon
+which coffin was an image of Christ Crucified. Then, about the middle
+hour of the night, all having gathered around the body, all at once
+the oldest and most eminent craftsmen laid their hands on a great
+quantity of torches that had been carried there, and the younger men
+took up the bier with such eagerness, that blessed was he who could
+approach it and place his shoulders under it, believing as it were
+that in the time to come they would be able to claim the glory of
+having borne the remains of the greatest man that there had ever been
+in their arts. The sight of a certain number of persons assembled
+about S. Pietro had caused, as always happens in such cases, many
+others to stop there, and the rather as it had been trumpeted abroad
+that the body of Michelagnolo had arrived, and was to be carried to S.
+Croce. And although, as I have said, every precaution had been taken
+that the matter should not become known, lest the report might spread
+through the city, and there might flock thither such a multitude that
+it would not be possible to avoid a certain degree of tumult and
+confusion, and also because they desired that the little which they
+wished to do at that time should be done with more quiet than pomp,
+reserving the rest for a more convenient time with greater leisure;
+nevertheless, both the one thing and the other took a contrary course,
+for with regard to the multitude, the news, as has been related,
+passing from lip to lip, in the twinkling of an eye the church was so
+filled, that in the end it was with the greatest difficulty that the
+body was carried from the church to the sacristy, in order to take it
+out of the bale and then place it in the sepulchre. With regard to the
+question of honour, although it cannot be denied that to see in
+funeral pomps a great show of priests, a large quantity of wax tapers,
+and a great number of mourners dressed in black, is a thing of grand
+and magnificent appearance, it does not follow that it was not also a
+great thing to see thus assembled in a small company, without
+preparation, all those eminent men who are now in such repute, and who
+will be even more in the future, honouring that body with such loving
+and affectionate offices. And, in truth, the number of such craftsmen
+in Florence--and they were all there--has always been very great, for
+the reason that these arts have always flourished in Florence in such
+a manner, that I believe that it may be said without prejudice to
+other cities that their principal and true nest and domicile is
+Florence, not otherwise than Athens once was of the sciences. In
+addition to that number of craftsmen, there were so many citizens
+following them, and so many at the sides of the streets where the
+procession passed, that there was no place for any more; and, what is
+an even greater thing, there was nothing heard but praises in every
+man's mouth of the merits of Michelagnolo, all saying that true
+genius has such force that, after all expectation of such honour and
+profit as can be obtained from a gifted man has failed, nevertheless,
+by its own nature and peculiar merits, it remains honoured and
+beloved. For these reasons that demonstration was more vivid in effect
+and more precious than any pomp of gold and trappings that could have
+been contrived.
+
+The body having been carried with so beautiful a train into S. Croce,
+after the friars had finished the ceremonies that were customary for
+the dead, it was borne--not without very great difficulty, as has been
+related, by reason of the concourse of people--into the sacristy,
+where the above-named Lieutenant, who had been present in virtue of
+his office, thinking to do a thing pleasing to many, and also (as he
+afterwards confessed) desiring to see in death one whom he had not
+seen in life, or had seen at such an early age that he had lost all
+memory of him, then resolved to have the coffin opened. This done,
+when he and all the rest of us present thought to find the body
+already marred and putrefied, because Michelagnolo had been dead
+twenty-five days and twenty-two in the coffin, we found it so perfect
+in every part, and so free from any noisome odour, that we were ready
+to believe that it was rather at rest in a sweet and most peaceful
+sleep; and, besides that the features of the face were exactly as in
+life (except that there was something of the colour of death), it had
+no member that was marred or revealed any corruption, and the head and
+cheeks were not otherwise to the touch than as if he had passed away
+but a few hours before.
+
+When the tumult of the people had abated, arrangements were made to
+place the body in a sepulchre in the church, beside the altar of the
+Cavalcanti, by the door that leads into the cloister of the
+chapter-house. Meanwhile the news had spread through the city, and
+such a multitude of young people flocked thither to see the corpse,
+that there was great difficulty in contriving to close the tomb; and
+if it had been day, instead of night, we would have been forced to
+leave it open many hours in order to satisfy the public. The following
+morning, while the painters and sculptors were commencing to make
+arrangements for the memorial of honour, many choice spirits, such as
+have always abounded in Florence, began to attach above the aforesaid
+sepulchre verses both Latin and in the vulgar tongue, and so it was
+continued for some time; but those compositions that were printed at
+that time were but a small part with respect to the many that were
+written.
+
+Now to come to the obsequies, which were not held the day after the
+day of S. John, as had been intended, but were postponed until the
+14th of July. The three deputies (for Benvenuto Cellini, having felt
+somewhat indisposed from the beginning, had never taken any part in
+the matter), having appointed the sculptor Zanobi Lastricati as their
+proveditor, resolved that they would do something ingenious and worthy
+of their arts rather than costly and full of pomp. And, in truth,
+since honour was to be paid (said those deputies and their proveditor)
+to such a man as Michelagnolo, and by men of the profession that he
+had practised, men rich rather in talents than in excess of means,
+that must be done not with regal pomp or superfluous vanities, but
+with inventions and works abounding in spirit and loveliness, such as
+issue from the knowledge and readiness of hand of our craftsmen; thus
+honouring art with art. For although, they said, we may expect from
+his Excellency the Lord Duke any sum of money that may be necessary,
+and we have already received such amounts as we have demanded,
+nevertheless we must hold it as certain that from us there is expected
+something ingenious and pleasing in invention and art, rather than
+rich through vast expense or grand by reason of superb appurtenances.
+But, notwithstanding this, it was seen in the end that the work was
+equal in magnificence to any that ever issued from the hands of those
+Academicians, and that this memorial of honour was no less truly
+magnificent than it was ingenious and full of fanciful and
+praiseworthy inventions.
+
+Finally, then, it was arranged that in the central nave of S. Lorenzo,
+between the two lateral doors, of which one leads out of the church
+and the other into the cloister, there should be erected, as was done,
+a catafalque of a rectangular form, twenty-eight braccia high, eleven
+braccia long, and nine broad, with a figure of Fame on the summit. On
+the base of the catafalque, which rose two braccia from the ground, on
+the part looking towards the principal door of the church, there were
+placed two most beautiful recumbent figures of Rivers, one
+representing the Arno and the other the Tiber. Arno had a horn of
+plenty, full of flowers and fruits, signifying thereby the fruits that
+have come to these professions from the city of Florence, which have
+been of such a kind and so many that they have filled the world, and
+particularly Rome, with extraordinary beauty. This was demonstrated
+excellently well by the other River, representing, as has been said,
+the Tiber, in that, extending one arm, it had the hands full of
+flowers and fruits received from the horn of plenty of the Arno, which
+lay beside it, face to face; and it served also to demonstrate, by
+enjoying the fruits of Arno, that Michelagnolo had lived a great part
+of his life in Rome, and had executed there those marvels that cause
+amazement to the world. Arno had for a sign the Lion, and Tiber the
+She-Wolf, with the infants Romulus and Remus; and they were both
+colossal figures of extraordinary grandeur and beauty, in the likeness
+of marble. One, the Tiber, was by the hand of Giovanni di Benedetto of
+Castello, a pupil of Bandinelli, and the other by Battista di
+Benedetto, a pupil of Ammanati; both excellent young men of the
+highest promise.
+
+From this level rose facades of five braccia and a half, with the
+proper cornices above and below, and also at the corners, leaving
+space for four pictures, one in the centre of each. In the first of
+these, which was on the facade where the two Rivers were, there was
+painted in chiaroscuro (as were also all the other pictures of this
+structure) the Magnificent Lorenzo de' Medici, the Elder, receiving
+Michelagnolo as a boy in his garden, of which there has been an
+account in another place, after he had seen certain specimens of his
+handiwork, which foreshadowed, as early flowers, the fruits that
+afterwards issued in abundance from the living force and grandeur of
+his genius. Such, then, was the story contained in that picture, which
+was painted by Mirabello and Girolamo del Crocifissaio, so called,
+who, as very dear friends and companions, undertook to do the work
+together. In it were animated and lively attitudes, and there could be
+seen the above-named Magnificent Lorenzo, portrayed from nature,
+graciously receiving Michelagnolo, a boy all full of reverence, into
+his garden, and, after an examination, handing him over to some
+masters who should teach him.
+
+In the second scene, which came, continuing the same order, to face
+towards the lateral door that leads out of the church, was figured
+Pope Clement, who, contrary to the expectation of the public, which
+thought that his Holiness felt disdain against Michelagnolo on account
+of his actions in the siege of Florence, not only assures his safety
+and shows himself lovingly disposed towards him, but sets him to work
+on the new sacristy and the library of S. Lorenzo, in which places how
+divinely well he worked has been already told. In this picture, then,
+there was painted by the hand of Federigo Fiammingo, called Del
+Padovano, with much dexterity and great sweetness of manner,
+Michelagnolo showing to the Pope the ground-plan of that sacristy, and
+behind him were borne, partly by little Angels and partly by other
+figures, the models of the library and sacristy and of the statues
+that are there, finished, at the present day; which was all very well
+composed and executed with diligence.
+
+In the third picture, which stood on the first level, like the others
+described above, and looked towards the high-altar, was a great Latin
+epitaph composed by the most learned M. Pier Vettori, the sense of
+which was in the Florentine speech as follows:
+
+"The Academy of Painters, Sculptors, and Architects, with the favour
+and assistance of Duke Cosimo de' Medici, their head and the supreme
+protector of these arts, admiring the extraordinary genius of
+Michelagnolo Buonarroti, and seeking to acknowledge in part the
+benefits received from his divine works, has dedicated this memorial,
+born from their own hands and from all the affection of their hearts,
+to the excellence and genius of the greatest painter, sculptor, and
+architect that there has ever been."
+
+The Latin words were these:
+
+     COLLEGIUM PICTORUM, STATUARIORUM, ARCHITECTORUM, AUSPICIO OPEQUE
+     SIBI PROMPTA COSIMI DUCIS AUCTORIS SUORUM COMMODORUM, SUSPICIENS
+     SINGULAREM VIRTUTEM MICHAELIS ANGELI BONARROTAE, INTELLIGENSQUE
+     QUANTO SIBI AUXILIO SEMPER FUERINT PRAECLARA IPSIUS OPERA, STUDUIT
+     SE GRATUM ERGA ILLUM OSTENDERE, SUMMUM OMNIUM QUI UNQUAM FUERINT
+     P.S.A., IDEOQUE MONUMENTUM HOC SUIS MANIBUS EXTRUCTUM MAGNO ANIMI
+     ARDORE IPSIUS MEMORIAE DEDICAVIT.
+
+This epitaph was supported by two little Angels, who, with weeping
+faces, and extinguishing each a torch, appeared to be lamenting that a
+genius so great and so rare was now spent.
+
+Next, in the picture which came to face towards the door that leads
+into the cloister, was Michelagnolo making, on account of the siege of
+Florence, the fortifications of the hill of San Miniato, which were
+held to be impregnable and a marvellous work. This was by the hand of
+Lorenzo Sciorini, a pupil of Bronzino and a young man of excellent
+promise.
+
+This lowest part, or, so to speak, the base of the whole structure,
+had at every corner a pedestal that projected, and upon every pedestal
+was a statue larger than life, which had beneath it another, as it
+were subjugated and vanquished, of similar size, but each constrained
+in a different and extravagant attitude. The first, on the right hand
+going towards the high-altar, was a young man, slender and the very
+presentment of pure spirit, and of a most lively beauty, representing
+Genius, with two little wings over the temples, in the guise wherein
+at times Mercury is painted; and beneath this young man, wrought with
+incredible diligence, was a marvellous figure with asses' ears,
+representing Ignorance, the mortal enemy of Genius. These two statues
+were by the hand of Vincenzio Danti of Perugia, of whom and of his
+works, which are renowned among the young modern sculptors, we shall
+speak at greater length in another place.
+
+Upon the next pedestal, which, being on the right hand of the approach
+towards the high-altar, looked towards the new sacristy, was a woman
+representing Christian Piety, which, being composed of religion and
+every other excellence, is nothing less than an aggregate of all those
+virtues that we have called the Theological, and of those that were
+named by the Gentiles the Moral; wherefore it was right that, since
+the genius of a Christian, adorned by most saintly character, was
+being celebrated by Christians, a seemly and honourable place should
+be given to this Piety, which is concerned with the law of God and the
+salvation of souls, seeing that all other ornaments of body and mind,
+where she is lacking, are to be held in little estimation, or rather,
+none. This figure, who had beneath her, prostrate and trampled under
+foot by her, Vice, or rather, Impiety, was by the hand of Valerio
+Cioli, who is a young man of ability and fine spirit, and deserves the
+name of a very judicious and diligent sculptor. Opposite to this, on
+the side towards the old sacristy, was another similar figure made
+with much judgment to represent Minerva, or rather, Art; for the
+reason that it may be said with truth that after excellence of
+character and life, which must always hold the first place among the
+good, it was Art that gave to this man not only honour and profit, but
+also so much glory, that he may be said to have enjoyed in his
+lifetime such fruits as able and illustrious men have great difficulty
+in wresting even after death from the grasp of Fame, by means of their
+finest works; and, what is more, that he so vanquished envy, that by
+common consent, without any contradiction, he has obtained the rank
+and fame of the best and highest excellence. And for this reason this
+figure had beneath her feet Envy, who was an old woman lean and
+withered, with the eyes of a viper; in short, with features that all
+breathed out venom and poison, besides which she was girt with
+serpents, and had a viper in her hand. These two statues were by the
+hand of a boy of very tender years, called Lazzaro Calamech of
+Carrara, who at the present day, although still a mere lad, has given
+in some works of painting and sculpture convincing proofs of a
+beautiful and most lively genius. By the hand of Andrea Calamech, the
+uncle of the above-mentioned Lazzaro, and pupil of Ammanati, were the
+two statues placed upon the fourth pedestal, which was opposite to the
+organ and looked towards the principal doors of the church. The first
+of these was made to represent Study, for the reason that those who
+exert themselves little and sluggishly can never acquire repute, as
+Michelagnolo did, who from his early boyhood, from fifteen to ninety
+years of age, as has been seen above, never ceased to labour. This
+statue of Study, which was well in keeping with that great man, was a
+bold and vigorous youth, who had at the end of the arms, just above
+the joint of the hands, two little wings signifying rapidity and
+frequency of working; and he had prostrate beneath him, as a prisoner,
+Idleness or Indolence, who was a sluggish and weary woman, heavy and
+somnolent in her whole attitude.
+
+These four figures, disposed in the manner that has been described,
+made a very handsome and magnificent composition, and had all the
+appearance of marble, because a coat of white had been laid over the
+clay, which resulted in a very beautiful effect. From this level, upon
+which the above-named figures rested, there rose another base,
+likewise rectangular and about four braccia high, but smaller in
+length and breadth than that below by the extent of the projection and
+cornice-work upon which those figures rested; and on every side this
+had a painted compartment six braccia and a half in length and three
+in height. Above this rose a platform in the same manner as that
+below, but smaller; and upon every corner, on the projection of a
+socle, sat a figure of the size of life, or rather more. These were
+four women, who, from the instruments that they had, were easily
+recognized as Painting, Sculpture, Architecture, and Poetry; placed
+there for reasons that have been perceived in the narration of
+Michelagnolo's Life.
+
+Now, going from the principal door of the church towards the
+high-altar, in the first picture of the second range of the
+catafalque--namely, above the scene in which, as has been related,
+Lorenzo de' Medici is receiving Michelagnolo into his garden--there
+was painted in a most beautiful manner, to suggest Architecture,
+Michelagnolo in the presence of Pope Pius IV, with a model in his hand
+of the stupendous pile of the Cupola of S. Pietro in Rome. This scene,
+which was much extolled, was painted by Piero Francia, a Florentine
+painter, with beautiful manner and invention; and the statue, or
+rather, image of Architecture, which was on the left hand of this
+scene, was by the hand of Giovanni di Benedetto of Castello, who with
+so much credit to himself, as has been related, executed also the
+Tiber, one of the two Rivers that were on the front part of the
+catafalque. In the second picture, continuing to go forward on the
+right hand towards the lateral door that leads out of the church, was
+seen (to suggest Painting) Michelagnolo painting that so much but
+never sufficiently extolled Judgment: that Judgment, I mean, which is
+an exemplar in foreshortenings and all the other difficulties of art.
+This picture, which was executed by Michele di Ridolfo's young men
+with much diligence and grace, had likewise, on the left hand (namely,
+at the corner looking towards the new sacristy), its appropriate
+image, a statue of Painting, wrought by Battista del Cavaliere, a
+young man no less excellent in sculpture than remarkable for his
+goodness, modesty, and character. In the third picture, facing towards
+the high-altar (in that, namely, which was above the epitaph already
+mentioned), there was to be seen, to suggest Sculpture, Michelagnolo
+speaking with a woman, who by many signs could be recognized as
+Sculpture; and it appeared that he was taking counsel with her.
+Michelagnolo had about him some of the most excellent works that he
+executed in sculpture; and the woman held a little tablet with these
+words of Boethius:
+
+  SIMILI SUB IMAGINE FORMANS.
+
+Beside that picture, which was the work of Andrea del Minga, and
+executed by him with beautiful invention and manner, there was on the
+left hand the statue of Sculpture, wrought very well by the sculptor
+Antonio di Gino Lorenzi. In the fourth of those four scenes, which
+faced towards the organ, there could be seen, to suggest Poetry,
+Michelagnolo all intent on writing some composition, and about him the
+Nine Muses, marvellous in their grace and beauty and with their
+distinctive garments, according as they are described by the poets,
+and before them Apollo with the lyre in his hand, his crown of laurel
+on his head, and another crown in the hand, which he made as if to
+place on the head of Michelagnolo. Near the gladsome and beautiful
+composition of this scene, painted in a very lovely manner, with most
+vivacious and spirited attitudes, by Giovan Maria Butteri, there was
+on the left hand the statue of Poetry, the work of Domenico Poggini, a
+man much practised not only in sculpture and in striking impressions
+of coins and medals with great beauty, but also in working in bronze
+and likewise in poetry.
+
+Of such a kind, then, was the ornamentation of the catafalque, which
+so diminished from course to course that it was possible to walk round
+each, and it was much after the likeness of the Mausoleum of Augustus
+in Rome; although perchance, from being rectangular, it rather
+resembled the Septizonium of Severus, not that near the Campidoglio,
+which is commonly so called in error, but the true one, which is to
+be seen in stamp in the "Nuove Rome," near the Baths of Antoninus. Up
+to this point the catafalque had three levels; where the Rivers lay
+was the first, the second where the pairs of figures rested, and the
+third where the single figures had their feet. From this last level
+rose a base, or rather, socle, one braccio high, and much less in
+length and breadth than that last level; upon the projections of that
+base sat the above-named single figures, and around it could be read
+these words:
+
+  SIC ARS EXTOLLITUR ARTE.
+
+Upon this base stood a pyramid nine braccia high, on two sides of
+which (namely, that which looked towards the principal door, and that
+which faced towards the high-altar), at the foot, were two ovals with
+the head of Michelagnolo portrayed from nature in relief and executed
+very well by Santi Buglioni. At the summit of the pyramid was a ball
+in due proportion with the pyramid, such as might have contained the
+ashes of him who was being honoured, and upon the ball was a figure of
+Fame, larger than life and in the likeness of marble, and in the act,
+as it were, of taking flight, and at the same time of causing the
+praises and glory of that great craftsman to resound throughout the
+world through a trumpet which branched into three mouths. That Fame
+was by the hand of Zanobi Lastricati, who, besides the labours that he
+had as proveditor for the whole work, desired also not to fail to
+show, with much honour to himself, the virtue of his hand and brain.
+In all, from the level of the ground to the head of the Fame, the
+height, as has been related, was twenty-eight braccia.
+
+Besides the catafalque described above, the whole church was draped
+with black baize and serge, hung not on the columns in the centre, as
+is usual, but on the chapels that are all around; and there was no
+space between the pilasters that enclose those chapels and correspond
+to the columns, that had not some adornment in painting, which, making
+an ingenious, pleasing, and beautiful display, caused marvel and at
+the same time the greatest delight.
+
+Now, to begin with one end: in the space of the first chapel that is
+beside the high-altar, as you go towards the old sacristy, was a
+picture six braccia in height and eight in length, in which, with
+novel and as it were poetical invention, was Michelagnolo in the
+centre, already come to the Elysian fields, where, on his right hand,
+were figures considerably larger than life of the most famous and most
+highly celebrated sculptors and painters of antiquity. Each of these
+could be recognized by some notable sign; Praxiteles by the Satyr that
+is in the Vigna of Pope Julius III, Apelles by the portrait of
+Alexander the Great, Zeuxis by a little panel on which were figured
+the grapes that deceived the birds, and Parrhasius with the covering
+counterfeited in painting over his picture; and, even as these, so the
+others were known by other signs. On the left hand were those who have
+been illustrious in these arts in our own centuries, from Cimabue to
+the present day. Thus Giotto could be recognized there by a little
+panel on which was seen the portrait of Dante as a young man, in the
+manner in which he may be seen in S. Croce, painted by Giotto himself;
+Masaccio by his portrait from life, Donatello likewise by his
+portrait, and also by his Zuccone from the Campanile, which was by his
+side, and Filippo Brunelleschi by the representation of his Cupola of
+S. Maria del Fiore; and there were portrayed from life, without other
+signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovanni Agnolo,
+Jacopo da Pontormo, Francesco Salviati, and others. All these were
+about him with the same expressions of welcome as the ancients, full
+of love and admiration, in the same manner as Virgil was received by
+the other poets on his return, according to the fable of the divine
+poet Dante, from whom, in addition to the invention, there was taken
+also the verse that could be read in a scroll both above and in the
+hand of the River Arno, which lay at the feet of Michelagnolo, most
+beautiful in features and in attitude:
+
+  TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.
+
+This picture, by the hand of Alessandro Allori, the pupil of Bronzino,
+an excellent painter and a not unworthy disciple and pupil of so great
+a master, was consummately extolled by all those who saw it. In the
+space of the Chapel of the most holy Sacrament, at the head of the
+transept, there was in a picture, five braccia in length and four in
+breadth, Michelagnolo with all the school of the arts about him,
+little children, boys, and young men of every age up to twenty-four,
+who were offering to him, as to a being sacred and divine, the
+firstfruits of their labours, such as pictures, sculptures, and
+models; and he was receiving them courteously, and was instructing
+them in the matters of art, while they were listening most intently
+and gazing upon him with expressions and attitudes truly full of
+beauty and grace. And, to tell the truth, the whole composition of
+this picture could not have been, in a certain sense, better done, nor
+could anything more beautiful have been desired in any of the figures,
+wherefore Battista, the pupil of Pontormo, who had done the work,
+received infinite praise for it; and the verses that were to be read
+at the foot of the scene, ran thus:
+
+  TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS
+  SUPPEDITAS PRAECEPTA TUIS EX, INCLYTE, CHARTIS.
+
+Going, then, from the place where was the picture described above,
+towards the principal doors of the church, almost at the corner and
+just before arriving at the organ, in a picture six braccia long and
+four high that was in the space of a chapel, there was depicted the
+extraordinary and unexampled favour that was paid to the rare genius
+of Michelagnolo by Pope Julius III, who, wishing to avail himself in
+certain buildings of the judgment of that great man, had him summoned
+to his presence at his villa, where, having invited him to sit by his
+side, they talked a good time together, while Cardinals, Bishops, and
+other personages of the Court, whom they had about them, remained
+constantly standing. This event, I say, was seen to have been depicted
+with such fine composition and so much relief, and with such
+liveliness and spirit in the figures, that perchance it might not have
+turned out better from the hands of an eminent, aged, and
+well-practised master; wherefore Jacopo Zucchi, a young man, the pupil
+of Giorgio Vasari, who executed the work in a beautiful manner, proved
+that a most honourable result could be expected from him. Not far from
+this, on the same side (namely, a little below the organ), Giovanni
+Strada, an able Flemish painter, had depicted in a picture six
+braccia long and four high the story of Michelagnolo's going to Venice
+at the time of the siege of Florence; where, living in that quarter of
+that most noble city which is called the Giudecca, the Doge Andrea
+Gritti and the Signoria sent some gentlemen and others to visit him
+and make him very great offers. In representing that event the
+above-named painter showed great judgment and much knowledge, which
+did him great honour, both in the whole composition and in every part
+of it, for in the attitudes, the lively expressions of the faces, and
+the movements of every figure, were seen invention, design, and
+excellent grace.
+
+Now, returning to the high-altar, and facing towards the new sacristy:
+in the first picture found there, which came in the space of the first
+chapel, there was depicted by the hand of Santi Titi, a young man of
+most beautiful judgment and much practised in painting both in
+Florence and in Rome, another signal favour paid to the genius of
+Michelagnolo, as I believe I mentioned above, by the most illustrious
+Lord, Don Francesco de' Medici, Prince of Florence, who, happening to
+be in Rome about three years before Michelagnolo died, and receiving a
+visit from him, the moment that Buonarroti entered the Prince rose to
+his feet, and then, in order to do honour to that great man and to his
+truly venerable age, with the greatest courtesy that ever young Prince
+showed, insisted--although Michelagnolo, who was very modest,
+protested against it--that he should sit in his own chair, from which
+he had risen, standing afterwards on his feet to hear him with the
+attention and reverence that children are wont to pay to a
+well-beloved father. At the feet of the Prince was a boy, executed
+with great diligence, who had in his hands a mazzocchio,[6] or Ducal
+cap, and around them were some soldiers dressed in ancient fashion,
+and painted with much spirit and a beautiful manner; but beyond all
+the rest, most beautifully wrought, most lifelike and most natural
+were the Prince and Michelagnolo, insomuch that it appeared as if the
+old man were in truth speaking, and the young man most intently
+listening to his words.
+
+         [Footnote 6: See note on p. 132, vol. ii.]
+
+In another picture, nine braccia in height and twelve in length, which
+was opposite to the Chapel of the Sacrament, Bernardo Timante
+Buontalenti, a painter much beloved and favoured by the most
+illustrious Prince, had figured with most beautiful invention the
+Rivers of the three principal parts of the world, come, as it were,
+all grieving and sorrowful, to lament with Arno on their common loss
+and to console him; and these Rivers were the Nile, the Ganges, and
+the Po. The Nile had as a symbol a crocodile, and, to signify the
+fertility of his country, a garland of ears of corn; the Ganges, a
+gryphon-bird and a chaplet of gems; the Po, a swan and a crown of
+black amber. These Rivers, having been conducted into Tuscany by the
+Fame, who was to be seen on high, as it were in flight, were standing
+round Arno, who was crowned with cypress and held his vase, drained
+empty, uplifted with one hand, and in the other a branch of cypress,
+and beneath him was a lion. And, to signify that the soul of
+Michelagnolo had flown to the highest felicity in Heaven, the
+judicious painter had depicted in the air a Splendour representing the
+celestial light, towards which the blessed soul, in the form of a
+little Angel, was winging its way; with this lyric verse:
+
+  VIVENS ORBE PETO LAUDIBUS AETHERA.
+
+At the sides, upon two bases, were two figures in the act of holding
+open a curtain within which, so it appeared, were the above-named
+Rivers, the soul of Michelagnolo, and the Fame; and each of those two
+figures had another beneath it. That which was on the right hand of
+the Rivers, representing Vulcan, had a torch in the hand; and the
+figure representing Hatred, which had the neck under Vulcan's feet in
+an attitude of great constraint, and as it were struggling to writhe
+free, had as symbol a vulture, with this verse:
+
+  SURGERE QUID PROPERAS ODIUM CRUDELE? JACETO.
+
+And that because things superhuman, and almost divine, should in no
+way be regarded with envy or hatred. The other, representing Aglaia,
+one of the Three Graces and wife of Vulcan, to signify Proportion, had
+in her hand a lily, both because flowers are dedicated to the Graces,
+and also because the lily is held to be not inappropriate to the rites
+of death. The figure which was lying beneath Aglaia, and which was
+painted to represent Disproportion, had as symbol a monkey, or rather,
+ape, and above her this verse:
+
+  VIVUS ET EXTINCTUS DOCUIT SIC STERNERE TURPE.
+
+And under the Rivers were these two other verses:
+
+  VENIMUS, ARNE, TUO CONFIXA IN VULNERE MOESTA
+  FLUMINA, UT EREPTUM MUNDO PLOREMUS HONOREM.
+
+This picture was held to be very beautiful in the invention, in the
+composition of the whole scene and the loveliness of the figures, and
+in the beauty of the verses, and because the painter honoured
+Michelagnolo with this his labour, not by commission, but
+spontaneously and with such assistance as his own merit enabled him to
+obtain from his courteous and honourable friends; and for this reason
+he deserved to be even more highly commended.
+
+In another picture, six braccia in length and four in height, near the
+lateral door that leads out of the church, Tommaso da San Friano, a
+young painter of much ability, had painted Michelagnolo as Ambassador
+of his country at the Court of Pope Julius II; as we have related that
+he went, and for what reasons, sent by Soderini. Not far distant from
+the above-named picture (namely, a little below that lateral door
+which leads out of the church), in another picture of the same size,
+Stefano Pieri, a pupil of Bronzino and a young man of great diligence
+and industry, had painted a scene that had in truth happened several
+times in Rome not long before--namely, Michelagnolo seated in a room
+by the side of the most illustrious Lord Duke Cosimo, who stood
+conversing with him; of all which enough has been said above.
+
+Over the said black draperies with which, as has been told, the whole
+church was hung all round, wherever there were no painted scenes or
+pictures, there were in each of the spaces of the chapels images of
+death, devices, and other suchlike things, all different from those
+that are generally made, and very fanciful and beautiful. Some of
+these, as it were lamenting that they had been forced to deprive the
+world of such a man, had these words in a scroll:
+
+  COEGIT DURA NECESSITAS.
+
+And near them was a globe of the world, from which had sprung a lily,
+which had three flowers and was broken in the middle, executed with
+most beautiful fantasy and invention by the above-named Alessandro
+Allori. There were other Deaths, also, depicted with other inventions,
+but that one was most extolled upon whose neck, as she lay prostrate
+on the ground, Eternity, with a palm in the hand, had planted one of
+her feet, and, regarding her with a look of disdain, appeared to be
+saying to her: "Be it necessity or thy will, thou hast done nothing,
+for in spite of thee, come what may, Michelagnolo shall live." The
+motto ran thus:
+
+  VICIT INCLYTA VIRTUS.
+
+And all this was the invention of Vasari.
+
+I will not omit to say that each of these Deaths had on either side
+the device of Michelagnolo, which was three crowns, or rather, three
+circlets, intertwined together in such a manner, that the
+circumference of one passed through the centre of the two others, and
+so with each; which sign Michelagnolo used either to suggest that the
+three professions of sculpture, painting, and architecture are
+interwoven one with another and so bound together, that each of them
+receives benefit and adornment from the others, and they neither can
+nor should be separated; or, indeed, being a man of lofty genius, he
+may have had a more subtle meaning. But the Academicians, considering
+him to have been perfect in all these three professions, and that each
+of these had assisted and embellished the other, changed his three
+circlets into three crowns intertwined together, with the motto:
+
+  TERGEMINIS TOLLIT HONORIBUS.
+
+Which was intended to signify that in those three professions the
+crown of human perfection was justly due to him.
+
+On the pulpit from which Varchi delivered the funeral oration, which
+was afterwards printed, there was no ornamentation, because, that work
+having been executed in bronze, with scenes in half-relief and
+low-relief, by the excellent Donatello, any adornment that might have
+been added to it would have been by a great measure less beautiful.
+But on the other, which is opposite to the first, although it had not
+yet been raised on the columns, there was a picture, four braccia in
+height and little more than two in width, wherein there was painted
+with beautiful invention and excellent design, to represent Fame, or
+rather, Honour, a young man in a most beautiful attitude, with a
+trumpet in the right hand, and with the feet planted on Time and
+Death, in order to show that fame and honour, in spite of death and
+time, preserve alive to all eternity those who have laboured valiantly
+in this life. This picture was by the hand of Vincenzio Danti, the
+sculptor of Perugia, of whom we have spoken, and will speak again
+elsewhere.
+
+The church having been embellished in such a manner, adorned with
+lights, and filled with a countless multitude, for everyone had left
+every other care and flocked together to such an honourable spectacle,
+there entered behind the above-named Lieutenant of the Academy,
+accompanied by the Captain and Halberdiers of the Duke's Guard, the
+Consuls and the Academicians, and, in short, all the painters,
+sculptors, and architects of Florence. After all these had sat down
+between the catafalque and the high-altar, where they had been awaited
+for a good while by an infinite number of lords and gentlemen, who had
+been accommodated with seats according to the rank of each, there was
+begun a most solemn Mass for the dead, with music and ceremonies of
+every kind. Which finished, Varchi mounted the above-mentioned pulpit,
+who had never performed such an office since he did it for the most
+illustrious Lady Duchess of Ferrara, the daughter of Duke Cosimo; and
+there, with that elegance, those modes of utterance, and that voice
+which were the peculiar attributes of that great man in oratory, he
+recounted the praises and merits, life and works of the divine
+Michelagnolo Buonarroti.
+
+Of a truth, what great good fortune it was for Michelagnolo that he
+did not die before our Academy was created, whereby his funeral rites
+were celebrated with so much honour and such magnificent and
+honourable pomp! So, also, it must be considered most fortunate for
+him that it happened that he passed from this to an eternal and most
+blessed life before Varchi, seeing that he could not have been
+extolled by any more eloquent and learned man. That funeral oration by
+M. Benedetto Varchi was printed a short time afterwards, as was also,
+not long after that, another equally beautiful oration, likewise in
+praise of Michelagnolo and of painting, composed by the most noble and
+most learned M. Leonardo Salviati, at that time a young man of about
+twenty-two years of age, and of a rare and happy genius in all manner
+of compositions, both Latin and Tuscan, as is known even now, and will
+be better known in the future, to all the world. And what shall I say,
+what can I say, that would not be too little, of the capacity,
+goodness, and wisdom of the very reverend Lord Lieutenant, the
+above-named Don Vincenzio Borghini? Save that it was with him as their
+chief, their guide, and their counsellor, that the eminent men of the
+Academy and Company of Design celebrated those obsequies; for the
+reason that, although each of them was competent to do much more in
+his art than he did, nevertheless no enterprise is ever carried to a
+perfect and praiseworthy end save when one single man, in the manner
+of an experienced pilot and captain, has authority and power over all
+others. And since it was not possible that the whole city should see
+that funeral pomp in one day, by order of the Duke it was all left
+standing many weeks, for the satisfaction of his people and of the
+strangers who came from neighbouring places to see it.
+
+We shall not give in this place the great multitude of epitaphs and
+verses, both Latin and Tuscan, composed by many able men in honour of
+Michelagnolo; both because they would require a work to themselves,
+and because they have been written down and published by other writers
+elsewhere. But I will not omit to say in this last part, that after
+all the honours described above the Duke ordained that an honourable
+place should be given to Michelagnolo for his tomb in S. Croce, in
+which church he had purposed in his lifetime to be buried, because the
+sepulchre of his ancestors was there. And to Leonardo, the nephew of
+Michelagnolo, his Excellency gave all the marbles, both white and
+variegated, for that tomb, which was allotted to Battista Lorenzi, an
+able sculptor, to execute after the design of Giorgio Vasari, together
+with the head of Michelagnolo. And since there are to be three statues
+there, Painting, Sculpture, and Architecture, one of these was
+allotted to the above-named Battista, one to Giovanni dell'Opera, and
+the last to Valerio Cioli, Florentine sculptors; which statues are in
+process of being fashioned together with the tomb, and soon they will
+be seen finished and set in their places. The cost, over and above the
+marbles received from the Duke, has been borne by the same Leonardo
+Buonarroti. But his Excellency, in order not to fail in any respect in
+doing honour to that great man, will cause to be placed in the Duomo,
+as he has previously thought to do, a memorial with his name, besides
+the head, even as there are to be seen there the names and images of
+the other eminent Florentines.
+
+
+
+
+FRANCESCO PRIMATICCIO
+
+
+
+
+DESCRIPTION OF THE WORKS OF FRANCESCO PRIMATICCIO
+
+PAINTER AND ARCHITECT OF BOLOGNA, AND ABBOT OF S. MARTIN
+
+
+Having treated hitherto of such of our craftsmen as are no longer
+alive among us--of those, namely, who have lived from 1200 until this
+year of 1567--and having set Michelagnolo Buonarroti in the last place
+for many reasons, although two or three have died later than he, I
+have thought that it cannot be otherwise than a praiseworthy labour to
+make mention likewise in this our work of many noble craftsmen who are
+alive, and, for their merits, most worthy to be highly extolled and to
+be numbered among these last masters. This I do all the more willingly
+because they are all very much my friends and brothers, and the three
+most eminent are already so far advanced in years, that, having come
+to the furthest limit of old age, little more can be expected from
+them, although they still continue by a sort of habit to occupy
+themselves with some work. After these I will also make brief mention
+of those who under their discipline have become such, that they hold
+the first places among the craftsmen of our own day; and of others who
+in like manner are advancing towards perfection in our arts.
+
+Beginning, then, with Francesco Primaticcio, to go on afterwards to
+Tiziano Vecelli and Jacopo Sansovino: I have to record that the said
+Francesco, born in Bologna of the noble family of the Primaticci, much
+celebrated by Fra Leandro Alberti and by Pontano, was apprenticed in
+his early boyhood to commerce. But, that calling pleasing him little,
+not long afterwards, being exalted in mind and spirit, he set himself
+to practise design, to which he felt himself inclined by nature; and
+so, giving his attention to drawing, and at times to painting, no
+long time passed before he gave proof that he was likely to achieve an
+excellent result. Going afterwards to Mantua, where at that time
+Giulio Romano was working at the Palace of the Te for Duke Federigo,
+he employed such interest that he was set, in company with many other
+young men who were with Giulio, to labour at that work. There,
+attending to the studies of art with much industry and diligence for a
+period of six years, he learned very well to handle colours and to
+work in stucco; wherefore, among all the other young men who were
+labouring in the work of that Palace, Francesco came to be held one of
+the most excellent, and the best of all at drawing and colouring. This
+may be seen in a great chamber, round which he made two friezes of
+stucco, one above the other, with a great abundance of figures that
+represent the ancient Roman soldiery; and in the same Palace,
+likewise, he executed many works in painting that are to be seen
+there, after the designs of the above-named Giulio. Through these
+works Primaticcio came into such favour with that Duke, that, when
+King Francis of France heard with what quantity of ornaments he had
+caused the work of the Palace to be executed, and wrote to him that at
+all costs he should send him a young man able to work in painting and
+stucco, the Duke sent him Francesco Primaticcio, in the year 1531. And
+although the year before that the Florentine painter Rosso had gone
+into the service of the same King, as has been related, and had
+executed many works there, and in particular the pictures of Bacchus
+and Venus, Psyche and Cupid, nevertheless the first works in stucco
+that were done in France, and the first labours in fresco of any
+account, had their origin, it is said, from Primaticcio, who decorated
+in this manner many chambers, halls, and loggie for that King.
+
+[Illustration: DECORATIVE PANELS
+
+(_After =Primaticcio=. Fontainebleau: Galerie Henry II_)
+
+_X. Photo_]
+
+Liking the manner of this painter, and his procedure in every matter,
+the King sent him in the year 1540 to Rome, to contrive to obtain
+certain antique marbles; in which Primaticcio served him with such
+diligence, that in a short time, what with heads, torsi, and figures,
+he bought one hundred and twenty-five pieces. And at that same time he
+caused to be moulded by Jacopo Barozzi of Vignuola, and by others, the
+bronze horse that is on the Campidoglio, a great part of the scenes on
+the Column, the statue of Commodus, the Venus, the Laocoon, the
+Tiber, the Nile, and the statue of Cleopatra, which are in the
+Belvedere; to the end that they might all be cast in bronze. Rosso
+having meanwhile died in France, and a long gallery therefore
+remaining unfinished which had been begun after his designs and in
+great part adorned with stucco-work and pictures, Primaticcio was
+recalled from Rome; whereupon he took ship with the above-mentioned
+marbles and moulds of antique figures, and returned to France. There,
+before any other thing, he cast according to those moulds and forms a
+great part of those antique figures, which came out so well, that they
+might be the originals; as may be seen in the Queen's garden at
+Fontainebleau, where they were placed, to the vast satisfaction of
+that King, who made in that place, one might say, another Rome. I will
+not omit to say that Primaticcio, in executing those statues, employed
+masters so excellent in the art of casting, that those works came out
+not only light, but with a surface so smooth, that it was hardly
+necessary to polish them.
+
+This work done, Primaticcio was commissioned to give completion to the
+gallery that Rosso had left unfinished; whereupon he set his hand to
+it, and in a short time delivered it finished with as many works in
+stucco and painting as have ever been executed in any place. Wherefore
+the King, finding that he had been well served in the period of eight
+years that this master had worked for him, had him placed among the
+number of his chamberlains; and a short time afterwards, which was in
+the year 1544, he made him Abbot of S. Martin, considering that
+Francesco deserved no less. But for all this Francesco has never
+ceased to have many works in stucco and in painting executed in the
+service of his King and of the others who have governed that kingdom
+after Francis I. Among others who have assisted him in this, he has
+been served, to say nothing of many of his fellow-Bolognese, by Giovan
+Battista, the son of Bartolommeo Bagnacavallo, who has proved not less
+able than his father in many scenes and other works of Primaticcio's
+that he has carried into execution. Another who has served him for a
+considerable time is one Ruggieri da Bologna, who is still with him.
+In like manner, Prospero Fontana, a painter of Bologna, was summoned
+to France not long since by Primaticcio, who intended to make use of
+him; but, having fallen ill to the danger of his life immediately
+after his arrival, he returned to Bologna. To tell the truth, these
+two, Bagnacavallo and Fontana, are able men, and I, who have made
+considerable use both of the one and of the other, of the first at
+Rome, and of the second at Rimini and Florence, can declare this with
+certainty. But of all those who have assisted the Abbot Primaticcio,
+none has done him more honour than Niccolo da Modena, of whom mention
+has been made on another occasion, for by the excellence of his art
+this master has surpassed all the others. Thus he executed with his
+own hand, after the designs of the Abbot, a hall called the Ball-room,
+with such a vast number of figures, that it appears scarcely possible
+that they could be counted, and all as large as life and coloured in
+so bright a manner, that in the harmony of the fresco-colours they
+appear like work in oils. After this work he painted in the Great
+Gallery, likewise from the designs of the Abbot, sixty stories of the
+life and actions of Ulysses, but with a colouring much darker than the
+pictures in the Ball-room. This came about because he used no other
+colours but the earths in the pure state in which they are produced by
+Nature, without mixing with them, it may be said, any white, and so
+heavily loaded with darks in the deep parts, that these have
+extraordinary relief and force; besides which, he executed the whole
+work with such harmony, that it appears almost as if painted in one
+and the same day. Wherefore he merits extraordinary praise,
+particularly because he executed it in fresco, without ever retouching
+it "a secco," as many at the present day are accustomed to do. The
+vaulting of this gallery, likewise, is all wrought in stucco and
+painting, executed with much diligence by the men mentioned above and
+other young painters, but still after the designs of the Abbot; as is
+also the old Hall, and likewise a lower gallery that is over the pond,
+which is most beautiful and better adorned with lovely works than any
+other part of that place; but to attempt to speak of it at any length
+would make too long a story.
+
+[Illustration: DECORATIVE PANEL
+
+(_After the painting by =Primaticcio=. Fontainebleau: Escalier du
+Roi_)
+
+_Mansell_]
+
+At Meudon the same Abbot Primaticcio has made innumerable decorations
+for the Cardinal of Lorraine in a vast palace belonging to him, called
+the Grotto, a place so extraordinary in size, that, after the likeness
+of similar edifices of the ancients, it might be called the Thermae,
+by reason of the vast number and grandeur of the loggie, staircases,
+and apartments, both public and private, that are there; and, to say
+nothing of other particulars, most beautiful is a room called the
+Pavilion, for it is all adorned with compartments and mouldings of
+stucco that are wrought with a view to being seen from below, and
+filled with a number of figures foreshortened in the same manner,
+which are very beautiful. Beneath this, then, is a large room with
+some fountains wrought in stucco, and full of figures in the round and
+compartments formed of shells and other products of the sea and
+natural objects, which are marvellous things and beautiful beyond
+measure; and the vaulting, likewise, is all most excellently wrought
+in stucco by the hand of Domenico del Barbiere, a Florentine painter,
+who is excellent not only in this kind of relief, but also in design,
+so that in some works that he has coloured he has given proofs of the
+rarest ability. In the same place, also, many figures of stucco in the
+round have been executed by a sculptor likewise of our country, called
+Ponzio, who has acquitted himself very well. But, since the works that
+have been executed in those places in the service of those lords are
+innumerable in their variety, I must touch only on the principal works
+of the Abbot, in order to show how rare he is in painting, in design,
+and in matters of architecture; although, in truth, it would not
+appear to me an excessive labour to enlarge on the particular works,
+if I had some true and clear information about them, as I have about
+works here. With regard to design, Primaticcio has been and still is
+most excellent, as may be seen from a drawing by his hand painted with
+the signs of the heavens, which is in our book, sent to me by
+Francesco himself; and I, both for love of him and because it is a
+thing of absolute perfection, hold it very dear.
+
+King Francis being dead, the Abbot remained in the same place and rank
+with King Henry, and served him as long as he lived; and afterwards he
+was created by King Francis II Commissary-General over all the
+buildings of the whole kingdom, in which office, one of great honour
+and much repute, there had previously acted the father of Cardinal
+della Bordagiera and Monseigneur de Villeroy. Since the death of
+Francis II, he has continued in the same office, serving the present
+King, by whose order and that of the Queen-Mother Primaticcio has made
+a beginning with the tomb of the above-named King Henry, making in the
+centre of a six-sided chapel the sepulchre of the King himself, and at
+four sides the sepulchres of his four children; while at one of the
+other two sides of the chapel is the altar, and at the other the door.
+And since there are going into this work innumerable statues in marble
+and bronzes and a number of scenes in low-relief, it will prove worthy
+of all these great Kings and of the excellence and genius of so rare a
+craftsman as is this Abbot of S. Martin, who in his best years has
+been most excellent and versatile in all things that pertain to our
+arts, seeing that he has occupied himself in the service of his lords
+not only in buildings, paintings, and stucco-work, but also in the
+preparations for many festivals and masquerades, with most beautiful
+and fantastic inventions.
+
+He has been very liberal and most loving towards his friends and
+relatives, and likewise towards the craftsmen who have served him. In
+Bologna he has conferred many benefits on his relatives, and has
+bought honourable dwellings for them and made them commodious and very
+ornate, as is that wherein there now lives M. Antonio Anselmi, who has
+for wife one of the nieces of our Abbot Primaticcio, who has also
+given in marriage another niece, the sister of the first-named, with
+honour and a good dowry. Primaticcio has always lived not like a
+painter and craftsman, but like a nobleman, and, as I have said, he
+has been very loving towards our craftsmen. When, as has been related,
+he sent for Prospero Fontana, he despatched to him a good sum of
+money, to the end that he might be able to make his way to France.
+This sum, having fallen ill, Prospero was not able to pay back or
+return by means of his works and labours; wherefore I, passing in the
+year 1563 through Bologna, recommended Prospero to him in this matter,
+and such was the courtesy of Primaticcio, that before I departed from
+Bologna I saw a writing by the hand of the Abbot in which he made a
+free gift to Prospero of all that sum of money which he had in hand
+for that purpose. For which reasons the affection that he has won
+among craftsmen is such, that they address and honour him as a father.
+
+Now, to say something more of Prospero, I must record that he was
+once employed with much credit to himself in Rome, by Pope Julius III,
+at his Palace, at the Vigna Giulia, and at the Palace of the Campo
+Marzio, which at that time belonged to Signor Balduino Monti, and now
+belongs to the Lord Cardinal Ernando de' Medici, the son of Duke
+Cosimo. In Bologna the same master has executed many works in oils and
+in fresco, and in particular an altar-piece in oils in the Madonna del
+Baracane, of a S. Catherine who is disputing with philosophers and
+doctors in the presence of the Tyrant, which is held to be a very
+beautiful work. And the same Prospero has painted many pictures in
+fresco in the principal chapel of the Palace where the Governor lives.
+
+Much the friend of Primaticcio, likewise, is Lorenzo Sabatini, an
+excellent painter; and if he had not been burdened with a wife and
+many children, the Abbot would have taken him to France, knowing that
+he has a very good manner and great mastery in all kinds of work, as
+may be seen from many things that he has done in Bologna. And in the
+year 1566 Vasari made use of him in the festive preparations that were
+carried out in Florence for the above-mentioned nuptials of the Prince
+and her serene Highness Queen Joanna of Austria, causing him to
+execute, in the vestibule that is between the Sala dei Dugento and the
+Great Hall, six figures in fresco that are very beautiful and truly
+worthy to be praised. But since this able painter is constantly making
+progress, I shall say nothing more about him, save that, attending as
+he does to the studies of art, a most honourable result is expected
+from him.
+
+Now, in connection with the Abbot and the other Bolognese of whom
+mention has been made hitherto, I shall say something of Pellegrino
+Bolognese, a painter of the highest promise and most beautiful genius.
+This Pellegrino, after having attended in his early years to drawing
+the works by Vasari that are in the refectory of S. Michele in Bosco
+at Bologna, and those by other painters of good name, went in the year
+1547 to Rome, where he occupied himself until the year 1550 in drawing
+the most noteworthy works; executing during that time and also
+afterwards, in the Castello di S. Angelo, some things in connection
+with the works that Perino del Vaga carried out. In the centre of the
+vaulting of the Chapel of S. Dionigi, in the Church of S. Luigi de'
+Franzesi, he painted a battle-scene in fresco, in which he acquitted
+himself in such a manner, that, although Jacopo del Conte, a
+Florentine painter, and Girolamo Siciolante of Sermoneta had executed
+many works in the same chapel, Pellegrino proved to be in no way
+inferior to them; nay, it appears to many that he acquitted himself
+better than they did in the boldness, grace, colouring, and design of
+those his pictures. By reason of this Monsignor Poggio afterwards
+availed himself much of Pellegrino, for he had erected a palace on the
+Esquiline Hill, where he had a vineyard, without the Porta del Popolo,
+and he desired that Pellegrino should execute some figures for him on
+the facade, and then that he should paint the interior of a loggia
+that faces towards the Tiber, which he executed with such diligence,
+that it is held to be a work of much beauty and grace. In the house of
+Francesco Formento, between the Strada del Pellegrino and the Parione,
+he painted in a courtyard a facade and two figures besides. By order
+of the ministers of Pope Julius III, he executed a large escutcheon,
+with two figures, in the Belvedere; and without the Porta del Popolo,
+in the Church of S. Andrea, which that Pontiff had caused to be built,
+he painted a S. Peter and a S. Andrew, which two figures were much
+extolled, and the design of the S. Peter is in our book, together with
+other sheets drawn with much diligence by the same hand.
+
+[Illustration: THE ADORATION OF THE SHEPHERDS
+
+(_After the painting by =Pellegrino Tibaldi=. Vienna: Prince
+Liechtenstein_)
+
+_Hanfstaengl_]
+
+Being then sent to Bologna by Monsignor Poggio, he painted for him in
+his palace there many scenes in fresco, among which is one that is
+most beautiful, wherein from the many figures, both nude and clothed,
+and the lovely composition of the scene, it is evident that he
+surpassed himself, insomuch that he has never done any work since
+better than this. In S. Jacopo, in the same city, he began to paint a
+chapel likewise for Cardinal Poggio, which was afterwards finished by
+the above-mentioned Prospero Fontana. Being then taken by the Cardinal
+of Augsburg to the Madonna of Loreto, Pellegrino decorated for him a
+chapel most beautifully with stucco-work and pictures. On the
+vaulting, within a rich pattern of compartments in stucco, are the
+Nativity of Christ and His Presentation in the arms of Simeon at the
+Temple; and in the centre, in particular, is the Transfiguration of
+the Saviour on Mount Tabor, and with Him Moses, Elias, and the
+Disciples. In the altar-piece that is above the altar, he painted S.
+John the Baptist baptizing Christ; and in this he made a portrait of
+the above-named Cardinal, kneeling. On one of the facades at the sides
+he painted S. John preaching to the multitude, and on the other the
+Beheading of the same Saint. In the forecourt below the church he
+painted stories of the Judgment, and some figures in chiaroscuro in
+the place where the Theatines now have their Confessional.
+
+Being summoned not long afterwards to Ancona by Giorgio Morato, he
+painted for the Church of S. Agostino a large altar-piece in oils of
+Christ baptized by S. John, with S. Paul and other Saints on one side,
+and in the predella a good number of little figures, which are full of
+grace. For the same man he made in the Church of S. Ciriaco sul Monte
+a very beautiful ornament in stucco for the altar-piece of the
+high-altar, and within it a Christ of five braccia in full-relief,
+which was much extolled. In like manner, he has made in the same city
+a very large and very beautiful ornament of stucco for the high-altar
+of S. Domenico, and he would also have painted the altar-picture, but
+he had a difference with the patron of that work, and it was given to
+Tiziano Vecelli to execute, as will be related in the proper place.
+Finally, having undertaken to decorate in the same city of Ancona the
+Loggia de' Mercanti, which faces on one side over the sea-shore and on
+the other towards the principal street of the city, Pellegrino has
+adorned the vaulting, which is a new structure, with pictures and many
+large figures in stucco; in which work since he has exerted all the
+effort and study possible to him, it has turned out in truth full of
+beauty and grace, for the reason that, besides that all the figures
+are beautiful and well executed, there are some most lovely
+foreshortenings of nudes, in which it is evident that he has imitated
+with much diligence the works of Buonarroti that are in the Chapel in
+Rome.
+
+Now, since there are not in those parts any architects or engineers of
+account, or any who know more than he does, Pellegrino has taken it
+upon himself to give his attention to architecture and to the
+fortifying of places in that province; and, as one who has recognized
+that painting is more difficult and perhaps less advantageous than
+architecture, setting his painting somewhat on one side, he has
+executed many works for the fortification of Ancona and for many other
+places in the States of the Church, and particularly at Ravenna.
+Finally, he has made a beginning with a palace for the Sapienza, at
+Pavia, for Cardinal Borromeo. And at the present day, since he has not
+wholly abandoned painting, he is executing a scene in fresco, which
+will be very beautiful, in the refectory of S. Giorgio at Ferrara, for
+the Monks of Monte Oliveto; and of this Pellegrino himself not long
+ago showed me the design, which is very fine. But, seeing that he is a
+young man of thirty-five, and is constantly making more and more
+progress and advancing towards perfection, this much about him must
+suffice for the present. In like manner, I shall be brief in speaking
+of Orazio Fumaccini,[7] a painter likewise from Bologna, who has
+executed in Rome, as has been related, above one of the doors of the
+Hall of Kings, a scene that is very fine, and in Bologna many
+much-extolled pictures; for he also is young, and he is acquitting
+himself in such a manner, that he will not be inferior to his elders,
+of whom we have made mention in these our Lives.
+
+         [Footnote 7: Sammacchini.]
+
+The men of Romagna, also, spurred by the example of the Bolognese,
+their neighbours, have executed many noble works in our arts; for,
+besides Jacopone da Faenza, who, as has been related, painted the
+tribune of S. Vitale in Ravenna, there have been and still are many
+others after him who are excellent. Maestro Luca de' Longhi of
+Ravenna, a man of good, quiet, and studious nature, has painted in his
+native city of Ravenna and in the surrounding country many very
+beautiful panel-pictures in oils and portraits from nature; and of
+much charm, among others, are two little altar-pieces that he was
+commissioned not long since to paint for the Church of the Monks of
+Classi by the Reverend Don Antonio da Pisa, then Abbot of that
+Monastery; to say nothing of an infinite number of other works that
+this painter has executed. And, to tell the truth, if Maestro Luca had
+gone forth from Ravenna, where he has always lived and still lives
+with his family, being assiduous and very diligent, and of fine
+judgment, he would have become a very rare painter, because he has
+executed his works, as he still does, with patience and study; and to
+this I can bear witness, who know how much proficience he made during
+my sojourn of two months in Ravenna, both practising and discussing
+the matters of art; nor must I omit to say that a daughter of his,
+still but a little girl, called Barbara, draws very well, and has
+begun to do some work in colour with no little grace and excellence of
+manner.
+
+A rival of Luca, for a time, was Livio Agresti of Forli, who, after he
+had executed for Abbot de' Grassi in the Church of the Spirito Santo
+some scenes in fresco and certain other works, departed from Ravenna
+and made his way to Rome. There, attending with much study to design,
+he became a well-practised master, as may be seen from some facades
+and other works in fresco that he executed at that time; and his first
+works, which are in Narni, have in them not a little of the good. In a
+chapel of the Church of the Santo Spirito, in Rome, he has painted a
+number of figures and scenes in fresco, which are executed with much
+industry and study, so that they are rightly extolled by everyone.
+That work was the reason, as has been related, that there was allotted
+to him one of the smaller scenes that are over the doors in the Hall
+of Kings in the Palace of the Vatican, in which he acquitted himself
+so well, that it can bear comparison with the others. The same master
+has executed for the Cardinal of Augsburg seven pieces with scenes
+painted on cloth of silver, which have been held to be very beautiful
+in Spain, where they have been sent by that same Cardinal as presents
+to King Philip, to be used as hangings in a chamber. Another picture
+on cloth of silver he has painted in the same manner, which is now to
+be seen in the Church of the Theatines at Forli. Finally, having
+become a good and bold draughtsman, a well-practised colourist,
+fertile in the composition of scenes, and universal in his manner, he
+has been invited by the above-named Cardinal with a good salary to
+Augsburg, where he is constantly executing works worthy of much
+praise.
+
+But most rare among the other men of Romagna, in certain respects, is
+Marco da Faenza (for only so, and not otherwise, is he called), for
+the reason that he has no ordinary mastery in the work of fresco,
+being bold, resolute, and of a terrible force, and particularly in the
+manner and practice of making grotesques, in which he has no equal at
+the present day, nor one who even approaches his perfection. His
+works may be found throughout all Rome; and in Florence there is by
+his hand the greater part of the ornaments of twenty different rooms
+that are in the Ducal Palace, and the friezes of the ceiling in the
+Great Hall of that Palace, which was painted by Giorgio Vasari, as
+will be fully described in the proper place; not to mention that the
+decorations of the principal court of the same Palace, made in a short
+time for the coming of Queen Joanna, were executed in great part by
+the same man. And this must be enough of Marco, he being still alive
+and in the flower of his growth and activity.
+
+In Parma there is at the present day in the service of the Lord Duke
+Ottavio Farnese, a painter called Miruolo, a native, I believe, of
+Romagna, who, besides some works executed in Rome, has painted many
+scenes in fresco in a little palace that the same Lord Duke has caused
+to be built in the Castle of Parma. There, also, are some fountains
+constructed with fine grace by Giovanni Boscoli, a sculptor of
+Montepulciano, who, having worked in stucco for many years under
+Vasari in the Palace of the above-named Lord Duke Cosimo of Florence,
+has finally entered the service of the above-mentioned Lord Duke of
+Parma, with a good salary, and has executed, as he continues
+constantly to do, works worthy of his rare and most beautiful genius.
+In the same cities and provinces, also, are many other excellent and
+noble craftsmen; but, since they are still young, we shall defer to a
+more convenient time the making of that honourable mention of them
+that their talents and their works may have merited.
+
+And this is the end of the works of Abbot Primaticcio. I will add
+that, he having had himself portrayed in a pen-drawing by the
+Bolognese painter Bartolommeo Passerotto, who was very much his
+friend, that portrait has come into our hands, and we have it in our
+book of drawings by the hands of various excellent painters.
+
+
+
+
+TIZIANO DA CADORE
+
+
+[Illustration: TIZIANO: THE MADONNA OF THE CHERRIES
+
+(_Vienna: Imperial Gallery, 180. Panel_)]
+
+
+
+
+DESCRIPTION OF THE WORKS OF TIZIANO DA CADORE
+
+PAINTER
+
+
+Tiziano was born at Cadore, a little township situated on the Piave and
+five miles distant from the pass of the Alps, in the year 1480, from the
+family of the Vecelli, one of the most noble in that place. At the age
+of ten, having a fine spirit and a lively intelligence, he was sent to
+Venice to the house of an uncle, an honoured citizen, who, perceiving
+the boy to be much inclined to painting, placed him with Gian Bellini,
+an excellent painter very famous at that time, as has been related.
+Under his discipline, attending to design, he soon showed that he was
+endowed by nature with all the gifts of intellect and judgment that are
+necessary for the art of painting; and since at that time Gian Bellini
+and the other painters of that country, from not being able to study
+ancient works, were much--nay, altogether--given to copying from the
+life whatever work they did, and that with a dry, crude, and laboured
+manner, Tiziano also for a time learned that method. But having come to
+about the year 1507, Giorgione da Castelfranco, not altogether liking
+that mode of working, began to give to his pictures more softness and
+greater relief, with a beautiful manner; nevertheless he used to set
+himself before living and natural objects and counterfeit them as well
+as he was able with colours, and paint them broadly with tints crude or
+soft according as the life demanded, without doing any drawing, holding
+it as certain that to paint with colours only, without the study of
+drawing on paper, was the true and best method of working, and the true
+design. For he did not perceive that for him who wishes to distribute
+his compositions and accommodate his inventions well, it is necessary
+that he should first put them down on paper in several different ways,
+in order to see how the whole goes together, for the reason that the
+idea is not able to see or imagine the inventions perfectly within
+herself, if she does not reveal and demonstrate her conception to the
+eyes of the body, that these may assist her to form a good judgment.
+Besides which, it is necessary to give much study to the nude, if you
+wish to comprehend it well, which you will never do, nor is it possible,
+without having recourse to paper; and to keep always before you, while
+you paint, persons naked or draped, is no small restraint, whereas, when
+you have formed your hand by drawing on paper, you then come little by
+little with greater ease to carry your conceptions into execution,
+designing and painting together. And so, gaining practice in art, you
+make both manner and judgment perfect, doing away with the labour and
+effort wherewith those pictures were executed of which we have spoken
+above, not to mention that by drawing on paper, you come to fill the
+mind with beautiful conceptions, and learn to counterfeit all the
+objects of nature by memory, without having to keep them always before
+you or being obliged to conceal beneath the glamour of colouring the
+painful fruits of your ignorance of design, in the manner that was
+followed for many years by the Venetian painters, Giorgione, Palma,
+Pordenone, and others, who never saw Rome or any other works of absolute
+perfection.
+
+[Illustration: ARIOSTO
+
+(_After the painting by =Tiziano=. London: National Gallery, No.
+1944_)
+
+_Mansell_]
+
+Tiziano, then, having seen the method and manner of Giorgione,
+abandoned the manner of Gian Bellini, although he had been accustomed
+to it for a long time, and attached himself to that of Giorgione;
+coming in a short time to imitate his works so well, that his pictures
+at times were mistaken for works by Giorgione, as will be related
+below. Then, having grown in age, practice, and judgment, Tiziano
+executed many works in fresco, which cannot be enumerated in order,
+being dispersed over various places; let it suffice that they were
+such, that the opinion was formed by many experienced judges that he
+would become, as he afterwards did, a most excellent painter. At the
+time when he first began to follow the manner of Giorgione, not being
+more than eighteen years of age, he made the portrait of a gentleman
+of the Barberigo family, his friend, which was held to be very
+beautiful, the likeness of the flesh-colouring being true and
+natural, and all the hairs so well distinguished one from another,
+that they might have been counted, as also might have been the
+stitches in a doublet of silvered satin that he painted in that work.
+In short, it was held to be so well done, and with such diligence,
+that if Tiziano had not written his name on a dark ground, it would
+have been taken for the work of Giorgione.
+
+Meanwhile Giorgione himself had executed the principal facade of the
+Fondaco de' Tedeschi, and by means of Barberigo there were allotted to
+Tiziano certain scenes on the same building, above the Merceria. After
+which work he painted a large picture with figures of the size of
+life, which is now in the hall of M. Andrea Loredano, who dwells near
+S. Marcuola. In that picture is painted Our Lady going into Egypt, in
+the midst of a great forest and certain landscapes that are very well
+done, because Tiziano had given his attention for many months to such
+things, and had kept in his house for that purpose some Germans who
+were excellent painters of landscapes and verdure. In the wood in that
+picture, likewise, he painted many animals, which he portrayed from
+the life; and they are truly natural, and almost alive. Next, in the
+house of M. Giovanni D'Anna, a Flemish gentleman and merchant, his
+gossip, he made his portrait, which has all the appearance of life,
+and also an "Ecce Homo" with many figures, which is held by Tiziano
+himself and by others to be a very beautiful work. The same master
+painted a picture of Our Lady with other figures the size of life, of
+men and children, all portrayed from the life and from persons of that
+house. Then in the year 1507, while the Emperor Maximilian was making
+war on the Venetians, Tiziano, according to his own account, painted
+an Angel Raphael with Tobias and a dog in the Church of S. Marziliano,
+with a distant landscape, where, in a little wood, S. John the Baptist
+is praying on his knees to Heaven, whence comes a radiance that
+illumines him; and this work it is thought that he executed before he
+made a beginning with the facade of the Fondaco de' Tedeschi.
+Concerning which facade, many gentlemen, not knowing that Giorgione
+was not working there any more and that Tiziano was doing it, who had
+uncovered one part, meeting with Giorgione, congratulated him in
+friendly fashion, saying that he was acquitting himself better in the
+facade towards the Merceria than he had done in that which is over the
+Grand Canal. At which circumstance Giorgione felt such disdain, that
+until Tiziano had completely finished the work and it had become well
+known that the same had done that part, he would scarcely let himself
+be seen; and from that time onward he would never allow Tiziano to
+associate with him or be his friend.
+
+[Illustration: BACCHANAL
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+In the year after, 1508, Tiziano published in wood-engraving the
+Triumph of Faith, with an infinity of figures; our first Parents, the
+Patriarchs, the Prophets, the Sibyls, the Innocents, the Martyrs, the
+Apostles, and Jesus Christ borne in Triumph by the four Evangelists
+and the Four Doctors, with the Holy Confessors behind. In that work
+Tiziano displayed boldness, a beautiful manner, and the power to work
+with facility of hand; and I remember that Fra Sebastiano del Piombo,
+conversing of this, said to me that if Tiziano had been in Rome at
+that time, and had seen the works of Michelagnolo, those of Raffaello,
+and the ancient statues, and had studied design, he would have done
+things absolutely stupendous, considering the beautiful mastery that
+he had in colouring, and that he deserved to be celebrated as the
+finest and greatest imitator of Nature in the matter of colour in our
+times, and with the foundation of the grand method of design he might
+have equalled the Urbinate and Buonarroti. Afterwards, having gone to
+Vicenza, Tiziano painted the Judgment of Solomon in fresco, which was
+a beautiful work, under the little loggia where justice is
+administered in public audience. He then returned to Venice, and
+painted the facade of the Grimani. At Padua, in the Church of S.
+Antonio, he executed likewise in fresco some stories of the actions of
+that Saint, and for that of S. Spirito he painted a little altar-piece
+with a S. Mark seated in the midst of certain Saints, in whose faces
+are some portraits from life done in oils with the greatest diligence;
+which picture many have believed to be by the hand of Giorgione. Then,
+a scene having been left unfinished in the Hall of the Great Council
+through the death of Giovanni Bellini, wherein Frederick Barbarossa is
+kneeling at the door of the Church of S. Marco before Pope Alexander
+IV, who places his foot on Barbarossa's neck, Tiziano finished it,
+changing many things, and making there many portraits from life of
+his friends and others; for which he was rewarded by receiving from
+the Senate an office in the Fondaco de' Tedeschi, called the Senseria,
+which yields three hundred crowns a year. That office those Signori
+are accustomed to give to the most excellent painter of their city, on
+the condition that he shall be obliged from time to time to paint the
+portrait of their Prince or Doge, at his election, for the price of
+only eight crowns, which the Prince himself pays to him; which
+portrait is afterwards kept, in memory of him, in a public place in
+the Palace of S. Marco.
+
+[Illustration: MADONNA WITH SAINTS AND DONOR
+
+(_After the panel by =Tiziano da Cadore=. Ancona: S. Domenico_)
+
+_Anderson_]
+
+In the year 1514 Duke Alfonso of Ferrara had caused a little chamber
+to be decorated, and had commissioned Dosso, the painter of Ferrara,
+to execute in certain compartments stories of Aeneas, Mars, and Venus,
+and in a grotto Vulcan with two smiths at the forge; and he desired
+that there should also be there pictures by the hand of Gian Bellini.
+Bellini painted on another wall a vat of red wine with some Bacchanals
+around it, and Satyrs, musicians, and other men and women, all drunk
+with wine, and near them a nude and very beautiful Silenus, riding on
+his ass, with figures about him that have the hands full of fruits and
+grapes; which work was in truth executed and coloured with great
+diligence, insomuch that it is one of the most beautiful pictures that
+Gian Bellini ever painted, although in the manner of the draperies
+there is a certain sharpness after the German manner (nothing, indeed,
+of any account), because he imitated a picture by the Fleming Albrecht
+Duerer, which had been brought in those days to Venice and placed in
+the Church of S. Bartolommeo, a rare work and full of most beautiful
+figures painted in oils. On that vat Gian Bellini wrote these words:
+
+  JOANNES BELLINUS VENETUS, P. 1514.
+
+That work he was not able to finish completely, because he was old,
+and Tiziano, as the most excellent of all the others, was sent for to
+the end that he might finish it; wherefore, being desirous to acquire
+excellence and to make himself known, he executed with much diligence
+two scenes that were wanting in that little chamber. In the first is a
+river of red wine, about which are singers and musicians, both men
+and women, as it were drunk, and a naked woman who is sleeping, so
+beautiful that she might be alive, together with other figures; and on
+this picture Tiziano wrote his name. In the other, which is next to it
+and seen first on entering, he painted many little boys and Loves in
+various attitudes, which much pleased that lord, as also did the other
+picture; but most beautiful of all is one of those boys who is making
+water into a river and is reflected in the water, while the others are
+around a pedestal that has the form of an altar, upon which is a
+statue of Venus with a sea-conch in the right hand, and Grace and
+Beauty about her, which are very lovely figures and executed with
+incredible diligence. On the door of a press, likewise, Tiziano
+painted an image of Christ from the waist upwards, marvellous, nay,
+stupendous, to whom a base Hebrew is showing the coin of Caesar; which
+image, and also other pictures in that little chamber, our best
+craftsmen declare to be the finest and best executed that Tiziano has
+ever done, and indeed they are most rare. Wherefore he well deserved
+to be most liberally recompensed and rewarded by that lord, whom he
+portrayed excellently well with one arm resting on a great piece of
+artillery; and he also made a portrait of Signora Laura, who
+afterwards became the wife of the Duke, which is a stupendous work.
+And, in truth, gifts have great potency with those who labour for the
+love of art, when they are uplifted by the liberality of Princes. At
+that time Tiziano formed a friendship with the divine Messer Lodovico
+Ariosto, and was recognized by him as a most excellent painter and
+celebrated in his Orlando Furioso:
+
+                 ... E Tizian che onora
+  Non men Cador, che quei Vinezia e Urbino.
+
+[Illustration: TIZIANO: SACRED AND PROFANE LOVE
+
+(_Rome: Borghese Gallery, 147. Canvas_)]
+
+Having then returned to Venice, Tiziano painted on a canvas in oils,
+for the father-in-law of Giovanni da Castel Bolognese, a naked
+shepherd and a country-girl who is offering him some pipes, that he
+may play them, with a most beautiful landscape; which picture is now
+at Faenza, in the house of the said Giovanni. He then executed for the
+high-altar in the Church of the Friars Minors, called the Ca Grande, a
+picture of Our Lady ascending into Heaven, and below her the twelve
+Apostles, who are gazing upon her as she ascends; but of this work,
+from its having been painted on cloth, and perhaps not well kept,
+there is little to be seen. For the Chapel of the Pesari family, in
+the same church, he painted in an altar-piece the Madonna with the
+Child in her arms, a S. Peter and a S. George, and about them the
+patrons of the work, kneeling and portrayed from life; among whom are
+the Bishop of Paphos and his brother, then newly returned from the
+victory which that Bishop won against the Turks. For the little Church
+of S. Niccolo, in the same convent, he painted in an altar-piece S.
+Nicholas, S. Francis, S. Catharine, and also a nude S. Sebastian,
+portrayed from life and without any artifice that can be seen to have
+been used to enhance the beauty of the limbs and trunk, there being
+nothing there but what he saw in the work of nature, insomuch that it
+all appears as if stamped from the life, so fleshlike it is and
+natural; but for all that it is held to be beautiful, as is also very
+lovely the Madonna with the Child in her arms at whom all those
+figures are gazing. The subject of that picture was drawn on wood by
+Tiziano himself, and then engraved by others and printed. For the
+Church of S. Rocco, after the works described above, he painted a
+picture of Christ with the Cross on His shoulder, and about His neck a
+cord that is drawn by a Hebrew; and that figure, which many have
+believed to be by the hand of Giorgione, is now the object of the
+greatest devotion in Venice, and has received in alms more crowns than
+Tiziano and Giorgione ever gained in all their lives. Then he was
+invited to Rome by Bembo, whom he had already portrayed, and who was
+at that time Secretary to Pope Leo X, to the end that he might see
+Rome, Raffaello da Urbino, and others; but Tiziano delayed that visit
+so long from one day to another, that Leo died, and Raffaello in 1520,
+and after all he never went. For the Church of S. Maria Maggiore he
+painted a picture with S. John the Baptist in the Desert among some
+rocks, an Angel that appears as if alive, and a little piece of
+distant landscape with some trees upon the bank of a river, all full
+of grace.
+
+He made portraits from life of the Prince Grimani and Loredano, which
+were held to be admirable; and not long afterwards of King Francis,
+when he departed from Italy in order to return to France. And in the
+year when Andrea Gritti was elected Doge, Tiziano painted his
+portrait, which was a very rare thing, in a picture wherein are Our
+Lady, S. Mark, and S. Andrew with the countenance of that Doge; which
+picture, a most marvellous work, is in the Sala del Collegio. He has
+also painted portraits, in addition to those of the Doges named above
+(being obliged, as has been related, to do it), of others who have
+been Doges in their time; Pietro Lando, Francesco Donato, Marcantonio
+Trevisano, and Veniero. But by the two Doges and brothers Paoli[8] he
+has been excused recently, because of his great age, from that
+obligation. Before the sack of Rome there had gone to live in Venice
+Pietro Aretino, a most famous poet of our times, and he became very
+much the friend of Tiziano and Sansovino; which brought great honour
+and advantage to Tiziano, for the reason that the poet made him known
+wherever his pen reached, and especially to Princes of importance, as
+will be told in the proper place.
+
+         [Footnote 8: Priuli.]
+
+[Illustration: CHARLES V
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+Meanwhile, to return to Tiziano's works, he painted the altar-piece
+for the altar of S. Piero Martire in the Church of SS. Giovanni e
+Polo, depicting therein that holy martyr larger than life, in a forest
+of very great trees, fallen to the ground and assailed by the fury of
+a soldier, who has wounded him so grievously in the head, that as he
+lies but half alive there is seen in his face the horror of death,
+while in another friar who runs forward in flight may be perceived the
+fear and terror of death. In the air are two nude Angels coming down
+from a flash of Heaven's lightning, which gives light to the
+landscape, which is most beautiful, and to the whole work besides,
+which is the most finished, the most celebrated, the greatest, and the
+best conceived and executed that Tiziano has as yet ever done in all
+his life. This work being seen by Gritti, who was always very much the
+friend of Tiziano, as also of Sansovino, he caused to be allotted to
+him a great scene of the rout of Chiaradadda, in the Hall of the Great
+Council. In it he painted a battle with soldiers in furious combat,
+while a terrible rain falls from Heaven; which work, wholly taken from
+life, is held to be the best of all the scenes that are in that Hall,
+and the most beautiful. And in the same Palace, at the foot of a
+staircase, he painted a Madonna in fresco. Having made not long
+afterwards for a gentleman of the Contarini family a picture of a
+very beautiful Christ, who is seated at table with Cleophas and Luke,
+it appeared to that gentleman that the work was worthy to be in a
+public place, as in truth it is. Wherefore having made a present of
+it, like a true lover of his country and of the commonwealth, to the
+Signoria, it was kept a long time in the apartments of the Doge; but
+at the present day it is in a public place, where it may be seen by
+everyone, in the Salotta d'Oro in front of the Hall of the Council of
+Ten, over the door. About the same time, also, he painted for the
+Scuola of S. Maria della Carita Our Lady ascending the steps of the
+Temple, with heads of every kind portrayed from nature; and for the
+Scuola of S. Fantino, likewise, a little altar-piece of S. Jerome in
+Penitence, which was much extolled by the craftsmen, but was consumed
+by fire two years ago together with the whole church.
+
+It is said that in the year 1530, the Emperor Charles V being in
+Bologna, Tiziano was invited to that city by Cardinal Ippolito de'
+Medici, through the agency of Pietro Aretino. There he made a most
+beautiful portrait of his Majesty in full armour, which so pleased
+him, that he caused a thousand crowns to be given to Tiziano; but of
+these he was obliged afterwards to give the half to the sculptor
+Alfonso Lombardi, who had made a model to be reproduced in marble, as
+was related in his Life.
+
+Having returned to Venice, Tiziano found that a number of gentlemen,
+who had taken Pordenone into their favour, praising much the works
+executed by him on the ceiling of the Sala de' Pregai and elsewhere,
+had caused a little altar-piece to be allotted to him in the Church of
+S. Giovanni Elemosinario, to the end that he might paint it in
+competition with Tiziano, who for the same place had painted a short
+time before the said S. Giovanni Elemosinario in the habit of a
+Bishop. But, for all the diligence that Pordenone devoted to that
+altar-piece, he was not able to equal or even by a great measure to
+approach to the work of Tiziano. Next, Tiziano executed a most
+beautiful altar-picture of an Annunciation for the Church of S. Maria
+degli Angeli at Murano, but he who had caused it to be painted not
+being willing to spend five hundred crowns upon it, which Tiziano was
+asking, by the advice of Messer Pietro Aretino he sent it as a gift to
+the above-named Emperor Charles V, who, liking that work vastly, made
+him a present of two thousand crowns; and where that picture was to
+have been placed, there was set in its stead one by the hand of
+Pordenone. Nor had any long time passed when Charles V, returning to
+Bologna for a conference with Pope Clement, at the time when he came
+with his army from Hungary, desired to be portrayed again by Tiziano.
+Before departing from Bologna, Tiziano also painted a portrait of the
+above-named Cardinal Ippolito de' Medici in Hungarian dress, and in a
+smaller picture the same man in full armour; both which portraits are
+now in the guardaroba of Duke Cosimo. At that same time he executed a
+portrait of Alfonso Davalos, Marchese del Vasto, and one of the
+above-named Pietro Aretino, who then contrived that he should become
+the friend and servant of Federigo Gonzaga, Duke of Mantua, with whom
+Tiziano went to his States and there painted a portrait of him, which
+is a living likeness, and then one of the Cardinal, his brother. These
+finished, he painted, for the adornment of a room among those of
+Giulio Romano, twelve figures from the waist upwards of the twelve
+Caesars, very beautiful, beneath each of which the said Giulio
+afterwards painted a story from their lives.
+
+[Illustration: TIZIANO: THE DUKE OF NORFOLK
+
+(_Florence: Pitti, 92. Canvas_)]
+
+In Cadore, his native place, Tiziano has painted an altar-picture
+wherein are Our Lady, S. Tiziano the Bishop, and a portrait of himself
+kneeling. In the year when Pope Paul III went to Bologna, and from
+there to Ferrara, Tiziano, having gone to the Court, made a portrait
+of that Pope, which was a very beautiful work, and from it another for
+Cardinal S. Fiore; and both these portraits, for which he was very
+well paid by the Pope, are in Rome, one in the guardaroba of Cardinal
+Farnese, and the other in the possession of the heirs of the
+above-named Cardinal S. Fiore, and from them have been taken many
+copies, which are dispersed throughout Italy. At this same time, also,
+he made a portrait of Francesco Maria, Duke of Urbino, which was a
+marvellous work; wherefore M. Pietro Aretino on this account
+celebrated him in a sonnet that began:
+
+  Se il chiaro Apelle con la man dell'arte
+        Rassembro d'Alessandro il volto e il petto.
+
+There are in the guardaroba of the same Duke, by the hand of Tiziano,
+two most lovely heads of women, and a young recumbent Venus with
+flowers and certain light draperies about her, very beautiful and well
+finished; and, in addition, a figure of S. Mary Magdalene with the
+hair all loose, which is a rare work. There, likewise, are the
+portraits of Charles V, King Francis as a young man, Duke Guidobaldo
+II, Pope Sixtus IV, Pope Julius II, Paul III, the old Cardinal of
+Lorraine, and Suleiman Emperor of the Turks; which portraits, I say,
+are by the hand of Tiziano, and most beautiful. In the same
+guardaroba, besides many other things, is a portrait of Hannibal the
+Carthaginian, cut in intaglio in an antique cornelian, and also a very
+beautiful head in marble by the hand of Donato.
+
+[Illustration: POPE PAUL III
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+In the year 1541 Tiziano painted for the Friars of S. Spirito, in
+Venice, the altar-piece of their high-altar, figuring in it the
+Descent of the Holy Spirit upon the Apostles, with a God depicted as
+of fire, and the Spirit as a Dove; which altar-piece becoming spoiled
+in no long time, after having many disputes with those friars he had
+to paint it again, and it is that which is over the altar at the
+present day. For the Church of S. Nazzaro in Brescia he executed the
+altar-piece of the high-altar in five pictures; in the central picture
+is Jesus Christ returning to life, with some soldiers around, and at
+the sides are S. Nazzaro, S. Sebastian, the Angel Gabriel, and the
+Virgin receiving the Annunciation. In a picture for the wall at the
+entrance of the Duomo of Verona, he painted an Assumption of Our Lady
+into Heaven, with the Apostles on the ground, which is held to be the
+best of the modern works in that city. In the year 1541 he made the
+portrait of Don Diego di Mendoza, at that time Ambassador of Charles V
+in Venice, a whole-length figure and standing, which was very
+beautiful; and from this Tiziano began what has since come into
+fashion, the making of certain portraits of full length. In the same
+manner he painted that of the Cardinal of Trento, then a young man,
+and for Francesco Marcolini the portrait of Messer Pietro Aretino, but
+this last was by no means as beautiful as one of that poet, likewise
+by the hand of Tiziano, which Aretino himself sent as a present to
+Duke Cosimo de' Medici, to whom he sent also the head of Signor
+Giovanni de' Medici, the father of the said Lord Duke. That head was
+copied from a cast taken from the face of that lord when he died at
+Mantua, which was in the possession of Aretino; and both these
+portraits are in the guardaroba of the same Lord Duke, among many
+other most noble pictures.
+
+The same year, Vasari having been thirteen months in Venice to
+execute, as has been related, a ceiling for Messer Giovanni Cornaro,
+and some works for the Company of the Calza, Sansovino, who was
+directing the fabric of S. Spirito, had commissioned him to make
+designs for three large pictures in oils which were to go into the
+ceiling, to the end that he might execute them in painting; but,
+Vasari having afterwards departed, those three pictures were allotted
+to Tiziano, who executed them most beautifully, from his having
+contrived with great art to make the figures foreshortened from below
+upwards. In one is Abraham sacrificing Isaac, in another David
+severing the neck of Goliath, and in the third Abel slain by his
+brother Cain. About the same time Tiziano painted a portrait of
+himself, in order to leave that memory of himself to his children.
+
+[Illustration: DANAE
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+The year 1546 having come, he went at the invitation of Cardinal
+Farnese to Rome, where he found Vasari, who, having returned from
+Naples, was executing the Hall of the Cancelleria for the above-named
+Cardinal; whereupon, Tiziano having been recommended by that lord to
+Vasari, Giorgio kept him company lovingly in taking him about to see
+the sights of Rome. And then, after Tiziano had rested for some days,
+rooms were given to him in the Belvedere, to the end that he might set
+his hand to painting once more the portrait of Pope Paul, of full
+length, with one of Farnese and one of Duke Ottavio, which he executed
+excellently well and much to the satisfaction of those lords. At their
+persuasion he painted, for presenting to the Pope, a picture of Christ
+from the waist upwards in the form of an "Ecce Homo," which work,
+whether it was that the works of Michelagnolo, Raffaello, Polidoro,
+and others had made him lose some force, or for some other reason, did
+not appear to the painters, although it was a good picture, to be of
+the same excellence as many others by his hand, and particularly his
+portraits. Michelagnolo and Vasari, going one day to visit Tiziano
+in the Belvedere, saw in a picture that he had executed at that time
+a nude woman representing Danae, who had in her lap Jove transformed
+into a rain of gold; and they praised it much, as one does in the
+painter's presence. After they had left him, discoursing of Tiziano's
+method, Buonarroti commended it not a little, saying that his
+colouring and his manner much pleased him, but that it was a pity that
+in Venice men did not learn to draw well from the beginning, and that
+those painters did not pursue a better method in their studies. "For,"
+he said, "if this man had been in any way assisted by art and design,
+as he is by nature, and above all in counterfeiting the life, no one
+could do more or work better, for he has a fine spirit and a very
+beautiful and lively manner." And in fact this is true, for the reason
+that he who has not drawn much nor studied the choicest ancient and
+modern works, cannot work well from memory by himself or improve the
+things that he copies from life, giving them the grace and perfection
+wherein art goes beyond the scope of nature, which generally produces
+some parts that are not beautiful.
+
+Tiziano, finally departing from Rome, with many gifts received from
+those lords, and in particular a benefice of good value for his son
+Pomponio, set himself on the road to return to Venice, after Orazio,
+his other son, had made a portrait of Messer Battista Ceciliano, an
+excellent player on the bass-viol, which was a very good work, and he
+himself had executed some other portraits for Duke Guidobaldo of
+Urbino. Arriving in Florence, and seeing the rare works of that city,
+he was amazed by them no less than he had been by those of Rome. And
+besides that, he visited Duke Cosimo, who was at Poggio a Caiano,
+offering to paint his portrait; to which his Excellency did not give
+much heed, perchance in order not to do a wrong to the many noble
+craftsmen of his city and dominion.
+
+Then, having arrived in Venice, Tiziano finished for the Marchese del
+Vasto an Allocution (for so they called it) made by that lord to his
+soldiers; and after that he took the portrait of Charles V, that of
+the Catholic King, and many others. These works finished, he painted a
+little altar-piece of the Annunciation for the Church of S. Maria
+Nuova in Venice; and then, employing the assistance of his young men,
+he executed a Last Supper in the refectory of SS. Giovanni e Polo,
+and for the high-altar of the Church of S. Salvadore an altar-piece in
+which is a Christ Transfigured on Mount Tabor, and for another altar
+in the same church a Madonna receiving the Annunciation from the
+Angel. But these last works, although there is something of the good
+to be seen in them, are not much esteemed by him, and have not the
+perfection that his other pictures have. And since the works of
+Tiziano are without number, and particularly the portraits, it is
+almost impossible to make mention of them all; wherefore I shall speak
+only of the most remarkable, but without order of time, it being of
+little import to know which was first and which later. Several times,
+as has been related, he painted the portrait of Charles V, and in the
+end he was summoned for that purpose to the Court, where he portrayed
+him as he was in those his later years; and the work of Tiziano so
+pleased that all-conquering Emperor, that after he had once seen it he
+would not be portrayed by other painters. Each time that he painted
+him, he received a thousand crowns of gold as a present, and he was
+made by his Majesty a Chevalier, with a revenue of two hundred crowns
+on the Chamber of Naples. In like manner, when he portrayed Philip,
+King of Spain, the son of Charles, he received from him a fixed
+allowance of two hundred crowns more; insomuch that, adding those four
+hundred to the three hundred that he has on the Fondaco de' Tedeschi
+from the Signori of Venice, he has without exerting himself a fixed
+income of seven hundred crowns every year. Of the same Charles V and
+King Philip Tiziano sent portraits to the Lord Duke Cosimo, who has
+them in his guardaroba. He portrayed Ferdinand, King of the Romans,
+who afterwards became Emperor, and both his sons, Maximilian, now
+Emperor, and his brother. He also portrayed Queen Maria, and, for the
+Emperor Charles V, the Duke of Saxony when he was a prisoner. But what
+a waste of time is this? There has been scarce a single lord of great
+name, or Prince, or great lady, who has not been portrayed by Tiziano,
+a painter of truly extraordinary excellence in this field of art. He
+painted portraits of King Francis I of France, as has been related,
+Francesco Sforza, Duke of Milan, the Marquis of Pescara, Antonio da
+Leva, Massimiano Stampa, Signor Giovan Battista Castaldo, and other
+lords without number.
+
+[Illustration: PERSEUS AND ANDROMEDA
+
+(_After the painting by =Tiziano=. London: Hertford House_)
+
+_Mansell_]
+
+In like manner, besides the works mentioned above, at various times
+he has executed many others. In Venice, by order of Charles V, he
+painted in a great altar-piece the Triune God enthroned, Our Lady and
+the Infant Christ, with the Dove over Him, and the ground all of fire,
+signifying Love; and the Father is surrounded by fiery Cherubim. On
+one side is the same Charles V, and on the other the Empress, both
+clothed in linen garments, with the hands clasped in the attitude of
+prayer, among many Saints; all which was after the command of the
+Emperor, who, at that time at the height of his victories, began to
+show that he was minded to retire from the things of this world, as he
+afterwards did, in order to die like a true Christian, fearing God and
+desirous of his own salvation. Which picture the Emperor said to
+Tiziano that he wished to place in the monastery wherein afterwards he
+finished the course of his life; and since it is a very rare work, it
+is expected that it may soon be published in engravings. The same
+Tiziano executed for Queen Maria a Prometheus who is bound to Mount
+Caucasus and torn by Jove's Eagle, a Sisyphus in Hell who is toiling
+under his stone, and Tityus devoured by the Vulture. These her Majesty
+received, excepting the Prometheus, and with them a Tantalus of the
+same size (namely, that of life), on canvas and in oils. He executed,
+also, a Venus and Adonis that are marvellous, she having swooned, and
+the boy in the act of rising to leave her, with some dogs about him
+that are very natural. On a panel of the same size he represented
+Andromeda bound to the rock, and Perseus delivering her from the
+Sea-Monster, than which picture none could be more lovely; as is also
+another of Diana, who, bathing in a fount with her Nymphs, transforms
+Actaeon into a stag. He also painted Europa passing over the sea on the
+back of the Bull. All these pictures are in the possession of the
+Catholic King, held very dear for the vivacity that Tiziano has given
+to the figures with his colours, making them natural and as if alive.
+
+[Illustration: PHILIP II
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+It is true, however, that the method of work which he employed in
+these last pictures is no little different from the method of his
+youth, for the reason that the early works are executed with a certain
+delicacy and a diligence that are incredible, and they can be seen
+both from near and from a distance, and these last works are executed
+with bold strokes and dashed off with a broad and even coarse sweep of
+the brush, insomuch that from near little can be seen, but from a
+distance they appear perfect. This method has been the reason that
+many, wishing to imitate him therein and to play the practised master,
+have painted clumsy pictures; and this happens because, although many
+believe that they are done without effort, in truth it is not so, and
+they deceive themselves, for it is known that they are painted over
+and over again, and that he returned to them with his colours so many
+times, that the labour may be perceived. And this method, so used, is
+judicious, beautiful, and astonishing, because it makes pictures
+appear alive and painted with great art, but conceals the labour.
+
+[Illustration: MARY MAGDALENE
+
+(_After the painting by =Tiziano=. Naples: Museo Nazionale_)
+
+_Anderson_]
+
+Tiziano painted recently in a picture three braccia high and four
+braccia broad, Jesus Christ as an Infant in the lap of Our Lady and
+adored by the Magi, with a good number of figures of one braccio each,
+which is a very lovely work, as is also another picture that he
+himself copied from that one and gave to the old Cardinal of Ferrara.
+Another picture, in which he depicted Christ mocked by the Jews, which
+is most beautiful, was placed in a chapel of the Church of S. Maria
+delle Grazie, in Milan. For the Queen of Portugal he painted a picture
+of a Christ scourged by Jews at the Column, a little less than the
+size of life, which is very beautiful. For the high-altar of S.
+Domenico, at Ancona, he painted an altar-piece with Christ on the
+Cross, and at the foot Our Lady, S. John, and S. Dominic, all most
+beautiful, and executed in his later manner with broad strokes, as has
+just been described above. And by the same hand, in the Church of the
+Crocicchieri at Venice, is the picture that is on the altar of S.
+Lorenzo, wherein is the martyrdom of that Saint, with a building full
+of figures, and S. Laurence lying half upon the gridiron, in
+foreshortening, with a great fire beneath him, and about it some who
+are kindling it. And since he counterfeited an effect of night, there
+are two servants with torches in their hands, which throw light where
+the glare of the fire below the gridiron does not reach, which is
+piled high and very fierce. Besides this, he depicted a
+lightning-flash, which, darting from Heaven and cleaving the clouds,
+overcomes the light of the fire and that of the torches, shining
+over the Saint and the other principal figures, and, in addition to
+those three lights, the figures that he painted in the distance at the
+windows of the building have the light of lamps and candles that are
+near them; and all, in short, is executed with beautiful art,
+judgment, and genius. In the Church of S. Sebastiano, on the altar of
+S. Niccolo, there is by the hand of the same Tiziano a little
+altar-piece of a S. Nicholas who appears as if alive, seated in a
+chair painted in the likeness of stone, with an Angel that is holding
+his mitre; which work he executed at the commission of Messer Niccolo
+Crasso, the advocate. Tiziano afterwards painted, for sending to the
+Catholic King, a figure of S. Mary Magdalene from the middle of the
+thighs upwards, all dishevelled; that is, with the hair falling over
+the shoulders, about the throat, and over the breast, the while that,
+raising the head with the eyes fixed on Heaven, she reveals remorse in
+the redness of the eyes, and in her tears repentance for her sins.
+Wherefore the picture moves mightily all who behold it; and, what is
+more, although she is very beautiful, it moves not to lust but to
+compassion. This picture, when it was finished, so pleased ... Silvio,
+a Venetian gentleman, that in order to have it, being one who takes
+supreme delight in painting, he gave Tiziano a hundred crowns:
+wherefore Tiziano was forced to paint another, which was not less
+beautiful, for sending to the above-named Catholic King.
+
+There are also to be seen portraits from life by Tiziano of a Venetian
+citizen called Sinistri, who was much his friend, and of another named
+M. Paolo da Ponte, for whom he likewise portrayed a daughter that he
+had at that time, a most beautiful young woman called Signora Giulia
+da Ponte, a dear friend of Tiziano; and in like manner Signora Irene,
+a very lovely maiden, skilled in letters and music and a student of
+design, who, dying about seven years ago, was celebrated by the pens
+of almost all the writers of Italy. He portrayed M. Francesco Filetto,
+an orator of happy memory, and in the same picture, before him, his
+son, who seems as if alive; which portrait is in the house of Messer
+Matteo Giustiniani, a lover of these arts, who has also had a picture
+painted for himself by the painter Jacopo da Bassano, which is very
+beautiful, as also are many other works by that Bassano which are
+dispersed throughout Venice, and held in great price, particularly
+his little works and animals of every kind. Tiziano portrayed Bembo
+another time (namely, after he became a Cardinal), Fracastoro, and
+Cardinal Accolti of Ravenna, which last portrait Duke Cosimo has in
+his guardaroba; and our Danese, the sculptor, has in his house at
+Venice a portrait by the hand of Tiziano of a gentleman of the Delfini
+family. There may be seen portraits by the same hand of M. Niccolo
+Zono, of Rossa, wife of the Grand Turk, at the age of sixteen, and of
+Cameria, her daughter, with most beautiful dresses and adornments. In
+the house of M. Francesco Sonica, an advocate and a gossip of Tiziano,
+is a portrait by his hand of that M. Francesco, and in a large picture
+Our Lady flying to Egypt, who is seen to have dismounted from the ass
+and to have seated herself upon a stone on the road, with S. Joseph
+beside her, and a little S. John who is offering to the Infant Christ
+some flowers picked by the hand of an Angel from the branches of a
+tree that is in the middle of a wood full of animals, where in the
+distance the ass stands grazing. That picture, which is full of grace,
+the said gentleman has placed at the present day in a palace that he
+has built for himself at Padua, near S. Giustina. In the house of a
+gentleman of the Pisani family, near S. Marco, there is by the hand of
+Tiziano the portrait of a gentlewoman, which is a marvellous thing.
+And having made for Monsignor Giovanni della Casa, the Florentine, who
+has been illustrious in our times both for nobility of blood and as a
+man of letters, a very beautiful portrait of a gentlewoman whom that
+lord loved while he was in Venice, Tiziano was rewarded by being
+honoured by him with the lovely sonnet that begins--
+
+  Ben vegg'io, Tiziano, in forme nuove
+        L'idolo mio, che i begli occhi apre e gira (with what follows).
+
+Finally, this excellent painter sent to the above-named Catholic King
+a Last Supper of Christ with the Apostles, in a picture seven braccia
+long, which was a work of extraordinary beauty.
+
+[Illustration: TIZIANO: THE EDUCATION OF CUPID
+
+(_Rome: Borghese Gallery. Canvas_)]
+
+In addition to the works described and many others of less merit
+executed by this man, which are omitted for the sake of brevity, he
+has in his house, sketched in and begun, the following: the Martyrdom
+of S. Laurence, similar to that described above, and destined by him
+for sending to the Catholic King; a great canvas wherein is Christ
+on the Cross, with the Thieves, and at the foot the ministers of the
+crucifixion, which he is painting for Messer Giovanni d'Anna; and a
+picture which was begun for the Doge Grimani, father of the Patriarch
+of Aquileia. And for the Hall of the Great Palace of Brescia he has
+made a beginning with three large pictures that are to go in the
+ornamentation of the ceiling, as has been related in speaking of
+Cristofano and his brother, painters of Brescia. He also began, many
+years ago, for Alfonso I, Duke of Ferrara, a picture of a nude young
+woman bowing before Minerva, with another figure at the side, and a
+sea in the centre of which, in the distance, is Neptune in his car;
+but through the death of that lord, after whose fancy the work was
+being executed, it was not finished, and remained with Tiziano. He has
+also carried well forward, but not finished, a picture wherein is
+Christ appearing to Mary Magdalene in the Garden in the form of a
+gardener, with figures the size of life; another, also, of equal size,
+in which the Madonna and the other Maries being present, the Dead
+Christ is laid in the Sepulchre; likewise a picture of Our Lady, which
+is one of the best things that are in that house, and, as has been
+told, a portrait of himself that was finished by him four years ago,
+very beautiful and natural, and finally a S. Paul who is reading, a
+half-length figure, which has all the appearance of the real Saint
+filled with the Holy Spirit.
+
+[Illustration: THE ENTOMBMENT
+
+(_After the painting by =Tiziano=. Madrid: The Prado_)
+
+_Anderson_]
+
+All these works, I say, he has executed, with many others that I omit
+in order not to be wearisome, up to his present age of about
+seventy-six years. Tiziano has been very sound in health, and as
+fortunate as any man of his kind has ever been; and he has not
+received from Heaven anything save favours and blessings. In his house
+at Venice have been all the Princes, men of letters and persons of
+distinction who have gone to that city or lived there in his time,
+because, in addition to his excellence in art, he has shown great
+gentleness, beautiful breeding, and most courteous ways and manners.
+He has had in Venice some competitors, but not of much worth, so that
+he has surpassed them easily with the excellence of his art and with
+his power of attaching himself and making himself dear to the men of
+quality. He has earned much, for he has been very well paid for his
+works; but it would have been well for him in these his last years not
+to work save as a pastime, so as not to diminish with works of less
+excellence the reputation gained in his best years, when his natural
+powers were not declining and drawing towards imperfection. When
+Vasari, the writer of this history, was at Venice in the year 1566, he
+went to visit Tiziano, as one who was much his friend, and found him
+at his painting with brushes in his hand, although he was very old;
+and he had much pleasure in seeing him and discoursing with him. He
+made known to Vasari Messer Gian Maria Verdezotti, a young Venetian
+gentleman full of talent, a friend of Tiziano and passing able in
+drawing and painting, as he showed in some landscapes of great beauty
+drawn by him. This man has by the hand of Tiziano, whom he loves and
+cherishes as a father, two figures painted in oils within two niches,
+an Apollo and a Diana.
+
+Tiziano, then, having adorned with excellent pictures the city of
+Venice, nay, all Italy and other parts of the world, deserves to be
+loved and revered by the craftsmen, and in many things to be admired
+and imitated, as one who has executed and is still executing works
+worthy of infinite praise, which shall endure as long as the memory of
+illustrious men may live.
+
+[Illustration: PARIS BORDONE: THE VENETIAN LOVERS
+
+(_Milan: Brera, 105. Canvas_)]
+
+Now, although many have been with Tiziano in order to learn, yet the
+number of those who can truly be called his disciples is not great,
+for the reason that he has not taught much, and each pupil has gained
+more or less knowledge according as he has been able to acquire it
+from the works executed by Tiziano. There has been with him, among
+others, one Giovanni, a Fleming, who has been a much-extolled master
+in figures both small and large, and in portraits marvellous, as may
+be seen in Naples, where he lived some time, and finally died. By his
+hand--and this must do him honour for all time--were the designs of
+the anatomical studies that the most excellent Andrea Vessalio caused
+to be engraved and published with his work. But he who has imitated
+Tiziano more than any other is Paris Bordone, who, born in Treviso
+from a father of Treviso and a Venetian mother, was taken at the age
+of eight to the house of some relatives in Venice. There, having
+learned his grammar and become an excellent musician, he went to be
+with Tiziano, but he did not spend many years with him, for he
+perceived that man to be not very ready to teach his young men,
+although besought by them most earnestly and invited by their patience
+to do his duty by them; and he resolved to leave him. He was much
+grieved that Giorgione should have died in those days, whose manner
+pleased him vastly, and even more his reputation for having taught
+well and willingly, and with lovingness, all that he knew; but, since
+there was nothing else to be done, Paris resolved in his mind that he
+would follow the manner of Giorgione. And so, setting himself to
+labour and to counterfeit the work of that master, he became such that
+he acquired very good credit; wherefore at the age of eighteen there
+was allotted to him an altar-piece that was to be painted for the
+Church of S. Niccolo, of the Friars Minors. Which having heard,
+Tiziano so went to work with various means and favours that he took it
+out of his hands, either to prevent him from being able to display his
+ability so soon, or perhaps drawn by his desire of gain.
+
+Afterwards Paris was summoned to Vicenza, to paint a scene in fresco
+in the Loggia of the Piazza where justice is administered, beside that
+of the Judgment of Solomon which Tiziano had previously executed; and
+he went very willingly, and painted there a story of Noah with his
+sons, which was held to be a work passing good in diligence and in
+design, and not less beautiful than that of Tiziano, insomuch that by
+those who know not the truth they are considered to be both by the
+same hand. Having returned to Venice, Paris executed some nudes in
+fresco at the foot of the bridge of the Rialto; by reason of which
+essay he was commissioned to paint some facades of houses in Venice.
+Being then summoned to Treviso, he painted there likewise some facades
+and other works, and in particular many portraits, which gave much
+satisfaction; that of the Magnificent M. Alberto Unigo, that of M.
+Marco Seravalle, and of M. Francesco da Quer, of the Canon Rovere, and
+of Monsignor Alberti. For the Duomo of that city, in an altar-piece in
+the centre of the church, at the instance of the reverend Vicar, he
+painted the Nativity of Jesus Christ, and then a Resurrection. For S.
+Francesco he executed another altar-piece at the request of the
+Chevalier Rovere, another for S. Girolamo, and one for Ognissanti,
+with different heads of Saints both male and female, all beautiful and
+varied in the attitudes and in the vestments. He executed another
+altar-piece for S. Lorenzo, and in S. Polo he painted three chapels,
+in the largest of which he depicted Christ rising from the dead, the
+size of life, and accompanied by a great multitude of Angels; in the
+second some Saints with many Angels about them, and in the third Jesus
+Christ upon a cloud, with Our Lady, who is presenting to Him S.
+Dominic. All these works have made him known as an able man and a
+lover of his city.
+
+In Venice, where he has dwelt almost always, he has executed many
+works at various times. But the most beautiful, the most remarkable
+and the most worthy of praise that Paris ever painted, was a scene in
+the Scuola of S. Marco, at SS. Giovanni e Polo, wherein is the story
+of the fisherman presenting to the Signoria of Venice the ring of S.
+Mark, with a very beautiful building in perspective, about which is
+seated the Senate with the Doge; among which Senators are many
+portraits from nature, lifelike and well painted beyond belief. The
+beauty of this work, executed so well and coloured in fresco, was the
+reason that he began to be employed by many gentlemen. Thus in the
+great house of the Foscari, near S. Barnaba, he executed many
+paintings and pictures, and among them a Christ who, having descended
+to the Limbo of Hell, is delivering the Holy Fathers; which is held to
+be a work out of the ordinary. For the Church of S. Giobbe in Canal
+Reio he painted a most beautiful altar-piece, and for S. Giovanni in
+Bragola another, and the same for S. Maria della Celeste and for S.
+Marina.
+
+[Illustration: THE FISHERMAN AND THE DOGE GRADENIGO
+
+(_After the painting by =Paris Bordone=. Venice: Accademia_)
+
+_Anderson_]
+
+But, knowing that he who wishes to be employed in Venice is obliged to
+endure too much servitude in paying court to one man or another, Paris
+resolved, as a man of quiet nature and far removed from certain
+methods of procedure, whenever an occasion might present itself, to go
+abroad to execute such works as Fortune might set before him, without
+having to go about begging. Wherefore, having made his way with a good
+opportunity into France in the year 1538, to serve King Francis, he
+executed for him many portraits of ladies and other pictures with
+various paintings; and at the same time he painted for Monseigneur de
+Guise a most beautiful church-picture, and a chamber-picture of
+Venus and Cupid. For the Cardinal of Lorraine he painted a Christ
+in an "Ecce Homo," a Jove with Io, and many other works. He sent to
+the King of Poland a picture wherein was Jove with a Nymph, which was
+held to be a very beautiful thing. And to Flanders he sent two other
+most beautiful pictures, a S. Mary Magdalene in the Desert accompanied
+by some Angels, and a Diana who is bathing with her Nymphs in a fount;
+which two pictures the Milanese Candiano caused him to paint, the
+physician of Queen Maria, as presents for her Highness. At Augsburg,
+in the Palace of the Fugger family, he executed many works of the
+greatest importance, to the value of three thousand crowns. And in the
+same city he painted for the Prineri, great men in that place, a large
+picture wherein he counterfeited in perspective all the five Orders of
+architecture, which was a very beautiful work; and another
+chamber-picture, which is in the possession of the Cardinal of
+Augsburg. At Crema he has executed two altar-pieces for S. Agostino,
+in one of which is portrayed Signor Giulio Manfrone, representing a S.
+George, in full armour. The same master has painted many works at
+Civitale di Belluno, which are extolled, and in particular an
+altar-piece in S. Maria and another in S. Giosef, which are very
+beautiful. He sent to Signor Ottaviano Grimaldo a portrait of him the
+size of life and most beautiful, and with it another picture, equal in
+size, of a very lustful woman. Having then gone to Milan, Paris
+painted for the Church of S. Celso an altar-piece with some figures in
+the air, and beneath them a very beautiful landscape, at the instance,
+so it is said, of Signor Carlo da Roma; and for the palace of the same
+lord two large pictures in oils, in one Venus and Mars under Vulcan's
+net, and in the other King David seeing Bathsheba being bathed by her
+serving-women in the fount; and also the portrait of that lord and
+that of Signora Paola Visconti, his consort, and some pieces of
+landscape not very large, but most beautiful. At this same time he
+painted many of Ovid's Fables for the Marchese d'Astorga, who took
+them with him to Spain; and for Signor Tommaso Marini, likewise, he
+painted many things of which there is no need to make mention.
+
+[Illustration: PORTRAIT OF A LADY
+
+(_After the painting by =Paris Bordone=. London: National Gallery, No.
+674_)
+
+_M.S._]
+
+And this much it must suffice to have said of Paris, who, being
+seventy-five years of age, lives quietly at home with his comforts,
+and works for pleasure at the request of certain Princes and others
+his friends, avoiding rivalries and certain vain ambitions, lest he
+should suffer some hurt and have his supreme tranquillity and peace
+disturbed by those who walk not, as he says, in truth, but by dubious
+ways, malignantly and without charity; whereas he is accustomed to
+live simply and by a certain natural goodness, and knows nothing of
+subtleties or astuteness in his life. He has executed recently a most
+beautiful picture for the Duchess of Savoy, of a Venus and Cupid that
+are sleeping, guarded by a servant; all executed so well, that it is
+not possible to praise them enough.
+
+[Illustration: VISION OF THE APOCALYPSE
+
+(_After the mosaic by =Zuccati=. Venice: S. Marco_)
+
+_Anderson_]
+
+But here I must not omit to say that a kind of painting which is
+almost discontinued in every other place, namely, mosaic, is kept
+alive by the most Serene Senate of Venice. Of this the benign and as
+it were the principal reason has been Tiziano, who, so far as it has
+lain in him, has always taken pains that it should be practised in
+Venice, and has caused honourable salaries to be given to those who
+have worked at it. Wherefore various works have been executed in the
+Church of S. Marco, all the old works have been almost renewed, and
+this sort of painting has been carried to such a height of excellence
+as is possible, and to a different condition from that in which it was
+in Florence and Rome at the time of Giotto, Alesso Baldovinetti, the
+Ghirlandajo family, and the miniaturist Gherardo. And all that has
+been done in Venice has come from the design of Tiziano and other
+excellent painters, who have made drawings and coloured cartoons to
+the end that the works might be carried to such perfection as may be
+seen in those of the portico of S. Marco, where in a very beautiful
+niche there is a Judgment of Solomon so lovely, that in truth it would
+not be possible to do more with colours. In the same place is the
+genealogical tree of Our Lady by the hand of Lodovico Rosso, all full
+of Sibyls and Prophets executed in a delicate manner and put together
+very well, with a relief that is passing good. But none have worked
+better in this art in our times than Valerio and Vincenzio Zuccheri[9]
+of Treviso, by whose hands are stories many and various that may be
+seen in S. Marco, and in particular that of the Apocalypse, wherein
+around the Throne of God are the Four Evangelists in the form of
+animals, the Seven Candlesticks, and many other things executed so
+well, that, looking at them from below, they appear as if done in
+oil-colours with the brush; besides that there may be seen in their
+hands and about them little pictures full of figures executed with the
+greatest diligence, insomuch that they have the appearance not of
+paintings only, but of miniatures, and yet they are made of stones
+joined together. There are also many portraits; the Emperor Charles V,
+Ferdinand his brother, who succeeded him in the Empire, and
+Maximilian, son of Ferdinand and now Emperor; likewise the head of the
+most illustrious Cardinal Bembo, the glory of our age, and that of the
+Magnificent ...; all executed with such diligence and unity, and so
+well harmonized in the lights, flesh-colours, tints, shadows, and
+every other thing, that there is nothing better to be seen, nor any
+more beautiful work in a similar material. And it is in truth a great
+pity that this most excellent art of working in mosaic, with its
+beauty and everlasting life, is not more in use than it is, and that,
+by the fault of the Princes who have the power, no attention is given
+to it.
+
+         [Footnote 9: Zuccati.]
+
+In addition to those named above, there has worked in mosaic at S.
+Marco, in competition with the Zuccheri, one Bartolommeo Bozzato, who
+also has acquitted himself in his works in such a manner as to deserve
+undying praise. But that which has been of the greatest assistance to
+all in this art, is the presence and advice of Tiziano; of whom,
+besides the men already named and many more, another disciple, helping
+him in many works, has been one Girolamo, whom I know by no other name
+than Girolamo di Tiziano.
+
+
+
+
+JACOPO SANSOVINO
+
+
+
+
+DESCRIPTION OF THE WORKS OF JACOPO SANSOVINO[10]
+
+SCULPTOR OF FLORENCE
+
+         [Footnote 10: After the death of Jacopo Sansovino in 1570,
+         Vasari published a separate Life of him, containing an
+         account of his death and other additional information. Such
+         passages as contain information that is new or expressed
+         differently from that of the Edition of 1568 will be found in
+         the notes at the end of this Life.]
+
+
+The while that Andrea Contucci, the sculptor of Monte Sansovino,
+having already acquired in Italy and Spain the name of the most
+excellent sculptor and architect that there was in art after
+Buonarroti, was living in Florence in order to execute the two figures
+of marble that were to be placed over that door of the Temple of S.
+Giovanni which faces towards the Misericordia, a young man was
+entrusted to him to be taught the art of sculpture, the son of Antonio
+di Jacopo Tatti, whom Nature had endowed with a great genius, so that
+he gave much grace to the things that he did in relief. Whereupon
+Andrea, having recognized how excellent in sculpture the young man was
+destined to become, did not fail to teach him with all possible care
+all those things which might make him known as his disciple. And so,
+loving him very dearly, and doing his best for him with much
+affection, and being loved by the young man with equal tenderness,
+people judged that the pupil would not only become as excellent as his
+master, but would by a great measure surpass him. And such were the
+reciprocal friendliness and love between these two, as it were between
+father and son, that Jacopo in those early years began to be called no
+longer Tatti, but Sansovino, and so he has always been, and always
+will be.
+
+Now, Jacopo beginning to exercise his hand, he was so assisted by
+Nature in the things that he did, that, although at times he did not
+use much study and diligence in his work, nevertheless in what he did
+there could be seen facility, sweetness, grace, and a certain delicacy
+very pleasing to the eyes of craftsmen, insomuch that his every
+sketch, rough study, and model has always had a movement and a
+boldness that Nature is wont to give to but few sculptors. Moreover,
+the friendship and intercourse that Andrea del Sarto and Jacopo
+Sansovino had with each other in their childhood, and then in their
+youth, assisted not a little both the one and the other, for they
+followed the same manner in design and had the same grace in
+execution, one in painting and the other in sculpture, and, conferring
+together on the problems of art, and Jacopo making models of figures
+for Andrea, they gave one another very great assistance. And that this
+is true a proof is that in the altar-piece of S. Francesco, belonging
+to the Nuns of the Via Pentolini, there is a S. John the Evangelist
+which was copied from a most beautiful model in clay that Sansovino
+made in those days in competition with Baccio da Montelupo; for the
+Guild of Por Santa Maria wished to have a bronze statue of four
+braccia made for a niche at the corner of Orsanmichele, opposite to
+the Wool-Shearers, for which Jacopo made a more beautiful model in
+clay than Baccio, but nevertheless it was allotted to Montelupo, from
+his being an older master, rather than to Sansovino, although his
+work, young as he was, was the better. That model, which is a very
+beautiful thing, is now in the possession of the heirs of Nanni
+Unghero; for which Nanni, being then his friend, Sansovino made some
+models of large boys in clay, and the model for a figure of S.
+Nicholas of Tolentino, which were all executed of the size of life in
+wood, with the assistance of Sansovino, and placed in the Chapel of
+that Saint in the Church of S. Spirito.
+
+Becoming known for these reasons to all the craftsmen of Florence, and
+being considered a young man of fine parts and excellent character,
+Jacopo was invited by Giuliano da San Gallo, architect to Pope Julius
+II, to Rome, vastly to his satisfaction; and then, taking
+extraordinary pleasure in the ancient statues that are in the
+Belvedere, he set himself to draw them. Whereupon Bramante, who was
+likewise architect to Pope Julius, holding the first place at that
+time and dwelling in the Belvedere, having seen some drawings by this
+young man, and a nude recumbent figure of clay in full-relief, holding
+a vessel to contain ink, which he had made, liked them so much that he
+took him under his protection and ordered him that he should make a
+large copy in wax of the Laocoon, which he was having copied also by
+others, in order to take a cast in bronze--namely, by Zaccheria Zacchi
+of Volterra, the Spaniard Alonzo Berughetta, and Vecchio of Bologna.
+These, when all were finished, Bramante caused to be seen by Raffaello
+Sanzio of Urbino, in order to learn which of the four had acquitted
+himself best; whereupon it was judged by Raffaello that Sansovino,
+young as he was, had surpassed the others by a great measure. Then, by
+the advice of Cardinal Domenico Grimani, orders were given to Bramante
+that he should have Jacopo's copy cast in bronze; and so the mould was
+made, and the work, being cast in metal, came out very well. And
+afterwards, having been polished, it was given to the Cardinal, who
+held it as long as he lived not less dear than if it had been the
+antique; and when he came to die, he left it as a very rare thing to
+the most Serene Signoria of Venice, which, after having kept it many
+years in the press of the Hall of the Council of Ten, finally in the
+year 1534 presented it to the Cardinal of Lorraine, who took it to
+France.
+
+[Illustration: S. JAMES
+
+(_After =Jacopo Sansovino=. Florence: Duomo_)
+
+_Alinari_]
+
+While Sansovino was acquiring greater fame every day in Rome with his
+studies in art, being held in much consideration, Giuliano da San
+Gallo, who had been keeping him in his house in the Borgo Vecchio,
+fell ill; and when he departed from Rome in a litter, in order to go
+to Florence for a change of air, a room was found for Jacopo by
+Bramante, likewise in the Borgo Vecchio, in the Palace of Domenico
+della Rovere, Cardinal of San Clemente, where Pietro Perugino was also
+dwelling, who at that time was painting for Pope Julius the vaulting
+of the chamber in the Borgia Tower. Whereupon Pietro, having seen the
+beautiful manner of Sansovino, caused him to make many models in wax
+for himself, and among them a Christ taken down from the Cross in the
+round, with many ladders and figures, which was a very beautiful
+thing. This and other things of the same sort, and models of various
+fantasies, were all collected afterwards by M. Giovanni Gaddi, and
+they are now in his house on the Piazza di Madonna in Florence. And
+these works were the reason that Sansovino became very intimately
+associated with Maestro Luca Signorelli, the painter of Cortona, with
+Bramantino da Milano, with Bernardino Pinturicchio, with Cesare
+Cesariano, who was in repute at that time for his commentaries on
+Vitruvius, and with many other famous and beautiful intellects of that
+age. Bramante, then, desiring that Sansovino should become known to
+Pope Julius, arranged to have some antiques restored by him; whereupon
+Jacopo, setting to work, displayed such diligence and so much grace in
+restoring them, that the Pope and all who saw them judged that nothing
+better could be done. These praises so spurred Sansovino to surpass
+himself, that, having given himself beyond measure to his studies, and
+being, also, somewhat delicate in constitution and suffering from some
+excess such as young men commit, he became so ill that he was forced
+for the sake of his life to return to Florence, where, profiting by
+his native air, by the advantage of his youth, and by the diligence
+and care of the physicians, in a short time he completely recovered.
+Now Messer Piero Pitti was arranging at that time to have a Madonna of
+marble made for that facade of the Mercato Nuovo in Florence where the
+clock is, and it appeared to him, since there were in Florence many
+young men of ability and also old masters, that the work should be
+given to that one among them who might make the best model. Whereupon
+one was given to Baccio da Montelupo to execute, one to Zaccheria
+Zacchi of Volterra, who had likewise returned to Florence the same
+year, another to Baccio Bandinelli, and yet another to Sansovino; and
+when these were placed in comparison, the honour and the work were
+given by Lorenzo di Credi, an excellent painter and a person of
+judgment and probity, and likewise by the other judges, craftsmen, and
+connoisseurs, to Sansovino. But, although the work was therefore
+allotted to him, nevertheless so much delay was caused in procuring
+and conveying the marble for him, by the envious machinations of
+Averardo da Filicaia, who greatly favoured Bandinelli and hated
+Sansovino, that he was ordered by certain other citizens, having
+perceived that delay, to make one of the large Apostles in marble
+that were going into the Church of S. Maria del Fiore. Wherefore,
+having made the model of a S. James (which model, when the work was
+finished, came into the possession of Messer Bindo Altoviti), he began
+that figure and, continuing to work at it with all diligence and
+study, he carried it to completion so perfectly, that it is a
+miraculous figure and shows in all its parts that it was wrought with
+incredible study and care, the draperies, arms, and hands being
+undercut and executed with such art and such grace, that there is
+nothing better in marble to be seen. Thus, Sansovino showed in what
+way undercut draperies should be executed, having made these so
+delicate and so natural, that in some places he reduced the marble to
+the thickness that is seen in real folds and in the edges and hems of
+the borders of draperies; a difficult method, and one demanding much
+time and patience if you wish that it should so succeed as to display
+the perfection of art. That figure remained in the Office of Works
+from the time when it was finished by Sansovino until the year 1565,
+at which time, in the month of December, it was placed in the Church
+of S. Maria del Fiore to do honour to the coming of Queen Joanna of
+Austria, the wife of Don Francesco de' Medici, Prince of Florence and
+Siena. And there it is kept as a very rare work, together with the
+other Apostles, likewise in marble, executed in competition by other
+craftsmen, as has been related in their Lives.
+
+[Illustration: BACCHUS
+
+(_After =Jacopo Sansovino=. Florence: Museo Nazionale_)
+
+_Alinari_]
+
+At this same time he made for Messer Giovanni Gaddi a Venus of marble
+on a shell, of great beauty, as was also the model, which was in the
+house of Messer Francesco Montevarchi, a friend of these arts, but
+came to an evil end in the inundation of the River Arno in the year
+1558. He also made a boy of tow and a swan as beautiful as could be,
+of marble, for the same M. Giovanni Gaddi, together with many other
+things, which are all in his house. For Messer Bindo Altoviti he had a
+chimney-piece of great cost made, all in grey-stone carved by
+Benedetto da Rovezzano, which was placed in his house in Florence, and
+Messer Bindo caused Sansovino to make a scene with little figures for
+placing in the frieze of that chimney-piece, with Vulcan and other
+Gods, which was a very rare work; but much more beautiful are two boys
+of marble that were above the crown of the chimney-piece, holding some
+arms of the Altoviti in their hands, which have been removed by
+Signor Don Luigi di Toledo, who inhabits the house of the above-named
+Messer Bindo, and placed about a fountain in his garden, behind the
+Servite Friars, in Florence. Two other boys of extraordinary beauty,
+also of marble and by the same hand, who are likewise holding an
+escutcheon, are in the house of Giovan Francesco Ridolfi. All these
+works caused Sansovino to be held by the men of art and by all
+Florence to be a most excellent and gracious master; on which account
+Giovanni Bartolini, having caused a house to be built in his garden of
+Gualfonda, desired that Sansovino should make for him a young Bacchus
+in marble, of the size of life. Whereupon the model for this was made
+by Sansovino, and it pleased Giovanni so much, that he had him
+supplied with the marble, and Jacopo began it with such eagerness,
+that his hands and brain flew as he worked. This work, I say, he
+studied in such a manner, in order to make it perfect, that he set
+himself to portray from the life, although it was winter, an assistant
+of his called Pippo del Fabbro, making him stand naked a good part of
+the day. Which Pippo would have become a capable craftsman, for he was
+striving with every effort to imitate his master; but, whether it was
+the standing naked with the head uncovered at that season, or that he
+studied too much and suffered hardships, before the Bacchus was
+finished he went mad, copying the attitudes of that figure. And this
+he showed one day that it was raining in torrents, when, Sansovino
+calling out "Pippo!" and he not answering, the master afterwards saw
+him mounted on the summit of a chimney on the roof, wholly naked and
+striking the attitude of his Bacchus. At other times, taking a sheet
+or other large piece of cloth, and wetting it, he would wrap it round
+his naked body, as if he were a model of clay or rags, and arrange the
+folds; and then, climbing up to some extraordinary place, and settling
+himself now in one attitude and now in another, as a Prophet, an
+Apostle, a soldier, or something else, he would have himself
+portrayed, standing thus for a period of two hours without speaking,
+not otherwise than as if he had been a motionless statue. Many other
+amusing follies of that kind poor Pippo played, but above all he was
+never able to forget the Bacchus that Sansovino had made, save only
+when he died, a few years afterwards.
+
+[Illustration: MARS AND NEPTUNE
+
+(_After =Jacopo Sansovino=. Venice: Ducal Palace_)
+
+_Alinari_]
+
+But to return to the statue; when it was carried to completion, it was
+held to be the most beautiful work that had ever been executed by a
+modern master, seeing that in it Sansovino overcame a difficulty never
+yet attempted, in making an arm raised in the air and detached on
+every side, which holds between the fingers a cup all cut out of the
+same marble with such delicacy, that the attachment is very slight,
+besides which the attitude is so well conceived and balanced on every
+side, and the legs and arms are so beautiful and so well proportioned
+and attached to the trunk, that to the eye and to the touch the whole
+seems much more like living flesh; insomuch that the fame that it has
+from all who see it is well deserved, and even more. This work, I say,
+when finished, while Giovanni was alive, was visited in that courtyard
+in the Gualfonda by everyone, native and stranger alike, and much
+extolled. But afterwards, Giovanni being dead, his brother Gherardo
+Bartolini presented it to Duke Cosimo, who keeps it as a rare thing in
+his apartments, together with other most beautiful statues of marble
+that he possesses. For the same Giovanni Sansovino made a very
+beautiful Crucifix of wood, which is in their house in company with
+many works by the ancients and by the hand of Michelagnolo.
+
+In the year 1514, when festive preparations of great richness were to
+be made in Florence for the coming of Pope Leo X, orders were given by
+the Signoria and by Giuliano de' Medici that many triumphal arches of
+wood should be made in various parts of the city. Whereupon Sansovino
+not only executed the designs for many of these, but himself undertook
+in company with Andrea del Sarto to construct the facade of S. Maria
+del Fiore all of wood, with statues, scenes, and architectural orders,
+exactly in the manner wherein it would be well for it to be in order
+to remove all that there is in it of the German order of composition.
+Having therefore set his hand to this (to say nothing in this place of
+the awning of cloth that used to cover the Piazza of S. Maria del
+Fiore and that of S. Giovanni for the festival of S. John and for
+others of the greatest solemnity, since we have spoken sufficiently of
+this in another place), beneath that awning, I say, Sansovino
+constructed the said facade in the Corinthian Order, making it in the
+manner of a triumphal arch, and placing upon an immense base double
+columns on each side, and between them certain great niches filled
+with figures in the round that represented the Apostles. Above these
+were some large scenes in half-relief, made in the likeness of bronze,
+with stories from the Old Testament, some of which are still to be
+seen in the house of the Lanfredini on the bank of the Arno; and over
+them followed architraves, friezes, and cornices, projecting outwards,
+and then frontispieces of great beauty and variety; and in the angles
+of the arches, both in the wide parts and below, were stories painted
+in chiaroscuro by the hand of Andrea del Sarto, and very beautiful. In
+short, this work of Sansovino's was such that Pope Leo, seeing it,
+said that it was a pity that the real facade of that temple was not so
+built, which was begun by the German Arnolfo. The same Sansovino made
+among these festive preparations for the coming of Leo X, besides the
+said facade, a horse in the round all of clay and shearings of woollen
+cloth, in the act of rearing, and under it a figure of nine braccia,
+upon a pedestal of masonry. Which work was executed with such spirit
+and force, that it pleased Pope Leo and was much extolled by him;
+wherefore Sansovino was taken by Jacopo Salviati to kiss the feet of
+the Pope, who showed him many marks of affection.
+
+The Pope departed from Florence, and had a conference at Bologna with
+King Francis I of France; and then he resolved to return to Florence.
+Whereupon orders were given to Sansovino that he should make a
+triumphal arch at the Porta S. Gallo, and he, not falling back in any
+way from his own standard, executed it similar to the other works that
+he had done--namely, beautiful to a marvel, and full of statues and
+painted pictures wrought excellently well. His Holiness having then
+determined that the facade of S. Lorenzo should be executed in marble,
+the while that Raffaello da Urbino and Buonarroti were expected from
+Rome, Sansovino, by order of the Pope, made a design for it; which
+giving much satisfaction, Baccio d'Agnolo was commissioned to make a
+model of it in wood, which proved very beautiful. Meanwhile,
+Buonarroti had made another, and he and Sansovino were ordered to go
+to Pietrasanta; where, finding much marble, but difficult to
+transport, they lost so much time, that when they returned to
+Florence they found the Pope departed for Rome. Whereupon, both
+following after him with their models, each by himself, Jacopo arrived
+at the very moment when Buonarroti's model was being shown to his
+Holiness in the Torre Borgia; but he did not succeed in obtaining what
+he hoped, because, whereas he believed that he would at least make
+under Michelagnolo part of the statues that were going into that work,
+the Pope having spoken of it to him and Michelagnolo having given him
+so to understand, he perceived on arriving in Rome that Buonarroti
+wished to be alone in the work. Nevertheless, having made his way to
+Rome and not wishing to return to Florence without any result, he
+resolved to remain in Rome and there give his attention to sculpture
+and architecture. And so, having undertaken to execute for the
+Florentine Giovan Francesco Martelli a Madonna in marble larger than
+life, he made her most beautiful, with the Child in her arms; and this
+was placed upon an altar within the principal door of S. Agostino, on
+the right hand as one enters. The clay model of this statue he
+presented to the Priore de' Salviati, in Rome, who placed it in a
+chapel in his palace on the corner of the Piazza di S. Pietro, at the
+beginning of the Borgo Nuovo. After no long lapse of time he made for
+the altar of the chapel that the very reverend Cardinal Alborense had
+caused to be built in the Church of the Spaniards in Rome, a statue in
+marble of four braccia, worthy of no ordinary measure of praise, of a
+S. James, which has a movement full of grace and is executed with
+judgment and perfect art, so that it won him very great fame. And the
+while that he was executing these statues, he made the ground-plan and
+model, and then began the building, of the Church of S. Marcello for
+the Servite Friars, a work of truly great beauty. Continuing to be
+employed in matters of architecture, he built for Messer Marco Coscia
+a very beautiful loggia on the road that leads to Rome, at Pontemolle
+on the Via Appia.[11] For the Company of the Crocifisso, attached to
+the Church of S. Marcello, he made a Crucifix for carrying in
+procession, a thing full of grace; and for Cardinal Antonio di Monte
+he began a great fabric at his villa without Rome, on the Acqua
+Vergine. And by the hand of Jacopo, perhaps, is a very beautiful
+portrait in marble of that elder Cardinal di Monte which is now in the
+Palace of Signor Fabiano at Monte Sansovino, over the door of the
+principal chamber off the hall. He directed, also, the building of the
+house of Messer Luigi Leoni, a most commodious edifice, and in the
+Banchi a palace beside the house of the Gaddi, which was bought
+afterwards by Filippo Strozzi--certainly a commodious and most
+beautiful fabric, with many ornaments.
+
+         [Footnote 11: Via Flaminia.]
+
+At this time, with the favour of Pope Leo, the Florentine colony had
+bestirred itself out of emulation of the Germans, Spaniards, and
+Frenchmen, who had either begun or finished the churches of their
+colonies in Rome, and had begun to perform their solemn offices in
+those already built and adorned; and the Florentines had sought leave
+likewise to build a church for themselves. For which the Pope having
+given instructions to Lodovico Capponi, the Consul of the Florentine
+colony at that time, it was determined that behind the Banchi, at the
+beginning of the Strada Giulia, on the bank of the Tiber, an immense
+church should be built, to be dedicated to S. John the Baptist; which
+might surpass in magnificence, grandeur, cost, ornamentation, and
+design, the churches of all the other colonies. There competed, then,
+in making designs for this work, Raffaello da Urbino, Antonio da San
+Gallo, Baldassarre da Siena, and Sansovino; and the Pope, when he had
+seen all their designs, extolled as the best that of Sansovino,
+because, besides other things, he had made at each of the four corners
+of that church a tribune, and a larger tribune in the centre, after
+the likeness of the plan that Sebastiano Serlio placed in his second
+book on Architecture. Whereupon, all the heads of the Florentine
+colony concurring with the will of the Pope, with much approval of
+Sansovino, the foundations were begun for a part of that church,
+altogether twenty-two canne[12] in length. But, there being not enough
+space, and yet wishing to make the facade of the church in line with
+the houses of the Strada Giulia, they were obliged to stretch out into
+the stream of the Tiber at least fifteen canne; which pleasing many of
+them, because the grandeur as well as the cost was increased by making
+the foundations in the river, work was begun on this, and they spent
+upon it more than forty thousand crowns, which would have been enough
+to build half the masonry of the church.
+
+         [Footnote 12: A "canna" is equal to about four braccia.]
+
+In the meantime Sansovino, who was the head of this fabric, while the
+foundations were being laid little by little, had a fall and suffered
+a serious injury; and after a few days he had himself carried to
+Florence for treatment, leaving the charge of laying the rest of the
+foundations, as has been related, to Antonio da San Gallo. But no long
+time passed before the Florentine colony, having lost by the death of
+Leo so great a support and so splendid a Prince, abandoned the
+building for the duration of the life of Pope Adrian VI. Then, Clement
+having been elected, it was ordained, in order to pursue the same
+order and design, that Sansovino should return and carry on that
+fabric in the same manner wherein he had first arranged it; and so a
+beginning was made once more with the work. Meanwhile, Sansovino
+undertook to make the tomb of the Cardinal of Arragon and that of
+Cardinal Aginense; and he had caused work to be begun on the marbles
+for the ornaments, and had made many models for the figures, and
+already Rome was in his hands, and he was executing many works of the
+greatest importance for all those lords, when God, in order to
+chastise that city and abate the pride of the inhabitants of Rome,
+permitted that Bourbon should come with his army on the 6th of May,
+1527, and that the whole city should be sacked and put to fire and
+sword.
+
+In that ruin, besides many other beautiful intellects that came to an
+evil end, Sansovino was forced to his great loss to depart from Rome
+and to fly to Venice, intending from there to pass into France to
+enter the service of the King, whither he had been already invited.
+But, halting in that city in order to make himself ready and provide
+himself with many things, for he was despoiled of everything, it was
+announced to the Prince Andrea Gritti, who was much the friend of
+every talent, that Jacopo Sansovino was there. Whereupon there came to
+Gritti a desire to speak with him, because at that very time Cardinal
+Domenico Grimani had given him to understand that Sansovino would have
+been the man for the cupolas of S. Marco, their principal church,
+which, because of age and of weak foundations, and also from their
+being badly secured with chains, were all opening out and threatening
+to fall; and so he had him summoned. After many courtesies and long
+discussions, he said to Sansovino that he wished, or rather, prayed
+him, that he should find a remedy for the ruin of those tribunes;
+which Sansovino promised to do, and to put it right. And so, having
+agreed to do the work, he caused it to be taken in hand; and, having
+contrived all the scaffoldings in the interior and made supports of
+beams after the manner of stars, he propped in the central hollow of
+woodwork all the timbers that sustained the vault of each tribune, and
+encircled them on the inner side with curtains of woodwork, going on
+then to bind them on the outer side with chains of iron, to flank them
+with new walls, and to make at the foot new foundations for the piers
+that supported them, insomuch that he strengthened them vastly and
+made them for ever secure. By doing which he caused all Venice to
+marvel, and not only satisfied Gritti, but also--which was far
+more--rendered his ability so clearly manifest to that most
+illustrious Senate, that when the work was finished, the Protomaster
+to the Lords Procurators of S. Mark being dead, which is the highest
+office that those lords give to their architects and engineers, they
+gave it to him with the usual house and a passing handsome salary.
+Whereupon Sansovino, having accepted it most willingly and freed his
+mind of all doubt, became the head of all their fabrics, with honour
+and advantage for himself.
+
+[Illustration: THE LIBRARY OF S. MARCO
+
+(_After =Jacopo Sansovino=. Venice_)
+
+_Alinari_]
+
+First, then, he erected the public building of the Mint, which he
+designed and distributed in the interior with so much order and
+method, for the convenience and service of the many artificers, that
+in no place is there a Treasury ordered so well or with greater
+strength than that one, which he adorned altogether in the Rustic
+Order, very beautifully; which method, not having been used before in
+Venice, caused no little marvel in the men of that city. Wherefore,
+having recognized that the genius of Sansovino was equal to their
+every need in the service of the city, they caused him to attend for
+many years to the fortifications of their State. Nor did any long time
+pass before he took in hand, by order of the Council of Ten, the very
+rich and beautiful fabric of the Library of S. Marco, opposite to the
+Palazzo della Signoria, with such a wealth of carvings, cornices,
+columns, capitals, and half-length figures over the whole work, that
+it is a marvel; and it is all done without any sparing of expense, so
+that up to the present day it has cost one hundred and fifty thousand
+ducats. And it is held in great estimation in that city, because it is
+full of the richest pavements, stucco-work, and stories, distributed
+among the halls of the building, with public stairs adorned by various
+pictures, as has been related in the Life of Battista Franco; besides
+many other beautiful appurtenances, and the rich ornaments that it has
+at the principal door of entrance, which give it majesty and grandeur,
+making manifest the ability of Sansovino. This method of building was
+the reason that in that city, into which up to that time there had
+never entered any method save that of making their houses and palaces
+with the same order, each one always continuing the same things with
+the same measure and ancient use, without varying according to the
+sites as they found them or according to convenience--this, I say, was
+the reason that buildings both public and private began to be erected
+with new designs and better order.
+
+The first palace that he built was that of M. Giorgio Cornaro, a most
+beautiful work, erected with all proper appurtenances and ornaments at
+a cost of seventy thousand crowns. Moved by which, a gentleman of the
+Delfino family caused Sansovino to build a smaller one, at a cost of
+thirty thousand crowns, which was much extolled and very beautiful.
+Then he built that of Moro, at a cost of twenty thousand crowns, which
+likewise was much extolled; and afterwards many others of less cost in
+the city and the neighbourhood. Wherefore it may be said that at the
+present day that magnificent city, in the quantity and quality of her
+sumptuous and well-conceived edifices, shines resplendent and is in
+that respect what she is through the ability, industry, and art of
+Jacopo Sansovino, who therefore deserves the highest praise; seeing
+that with those works he has been the reason that the gentlemen of
+Venice have introduced modern architecture into their city, in that
+not only has that been done there which has passed through his hands,
+but also many--nay, innumerable--other works which have been executed
+by other masters, who have gone to live there and have achieved
+magnificent things. Jacopo also built the fabric of the loggia in the
+Piazza di S. Marco, in the Corinthian Order, which is at the foot of
+the Campanile of the said S. Marco, with a very rich ornamentation of
+columns, and four niches, in which are four figures the size of life
+and in bronze, of supreme beauty. And that work formed, as it were, a
+base of great beauty to the said campanile, which at the foot has a
+breadth, on one of the sides, of thirty-five feet, which is about the
+extent of Sansovino's ornamentation; and a height from the ground to
+the cornice, where are the windows of the bells, of one hundred and
+sixty feet. From the level of that cornice to the other above it,
+where there is the corridor, is twenty-five feet, and the other dado
+above is twenty-eight feet and a half high; and from that level of the
+corridor to the pyramid, spire, or pinnacle, whatever it may be
+called, is sixty feet. At the summit of that pinnacle the little
+square, upon which stands the Angel, is six feet high, and the said
+Angel, which revolves, is ten feet high; insomuch that the whole
+height comes to be two hundred and ninety-two feet. He also designed
+and executed for the Scuola, or rather, Confraternity and Company of
+the Misericordia, the fabric of that place, an immense building which
+cost one hundred and fifty thousand crowns; and he rebuilt the Church
+of S. Francesco della Vigna, where the Frati de' Zoccoli have their
+seat, a vast work and of much importance.
+
+[Illustration: LOGGETTA
+
+(_After =Jacopo Sansovino=. Venice: Piazza di S. Marco_)
+
+_Anderson_]
+
+Nor for all this, the while that he has been giving his attention to
+so many buildings, has he ever ceased from executing every day for his
+own delight great and beautiful works of sculpture, in marble and in
+bronze; and over the holy-water font of the Friars of the Ca Grande
+there is a statue executed in marble by his hand, representing a S.
+John the Baptist, very beautiful and much extolled. At Padua, in the
+Chapel of the Santo, there is a large scene in marble by the same
+hand, with very beautiful figures in half-relief, of a miracle of S.
+Anthony of Padua; which scene is much esteemed in that place. For the
+entrance of the stairs of the Palace of S. Marco he is even now
+executing in marble, in the form of two most beautiful giants, each of
+seven braccia, a Neptune and a Mars, signifying the power that is
+exercised both on land and on sea by that most illustrious Republic.
+He made a very beautiful statue of a Hercules for the Duke of
+Ferrara; and for the Church of S. Marco he executed four scenes of
+bronze in half-relief, one braccio in height and one and a half in
+length, for placing around a pulpit, and containing stories of that
+Evangelist, which are held in great estimation for their variety. Over
+the door of the same S. Marco he has made a Madonna of marble, the
+size of life, which is held to be a very beautiful thing, and at the
+entrance of the sacristy in that place there is by his hand the door
+of bronze, divided into two most beautiful parts, with stories of
+Jesus Christ all in half-relief and wrought excellently well; and over
+the door of the Arsenal he has made a very lovely Madonna of marble,
+who is holding her Son in her arms. All which works not only have
+given lustre and adornment to that Republic, but also have caused
+Sansovino to become daily more known as a most excellent craftsman,
+and to be loved by those Signori and honoured by their magnificent
+liberality, and likewise by the other craftsmen; for every work of
+sculpture and architecture that has been executed in that city in his
+time has been referred to him. And in truth the excellence of Jacopo
+has well deserved to be held in the first rank in that city among the
+craftsmen of design, and his genius is rightly loved and revered by
+all men, both nobles and plebeians, for the reason that, besides other
+things, he has brought it about, as has been said, with his knowledge
+and judgment, that that city has been almost entirely made new and has
+learned the true and good manner of building.
+
+But, if she has received from him beauty and adornment, he, on the
+other hand, has received many benefits from her. Thus, in addition to
+other things, he has lived in her, from the time when he first went
+there to the age of seventy-eight years, full of health and strength;
+and the air and that sky have done so much for him, that he does not
+seem, one might say, more than forty. He has had, and still has, from
+a most talented son--a man of letters--two grandchildren, one male and
+the other female, both of them pictures of health and beauty, to his
+supreme contentment; and, what is more, he is still alive, full of
+happiness and with all the greatest conveniences and comforts that any
+man of his profession could have. He has always loved his
+brother-craftsmen, and in particular he has been very much the friend
+of the excellent and famous Tiziano, as he also was of M. Pietro
+Aretino during his lifetime. For all these reasons I have judged it
+well to make this honourable record of him, although he is still
+living, and particularly because now he is by way of doing little in
+sculpture.
+
+Sansovino had many disciples in Florence: Niccolo, called Tribolo, as
+has been related, and Solosmeo da Settignano, who finished with the
+exception of the large figures the whole of the tomb in marble that is
+at Monte Casino, wherein is the body of Piero de' Medici, who was
+drowned in the River Garigliano. His disciple, likewise, was Girolamo
+da Ferrara, called Lombardo, of whom there has been an account in the
+Life of Benvenuto Garofalo of Ferrara; which Girolamo has learned his
+art both from the first Sansovino and from this second one in such a
+manner, that, besides the works at Loreto of which we have spoken,
+both in marble and in bronze, he has executed many works in Venice.
+This master, although he came under Sansovino at the age of thirty and
+knowing little of design, being rather a man of letters and a courtier
+than a sculptor, although he had previously executed some works in
+sculpture, nevertheless applied himself in such a manner, that in a
+few years he made the proficience that may be perceived in his works
+in half-relief that are in the fabrics of the Library and the Loggia
+of the Campanile of S. Marco; in which he acquitted himself so well,
+that he was afterwards able to make by himself alone the statues of
+marble and the Prophets that he executed, as has been related, at the
+Madonna of Loreto.
+
+[Illustration: THE MIRACLE OF S. ANTHONY
+
+(_After the relief by =Jacopo Sansovino=. Padua: S. Antonio_)
+
+_Alinari_]
+
+A disciple of Sansovino, also, was Jacopo Colonna, who died at Bologna
+thirty years ago while executing a work of importance. This Jacopo
+made for the Church of S. Salvadore in Venice a nude S. Jerome of
+marble, still to be seen in a niche near the organ, which was a
+beautiful figure and much extolled, and for S. Croce della Giudecca he
+made a Christ also nude and of marble, who is showing His Wounds, a
+work of beautiful artistry; and likewise for S. Giovanni Nuovo three
+figures, S. Dorothy, S. Lucia, and S. Catharine. In S. Marina may be
+seen a horse with an armed captain upon it, by his hand; and all these
+works can stand in comparison with any that are in Venice. In Padua,
+for the Church of S. Antonio, he executed in stucco the said Saint
+and S. Bernardino, clothed. Of the same material he made for Messer
+Luigi Cornaro a Minerva, a Venus, and a Diana, larger than life and in
+the round; in marble a Mercury, and in terra-cotta a nude Marzio as a
+young man, who is drawing a thorn from his foot, or rather, showing
+that he has drawn it out, he holds the foot with one hand, looking at
+the wound, and with the other hand seems to be about to cleanse it
+with a cloth; which last work, because it is the best that Jacopo ever
+did, the said Messer Luigi intends to have cast in bronze. For the
+same patron he made another Mercury of stone, which was afterwards
+presented to Duke Federigo of Mantua.
+
+Another disciple of Sansovino was Tiziano da Padova, a sculptor, who
+carved some little figures of marble in the Loggia of the Campanile of
+S. Marco at Venice; and in the Church of the same S. Marco there may
+be seen, likewise fashioned and cast in bronze by him, a large and
+beautiful cover for a basin in bronze, in the Chapel of S. Giovanni.
+This Tiziano had made a statue of S. John, with which were the four
+Evangelists and four stories of S. John, wrought with beautiful
+artistry for casting in bronze; but he died at the age of thirty-five,
+and the world was robbed of an excellent and valiant craftsman. And by
+the same hand is the vaulting of the Chapel of S. Antonio da Padova,
+with a very rich pattern of compartments in stucco. He had begun for
+the same chapel a grating of five arches in bronze, which were full of
+stories of that Saint, with other figures in half-relief and
+low-relief; but this, also, by reason of his death and of the
+disagreement of those who had the charge of having it done, remained
+unfinished. Many pieces of it had already been cast, which turned out
+very beautiful, and many others were made in wax, when he died, and
+for the said reasons the whole work was abandoned. The same Tiziano,
+when Vasari executed the above-described decorations for the gentlemen
+of the Company of the Calza in Canareio, made for that work some
+statues in clay and many terminal figures. And he was employed many
+times on ornaments for scenic settings, theatres, arches, and other
+suchlike things, whereby he won much honour; having executed works all
+full of invention, fantasy, and variety, and above all with great
+rapidity.
+
+Pietro da Salo, also, was a disciple of Sansovino; and after having
+toiled at carving foliage up to the age of thirty, finally, assisted
+by Sansovino, who taught him, he set himself to make figures of
+marble. In which he so delighted, and studied in such a manner, that
+in two years he was working by himself; to which witness is borne by
+some passing good works by his hand that are in the tribune of S.
+Marco, and the statue of a Mars larger than life that is in the facade
+of the Palazzo Pubblico, which statue is in company with three others
+by the hands of good craftsmen. He also made two figures for the
+apartments of the Council of Ten, one male and the other female, in
+company with two others executed by Danese Cattaneo, a sculptor of
+highest renown, who, as will be related, was likewise a disciple of
+Sansovino; which figures serve to adorn a chimney-piece. Pietro made,
+in addition, three figures that are at S. Antonio, in the round and
+larger than life; and these are a Justice, a Fortitude, and a statue
+of a Captain-General of the Venetian forces, all executed with good
+mastery. He also made a statue of Justice in a beautiful attitude and
+with good design, which was placed upon a column in the Piazza of
+Murano, and another in the Piazza del Rialto in Venice, as a support
+for that stone where public proclamations are made, which is called
+the Gobbo[13] di Rialto; and these works have made him known as a very
+good sculptor. For the Santo, in Padua, he made a very beautiful
+Thetis; and a Bacchus who is squeezing a bunch of grapes into a cup,
+which figure, the most difficult that he ever executed, and the best,
+he left at his death to his children, who have it still in their
+house, seeking to sell it to him who shall best recognize and reward
+the labour that their father endured for it.
+
+         [Footnote 13: Hunchback.]
+
+Likewise a disciple of Jacopo was Alessandro Vittoria of Trento, a
+most excellent sculptor and much the friend of study, who with a very
+beautiful manner has shown in many works that he has executed, as well
+in stucco as in marble, that he has a ready brain and a lovely style,
+and that his labours are worthy to be held in estimation. By the hand
+of this Alessandro, in Venice, at the principal door of the Library of
+S. Marco, are two great women of stone, each ten palms high, which
+are full of grace and beauty and worthy to be much extolled. He has
+made four figures for the tomb of the Contarini in the Santo of Padua,
+two slaves, or rather, captives, with a Fame and a Thetis, all of
+stone; and an Angel ten feet high, a very beautiful statue, which has
+been placed upon the Campanile of the Duomo in Verona. And to Dalmatia
+he sent four Apostles also of stone, each five feet high, for the
+Cathedral of Trau. He made, also, some figures in silver for the
+Scuola of S. Giovanni Evangelista in Venice, which were all in
+full-relief and rich in grace, and a S. Teodoro of two feet in silver,
+in the round. For the Chapel of the Grimani, in S. Sebastiano, he
+wrought two figures in marble, each three feet high; and then he made
+a Pieta, with two figures of stone, held to be good, which are at S.
+Salvadore in Venice. He made a Mercury, held to be a good figure, for
+the pulpit of the Palazzo di S. Marco, which looks out over the
+Piazza; and for S. Francesco della Vigna he made three figures large
+as life--S. Anthony, S. Sebastian, and S. Rocco--all of stone and full
+of beauty and grace, and well wrought. For the Church of the
+Crocicchieri he made in stucco two figures each six feet high, very
+beautiful, which are placed on the high-altar; and of the same
+material he made, as has been already told, all the ornaments that are
+in the vaulting of the new staircase of the Palazzo di S. Marco, with
+various patterns of compartments in stucco, where Battista Franco
+afterwards painted in the spaces the scenes, figures, and grotesques
+that are there. In like manner, Alessandro executed the ornaments of
+the staircase of the Library of S. Marco, all works of great mastery;
+and a chapel for the Friars Minors, and in the altar-piece of marble,
+which is very large and very beautiful, the Assumption of Our Lady in
+half-relief, with five great figures at the foot which have in them
+something of the grand and are made with a beautiful manner, a lovely
+and dignified flow of draperies, and much diligence of execution;
+which figures of marble--S. Jerome, S. John the Baptist, S. Peter, S.
+Andrew, and S. Leonardo--each six feet high, are the best of all the
+works that he has done up to the present. And as a crown to that
+chapel, on the frontispiece, are two figures likewise of marble, each
+eight feet high and very graceful. The same Vittoria has executed
+many portraits in marble and most beautiful heads, which are good
+likenesses, such as that of Signor Giovan Battista Feredo, placed in
+the Church of S. Stefano, that of Camillo Trevisano, the orator,
+placed in the Church of SS. Giovanni e Polo; the most illustrious
+Marc'Antonio Grimani, likewise placed in the Church of S. Sebastiano;
+and in S. Gimignano, the rector of that church. He has also portrayed
+Messer Andrea Loredano. M. Priano da Lagie, and two brothers of the
+Pellegrini family--M. Vincenzio and M. Giovan Battista--both orators.
+And since Vittoria is young and a willing worker, talented, amiable,
+desirous of acquiring name and fame, and, lastly, very gentle, we may
+believe that if he lives, we are destined to see most beautiful works
+come from him from day to day, worthy of his name of Vittoria, and
+that, if his life endures, he is like to be a most excellent sculptor
+and to win the palm from all the others of that country.
+
+There is also one Tommaso da Lugano, a sculptor, who likewise has been
+many years with Sansovino, and has made with the chisel many figures
+in the Library of S. Marco, very beautiful, in company with others.
+And then, having left Sansovino, he has made by himself a Madonna with
+the Child in her arms, and at her feet a little S. John, which are all
+three figures of such beautiful form, attitude, and manner, that they
+can stand among all the other beautiful modern statues that are in
+Venice; which work is placed in the Church of S. Bastiano. And a
+portrait of the Emperor Charles V, which he made from the breast
+upwards, of marble, has been held to be a marvellous thing, and was
+very dear to his Majesty. And since Tommaso has delighted to work
+rather in stucco than in marble or bronze, there are innumerable most
+beautiful figures by his hand and works executed by him in that
+material in the houses of various gentlemen of Venice. But it must
+suffice to have said this much of him.
+
+Of the Lombards, finally, it remains for us to make record of Jacopo
+Bresciano, a young man of twenty-four, who has not long parted from
+Sansovino. He has given proof at Venice, in the many years that he has
+been there, of being talented and likely to prove excellent, as he has
+since shown in the works that he has executed in his native Brescia,
+and particularly in the Palazzo Pubblico, and if he lives and
+studies, there will be seen from his hand, also, things greater and
+better, for he has a fine spirit and most beautiful gifts.
+
+Of our Tuscans, one of the disciples of Sansovino has been the
+Florentine Bartolommeo Ammanati, of whom record has already been made
+in many places in this work. This Bartolommeo, I say, worked under
+Sansovino in Venice; and then in Padua for Messer Marco da Mantova, a
+most excellent doctor of medicine, in whose house he made an immense
+giant from more than one piece of stone for his court, and his tomb,
+with many statues. Afterwards, Ammanati having gone to Rome in the
+year 1550, there were allotted to him by Giorgio Vasari four statues
+of marble, each of four braccia, for the tomb of the old Cardinal di
+Monte, which Pope Julius III had allotted to Giorgio himself in the
+Church of S. Pietro a Montorio, as will be related; which statues were
+held to be very beautiful. Wherefore Vasari, having conceived an
+affection for him, made him known to the said Julius III, who, having
+ordained what he wanted done, caused him to be set to work; and so
+both of them, Vasari and Ammanati, worked together for a time at the
+Vigna. But not long afterwards, when Vasari had gone to serve Duke
+Cosimo in Florence, the above-named Pope being dead, Ammanati, who
+found himself without work and badly recompensed by that Pontiff for
+his labours in Rome, wrote to Vasari, praying him that, even as he had
+assisted him in Rome, so he should assist him in Florence with the
+Duke. Whereupon Vasari, occupying himself with fervour in this matter,
+introduced him into the service of the Duke, for whom he has executed
+many statues in marble and in bronze that are not yet in position. For
+the garden of Castello he has made two figures in bronze larger than
+life--namely, a Hercules who is crushing Antaeus, from which Antaeus, in
+place of his spirit, there issues from the mouth water in great
+abundance. Finally, Ammanati has executed in marble the colossal
+figure of Neptune that is in the Piazza, ten braccia and a half in
+height; but since the work of the fountain, in the centre of which the
+said Neptune is to stand, is not finished, I shall say nothing more of
+it. The same Ammanati, as architect, is giving his attention with much
+honour and praise to the fabric of the Pitti, in which work he has a
+great opportunity to show the worth and grandeur of his mind, and the
+magnificence and great spirit of Duke Cosimo. I could tell many
+particulars of this sculptor, but since he is my friend, and another,
+so I hear, is writing his history, I shall say no more, in order not
+to set my hand to things that may be related by another better than I
+perhaps might be able.
+
+It remains for us to make mention, as the last of Sansovino's
+disciples, of Danese Cattaneo, the sculptor of Carrara, who was
+already with him in Venice when still a little boy. Parting from his
+master at the age of nineteen, he made by himself a boy of marble for
+S. Marco, and a S. Laurence for the Church of the Friars Minors; for
+S. Salvadore another boy in marble, and for SS. Giovanni e Polo the
+statue of a nude Bacchus, who is grasping a bunch of grapes from a
+vine which twines round a trunk that he has behind his legs, which
+statue is now in the house of the Mozzenighi at S. Barnaba. He has
+executed many figures for the Library of S. Marco and for the Loggia
+of the Campanile, together with others of whom there has been an
+account above; and, in addition to those named, the two that have been
+mentioned already as being in the apartments of the Council of Ten. He
+made portraits in marble of Cardinal Bembo and Contarini, the
+Captain-General of the Venetian forces, which are both in S. Antonio
+at Padua, with rich and beautiful ornaments about them. And in the
+same city of Padua, in S. Giovanni di Verdara, there is by the same
+hand the portrait of Messer Girolamo Gigante, a most learned jurist.
+And for S. Antonio della Giudecca, in Venice, he has made a very
+lifelike portrait of Giustiniano, the Lieutenant of the Grand Master
+of Malta, and that of Tiepolo, who was three times General; but these
+have not yet been set in their places. But the greatest work and the
+most distinguished that Danese has ever executed is a rich chapel of
+marble, with large figures, in S. Anastasia at Verona, for Signor
+Ercole Fregoso, in memory of Signor Jano, once Lord of Genoa, and then
+Captain-General of the Venetians, in whose service he died. This work
+is of the Corinthian Order, in the manner of a triumphal arch, and
+divided by four great columns, round and fluted, with capitals of
+olive-leaves, which rest upon a base of proportionate height, making
+the space in the centre as wide again as one of those at the sides;
+with an arch between the columns, above which there rest on the
+capitals the architrave and cornice, and in the centre, within the
+arch, a very beautiful decoration of pilasters, with cornice and
+frontispiece, and with a ground formed by a tablet of most beautiful
+black basanite, where there is the statue of a nude Christ, larger
+than life and in the round, a very good figure; which statue stands in
+the act of showing the Wounds, with a piece of drapery bound round the
+flanks and reaching between the legs to the ground. Over the angles of
+the arch are Signs of His Passion, and between the columns that are on
+the right side there stands upon a pedestal a statue in the round
+representing Signor Jano Fregoso, fully armed after the antique save
+that he shows the arms and legs nude, and he has the left hand upon
+the pommel of the sword at his girdle, and with the right hand he
+holds the general's baton; having behind him as a pendant, within the
+space between the columns, a Minerva in half-relief, who, poised in
+the air, holds with one hand a Ducal staff, such as that of the Doges
+of Venice, and with the other a banner containing the device of S.
+Mark. Between the two other columns, as the other pendant, is Military
+Valour in armour, on her head the helmet-crest with the house-leek
+upon it, and on her cuirass the device of an ermine that stands upon a
+rock surrounded by mire, with letters that run--"Potius mori quam
+foedari," and with the device of the Fregosi; and above is a Victory,
+with a garland of laurel and a palm in the hands. Above the columns,
+architrave, frieze and cornice, is another range of pilasters, upon
+the crowns of which stand two figures of marble in the round, and two
+trophies likewise in the round and of the same size as the figures. Of
+these two statues, one is Fame in the act of taking flight, pointing
+with the right hand to Heaven, and with a trumpet that she is
+sounding; and this figure has light and most beautiful draperies about
+the body, and all the rest nude. The other, representing Eternity, is
+clothed in heavier vestments, and stands in majesty, holding in the
+left hand a round on which she is gazing, and with the right hand she
+grasps a hem of her garment wherein are globes that signify the
+various ages, with the celestial sphere encircled by the serpent that
+seizes the tail in the mouth. In the central space above the great
+cornice, which forms and separates those two other spaces, are three
+steps upon which are seated two large nude boys, who hold a great
+shield with the helmet above it, containing the devices of the
+Fregosi; and below those steps is an epitaph of basanite with large
+gilded letters. That whole work is truly worthy to be extolled, for
+Danese executed it with great diligence, and gave beautiful proportion
+and grace to the composition, and made each figure with great study.
+And Danese is not only, as has been described, an excellent sculptor,
+but also a good and much extolled poet, as his works clearly
+demonstrate, on which account he has always had intercourse and strait
+friendship with the greatest men and choicest spirits of our age; and
+of this may serve as a proof the work described above, executed by him
+with much poetic feeling. By the hand of Danese is the nude statue of
+the Sun above the ornament of the well in the courtyard of the Mint,
+at Venice; in place of which those Signori desired a Justice, but
+Danese considered that in that place the Sun is more appropriate. This
+figure has a bar of gold in the left hand, and in the right hand a
+sceptre, at the end of which he made an eye, and about the head the
+rays of the sun, and above all the globe of the world encircled by the
+serpent that holds the tail in the mouth, with some little mounds of
+gold about the globe, generated by him. Danese would have liked to
+make two other statues, that of the Moon for silver and another for
+copper, with that of the Sun for gold; but it was enough for those
+Signori that there should be that of gold, as the most perfect of all
+the metals. The same Danese has begun another work in memory of Prince
+Loredano, Doge of Venice, wherein it is hoped that in invention and
+fantasy he is to surpass by a great measure all his other labours;
+which work is to be placed in the Church of SS. Giovanni e Polo in
+Venice. But, since this master is alive and still constantly at work
+for the benefit of the world and of art, I shall say nothing more of
+him; nor of other disciples of Sansovino. I will not omit, however, to
+speak briefly of some other excellent craftsmen, sculptors and
+painters, from that dominion of Venice, taking my opportunity from
+those mentioned above, in order to make an end of speaking of them in
+this Life of Sansovino.
+
+[Illustration: PALAZZO CHIERICATI
+
+(_After =Andrea Palladio=. Vicenza_)
+
+_Alinari_]
+
+Vicenza, then, has likewise had at various times sculptors, painters,
+and architects, of some of whom record was made in the Life of
+Vittore Scarpaccia, and particularly of those who flourished in the
+time of Mantegna and learned to draw from him; and such were
+Bartolommeo Montagna, Francesco Verbo, and Giovanni Speranza, all
+painters, by whose hands are many pictures that are dispersed
+throughout Vicenza. Now in the same city there are many sculptures by
+the hand of one Giovanni, a carver and architect, which are passing
+good, although his proper profession has been to carve foliage and
+animals, as he still does excellently well, although he is old. In
+like manner, Girolamo Pironi of Vicenza has executed praiseworthy
+works of sculpture and painting in many places in his city. But among
+all the masters of Vicenza he who most deserves to be extolled is the
+architect Andrea Palladio, from his being a man of singular judgment
+and brain, as many works demonstrate that were executed by him in his
+native country and elsewhere, and in particular the Palazzo della
+Comunita, a building much renowned, with two porticoes composed in the
+Doric Order with very beautiful columns. The same Palladio has erected
+a palace, beautiful and grand beyond all belief, with an infinity of
+the richest ornaments, for Count Ottavio de' Vieri, and another like
+it for Count Giuseppe di Porto, which could not be more beautiful or
+magnificent, nor more worthy than it is of no matter how great a
+Prince; and another is being built even now for Count Valerio
+Chiericati under the direction of the same master, very similar in
+majesty and grandeur to the ancient buildings so much extolled. For
+the Counts of Valmorana, likewise, he has now carried almost to
+completion another most superb palace, which does not yield in any
+particular to any of those mentioned above. In the same city, upon the
+piazza commonly called the Isola, he has built another very
+magnificent fabric for Signor Valerio Chiericati; and at Pugliano, a
+place in the Vicentino, a most beautiful house for the Chevalier,
+Signor Bonifazio Pugliana. In the same territory of Vicenza, at
+Finale, he has erected another fabric for Messer Biagio Saraceni; and
+one at Bagnolo for Signor Vittore Pisani, with a large and very rich
+court in the Doric Order with most beautiful columns. Near Vicenza, at
+the township of Lisiera, he has constructed for Signor Giovan
+Francesco Valmorana another very rich edifice, with four towers at
+the corners, which make a very fine effect. At Meledo, likewise, for
+Count Francesco Trissino and Lodovico his brother, he has begun a
+magnificent palace upon a hill of some eminence, with many ranges of
+loggie, staircases, and other appurtenances of a villa. At Campiglia,
+likewise in the Vicentino, he is making for Signor Mario Ropetta
+another similar habitation, with so many conveniences, rich apartments
+of rooms, loggie, staircases, and chambers dedicated to various
+virtues, that it will be, when once carried to completion, an abode
+rather for a King than for a nobleman. At Lunedo he has built another,
+in the manner of a villa, for Signor Girolamo de' Godi; and at
+Angarano another for Count Jacopo Angarano, which is truly most
+beautiful, although it appears a small thing to the great mind of that
+lord. At Quinto, also, near Vicenza, he erected not long ago another
+palace for Count Marc'Antonio Tiene, which has in it more of the grand
+and the magnificent than I could express. In short, Palladio has
+constructed so many vast and lovely buildings within and without
+Vicenza, that, even if there were no others there, they would suffice
+to make a very handsome city with most beautiful surroundings.
+
+In Venice the same Palladio has begun many buildings, but one that is
+marvellous and most notable among them all, in imitation of the houses
+that the ancients used to build, in the Monastery of the Carita. The
+atrium of this is forty feet wide and fifty-four feet long, which are
+exactly the diameters of the quadrangle, the wings being one-third and
+a half of the length. The columns, which are Corinthian, are three
+feet and a half in thickness and thirty-five feet high. From the
+atrium one goes into the peristyle, that is, into a clauster (for thus
+do the friars call their courts), which on the side towards the atrium
+is divided into five parts, and at the flanks into seven, with three
+orders of columns one above the other, of which the Doric is at the
+foot, and above it the Ionic and the Corinthian. Opposite to the
+atrium is the refectory, two squares in length, and as high as the
+level of the peristyle, with its officines around it, all most
+commodious. The stairs are spiral, in the form of an oval, and they
+have neither wall nor column, nor any part in the middle to support
+them; they are thirteen feet wide, and the steps by their position
+support one another, being fixed in the wall. This edifice is all
+built of baked stone, that is, of brick, save the bases of the
+columns, the capitals, the imposts of the arches, the stairs, the
+surface of the cornices, and the whole of the windows and doors. The
+same Palladio has built for the Black Friars of S. Benedict, in their
+Monastery of S. Giorgio Maggiore in Venice, a very large and most
+beautiful refectory with its vestibule in front, and has begun to
+found a new church, with such beautiful ordering, according as the
+model shows, that, if it is carried to completion, it will prove a
+stupendous and most lovely work. Besides this, he has begun the facade
+of the Church of S. Francesco della Vigna, which the very reverend
+Grimani, Patriarch of Aquileia, is causing to be made of Istrian
+stone, with a most magnificent disregard of expense; the columns are
+four palms thick at the foot, forty palms high, and in the Corinthian
+Order, and already the whole basement at the foot is built. At
+Gambaraie, a place seven miles distant from Venice, on the River
+Brenta, the same Palladio has made a very commodious habitation for M.
+Niccolo and M. Luigi Foscari, gentlemen of Venice. Another he has
+built at Marocco, a place in the Mestrino, for the Chevalier
+Mozzenigo; at Piombino one for M. Giorgio Cornaro, one at Montagnana
+for the Magnificent M. Francesco Pisani, and another at Cicogna in the
+territory of Padua for Count Adovardo da Tiene, a gentleman of
+Vicenza. At Udine, in Friuli, he has built one for Signor Floriano
+Antimini; at Motto, a township likewise in Friuli, one for the
+Magnificent M. Marco Zeno, with a most beautiful court and porticoes
+all the way round; and at Fratta, a township in the Polesine, a great
+fabric for Signor Francesco Badoaro, with some very beautiful and
+fantastic loggie. In like manner, near Asolo, a place in the territory
+of Treviso, he has erected a most commodious habitation for the very
+reverend S. Daniello Barbaro, Patriarch-Elect of Aquileia, who has
+written upon Vitruvius, and for the most illustrious M. Marc'Antonio,
+his brother, with such beautiful ordering, that nothing better or
+greater can ever be imagined. Among other things, he has made there a
+fountain very similar to that which Pope Julius caused to be made at
+his Vigna Giulia in Rome; with ornaments of stucco and paintings
+everywhere, executed by excellent masters. In Genoa M. Luca
+Giustiniano has erected a building with the design of Palladio, which
+is held to be very beautiful, as are also all those mentioned above;
+but it would have made too long a story to seek to recount the many
+particulars of the strange and lovely inventions and fantasies that
+are in them. But, since there is soon to come into the light of day a
+work of Palladio, in which will be printed two books of ancient
+edifices and one book of those that he himself has caused to be built,
+I shall say nothing more of him, because this will be enough to make
+him known as the excellent architect that he is held to be by all who
+see his beautiful works; besides which, being still young and
+attending constantly to the studies of his art, every day greater
+things may be expected of him. Nor will I omit to say that he has
+wedded to such gifts a nature so amiable and gentle, that it renders
+him well-beloved with everyone; wherefore he has won the honour of
+being accepted into the number of the Academicians of Design in
+Florence, together with Danese, Giuseppe Salviati, Tintoretto, and
+Battista Farinato of Verona, as will be told in another place,
+speaking of the said Academicians.
+
+Bonifazio, a Venetian painter, of whom I have never before received
+any information, is also worthy to be numbered in the company of these
+many excellent craftsmen, being a well-practised and able colourist.
+This master, besides many pictures and portraits that are dispersed
+throughout Venice, has executed for the altar of the Relics in the
+Church of the Servites, in the same city, an altar-piece wherein is a
+Christ with the Apostles about Him, and Philip who appears to be
+saying, "Domine, ostende nobis patrem," which is painted with a very
+good and beautiful manner. And for the altar of the Madonna in the
+Church of the Nuns of the Spirito Santo, he has executed another most
+beautiful altar-picture with a vast number of men, women, and children
+of every age, who in company with the Virgin are adoring a God the
+Father who is in the air with many Angels about Him. Another painter
+of passing good name in Venice is Jacopo Fallaro, who has painted on
+the doors of the organ in the Church of the Ingesuati the Blessed
+Giovanni Colombini receiving his habit in the Consistory from the
+Pope, with a good number of Cardinals. Another Jacopo, called
+Pisbolica, has executed an altar-piece for S. Maria Maggiore in
+Venice, wherein is Christ in the air with many Angels, and below Him
+Our Lady with the Apostles. And one Fabrizio Viniziano has painted on
+the facade of a chapel in the Church of S. Maria Sebenico the
+Consecration of the baptismal font, with many portraits from life
+executed with beautiful grace and a good manner.
+
+
+NOTES.
+
+I., line 1, p. 187.
+
+The family of the Tatti in Florence is recorded in the books of the
+Commune from the year 1300, because, having come from Lucca, a very
+noble city of Tuscany, it was always abundant in industrious and
+honoured men, and they were most highly favoured by the House of
+Medici. Of this family was born Jacopo, of whom we are writing in this
+place; and he was born from Antonio, a most excellent person, and from
+his wife Francesca, in the month of January, 1477. In the first years
+of his boyhood he was set, as is usual, to learn his letters; and,
+after beginning to show in these vivacity of brain and readiness of
+spirit, not long afterwards he applied himself of his own accord to
+drawing, giving evidence in a certain sort that nature was inclining
+him much more to this kind of work than to letters, for the reason
+that he went very unwillingly to school and learned much against his
+will the scabrous rudiments of grammar. His mother, whom he resembled
+strongly, perceiving this and fostering his genius, gave him
+assistance, causing him to be taught design in secret, because she
+loved the thought that her son should be a sculptor, perchance in
+emulation of the then rising glory of Michelagnolo Buonarroti, who at
+that time was still quite young; and also moved by a certain fateful
+augury, in that Michelagnolo and this Jacopo had been born in one and
+the same street, called Via S. Maria, near the Via Ghibellina. Now the
+boy, after some time, was placed to learn the trade of a merchant; in
+which delighting even less than in letters, he did and said so much,
+that he obtained leave from his father to attend without hindrance to
+that towards which he was urged by nature.
+
+There had come to Florence at that time Andrea Contucci of Monte
+Sansovino, a township near Arezzo, risen to great fame in our days
+from having been the birthplace of Pope Julius III; which Andrea,
+having acquired in Italy and in Spain the name of the best sculptor
+and architect that there was in art after Buonarroti, was staying in
+Florence in order to execute two figures of marble. Etc.
+
+
+II., line 18, p. 197.
+
+(And he was executing many works of the greatest importance for all
+those lords), having been recognized by three Pontiffs, and especially
+by Pope Leo, who presented him with a Knighthood of S. Pietro, which
+he sold during his illness, doubting lest he might die; (when God,
+etc.).
+
+
+III., line 22, p. 198.
+
+Having then entered on that office, he began to occupy himself with
+every care, both with regard to buildings and in the management of the
+papers and of the books that he held by virtue of his office,
+acquitting himself with all possible diligence in the affairs of the
+Church of S. Marco, of the Commissions, which are a great number, and
+of the many other matters that are in the charge of those Procurators;
+and he showed extraordinary lovingness towards those Signori, in that,
+having turned his whole attention to benefiting them and to directing
+their affairs to the aggrandizement, embellishment, and ornamentation
+of the church, the city, and the public square (a thing never yet done
+by any other in that office), he provided them with various
+advantages, profits, and revenues by means of his inventions, with his
+ingenuity of brain and readiness of spirit, yet always with little or
+no expense to the Signori themselves. Among which benefits, one was
+this; in the year 1529 there were between the two columns in the
+Piazza some butchers' stalls, and also between the one column and the
+other many wooden cabins to accommodate persons in their natural
+necessities--a thing most filthy and disgraceful, both for the dignity
+of the Palace and of the Piazza Pubblica, and for the strangers who,
+coming into Venice by way of S. Giorgio, saw first of all on arrival
+that filthiness. Jacopo, after demonstrating to the Prince Gritti the
+honourable and profitable nature of his design, caused those stalls
+and cabins to be removed; and, placing the stalls where they now are
+and making certain places for the sellers of herbs, he obtained for
+the Procurators an additional revenue of seven hundred ducats,
+embellishing at the same time the Piazza and the city. Not long
+afterwards, having perceived that in the Merceria (on the way to the
+Rialto, near the Clock), by removing a house that paid a rent of
+twenty-six ducats, a street could be made leading into the Spadaria,
+whereby the rent of the houses and shops all around would be
+increased, he threw down that house and increased their revenues by
+one hundred and fifty ducats a year. Besides this, by placing on that
+site the hostelry of the Pellegrino and another in the Campo Rusolo,
+he brought them in another four hundred ducats. He obtained for them
+similar benefits by the buildings in the Pescaria, and, on divers
+other occasions, by many houses and shops and other places belonging
+to those Signori, at various times; insomuch that the Procurators,
+having gained by his care a revenue of more than two thousand ducats,
+have been rightly moved to love him and to hold him dear.
+
+Not long afterwards, by order of the Procurators, he set his hand to
+the very rich and beautiful building of the Library opposite to the
+Palazzo Pubblico, with such a variety of architecture (for it is both
+Doric and Corinthian), and such a wealth of carvings, cornices,
+columns, capitals, and half-length figures throughout the whole work,
+that it is a marvel; and all without any sparing of expense, since it
+is full of the richest pavements, stucco-work and scenes throughout
+the halls of that place, and public staircases adorned with various
+pictures, as has been related in the Life of Battista Franco, not to
+speak of the appurtenances and rich ornaments that it has at the
+principal door of entrance, which give it majesty and grandeur,
+demonstrating the ability of Sansovino. Which method of building was
+the reason that in that city, into which there had not entered up to
+that time any other method but that of building their houses and
+palaces in one and the same order, each man always continuing the same
+things with the same measurements and ancient use, without varying
+according to the sites as they found them, or according to
+convenience; it was the reason, I say, that buildings both public and
+private began to be erected with new designs and better order, and
+according to the ancient teaching of Vitruvius; and that work, in the
+opinion of those who are good judges and have seen many parts of the
+world, is without any equal.
+
+He then built the Palace of Messer Giovanni Delfino, situated on the
+Grand Canal on the other side from the Rialto, opposite to the Riva
+del Ferro, at a cost of thirty thousand ducats. He built, likewise,
+that of Messer Leonardo Moro at S. Girolamo, a work of great cost,
+which has almost the appearance of a castle. And he erected the Palace
+of Messer Luigi de' Garzoni, wider by thirteen paces in every
+direction than is the Fondaco de' Tedeschi, with so many conveniences,
+that water runs through the whole fabric, which is adorned with four
+most beautiful figures by Sansovino; which palace is at Ponte Casale,
+in the neighbourhood of Venice. But the most beautiful is the Palace
+of Messer Giorgio Cornaro on the Grand Canal, which, without any doubt
+surpassing the others in convenience, majesty, and grandeur, is
+considered perhaps the finest that there is in Italy. He also built
+(to have done with speaking of private edifices) the Scuola or
+Confraternity of the Misericordia, a vast work costing one hundred and
+thirty thousand crowns, which, when carried to completion, will prove
+to be the most superb edifice in Italy. And his work, also, is the
+Church of S. Francesco della Vigna, where the Frati de' Zoccoli have
+their seat, a work of great size and importance; but the facade was by
+another master. The Loggia about the Campanile of S. Marco, in the
+Corinthian Order, was from his design, with a very rich ornament of
+columns, and with four niches, in which are four supremely beautiful
+figures in bronze, little less than the size of life, which are by his
+hand, together with various scenes and figures in low-relief. That
+work makes a most beautiful base to the said campanile, which has a
+thickness, on one of the sides, of thirty-five feet, which is about
+the extent of Sansovino's ornamentation. In height, from the ground to
+the cornice where are the windows of the bells, it is one hundred and
+sixty feet; from the level of that cornice to the other above it,
+where the corridor is, twenty-five feet; and the other dado above has
+a height of twenty-eight feet and a half. From that level of the
+corridor up to the pyramid is sixty feet; at the summit of which
+spire, the little square, upon which rests the Angel, is six feet
+high, and the said Angel, which turns with every wind, is ten feet
+high; insomuch that the whole height comes to be two hundred and
+ninety-two feet.
+
+But the finest, richest, and strongest of his edifices is the Mint of
+Venice, all of iron and stone, for there is not in it one single piece
+of wood, in order to render it absolutely safe from fire. And the
+interior is distributed with such order and convenience for the sake
+of the many artificers, that there is not in any part of the world a
+treasury better ordered, or with greater strength, than that one,
+which he built entirely in the Rustic Order and very beautiful; which
+method, not having been used before in that city, caused the
+inhabitants to marvel not a little. By his hand, also, may be seen the
+Church of S. Spirito on the lagoons, of a very delicate and pleasing
+workmanship; and in Venice there is the facade of S. Gimignano, which
+gives splendour to the Piazza, in the Merceria the facade of S.
+Giuliano, and in S. Salvadore the very rich tomb of the Prince
+Francesco Veniero. He also erected in the Rialto, on the Grand Canal,
+the new fabrics of the vaults, with such good design, that almost
+every day there assembles there a very convenient market of townsmen
+and of other persons who flock to that city. And a very marvellous
+thing and new was that which he did for the Tiepoli at the
+Misericordia, in that, they having on the canal a great palace with
+many regal chambers, and the whole building being badly founded in the
+water, so that it was likely enough that in a few years the edifice
+would fall to the ground, Sansovino rebuilt all the foundations in the
+canal below the palace with very large stones, maintaining the house
+on its feet with a marvellous support of props, while the owners lived
+in their house with perfect security.
+
+Nor for all this, while he has given his attention to so many
+buildings, has he ever ceased to occupy himself every day for his own
+delight with vast and beautiful works of sculpture, in marble and in
+bronze. Over the holy-water font of the Friars of the Ca Grande there
+is by his hand a statue made of marble, representing S. John the
+Baptist, which is very beautiful and highly extolled. At Padua, in the
+Chapel of the Santo, there is a large scene in marble by the same
+hand, with very beautiful figures in half-relief, of a miracle of S.
+Anthony of Padua; which is much esteemed in that place. For the
+entrance of the stairs of the Palace of S. Marco he is even now
+executing in marble in the forms of two very beautiful giants, each of
+seven braccia, a Neptune and a Mars, signifying the power which that
+most illustrious Republic has on land and sea. He made a most
+beautiful statue of Hercules for the Duke of Ferrara; and for the
+Church of S. Marco he made six scenes of bronze in half-relief, one
+braccio high and one and a half long, for placing on a pulpit, with
+stories of that Evangelist, which are held in much estimation for
+their variety. Over the door of the same S. Marco he made a Madonna of
+marble, the size of life, which is held to be a very beautiful thing;
+and at the entrance to the sacristy of that place there is by his hand
+the door of bronze divided into two most beautiful parts, with stories
+of Jesus Christ all in half-relief and wrought excellently well. And
+over the door of the Arsenal he made a very beautiful Madonna, who is
+holding her Son in her arms, of marble. All which works not only have
+given lustre and adornment to that Republic, but also have caused
+Sansovino to be better known every day as a most excellent craftsman,
+and loved and honoured by the magnificent liberality of those Signori,
+and likewise by the other craftsmen, every work of sculpture and
+architecture that has been executed in that city in his time being
+referred to him. And in truth the excellence of Jacopo has well
+deserved that he should be held in the first rank among the craftsmen
+of design in that city, and that his talents should be loved and
+revered by all without exception, both nobles and plebeians, for the
+reason that, besides other things, as has been told, with his judgment
+and knowledge he has brought it about that the city has been made
+almost entirely new and has learned the true and good method of
+building.
+
+Three most beautiful figures in stucco by his hand, also, may be seen
+in the possession of his son, one a Laocoon, another a Venus standing,
+and the third a Madonna with many children about her; which figures
+are so rare, that in Venice there is seen nothing to equal them. The
+said son also has in drawing sixty plans of temples and churches of
+Sansovino's invention, which are so excellent that from the days of
+the ancients to our own there have been seen none better conceived or
+more beautiful. These I have heard that the son will publish for the
+benefit of the world, and already he has had some pieces engraved,
+accompanying them with designs of the numberless labours that have
+been carried into execution by Sansovino in various parts of Italy.
+
+For all this, although occupied, as has been related, with the
+management of so many things both public and private, and both in the
+city and abroad (for strangers, also, ran to him for models and
+designs of buildings, for figures, or for counsel, as did the Duke of
+Ferrara, who obtained a Hercules in the form of a giant, the Duke of
+Mantua, and the Duke of Urbino), he was always very zealous in the
+private and particular service of each of his own Lords Procurators,
+who, availing themselves of him both in Venice and elsewhere, and not
+doing a single thing without his assistance or counsel, kept him
+continually at work not only for themselves, but also for their
+friends and relatives, without any reward, he consenting to endure any
+inconvenience and fatigue in order to satisfy them. But above all he
+was greatly loved and held in infinite price by the Prince Gritti, who
+delighted in beautiful intellects, by Messer Vettorio Grimani, brother
+of the Cardinal, and by Messer Giovanni da Legge the Chevalier, all
+Procurators, and by Messer Marc'Antonio Justiniano, who became
+acquainted with him in Rome. For these illustrious men, exalted in
+spirit and truly regal in mind, being conversant with the affairs of
+the world and well informed in the noble and excellent arts, soon
+recognized his merit and how worthy he was to be cherished and
+esteemed, and availed themselves of him in due measure; and they used
+to say, in accord with the whole city, that the Procurators never had
+and never would have at any time another equal to him, for they knew
+very well how celebrated and renowned his name was with the men and
+princes of intellect in Florence and Rome and throughout all Italy,
+and every one held it as certain that not he only but also his
+descendants and all his posterity deserved to be endowed for ever in
+return for his singular genius.
+
+Jacopo was in body of ordinary stature, without any fat, and he walked
+with the person upright. He was white in complexion, with the beard
+red; and in his youth he was very graceful and handsome, and therefore
+much beloved by various women of some importance. After he became old,
+he had a venerable presence, with a beautiful white beard, and walked
+like a young man, insomuch that, having come to the age of
+ninety-three, he was still very strong and healthy and could see every
+least thing, however distant it might be, without spectacles, and when
+writing he kept his head erect, not bending over at all as is done by
+others. He delighted to dress handsomely, and was always very neat in
+his person; and he always took pleasure in women down to extreme old
+age, and much loved to talk of them. In his youth, by reason of his
+excesses, he was not very robust; but when he had become old he never
+suffered any illness, insomuch that for a period of fifty years,
+although at times he felt indisposed, he would never avail himself of
+any physician; nay, having had an apoplectic stroke for the fourth
+time at the age of eighty-four, he recovered by staying only two
+months in bed in a very dark and warm place, despising medicines. He
+had so good a stomach, that he was not afraid of anything, making no
+distinction between food that might be good and food that might be
+harmful; and in summer he lived almost entirely on fruits, eating very
+often as many as three cucumbers at a time, and half a citron, in his
+extreme old age. As for his qualities of mind, he was very prudent and
+foresaw future events in the matters of the present, weighing them
+against the past; and he was zealous in his affairs, not considering
+any fatigue, and never left his business to follow pleasures. He
+discoursed well and with many words upon no matter what subject that
+he understood, giving many illustrations with much grace; on which
+account he was very dear both to the great and to the small, and to
+his friends. And in his last years he had a memory still very fresh,
+and remembered in detail his childhood, the sack of Rome, and many
+things, fortunate or unfortunate, that he experienced in his time. He
+was courageous, and from his youth took delight in contending with
+those greater than himself, because, he used to say, by contending
+with the great a man advances, but against the little he lowers
+himself. He esteemed honour above everything in the world, wherefore
+in his affairs he was most loyal and a man of his word, and so pure in
+heart, that no offer, however great, could have corrupted him,
+although he was put to the test several times by his Signori, who for
+this and for other qualities regarded him not as their protomaster or
+minister, but as a father and brother, honouring him for his goodness,
+which was in no way feigned, but real. He was liberal with every man,
+and so loving towards his relatives, that he deprived himself of many
+comforts in order to assist them; although he lived always in repute
+and honour, as one who was observed by everyone. At times he let
+himself be overcome by anger, which was very great in him, but it soon
+passed; and very often with a few humble words you could make the
+tears come to his eyes.
+
+He had a surpassing love for the art of sculpture; such a love,
+indeed, that, to the end that it might be dispersed widely in various
+parts, he formed many disciples, making as it were a seminary of that
+art in Italy. Among these, very famous were Niccolo Tribolo and
+Solosmeo, Florentines; Danese Cattaneo of Carrara, a Tuscan, of
+supreme excellence in poetry as well as in sculpture; Girolamo da
+Ferrara, Jacopo Colonna of Venice, Luca Lancia of Naples, Tiziano da
+Padova, Pietro da Salo, Bartolommeo Ammanati of Florence, at the
+present day sculptor and protomaster to the great Duke of Tuscany,
+and, finally, Alessandro Vittoria of Trento, a rare master in
+portraits of marble, and Jacopo de' Medici of Brescia; who, reviving
+the memory of the excellence of their master, have employed their
+talents on many honoured works in various cities.
+
+Sansovino was much esteemed by Princes, among whom Alessandro de'
+Medici, Duke of Florence, sought his judgment in building the Citadel
+of that city. And Duke Cosimo in the year 1540, Sansovino having gone
+on his affairs to his native city, not only sought his counsel in the
+matter of that fortress, but also strove to engage him in his service,
+offering him a good salary; and on his return from Florence Duke
+Ercole of Ferrara detained him about his person and proposed various
+conditions to him, making every effort to keep him in Ferrara. But
+he, being used to Venice, and finding himself comfortable in that
+city, where he had lived a great part of his life, and having a
+singular love for the Procurators, by whom he was so much honoured,
+would never listen to any of them. He was also invited by Pope Paul
+III, who wished to advance him to the charge of S. Pietro in the place
+of Antonio da San Gallo, and with this Monsignor della Casa, who was
+then Legate in Venice, occupied himself much; but all was in vain,
+because he said that he was not minded to exchange the manner of life
+of a republic for that of living under an absolute Prince. And King
+Philip of Spain, on his way to Germany, showed him much kindness at
+Peschiera, whither Jacopo had gone to see him.
+
+He had an immoderate desire of glory, and by reason of that used to
+spend his own substance on others (not without notable harm to his
+descendants), in the hope that there might remain some memory of him.
+Good judges say that although he had to yield to Michelagnolo, yet in
+certain things he was his superior. Thus in the fashioning of
+draperies, in children, and in the expressions of women, Jacopo had no
+equal, for the reason that his draperies in marble were very delicate
+and well executed, with beautiful folds and curves that revealed the
+nude beneath the vestments; his children he made tender and soft,
+without those muscles that adults have, and with their little arms and
+legs as if of flesh, insomuch that they were in no way different from
+the life; and the expressions of his women were sweet and pleasing,
+and as gracious as could be, as is clearly seen from various Madonnas
+made by him in many places, of marble and in low-relief, and from his
+statues of Venus and other figures.
+
+Now this man, having thus become celebrated in sculpture and in
+architecture a master without a rival, and having lived in the grace
+of mankind and also of God, who bestowed upon him the genius that made
+him illustrious, as has been related, when he had come to the age of
+ninety-three, feeling somewhat weary in body, took to his bed in order
+to rest; in which having lain without any kind of suffering, although
+he strove to rise and dress himself as if well, for a period of a
+month and a half, failing little by little, he asked for the
+Sacraments of the Church, which having received, while still hoping to
+live a few years, he sank gradually and died on the 2nd of November in
+the year 1570; and although in his old age he had run the whole course
+of nature, yet his death was a grief to all Venice. He left behind him
+his son Francesco, born at Rome in the year 1521, a man learned both
+in the law and in the humanities, from whom Jacopo saw three
+grandchildren born; a male child called, like his grandfather, Jacopo,
+and two female, one called Fiorenza, who died, to his infinite grief
+and sorrow, and the other Aurora. His body was borne with much honour
+to his chapel in S. Gimignano, where there was erected to his memory
+by his son the marble statue made by Jacopo himself while he was
+alive, with the epitaph given below in memory of his great worth:
+
+     JACOBO SANSOVINO FLORENTINO QUI ROMAE JULIO II, LEONI X, CLEMENTI
+     VII, PONT. MAX., MAXIME GRATUS, VENETIIS ARCHITECTURAE
+     SCULPTURAEQUE INTERMORTUUM DECUS PRIMUS EXCITAVIT, QUIQUE A SENATU
+     OB EXIMIAM VIRTUTEM LIBERALITER HONESTATUS, SUMMO CIVITATIS
+     MOERORE DECESSIT, FRANCISCUS F. HOC MON. P. VIXIT ANN. XCIII. OB.
+     V. CAL. DEC. MDLXX.
+
+His obsequies were likewise celebrated publicly at the Frari by the
+Florentine colony, with no slight pomp, and the oration was delivered
+by Messer Camillo Buonpigli, an excellent man.
+
+
+
+
+LEONE LIONI OF AREZZO
+
+
+
+
+OF LEONE LIONI OF AREZZO, AND OTHER SCULPTORS AND ARCHITECTS
+
+
+Since that which has been said above, here and there, of the Chevalier
+Leone, a sculptor of Arezzo, has been said incidentally, it cannot but
+be well to speak here in due order of his works, which are truly
+worthy to be celebrated and to pass into the memory of mankind. This
+Leone, then, having applied himself in the beginning to the
+goldsmith's art, and having made in his youth many beautiful works,
+and in particular portraits from life in dies of steel for medals,
+became in a few years so excellent, that he came to the knowledge of
+many great men and Princes, and particularly of the Emperor Charles V,
+by whom, having recognized his talents, he was set to works of greater
+importance than medals. Thus, not long after he became known to his
+Majesty, he made a statue of that Emperor in bronze, larger than life
+and in the round, which he then furnished with a very delicate suit of
+armour formed of two very thin shells, which can be put on and taken
+off with ease, and all wrought with such grace, that whoever sees the
+statue when covered does not notice it and can scarcely believe that
+it is nude below, and when it is nude no one would believe without
+difficulty that it could ever be so well clad in armour. This statue
+rests on the left leg, and with the right foot tramples on Fury, which
+is a recumbent figure bound in chains, with the torch beneath it and
+arms of various kinds. On the base of this work, which is now in
+Madrid, are these words:
+
+   CAESARIS VIRTUTE FUROR DOMITUS.
+
+After these statues Leone made a great die for striking medals of his
+Majesty, and on the reverse the Giants being slain by Jove with
+thunderbolts. For all which works the Emperor gave to Leone a pension
+of one hundred and fifty ducats a year on the Mint of Milan, with a
+very commodious house in the Contrada de' Moroni, and made him a
+Chevalier and of his household, besides giving him many privileges of
+nobility for his descendants. And while Leone was with his Majesty in
+Brussels, he had his rooms in the palace of the Emperor himself, who
+at times would go for recreation to see him at work. Not long
+afterwards he made another statue of the Emperor, in marble, and also
+those of the Empress and King Philip, and a bust of the same Emperor
+for placing on high between two panels in bronze. He made, likewise in
+bronze, the head of Queen Maria, that of Ferdinand, at that time King
+of the Romans, that of Maximilian his son, now Emperor, and that of
+Queen Leonora, with many others, which were placed in the Gallery of
+the Palace of Binche by Queen Maria, who had caused them to be made.
+But they did not stay there long, because King Henry of France set
+fire to the building by way of revenge, leaving written there these
+words, "Vela fole Maria";[14] I say by way of revenge, because a few
+years before that Queen had done the same to him. However it may have
+been, the work of that gallery did not proceed, and those statues are
+now partly in the Palace of the Catholic King at Madrid, and partly at
+Alicante, a sea-port, from which her Majesty intended to have them
+conveyed to Granada, where are the tombs of all the Kings of Spain. On
+returning from Spain, Leone brought with him two thousand crowns in
+cash, besides many other gifts and favours that were bestowed upon him
+by that Court.
+
+         [Footnote 14: The story runs that in the year 1533 Queen
+         Maria attacked and destroyed the Castle of Folembrai, and
+         that in the following year King Henry of France, out of
+         revenge, destroyed the fortress of Binche in Upper Hainault,
+         leaving on the ruined walls the words "Voila Folembrai";
+         which in the Italian have been corrupted into "Vela fole
+         Maria."]
+
+[Illustration: TOMB OF GIAN JACOPO MEDICI
+
+(_After =Leone Lioni=. Milan: Duomo_)
+
+_Alinari_]
+
+For the Duke of Alva Leone has executed a head of the Duke, one of
+Charles V, and another of King Philip. For the very reverend Bishop of
+Arras, now Grand Cardinal, called Granvella, he has made some pieces
+in bronze of an oval form, each of two braccia, with rich borders, and
+containing half-length statues; in one is Charles V, in another King
+Philip, and in the third the Cardinal himself, portrayed from life,
+and all have bases with little figures of much grace. For Signor
+Vespasiano Gonzaga he has made in a great bust of bronze the portrait
+of Alva, which Gonzaga has placed in his house at Sabbionetto. For
+Signor Cesare Gonzaga he has executed, likewise in metal, a statue of
+four braccia, which has beneath it another figure that is entwined
+with a Hydra, in order to denote his father Don Ferrante, who by his
+worth and valour overcame the vicious envy that had sought to bring
+him into disgrace with Charles V in the matter of the government of
+Milan. This statue, which is clad in a toga and armed partly in the
+ancient and partly in the modern fashion, is to be taken to Guastalla
+and placed there in memory of that Don Ferrante, a most valorous
+captain.
+
+The same Leone has made, as has been told in another place, the tomb
+of Signor Giovanni Jacopo Medici, Marquis of Marignano and brother of
+Pope Pius IV, which stands in the Duomo of Milan, about twenty-eight
+palms in length and forty in height. This tomb is all of Carrara
+marble, and adorned with four columns, two of them black and white,
+which were sent by the Pope as rare things from Rome to Milan, and two
+others, larger, which are of a spotted stone similar to jasper; which
+are all accommodated under one and the same cornice, an unusual
+contrivance, by the desire of that Pope, who caused the whole work to
+be executed after the directions of Michelagnolo, excepting only the
+five figures of bronze that are there, which are by the hand of Leone.
+The first of these, the largest of them all, is the statue of the
+Marquis himself, standing upright and larger than life, which has in
+the right hand the baton of a General, and the left hand resting on a
+helmet that is on a very richly adorned trunk. On the left of this is
+a smaller statue, representing Peace, and on the right another
+signifying Military Virtue; and these are seated, and in aspect all
+sad and sorrowing. Of the other two, which are on high, one is
+Providence and the other Fame; and between them, on the same level, is
+a most beautiful Nativity of Christ in bronze, in low-relief. At the
+summit of the whole work are two figures of marble, which support that
+lord's escutcheon of balls. For this work seven thousand and eight
+hundred crowns were paid, according to the agreement made in Rome by
+the most illustrious Cardinal Morone and Signor Agabrio Scierbellone.
+
+The same master has made for Signor Giovan Battista Castaldo a statue
+likewise in bronze, which is to be placed in I know not what
+monastery, with some ornaments. For the above-named Catholic King he
+has executed a Christ in marble, more than three braccia high, with
+the Cross and with other Mysteries of the Passion, which is much
+extolled. Finally, he has in hand the statue of Signor Alfonso
+Davalos, the Marchese del Vasto of famous memory, which was entrusted
+to him by the Marchese di Pescara, his son; four braccia high, and
+likely to prove an excellent figure when cast, by reason of the
+diligence that he is devoting to its execution, and the good fortune
+that Leone has always had in his castings.
+
+Leone, in order to display the greatness of his mind, the beautiful
+genius that he has received from Nature, and the favour of Fortune,
+has built at great expense and with most beautiful architecture a
+house in the Contrada de' Moroni, so full of fantastic inventions,
+that there is perhaps no other like it in all Milan. In the
+distribution of the facade there are upon pilasters six captives each
+of six braccia and all of pietra viva, and between these, in certain
+niches, Fates in imitation of the antique, with little terminal
+figures, windows, and cornices all different from the common use and
+very graceful; and all the parts below correspond with beautiful order
+to those above, and the frieze-ornaments are all of various
+instruments of the arts of design. From the principal door one enters
+by a passage into a courtyard, in the centre of which, upon four
+columns, is the horse with the statue of Marcus Aurelius, cast in
+gesso from the original which is in the Campidoglio. By means of that
+statue he has intended that his house should be dedicated to Marcus
+Aurelius; and as for the captives, that fancy is interpreted by
+various persons in various ways. Besides the horse, he has in that
+beautiful and most commodious habitation, as has been told in another
+place, as many casts in gesso as he has been able to obtain of famous
+works in sculpture and casting, both ancient and modern.
+
+A son of Leone, called Pompeo, who is now in the service of King
+Philip of Spain, is in no way inferior to his father in executing dies
+of steel for medals and in casting figures that are marvellous.
+Wherefore at that Court he has been a competitor of Giovan Paolo
+Poggini, a Florentine, who also works in the service of that King and
+has made most beautiful medals. But Pompeo, having served that King
+many years, intends to return to Milan in order to enjoy his Aurelian
+house and the other labours of his excellent father, the loving friend
+of every man of talent.
+
+And now to say something of medals, and of the steel dies with which
+they are made. I believe that it may be affirmed with truth that our
+modern intellects have achieved as much as the ancient Romans once did
+in the excellence of the figures, and that in the lettering and in
+other parts they have surpassed them. Which may be seen clearly in
+twelve reverses--besides many others--that Pietro Paolo Galeotto has
+executed recently in the medals of Duke Cosimo, and they are these;
+Pisa restored almost to her pristine condition by means of the Duke,
+he having drained the country round and dried the marshy places, and
+having made many other improvements; the waters conducted to Florence
+from various places, the ornate and magnificent building of the
+Magistrates erected for the public convenience, the union of the
+States of Florence and Siena, the building of a city and two
+fortresses in Elba, the column conveyed from Rome and placed on the
+Piazza di S. Trinita in Florence, the preservation, completion and
+enlargement of the Library of S. Lorenzo for the public good, the
+foundation of the Order of the Knights of S. Stephen, the resignation
+of the government to the Prince, the fortifying of the State, the
+militia or trained companies of his dominion, and the Pitti Palace
+with its gardens, waters, and buildings, a work of such regal
+magnificence; of which reverses I do not give here either the
+lettering that they have around them, or their explanation, having to
+treat of them in another place. All these twelve reverses are
+beautiful to a marvel and executed with much diligence and grace, as
+is also the head of the Duke, which is of perfect beauty; and medals
+and other works in stucco, likewise, as I have said on another
+occasion, are being made of absolute perfection at the present day.
+And recently Mario Capocaccia of Ancona has executed with coloured
+stucco, in little cases, heads and portraits that are truly most
+beautiful; such as a portrait of Pope Pius V, which I saw not long
+since, and that of Cardinal Alessandrino. I have seen, also, portraits
+of the same kind by the hands of the sons of Polidoro, a painter of
+Perugia, which are very beautiful.
+
+But to return to Milan; looking again a year ago over the works of the
+sculptor Gobbo, of whom mention has been made in another place, I did
+not see anything that was otherwise than ordinary, excepting an Adam
+and Eve, a Judith, and a S. Helena, in marble, which are about the
+Duomo; with two other statues of dead persons, representing Lodovico,
+called Il Moro, and Beatrice his wife, which were to be placed upon a
+tomb by the hand of Giovan Jacomo della Porta, sculptor and architect
+to the Duomo of Milan, who in his youth executed many works under the
+said Gobbo; and those named above, which were to go on that tomb, are
+wrought with a high finish. The same Giovan Jacomo has executed many
+beautiful works for the Certosa of Pavia, and in particular on the
+tomb of the Conte di Virtu and on the facade of the church. From him
+one his nephew learned his art, by name Guglielmo, who in Milan, about
+the year 1530, applied himself with much study to copying the works of
+Leonardo da Vinci, which gave him very great assistance. Whereupon he
+went with Giovan Jacomo to Genoa, when in the year 1531 the latter was
+invited to execute the sepulchre of S. John the Baptist, and he
+devoted himself with great study to design under Perino del Vaga; and,
+not therefore abandoning sculpture, he made one of the sixteen
+pedestals that are in that sepulchre, on which account, it being seen
+that he was acquitting himself very well, he was commissioned to make
+all the others. Next, he executed two Angels in marble, which are in
+the Company of S. Giovanni; and for the Bishop of Servega he made two
+portraits in marble, and a Moses larger than life, which was placed in
+the Church of S. Lorenzo. And then, after he had made a Ceres of
+marble that was placed over the door of the house of Ansaldo Grimaldi,
+he executed for placing over the Gate of the Cazzuola, in that city, a
+statue of S. Catharine of the size of life; and after that the three
+Graces, with four little boys, of marble, which were sent into
+Flanders to the Grand Equerry of the Emperor Charles V, together with
+another Ceres of the size of life.
+
+[Illustration: EVE
+
+(_After =Cristofano Solari=. Milan: Duomo_)
+
+_Brogi_]
+
+Having executed these works in six years, Guglielmo in the year 1537
+made his way to Rome, where he was much recommended by his uncle
+Giovan Jacomo to the painter Fra Sebastiano Viniziano, his friend, to
+the end that he might recommend him, as he did, to Michelagnolo
+Buonarroti. Which Michelagnolo, seeing Guglielmo to be spirited and
+very assiduous in labouring, began to conceive an affection for him,
+and, before any other thing, caused him to restore some antique things
+in the Farnese Palace, in which he acquitted himself in such a manner,
+that Michelagnolo put him into the service of the Pope. Another proof
+of his powers had been seen already in a tomb that he had executed at
+the Botteghe Scure, for the most part of metal, for Bishop Sulisse,
+with many figures and scenes in low-relief--namely, the Cardinal
+Virtues and others, wrought with much grace, and besides these the
+figure of the Bishop himself, which afterwards went to Salamanca in
+Spain. Now, while Guglielmo was engaged in restoring the statues,
+which are now in the loggia that is before the upper hall in the
+Farnese Palace, there took place in the year 1547 the death of Fra
+Sebastiano Viniziano, who, as has been told, had administered the
+office of the Piombo. Whereupon Guglielmo, with the favour of
+Michelagnolo and of others, so wrought upon the Pope, that he obtained
+the said office of the Piombo, with the charge of executing the tomb
+of Pope Paul III, which was to be placed in S. Pietro. For this he
+availed himself in the model, with better design, of the scenes and
+figures of the Theological and Cardinal Virtues that he had made for
+the above-named Bishop Sulisse, placing at the corners four children
+in four partitions, and four cartouches, and making in addition a
+bronze statue of the said Pontiff seated, giving the benediction;
+which statue was seventeen palms high. But doubting, on account of the
+size of the casting, lest the metal might grow cold and the work
+therefore not succeed, he placed the metal in the vessel below, in
+such a way that it might be gradually sucked upwards. And with this
+unusual method that casting came out very well, and as clean as the
+wax, so that the very surface that came from the fire had no need at
+all to be polished, as may be seen from the statue itself, which was
+placed below the first arches that support the tribune of the new S.
+Pietro. On this tomb, which according to a design by his hand was to
+be isolated, were to be placed four figures, which he executed in
+marble with beautiful inventions according as he was directed by M.
+Annibale Caro, who had the charge of this from the Pope and Cardinal
+Farnese. One was Justice, which is a nude figure lying upon some
+draperies, with the belt of the sword across the breast, and the sword
+hidden; in one hand she has the fasces of consular jurisdiction, and
+in the other a flame of fire, and she is young in countenance, and has
+the hair plaited, the nose aquiline, and the aspect full of
+expression. The second was Prudence in the form of a matron, young in
+aspect, with a mirror in the hand, and a closed book, and partly nude,
+partly draped. The third was Abundance, a young woman crowned with
+ears of corn, with a horn of plenty in one hand and the ancient
+corn-measure in the other, and clothed in such a manner as to show the
+nude beneath the draperies. The fourth and last was Peace, who is a
+matron with a boy that has lost his eyes, and with the Caduceus of
+Mercury. He made, likewise, a scene also of metal and after the
+directions of the above-named Caro, which was to be placed in the
+work, with two River Gods, one representing a lake and the other a
+river that is in the domains of the Farnesi; and, besides all these
+things, there was to be there a mount covered with lilies, and with
+the rainbow of Iris. But the whole was not afterwards carried into
+execution, for the reasons that have been given in the Life of
+Michelagnolo. It may be believed that even as these parts are in
+themselves beautiful and wrought with much judgment, so they would
+have succeeded as a whole together; and yet it is the air of the
+piazza[15] which gives the true light and enables us to form a correct
+judgment of a work.
+
+         [Footnote 15: See last line on p. 112.]
+
+[Illustration: TOMB OF POPE PAUL III
+
+(_After =Guglielmo della Porta=. Rome: S. Peter's_)
+
+_Alinari_]
+
+The same Fra Guglielmo has executed during a period of many years
+fourteen stories of the life of Christ, for casting in bronze; each of
+which is four palms in breadth and six in height, excepting only one,
+which is twelve palms high and six broad, wherein is the Nativity of
+Jesus Christ, with most beautiful fantasies of figures. In the other
+thirteen are, Mary going with the Infant Christ on the ass to
+Jerusalem, with two figures in strong relief, and many in half-relief
+and low-relief; the Last Supper, with thirteen figures well composed,
+and a very rich building; the Washing of the Disciples' feet; the
+Prayer in the Garden, with five figures, and at the foot a multitude
+of great variety; Christ led before Annas, with six large figures,
+many lower down, and one in the distance; the Scourging at the Column,
+the Crowning with Thorns, the "Ecce Homo," Pilate washing his hands;
+Christ bearing the Cross, with fifteen figures, and others in the
+distance, going to Mount Calvary; Christ Crucified, with eighteen
+figures; and Christ taken down from the Cross. All which scenes, if
+they were cast, would form a very rare work, seeing that they have
+been wrought with much study and labour. Pope Pius IV had intended to
+have them executed for one of the doors of S. Pietro, but he had not
+time, being overtaken by death. Recently Fra Guglielmo has executed
+models in wax for three altars in S. Pietro; Christ taken down from
+the Cross, Peter receiving the Keys of the Church, and the Coming of
+the Holy Spirit, which would all be beautiful scenes.
+
+In short, this man has had, and still has, the greatest opportunities
+to exert himself and to execute works, seeing that the office of the
+Piombo gives such a revenue that the holder can study and labour for
+glory, which he who has not such advantages is not able to do; and yet
+Fra Guglielmo has executed no finished work between 1547 and this year
+of 1567. But it is the characteristic of those who hold that office to
+become sluggish and indolent; and that this is true, a proof is that
+this Guglielmo, before he became Friar of the Piombo, executed many
+heads in marble and other works, besides those that we have mentioned.
+It is true, indeed, that he has made four great Prophets in stucco,
+which are in the niches between the pilasters of the first great arch
+of S. Pietro. He also occupied himself much with the cars for the
+feast of Testaccio and other masquerades, which were held now many
+years ago in Rome.
+
+A pupil of this master has been one Guglielmo Tedesco, who, among
+other works, has executed a very rich and beautiful ornamentation of
+little statues in bronze, imitated from the best antiques, for a
+cabinet of wood (so it is called) which the Count of Pitigliano
+presented to the Lord Duke Cosimo. Which little figures are these; the
+horse of the Campidoglio, those of Monte Cavallo, the Farnese figures
+of Hercules, the Antinous and the Apollo of the Belvedere, and the
+heads of the Twelve Emperors, with others, all well wrought and very
+similar to the originals.
+
+Milan has also had another sculptor, dead this year, called Tommaso
+Porta, who worked marble excellently well, and in particular
+counterfeited antique heads in marble, which have been sold as
+antiques; and masks he made so well that in them no one has equalled
+him, of which I have one in marble by his hand, placed on the
+chimney-piece of my house at Arezzo, which everyone takes for an
+antique. This Tommaso made the heads of the Twelve Emperors in marble,
+the size of life, which were the rarest things. These Pope Julius III
+took, making him a present of an office of a hundred crowns a year in
+the Segnatura; and he kept the heads I know not how many months in his
+chamber, as choice things. But by the agency (so it is believed) of
+the above-named Fra Guglielmo and others who were jealous of him, such
+measures were taken against him, that, with no regard for the dignity
+of the gift bestowed upon him by that Pontiff, they were sent back to
+his house; where they were afterwards bought from him on better terms
+by merchants, and then sent to Spain. Not one of our imitators of
+antiques was superior to this Tommaso, of whom it has seemed to me
+right that record should be made, and the rather as he has passed to a
+better life, leaving name and fame for his ability.
+
+Many works, likewise, have been executed in Rome by one Leonardo, a
+Milanese, who has made recently two statues of marble, S. Peter and S.
+Paul, for the Chapel of Cardinal Giovanni Riccio da Montepulciano,
+which are much extolled and held to be good and beautiful figures. And
+the sculptors Jacopo and Tommaso Casignuola have made in the Chapel of
+the Caraffi, in the Church of the Minerva, the tomb of Pope Paul IV,
+and, besides other ornaments, a statue formed of pieces which
+represents that Pope, with a mantle of veined brocatello marble, and
+the trimming and other things of veined marbles of various colours,
+which render it marvellous. And so we see added to the other
+industries of our modern intellects this new one, and that sculptors
+proceed with colours in their sculpture to imitate painting. Which
+tomb has been executed by means of the great saintliness, goodness and
+gratitude of Pope Pius V, a Pontiff and Holy Father truly most
+saintly, most blessed, and most worthy of long life.
+
+Of Nanni di Baccio Bigio, a Florentine sculptor, besides what has been
+said of him in other places, I have to record that in his youth, under
+Raffaello da Montelupo, he applied himself in such a manner to
+sculpture, that in some little things that he did in marble he gave
+great promise that he would prove to be an able man. And having gone
+to Rome, under the sculptor Lorenzetto, while he gave his attention as
+his father had done also to architecture, he executed the statue of
+Pope Clement VII, which is in the choir of the Minerva, and a Pieta of
+marble, copied from that of Michelagnolo, which was placed in S. Maria
+de Anima, the Church of the Germans, as a work that is truly very
+beautiful. Another like it he made not long afterwards for Luigi del
+Riccio, a Florentine merchant, which is now in S. Spirito at Florence,
+in a chapel of that Luigi, who is no less extolled for such piety
+towards his native city than is Nanni for having executed the statue
+with much diligence and love. Nanni then applied himself under Antonio
+da San Gallo with more study to architecture, and gave his attention,
+while Antonio was alive, to the fabric of S. Pietro; where, falling
+from a staging sixty braccia high, and shattering himself, he escaped
+with his life by a miracle. Nanni has erected many edifices in Rome
+and in the country round, and has sought to obtain even more, and
+greater, as has been told in the Life of Michelagnolo. His work, also,
+is the Palace of Cardinal Montepulciano on the Strada Giulia, and a
+gate at Monte Sansovino built by order of Julius III, with a reservoir
+for water that is not finished, and a loggia and other apartments of
+the palace formerly built by the old Cardinal di Monte. And a work of
+Nanni, likewise, is the house of the Mattei, with many other buildings
+that have been erected or are still being constructed in Rome.
+
+A famous and most celebrated architect, also, among others of the
+present day, is Galeazzo Alessi of Perugia, who, serving in his youth
+the Cardinal of Rimini, whose chamberlain he became, executed among
+his first works, at the desire of that lord, the rebuilding of the
+apartments in the Fortress of Perugia, with so many conveniences and
+such beauty, that for a place so small it was a marvel, and many times
+already they have accommodated the Pope with all his Court. Then,
+after many other works that he executed for the said Cardinal, he was
+invited by the Genoese with much honour into the service of that
+Republic, for which the first work that he did was to restore and
+fortify the port and the mole; nay rather, to make it almost entirely
+different from what it was before. For, reaching out over a good space
+into the sea, he caused to be constructed a great and most beautiful
+port, which lies in a semicircle, very ornate with rustic columns and
+with niches about them, at the extremities of which semicircle there
+meet two little bastions, which defend that great port. On the piazza,
+then, above the mole and at the back of the great port, towards the
+city, he made a very large portico of the Doric Order, which
+accommodates the Guard, and over it, comprising all the space that it
+covers and likewise the two bastions and the gate, there is left a
+platform arranged for the operations of artillery, which commands the
+mole in the manner of a cavalier and defends the port both within and
+without. And besides this, which is finished, arrangements are being
+made for the enlargement of the city after his design, and his model
+has already been approved by the Signoria; and all with much praise
+for Galeazzo, who in these and other works has shown himself to be a
+most ingenious architect. The same Galeazzo has executed the new
+street of Genoa, with so many palaces built in the modern manner after
+his designs, that many declare that in no other city of Italy is there
+to be found a street more magnificent and grand than that one, nor one
+more full of the richest palaces, all built by those Signori with the
+persuasion and directions of Galeazzo, to whom all confess that they
+owe a very great obligation, in that he has been the inventor and
+executor of works which render their city, with regard to edifices,
+incomparably more grand and magnificent than it was before. The same
+master has built other streets without Genoa, and among others that
+which starts from Ponte Decimo on the way to Lombardy. He has restored
+the walls of the city towards the sea, and the fabric of the Duomo,
+making therein the tribune and the cupola; and he has built, also,
+many private edifices, such as the country palace of Messer Luca
+Giustiniano, that of Signor Ottaviano Grimaldi, the Palaces of two
+Doges, one for Signor Battista Grimaldi, and many others of which
+there is no need to speak.
+
+[Illustration: PALAZZO GRIMALDI
+
+(_After =Galeazzo Alessi=. Genoa_)
+
+_Alinari_]
+
+Now I will not omit to say that he has made the lake and island of
+Signor Adamo Centurioni, abounding in waters and fountains contrived
+in various beautiful and fantastic ways, and also the fountain of the
+Captain Larcaro, near the city, which is a most remarkable work; but
+beyond all the different kinds of fountains that he has made for many
+persons, most beautiful is the bath that he has made in the house of
+Signor Giovan Battista Grimaldi at Bisagno. This bath, which in form
+is round, has in the centre a little basin wherein eight or ten
+persons can bathe without inconvenience; which basin has hot water
+from four heads of sea-monsters that appear as if issuing from it, and
+cold water from as many frogs that are over those heads of monsters.
+Around that basin, to which one descends by three circular steps,
+there curves a space wide enough for two persons to walk in comfort.
+The circular wall of the whole bath is divided into eight spaces, in
+four of which are four great niches, each of which contains a round
+basin that is raised a little from the ground, half being within the
+niche and half remaining without; and in the centre of each basin a
+man can bathe, hot and cold water coming from a great mask that pours
+it through the horns and draws it in again when necessary by the
+mouth. In one of the other four spaces is the door, and in the other
+three are windows and places to sit; and all the eight spaces are
+separated by terminal figures, which support the cornice upon which
+rests the round vaulting of the whole bath. From the centre of that
+vaulting hangs a great ball of crystal-glass, on which is painted the
+sphere of the heavens, and within it the globe of the earth, from
+certain parts of which, when one uses the bath at night, comes a
+brilliant light that renders the place as light as if it were mid-day.
+I forbear to speak of the anteroom, the dressing-room, and the small
+bath, which are full of stucco-ornaments, and of the pictures that
+adorn the place, so as not to be longer than is needful; let it
+suffice to say that they are in no way unworthy of so great a work.
+
+In Milan, under the direction of the same Galeazzo, has been built the
+Palace of Signor Tommaso Marini, Duke of Terranuova; and also,
+possibly, the facade of the fabric of S. Celso that is now being
+built, the auditorium of the Cambio, which is round in form, the
+already begun Church of S. Vittore, and many other edifices. He has
+also sent designs over all Italy and abroad, wherever he has not been
+able to be in person, of many edifices, palaces, and temples, of which
+I shall say no more; this much being enough to make him known as a
+talented and most excellent architect.
+
+I will not omit--seeing that he is one of our Italians, although I do
+not know any particulars of his works--that in France, so I am
+informed, a most excellent architect, and particularly in the work of
+fortification, is Rocco Guerrini of Marradi, who in the recent wars of
+that kingdom, to his great profit and honour, has executed many
+ingenious and laudable works.
+
+And so in this last part, in order not to defraud any man of the
+proper credit of his talent, I have discoursed of some sculptors and
+architects now living, of whom hitherto I had not had a convenient
+occasion to speak.
+
+
+
+
+DON GIULIO CLOVIO
+
+
+
+
+OF DON GIULIO CLOVIO
+
+MINIATURIST
+
+
+There has never been, nor perhaps will there ever be for many
+centuries, a more rare or more excellent miniaturist, or we would
+rather say painter of little things, than Don Giulio Clovio, in that
+he has surpassed by a great measure all others who have ever been
+engaged in that kind of painting. This master was born in the province
+of Sclavonia, or rather, Croatia, at a place called Grisone, in the
+diocese of Madrucci, although his elders, of the family of the Clovi,
+had come from Macedonia; and the name given to him at baptism was
+Giorgio Giulio. As a child he gave his attention to letters; and then,
+by a natural instinct, to design. And having come to the age of
+eighteen, being desirous to make proficience, he came to Italy and
+placed himself in the service of Cardinal Marino Grimani, with whom
+for a period of three years he applied himself in such a manner to
+drawing, that he achieved a much better result than perhaps up to that
+time had been expected of him; as was seen in some designs of medals
+and their reverses that he made for that lord, drawn with the pen most
+minutely, with extreme and almost incredible diligence. Whereupon,
+having seen that he was more assisted by nature in little things than
+in great, he resolved, and wisely, that he would give his attention to
+miniature, since his works in that field were full of grace and
+beautiful to a marvel; being urged to this, also, by many friends, and
+in particular by Giulio Romano, a painter of bright renown, who was
+the man who before any other taught him the method of using tints and
+colours in gum and in distemper.
+
+[Illustration: THE DEPOSITION
+
+(_After the painting upon parchment by =Giulio Clovio=. Florence:
+Pitti, No. 241_)
+
+_Mansell_]
+
+Among the first works that Clovio coloured was a Madonna, which, as a
+man of ingenious and beautiful spirit, he copied from the book of the
+Life of the Virgin; which Madonna was printed in wood-engraving among
+the first sheets of Albrecht Duerer. Whereupon, having acquitted
+himself well in that his first work, he made his way by means of
+Signor Alberto da Carpi, who was then serving in Hungary, into the
+service of King Louis and of Queen Maria, the sister of Charles V; for
+which King he executed a Judgment of Paris in chiaroscuro, which much
+pleased him, and for the Queen the Roman Lucretia killing herself,
+with some other things, which were held to be very beautiful. The
+death of that King then ensuing, and the ruin of everything in
+Hungary, Giorgio Giulio was forced to return to Italy; where he had no
+sooner arrived than the old Cardinal Campeggio took him into his
+service. Thereupon, being settled to his liking, he executed a Madonna
+in miniature for that lord, and some other little things, and disposed
+himself to attend at all costs with greater study to the matters of
+art; and so he set himself to draw, and to seek with every effort to
+imitate the works of Michelagnolo. But this fine resolution was
+interrupted by the unhappy sack of Rome in the year 1527, when the
+poor man, finding himself the prisoner of the Spaniards and
+maltreated, in his great misery had recourse to divine assistance,
+making a vow that if he escaped safely from that miserable ruin and
+out of the hands of those new Pharisees, he would straightway become a
+friar. Wherefore, having escaped by the grace of God and made his way
+to Mantua, he became a monk in the Monastery of S. Ruffino, a seat of
+the Order of Canons Regular of Scopeto; having been promised, besides
+peace and quiet of mind and tranquil leisure in the service of God,
+that he would have facilities for attending at times, as it were by
+way of pastime, to the work of miniature. Having thus taken the habit
+and the name of Don Giulio, at the end of a year he made his
+profession; and then for a period of three years he stayed peacefully
+enough among those fathers, changing from one monastery to another
+according to his pleasure, as has been related elsewhere, and always
+working at something. During that time he completed a great choir-book
+with delicate illuminations and most beautiful borderings, making in
+it, among other things, a Christ appearing to the Magdalene in the
+form of a gardener, which was held to be a rare thing. Wherefore,
+growing in courage, he depicted--but in figures much larger--the
+Adulterous Woman accused by the Jews before Christ, with a good number
+of figures; all which he copied from a picture that had been executed
+in those days by Tiziano Vecelli, that most excellent painter.
+
+Not long afterwards it happened that Don Giulio, in transferring
+himself from one monastery to another, as monks or friars do, by
+misfortune broke a leg. Being therefore conveyed by those fathers to
+the Monastery of Candiana, that he might be better attended, he lay
+there some time without recovering, perhaps having been wrongly
+treated, as is common, no less by the fathers than by the physicians.
+Which hearing, Cardinal Grimani, who much loved him for his
+excellence, obtained from the Pope the power to keep him in his
+service and to have him cured. Whereupon Don Giulio, having thrown off
+the habit, and his leg being healed, went to Perugia with the
+Cardinal, who was Legate there; and, setting to work, he executed for
+him in miniature these works; an Office of Our Lady, with four most
+beautiful stories, and in an Epistolar three large stories of S. Paul
+the Apostle, one of which was sent not long afterwards to Spain. He
+also made for him a very beautiful Pieta, and a Christ Crucified,
+which after the death of Grimani came into the hands of Messer
+Giovanni Gaddi, Clerk of the Chamber.
+
+All these works caused Don Giulio to become known in Rome as an
+excellent craftsman, and were the reason that Cardinal Alessandro
+Farnese, who has always assisted, favoured, and desired to have about
+him rare and gifted men, having heard his fame and seen his works,
+took him into his service, in which he has remained ever since and
+still remains, old as he is. For that lord, I say, he has executed an
+infinite number of the rarest miniatures, of which I shall mention
+here only a part, because to mention them all is almost impossible. In
+a little picture he has painted Our Lady with her Son in her arms,
+with many Saints and figures around, and Pope Paul III kneeling,
+portrayed from life so well, that for all the smallness of that
+miniature he seems as if alive; and all the other figures, likewise,
+appear to lack nothing save breath and speech. That little picture, as
+a thing truly of the rarest, was sent to Spain to the Emperor Charles
+V, who was amazed by it. After that work the Cardinal caused him to
+set his hand to executing in miniature the stories in an Office of Our
+Lady, written in lettering shaped by Monterchi, who is a rare master
+in such work. Whereupon Don Giulio, resolving that this work should be
+the highest flight of his powers, applied himself to it with so much
+study and diligence, that no other was ever executed with more;
+wherefore he has achieved with the brush things so stupendous, that it
+does not appear possible to go so far with the eye or with the hand.
+Don Giulio has divided this labour into twenty-six little scenes, each
+two sheets being next to one another, the figure and the
+prefiguration, and every little scene has around it an ornament
+different from the other, with figures and fantasies appropriate to
+the story that it represents. Nor do I wish to grudge the labour of
+describing them briefly, for the reason that everyone is not able to
+see them. On the first page, where Matins begin, is the Angel bringing
+the Annunciation to the Virgin Mary, and in the ornament a border full
+of little children that are marvellous; and in the other scene Isaiah
+speaking with King Ahaz. In the second, for Lauds, is the Visitation
+of the Virgin to Elizabeth, which has an ornament in imitation of
+metal; and in the opposite scene are Justice and Peace embracing one
+another. For Prime is the Nativity of Christ, and opposite, in the
+Earthly Paradise, Adam and Eve eating the Fruit; both the one and the
+other with ornaments full of nudes and other figures and animals,
+portrayed from nature. For Terce he has painted the Shepherds with the
+Angel appearing to them, and in the opposite scene the Tiburtine Sibyl
+showing to the Emperor Octavian the Virgin with Christ her Son in
+Heaven; both the one and the other with ornaments of various borders
+and figures, all coloured, and containing the portrait of Alexander
+the Great and of Cardinal Alessandro Farnese. For Sext there is the
+Circumcision of Christ, where Pope Paul III is portrayed for Simeon,
+and in the scene are portraits of Mancina and Settimia, gentlewomen of
+Rome, who were of surpassing beauty; and around it a border well
+adorned, which likewise encloses with the same design the other story
+that is beside it, wherein is S. John the Baptist baptizing Christ, a
+scene full of nudes. For Nones he has made there the Magi adoring
+Christ, and opposite to that Solomon adored by the Queen of Sheba,
+both one and the other with borders rich and varied, and at the foot
+of this the whole Feast of Testaccio executed with figures smaller
+than ants, which is a marvellous thing to see, that a work so small
+should have been executed to perfection with the point of a brush;
+this is one of the greatest things that mortal hand could do or mortal
+eye could behold, and in it are all the liveries that Cardinal Farnese
+devised at that time. For Vespers there is Our Lady flying with Christ
+into Egypt, and opposite is the Submersion of Pharaoh in the Red Sea;
+with varied borders at the sides. For Complines there is the
+Coronation of Our Lady in Heaven, with a multitude of Angels, and in
+the other scene opposite is Ahasuerus crowning Esther; with
+appropriate borders. For the Mass of the Madonna he has placed first,
+in a border in imitation of cameos, the Angel Gabriel announcing the
+Word to the Virgin; and the two scenes are Our Lady with Jesus Christ
+in her arms and God the Father creating Heaven and Earth. Before the
+Penitential Psalms is the Battle in which Uriah the Hittite was done
+to death by command of King David, wherein are horses and warriors
+wounded or dead, all marvellous; and opposite, in the other scene,
+David in Penitence; with ornaments and also little grotesques. But he
+who would sate himself with marvelling, let him look at the Litanies,
+where Don Giulio has woven a maze with the letters of the names of the
+Saints; and there in the margin above is a Heaven filled with Angels
+around the most holy Trinity, and one by one the Apostles and the
+other Saints; and on the other side the Heaven continues with Our Lady
+and all the Virgin Saints. On the margin below he has depicted with
+the most minute figures the procession that Rome holds for the solemn
+office of the Corpus Christi, thronged with officers with their
+torches, Bishops, and Cardinals, and the most Holy Sacrament borne by
+the Pope, with the rest of the Court and the Guard of Halberdiers, and
+finally Castel S. Angelo firing artillery; all such as to cause every
+acutest wit to marvel with amazement. At the beginning of the Office
+for the Dead are two scenes; Death triumphing over all mortals, mighty
+rulers of States and Kingdoms and the common herd alike, and opposite,
+in the other scene, the Resurrection of Lazarus, and also Death in
+combat with some on horseback. For the Office of the Cross he has made
+Christ Crucified, and opposite is Moses with the rain of serpents, and
+the same Moses placing on high the serpent of brass. For that of the
+Holy Spirit is that same Holy Spirit descending upon the Apostles, and
+opposite is the Building of the Tower of Nimrod.
+
+That work was executed by Don Giulio in a period of nine years with so
+much study and labour, that in a manner of speaking it would never be
+possible to pay for the work with no matter what price; nor is one
+able to see any more strange and beautiful variety than there is in
+all the scenes, of bizarre ornaments and various movements and
+postures of nudes both male and female, studied and well detailed in
+every part, and placed appropriately all around in those borders, in
+order to enrich the work. Which diversity of things infuses such
+beauty into that whole work, that it appears a thing divine and not
+human, and above all because with his colours and his manner of
+painting he has made the figures, the buildings and the landscapes
+recede and fade into the distance with all those considerations that
+perspective requires, and with the greatest perfection that is
+possible, insomuch that, whether near or far, they cause everyone to
+marvel; not to speak of the thousand different kinds of trees, wrought
+so well that they appear as if grown in Paradise. In the stories and
+inventions may be seen design, in the composition order and variety,
+and richness in the vestments, which are executed with such beauty and
+grace of manner, that it seems impossible that they could have been
+fashioned by the hand of man. Wherefore we may say, as we said at the
+beginning, that Don Giulio has surpassed in this field both ancients
+and moderns, and that he has been in our times a new, if smaller,
+Michelagnolo.
+
+The same master once executed a small picture with little figures for
+the Cardinal of Trent, so pleasing and so beautiful, that that lord
+made a present of it to the Emperor Charles V; and afterwards, for the
+same lord, he painted another of Our Lady, and with it the portrait of
+King Philip, which were very beautiful and therefore presented to the
+said Catholic King. For the above-named Cardinal Farnese he painted a
+little picture of Our Lady with her Son in her arms, S. Elizabeth, a
+young S. John, and other figures, which was sent to Ruy Gomez in
+Spain. In another, which the above-named Cardinal now has, he painted
+S. John the Baptist in the Desert, with landscapes and animals of
+great beauty, and another like it he executed afterwards for the same
+lord, for sending to King Philip; and a Pieta, which he painted with
+the Madonna and many other figures, was presented by the same Farnese
+to Pope Paul IV, who as long as he lived would always have it beside
+him. And a scene in which David is cutting off the head of the giant
+Goliath, was presented by the same Cardinal to Madama Margherita of
+Austria, who sent it to King Philip, her brother, together with
+another which that most illustrious lady caused Don Giulio to execute
+as a companion to it, wherein was Judith severing the head of
+Holofernes.
+
+Many years ago Don Giulio stayed many months with Duke Cosimo, and
+during that time executed some works for him, part of which were sent
+to the Emperor and other lords, and part remained with his most
+illustrious Excellency, who, among other things, caused him to copy a
+little head of Christ from one of great antiquity that his Excellency
+himself possesses, which once belonged to Godfrey of Bouillon, King of
+Jerusalem; which head, they say, is more like the true image of the
+Saviour than any other that there may be. Don Giulio painted for the
+said Lord Duke a Christ on the Cross with the Magdalene at the foot,
+which is a marvellous thing, and a little picture of a Pieta, of which
+we have the design in our book together with another, also by the hand
+of Don Giulio, of Our Lady standing with her Son in her arms, dressed
+in the Jewish manner, with a choir of Angels about her, and many nude
+souls in the act of commending themselves to her. But to return to the
+Lord Duke; he has always loved dearly the excellence of Don Giulio,
+and sought to obtain works by his hand; and if it had not been for the
+regard that he felt for Farnese, he would not have let him go when he
+stayed some months, as I have said, in his service in Florence. The
+Duke, then, besides the works mentioned, has a little picture by the
+hand of Don Giulio, wherein is Ganymede borne to Heaven by Jove
+transformed into an Eagle, copied from the one that Michelagnolo once
+drew, which is now in the possession of Tommaso de' Cavalieri, as has
+been told elsewhere. In like manner, the Duke has in his study a S.
+John the Baptist seated upon a rock, and some portraits by the same
+hand, which are admirable.
+
+Don Giulio once executed a picture of a Pieta, with the Maries and
+other figures around, for the Marchioness of Pescara, and another like
+it in every part for Cardinal Farnese, who sent it to the Empress, who
+is now the wife of Maximilian and sister of King Philip; and another
+little picture by the same master's hand he sent to his Imperial
+Majesty, in which, in a most beautiful little landscape, is S. George
+killing the Serpent, executed with supreme diligence. But this was
+surpassed in beauty and design by a larger picture that Don Giulio
+painted for a Spanish gentleman, in which is the Emperor Trajan as he
+is seen in medals with the Province of Judaea on the reverse; which
+picture was sent to the above-named Maximilian, now Emperor.
+
+For the same Cardinal Farnese he has executed two other little
+pictures; in one is Jesus Christ nude, with the Cross in His hands,
+and in the other is Christ led by the Jews and accompanied by a vast
+multitude to Mount Calvary, with the Cross on His shoulder, and behind
+Him Our Lady and the other Maries in attitudes full of grace, such as
+might move to pity a heart of stone. And in two large sheets for a
+Missal, he has painted for that Cardinal Jesus Christ instructing the
+Apostles in the doctrine of the Holy Evangel, and the Universal
+Judgment--a work so beautiful, nay, so marvellous, so stupendous, that
+I am confounded at the thought of it; and I hold it as certain that it
+is not possible, I do not say to execute, but to see or even imagine
+anything in miniature more beautiful.
+
+It is a notable thing that in many of these works, and particularly in
+the Office of the Madonna described above, Don Giulio has made some
+little figures not larger than very small ants, with all the members
+so depicted and distinguished, that more could not have been done in
+figures of the size of life; and that everywhere there are dispersed
+portraits from nature of men and women, not less like the reality than
+if they had been executed, large as life and very natural, by Tiziano
+or Bronzino. Besides which, in some ornaments of the borders there
+may be seen little figures both nude and in other manners, painted in
+the likeness of cameos, which, marvellously small as they are,
+resemble in those proportions the most colossal giants; such is the
+art and surpassing diligence that Don Giulio uses in his work. Of him
+I have wished to give to the world this information, to the end that
+those may know something of him who are not or will not be able to see
+any of his works, from their being almost all in the hands of great
+lords and personages. I say almost all, because I know that some
+private persons have in little cases most beautiful portraits by his
+hand, of various lords, their friends, or ladies loved by them. But,
+however that may be, it is certain that the works of men such as Don
+Giulio are not public, nor in places where they can be seen by
+everyone, like the pictures, sculptures, and buildings of the other
+masters of these our arts.
+
+At the present day Don Giulio, although he is old and does not study
+or attend to anything save to seeking the salvation of his soul by
+good and holy works and by a life wholly apart from the things of the
+world, and is in every way an old man, yet continues constantly to
+work at something, there where he lives well attended and in perfect
+peace in the Palace of the Farnesi, where he is most courteous in
+showing his work with much willingness to all who go to visit and see
+him, as they visit the other marvels of Rome.
+
+
+
+
+DIVERS ITALIAN CRAFTSMEN
+
+
+
+
+OF DIVERS ITALIAN CRAFTSMEN STILL LIVING
+
+
+There is now living in Rome one who is certainly very excellent in his
+profession, Girolamo Siciolante of Sermoneta, of whom, although
+something has been said in the Life of Perino del Vaga, whose disciple
+he was, assisting him in the works of Castel S. Angelo and in many
+others, nevertheless it cannot but be well to say also here so much as
+his great excellence truly deserves. Among the first works, then, that
+this Girolamo executed by himself, was an altar-piece twelve palms
+high painted by him in oils at the age of twenty, which is now in the
+Badia of S. Stefano, near his native town of Sermoneta; wherein, large
+as life, are S. Peter, S. Stephen, and S. John the Baptist, with
+certain children. After that altar-piece, which was much extolled, he
+painted for the Church of S. Apostolo, in Rome, an altar-piece in oils
+with the Dead Christ, Our Lady, S. John, the Magdalene, and other
+figures, all executed with diligence. Then in the Pace, in the marble
+chapel that Cardinal Cesis caused to be constructed, he decorated the
+whole vaulting with stucco-work in a pattern of four pictures,
+painting therein the Nativity of Jesus Christ, the Adoration of the
+Magi, the Flight into Egypt, and the Massacre of the Innocents; all
+which was a work worthy of much praise and executed with invention,
+judgment, and diligence. For that same church, not long after, the
+same Girolamo painted an altar-piece fifteen palms high, which is
+beside the high-altar, of the Nativity of Jesus Christ, which was very
+beautiful; and then in another altar-piece in oils, for the Sacristy
+of the Church of S. Spirito in Rome, the Descent of the Holy Spirit
+upon the Apostles, which is a work full of grace. In like manner, in
+the Church of S. Maria de Anima, the church of the German colony, he
+painted in fresco the whole of the Chapel of the Fugger family (for
+which Giulio Romano once executed the altar-piece), with large scenes
+of the Life of Our Lady. For the high-altar of S. Jacopo degli
+Spagnuoli he painted in a large altar-piece a very beautiful Christ on
+the Cross with some Angels about Him, Our Lady, and S. John, and
+besides this two large pictures that are one on either side of it,
+each nine palms high and with a single figure, S. James the Apostle
+and S. Alfonso the Bishop; in which pictures it is evident that he
+used much study and diligence. On the Piazza Giudea, in the Church of
+S. Tommaso, he painted in fresco the whole of a chapel that looks out
+over the court of the Cenci Palace, depicting there the Nativity of
+the Madonna, the Annunciation by the Angel, and the Birth of Our
+Saviour Jesus Christ. For Cardinal Capodiferro he painted a hall in
+his palace, which is very beautiful, with stories of the ancient
+Romans. And at Bologna he once executed for the Church of S. Martino
+the altar-piece of the high-altar, which was much commended. For
+Signor Pier Luigi Farnese, Duke of Parma and Piacenza, whom he served
+for some time, he executed many works, and in particular a picture
+that is in Piacenza, painted for a chapel, wherein are Our Lady, S.
+Joseph, S. Michael, S. John the Baptist, and an Angel, of eight palms.
+
+[Illustration: THE MARTYRDOM OF S. CATHARINE
+
+(_After the painting by =Sermoneta=. Rome: S. Maria Maggiore_)
+
+_Alinari_]
+
+After his return from Lombardy he painted in the Minerva, in the
+passage of the sacristy, a Christ on the Cross, and another in the
+church. Then he painted in oils a S. Catharine and a S. Agatha; and in
+S. Luigi he executed a scene in fresco in competition with Pellegrino
+Pellegrini of Bologna and the Florentine Jacopo del Conte. In an
+altar-piece in oils, sixteen palms high, executed not long since for
+the Church of S. Alo, opposite to the Misericordia, a Company of the
+Florentines, he painted Our Lady, S. James the Apostle, and the
+Bishops S. Alo and S. Martino; and in S. Lorenzo in Lucina, in the
+Chapel of the Countess of Carpi, he painted in fresco a S. Francis who
+is receiving the Stigmata. In the Hall of Kings, at the time of Pope
+Pius IV, as has been related, he executed a scene in fresco over the
+door of the Chapel of Sixtus; in that scene, which was much extolled,
+Pepin, King of the Franks, is presenting Ravenna to the Roman Church,
+and is leading as prisoner Astulf, King of the Lombards; and we have
+the design of it by Girolamo's own hand in our book, with many others
+by the same master. And, finally, he has now in hand the Chapel of
+Cardinal Cesis in S. Maria Maggiore, for which he has already executed
+in a large altar-piece the Martyrdom of S. Catharine on the wheel,
+which is a most beautiful picture, as are the others on which both
+there and elsewhere, with much study, he is continually at work. I
+shall not make mention of the portraits and other pictures and little
+works of Girolamo, because, besides that they are without number,
+these are enough to make him known as a valiant and excellent painter.
+
+Having said above, in the Life of Perino del Vaga, that the painter
+Marcello Mantovano worked many years under him at pictures that gave
+him a great name, I have to say in this place, coming more to
+particulars, that he once painted in the Church of S. Spirito the
+whole Chapel of S. Giovanni Evangelista and its altar-piece, with the
+portrait of a Knight Commander of the same S. Spirito, who built that
+church and constructed that chapel; which portrait is a very good
+likeness, and the altar-piece most beautiful. Whereupon a Friar of the
+Piombo, having seen his beautiful manner, caused him to paint in
+fresco in the Pace, over the door that leads from the church into the
+convent, Jesus Christ as a boy disputing with the Doctors in the
+Temple, which is a very lovely work. But since he has always delighted
+to make portraits and little things, abandoning larger works, he has
+executed an infinite number of these; and among them may be seen some
+of Pope Paul III, which are beautiful and speaking likenesses. In like
+manner, from the designs of Michelagnolo and from his works he has
+executed a vast number of things likewise small, and among these he
+has depicted in one of his works the whole facade of the Judgment,
+which is a rare thing and executed excellently well; and in truth, for
+small paintings, it would not be possible to do better. For which
+reason, finally, that most gentle Messer Tommaso de' Cavalieri, who
+has always favoured him, has caused him to paint after the design of
+Michelagnolo an altar-picture of the Annunciation of the Virgin, most
+beautiful, for the Church of S. Giovanni Laterano; which design by
+Buonarroti's own hand, imitated by this Marcello, Leonardo Buonarroti,
+the nephew of Michelagnolo, presented to the Lord Duke Cosimo
+together with some others of fortifications and architecture and other
+things of the rarest. And this must suffice for Marcello, who has been
+attending lately to working at little things, executing them with a
+truly supreme and incredible patience.
+
+Of Jacopo del Conte, a Florentine, who like those named above dwells
+in Rome, enough will have been said, what with this and other places,
+after certain other particulars have been given here. This Jacopo,
+then, having been much inclined from his earliest youth to portraying
+from the life, has desired that this should be his principal
+profession, although on occasions he has executed altar-pictures and
+works in fresco in some numbers, both in Rome and without. Of his
+portraits--not to speak of them all, which would make a very long
+story--I shall say only that he has portrayed all the Pontiffs that
+there have been from Pope Paul III to the present day, and all the
+lords and ambassadors of importance who have been at that Court, and
+likewise the military captains and great men of the house of Colonna
+and of the Orsini, Signor Piero Strozzi, and an infinite number of
+Bishops, Cardinals, and other great prelates and lords, not to speak
+of many men of letters and other men of quality; all which has caused
+him to acquire fame, honour, and profit in Rome, so that he lives
+honourably and much at his ease with his family in that city. From his
+boyhood he drew so well that he gave promise, if he should persevere,
+of becoming excellent, and so in truth he would have been, but, as I
+have said, he turned to that to which he felt himself inclined by
+nature. Nevertheless, his works cannot but be praised. By his hand is
+a Dead Christ in an altar-piece that is in the Church of the Popolo,
+and in another that he has executed for the Chapel of S. Dionigi in S.
+Luigi, with stories, is the first-named Saint. But the most beautiful
+work that he ever did was in two scenes in fresco that he once
+painted, as has been told in another place, in the Florentine Company
+of the Misericordia, with an altar-picture of Christ taken down from
+the Cross, with the Thieves fixed on their crosses, and the Madonna in
+a swoon, painted in oil-colours, all beautiful and executed with
+diligence and with great credit to him. He has made many pictures
+throughout Rome, and figures in various manners, and has executed a
+number of full-length portraits, both nude and draped, of men and
+women, which have proved very beautiful, because the subjects were not
+otherwise. He has also portrayed, according as occasions arose, many
+heads of noble ladies, gentlewomen and princesses who have been in
+Rome; and among others, I know that he once portrayed Signora Livia
+Colonna, a most noble lady, incomparable in her illustrious blood, her
+virtue, and her beauty. And let this suffice for Jacopo del Conte, who
+is still living and constantly at work.
+
+I might have made known, also, many from our Tuscany and from other
+parts of Italy, their names and their works, which I have passed over
+lightly, because many of them, being old, have ceased to work, and
+others who are young are now trying their hands and will become known
+better by their works than by means of writings. But of Adone Doni of
+Assisi, because he is still living and working, although I made
+mention of him in the Life of Cristofano Gherardi, I shall give some
+particulars of his works, such as are in Perugia and throughout all
+Umbria, and in particular many altar-pieces in Foligno. But his best
+works are in S. Maria degli Angeli at Assisi, in the little chapel
+where S. Francis died, wherein are some stories of the life of that
+Saint executed in oils on the walls, which are much extolled, besides
+which, he has painted the Passion of Christ in fresco at the head of
+the refectory of that convent, in addition to many other works that
+have done him honour; and his gentleness and courtesy have caused him
+to be considered liberal and courteous.
+
+In Orvieto there are two young men also of that same profession, one a
+painter called Cesare del Nebbia, and the other a sculptor, both well
+on the way to bringing it about that their city, which up to the
+present has always invited foreign masters to adorn her, will no
+longer be obliged, if they follow up the beginnings that they have
+made, to seek other masters. There is working at Orvieto, in S. Maria,
+the Duomo of that city, a young painter called Niccolo dalle
+Pomarancie, who, having executed an altar-piece wherein is Christ
+raising Lazarus, has given signs--not to speak of other works in
+fresco--of winning a name among the others named above.
+
+And now that we are come to the end of our Italian masters still
+living, I shall say only that no less service has been rendered by one
+Lodovico, a Florentine sculptor, who, so I am told, has executed
+notable works in England and at Bari; but, since I have not found here
+either his relatives or his family name, and have not seen his works,
+I am not able (as I fain would) to make any other record of him than
+this mention of his name.
+
+
+
+
+DIVERS FLEMINGS
+
+
+
+
+OF DIVERS FLEMINGS
+
+
+Now, although in many places mention has been made of the works of
+certain excellent Flemish painters and of their engravings, but
+without any order, I shall not withhold the names of certain
+others--for of their works I have not been able to obtain full
+information--who have been in Italy, and I have known the greater
+number of them, in order to learn the Italian manner; believing that
+no less is due to their industry and to the labour endured by them in
+our arts. Leaving aside, then, Martin of Holland, Jan van Eyck of
+Bruges, and Hubert his brother, who in 1510 invented and brought to
+light the method of painting in oil-colours, as has been told
+elsewhere, and left many works by his hand in Ghent, Ypres, and
+Bruges, where he lived and died in honour; after them, I say, there
+followed Roger van der Weyden of Brussels, who executed many works in
+several places, but principally in his native city, and for the Town
+Hall four most beautiful panel-pictures in oils, of things
+appertaining to Justice. A disciple of that Roger was Hans,[16] by
+whom, as has been told, we have in Florence the Passion of Christ in a
+little picture that is in the hands of the Duke. To him there
+succeeded the Fleming Louis of Louvain, Pieter Christus, Justus of
+Ghent, Hugo of Antwerp, and many others, who, for the reason that they
+never went forth from their own country, always adhered to the Flemish
+manner. And if Albrecht Duerer, of whom we have spoken at some length,
+did once come to Italy, nevertheless he kept always to one and the
+same manner; although he was spirited and vivacious, particularly in
+his heads, as is well known to all Europe.
+
+         [Footnote 16: Hans Memling.]
+
+But, leaving these, and together with them Lucas of Holland and
+others, I became acquainted in Rome, in 1532, with one Michael Coxie,
+who gave no little study to the Italian manner, and executed many
+works in fresco in that city, and in particular two chapels in S.
+Maria de Anima. Having then returned to his own country and made
+himself known as an able man, I hear that among other works he
+executed for King Philip of Spain an altar-picture copied from one by
+the above-named Jan van Eyck that is in Ghent; and in that copy, which
+was taken into Spain, is the Triumph of the Agnus Dei. There studied
+in Rome, not long afterwards, Martin Heemskerk, a good master of
+figures and landscapes, who has executed in Flanders many pictures and
+many designs for copper-engravings, which, as has been related
+elsewhere, have been engraved by Hieronymus Cock, whom I came to know
+in Rome while I was serving Cardinal Ippolito de' Medici. And all
+these have been most beautiful inventors of stories, and close
+observers of the Italian manner.
+
+[Illustration: PORTRAIT OF A MAN
+
+(_After the painting by =Johannes Calcar=. Paris: Louvre, No. 1185_)
+
+_X phot._]
+
+In Naples, also, in the year 1545, I came to know Johann of Calcar, a
+Flemish painter, who became very much my friend; a very rare
+craftsman, and so well practised in the Italian manner, that his works
+were not recognized as by the hand of a Fleming. But he died young in
+Naples, while great things were expected of him; and he drew for
+Vessalio his studies in anatomy. Before him, however, there was much
+in repute one Dirk of Louvain, a good master in that manner; and also
+Quentin of the same place, who in his figures always followed nature
+as well as he was able, as also did a son of his called Johann. Joost
+van Cleef, likewise, was a great colourist and rare in making
+portraits from life, for which King Francis of France employed him
+much in executing many portraits of various lords and ladies. Famous
+painters of the same province, also, have been--and some of them still
+are--Jan van Hemessen, Matthys Cock of Antwerp, Bernard of Brussels,
+Jan Cornelis of Amsterdam, Lambert of the same city, Hendrik of
+Dinant, Joachim Patinier of Bouvignes, and Jan Scorel, Canon of
+Utrecht, who carried into Flanders many new methods of painting taken
+from Italy. Besides these, there have been Jean Bellegambe of Douai,
+Dirk of Haarlem, from the same place, and Franz Mostaert, who was
+passing skilful in painting landscapes in oils, fantasies, bizarre
+inventions, dreams, and suchlike imaginings. Hieronymus Bosch and
+Pieter Brueghel of Breda were imitators of that Mostaert, and Lancelot
+Blondeel has been excellent in painting fires, nights, splendours,
+devils, and other things of that kind. Pieter Koeck has had much
+invention in stories, and has made very beautiful cartoons for
+tapestries and arras-hangings; with a good manner and practice in
+matters of architecture, on which account he has translated into the
+Teuton tongue the works on architecture of Sebastiano Serlio of
+Bologna. And Jean Gossart of Mabuse was almost the first who took from
+Italy into Flanders the true method of making scenes full of nude
+figures and poetical inventions; and by his hand is a large
+altar-piece in the Abbey of Middelburg in Zeeland. Of all these
+information has been received from Maestro Giovanni Strada of Bruges,
+a painter, and from Giovan Bologna of Douai, a sculptor; both Flemings
+and men of excellence, as we shall relate in the Treatise on the
+Academicians.
+
+As for those of the same province who are still living and in repute,
+the first among them, both for his works in painting and for his many
+copper-plate engravings, is Franz Floris of Antwerp, a disciple of the
+above-mentioned Lambert Lombard. This Floris, who is held to be most
+excellent, has worked in such a manner in every field of his
+profession, that no one, they say there, has expressed better the
+emotions of the soul, sorrow, gladness, and the other passions, and
+all with most beautiful and bizarre inventions; insomuch that,
+likening him to the Urbinate, they call him the Flemish Raffaello. It
+is true that this is not demonstrated to us fully by the printed
+sheets, for the reason that the engraver, be he ever so able, never by
+a great measure equals the originals or the design and manner of him
+who has drawn them. A fellow-disciple with Floris, learning under the
+discipline of the same master, has been Willem Key of Breda, and also
+of Antwerp, a temperate, serious, and judicious man, and a close
+imitator of the life and the objects of nature, and in addition
+passing fertile in invention, and one who more than any other executes
+his pictures with good gradation and all full of sweetness and grace;
+and although he has not the facility, boldness, and terrible force of
+his brother-disciple Floris, for all that he is held to be truly
+excellent. Michael Coxie, of whom I have spoken above, saying that he
+carried the Italian manner into Flanders, is much celebrated among the
+Flemish craftsmen for being profoundly serious and making his figures
+such that they have in them much of the virile and severe; wherefore
+the Fleming Messer Domenicus Lampsonius, of whom mention will be made
+in the proper place, discoursing of the two masters named above and of
+this Michael, likens them to a fine trio in music, in which each plays
+his part with excellence. Much esteemed, also, among the same men, is
+Antonius Moor of Utrecht in Holland, painter to the Catholic King,
+whose colours, they say, in portraying whatever he may choose from
+nature, vie with the reality and deceive the eye most beautifully. The
+same Lampsonius writes to me that Moor, who is a man of very gentle
+ways and much beloved, has painted a most beautiful altar-picture of
+Christ rising from the dead, with two Angels, S. Peter, and S. Paul,
+which is a marvellous thing. Marten de Vos, who copies excellently
+well from nature, is held to be good in invention and colouring. But
+in the matter of making beautiful landscapes, none are equal to Jakob
+Grimmer, Hans Bol, and others, all of Antwerp and able men, of whom,
+nevertheless, I have not been able to obtain particular information.
+Pieter Aertsen, called Long Peter, painted in his native city of
+Amsterdam an altar-picture with wing-panels, containing Our Lady and
+other Saints; which whole work cost two thousand crowns. They also
+celebrate as a good painter Lambert of Amsterdam, who dwelt many years
+in Venice, and had the Italian manner very well. This Lambert was the
+father of Federigo, of whom, from his being one of our Academicians,
+record will be made in the proper place. Pieter Brueghel of Antwerp,
+likewise, they celebrate as an excellent master, and Lambert van Noort
+of Amersfort in Holland, and as a good architect Gilis Mostaert,
+brother of the above-named Franz; and Pieter Pourbus, a mere lad, has
+given proof that he is destined to become an excellent painter.
+
+Now, that we may learn something of the miniaturists of those
+countries: they say that these have been excellent there, Marinus of
+Zierickzee, Lucas Horebout of Ghent, Simon Bening of Bruges, and
+Gerard; and likewise some women, Susanna, sister of the said Lucas,
+who was invited for that work into the service of Henry VIII, King of
+England, and lived there in honour all the rest of her life; Clara
+Skeysers of Ghent, who at the age of eighty died, so they say, a
+virgin; Anna, daughter of Meister Seghers, a physician; Levina,
+daughter of the above-named Meister Simon of Bruges, who was married
+by the said Henry of England to a nobleman, and held in estimation by
+Queen Mary, even as she is now by Queen Elizabeth; and likewise
+Catharina, daughter of Meister Jan van Hemessen, who went to Spain
+into the service of the Queen of Hungary, with a good salary. In
+short, many other women in those parts have been excellent
+miniaturists.
+
+In the work of glass and of making windows there have been many able
+men in the same province; Arthus van Noort of Nymwegen, Borghese of
+Antwerp, Dierick Jacobsz Vellaert, Dirk van Staren of Kampen, and Jan
+Haeck of Antwerp, by whom are the windows in the Chapel of the
+Sacrament in the Church of S. Gudule in Brussels. And here in Tuscany
+many very beautiful windows of fired glass have been made for the Duke
+of Florence by Wouter Crabeth and Giorgio, Flemings and able men, from
+the designs of Vasari.
+
+In architecture and sculpture the most celebrated Flemings are
+Sebastian van Oja of Utrecht, who served Charles V in some
+fortifications, and then King Philip; Willem van Antwerp; Willem Keur
+of Holland, a good architect and sculptor; Jan van Dalen, sculptor,
+poet and architect; and Jakob Breuck, sculptor and architect, who
+executed many works for the Queen Regent of Hungary, and was the
+master of Giovan Bologna of Douai, one of our Academicians, of whom we
+shall speak in a short time. Jan de Mynsheere of Ghent, also, is held
+to be a good architect, and Matthaeus Manemaker of Antwerp, who is
+with the King of the Romans, an excellent sculptor; and Cornelis
+Floris, brother of the above-named Franz, is likewise an excellent
+sculptor and architect, and the first who introduced into Flanders the
+method of making grotesques. Others who give their attention to
+sculpture, with much honour to themselves, are Willem Paludanus, a
+very studious and diligent sculptor, brother of the above-named
+Heinrich; Jan der Sart of Nymwegen, Simon van Delft, and Joost
+Janszoon of Amsterdam. And Lambert Suavius of Liege is a very good
+architect and master in engraving prints with the burin, wherein he
+has been followed by Joris Robyn of Ypres, Dirk Volkaerts and Philip
+Galle, both of Haarlem, Lucas van Leyden, and many others; who have
+all been in Italy in order to learn and to draw the antiquities, and
+to return home, as for the most part they have done, excellent
+masters. But greater than any of those named above has been Lambert
+Lombard of Liege, a man great in letters, judicious in painting, and
+excellent in architecture, the master of Franz Floris and Willem Key;
+of the excellencies of which Lambert and of others I have received
+much information in letters from M. Domenicus Lampsonius of Liege, a
+man well lettered and of much judgment in everything, who was the
+familiar confidant of Cardinal Pole of England during his lifetime,
+and now is secretary to Monsignor the Prince Bishop of Liege. That
+gentleman, I say, once sent me the life of the said Lambert written in
+Latin, and he has saluted me several times in the name of many of our
+craftsmen from that province; and a letter that I have by his hand,
+dated October 30, 1564, is written in this tenor:
+
+"For four years back I have had it constantly in mind to thank you,
+honoured Sir, for two very great benefits that I have received from
+you, although I know that this will appear to you a strange exordium
+from one whom you have never seen or known. And strange, indeed, it
+would be, if I had not known you, which has been from the time when my
+good fortune, or rather, our Lord God, willed that by His Grace there
+should come into my hands, I know not in what way, your most excellent
+writings concerning the architects, painters, and sculptors. But at
+that time I did not know one word of Italian, whereas now, thanks be
+to God, for all that I have never seen Italy, by reading your writings
+I have gained such little knowledge as has encouraged me to write you
+this letter. And to this desire to learn your tongue I have been
+attracted by your writings, which perhaps those of no other man could
+have done; being drawn to seek to understand them by a natural and
+irresistible love that I have borne from childhood to these three most
+beautiful arts, but above all to that most pleasing to every age, sex,
+and rank, and hurtful to none, your art of painting. In which art,
+although I was at that time wholly ignorant and wanting in judgment,
+now, by means of the frequently reiterated reading of your writings, I
+understand so much--little though it may be, and as it were
+nothing--as is yet enough to enable me to lead an agreeable and happy
+life; and this I value more than all the honours, comforts and riches
+of this world. By this little I mean only that I could copy with
+oil-colours, as with any kind of drawing-instrument, the objects of
+nature, and particularly nudes and vestments of every sort; but I have
+not had courage enough to plunge deeper, as for example, to paint
+things more hazardous which require a hand more practised and sure,
+such as landscapes, trees, waters, clouds, splendours, fires, etc. And
+although in these things, as also in inventions, up to a certain
+point, it is possible that in case of necessity I could show that I
+have made some little proficience by means of the reading I have
+mentioned, yet I have been content, as I have said, to confine myself
+to making only portraits, and the rather because the many occupations
+which my office necessarily involves do not permit me to do more. And
+in order to prove myself in some way appreciative and grateful for
+these benefits, that by your means I have learned a most beautiful
+tongue and the art of painting, I would have sent you with this letter
+a little portrait of my face, taken with a mirror, had I not doubted
+whether my letter would find you in Rome or not, since at the present
+moment you might perchance be living in Florence or your native city
+of Arezzo."
+
+This letter contains, in addition, many other particulars that are not
+here to the point. In others, since, he has prayed me in the name of
+many honourable gentlemen of those parts, who have heard that these
+Lives are being reprinted, that I should add to them three treatises
+on sculpture, painting, and architecture, with drawings of figures, by
+way of elucidation according to necessity, in order to expound the
+secrets of the arts, as Albrecht Duerer and Serlio have done, and Leon
+Battista Alberti, who has been translated by M. Cosimo Bartoli, a
+gentleman and Academician of Florence. Which I would have done more
+than willingly, but my intention has been only to describe the lives
+and works of our craftsmen, and not to teach the arts, with the
+methods of drawing the lines of painting, architecture, and sculpture;
+besides which, the work having grown under my hands for many reasons,
+it will be perchance too long, even without adding treatises. But it
+was not possible or right for me to do otherwise than I have done, or
+to defraud anyone of his due praise and honour, nor yet the world of
+the pleasure and profit that I hope may be derived from these
+labours.
+
+
+
+
+INDEX OF NAMES
+OF THE CRAFTSMEN MENTIONED IN VOLUME IX
+
+
+  Abate, Niccolo dell' (Niccolo da Modena), 148
+
+  Adone Doni, 261
+
+  Aertsen, Pieter, 268
+
+  Agnolo, Baccio d', 40, 41, 194
+
+  Agnolo Bronzino, 118, 125, 128, 133, 137, 252
+
+  Agnolo di Donnino, 29, 30
+
+  Agresti, Livio (Livio da Forli), 155
+
+  Aimo, Domenico (Vecchio), 189
+
+  Alberti, Leon Batista, 271
+
+  Albrecht Duerer, 163, 246, 265, 271
+
+  Alessandro Allori (Alessandro del Bronzino), 133, 138
+
+  Alessandro (Scherano da Settignano), 55
+
+  Alessandro Vittoria, 204-206, 223
+
+  Alessi, Galeazzo, 239-242
+
+  Alesso Baldovinetti, 182
+
+  Alfonso Lombardi, 167
+
+  Allori, Alessandro (Alessandro del Bronzino), 133, 138
+
+  Alonzo Berughetta, 20, 189
+
+  Ammanati, Bartolommeo, 69, 70, 73, 118, 125, 126, 129, 207, 208, 223
+
+  Amsterdam, Lambert of (Lambert Lombard), 266-268, 270
+
+  Andrea Calamech, 129
+
+  Andrea Contucci (Andrea Sansovino), 15, 40, 41, 187, 202, 216
+
+  Andrea del Minga, 131
+
+  Andrea del Sarto, 20, 43, 188, 193, 194
+
+  Andrea Mantegna, 211
+
+  Andrea Palladio, 211-214
+
+  Andrea Sansovino (Andrea Contucci), 15, 40, 41, 187, 202, 216
+
+  Anna Seghers, 269
+
+  Antonio Begarelli (Modena), 113
+
+  Antonio da San Gallo (the elder), 16, 40, 41
+
+  Antonio da San Gallo (the younger), 61-67, 196, 197, 224, 239
+
+  Antonio di Gino Lorenzi, 131
+
+  Antonio di Marco di Giano (Carota), 51
+
+  Antonio Mini, 47-51, 69, 81, 107, 109
+
+  Antonius Moor, 268
+
+  Antwerp, Hugo of, 265
+
+  Antwerp, Willem van, 269
+
+  Apelles, 133, 168
+
+  Arca, Niccolo dell', 11
+
+  Aretino, Leone (Leone Lioni), _Life_, 229-232. 95, 233
+
+  Aristotile (Bastiano) da San Gallo, 20, 29, 30
+
+  Arnolfo di Lapo, 194
+
+  Arthus van Noort, 269
+
+  Ascanio Condivi (Ascanio dalla Ripa Transone), 5, 107
+
+
+  Baccio Bandinelli, 20, 49, 126, 190
+
+  Baccio d'Agnolo, 40, 41, 194
+
+  Baccio da Montelupo, 55, 188, 190, 239
+
+  Bagnacavallo, Bartolommeo da, 147
+
+  Bagnacavallo, Giovan Battista da, 147, 148
+
+  Baldassarre Peruzzi, 65, 196
+
+  Baldovinetti, Alesso, 182
+
+  Bandinelli, Baccio, 20, 49, 126, 190
+
+  Bandini, Giovanni di Benedetto (Giovanni dell'Opera), 126, 130, 140, 141
+
+  Barbara de' Longhi, 155
+
+  Barbiere, Domenico del, 149
+
+  Barozzi, Jacopo (Vignuola), 102, 146, 147
+
+  Bartolommeo Ammanati, 69, 70, 73, 118, 125, 126, 129, 207, 208, 223
+
+  Bartolommeo Bozzato (Girolamo Bozza), 183
+
+  Bartolommeo da Bagnacavallo, 147
+
+  Bartolommeo Montagna, 211
+
+  Bartolommeo Passerotto, 156
+
+  Bartolommeo Suardi (Bramantino da Milano), 190
+
+  Bassano, Jacopo da, 175, 176
+
+  Bastiano (Aristotile) da San Gallo, 20, 29, 30
+
+  Battista del Cavaliere (Battista Lorenzi), 131, 140, 141
+
+  Battista del Cinque, 51
+
+  Battista del Tasso, 51
+
+  Battista di Benedetto Fiammeri, 126
+
+  Battista Farinato, 214
+
+  Battista Franco, 199, 205, 217
+
+  Battista Lorenzi (Battista del Cavaliere), 131, 140, 141
+
+  Battista Naldini, 134
+
+  Begarelli, Antonio (Modena), 113
+
+  Bellegambe, Jean, 266
+
+  Bellini, Giovanni, 159, 160, 162, 163
+
+  Benedetto da Rovezzano, 191
+
+  Bening, Levina, 269
+
+  Bening, Simon, 268
+
+  Benvenuto Cellini, 51, 118, 125
+
+  Benvenuto Garofalo, 202
+
+  Bernard of Brussels, 266
+
+  Bernardino Pinturicchio, 190
+
+  Bernardo Timante Buontalenti, 135-137
+
+  Bertoldo, 8
+
+  Berughetta, Alonzo, 20, 189
+
+  Bigio, Nanni di Baccio, 69, 76, 100, 101, 113, 239
+
+  Blondeel, Lancelot, 267
+
+  Bol, Hans, 268
+
+  Bologna, Giovan, 267, 269
+
+  Bologna, Ruggieri da, 147
+
+  Bolognese, Pellegrino (Pellegrino Pellegrini, or Tibaldi), 151-154, 258
+
+  Bonifazio (of Venice), 214
+
+  Bordone, Paris, 178-182
+
+  Borghese (of Antwerp), 269
+
+  Bosch, Hieronymus, 267
+
+  Bosco, Maso dal (Maso Boscoli), 55
+
+  Boscoli, Giovanni, 156
+
+  Boscoli, Maso (Maso dal Bosco), 55
+
+  Bozzato, Bartolommeo (Girolamo Bozza), 183
+
+  Bramante da Urbino, 27-29, 31, 65, 71, 188-190
+
+  Bramantino da Milano (Bartolommeo Suardi), 190
+
+  Bresciano, Jacopo (Jacopo de' Medici), 206, 207, 223
+
+  Breuck, Jakob, 269
+
+  Bronzino, Agnolo, 118, 125, 128, 133, 137, 252
+
+  Bronzino, Alessandro del (Alessandro Allori), 133, 138
+
+  Brueghel, Pieter, 267, 268
+
+  Brunelleschi, Filippo, 43, 44, 133
+
+  Brussels, Bernard of, 266
+
+  Bugiardini, Giuliano, 29, 30, 95
+
+  Buglioni, Santi, 132
+
+  Buonarroti, Michelagnolo, _Life_, 3-141. 145, 153, 162, 170, 171,
+    187, 193-195, 215, 216, 224, 231, 235, 236, 239, 246, 250, 251, 259
+
+  Buontalenti, Bernardo Timante, 135-137
+
+  Butteri, Giovan Maria, 131
+
+
+  Cadore, Tiziano da (Tiziano Vecelli), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Calamech, Andrea, 129
+
+  Calamech, Lazzaro, 129
+
+  Calcagni, Tiberio, 83, 84, 98-100
+
+  Calcar, Johann of (Giovanni Fiammingo), 178, 266
+
+  Capocaccia, Mario, 233
+
+  Caravaggio, Polidoro da, 170
+
+  Carota (Antonio di Marco di Giano), 51
+
+  Carpaccio, Vittore (Vittore Scarpaccia), 210, 211
+
+  Carrara, Danese da (Danese Cattaneo), 176, 204, 208-210, 214, 223
+
+  Casignuola, Jacopo, 238
+
+  Casignuola, Tommaso, 238
+
+  Castel Bolognese, Giovanni da, 164
+
+  Castelfranco, Giorgione da, 159-162, 165, 179
+
+  Catharina van Hemessen, 269
+
+  Cattaneo, Danese (Danese da Carrara), 176, 204, 208-210, 214, 223
+
+  Cavaliere, Battista del (Battista Lorenzi), 131, 140, 141
+
+  Cavalori, Mirabello (Mirabello di Salincorno), 126
+
+  Cellini, Benvenuto, 51, 118, 125
+
+  Cesare Cesariano, 190
+
+  Cesare del Nebbia, 261
+
+  Cesariano, Cesare, 190
+
+  Christus, Pieter, 265
+
+  Ciappino, 51
+
+  Ciciliano, Jacopo, 98
+
+  Cimabue, Giovanni, 133
+
+  Cinque, Battista del, 51
+
+  Cioli, Valerio, 129, 140, 141
+
+  Clara Skeysers, 269
+
+  Cleef, Joost van, 266
+
+  Clovio, Don Giulio, _Life_, 245-253
+
+  Cock, Hieronymus, 266
+
+  Cock, Matthys, 266
+
+  Colonna, Jacopo, 202, 203, 223
+
+  Condivi, Ascanio (Ascanio dalla Ripa Transone), 5, 107
+
+  Conte, Jacopo del, 95, 152, 258, 260, 261
+
+  Contucci, Andrea (Andrea Sansovino), 15, 40, 41, 187, 202, 216
+
+  Cornelis Floris, 269
+
+  Cornelis, Jan, 266
+
+  Coxie, Michael, 266-268
+
+  Crabeth, Wouter, 269
+
+  Credi, Lorenzo di, 190
+
+  Cristofano Gherardi, 261
+
+  Cristofano Gobbo (Cristofano Solari), 14, 234
+
+  Cristofano Rosa, 177
+
+  Cristofano Solari (Cristofano Gobbo), 14, 234
+
+  Crocifissaio, Girolamo del (Girolamo Macchietti), 126
+
+
+  Dalen, Jan van, 269
+
+  Danese Cattaneo (Danese da Carrara), 176, 204, 208-210, 214, 223
+
+  Daniello Ricciarelli (Daniello da Volterra), 95, 100, 101, 103, 107,
+    121, 122
+
+  Dante, Girolamo (Girolamo di Tiziano), 183
+
+  Danti, Vincenzio, 128, 139
+
+  David Ghirlandajo, 5, 6, 182
+
+  Delft, Simon van, 269
+
+  Dierick Jacobsz Vellaert, 269
+
+  Dinant, Hendrik of, 266
+
+  Dirk of Haarlem, 266
+
+  Dirk of Louvain, 266
+
+  Dirk van Staren, 269
+
+  Dirk Volkaerts, 270
+
+  Domenico Aimo (Vecchio), 189
+
+  Domenico del Barbiere, 149
+
+  Domenico Ghirlandajo, 5-9, 182
+
+  Domenico Poggini, 131
+
+  Domenicus Lampsonius, 268, 270, 271
+
+  Don Giulio Clovio, _Life_, 245-253
+
+  Donato (Donatello), 8, 10, 111, 133, 138, 169
+
+  Doni, Adone, 261
+
+  Donnino, Agnolo di, 29, 30
+
+  Dosso Dossi, 163
+
+  Duerer, Albrecht, 163, 246, 265, 271
+
+
+  Eyck, Hubert van, 265
+
+  Eyck, Jan van, 265, 266
+
+
+  Fabbro, Pippo del, 192
+
+  Fabrizio Viniziano, 215
+
+  Faenza, Jacopone da, 154
+
+  Faenza, Marco da (Marco Marchetti), 155, 156
+
+  Fallaro, Jacopo, 214
+
+  Farinato, Battista, 214
+
+  Federigo Fiammingo (Federigo di Lamberto, or Del Padovano), 127, 268
+
+  Ferrarese, Girolamo (Girolamo Lombardi), 202, 223
+
+  Fiammeri, Battista di Benedetto, 126
+
+  Fiammingo, Federigo (Federigo di Lamberto, or Del Padovano), 127, 268
+
+  Fiammingo, Giorgio, 269
+
+  Fiammingo, Giovanni (Johann of Calcar), 178, 266
+
+  Fiesole, Simone da, 15, 16
+
+  Filippo Brunelleschi, 43, 44, 133
+
+  Filippo Lippi, Fra, 119, 133
+
+  Floris, Cornelis, 269
+
+  Floris, Franz, 267-270
+
+  Fontana, Prospero, 147, 148, 150-152
+
+  Forli, Livio da (Livio Agresti), 155
+
+  Fra Filippo Lippi, 119, 133
+
+  Fra Giovanni Agnolo Montorsoli, 51, 117, 133
+
+  Fra Guglielmo della Porta, 68, 69, 234-238
+
+  Fra Sebastiano Viniziano del Piombo, 68, 106, 109, 111, 162, 235
+
+  Francesco del Tadda, 97
+
+  Francesco Francia, 26, 27
+
+  Francesco Granacci, 5, 6, 8, 20, 29, 30
+
+  Francesco Primaticcio, _Description of Works_, 145-150. 151, 156
+
+  Francesco Salviati, 133
+
+  Francesco Verbo (Verlo), 211
+
+  Francia, Francesco, 26, 27
+
+  Francia, Piero, 130
+
+  Franciabigio, 20
+
+  Franco, Battista, 199, 205, 217
+
+  Franz Floris, 267-270
+
+  Franz Mostaert, 266-268
+
+  Franzese, Giovanni, 88
+
+
+  Gaddi, Taddeo, 133
+
+  Galeazzo Alessi, 239-242
+
+  Galeotto, Pietro Paolo, 233
+
+  Galle, Philip, 270
+
+  Garofalo, Benvenuto, 202
+
+  Gerard, 268
+
+  Ghent, Justus of, 265
+
+  Gherardi, Cristofano, 261
+
+  Gherardo, 182
+
+  Ghiberti, Lorenzo, 114
+
+  Ghirlandajo, David, 5, 6, 182
+
+  Ghirlandajo, Domenico, 5-9, 182
+
+  Ghirlandajo, Michele di Ridolfo, 130
+
+  Ghirlandajo, Ridolfo, 20
+
+  Gian Maria Verdezotti, 178
+
+  Giano, Antonio di Marco di (Carota), 51
+
+  Gilis Mostaert, 268
+
+  Giorgio Fiammingo, 269
+
+  Giorgio Vasari. See Vasari (Giorgio)
+
+  Giorgione da Castelfranco, 159-162, 165, 179
+
+  Giotto, 3, 119, 133, 182
+
+  Giovan Battista da Bagnacavallo, 147, 148
+
+  Giovan Bologna, 267, 269
+
+  Giovan Jacomo della Porta, 234, 235
+
+  Giovan Maria Butteri, 131
+
+  Giovan Paolo Poggini, 232, 233
+
+  Giovanni (of Vicenza), 211
+
+  Giovanni Agnolo Montorsoli, Fra, 51, 117, 133
+
+  Giovanni Antonio Licinio (Pordenone), 160, 167, 168
+
+  Giovanni Bellini, 159, 160, 162, 163
+
+  Giovanni Boscoli, 156
+
+  Giovanni Cimabue, 133
+
+  Giovanni da Castel Bolognese, 164
+
+  Giovanni da Udine, 42, 51
+
+  Giovanni dell'Opera (Giovanni di Benedetto Bandini), 126, 130, 140, 141
+
+  Giovanni Fiammingo (Johann of Calcar), 178, 266
+
+  Giovanni Franzese, 88
+
+  Giovanni Pisano, 11
+
+  Giovanni Speranza, 211
+
+  Giovanni Strada (Jan van der Straet), 134, 135, 267
+
+  Girolamo Bozza (Bartolommeo Bozzato), 183
+
+  Girolamo da Sermoneta (Girolamo Siciolante), 152, 257-259
+
+  Girolamo Dante (Girolamo di Tiziano), 183
+
+  Girolamo del Crocifissaio (Girolamo Macchietti), 126
+
+  Girolamo di Tiziano (Girolamo Dante), 183
+
+  Girolamo Ferrarese (Girolamo Lombardi), 202, 223
+
+  Girolamo Macchietti (Girolamo del Crocifissaio), 126
+
+  Girolamo Miruoli, 156
+
+  Girolamo Pironi, 211
+
+  Girolamo Siciolante (Girolamo da Sermoneta), 152, 257-259
+
+  Giuliano Bugiardini, 29, 30, 95
+
+  Giuliano da San Gallo, 16, 29, 30, 188, 189
+
+  Giulio Clovio, Don, _Life_, 245-253
+
+  Giulio Romano, 146, 168, 245, 257, 258
+
+  Giuseppe Salviati (Giuseppe Porta), 214
+
+  Gobbo, Cristofano (Cristofano Solari), 14, 234
+
+  Gossart, Jean, 267
+
+  Granacci, Francesco, 5, 6, 8, 20, 29, 30
+
+  Grimmer, Jakob, 268
+
+  Guerrini, Rocco, 242
+
+  Guglielmo della Porta, Fra, 68, 69, 234-238
+
+  Guglielmo Tedesco, 237
+
+
+  Haarlem, Dirk of, 266
+
+  Haeck, Jan, 269
+
+  Hans Bol, 268
+
+  Hans Memling, 265
+
+  Heemskerk, Martin, 266
+
+  Heinrich Paludanus, 269
+
+  Hemessen, Catharina van, 269
+
+  Hemessen, Jan van, 266, 269
+
+  Hendrik of Dinant, 266
+
+  Hieronymus Bosch, 267
+
+  Hieronymus Cock, 266
+
+  Horebout, Lucas, 268
+
+  Horebout, Susanna, 268, 269
+
+  Hubert van Eyck, 265
+
+  Hugo of Antwerp, 265
+
+
+  Indaco, Jacopo L', 29, 30
+
+  Irene di Spilimbergo, 175
+
+
+  Jacopo Barozzi (Vignuola), 102, 146, 147
+
+  Jacopo Bresciano (Jacopo de' Medici), 206, 207, 223
+
+  Jacopo Casignuola, 238
+
+  Jacopo Ciciliano, 98
+
+  Jacopo Colonna, 202, 203, 223
+
+  Jacopo da Bassano, 175, 176
+
+  Jacopo da Pontormo, 20, 107, 110, 133, 134
+
+  Jacopo de' Medici (Jacopo Bresciano), 206, 207, 223
+
+  Jacopo del Conte, 95, 152, 258, 260, 261
+
+  Jacopo di Sandro, 29, 30
+
+  Jacopo Fallaro, 214
+
+  Jacopo L'Indaco, 29, 30
+
+  Jacopo Palma, 160
+
+  Jacopo Pisbolica, 214, 215
+
+  Jacopo Sansovino (Jacopo Tatti), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Jacopo Tintoretto, 214
+
+  Jacopo Zucchi, 134
+
+  Jacopone da Faenza, 154
+
+  Jakob Breuck, 269
+
+  Jakob Grimmer, 268
+
+  Jan Cornelis, 266
+
+  Jan de Mynsheere, 269
+
+  Jan der Sart, 269
+
+  Jan Haeck, 269
+
+  Jan Scorel, 266
+
+  Jan van Dalen, 269
+
+  Jan van der Straet (Giovanni Strada), 134, 135, 267
+
+  Jan van Eyck, 265, 266
+
+  Jan van Hemessen, 266, 269
+
+  Janszoon, Joost, 269
+
+  Jean Bellegambe, 266
+
+  Jean Gossart, 267
+
+  Joachim Patinier, 266
+
+  Johann of Calcar (Giovanni Fiammingo), 178, 266
+
+  Johann of Louvain, 266
+
+  Joost Janszoon, 269
+
+  Joost van Cleef, 266
+
+  Joris Robyn, 270
+
+  Justus of Ghent, 265
+
+
+  Keur, Willem, 269
+
+  Key, Willem, 267, 268, 270
+
+  Koeck, Pieter, 267
+
+
+  Lambert Lombard (Lambert of Amsterdam), 266-268, 270
+
+  Lambert Suavius, 269, 270
+
+  Lambert Van Noort, 268
+
+  Lamberto, Federigo di (Federigo Fiammingo, or Del Padovano), 127, 268
+
+  Lampsonius, Domenicus, 268, 270, 271
+
+  Lancelot Blondeel, 267
+
+  Lancia, Luca, 223
+
+  Lapo, Arnolfo di, 194
+
+  Lastricati, Zanobi, 125, 132
+
+  Lazzaro Calamech, 129
+
+  Leon Batista Alberti, 271
+
+  Leonardo da Vinci, 15, 19, 234
+
+  Leonardo Milanese, 238
+
+  Leone Lioni (Leone Aretino), _Life_, 229-232. 95, 233
+
+  Levina Bening, 269
+
+  Leyden, Lucas van, 265, 270
+
+  Licinio, Giovanni Antonio (Pordenone), 160, 167, 168
+
+  Ligorio, Pirro, 84, 94, 95, 102
+
+  L'Indaco, Jacopo, 29, 30
+
+  Lioni, Leone (Leone Aretino), _Life_, 229-232. 95, 233
+
+  Lioni, Pompeo, 232, 233
+
+  Lippi, Fra Filippo, 119, 133
+
+  Livio Agresti (Livio da Forli), 155
+
+  Lodovico (of Florence), 262
+
+  Lodovico Rosso, 182
+
+  Lombard, Lambert (Lambert of Amsterdam), 266-268, 270
+
+  Lombardi, Alfonso, 167
+
+  Lombardi, Girolamo (Girolamo Ferrarese), 202, 223
+
+  Longhi, Barbara de', 155
+
+  Longhi, Luca de', 154, 155
+
+  Lorenzetto, 20, 239
+
+  Lorenzi, Antonio di Gino, 131
+
+  Lorenzi, Battista (Battista del Cavaliere), 131, 140, 141
+
+  Lorenzo della Sciorina (Lorenzo Sciorini), 128
+
+  Lorenzo di Credi, 190
+
+  Lorenzo Ghiberti, 114
+
+  Lorenzo Sabatini, 151
+
+  Lorenzo Sciorini (Lorenzo della Sciorina), 128
+
+  Louis of Louvain, 265
+
+  Louvain, Dirk of, 266
+
+  Louvain, Johann of, 266
+
+  Louvain, Louis of, 265
+
+  Louvain, Quentin of, 266
+
+  Luca de' Longhi, 154, 155
+
+  Luca Lancia, 223
+
+  Luca Signorelli, 190
+
+  Lucas Horebout, 268
+
+  Lucas van Leyden, 265, 270
+
+  Lugano, Tommaso da, 206
+
+
+  Macchietti, Girolamo (Girolamo del Crocifissaio), 126
+
+  Manemaker, Matthaeus, 269
+
+  Mantegna, Andrea, 211
+
+  Marcello Mantovano (Marcello Venusti), 106, 259, 260
+
+  Marco da Faenza (Marco Marchetti), 155, 156
+
+  Marinus (of Zierickzee), 268
+
+  Mario Capocaccia, 233
+
+  Marten de Vos, 268
+
+  Martin Heemskerk, 266
+
+  Martin Schongauer (Martino), 7, 265
+
+  Masaccio, 10, 133
+
+  Maso dal Bosco (Maso Boscoli), 55
+
+  Matthaeus Manemaker, 269
+
+  Matthys Cock, 266
+
+  Maturino, 20
+
+  Medici, Jacopo de' (Jacopo Bresciano), 206, 207, 223
+
+  Memling, Hans, 265
+
+  Menighella, 114
+
+  Michael Coxie, 266-268
+
+  Michelagnolo Buonarroti, _Life_, 3-141. 145, 153, 162, 170, 171, 187,
+    193-195, 215, 216, 224, 231, 235, 236, 239, 246, 250, 251, 259
+
+  Michele di Ridolfo Ghirlandajo, 130
+
+  Milanese, Leonardo, 238
+
+  Milano, Bramantino da (Bartolommeo Suardi), 190
+
+  Minga, Andrea del, 131
+
+  Mini, Antonio, 47-51, 69, 81, 107, 109
+
+  Minio, Tiziano (Tiziano da Padova), 203, 223
+
+  Mirabello di Salincorno (Mirabello Cavalori), 126
+
+  Miruoli, Girolamo, 156
+
+  Modena (Antonio Begarelli), 113
+
+  Modena, Niccolo da (Niccolo dell'Abate), 148
+
+  Montagna, Bartolommeo, 211
+
+  Montelupo, Baccio da, 55, 188, 190, 239
+
+  Montelupo, Raffaello da, 51, 55, 69, 239
+
+  Montorsoli, Fra Giovanni Agnolo, 51, 117, 133
+
+  Moor, Antonius, 268
+
+  Mosca, Simone, 69
+
+  Mostaert, Franz, 266-268
+
+  Mostaert, Gilis, 268
+
+  Mynsheere, Jan de, 269
+
+
+  Naldini, Battista, 134
+
+  Nanni di Baccio Bigio, 69, 76, 100, 101, 113, 239
+
+  Nanni Unghero, 188
+
+  Nebbia, Cesare del, 261
+
+  Niccolo (Tribolo), 20, 51, 77, 78, 202, 223
+
+  Niccolo da Modena (Niccolo dell'Abate), 148
+
+  Niccolo dalle Pomarancie, 261
+
+  Niccolo dell'Abate (Niccolo da Modena), 148
+
+  Niccolo dell'Arca, 11
+
+  Noort, Arthus van, 269
+
+  Noort, Lambert van, 268
+
+
+  Oja, Sebastian van, 269
+
+  Opera, Giovanni dell' (Giovanni di Benedetto Bandini), 126, 130, 140, 141
+
+  Orazio Sammacchini, 154
+
+  Orazio Vecelli, 171
+
+
+  Padova, Tiziano da (Tiziano Minio), 203, 223
+
+  Padovano, Federigo del (Federigo di Lamberto, or Fiammingo), 127, 268
+
+  Palladio, Andrea, 211-214
+
+  Palma, Jacopo, 160
+
+  Paludanus, Heinrich, 269
+
+  Paludanus, Willem, 269
+
+  Paolo Ponzio, 149
+
+  Paolo Uccello, 133
+
+  Paris Bordone, 178-182
+
+  Parrhasius, 133
+
+  Passerotto, Bartolommeo, 156
+
+  Patinier, Joachim, 266
+
+  Pellegrino Bolognese (Pellegrino Pellegrini or Tibaldi), 151-154, 258
+
+  Perino del Vaga, 20, 61, 151, 234, 257, 259
+
+  Perugino, Pietro, 189
+
+  Peruzzi, Baldassarre, 65, 196
+
+  Peruzzi, Salustio, 82
+
+  Philip Galle, 270
+
+  Pieri, Stefano, 137
+
+  Piero Francia, 130
+
+  Pieter Aertsen, 268
+
+  Pieter Brueghel, 267, 268
+
+  Pieter Christus, 265
+
+  Pieter Koeck, 267
+
+  Pieter Pourbus, 268
+
+  Pietro da Salo, 204, 223
+
+  Pietro Paolo Galeotto, 233
+
+  Pietro Perugino, 189
+
+  Pietro Urbano, 44, 107
+
+  Piloto, 42, 43, 47, 48
+
+  Pinturicchio, Bernardino, 190
+
+  Piombo, Fra Sebastiano Viniziano del, 68, 106, 109, 111, 162, 235
+
+  Pippo del Fabbro, 192
+
+  Pironi, Girolamo, 211
+
+  Pirro Ligorio, 84, 94, 95, 102
+
+  Pisano, Giovanni, 11
+
+  Pisbolica, Jacopo, 214, 215
+
+  Poggini, Domenico, 131
+
+  Poggini, Giovan Paolo, 232, 233
+
+  Polidoro (of Perugia), 234
+
+  Polidoro da Caravaggio, 170
+
+  Pomarancie, Niccolo dalle, 261
+
+  Pompeo Lioni, 232, 233
+
+  Pontormo, Jacopo da, 20, 107, 110, 133, 134
+
+  Ponzio, Paolo, 149
+
+  Pordenone (Giovanni Antonio Licinio), 160, 167, 168
+
+  Porta, Fra Guglielmo della, 68, 69, 234-238
+
+  Porta, Giovan Jacomo della, 234, 235
+
+  Porta, Giuseppe (Giuseppe Salviati), 214
+
+  Porta, Tommaso, 238
+
+  Pourbus, Pieter, 268
+
+  Praxiteles, 133
+
+  Primaticcio, Francesco, _Description of Works_, 145-150. 151, 156
+
+  Prospero Fontana, 147, 148, 150-152
+
+
+  Quentin of Louvain, 266
+
+
+  Raffaello da Montelupo, 51, 55, 69, 239
+
+  Raffaello Sanzio (Raffaello da Urbino), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+  Ricciarelli, Daniello (Daniello da Volterra), 95, 100, 101, 103,
+    107, 121, 122
+
+  Ridolfo Ghirlandajo, 20
+
+  Ripa Transone, Ascanio dalla (Ascanio Condivi), 5, 107
+
+  Robyn, Joris, 270
+
+  Rocco Guerrini, 242
+
+  Roger van der Weyden, 265
+
+  Romano, Giulio, 146, 168, 245, 257, 258
+
+  Rosa, Cristofano, 177
+
+  Rosa, Stefano, 177
+
+  Rosso, 20, 107, 146, 147
+
+  Rosso, Lodovico, 182
+
+  Rovezzano, Benedetto da, 191
+
+  Ruggieri da Bologna, 147
+
+
+  Sabatini, Lorenzo, 151
+
+  Salincorno, Mirabello di (Mirabello Cavalori), 126
+
+  Salo, Pietro da, 204, 223
+
+  Salustio Peruzzi, 82
+
+  Salviati, Francesco, 133
+
+  Salviati, Giuseppe (Giuseppe Porta), 214
+
+  Sammacchini, Orazio, 154
+
+  San Friano, Tommaso da, 137
+
+  San Gallo, Antonio da (the elder), 16, 40, 41
+
+  San Gallo, Antonio da (the younger), 61-67, 196, 197, 224, 239
+
+  San Gallo, Aristotile (Bastiano) da, 20, 29, 30
+
+  San Gallo, Giuliano da, 16, 29, 30, 188, 189
+
+  Sandro, Jacopo di, 29, 30
+
+  Sansovino, Andrea (Andrea Contucci), 15, 40, 41, 187, 202, 216
+
+  Sansovino, Jacopo (Jacopo Tatti), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Santi Buglioni, 132
+
+  Santi Titi, 135
+
+  Sanzio, Raffaello (Raffaello da Urbino), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+  Sart, Jan der, 269
+
+  Sarto, Andrea del, 20, 43, 188, 193, 194
+
+  Scarpaccia, Vittore (Vittore Carpaccio), 210, 211
+
+  Scherano da Settignano (Alessandro), 55
+
+  Schongauer, Martin (Martino), 7, 265
+
+  Sciorini, Lorenzo (Lorenzo della Sciorina), 128
+
+  Scorel, Jan, 266
+
+  Sebastian van Oja, 269
+
+  Sebastiano Serlio, 196, 267, 271
+
+  Sebastiano Viniziano del Piombo, Fra, 68, 106, 109, 111, 162, 235
+
+  Seghers, Anna, 269
+
+  Serlio, Sebastiano, 196, 267, 271
+
+  Sermoneta, Girolamo da (Girolamo Siciolante), 152, 257-259
+
+  Settignano, Scherano da (Alessandro), 55
+
+  Settignano, Solosmeo da, 202, 223
+
+  Siciolante, Girolamo (Girolamo da Sermoneta), 152, 257-259
+
+  Signorelli, Luca, 190
+
+  Simon Bening, 268
+
+  Simon van Delft, 269
+
+  Simone da Fiesole, 15, 16
+
+  Simone Mosca, 69
+
+  Skeysers, Clara, 269
+
+  Solari, Cristofano (Cristofano Gobbo), 14, 234
+
+  Solosmeo da Settignano, 202, 223
+
+  Speranza, Giovanni, 211
+
+  Spilimbergo, Irene di, 175
+
+  Staren, Dirk van, 269
+
+  Stefano Pieri, 137
+
+  Stefano Rosa, 177
+
+  Strada, Giovanni (Jan van der Straet), 134, 135, 267
+
+  Suardi, Bartolommeo (Bramantino da Milano), 190
+
+  Suavius, Lambert, 269, 270
+
+  Susanna Horebout, 268, 269
+
+
+  Tadda, Francesco del, 97
+
+  Taddeo Gaddi, 133
+
+  Tasso, Battista del, 51
+
+  Tatti, Jacopo (Jacopo Sansovino), _Life_, 187-202, 215-225. 20, 40,
+    41, 107, 145, 166, 170, 187-204, 206-208, 210, 215-225
+
+  Tedesco, Guglielmo, 237
+
+  Tibaldi, Pellegrino (Pellegrino Pellegrini or Bolognese), 151-154, 258
+
+  Tiberio Calcagni, 83, 84, 98-100
+
+  Tintoretto, Jacopo, 214
+
+  Titi, Santi, 135
+
+  Tiziano, Girolamo di (Girolamo Dante), 183
+
+  Tiziano da Cadore (Tiziano Vecelli), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Tiziano da Padova (Tiziano Minio), 203, 223
+
+  Tiziano Vecelli (Tiziano da Cadore), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Tommaso Casignuola, 238
+
+  Tommaso da Lugano, 206
+
+  Tommaso da San Friano, 137
+
+  Tommaso Porta, 238
+
+  Topolino, 114, 115
+
+  Torrigiano, 8, 10, 116
+
+  Tribolo (Niccolo), 20, 51, 77, 78, 202, 223
+
+
+  Uccello, Paolo, 133
+
+  Udine, Giovanni da, 42, 51
+
+  Unghero, Nanni, 188
+
+  Urbano, Pietro, 44, 107
+
+  Urbino, Bramante da, 27-29, 31, 65, 71, 188-190
+
+  Urbino, Raffaello da (Raffaello Sanzio), 20, 27, 28, 30, 31, 40, 41,
+    65, 162, 165, 170, 189, 194, 196, 267
+
+
+  Vaga, Perino del, 20, 61, 151, 234, 257, 259
+
+  Valerio Cioli, 129, 140, 141
+
+  Valerio Zuccati, 182, 183
+
+  Vasari, Giorgio--
+    as art-collector, 6, 16, 104, 149, 152, 156, 238, 251, 258, 259
+    as author, 4-8, 22, 27, 30, 32, 35, 46, 47, 55, 56, 60, 61, 63,
+      65, 68-88, 91, 93-97, 102-104, 107, 109-112, 114-118, 122-125,
+      128, 130, 134, 135, 137-140, 145, 147-151, 154-156, 160, 162,
+      169-172, 177, 178, 182, 183, 187, 192, 193, 199, 202, 206-208,
+      210, 212, 214, 215, 218, 221, 230, 232-234, 238, 239, 241, 242,
+      245, 247, 248, 250-253, 259-262, 265-272
+    as painter, 23, 32, 43, 95, 96, 107, 117, 118, 134, 138, 148, 151,
+      155, 156, 170, 203, 269-271
+    as architect, 68-73, 77-79, 95, 96, 107, 117, 140, 207
+
+  Vecchio (Domenico Aimo), 189
+
+  Vecelli, Orazio, 171
+
+  Vecelli, Tiziano (Tiziano da Cadore), _Life_, 159-178. 48, 145, 153,
+    159-179, 182, 183, 201, 202, 247, 252
+
+  Vellaert, Dierick Jacobsz, 269
+
+  Venusti, Marcello (Marcello Mantovano), 106, 259, 260
+
+  Verbo (Verlo), Francesco, 211
+
+  Verdezotti, Gian Maria, 178
+
+  Verlo (Verbo), Francesco, 211
+
+  Vignuola (Jacopo Barozzi), 102, 146, 147
+
+  Vincenzio Danti, 128, 139
+
+  Vincenzio Zuccati, 182, 183
+
+  Vinci, Leonardo da, 15, 19, 234
+
+  Viniziano, Fabrizio, 215
+
+  Vitruvius, 44, 113, 190, 213, 218
+
+  Vittore Scarpaccia (Vittore Carpaccio), 210, 211
+
+  Vittoria, Alessandro, 204-206, 223
+
+  Volkaerts, Dirk, 270
+
+  Volterra, Daniello da (Daniello Ricciarelli), 95, 100, 101, 103,
+    107, 121, 122
+
+  Volterra, Zaccheria da (Zaccheria Zacchi), 189, 190
+
+  Vos, Marten de, 268
+
+
+  Weyden, Roger van der, 265
+
+  Willem Keur, 269
+
+  Willem Key, 267, 268, 270
+
+  Willem Paludanus, 269
+
+  Willem van Antwerp, 269
+
+  Wouter Crabeth, 269
+
+
+  Zaccheria Zacchi (Zaccheria da Volterra), 189, 190
+
+  Zanobi Lastricati, 125, 132
+
+  Zeuxis, 133
+
+  Zuccati, Valerio, 182, 183
+
+  Zuccati, Vincenzio, 182, 183
+
+  Zucchi, Jacopo, 134
+
+
+END OF VOL. IX.
+
+
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