Chapter 2

contenting himself with that wherewith fortune had provided him; and thus he neglected many opportunities of making works of distinction. Raffaello was a very masterly draughtsman, and he had a much better knowledge of all matters of art than had been shown by his father Baccio. In our book are some drawings by the hand both of the one and of the other; but those of Raffaello are much the finer and more graceful, and executed with better art. In his architectural decorations Raffaello followed in great measure the manner of Michelagnolo, as is proved by the chimney-pieces, doors, and windows that he made in the aforesaid Castello di S. Angelo, and by some chapels built under his direction, in a rare and beautiful manner, at Orvieto.

But returning to Baccio: his death was a great grief to the people of Lucca, who had known him as a good and upright man, courteous to all, and very loving. Baccio's works date about the year of our Lord 1533. His dearest friend, who learnt many things from him, was Zaccaria da Volterra, who executed many works in terra-cotta at Bologna, some of which are in the Church of S. Giuseppe.

LORENZO DI CREDI

LIFE OF LORENZO DI CREDI

PAINTER OF FLORENCE

The while that Maestro Credi, an excellent goldsmith in his day, was working in Florence with very good credit and repute, Andrea Sciarpelloni placed with him, to the end that he might learn that craft, his son Lorenzo, a young man of beautiful intellect and excellent character. And since the ability and willingness of the master to teach were not greater than the zeal and readiness with which the disciple absorbed whatever was shown to him, no long time passed before Lorenzo became not only a good and diligent designer, but also so able and finished a goldsmith, that no young man of that time was his equal; and this brought such honour to Credi, that from that day onward Lorenzo was always called by everyone, not Lorenzo Sciarpelloni, but Lorenzo di Credi.

Growing in courage, then, Lorenzo attached himself to Andrea Verrocchio, who at that time had taken it into his head to devote himself to painting; and under him, having Pietro Perugino and Leonardo da Vinci as his companions and friends, although they were rivals, he set himself with all diligence to learn to paint. And since Lorenzo took an extraordinary pleasure in the manner of Leonardo, he contrived to imitate it so well that there was no one who came nearer to it than he did in the high finish and thorough perfection of his works, as may be seen from many drawings that are in our book, executed with the style, with the pen, or in water-colours, among which are some drawings made from models of clay covered with waxed linen cloths and with liquid clay, imitated with such diligence, and finished with such patience, as it is scarcely possible to conceive, much less to equal.

For these reasons, then, Lorenzo was so beloved by his master, that, when Andrea went to Venice to cast in bronze the horse and the statue of Bartolommeo da Bergamo, he left to Lorenzo the whole management and administration of his revenues and affairs, and likewise all his drawings, reliefs, statues, and art materials. And Lorenzo, on his part, loved his master Andrea so dearly, that, besides occupying himself with incredible zeal with his interests in Florence, he also went more than once to Venice to see him and to render him an account of his good administration, which was so much to the satisfaction of his master, that, if Lorenzo had consented, Andrea would have made him his heir. Nor did Lorenzo prove in any way ungrateful for this good-will, for, after the death of Andrea, he went to Venice and brought his body to Florence; and then he handed over to his heirs everything that was found to belong to Andrea, except his drawings, pictures, sculptures, and all other things connected with art.

The first paintings of Lorenzo were a round picture of Our Lady, which was sent to the King of Spain (the design of which picture he copied from one by his master Andrea), and a picture, much better than the other, which was likewise copied by Lorenzo from one by Leonardo da Vinci, and also sent to Spain; and so similar was it to that by Leonardo, that no difference could be seen between the one and the other. By the hand of Lorenzo is a Madonna in a very well executed panel, which is beside the great Church of S. Jacopo at Pistoia; and another, also, which is in the Hospital of the Ceppo, and is one of the best pictures in that city. Lorenzo painted many portraits, and when he was a young man he made that one of himself which is now in the possession of his disciple, Gian Jacopo, a painter in Florence, together with many other things left to him by Lorenzo, among which are the portrait of Pietro Perugino and that of Lorenzo's master, Andrea Verrocchio. He also made a portrait of Girolamo Benivieni, a man of great learning, and much his friend.

For the Company of S. Sebastiano, behind the Church of the Servi in Florence, he executed a panel-picture of Our Lady, S. Sebastian, and other saints; and for the altar of S. Giuseppe, in S. Maria del Fiore, he painted the first-named saint. To Montepulciano he sent a panel that is now in the Church of S. Agostino, containing a Crucifix, Our Lady, and S. John, painted with much diligence. But the best work that Lorenzo ever executed, and that to which he devoted the greatest care and zeal, in order to surpass himself, was the one that is in a chapel at Cestello, a panel containing Our Lady, S. Julian, and S. Nicholas; and whoever wishes to know how necessary it is for a painter to work with a high finish in oils if he desires that his pictures should remain fresh, must look at this panel, which is painted with such a finish as could not be excelled.

While still a young man, Lorenzo painted a S. Bartholomew on a pilaster in Orsanmichele, and for the Nuns of S. Chiara, in Florence, a panel-picture of the Nativity of Christ, with some shepherds and angels; in which picture, besides other things, he took great pains with the imitation of some herbage, painting it so well that it appears to be real. For the same place he made a picture of S. Mary Magdalene in Penitence; and in a round picture that is in the house of Messer Ottaviano de' Medici he painted a Madonna. For S. Friano he painted a panel; and he executed some figures in S. Matteo at the Hospital of Lelmo. For S. Reparata he painted a picture with the Angel Michael, and for the Company of the Scalzo he made a panel-picture, executed with much diligence. And, in addition to these works, he made many pictures of Our Lady and others, which are dispersed among the houses of citizens in Florence.

Having thus got together a certain sum of money by means of these labours, and being a man who loved quiet more than riches, Lorenzo retired to S. Maria Nuova in Florence, where he lived and had a comfortable lodging until his death. Lorenzo was much inclined to the sect of Fra Girolamo of Ferrara, and always lived like an upright and orderly man, showing a friendly courtesy whenever the occasion arose. Finally, having come to the seventy-eighth year of his life, he died of old age, and was buried in S. Pietro Maggiore, in the year 1530.

He showed such a perfection of finish in his works, that any other painting, in comparison with his, must always seem merely sketched and dirty. He left many disciples, and among them Giovanni Antonio Sogliani and Tommaso di Stefano. Of Sogliani there will be an account in another place; and as for Tommaso, he imitated his master closely in his high finish, and made many works in Florence and abroad, including a panel-picture for Marco del Nero at his villa of Arcetri, of the Nativity of Christ, executed with great perfection of finish. But ultimately it became Tommaso's principal profession to paint on cloth, insomuch that he painted church-hangings better than any other man. Now Stefano, the father of Tommaso, had been an illuminator, and had also done something in architecture; and Tommaso, after his father's death, in order to follow in his steps, rebuilt the bridge of Sieve, which had been destroyed by a flood about that time, at a distance of ten miles from Florence, and likewise that of S. Piero a Ponte on the River Bisenzio, which is a beautiful work; and afterwards he erected many buildings for monasteries and other places. Then, being architect to the Guild of Wool, he made the model for the new buildings which were constructed by that Guild behind the Nunziata; and, finally, having reached the age of seventy or more, he died in the year 1564, and was buried in S. Marco, to which he was followed by an honourable train of the Academy of Design.

But returning to Lorenzo: he left many works unfinished at his death, and, in particular, a very beautiful picture of the Passion of Christ, which came into the hands of Antonio da Ricasoli, and a panel painted for M. Francesco da Castiglioni, Canon of S. Maria del Fiore, who sent it to Castiglioni. Lorenzo had no wish to make many large works, because he took great pains in executing his pictures, and devoted an incredible amount of labour to them, for the reason, above all, that the colours which he used were ground too fine; besides which, he was always purifying and distilling his nut-oils, and he made mixtures of colours on his palette in such numbers, that from the first of the light tints to the last of the darks there was a gradual succession involving an over-careful and truly excessive elaboration, so that at times he had twenty-five or thirty of them on his palette. For each tint he kept a separate brush; and where he was working he would never allow any movement that might raise dust. Such excessive care is perhaps no more worthy of praise than the other extreme of negligence, for in all things one should observe a certain mean and avoid extremes, which are generally harmful.

LORENZETTO AND BOCCACCINO

LIVES OF LORENZETTO

SCULPTOR AND ARCHITECT OF FLORENCE

AND OF BOCCACCINO

PAINTER OF CREMONA

It happens at times, after Fortune has kept the talent of some fine intellect subjected for a period by poverty, that she thinks better of it, and at an unexpected moment provides all sorts of benefits for one who has hitherto been the object of her hatred, so as to atone in one year for the affronts and discomforts of many. This was seen in Lorenzo, the son of Lodovico the bell-founder, a Florentine, who was engaged in the work both of architecture and of sculpture, and was loved so dearly by Raffaello da Urbino, that he not only was assisted by him and employed in many enterprises, but also received from the same master a wife in the person of a sister of Giulio Romano, a disciple of Raffaello.

Lorenzetto[4]--for thus he was always called--finished in his youth the tomb of Cardinal Forteguerra, formerly begun by Andrea Verrocchio, which was erected in S. Jacopo at Pistoia; and there, among other things, is a Charity by the hand of Lorenzetto, which is not otherwise than passing good. And a little afterwards he made a figure for Giovanni Bartolini, to adorn his garden; which finished, he went to Rome, where in his first years he executed many works, of which there is no need to make any further record. Then, receiving from Agostino Chigi, at the instance of Raffaello da Urbino, the commission to make a tomb for him in S. Maria del Popolo, where Agostino had built a chapel, Lorenzo set himself to work on this with all the zeal, diligence, and labour in his power, in order to come out of it with credit and to give satisfaction to Raffaello, from whom he had reason to expect much favour and assistance, and also in the hope of being richly rewarded by the liberality of Agostino, a man of great wealth. Nor were these labours expended without an excellent result, for, assisted by Raffaello, he executed the figures to perfection: a nude Jonah delivered from the belly of the whale, as a symbol of the resurrection from the dead, and an Elijah, living by grace, with his cruse of water and his bread baked in the ashes, under the juniper-tree. These statues, then, were brought to the most beautiful completion by Lorenzetto with all the art and diligence at his command, but he did not by any means obtain for them that reward which his great labours and the needs of his family called for, since, death having closed the eyes of Agostino, and almost at the same time those of Raffaello, the heirs of Agostino, with scant respect, allowed these figures to remain in Lorenzetto's workshop, where they stood for many years. In our own day, indeed, they have been set into place on that tomb in the aforesaid Church of S. Maria del Popolo; but Lorenzo, robbed for those reasons of all hope, found for the present that he had thrown away his time and labour.

Next, by way of executing the testament of Raffaello, Lorenzo was commissioned to make a marble statue of Our Lady, four braccia high, for the tomb of Raffaello in the Temple of S. Maria Ritonda, where the tabernacle was restored by order of that master. The same Lorenzo made a tomb with two children in half-relief, for a merchant of the Perini family, in the Trinita at Rome. And in architecture he made the designs for many houses; in particular, that of the Palace of Messer Bernardino Caffarelli, and in the Valle, for Cardinal Andrea della Valle, the inner facade, and also the design of the stables and of the upper garden. In the composition of that work he included ancient columns, bases, and capitals, and around the whole, to serve as base, he distributed ancient sarcophagi covered with carved scenes. Higher up, below some large niches, he made another frieze with fragments of ancient works, and above this, in those niches, he placed some statues, likewise ancient and of marble, which, although they were not entire--some being without the head, some without arms, others without legs, and every one, in short, with something missing--nevertheless he arranged to the best advantage, having caused all that was lacking to be restored by good sculptors. This was the reason that other lords have since done the same thing and have restored many ancient works; as, for example, Cardinals Cesis, Ferrara, and Farnese, and, in a word, all Rome. And, in truth, antiquities restored in this way have more grace than those mutilated trunks, members without heads, or figures in any other way maimed and defective. But to return to the aforesaid garden: over the niches was placed the frieze that is still seen there, of supremely beautiful ancient scenes in half-relief; and this invention of Lorenzo's stood him in very good stead, since, after the troubles of Pope Clement had abated, he was employed by him with much honour and profit to himself. For the Pope had seen, when the fight for the Castello di S. Angelo was raging, that two little chapels of marble, which were at the head of the bridge, had been a source of mischief, in that some harquebusiers, standing in them, shot down all who exposed themselves at the walls, and, themselves in safety, inflicted great losses and baulked the defence; and his Holiness resolved to remove those chapels and to set up in place of them two marble statues on pedestals. And so, after the S. Paul of Paolo Romano, of which there has been an account in another Life, had been set in place, the commission for the other, a S. Peter, was given to Lorenzetto, who acquitted himself passing well, but did not surpass the work of Paolo Romano. These two statues were set up, and are to be seen at the present day at the head of the bridge.

After Pope Clement was dead, Baccio Bandinelli was given the commissions for the tombs of that Pope and of Leo X, and Lorenzo was entrusted with the marble masonry that was to be executed for them; whereupon the latter spent no little time over that work. Finally, at the election of Paul III as Pontiff, when Lorenzo was in sorry straits and almost worn out, having nothing but a house which he had built for himself in the Macello de' Corbi, and being weighed down by his five children and by other expenses, Fortune changed and began to raise him and to set him back on a better path; for Pope Paul wishing to have the building of S. Pietro continued, and neither Baldassarre of Siena nor any of the others who had been employed in that work being now alive, Antonio da San Gallo appointed Lorenzo as architect for that structure, wherein the walls were being built at a fixed price of so much for every four braccia. Thereupon Lorenzo, without exerting himself, in a few years became more famous and prosperous than he had been after many years of endless labour, through having found God, mankind, and Fortune all propitious at that one moment. And if he had lived longer, he would have done even more towards wiping out those injuries that a cruel fate had unjustly brought upon him during his best period of work. But after reaching the age of forty-seven, he died of fever in the year 1541.

The death of this master caused great grief to his many friends, who had always known him as a loving and reasonable man. And since he had always lived like an upright and orderly citizen, the Deputati of S. Pietro gave him honourable burial in a tomb, on which they placed the following epitaph:

SCULPTORI LAURENTIO FLORENTINO

ROMA MIHI TRIBUIT TUMULUM, FLORENTIA VITAM: NEMO ALIO VELLET NASCI ET OBIRE LOCO. MDXLI VIX. ANN. XLVII, MEN. II, D. XV.

Boccaccino of Cremona, who lived about the same time, had acquired the name of a rare and excellent painter in his native place and throughout all Lombardy, and his works were very highly extolled, when he went to Rome to see the works, so much renowned, of Michelagnolo; but no sooner had he seen them than he sought to the best of his power to disparage and revile them, believing that he could exalt himself almost exactly in proportion as he vilified a man who truly was in the matters of design, and indeed in all others without exception, supremely excellent. This master, then, was commissioned to paint the Chapel of S. Maria Traspontina; but when he had finished it and thrown it open to view, it was a revelation to all those who thought that he would soar above the heavens, for they saw that he could not reach even to the level of the lowest floor of a house. And so the painters of Rome, on seeing the Coronation of Our Lady that he had painted in that work, with some children flying around her, changed from marvel to laughter.

From this it may be seen that when people begin to exalt with their praise men who are more excellent in name than in deeds, it is a difficult thing to contrive to bring such men down to their true level with words, however reasonable, before their own works, wholly contrary to their reputation, reveal what the masters so celebrated really are. And it is a very certain fact that the worst harm that one man can do to another is the giving of praise too early to any intellect engaged in work, since such praise, swelling him with premature pride, prevents him from going any farther, and a man so greatly extolled, on finding that his works have not that excellence which was expected, takes the censure too much to heart, and despairs completely of ever being able to do good work. Wise men, therefore, should fear praise much more than censure, for the first flatters and deceives, and the second, revealing the truth, gives instruction.

Boccaccino, then, departing from Rome, where he felt himself wounded and torn to pieces, returned to Cremona, and there continued to practise painting to the best of his power and knowledge. In the Duomo, over the arches in the middle, he painted all the stories of the Madonna; and this work is much esteemed in that city. He also made other works throughout that city and in the neighbourhood, of which there is no need to make mention.

He taught his art to a son of his own, called Camillo, who, applying himself to the art with more study, strove to make amends for the shortcomings of the boastful Boccaccino. By the hand of this Camillo are some works in S. Gismondo, which is a mile distant from Cremona; and these are esteemed by the people of Cremona as the best paintings that they have. He also painted the facade of a house on their Piazza, all the compartments of the vaulting and some panels in S. Agata, and the facade of S. Antonio, together with other works, which made him known as a practised master. If death had not snatched him from the world before his time, he would have achieved a most honourable success, for he was advancing on the good way; and even for those works that he has left to us, he deserves to have record made of him.

But returning to Boccaccino; without having ever made any improvement in his art, he passed from this life at the age of fifty-eight. In his time there lived in Milan a passing good illuminator, called Girolamo, whose works may be seen in good numbers both in that city and throughout all Lombardy. A Milanese, likewise, living about the same time, was Bernardino del Lupino,[5] a very delicate and pleasing painter, as may be seen from many works by his hand that are in that city, and from a Marriage of Our Lady at Sarone, a place twelve miles distant from Milan, and other scenes that are in the Church of S. Maria, executed most perfectly in fresco. He also worked with a very high finish in oils, and he was a courteous person, and very liberal with his possessions; wherefore he deserves all the praise that is due to any craftsman who makes the works and ways of his daily life shine by the adornment of courtesy no less than do his works of art on account of their excellence.

FOOTNOTE:

[4] Diminutive of Lorenzo.

[5] Luini.

BALDASSARRE PERUZZI

LIFE OF BALDASSARRE PERUZZI

PAINTER AND ARCHITECT OF SIENA

Among all the gifts that Heaven distributes to mortals, none, in truth, can or should be held in more account than talent, with calmness and peace of soul, for the first makes us for ever immortal, and the second blessed. He, then, who is endowed with these gifts, in addition to the deep gratitude that he should feel towards God, must make himself known among other men almost as a light amid darkness. And even so, in our own times, did Baldassarre Peruzzi, a painter and architect of Siena, of whom we can say with certainty that the modesty and goodness which were revealed in him were no mean offshoots of that supreme serenity for which the minds of all who are born in this world are ever sighing, and that the works which he left to us are most honourable fruits of that true excellence which was infused in him by Heaven.

Now, although I have called him above, Baldassarre of Siena, because he was always known as a Sienese, I will not withhold that even as seven cities contended for Homer, each claiming that he was her citizen, so three most noble cities of Tuscany--Florence, Volterra, and Siena--have each held that Baldassarre was her son. But, to tell the truth, each of them has a share in him, seeing that Antonio Peruzzi, a noble citizen of Florence, that city being harassed by civil war, went off, in the hope of a quieter life, to Volterra; and after living some time there, in the year 1482 he took a wife in that city, and in a few years had two children, one a boy, called Baldassarre, and the other a girl, who received the name of Virginia. Now it happened that war pursued this man who sought nothing but peace and quiet, and that no long time afterwards Volterra was sacked; whence Antonio was forced to fly to Siena, and to live there in great poverty, having lost almost all that he had.

Meanwhile Baldassarre, having grown up, was for ever associating with persons of ability, and particularly with goldsmiths and draughtsmen; and thus, beginning to take pleasure in the arts, he devoted himself heart and soul to drawing. And not long after, his father being now dead, he applied himself to painting with such zeal, that in a very short time he made marvellous progress therein, imitating living and natural things as well as the works of the best masters. In this way, executing what work he could find, he was able to maintain himself, his mother, and his sister with his art, and to pursue the studies of painting.

His first work--apart from some things at Siena, not worthy of mention--was in a little chapel near the Porta Fiorentina at Volterra, wherein he executed some figures with such grace, that they led to his forming a friendship with a painter of Volterra, called Piero, who lived most of his time in Rome, and going off with that master to that city, where he was doing some work in the Palace for Alexander VI. But after the death of Alexander, Maestro Piero working no more in that place, Baldassarre entered the workshop of the father of Maturino, a painter of no great excellence, who at that time had always plenty of work to do in the form of commonplace commissions. That painter, then, placing a panel primed with gesso before Baldassarre, but giving him no scrap of drawing or cartoon, told him to make a Madonna upon it. Baldassarre took a piece of charcoal, and in a moment, with great mastery, he had drawn what he wished to paint in the picture; and then, setting his hand to the colouring, in a few days he painted a picture so beautiful and so well finished, that it amazed not only the master of the workshop, but also many painters who saw it; and they, recognizing his ability, contrived to obtain for him the commission to paint the Chapel of the High-Altar in the Church of S. Onofrio, which he executed in fresco with much grace and in a very beautiful manner. After this, he painted two other little chapels in fresco in the Church of S. Rocco a Ripa. Having thus begun to be in good repute, he was summoned to Ostia, where he painted most beautiful scenes in chiaroscuro in some apartments of the great tower of the fortress; in particular, a hand-to-hand battle after the manner in which the ancient Romans used to fight, and beside this a company of soldiers delivering an assault on a fortress, wherein the attackers, covered by their shields, are seen making a beautiful and spirited onslaught and planting their ladders against the walls, while the men within are hurling them back with the utmost fury. In this scene, also, he painted many antique instruments of war, and likewise various kinds of arms; with many other scenes in another hall, which are held to be among the best works that he ever made, although it is true that he was assisted in this work by Cesare da Milano.

After these labours, having returned to Rome, Baldassarre formed a very strait friendship with Agostino Chigi of Siena, both because Agostino had a natural love for every man of talent, and because Baldassarre called himself a Sienese. And thus, with the help of so great a man, he was able to maintain himself while studying the antiquities of Rome, and particularly those in architecture, wherein, out of rivalry with Bramante, in a short time he made marvellous proficience, which afterwards brought him, as will be related, very great honour and profit. He also gave attention to perspective, and became such a master of that science, that we have seen few in our own times who have worked in it as well as he. Pope Julius II having meanwhile built a corridor in his Palace, with an aviary near the roof, Baldassarre painted there, in chiaroscuro, all the months of the year and the pursuits that are practised in each of them. In this work may be seen an endless number of buildings, theatres, amphitheatres, palaces, and other edifices, all distributed with beautiful invention in that place. He then painted, in company with other painters, some apartments in the Palace of S. Giorgio for Cardinal Raffaello Riario, Bishop of Ostia; and he painted a facade opposite to the house of Messer Ulisse da Fano, and also that of the same Messer Ulisse, wherein he executed stories of Ulysses that brought him very great renown and fame.

Even greater was the fame that came to him from the model of the Palace of Agostino Chigi, executed with such beautiful grace that it seems not to have been built, but rather to have sprung into life; and with his own hand he decorated the exterior with most beautiful scenes in terretta. The hall, likewise, is adorned with rows of columns executed in perspective, which, with the depth of the intercolumniation, cause it to appear much larger. But what is the greatest marvel of all is a loggia that may be seen over the garden, painted by Baldassarre with scenes of the Medusa turning men into stone, such that nothing more beautiful can be imagined; and then there is Perseus cutting off her head, with many other scenes in the spandrels of that vaulting, while the ornamentation, drawn in perspective with colours, in imitation of stucco, is so natural and lifelike, that even to excellent craftsmen it appears to be in relief. And I remember that when I took the Chevalier Tiziano, a most excellent and honoured painter, to see that work, he would by no means believe that it was painted, until he had changed his point of view, when he was struck with amazement. In that place are some works executed by Fra Sebastiano Viniziano, in his first manner; and by the hand of the divine Raffaello, as has been related, there is a Galatea being carried off by sea-gods.

Baldassarre also painted, beyond the Campo di Fiore, on the way to the Piazza Giudea, a most beautiful facade in terretta with marvellous perspectives, for which he received the commission from a Groom of the Chamber to the Pope; and it is now in the possession of Jacopo Strozzi, the Florentine. In like manner, he wrought for Messer Ferrando Ponzetti, who afterwards became a Cardinal, a chapel at the entrance of the Church of the Pace, on the left hand, with little scenes from the Old Testament, and also with some figures of considerable size; and for a work in fresco this is executed with much diligence. But even more did he prove his worth in painting and perspective near the high-altar of the same church, where he painted a scene for Messer Filippo da Siena, Clerk of the Chamber, of Our Lady going into the Temple, ascending the steps, with many figures worthy of praise, such as a gentleman in antique dress, who, having dismounted from his horse, with his servants waiting, is giving alms to a beggar, quite naked and very wretched, who may be seen asking him for it with pitiful humility. In this place, also, are various buildings and most beautiful ornaments; and right round the whole work, executed likewise in fresco, are counterfeited decorations of stucco, which have the appearance of being attached to the wall with large rings, as if it were a panel painted in oils.

And in the magnificent festival that the Roman people prepared on the Campidoglio when the baton of Holy Church was given to Duke Giuliano de' Medici, out of six painted scenes which were executed by six different painters of eminence, that by the hand of Baldassarre, twenty-eight braccia high and fourteen broad, showing the betrayal of the Romans by Julia Tarpeia, was judged to be without a doubt better than any of the others. But what amazed everyone most was the perspective-view or scenery for a play, which was so beautiful that it would be impossible to imagine anything finer, seeing that the variety and beautiful manner of the buildings, the various loggie, the extravagance of the doors and windows, and the other architectural details that were seen in it, were so well conceived and so extraordinary in invention, that one is not able to describe the thousandth part.

For the house of Messer Francesco di Norcia, on the Piazza de' Farnesi, he made a very graceful door of the Doric Order; and for Messer Francesco Buzio he executed, near the Piazza degl' Altieri, a very beautiful facade, in the frieze of which he painted portraits from life of all the Roman Cardinals who were then alive, while on the wall itself he depicted the scenes of Caesar receiving tribute from all the world, and above he painted the twelve Emperors, who are standing upon certain corbels, being foreshortened with a view to being seen from below, and wrought with extraordinary art. For this whole work he rightly obtained vast commendation. In the Banchi he executed the escutcheon of Pope Leo, with three children, that seemed to be alive, so tender was their flesh. For Fra Mariano Fetti, Friar of the Piombo, he made a very beautiful S. Bernard in terretta in his garden at Montecavallo. And for the Company of S. Catherine of Siena, on the Strada Giulia, in addition to a bier for carrying the dead to burial, he executed many other things, all worthy of praise. In Siena, also, he gave the design for the organ of the Carmine; and he made some other works in that city, but none of much importance.

Later, having been summoned to Bologna by the Wardens of Works of S. Petronio, to the end that he might make the model for the facade of that church, he made for this two large ground-plans and two elevations, one in the modern manner and the other in the German; and the latter is still preserved in the Sacristy of the same S. Petronio, as a truly extraordinary work, since he drew that building in such sharply-detailed perspective that it appears to be in relief. In the house of Count Giovan Battista Bentivogli, in the same city, he made several drawings for the aforesaid structure, which were so beautiful, that it is not possible to praise enough the wonderful expedients sought out by this man in order not to destroy the old masonry, but to join it in beautiful proportion with the new. For the Count Giovan Battista mentioned above he made the design of a Nativity with the Magi, in chiaroscuro, wherein it is a marvellous thing to see the horses, the equipage, and the courts of the three Kings, executed with supreme beauty and grace, as are also the walls of the temples and some buildings round the hut. This work was afterwards given to be coloured by the Count to Girolamo Trevigi, who brought it to fine completion. Baldassarre also made the design for the door of the Church of S. Michele in Bosco, a most beautiful monastery of the Monks of Monte Oliveto, without Bologna; and the design and model of the Duomo of Carpi, which was very beautiful, and was built under his direction according to the rules of Vitruvius. And in the same place he made a beginning with the Church of S. Niccola, but it was not finished at that time, because Baldassarre was almost forced to return to Siena in order to make designs for the fortifications of that city, which were afterwards carried into execution under his supervision.

He then returned to Rome, where, after building the house that is opposite to the Farnese Palace, with some others within that city, he was employed in many works by Pope Leo X. That Pontiff wished to finish the building of S. Pietro, begun by Julius II after the design of Bramante, but it appeared to him that the edifice was too large and lacking in cohesion; and Baldassarre made a new model, magnificent and truly ingenious, and revealing such good judgment, that some parts of it have since been used by other architects. So diligent, indeed, was this craftsman, so rare and so beautiful his judgment, and such the method with which his buildings were always designed, that he has never had an equal in works of architecture, seeing that, in addition to his other gifts, he combined that profession with a good and beautiful manner of painting. He made the design of the tomb of Adrian VI, and all that is painted round it is by his hand; and Michelagnolo, a sculptor of Siena, executed that tomb in marble, with the help of our Baldassarre.

When the Calandra, a play by Cardinal Bibbiena, was performed before the same Pope Leo, Baldassarre made the scenic setting, which was no less beautiful--much more so, indeed--than that which he had made on another occasion, as has been related above. In such works he deserved all the greater praise, because dramatic performances, and consequently the scenery for them, had been out of fashion for a long time, festivals and sacred representations taking their place. And either before or after (it matters little which) the performance of the aforesaid Calandra, which was one of the first plays in the vulgar tongue to be seen or performed, in the time of Leo X, Baldassarre made two such scenes, which were marvellous, and opened the way to those who have since made them in our own day. Nor is it possible to imagine how he found room, in a space so limited, for so many streets, so many palaces, and so many bizarre temples, loggie, and various kinds of cornices, all so well executed that it seemed that they were not counterfeited, but absolutely real, and that the piazza was not a little thing, and merely painted, but real and very large. He designed, also, the chandeliers and the lights within that illuminated the scene, and all the other things that were necessary, with much judgment, although, as has been related, the drama had fallen almost completely out of fashion. This kind of spectacle, in my belief, when it has all its accessories, surpasses any other kind, however sumptuous and magnificent.

Afterwards, at the election of Pope Clement VII in the year 1524, he prepared the festivities for his coronation. He finished with peperino-stone the front of the principal chapel, formerly begun by Bramante, in S. Pietro; and in the chapel wherein is the bronze tomb of Pope Sixtus, he painted in chiaroscuro the Apostles that are in the niches behind the altar, besides making the design of the Tabernacle of the Sacrament, which is very graceful.

Then in the year 1527, when the cruel sack of Rome took place, our poor Baldassarre was taken prisoner by the Spaniards, and not only lost all his possessions, but was also much maltreated and outraged, because he was grave, noble, and gracious of aspect, and they believed him to be some great prelate in disguise, or some other man able to pay a fat ransom. Finally, however, those impious barbarians having found that he was a painter, one of them, who had borne a great affection to Bourbon, caused him to make a portrait of that most rascally captain, the enemy of God and man, either letting Baldassarre see him as he lay dead, or giving him his likeness in some other way, with drawings or with words. After this, having slipped from their hands, Baldassarre took ship to go to Porto Ercole, and thence to Siena; but on the way he was robbed of everything and stripped to such purpose, that he went to Siena in his shirt. However, he was received with honour and reclothed by his friends, and a little time afterwards he was given a provision and a salary by the Commonwealth, to the end that he might give his attention to the fortification of that city. Living there, he had two children; and, besides what he did for the public service, he made many designs of houses for his fellow-citizens, and the design for the ornament of the organ, which is very beautiful, in the Church of the Carmine.

Meanwhile, the armies of the Emperor and the Pope had advanced to the siege of Florence, and his Holiness sent Baldassarre to the camp to Baccio Valori, the Military Commissary, to the end that Baccio might avail himself of his services for the purposes of his operations and for the capture of the city. But Baldassarre, loving the liberty of his former country more than the favour of the Pope, and in no way fearing the indignation of so great a Pontiff, would never lend his aid in any matter of importance. The Pope, hearing of this, for a short time bore him no little ill-will; but when the war was finished, Baldassarre desiring to return to Rome, Cardinals Salviati, Trivulzi, and Cesarino, to all of whom he had given faithful service in many works, restored him to the favour of the Pope and to his former appointments. He was thus able to return without hindrance to Rome, where, not many days after, he made for the Signori Orsini the designs of two very beautiful palaces, which were built on the way to Viterbo, and of some other edifices for Apuglia. But meanwhile he did not neglect the studies of astrology, nor those of mathematics and the others in which he much delighted, and he began a book on the antiquities of Rome, with a commentary on Vitruvius, making little by little illustrative drawings beside the writings of that author, some of which are still to be seen in the possession of Francesco da Siena, who was his disciple, and among them some papers with drawings of ancient edifices and of the modern manner of building.

While living in Rome, also, he made the design for the house of the Massimi, drawn in an oval form, with a new and beautiful manner of building; and for the facade he made a vestibule of Doric columns showing great art and good proportion, with a beautiful distribution of detail in the court and in the disposition of the stairs; but he was not able to see this work finished, for he was overtaken by death.

And yet, although the talents and labours of this noble craftsman were so great, they brought much more benefit to others than to himself; for, while he was employed by Popes, Cardinals, and other great and rich persons, not one of them ever gave him any remarkable reward. That this should have happened is not surprising, not so much through want of liberality in such patrons, although for the most part they are least liberal where they should be the very opposite, as through the timidity and excessive modesty, or rather, to be more exact in this case, the lack of shrewdness of Baldassarre. To tell the truth, in proportion as one should be discreet with magnanimous and liberal Princes, so should one always be pressing and importunate with such as are miserly, unthankful, and discourteous, for the reason that, even as in the case of the generous importunate asking would always be a vice, so with the miserly it is a virtue, and with such men it is discretion that would be the vice.

In the last years of his life, then, Baldassarre found himself poor and weighed down by his family. Finally, having always lived a life without reproach, he fell grievously ill, and took to his bed; and Pope Paul III, hearing this, and recognizing too late the harm that he was like to suffer in the loss of so great a man, sent Jacopo Melighi, the accountant of S. Pietro, to give him a present of one hundred crowns, and to make him most friendly offers. However, his sickness increased, either because it was so ordained, or, as many believe, because his death was hastened with poison by some rival who desired his place, from which he drew two hundred and fifty crowns of salary; and, the physicians discovering this too late, he died, very unwilling to give up his life, more on account of his poor family than for his own sake, as he thought in what sore straits he was leaving them. He was much lamented by his children and his friends, and he received honourable burial, next to Raffaello da Urbino, in the Ritonda, whither he was followed by all the painters, sculptors, and architects of Rome, doing him honour and bewailing him; with the following epitaph:

BALTHASARI PERUTIO SENENSI, VIRO ET PICTURA ET ARCHITECTURA ALIISQUE INGENIORUM ARTIBUS ADEO EXCELLENTI, UT SI PRISCORUM OCCUBUISSET TEMPORIBUS, NOSTRA ILLUM FELICIUS LEGERENT. VIX. ANN. LV, MENS. XI, DIES XX. LUCRETIA ET JO. SALUSTIUS OPTIMO CONJUGI ET PARENTI, NON SINE LACRIMIS SIMONIS, HONORII, CLAUDII, AEMILIAE, AC SULPITIAE, MINORUM FILIORUM, DOLENTES POSUERUNT, DIE IIII JANUARII, MDXXXVI.

The name and fame of Baldassarre became greater after his death than they had been during his lifetime; and then, above all, was his talent missed, when Pope Paul III resolved to have S. Pietro finished, because men recognized how great a help he would have been to Antonio da San Gallo. For, although Antonio had to his credit all that is to be seen executed by him, yet it is believed that in company with Baldassarre he would have done more towards solving some of the difficulties of that work. The heir to many of the possessions of Baldassarre was Sebastiano Serlio of Bologna, who wrote the third book on architecture and the fourth on the antiquities of Rome with their measurements; in which works the above-mentioned labours of Baldassarre were partly inserted in the margins, and partly turned to great advantage by the author. Most of these writings of Baldassarre came into the hands of Jacomo Melighino of Ferrara, who was afterwards chosen by Pope Paul as architect for his buildings, and of the aforesaid Francesco da Siena, his former assistant and disciple, by whose hand is the highly renowned escutcheon of Cardinal Trani in Piazza Navona, with some other works. From this Francesco we received the portrait of Baldassarre, and information about some matters which I was not able to ascertain when this book was published for the first time. Another disciple of Baldassarre was Virgilio Romano, who executed a facade with some prisoners in sgraffito-work in the centre of the Borgo Nuovo in his native city, and many other beautiful works. From the same master, also, Antonio del Rozzo, a citizen of Siena and a very excellent engineer, learnt the first principles of architecture; and Baldassarre was followed, in like manner, by Riccio, a painter of Siena, who, however, afterwards imitated to no small extent the manner of Giovanni Antonio Sodoma of Vercelli. And another of his pupils was Giovan Battista Peloro, an architect of Siena, who gave much attention to mathematics and cosmography, and made with his own hand mariner's compasses, quadrants, many irons and instruments for measuring, and likewise the ground-plans of many fortifications, most of which are in the possession of Maestro Giuliano, a goldsmith of Siena, who was very much his friend. This Giovan Battista made for Duke Cosimo de' Medici a plan of Siena, all in relief and altogether marvellous, with the valleys and the surroundings for a mile and a half round--the walls, the streets, the forts, and, in a word, a most beautiful model of the whole place. But, since he was unstable by nature, he left Duke Cosimo, although he had a good allowance from that Prince; and, thinking to do better, he made his way into France, where he followed the Court without any success for a long time, and finally died at Avignon. And although he was an able and well-practised architect, yet in no place are there to be seen any buildings erected by him or after his design, for he always stayed such a short time in any one place, that he could never bring anything to completion; wherefore he consumed all his time with designs, measurements, models, and caprices. Nevertheless, as a follower of our arts, he has deserved to have record made of him.

Baldassarre drew very well in every manner, with great judgment and diligence, but more with the pen, in water-colours, and in chiaroscuro, than in any other way, as may be seen from many drawings by his hand that belong to different craftsmen. Our book, in particular, contains various drawings; and in one of these is a scene full of invention and caprice, showing a piazza filled with arches, colossal figures, theatres, obelisks, pyramids, temples of various kinds, porticoes, and other things, all after the antique, while on a pedestal stands a Mercury, round whom are all sorts of alchemists with bellows large and small, retorts, and other instruments for distilling, hurrying about and giving him a clyster in order to purge his body--an invention as ludicrous as it is beautiful and bizarre.

Friends and intimate companions of Baldassarre, who was always courteous, modest, and gentle with every man, were Domenico Beccafumi of Siena, an excellent painter, and Il Capanna, who, in addition to many other works that he painted in Siena, executed the facade of the house of the Turchi and another that is on the Piazza.

GIOVAN FRANCESCO PENNI OF FLORENCE AND PELLEGRINO DA MODENA

LIVES OF GIOVAN FRANCESCO PENNI OF FLORENCE

[_CALLED IL FATTORE_]

AND OF PELLEGRINO DA MODENA

PAINTERS

Giovan Francesco Penni, called Il Fattore, a painter of Florence, was no less indebted to Fortune than he was to the goodness of his own nature, in that his ways of life, his inclination for painting, and his other qualities brought it about that Raffaello da Urbino took him into his house and educated him together with Giulio Romano, looking on both of them ever afterwards as his children, and proving at his death how much he thought both of the one and of the other by leaving them heirs to his art and to his property alike. Now Giovan Francesco, who began from his boyhood, when he first entered the house of Raffaello, to be called Il Fattore, and always retained that name, imitated in his drawings the manner of Raffaello, and never ceased to follow it, as may be perceived from some drawings by his hand that are in our book. And it is nothing wonderful that there should be many of these to be seen, all finished with great diligence, because he delighted much more in drawing than in colouring.

The first works of Giovan Francesco were executed by him in the Papal Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and other excellent masters; and in these may be seen a marvellous grace, worthy of a master striving at perfection of workmanship. He was very versatile, and he delighted much in making landscapes and buildings. He was a good colourist in oils, in fresco, and in distemper, and made excellent portraits from life; and he was much assisted in every respect by nature, so that he gained great mastery over all the secrets of art without much study. He was a great help to Raffaello, therefore, in painting a large part of the cartoons for the tapestries of the Pope's Chapel and of the Consistory, and particularly the ornamental borders. He also executed many other things from the cartoons and directions of Raffaello, such as the ceiling for Agostino Chigi in the Trastevere, with many pictures, panels, and various other works, in which he acquitted himself so well, that every day he won greater affection from Raffaello. On the Monte Giordano, in Rome, he painted a facade in chiaroscuro, and in S. Maria de Anima, by the side-door that leads to the Pace, a S. Christopher in fresco, eight braccia high, which is a very good figure; and in this work is a hermit with a lantern in his hand, in a grotto, executed with good draughtsmanship, harmony, and grace.

Giovan Francesco then came to Florence, and painted for Lodovico Capponi at Montughi, a place without the Porta a San Gallo, a shrine with a Madonna, which is much extolled.

Raffaello having meanwhile been overtaken by death, Giulio Romano and Giovan Francesco, who had been his disciples, remained together for a long time, and finished in company such of Raffaello's works as had been left unfinished, and in particular those that he had begun in the Vigna of the Pope, and likewise those of the Great Hall in the Palace, wherein are painted by the hands of these two masters the stories of Constantine, with excellent figures, executed in an able and beautiful manner, although the invention and the sketches of these stories came in part from Raffaello. While these works were in progress, Perino del Vaga, a very excellent painter, took to wife a sister of Giovan Francesco; on which account they executed many works in company. And afterwards Giulio and Giovan Francesco, continuing to work together, painted a panel in two parts, containing the Assumption of Our Lady, which went to Monteluci, near Perugia; and also other works and pictures for various places.

Then, receiving a commission from Pope Clement to paint a panel-picture like the one by Raffaello (which is in S. Pietro a Montorio), which was to be sent to France, whither Raffaello had meant to send the first, they began it; but soon afterwards, having fallen out with each other, they divided their inheritance of drawings and everything else left to them by Raffaello, and Giulio went off to Mantua, where he executed an endless number of works for the Marquis. Thither, not long afterwards, Giovan Francesco also made his way, drawn either by love of Giulio or by the hope of finding work; but he received so cold a welcome from Giulio that he soon departed, and, after travelling round Lombardy, he returned to Rome. And from Rome he went to Naples by ship in the train of the Marchese del Vasto, taking with him the now finished copy of the panel-picture of S. Pietro a Montorio, with other works, which he left in Ischia, an island belonging to the Marquis, while the panel was placed where it is at the present day, in the Church of S. Spirito degli Incurabili at Naples. Having thus settled in Naples, where he occupied himself with drawing and painting, Giovan Francesco was entertained and treated with great kindness by Tommaso Cambi, a Florentine merchant, who managed the affairs of that nobleman. But he did not live there long, because, being of a sickly habit of body, he fell ill and died, to the great grief of the noble Marquis and of all who knew him.

He had a brother called Luca, likewise a painter, who worked in Genoa with his brother-in-law Perino, as well as at Lucca and many other places in Italy. In the end he went to England, where, after executing certain works for the King and for some merchants, he finally devoted himself to making designs for copper-plates for sending abroad, which he had engraved by Flemings. Of such he sent abroad a great number, which are known by his name as well as by the manner; and by his hand, among others, is a print wherein are some women in a bath, the original of which, by the hand of Luca himself, is in our book.

A disciple of Giovan Francesco was Leonardo, called Il Pistoia because he came from that city, who executed some works at Lucca, and made many portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he painted another, which was placed on the high-altar, although it was afterwards removed to make room for a new one, similar in subject, by the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from these Neapolitan nobles, but he accumulated little, for he squandered it all as it came to his hand; and finally he died in Naples, leaving behind him the reputation of having been a good colourist, but not of having shown much excellence in draughtsmanship.

Giovan Francesco lived forty years, and his works date about 1528.

A friend of Giovan Francesco, and likewise a disciple of Raffaello, was Pellegrino da Modena, who, having acquired in his native city the name of a man of fine genius for painting, and having heard of the marvels of Raffaello da Urbino, determined, in order to justify by means of labour the hopes already conceived of him, to go to Rome. Arriving there, he placed himself under Raffaello, who never refused anything to men of ability. There were then in Rome very many young men who were working at painting and seeking in mutual rivalry to surpass one another in draughtsmanship, in order to win the favour of Raffaello and to gain a name among men; and thus Pellegrino, giving unceasing attention to his studies, became not only a good draughtsman, but also a well-practised master of the whole of his art. And when Leo X commissioned Raffaello to paint the Loggie, Pellegrino also worked there, in company with the other young men; and so well did he succeed, that Raffaello afterwards made use of him in many other things.

He executed three figures in fresco in S. Eustachio at Rome, over an altar near the entrance into the church; and in the Church of the Portuguese, near the Scrofa, he painted in fresco the Chapel of the High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense having caused a chapel richly adorned with marbles to be erected in S. Jacopo, the Church of the Spanish people, with a S. James of marble by Jacopo Sansovino, four braccia and a half in height, and much extolled, Pellegrino painted there in fresco the stories of that Apostle, giving an air of great sweetness to his figures in imitation of his master Raffaello, and designing the whole composition so well, that the work made him known as an able man with a fine and beautiful genius for painting. This work finished, he made many others in Rome, both by himself and in company with others.

But finally, when death had come upon Raffaello, Pellegrino returned to Modena, where he executed many works; among others, he painted for a Confraternity of Flagellants a panel-picture in oils of S. John baptizing Christ, and another panel for the Church of the Servi, containing S. Cosimo and S. Damiano, with other figures. Afterwards, having taken a wife, he had a son, who was the cause of his death. For this son, having come to words with some companions, young men of Modena, killed one of them; the news of which being carried to Pellegrino, he, in order to help his son from falling into the hands of justice, set out to smuggle him away. But he had not gone far from his house, when he stumbled against the relatives of the dead youth, who were going about searching for the murderer; and they, confronting Pellegrino, who had no time to escape, and full of fury because they had not been able to catch his son, gave him so many wounds that they left him dead on the ground. This event was a great grief to the people of Modena, who knew that by the death of Pellegrino they had been robbed of a spirit truly excellent and rare.

A contemporary of this craftsman was the Milanese Gaudenzio, a resolute, well-practised, and excellent painter, who made many works in fresco at Milan; and in particular, for the Frati della Passione, a most beautiful Last Supper, which remained unfinished by reason of his death. He also painted very well in oils, and there are many highly-esteemed works by his hand at Vercelli and Veralla.

ANDREA DEL SARTO

LIFE OF ANDREA DEL SARTO

A MOST EXCELLENT PAINTER OF FLORENCE

At length, after the Lives of many craftsmen who have been excellent, some in colouring, some in drawing, and others in invention, we have come to the most excellent Andrea del Sarto, in whose single person nature and art demonstrated all that painting can achieve by means of draughtsmanship, colouring, and invention, insomuch that, if Andrea had possessed a little more fire and boldness of spirit, to correspond to his profound genius and judgment in his art, without a doubt he would have had no equal. But a certain timidity of spirit and a sort of humility and simplicity in his nature made it impossible that there should be seen in him that glowing ardour and that boldness which, added to his other qualities, would have made him truly divine in painting; for which reason he lacked those adornments and that grandeur and abundance of manners which have been seen in many other painters. His figures, however, for all their simplicity and purity, are well conceived, free from errors, and absolutely perfect in every respect. The expressions of his heads, both in children and in women, are gracious and natural, and those of men, both young and old, admirable in their vivacity and animation; his draperies are beautiful to a marvel, and his nudes very well conceived. And although his drawing is simple, all that he coloured is rare and truly divine.

Andrea was born in Florence, in the year 1478, to a father who was all his life a tailor; whence he was always called Andrea del Sarto by everyone. Having come to the age of seven, he was taken away from his reading and writing school and apprenticed to the goldsmith's craft. But in this he was always much more willing to practise his hand in drawing, to which he was drawn by a natural inclination, than in using the tools for working in silver or gold; whence it came to pass that Gian Barile, a painter of Florence, but one of gross and vulgar taste, having seen the boy's good manner of drawing, took him under his protection, and, making him abandon his work as goldsmith, directed him to the art of painting. Andrea, beginning with much delight to practise it, recognized that nature had created him for that profession; and in a very short space of time, therefore, he was doing such things with colours as filled Gian Barile and the other craftsmen in the city with marvel. Now after three years, through continual study, he had acquired an excellent mastery over his work, and Gian Barile saw that by persisting in his studies the boy was likely to achieve an extraordinary success. Having therefore spoken of him to Piero di Cosimo, who was held at that time to be one of the best painters in Florence, he placed Andrea with Piero. And Andrea, as one full of desire to learn, laboured and studied without ceasing; while nature, which had created him to be a painter, so wrought in him, that he handled and managed his colours with as much grace as if he had been working for fifty years. Wherefore Piero conceived an extraordinary love for him, feeling marvellous pleasure in hearing that when Andrea had any time to himself, particularly on feast-days, he would spend the whole day in company with other young men, drawing in the Sala del Papa, wherein were the cartoons of Michelagnolo and Leonardo da Vinci, and that, young as he was, he surpassed all the other draughtsmen, both native and foreign, who were always competing there with one another.

Among these young men, there was one who pleased Andrea more than any other with his nature and conversation, namely, the painter Franciabigio; and Franciabigio, likewise, was attracted by Andrea. Having become friends, therefore, Andrea said to Franciabigio that he could no longer endure the caprices of Piero, who was now old, and that for this reason he wished to take a room for himself. Hearing this, Franciabigio, who was obliged to do the same thing because his master Mariotto Albertinelli had abandoned the art of painting, said to his companion Andrea that he also was in need of a room, and that it would be to the advantage of both of them if they were to join forces. Having therefore taken a room on the Piazza del Grano, they executed many works in company; among others, the curtains that cover the panel-pictures on the high-altar of the Servi; for which they received the commission from a sacristan very closely related to Franciabigio. On one of those curtains, that which faces the choir, they painted the Annunciation of the Virgin; and on the other, which is in front, a Deposition of Christ from the Cross, like that of the panel-picture which was there, painted by Filippo and Pietro Perugino.

The men of that company in Florence which is called the Company of the Scalzo used to assemble at the head of the Via Larga, above the houses of the Magnificent Ottaviano de' Medici, and opposite to the garden of S. Marco, in a building dedicated to S. John the Baptist, which had been built in those days by a number of Florentine craftsmen, who had made there, among other things, an entrance-court of masonry with a loggia which rested on some columns of no great size. And some of them, perceiving that Andrea was on the way to becoming known as an excellent painter, and being richer in spirit than in pocket, determined that he should paint round that cloister twelve pictures in chiaroscuro--that is to say, in fresco with terretta--containing twelve scenes from the life of S. John the Baptist. Whereupon, setting his hand to this, he painted in the first the scene of S. John baptizing Christ, with much diligence and great excellence of manner, whereby he gained credit, honour, and fame to such an extent, that many persons turned to him with commissions for works, as to one whom they thought to be destined in time to reach that honourable goal which was foreshadowed by his extraordinary beginnings in his profession.

Among other works that he made in that first manner, he painted a picture which is now in the house of Filippo Spini, held in great veneration in memory of so able a craftsman. And not long after this he was commissioned to paint for a chapel in S. Gallo, the Church of the Eremite Observantines of the Order of S. Augustine, without the Porta a S. Gallo, a panel-picture of Christ appearing in the garden to Mary Magdalene in the form of a gardener; which work, what with the colouring and a certain quality of softness and harmony, is sweetness itself, and so well executed, that it led to his painting two others not long afterwards for the same church, as will be related below. This panel is now in S. Jacopo tra Fossi, on the Canto degli Alberti, together with the two others.

After these works, Andrea and Franciabigio, leaving the Piazza del Grano, took new rooms in the Sapienza, near the Convent of the Nunziata; whence it came about that Andrea and Jacopo Sansovino, who was then a young man and was working at sculpture in the same place under his master Andrea Contucci, formed so warm and so strait a friendship together, that neither by day nor by night were they ever separated one from another. Their discussions were for the most part on the difficulties of art, so that it is no marvel that both of them should have afterwards become most excellent, as is now being shown of Andrea and as will be related in the proper place of Jacopo.

There was at this same time in the Convent of the Servi, selling the candles at the counter, a friar called Fra Mariano dal Canto alla Macine, who was also sacristan; and he heard everyone extolling Andrea mightily and saying that he was by way of making marvellous proficience in painting. Whereupon he planned to fulfil a desire of his own without much expense; and so, approaching Andrea, who was a mild and guileless fellow, on the side of his honour, he began to persuade him under the cloak of friendship that he wished to help him in a matter which would bring him honour and profit and would make him known in such a manner, that he would never be poor any more. Now many years before, as has been related above, Alesso Baldovinetti had painted a Nativity of Christ in the first cloister of the Servi, on the wall that has the Annunciation behind it; and in the same cloister, on the other side, Cosimo Rosselli had begun a scene of S. Filippo, the founder of that Servite Order, assuming the habit. But Cosimo had not carried that scene to completion, because death came upon him at the very moment when he was working at it. The friar, then, being very eager to see the rest finished, thought of serving his own ends by making Andrea and Franciabigio, who, from being friends, had become rivals in art, compete with one another, each doing part of the work. This, besides effecting his purpose very well, would make the expense less and their efforts greater. Thereupon, revealing his mind to Andrea, he persuaded him to undertake that enterprise, by pointing out to him that since it was a public and much frequented place, he would become known on account of such a work no less by foreigners than by the Florentines; that he should not look for any payment in return, or even for an invitation to undertake it, but should rather pray to be allowed to do it; and that if he were not willing to set to work, there was Franciabigio, who, in order to make himself known, had offered to accept it and to leave the matter of payment to him. These incitements did much to make Andrea resolve to undertake the work, and the rather as he was a man of little spirit; and the last reference to Franciabigio induced him to make up his mind completely and to come to an agreement, in the form of a written contract, with regard to the whole work, on the terms that no one else should have a hand in it. The friar, then, having thus pledged him and given him money, demanded that he should begin by continuing the life of S. Filippo, without receiving more than ten ducats from him in payment of each scene; and he told Andrea that he was giving him even that out of his own pocket, and was doing it more for the benefit and advantage of the painter than through any want or need of the convent.

Andrea, therefore, pursuing that work with the utmost diligence, like one who thought more of honour than of profit, after no long time completely finished the first three scenes and unveiled them. One was the scene of S. Filippo, now a friar, clothing the naked. In another he is shown rebuking certain gamesters, who blasphemed God and laughed at S. Filippo, mocking at his admonition, when suddenly there comes a lightning-flash from Heaven, which, striking a tree under the shade of which they were sheltering, kills two of them and throws the rest into an incredible panic. Some, with their hands to their heads, cast themselves forward in dismay; others, crying aloud in their terror, turn to flight; a woman, beside herself with fear at the sound of the thunder, is running away so naturally that she appears to be truly alive; and a horse, breaking loose amid this uproar and confusion, reveals with his leaps and fearsome movements what fear and terror are caused by things so sudden and so unexpected. In all this one can see how carefully Andrea looked to variety of incident in the representation of such events, with a forethought truly beautiful and most necessary for one who practises painting. In the third he painted the scene of S. Filippo delivering a woman from evil spirits, with all the most characteristic considerations that could be imagined in such an action. All these scenes brought extraordinary fame and honour to Andrea; and thus encouraged, he went on to paint two other scenes in the same cloister. On one wall is S. Filippo lying dead, with his friars about him making lamentation; and in addition there is a dead child, who, touching the bier on which S. Filippo lies, comes to life again, so that he is first seen dead, and then revived and restored to life, and all with a very beautiful, natural, and appropriate effect. In the last picture on that side he represented the friars placing the garments of S. Filippo on the heads of certain children; and there he made a portrait of Andrea della Robbia, the sculptor, in an old man clothed in red, who comes forward, stooping, with a staff in his hand. There, too, he portrayed Luca, his son; even as in the other scene mentioned above, in which S. Filippo lies dead, he made a portrait of another son of Andrea, named Girolamo, a sculptor and very much his friend, who died not long since in France.

Having thus finished that side of the cloister, and considering that if the honour was great, the payment was small, Andrea resolved to give up the rest of the work, however much the friar might complain. But the latter would not release him from his bond without Andrea first promising that he would paint two other scenes, at his own leisure and convenience, however, and with an increase of payment; and thus they came to terms.

Having come into greater repute by reason of these works, Andrea received commissions for many pictures and works of importance; among others, one from the General of the Monks of Vallombrosa, for painting an arch of the vaulting, with a Last Supper on the front wall, in the Refectory of the Monastery of S. Salvi, without the Porta alla Croce. In four medallions on that vault he painted four figures, S. Benedict, S. Giovanni Gualberto, S. Salvi the Bishop, and S. Bernardo degli Uberti of Florence, a friar of that Order and a Cardinal; and in the centre he made a medallion containing three faces, which are one and the same, to represent the Trinity. All this was very well executed for a work in fresco, and Andrea, therefore, came to be valued at his true worth in the art of painting. Whereupon he was commissioned at the instance of Baccio d' Agnolo to paint in fresco, in a close on the steep path of Orsanmichele, which leads to the Mercato Nuovo, the Annunciation still to be seen there, executed on a minute scale, which brought him but little praise; and this may have been because Andrea, who worked well without over-exerting himself or forcing his powers, is believed to have tried in this work to force himself and to paint with too much care.

As for the many pictures that he executed after this for Florence, it would take too long to try to speak of them all; and I will only say that among the most distinguished may be numbered the one that is now in the apartment of Baccio Barbadori, containing a full-length Madonna with a Child in her arms, S. Anne, and S. Joseph, all painted in a beautiful manner and held very dear by Baccio. He made one, likewise well worthy of praise, which is now in the possession of Lorenzo di Domenico Borghini, and another of Our Lady for Leonardo del Giocondo, which at the present day is in the hands of Piero, the son of Leonardo. For Carlo Ginori he painted two of no great size, which were bought afterwards by the Magnificent Ottaviano de' Medici; and one of these is now in his most beautiful villa of Campi, while the other, together with many other modern pictures executed by the most excellent masters, is in the apartment of the worthy son of so great a father, Signor Bernardetto, who not only esteems and honours the works of famous craftsmen, but is also in his every action a truly generous and magnificent nobleman.

Meanwhile the Servite friar had allotted to Franciabigio one of the scenes in the above-mentioned cloister; but that master had not yet finished making the screen, when Andrea, becoming apprehensive, since it seemed to him that Franciabigio was an abler and more dexterous master than himself in the handling of colours in fresco, executed, as it were out of rivalry, the cartoons for his two scenes, which he intended to paint on the angle between the side-door of S. Bastiano and the smaller door that leads from the cloister into the Nunziata. Having made the cartoons, he set to work in fresco; and in the first scene he painted the Nativity of Our Lady, a composition of figures beautifully proportioned and grouped with great grace in a room, wherein some women who are friends and relatives of the newly delivered mother, having come to visit her, are standing about her, all clothed in such garments as were customary at that time, and other women of lower degree, gathered around the fire, are washing the newborn babe, while others are preparing the swathing-bands and doing other similar services. Among them is a little boy, full of life, who is warming himself at the fire, with an old man resting in a very natural attitude on a couch, and likewise some women carrying food to the mother who is in bed, with movements truly lifelike and appropriate. And all these figures, together with some little boys who are hovering in the air and scattering flowers, are most carefully considered in their expressions, their draperies, and every other respect, and so soft in colour, that the figures appear to be of flesh and everything else rather real than painted.

In the other scene Andrea painted the three Magi from the East, who, guided by the Star, went to adore the Infant Jesus Christ. He represented them dismounted, as though they were near their destination; and that because there was only the space embracing the two doors to separate them from the Nativity of Christ which may be seen there, by the hand of Alesso Baldovinetti. In this scene Andrea painted the Court of those three Kings coming behind them, with baggage, much equipment, and many people following in their train, among whom, in a corner, are three persons portrayed from life and wearing the Florentine dress, one being Jacopo Sansovino, a full-length figure looking straight at the spectator, while another, with an arm in foreshortening, who is leaning against him and making a sign, is Andrea, the master of the work, and a third head, seen in profile behind Jacopo, is that of Ajolle, the musician. There are, in addition, some little boys who are climbing on the walls, in order to be able to see the magnificent procession and the fantastic animals that those three Kings have brought with them. This scene is quite equal in excellence to that mentioned above; nay, in both the one and the other he surpassed himself, not to speak of Franciabigio, who also finished his.

At this same time Andrea painted for the Abbey of S. Godenzo, a benefice belonging to the same friars, a panel which was held to be very well executed. And for the Friars of S. Gallo he made a panel-picture of Our Lady receiving the Annunciation from the Angel, wherein may be seen a very pleasing harmony of colouring, while the heads of some Angels accompanying Gabriel show a sweet gradation of tints and a perfectly executed beauty of expression in their features; and the predella below this picture was painted by Jacopo da Pontormo, who was a disciple of Andrea at that time, and gave proofs at that early age that he was destined to produce afterwards those beautiful works which he actually did execute in Florence with his own hand, although in the end he became one might say another painter, as will be related in his Life.

Andrea then painted for Zanobi Girolami a picture with figures of no great size, wherein was a story of Joseph, the son of Jacob, which was finished by him with unremitting diligence, and therefore held to be a very beautiful painting. Not long after this, he undertook to execute for the men of the Company of S. Maria della Neve, situated behind the Nunnery of S. Ambrogio, a little panel with three figures--Our Lady, S. John the Baptist, and S. Ambrogio; which work, when finished, was placed in due time on the altar of that Company.

Meanwhile, thanks to his talent, Andrea had become intimate with Giovanni Gaddi, afterwards appointed Clerk of the Chamber, who, always delighting in the arts of design, was then keeping Jacopo Sansovino continually at work. Being pleased, therefore, with the manner of Andrea, he caused him to paint a picture of Our Lady for himself, which was very beautiful, for Andrea painted various patterns and other ingenious devices round it, so that it was considered to be the most beautiful work that he had executed up to that time. After this he made for Giovanni di Paolo, the mercer, another picture of Our Lady, which, being truly lovely, gave infinite pleasure to all who saw it. And for Andrea Santini he executed another, containing Our Lady, Christ, S. John, and S. Joseph, all wrought with such diligence that the painting has always been esteemed in Florence as worthy of great praise.

All these works acquired such a name for Andrea in his city, that among the many, both young and old, who were painting at that time, he was considered one of the most excellent who were handling brushes and colours. Wherefore he found himself not only honoured, but even, although he exacted the most paltry prices for his labours, in a condition to do something to help and support his family, and also to shelter himself from the annoyances and anxieties which afflict those of us who live in poverty. But he became enamoured of a young woman, and a little time afterwards, when she had been left a widow, he took her for his wife; and then he had more than enough to do for the rest of his life, and much more trouble than he had suffered in the past, for the reason that, in addition to the labours and annoyances that such entanglements generally involve, he undertook others into the bargain, such as that of letting himself be harassed now by jealousy, now by one thing, and now by another.

But to return to the works of his hand, which were as rare as they were numerous: after those of which mention has been made above, he painted for a friar of S. Croce, of the Order of Minorites, who was then Governor of the Nunnery of S. Francesco in Via Pentolini, and delighted much in paintings, a panel-picture destined for the Church of those Nuns, of Our Lady standing on high upon an octagonal pedestal, at the corners of which are seated some Harpies, as it were in adoration of the Virgin; and she, using one hand to uphold her Son, who is clasping her most tenderly round the neck with His arms, in a very beautiful attitude, is holding a closed book in the other hand and gazing on two little naked boys, who, while helping her to stand upright, serve as ornaments about her person. This Madonna has on her right a beautifully painted S. Francis, in whose face may be seen the goodness and simplicity that truly belonged to that saintly man; besides which, the feet are marvellous, and so are the draperies, because Andrea always rounded off his figures with a very rich flow of folds and with certain most delicate curves, in such a way as to reveal the nude below. On her left hand she has a S. John the Evangelist, represented as a young man and in the act of writing his Gospel, in a very beautiful manner. In this work, moreover, over the building and the figures, is a film of transparent clouds, which appear to be really moving. This picture, among all Andrea's works, is held at the present day to be one of singular and truly rare beauty. For the joiner Nizza, also, he made a picture of Our Lady, which was considered to be no less beautiful than any of his other works.

After this, the Guild of Merchants determined to have some triumphal chariots made of wood after the manner of those of the ancient Romans, to the end that these might be drawn in procession on the morning of S. John's day, in place of certain altar-cloths and wax tapers which the cities and townships carry in token of tribute, passing before the Duke and the chief magistrates; and out of ten that were made at that time, Andrea painted some with scenes in oils and in chiaroscuro, which were much extolled. But although it was proposed that some should be made every year, until such time as every city and district had one of its own, which would have produced a show of extraordinary magnificence, nevertheless this custom was abandoned in the year 1527.

Now, while Andrea was adorning his city with these and other works, and his name was growing greater every day, the men of the Company of the Scalzo resolved that he should finish the work in their cloister, which he had formerly begun by painting the scene of the Baptism of Christ. Having resumed that work, therefore, more willingly, he executed two scenes there, with two very beautiful figures of Charity and Justice to adorn the door that leads into the building of the Company. In one of these scenes he represented S. John preaching to the multitude in a spirited attitude, lean in person, as befitted the life that he was leading, and with an expression of countenance filled with inspiration and thoughtfulness. Marvellous, likewise, are the variety and the vivacity of his hearers, some being shown in admiration, and all in astonishment, at hearing that new message and a doctrine so singular and never heard before. Even more did Andrea exert his genius in painting the same John baptizing with water a vast number of people, some of whom are stripping off their clothes, some receiving the baptism, and others, naked, waiting for him to finish baptizing those who are before them. In all of them Andrea showed a vivid emotion, with a burning desire in the gestures of those who are eager to be purified of their sins; not to mention that all the figures are so well executed in that chiaroscuro, that the whole has the appearance of a real and most lifelike scene in marble.

I will not refrain from saying that while Andrea was employed on these and other pictures, there appeared certain copper engravings by Albrecht Duerer, and Andrea made use of them, taking some of the figures and transforming them into his manner. And this has caused some people, while not saying that it is a bad thing for a man to make adroit use of the good work of others, to believe that Andrea had not much invention.

At that time there came to Baccio Bandinelli, then a draughtsman of great repute, a desire to learn to paint in oils. Whereupon, knowing that no man in Florence knew how to do that better than our Andrea, he commissioned him to paint his portrait, which was a good likeness of him at that age, as may be seen even yet; and thus, by watching him paint that work and others, he saw his method of colouring, although afterwards, either by reason of the difficulty or from lack of inclination, he did not pursue the use of colours, finding more satisfaction in sculpture.

Andrea executed for Alessandro Corsini a picture of a Madonna seated on the ground with a Child in her arms, surrounded by many little boys, which was finished with beautiful art and with very pleasing colour; and for a mercer, much his friend, who kept a shop in Rome, he made a most beautiful head. Giovan Battista Puccini of Florence, likewise, taking extraordinary pleasure in the manner of Andrea, commissioned him to paint a picture of Our Lady for sending into France; but it proved to be so fine that he kept it for himself, and would by no means send it. However, having been asked, while transacting the affairs of his business in France, to undertake to send choice paintings to that country, he caused Andrea to paint a picture of a Dead Christ surrounded by some Angels, who were supporting Him and contemplating with gestures of sorrow and compassion their Maker sunk to such a pass through the sins of the world. This work, when finished, gave such universal satisfaction, that Andrea, urged by many entreaties, had it engraved in Rome by the Venetian Agostino; but it did not succeed very well, and he would never again give any of his works to be engraved. But to return to the picture: it gave no less satisfaction in France, whither it was sent, than it had done in Florence, insomuch that the King, kindled with even greater desire to have works by Andrea, gave orders that he should execute others; which was the reason that Andrea, encouraged by his friends, resolved to go in a short time to France.

But meanwhile the Florentines, hearing in the year 1515 that Pope Leo X wished to grace his native city with his presence, ordained for his reception extraordinary festivities and a sumptuous and magnificent spectacle, with so many arches, facades, temples, colossal figures, and other statues and ornaments, that there had never been seen up to that time anything richer, more gorgeous, or more beautiful; for there was then flourishing in that city a greater abundance of fine and exalted intellects than had ever been known at any other period. At the entrance of the Porta di S. Piero Gattolini, Jacopo di Sandro, in company with Baccio da Montelupo, made an arch covered with historical scenes. Giuliano del Tasso made another at S. Felice in Piazza, with some statues and the obelisk of Romulus at S. Trinita, and Trajan's Column in the Mercato Nuovo. In the Piazza de' Signori, Antonio, the brother of Giuliano da San Gallo, erected an octagonal temple, and Baccio Bandinelli made a Giant for the Loggia. Between the Badia and the Palace of the Podesta there was an arch erected by Granaccio and Aristotele da San Gallo, and Il Rosso made another on the Canto de' Bischeri with a very beautiful design and a variety of figures. But what was admired more than everything else was the facade of S. Maria del Fiore, made of wood, and so well decorated with various scenes in chiaroscuro by our Andrea, that nothing more could have been desired. The architecture of this work was by Jacopo Sansovino, as were some scenes in low-relief and many figures carved in the round; and it was declared by the Pope that this structure--which was designed by Lorenzo de' Medici, father of that Pontiff, when he was alive--could not have been more beautiful, even if it had been of marble. The same Jacopo made a horse similar to the one in Rome, which was held to be a miracle of beauty, on the Piazza di S. Maria Novella. An endless number of ornaments, also, were executed for the Sala del Papa in the Via della Scala, and that street was half filled with most beautiful scenes wrought by the hands of many craftsmen, but designed for the most part by Baccio Bandinelli. Wherefore, when Leo entered Florence, on the third day of September in the same year, this spectacle was pronounced to be the grandest that had ever been devised, and the most beautiful.

But to return now to Andrea: being again requested to make another picture for the King of France, in a short time he finished one wherein he painted a very beautiful Madonna, which was sent off immediately, the merchants receiving for it four times as much as they had paid. Now at that very time Pier Francesco Borgherini had caused to be made by Baccio d' Agnolo some panelling, chests, chairs, and a bed, all carved in walnut-wood, for the furnishing of an apartment; wherefore, to the end that the paintings therein might be equal in excellence to the rest of the work, he commissioned Andrea to paint part of the scenes on these with figures of no great size, representing the acts of Joseph the son of Jacob, in competition with some of great beauty that had been executed by Granaccio and Jacopo da Pontormo. Andrea, then, devoting an extraordinary amount of time and diligence to the work, strove to bring it about that they should prove to be more perfect than those of the others mentioned above; in which he succeeded to a marvel, for in the variety of events happening in the stories he showed how great was his worth in the art of painting. So excellent were those scenes, that an attempt was made by Giovan Battista della Palla, on account of the siege of Florence, to remove them from the places where they were fixed, in order to send them to the King of France; but, since they were fixed in such a way that it would have meant spoiling the whole work, they were left where they were, together with a picture of Our Lady, which is held to be a very choice work.

After this Andrea executed a head of Christ, now kept by the Servite Friars on the altar of the Nunziata, of such beauty, that I for my part do not know whether any more beautiful image of the head of Christ could be conceived by the intellect of man. For the chapels in the Church of S. Gallo, without the Porta S. Gallo, there had been painted, in addition to the two panel-pictures by Andrea, a number of others, which were not equal to his; wherefore, since there was a commission to be given for another, those friars contrived to persuade the owner of the chapel to give it to Andrea; and he, beginning it immediately, made therein four figures standing, engaged in a disputation about the Trinity. One of these is S. Augustine, who, robed as a Bishop and truly African in aspect, is moving impetuously towards S. Peter Martyr, who is holding up an open book in a proud and sublime attitude: and the head and figure of the latter are much extolled. Beside him is a S. Francis holding a book in one hand and pressing the other against his breast; and he appears to be expressing with his lips a glowing ardour that makes him almost melt away in the heat of the discussion. There is also a S. Laurence, who, being young, is listening, and seems to be yielding to the authority of the others. Below them are two figures kneeling, one a Magdalene with most beautiful draperies, whose countenance is a portrait of Andrea's wife; for in no place did he paint a woman's features without copying them from her, and if perchance it happened at times that he took them from other women, yet, from his being used to see her continually, and from the circumstance that he had drawn her so often, and, what is more, had her impressed on his mind, it came about that almost all the heads of women that he made resembled her. The other kneeling figure is a S. Sebastian, who, being naked, shows his back, which appears to all who see it to be not painted, but of living flesh. And indeed, among so many works in oils, this was held by craftsmen to be the best, for the reason that there may be seen in it signs of careful consideration in the proportions of the figures, and much order in the method, with a sense of fitness in the expressions of the faces, the heads of the young showing sweetness of expression, those of the old hardness, and those of middle age a kind of blend that inclines both to the first and to the second. In a word, this panel is most beautiful in all its parts; and it is now to be found in S. Jacopo tra Fossi on the Canto degli Alberti, together with others by the hand of the same master.

While Andrea was living poorly enough in Florence, engaged in these works, but without bettering himself a whit, the two pictures that he had sent to France had been duly considered in that country by King Francis I; and among many others which had been sent from Rome, from Venice, and from Lombardy, they had been judged to be by far the best. The King therefore praising them mightily, it was remarked to him that it would be an easy matter to persuade Andrea to come to France to serve his Majesty; which news was so agreeable to the King, that he gave orders that all that was necessary should be done, and that money for the journey should be paid to Andrea in Florence. Andrea then set out for France with a glad heart, taking with him his assistant Andrea Sguazzella; and, having arrived at last at the Court, they were received by the King with great kindness and rejoicing. Before the very day of his arrival had passed by, Andrea proved for himself how great were the courtesy and the liberality of that magnanimous King, receiving presents of money and rich and honourable garments. Beginning to work soon afterwards, he became so dear to the King and to all the Court, that he was treated lovingly by everyone, and it appeared to him that his departure from his country had brought him from one extreme of wretchedness to the other extreme of bliss. Among his first works was a portrait from life of the Dauphin, the son of the King, born only a few months before, and still in swaddling-clothes; and when he took this to the King, he received a present of three hundred gold crowns. Then, continuing to work, he painted for the King a figure of Charity, which was considered a very rare work and was held by that Sovereign in the estimation that it deserved. After that, his Majesty granted him a liberal allowance and did all that he could to induce Andrea to stay willingly with him, promising him that he should never want for anything; and this because he liked Andrea's resoluteness in his work, and also the character of the man, who was contented with everything. Moreover, giving great satisfaction to the whole Court, he executed many pictures and various other works; and if he had kept in mind the condition from which he had escaped and the place to which fortune had brought him, there is no doubt that he would have risen--to say nothing of riches--to a most honourable rank. But one day, when he was at work on a S. Jerome in Penitence for the mother of the King, there came to him some letters from Florence, written by his wife; and he began, whatever may have been the reason, to think of departing. He sought leave, therefore, from the King, saying that he wished to go to Florence, but would return without fail to his Majesty after settling some affairs; and he would bring his wife with him, in order to live more at his ease in France, and would come back laden with pictures and sculptures of value. The King, trusting in him, gave him money for that purpose; and Andrea swore on the Testament to return to him in a few months.

Thus, then, he arrived in Florence, and for several months blissfully took his joy of his fair lady, his friends, and the city. And finally, the time at which he was to return having passed by, he found in the end that what with building, taking his pleasure, and doing no work, he had squandered all his money and likewise that of the King. Even so he wished to return, but he was more influenced by the sighs and prayers of his wife than by his own necessities and the pledge given to the King, so that, in order to please his wife, he did not go back; at which the King fell into such disdain, that for a long time he would never again look with a favourable eye on any painter from Florence, and he swore that if Andrea ever came into his hands he would give him a very different kind of welcome, with no regard whatever for his abilities. And thus Andrea, remaining in Florence, and sinking from the highest rung of the ladder to the very lowest, lived and passed the time as best he could.

After Andrea's departure to France, the men of the Scalzo, thinking that he would never return, had entrusted all the rest of the work in their cloister to Franciabigio, who had already executed two scenes there, when, seeing Andrea back in Florence, they persuaded him to set his hand to the work once more; and he, continuing it, painted four scenes, one beside another. In the first is S. John taken before Herod. In the second are the Feast and the Dance of Herodias, with figures very well grouped and appropriate. In the third is the Beheading of S. John, wherein the minister of justice, a half-nude figure, is beautifully drawn, as are all the others. In the fourth Herodias is presenting the head; and here there are figures expressing their astonishment, which are wrought with most beautiful thought and care. These scenes have been for some time the study and school of many young men who are now excellent in our arts.

In a shrine without the Porta a Pinti, at a corner where the road turns towards the Ingesuati, he painted in fresco a Madonna seated with a Child in her arms, and a little S. John who is smiling, a figure wrought with extraordinary art and with such perfect execution, that it is much extolled for its beauty and vivacity; and the head of the Madonna is a portrait of his wife from nature. This shrine, on account of the incredible beauty of the painting, which is truly marvellous, was left standing in 1530, when, because of the siege of Florence, the aforesaid Convent of the Ingesuati was pulled down, together with many other very beautiful buildings.

About the same time the elder Bartolommeo Panciatichi, who was carrying on a great mercantile business in France, desiring to leave a memorial of himself in Lyons, ordered Baccio d' Agnolo to have a panel painted for him by Andrea, and to send it to him there; saying that he wanted the subject to be the Assumption of Our Lady, with the Apostles about the tomb. This work, then, Andrea carried almost to completion; but since the wood of the panel split apart several times, he would sometimes work at it, and sometimes leave it alone, so that at his death it remained not quite finished. Afterwards it was placed by the younger Bartolommeo Panciatichi in his house, as a work truly worthy of praise on account of the beautiful figures of the Apostles; not to speak of the Madonna, who is surrounded by a choir of little boys standing, while certain others are supporting her and bearing her upwards with extraordinary grace. And in the foreground of the panel, among the Apostles, is a portrait of Andrea, so natural that it seems to be alive. It is now at the villa of the Baroncelli, a little distance from Florence, in a small church built by Piero Salviati near his villa to do honour to the picture.

At the head of the garden of the Servi, in two angles, Andrea painted two scenes of Christ's Vineyard, one showing the planting, staking, and binding of the vines, and then the husbandman summoning to the labour those who were standing idle, among whom is one who, being asked whether he wishes to join the work, sits rubbing his hands and pondering whether he will go among the other labourers, exactly as those idle fellows do who have but little mind to work. Even more beautiful is the other scene, wherein the same husbandman is causing them to be paid, while they murmur and complain, and one among them, who is counting over his money by himself, wholly intent on examining his share, seems absolutely alive, as also does the steward who is paying out the wages. These scenes are in chiaroscuro, and executed with extraordinary mastery in fresco. After them he painted a Pieta, coloured in fresco, which is very beautiful, in a niche at the head of a staircase in the noviciate of the same convent. He also painted another Pieta in a little picture in oils, in addition to a Nativity, for the room in that convent wherein the General, Angelo Aretino, once lived.

The same master painted for Zanobi Bracci, who much desired to have some work by his hand, for one of his apartments, a picture of Our Lady, in which she is on her knees, leaning against a rock, and contemplating Christ, who lies on a heap of drapery and looks up at her, smiling; while a S. John, who stands there, is making a sign to the Madonna, as if to say that her Child is the true Son of God. Behind these figures is a S. Joseph with his head resting on his hands, which are lying on a rock; and he appears to be filled with joy at seeing the human race become divine through that Birth.

Cardinal Giulio de' Medici having been commissioned by Pope Leo to see to the adorning with stucco and paintings of the ceiling in the Great Hall of Poggio a Caiano, a palatial villa of the Medici family, situated between Pistoia and Florence, the charge of arranging for that work and of paying out the money was given to the Magnificent Ottaviano de' Medici, as to a person who, not falling short of the standard of his ancestors, was well informed in such matters and a loving friend to all the masters of our arts, and delighted more than any other man to have his dwellings adorned with the works of the most excellent. Ottaviano ordained, therefore, although the commission for the whole work had already been given to Franciabigio, that he should have only a third, Andrea another, and Jacopo da Pontormo the last. But it was found impossible, for all the efforts that the Magnificent Ottaviano made to urge them on, and for all the money that he offered and even paid to them, to get the work brought to completion; and Andrea alone finished with great diligence a scene on one wall, representing Caesar being presented with tribute of all kinds of animals. The drawing for this work is in our book, with many others by his hand; it is in chiaroscuro, and is the most finished that he ever made. In this picture Andrea, in order to surpass Franciabigio and Jacopo, subjected himself to unexampled labour, drawing in it a magnificent perspective-view and a very masterly flight of steps, which formed the ascent to the throne of Caesar. And these steps he adorned with very well-designed statues, not being content with having proved the beauty of his genius in the variety of figures that are carrying on their backs all those different animals, such as the figure of an Indian who is wearing a yellow coat, and carrying on his shoulders a cage drawn in perspective with some parrots both within it and without, the whole being rarely beautiful; and such, also, as some who are leading Indian goats, lions, giraffes, panthers, lynxes, and apes, with Moors and other lovely things of fancy, all grouped in a beautiful manner and executed divinely well in fresco. On these steps, also, he made a dwarf seated and holding a box containing a chameleon, which is so well executed in all the deformity of its fantastic shape, that it is impossible to imagine more beautiful proportions than those that he gave it. But, as has been said, this work remained unfinished, on account of the death of Pope Leo; and although Duke Alessandro de' Medici had a great desire that Jacopo da Pontormo should finish it, he was not able to prevail on him to put his hand to it. And in truth it suffered a very grievous wrong in the failure to complete it, seeing that the hall, for one in a villa, is the most beautiful in the world.

After returning to Florence, Andrea painted a picture with a nude half-length figure of S. John the Baptist, a very beautiful thing, which he executed at the commission of Giovan Maria Benintendi, who presented it afterwards to the Lord Duke Cosimo.

While affairs were proceeding in this manner, Andrea, remembering sometimes his connection with France, sighed from his heart: and if he had hoped to find pardon for the fault he had committed, there is no doubt that he would have gone back. Indeed, to try his fortune, he sought to see whether his talents might be helpful to him in the matter. Thus he painted a picture of a half-naked S. John the Baptist, meaning to send it to the Grand Master of France, to the end that he might occupy himself with restoring the painter to the favour of the King. However, whatever may have been the reason, he never sent it after all, but sold it to the Magnificent Ottaviano de' Medici, who always valued it much as long as he lived, even as he did two pictures of Our Lady executed for him by Andrea in one and the same manner, which are in his house at the present day.

Not long afterwards he was commissioned by Zanobi Bracci to paint a picture for Monsignore di San Biause,[6] which he executed with all possible diligence, hoping that it might enable him to regain the favour of King Francis, to whose service he desired to return. He also executed for Lorenzo Jacopi a picture of much greater size than was usual, containing a Madonna seated with the Child in her arms, accompanied by two other figures that are seated on some steps; and the whole, both in drawing and in colouring, is similar to his other works. He painted for Giovanni d' Agostino Dini, likewise, a picture of Our Lady, which is now much esteemed for its beauty; and he made so good a portrait from life of Cosimo Lapi, that it seems absolutely alive.

Afterwards, in the year 1523, the plague came to Florence and also to some places in the surrounding country; and Andrea, in order to avoid that pestilence and also to do some work, went at the instance of Antonio Brancacci to the Mugello to paint a panel for the Nuns of S. Piero a Luco, of the Order of Camaldoli, taking with him his wife and a stepdaughter, together with his wife's sister and an assistant. Living quietly there, then, he set his hand to the work. And since those venerable ladies showed more and more kindness and courtesy every day to his wife, to himself, and to the whole party, he applied himself with the greatest possible willingness to executing that panel, in which he painted a Dead Christ mourned by Our Lady, S. John the Evangelist, and the Magdalene, figures so lifelike, that they appear truly to have spirit and breath. In S. John may be seen the loving tenderness of that Apostle, with affection in the tears of the Magdalene, and bitter sorrow in the face and whole attitude of the Madonna, whose aspect, as she gazes on Christ, who seems to be truly a real corpse and in relief, is so pitiful, that she fills with helpless awe and bewilderment the minds of S. Peter and S. Paul, who are contemplating the Dead Saviour of the World in the lap of His mother. From these marvellous conceptions it is clear how much Andrea delighted in finish and perfection of art; and to tell the truth, this panel has given more fame to that convent than all the buildings and all the other costly works, however magnificent and extraordinary, that have been executed there.

This picture finished, Andrea, seeing that the danger of the plague was not yet past, stayed some weeks more in the same place, where he was so well received and treated with such kindness. During that time, in order not to be idle, he painted not only a Visitation of Our Lady to S. Elizabeth, which is in the church, on the right hand above the Manger, serving as a crown to a little ancient panel, but also, on a canvas of no great size, a most beautiful head of Christ, somewhat similar to that on the altar of the Nunziata, but not so finished. This head, which may in truth be numbered among the better works that issued from the hands of Andrea, is now in the Monastery of the Monks of the Angeli at Florence, in the possession of that very reverend father, Don Antonio da Pisa, who loves not only the men of excellence in our arts, but every man of talent without exception. From this picture several copies have been taken, for Don Silvano Razzi entrusted it to the painter Zanobi Poggini, to the end that he might make a copy for Bartolommeo Gondi, who had asked him for one, and some others were made, which are held in vast veneration in Florence.

In this manner, then, Andrea passed without danger the time of the plague, and those nuns received from the genius of that great man such a work as can bear comparison with the most excellent pictures that have been painted in our day; wherefore it is no marvel that Ramazzotto, the captain of mercenaries of Scaricalasino, sought to obtain it on several occasions during the siege of Florence, in order to send it to his chapel in S. Michele in Bosco at Bologna.

On his return to Florence, Andrea executed for Beccuccio da Gambassi, the glass-blower, who was very much his friend, a panel-picture of Our Lady in the sky with the Child in her arms, and four figures below, S. John the Baptist, S. Mary Magdalene, S. Sebastian, and S. Rocco; and in the predella he made portraits from nature, which are most lifelike, of Beccuccio and his wife. This panel is now at Gambassi, a township in Valdelsa, between Volterra and Florence. For a chapel in the villa of Zanobi Bracci at Rovezzano, he painted a most beautiful picture of Our Lady suckling a Child, with a Joseph, all executed with such diligence that they stand out from the panel, so strong is the relief; and this picture is now in the house of M. Antonio Bracci, the son of that Zanobi. About the same time, also, and in the above-mentioned cloister of the Scalzo, Andrea painted two other scenes, in one of which he depicted Zacharias offering sacrifice and being made dumb by the Angel appearing to him, while in the other is the Visitation of Our Lady, beautiful to a marvel.

Now Federigo II, Duke of Mantua, in passing through Florence on his way to make obeisance to Clement VII, saw over a door in the house of the Medici that portrait of Pope Leo between Cardinal Giulio de' Medici and Cardinal de' Rossi, which the most excellent Raffaello da Urbino had formerly painted; and being extraordinarily pleased with it, he resolved, being a man who delighted in pictures of such beauty, to make it his own. And so, when he was in Rome and the moment seemed to him to have come, he asked for it as a present from Pope Clement, who courteously granted his request. Thereupon orders were sent to Florence to Ottaviano de' Medici, under whose care and government were Ippolito and Alessandro, that he should have it packed up and taken to Mantua. This matter was very displeasing to the Magnificent Ottaviano, who would never have consented to deprive Florence of such a picture, and he marvelled that the Pope should have given it up so readily. However, he answered that he would not fail to satisfy the Duke; but that, since the frame was bad, he was having a new one made, and when it had been gilt he would send the picture with every possible precaution to Mantua. This done, Messer Ottaviano, in order to "save both the goat and the cabbage," as the saying goes, sent privately for Andrea and told him how the matter stood, and how there was no way out of it but to make an exact copy of the picture with the greatest care and send it to the Duke, secretly retaining the one by the hand of Raffaello. Andrea, then, having promised to do all in his power and knowledge, caused a panel to be made similar in size and in every respect, and painted it secretly in the house of Messer Ottaviano. And to such purpose did he labour, that when it was finished even Messer Ottaviano, for all his understanding in matters of art, could not tell the one from the other, nor distinguish the real and true picture from the copy; especially as Andrea had counterfeited even the spots of dirt, exactly as they were in the original. And so, after they had hidden the picture of Raffaello, they sent the one by the hand of Andrea, in a similar frame, to Mantua; at which the Duke was completely satisfied, and above all because the painter Giulio Romano, a disciple of Raffaello, had praised it, failing to detect the trick. This Giulio would always have been of the same opinion, and would have believed it to be by the hand of Raffaello, but for the arrival in Mantua of Giorgio Vasari, who, having been as it were the adoptive child of Messer Ottaviano, and having seen Andrea at work on that picture, revealed the truth. For Giulio making much of Vasari, and showing him, after many antiquities and paintings, that picture of Raffaello's, as the best work that was there, Giorgio said to him, "A beautiful work it is, but in no way by the hand of Raffaello." "What?" answered Giulio. "Should I not know it, when I recognize the very strokes that I made with my own brush?" "You have forgotten them," said Giorgio, "for this picture is by the hand of Andrea del Sarto; and to prove it, there is a sign (to which he pointed) that was made in Florence, because when the two were together they could not be distinguished." Hearing this, Giulio had the picture turned round, and saw the mark; at which he shrugged his shoulders and said these words, "I value it no less than if it were by the hand of Raffaello--nay, even more, for it is something out of the course of nature that a man of excellence should imitate the manner of another so well, and should make a copy so like. It is enough that it should be known that Andrea's genius was as valiant in double harness as in single." Thus, then, by the wise judgment of Messer Ottaviano, satisfaction was given to the Duke without depriving Florence of so choice a work, which, having been presented to him afterwards by Duke Alessandro, he kept in his possession for many years; and finally he gave it to Duke Cosimo, who has it in his guardaroba together with many other famous pictures.

While Andrea was making this copy, he also painted for the same Messer Ottaviano a picture with only the head of Cardinal Giulio de' Medici, who afterwards became Pope Clement; and this head, which was similar to that by Raffaello, and very beautiful, was presented eventually by Messer Ottaviano to old Bishop de' Marzi.

Not long after, Messer Baldo Magini of Prato desiring to have a most beautiful panel-picture painted for the Madonna delle Carcere in his native city, for which he had already caused a very handsome ornament of marble to be made, one of the many painters proposed to him was Andrea. Wherefore Messer Baldo, having more inclination for him than for any of the others, although he had no great understanding in such a matter, had almost given him to believe that he and no other should do the work, when a certain Niccolo Soggi of Sansovino, who had some interest at Prato, was suggested to Messer Baldo for the undertaking, and assisted to such purpose by the assertion that there was not a better master to be found, that the work was given to him. Meanwhile, Andrea's supporters sending for him, he, holding it as settled that the work was to be his, went off to Prato with Domenico Puligo and other painters who were his friends. Arriving there, he found that Niccolo not only had persuaded Messer Baldo to change his mind, but also was bold and shameless enough to say to him in the presence of Messer Baldo that he would compete with Andrea for a bet of any sum of money in painting something, the winner to take the whole. Andrea, who knew what Niccolo was worth, answered, although he was generally a man of little spirit, "Here is my assistant, who has not been long in our art. If you will bet with him, I will put down the money for him; but with me you shall have no bet for any money in the world, seeing that, if I were to beat you, it would do me no honour, and if I were to lose, it would be the greatest possible disgrace." And, saying to Messer Baldo that he should give the work to Niccolo, because he would execute it in such a manner as would please the folk that went to market, he returned to Florence.

There he was commissioned to paint a panel for Pisa, divided into five pictures, which were afterwards placed round the Madonna of S. Agnese, beside the walls of that city, between the old Citadel and the Duomo. Making one figure, then, in each picture, he painted in two of them S. John the Baptist and S. Peter, one on either side of the Madonna that works miracles; and in the others are S. Catharine the Martyr, S. Agnese, and S. Margaret, each a figure by itself, and all so beautiful as to fill with marvel anyone who beholds them, and considered to be the most gracious and lovely women that he ever painted.

M. Jacopo, a Servite friar, in releasing and absolving a woman from a vow, had told her that she must have a figure of Our Lady painted over the outer side of that lateral door of the Nunziata which leads into the cloister; and therefore, finding Andrea, he said to him that he had this money to spend, and that although it was not much it seemed to him right, since the other works executed by Andrea in that place had brought him such fame, that he and no other should paint this one as well. Andrea, who was nothing if not an amiable man, moved by the persuasions of the friar and by his own desire for profit and glory, answered that he would do it willingly; and shortly afterwards, putting his hand to the work, he painted in fresco a most beautiful Madonna seated with her Son in her arms, and S. Joseph leaning on a sack, with his eyes fixed upon an open book. And of such a kind was this work, in draughtsmanship, grace, and beauty of colouring, as well as in vivacity and relief, that it proved that he outstripped and surpassed by a great measure all the painters who had worked up to that time. Such, indeed, is this picture, that by its own merit and without praise from any other quarter it makes itself clearly known as amazing and most rare.

There was wanting only one scene in the cloister of the Scalzo for it to be completely finished; wherefore Andrea, who had added grandeur to his manner after having seen the figures that Michelagnolo had begun and partly finished for the Sacristy of S. Lorenzo, set his hand to executing this last scene. In this, giving the final proof of his improvement, he painted the Birth of S. John the Baptist, with figures that were very beautiful and much better and stronger in relief than the others made by him before in the same place. Most beautiful, among others in this work, are a woman who is carrying the newborn babe to the bed on which lies S. Elizabeth, who is likewise a most lovely figure, and Zacharias, who is writing on a paper that he has placed on his knee, holding it with one hand and with the other writing the name of his son, and all with such vivacity, that he lacks nothing save the breath of life. Most beautiful, also, is an old woman who is seated on a stool, smiling with gladness at the delivery of the other aged woman, and revealing in her attitude and expression all that would be seen in a living person after such an event.

Having finished that work, which is certainly well worthy of all praise, he painted for the General of Vallombrosa a panel-picture with four very lovely figures, S. John the Baptist, S. Giovanni Gualberto, founder of that Order, S. Michelagnolo, and S. Bernardo, a Cardinal and a monk of the Order, with some little boys in the centre that could not be more vivacious or more beautiful. This panel is at Vallombrosa, on the summit of a rocky height, where certain monks live in some rooms called "the cells," separated from the others, and leading as it were the lives of hermits.

After this he was commissioned by Giuliano Scala to paint a panel-picture, which was to be sent to Serrazzana, of a Madonna seated with the Child in her arms, and two half-length figures from the knees upwards, S. Celso and S. Julia, with S. Onofrio, S. Catharine, S. Benedict, S. Anthony of Padua, S. Peter, and S. Mark; which panel was held to be equal to the other works of Andrea. And in the hands of Giuliano Scala, in place of the balance due to him of a sum of money that he had paid for the owners of that work, there remained a lunette containing an Annunciation, which was to go above the panel, to complete it; and it is now in his chapel in the great tribune round the choir of the Church of the Servi.

The Monks of S. Salvi had let many years pass by without thinking of having a beginning made with their Last Supper, which they had commissioned Andrea to execute at the time when he painted the arch with the four figures; but finally an Abbot, who was a man of judgment and breeding, determined that he should finish that work. Thereupon Andrea, who had already pledged himself to it on a previous occasion, far from making any demur, put his hand to the task, and, working at it one piece at a time when he felt so inclined, finished it in a few months, and that in such a manner, that the work was held to be, as it certainly is, the most spontaneous and the most vivacious in colouring and drawing that he ever made, or that ever could be made. For, among other things, he gave infinite grandeur, majesty, and grace to all the figures, insomuch that I know not what to say of this Last Supper that would not be too little, it being such that whoever sees it is struck with amazement. Wherefore it is no marvel that on account of its excellence it was left standing amid the havoc of the siege of Florence, in the year 1529, at which time the soldiers and destroyers, by command of those in authority, pulled down all the suburbs without the city, and all the monasteries, hospitals, and other buildings. These men, I say, having destroyed the Church and Campanile of S. Salvi, and beginning to throw down part of the convent, had come to the refectory where this Last Supper is, when their leader, seeing so marvellous a painting, of which he may have heard speak, abandoned the undertaking and would not let any more of that place be destroyed, reserving the task until such time as there should be no alternative.

Andrea then painted for the Company of S. Jacopo, called the Nicchio, on a banner for carrying in processions, a S. James fondling a little boy dressed as a Flagellant by stroking him under the chin, with another boy who has a book in his hand, executed with beautiful grace and naturalness. He made a portrait from life of a steward of the Monks of Vallombrosa, who lived almost always in the country on the affairs of his monastery; and this portrait was placed under a sort of bower, in which he had made pergole and contrivances of his own in various fanciful designs, so that it was buffeted by wind and rain, according to the pleasure of that steward, who was the friend of Andrea. And because, when the work was finished, there were some colours and lime left over, Andrea, taking a tile, called to his wife Lucrezia and said to her: "Come here, for these colours are left over, and I wish to make your portrait, so that all may see how well you have preserved your beauty even at your time of life, and yet may know how your appearance has changed, which will make this one different from your early portraits." But the woman, who may have had something else in her mind, would not stand still; and Andrea, as it were from a feeling that he was near his end, took a mirror and made a portrait of himself on that tile, of such perfection, that it seems alive and as real as nature; and that portrait is in the possession of the same Madonna Lucrezia, who is still living.

He also portrayed a Canon of Pisa, very much his friend; and the portrait, which is lifelike and very beautiful, is still in Pisa. He then began for the Signoria the cartoons for the paintings to be executed on the balustrades of the Ringhiera in the Piazza, with many beautiful things of fancy to represent the quarters of the city, and with the banners of the Consuls of the chief Guilds supported by some little boys, and also ornaments in the form of images of all the virtues, and likewise the most famous mountains and rivers of the dominion of Florence. But this work, thus begun, remained unfinished on account of Andrea's death, as was also the case with a panel--although it was all but finished--which he painted for the Abbey of the Monks of Vallombrosa at Poppi in the Casentino. In that panel he painted an Assumption of Our Lady, who is surrounded by many little boys, with S. Giovanni Gualberto, S. Bernardo the Cardinal (a monk of their Order, as has been related), S. Catharine, and S. Fedele; and, unfinished as it is, the picture is now in that Abbey of Poppi. The same happened to a panel of no great size, which, when finished, was to have gone to Pisa. But he left completely finished a very beautiful picture which is now in the house of Filippo Salviati, and some others.

About the same time Giovan Battista della Palla, having bought all the sculptures and pictures of note that he could obtain, and causing copies to be made of those that he could not buy, had despoiled Florence of a vast number of choice works, without the least scruple, in order to furnish a suite of rooms for the King of France, which was to be richer in suchlike ornaments than any other in the world. And this man, desiring that Andrea should return to the service and favour of the King, commissioned him to paint two pictures. In one of these Andrea painted Abraham in the act of trying to sacrifice his son; and that with such diligence, that it was judged that up to that time he had never done anything better. Beautifully expressed in the figure of the patriarch was seen that living and steadfast faith which made him ready without a moment of dismay or hesitation to slay his own son. The same Abraham, likewise, could be seen turning his head towards a very beautiful little angel, who appeared to be bidding him stay his hand. I will not describe the attitude, the dress, the foot-wear, and other details in the painting of that old man, because it is not possible to say enough of them; but this I must say, that the boy Isaac, tender and most beautiful, was to be seen all naked, trembling with the fear of death, and almost dead without having been struck. The same boy had only the neck browned by the heat of the sun, and white as snow those parts that his draperies had covered during the three days' journey. In like manner, the ram among the thorns seemed to be alive, and Isaac's draperies on the ground rather real and natural than painted. And in addition there were some naked servants guarding an ass that was browsing, and a landscape so well represented that the real scene of the event could not have been more beautiful or in any way different. This picture, having been bought by Filippo Strozzi after the death of Andrea and the capture of Battista, was presented by him to Signor Alfonso Davalos, Marchese del Vasto, who had it carried to the island of Ischia, near Naples, and placed in one of his apartments in company with other most noble paintings.

In the other picture Andrea painted a very beautiful Charity, with three little boys; and this was afterwards bought from the wife of Andrea, after his death, by the painter Domenico Conti, who sold it later to Niccolo Antinori, who treasures it as a rare work, as indeed it is.

During this time there came to the Magnificent Ottaviano de' Medici, seeing from that last picture how much Andrea had improved his manner, a desire to have a picture by his hand. Whereupon Andrea, who was eager to serve that lord, to whom he was much indebted, because he had always shown favour to men of lofty intellect, and particularly to painters, executed for him a picture of Our Lady seated on the ground with the Child riding astride on her knees, while He turns His head towards a little S. John supported by an old S. Elizabeth, a figure so natural and so well painted that she appears to be alive, even as every other thing is wrought with incredible diligence, draughtsmanship, and art. Having finished this picture, Andrea carried it to Messer Ottaviano; but since that lord had something else to think about, Florence being then besieged, he told Andrea, while thanking him profoundly and making his excuses, to dispose of it as he thought best. To which Andrea made no reply but this: "The labour was endured for you, and yours the work shall always be." "Sell it," answered Messer Ottaviano, "and use the money, for I know what I am talking about." Andrea then departed and returned to his house, nor would he ever give the picture to anyone, for all the offers that were made to him; but when the siege was raised and the Medici back in Florence, he took it once more to Messer Ottaviano, who accepted it right willingly, thanking him and paying him double. The work is now in the apartment of his wife, Madonna Francesca, sister to the very reverend Salviati, who holds the beautiful pictures left to her by her magnificent consort in no less account than she does the duty of retaining and honouring his friends.

For Giovanni Borgherini Andrea painted another picture almost exactly like the one of Charity mentioned above, containing a Madonna, a little S. John offering to Christ a globe that represents the world, and a very beautiful head of S. Joseph.

There came to Paolo da Terrarossa, a friend to the whole body of painters, who had seen the sketch for the aforesaid Abraham, a wish to have some work by the hand of Andrea. Having therefore asked him for a copy of that Abraham, Andrea willingly obliged him and made a copy of such a kind, that in its minuteness it was by no means inferior to the large original. Wherefore Paolo, well satisfied with it and wishing to pay him, asked him the price, thinking that it would cost him what it was certainly worth; but Andrea asked a mere song, and Paolo, almost ashamed, shrugged his shoulders and gave him all that he claimed. The picture was afterwards sent by him to Naples ...[7] and it is the most beautiful and the most highly honoured painting in that place.

During the siege of Florence some captains had fled the city with the pay-chests; on which account Andrea was asked to paint on the facade of the Palace of the Podesta and in the Piazza not only those captains, but also some citizens who had fled and had been proclaimed outlaws. He said that he would do it; but in order not to acquire, like Andrea dal Castagno, the name of Andrea degl' Impiccati, he gave it out that he was entrusting the work to one of his assistants, called Bernardo del Buda. However, having made a great enclosure, which he himself entered and left by night, he executed those figures in such a manner that they appeared to be the men themselves, real and alive. The soldiers, who were painted on the facade of the old Mercatanzia in the Piazza, near the Condotta, were covered with whitewash many years ago, that they might be seen no longer; and the citizens, whom he painted entirely with his own hand on the Palace of the Podesta, were destroyed in like manner.

After this, being very intimate in these last years of his life with certain men who governed the Company of S. Sebastiano, which is behind the Servite Convent, Andrea made for them with his own hand a S. Sebastian from the navel upwards, so beautiful that it might well have seemed that these were the last strokes of the brush which he was to make.

The siege being finished, Andrea was waiting for matters to mend, although with little hope that his French project would succeed, since Giovan Battista della Palla had been taken prisoner, when Florence became filled with soldiers and stores from the camp. Among those soldiers were some lansquenets sick of the plague, who brought no little terror into the city and shortly afterwards left it infected. Thereupon, either through this apprehension or through some imprudence in eating after having suffered much privation in the siege, one day Andrea fell grievously ill and took to his bed with death on his brow; and finding no remedy for his illness, and being without much attention--for his wife, from fear of the plague, kept as far away from him as she could--he died, so it is said, almost without a soul being aware of it; and he was buried by the men of the Scalzo with scant ceremony in the Church of the Servi, near his own house, in the place where the members of that Company are always buried.

The death of Andrea was a very great loss to the city and to art, because up to the age of forty-two, which he attained, he went on always improving from one work to another in such wise that, if he had lived longer, he would have continued to confer benefits on art; for the reason that it is better to go on making progress little by little, advancing with a firm and steady foot through the difficulties of art, than to seek to force one's intellect and nature in a single effort. Nor is there any doubt that if Andrea had stayed in Rome when he went there to see the works of Raffaello and Michelagnolo, and also the statues and ruins of that city, he would have enriched his manner greatly in the composition of scenes, and would one day have given more delicacy and greater force to his figures; which has never been thoroughly achieved save by one who has been some time in Rome, to study those works in detail and grow familiar with them. Having then from nature a sweet and gracious manner of drawing and great facility and vivacity of colouring, both in fresco-work and in oils, it is believed without a doubt that if he had stayed in Rome, he would have surpassed all the craftsmen of his time. But some believe that he was deterred from this by the abundance of works of sculpture and painting, both ancient and modern, that he saw in that city, and by observing the many young men, disciples of Raffaello and of others, resolute in draughtsmanship and working confidently and without effort, whom, like the timid fellow that he was, he did not feel it in him to excel. And so, not trusting himself, he resolved, as the best course for him, to return to Florence; where, reflecting little by little on what he had seen, he made such proficience that his works have been admired and held in price, and, what is more, imitated more often after his death than during his lifetime. Whoever has some holds them dear, and whoever has consented to sell them has received three times as much as was paid to him, for the reason that he never received anything but small prices for his works, both because he was timid by nature, as has been related, and also because certain master-joiners, who were executing the best works at that time in the houses of citizens, would never allow any commission to be given to Andrea (so as to oblige their friends), save when they knew that he was in great straits, for at such times he would accept any price. But this does not prevent his works from being most rare, or from being held in very great account, and that rightly, since he was one of the best and greatest masters who have lived even to our own day. In our book are many drawings by his hand, all good; but in particular there is one that is altogether beautiful, of the scene that he painted at Poggio, showing the tribute of all the animals from the East being presented to Caesar. This drawing, which is executed in chiaroscuro, is a rare thing, and the most finished that Andrea ever made; for when he drew natural objects for reproduction in his works, he made mere sketches dashed off on the spot, contenting himself with marking the character of the reality; and afterwards, when reproducing them in his works, he brought them to perfection. His drawings, therefore, served him rather as memoranda of what he had seen than as models from which to make exact copies in his pictures.

The disciples of Andrea were innumerable, but they did not all pursue the same course of study under his discipline, for some stayed with him a long time, and some but little; which was the fault, not of Andrea, but of his wife, who, tyrannizing arrogantly over them all, and showing no respect to a single one of them, made all their lives a burden. Among his disciples, then, were Jacopo da Pontormo; Andrea Sguazzella, who adhered to the manner of Andrea and decorated a palace, a work which is much extolled, without the city of Paris in France; Solosmeo; Pier Francesco di Jacopo di Sandro, who has painted three panels that are in S. Spirito; Francesco Salviati; Giorgio Vasari of Arezzo, who was the companion of the aforesaid Salviati, although he did not stay long with Andrea; Jacopo del Conte of Florence; and Nannoccio, who is now in France with Cardinal de Tournon, in the highest credit. In like manner, Jacopo, called Jacone, was a disciple of Andrea and much his friend, and an imitator of his manner. This Jacone, while Andrea was alive, received no little help from him, as is evident in all his works, and particularly in the facade executed for the Chevalier Buondelmonti on the Piazza di S. Trinita.

The heir to Andrea's drawings and other art-possessions, after his death, was Domenico Conti, who made little proficience in painting; but one night he was robbed--by some men of the same profession, so it is thought--of all the drawings, cartoons, and other things that he had from Andrea, nor was it ever discovered who these men were. Now Domenico, as one not ungrateful for the benefits received from his master, and desiring to render to him after his death the honours that he deserved, prevailed upon Raffaello da Montelupo to make for him out of courtesy a very handsome tablet of marble, which was built into a pilaster in the Church of the Servi, with the following epitaph, written for him by the most learned Messer Piero Vettori, then a young man:

ANDREAE SARTIO ADMIRABILIS INGENII PICTORI, AC VETERIBUS ILLIS OMNIUM JUDICIO COMPARANDO, DOMINICUS CONTES DISCIPULUS, PRO LABORIBUS IN SE INSTITUENDO SUSCEPTIS, GRATO ANIMO POSUIT. VIXIT ANN. XLII, OB. ANN. MDXXX.

After no long time, certain citizens, Wardens of Works of that church, rather ignorant than hostile to honoured memories, so went to work out of anger that the tablet should have been set up in that place without their leave, that they had it removed; nor has it yet been re-erected in any other place. Thus, perchance, Fortune sought to show that the power of the Fates prevails not only during our lives, but also over our memorials after death. In spite of them, however, the works and the name of Andrea are likely to live a long time, as are these my writings, I hope, to preserve their memory for many ages.

We must conclude, then, that if Andrea showed poor spirit in the actions of his life, contenting himself with little, this does not mean that in art he was otherwise than exalted in genius, most resolute, and masterly in every sort of labour; and with his works, in addition to the adornment that they confer on the places where they are, he rendered a most valuable service to his fellow-craftsmen with regard to manner, drawing, and colouring, and that with fewer errors than any other painter of Florence, for the reason that, as has been said above, he understood very well the management of light and shade and how to make things recede in the darks, and painted his pictures with a sweetness full of vivacity; not to mention that he showed us the method of working in fresco with perfect unity and without doing much retouching on the dry, which makes his every work appear to have been painted in a single day. Wherefore he should serve in every place as an example to Tuscan craftsmen, and receive supreme praise and a palm of honour among the number of their most celebrated champions.

FOOTNOTE:

[6] Jacques de Beaune.

[7] There is here a gap in the text.

MADONNA PROPERZIA DE' ROSSI

LIFE OF MADONNA PROPERZIA DE' ROSSI

SCULPTOR[8] OF BOLOGNA

It is an extraordinary thing that in all those arts and all those exercises wherein at any time women have thought fit to play a part in real earnest, they have always become most excellent and famous in no common way, as one might easily demonstrate by an endless number of examples. Everyone, indeed, knows what they are all, without exception, worth in household matters; besides which, in connection with war, likewise, it is known who were Camilla, Harpalice, Valasca, Tomyris, Penthesilea, Molpadia, Orizia, Antiope, Hippolyta, Semiramis, Zenobia, and, finally, Mark Antony's Fulvia, who so often took up arms, as the historian Dion tells us, to defend her husband and herself. But in poetry, also, they have been truly marvellous, as Pausanias relates. Corinna was very celebrated as a writer of verse, and Eustathius makes mention in his "Catalogue of the Ships of Homer"--as does Eusebius in his book of "Chronicles"--of Sappho, a young woman of great renown, who, in truth, although she was a woman, was yet such that she surpassed by a great measure all the eminent writers of that age. And Varro, on his part, gives extraordinary but well-deserved praise to Erinna, who, with her three hundred verses, challenged the fame of the brightest light of Greece, and counterbalanced with her one small volume, called the "Elecate," the ponderous "Iliad" of the great Homer. Aristophanes celebrates Carissena, a votary of the same profession, as a woman of great excellence and learning; and the same may be said for Teano, Merone, Polla, Elpe, Cornificia, and Telesilla, to the last of whom, in honour of her marvellous talents, a most beautiful statue was set up in the Temple of Venus.

Passing by the numberless other writers of verse, do we not read that Arete was the teacher of the learned Aristippus in the difficulties of philosophy, and that Lastheneia and Assiotea were disciples of the divine Plato? In the art of oratory, Sempronia and Hortensia, women of Rome, were very famous. In grammar, so Athenaeus relates, Agallis was without an equal. And as for the prediction of the future, whether we class this with astrology or with magic, it is enough to say that Themis, Cassandra, and Manto had an extraordinary renown in their times; as did Isis and Ceres in matters of agriculture, and the Thespiades in the whole field of the sciences.

But in no other age, for certain, has it been possible to see this better than in our own, wherein women have won the highest fame not only in the study of letters--as has been done by Signora Vittoria del Vasto, Signora Veronica Gambara, Signora Caterina Anguisciuola, Schioppa, Nugarola, Madonna Laura Battiferri, and a hundred others, all most learned as well in the vulgar tongue as in the Latin and the Greek--but also in every other faculty. Nor have they been too proud to set themselves with their little hands, so tender and so white, as if to wrest from us the palm of supremacy, to manual labours, braving the roughness of marble and the unkindly chisels, in order to attain to their desire and thereby win fame; as did, in our own day, Properzia de' Rossi of Bologna, a young woman excellent not only in household matters, like the rest of them, but also in sciences without number, so that all the men, to say nothing of the women, were envious of her.

This Properzia was very beautiful in person, and played and sang in her day better than any other woman of her city. And because she had an intellect both capricious and very ready, she set herself to carve peach-stones, which she executed so well and with such patience, that they were singular and marvellous to behold, not only for the subtlety of the work, but also for the grace of the little figures that she made in them and the delicacy with which they were distributed. And it was certainly a miracle to see on so small a thing as a peach-stone the whole Passion of Christ, wrought in most beautiful carving, with a vast number of figures in addition to the Apostles and the ministers of the Crucifixion. This encouraged her, since there were decorations to be made for the three doors of the first facade of S. Petronio all in figures of marble, to ask the Wardens of Works, by means of her husband, for a part of that work; at which they were quite content, on the condition that she should let them see some work in marble executed by her own hand. Whereupon she straightway made for Count Alessandro de' Peppoli a portrait from life in the finest marble, representing his father, Count Guido, which gave infinite pleasure not only to them, but also to the whole city; and the Wardens of Works, therefore, did not fail to allot a part of the work to her. In this, to the vast delight of all Bologna, she made an exquisite scene, wherein--because at that time the poor woman was madly enamoured of a handsome young man, who seemed to care but little for her--she represented the wife of Pharaoh's Chamberlain, who, burning with love for Joseph, and almost in despair after so much persuasion, finally strips his garment from him with a womanly grace that defies description. This work was esteemed by all to be most beautiful, and it was a great satisfaction to herself, thinking that with this illustration from the Old Testament she had partly quenched the raging fire of her own passion. Nor would she ever do any more work in connection with that building, although there was no person who did not beseech her that she should go on with it, save only Maestro Amico, who out of envy always dissuaded her and went so far with his malignity, ever speaking ill of her to the Wardens, that she was paid a most beggarly price for her work.

She also made two angels in very strong relief and beautiful proportions, which may now be seen, although against her wish, in the same building. In the end she devoted herself to copper-plate engraving, which she did without reproach, gaining the highest praise. And so the poor love-stricken young woman came to succeed most perfectly in everything, save in her unhappy passion.

The fame of an intellect so noble and so exalted spread throughout all Italy, and finally came to the ears of Pope Clement VII, who, immediately after he had crowned the Emperor in Bologna, made inquiries after her; but he found that the poor woman had died that very week, and had been buried in the Della Morte Hospital, as she had directed in her last testament. At which the Pope, who was eager to see her, felt much sorrow at her death; but more bitter even was it for her fellow-citizens, who regarded her during her lifetime as one of the greatest miracles produced by nature in our days.

In our book are some very good drawings by the hand of this Properzia, done with the pen and copied from the works of Raffaello da Urbino; and her portrait was given to me by certain painters who were very much her friends.

But, although Properzia drew very well, there have not been wanting women not only to equal her in drawing, but also to do as good work in painting as she did in sculpture. Of these the first is Sister Plautilla, a nun and now Prioress in the Convent of S. Caterina da Siena, on the Piazza di S. Marco in Florence. She, beginning little by little to draw and to imitate in colours pictures and paintings by excellent masters, has executed some works with such diligence, that she has caused the craftsmen to marvel. By her hand are two panels in the Church of that Convent of S. Caterina, of which the one with the Magi adoring Jesus is much extolled. In the choir of the Convent of S. Lucia, at Pistoia, there is a large panel, containing Our Lady with the Child in her arms, S. Thomas, S. Augustine, S. Mary Magdalene, S. Catherine of Siena, S. Agnese, S. Catherine the Martyr, and S. Lucia; and another large panel by the same hand was sent abroad by the Director of the Hospital of Lelmo. In the refectory of the aforesaid Convent of S. Caterina there is a great Last Supper, with a panel in the work-room, both by the hand of the same nun. And in the houses of gentlemen throughout Florence there are so many pictures, that it would be tedious to attempt to speak of them all. A large picture of the Annunciation belongs to the wife of the Spaniard, Signor Mondragone, and Madonna Marietta de' Fedini has another like it. There is a little picture of Our Lady in S. Giovannino, at Florence; and an altar-predella in S. Maria del Fiore, containing very beautiful scenes from the life of S. Zanobi. And because this venerable and talented sister, before executing panels and works of importance, gave attention to painting in miniature, there are in the possession of various people many wonderfully beautiful little pictures by her hand, of which there is no need to make mention. The best works from her hand are those that she has copied from others, wherein she shows that she would have done marvellous things if she had enjoyed, as men do, advantages for studying, devoting herself to drawing, and copying living and natural objects. And that this is true is seen clearly from a picture of the Nativity of Christ, copied from one which Bronzino once painted for Filippo Salviati. In like manner, the truth of such an opinion is proved by this, that in her works the faces and features of women, whom she has been able to see as much as she pleased, are no little better than the heads of the men, and much nearer to the reality. In the faces of women in some of her works she has portrayed Madonna Costanza de' Doni, who has been in our time an unexampled pattern of beauty and dignity; painting her so well, that it is impossible to expect more from a woman who, for the reasons mentioned above, has had no great practice in her art.

With much credit to herself, likewise, has Madonna Lucrezia, the daughter of Messer Alfonso Quistelli della Mirandola, and now the wife of Count Clemente Pietra, occupied herself with drawing and painting, as she still does, after having been taught by Alessandro Allori, the pupil of Bronzino; as may be seen from many pictures and portraits executed by her hand, which are worthy to be praised by all. But Sofonisba of Cremona, the daughter of Messer Amilcaro Anguisciuola, has laboured at the difficulties of design with greater study and better grace than any other woman of our time, and she has not only succeeded in drawing, colouring, and copying from nature, and in making excellent copies of works by other hands, but has also executed by herself alone some very choice and beautiful works of painting. Wherefore she well deserved that King Philip of Spain, having heard of her merits and abilities from the Lord Duke of Alba, should have sent for her and caused her to be escorted in great honour to Spain, where he keeps her with a rich allowance about the person of the Queen, to the admiration of all that Court, which reveres the excellence of Sofonisba as a miracle. And it is no long time since Messer Tommaso Cavalieri, a Roman gentleman, sent to the Lord Duke Cosimo (in addition to a drawing by the hand of the divine Michelagnolo, wherein is a Cleopatra) another drawing by the hand of Sofonisba, containing a little girl laughing at a boy who is weeping because one of the cray-fish out of a basket full of them, which she has placed in front of him, is biting his finger; and there is nothing more graceful to be seen than that drawing, or more true to nature. Wherefore, in memory of the talent of Sofonisba, who lives in Spain, so that Italy has no abundance of her works, I have placed it in my book of drawings.

We may truly say, then, with the divine Ariosto, that--

Le donne son venute in eccellenza Di ciascun' arte ov' hanno posto cura.

And let this be the end of the Life of Properzia, sculptor of Bologna.

FOOTNOTE:

[8] The translator is unwilling to use the somewhat ugly word "sculptress."

ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, GIROLAMO SANTA CROCE OF NAPLES, DOSSO AND BATTISTA DOSSI

LIVES OF ALFONSO LOMBARDI OF FERRARA, MICHELAGNOLO DA SIENA, AND GIROLAMO SANTA CROCE OF NAPLES

SCULPTORS

AND DOSSO AND BATTISTA DOSSI

PAINTERS OF FERRARA

Alfonso of Ferrara, working in his early youth with stucco and wax, made an endless number of portraits from life on little medallions for many nobles and gentlemen of his own country. Some of these are still to be seen, white in colour and made of wax or stucco, and bear witness to the fine intellect and judgment that he possessed; such as those of Prince Doria, of Duke Alfonso of Ferrara, of Clement VII, of the Emperor Charles V, of Cardinal Ippolito de' Medici, of Bembo, of Ariosto, and of other suchlike personages. Finding himself in Bologna at the coronation of Charles V, he executed the decorations of the door of S. Petronio as a part of the preparations for that festival; and he had come into such repute through being the first to introduce the good method of making portraits from life in the form of medals, as has been related, that there was not a single man of distinction in those Courts for whom he did not execute some work, to his own great profit and honour. But, not being content with the gain and the glory that came to him from making works in clay, in wax, and in stucco, he set himself to work in marble; and such was the proficience that he showed in some things that he made, although these were of little importance, that he was commissioned to execute the tomb of Ramazzotto, which brought him very great fame and honour, in S. Michele in Bosco, without Bologna. After that work he made some little scenes of marble in half-relief on the predella of the altar at the tomb of S. Dominic, in the same city. And for the door of S. Petronio, also, on the left hand of the entrance into the church, he executed some little scenes in marble, containing a very beautiful Resurrection of Christ. But what pleased the people of Bologna most of all was the Death of Our Lady, wrought with a very hard mixture of clay and stucco, with figures in full-relief, in an upper room of the Della Vita Hospital; and marvellous, among other things in that work, is the Jew who leaves his hands fixed to the bier of the Madonna. With the same mixture, also, he made a large Hercules with the dead Hydra under his feet, for the upper room of the Governor in the Palazzo Pubblico of that city; which statue was executed in competition with Zaccaria da Volterra, who was greatly surpassed by the ability and excellence of Alfonso. For the Madonna del Baracane the same master made two Angels in stucco, who are upholding a canopy in half-relief; and in some medallions in the middle aisle of S. Giuseppe, between one arch and another, he made the twelve Apostles from the waist upwards, of terra-cotta and in full-relief. In terra-cotta, likewise, for the corners of the vaulting of the Madonna del Popolo in the same city, he executed four figures larger than life; namely, S. Petronio, S. Procolo, S. Francis, and S. Dominic, figures which are all very beautiful and grand in manner. And by the hand of the same man are some works in stucco at Castel Bolognese, and some others in the Company of S. Giovanni at Cesena.

Let no one marvel that hitherto our account of this master has dealt with scarcely any work save in clay, wax, and stucco, and very little in marble, because--besides the fact that Alfonso was always inclined to that sort of work--after passing a certain age, being very handsome in person and youthful in appearance, he practised art more for pleasure and to satisfy his own vanity than with any desire to set himself to chisel stone. He used always to wear on his arms, on his neck, and in his clothing, ornaments of gold and suchlike fripperies, which showed him to be rather a courtier, vain and wanton, than a craftsman desirous of glory. Of a truth, just as such ornaments enhance the splendour of those to whom, on account of their wealth, high estate, and noble blood, they are becoming, so are they worthy of reproach in craftsmen and others, who should not measure themselves, some for one reason and some for another, with the rich, seeing that such persons, in place of being praised, are held in less esteem by men of judgment, and often laughed to scorn. Now Alfonso, charmed with himself and indulging in expressions and wanton excesses little worthy of a good craftsman, on one occasion robbed himself through this behaviour of all the glory that he had won by labouring at his profession. For one evening, chancing to be at a wedding in the house of a Count in Bologna, and having made love for some time to a lady of quality, he had the luck to be invited by her to dance the torch-dance; whereupon, whirling round with her, and overcome by the frenzy of his passion, he said with a trembling voice, sighing deeply, and gazing at his lady with eyes full of tenderness: "S'amor non e, che dunque e quel ch' io sento?"[9] Hearing this, the lady, who had a shrewd wit, answered, in order to show him his error: "A louse, perhaps." Which answer was heard by many, so that the saying ran through all Bologna, and he was held to scorn ever afterwards. Truly, if Alfonso had given his attention not to the vanities of the world, but to the labours of art, without a doubt he would have produced marvellous works; for if he achieved this in part without exerting himself much, what would he have done if he had faced the dust and heat?

The aforesaid Emperor Charles V being in Bologna, and the most excellent Tiziano da Cadore having come to make a portrait of his Majesty, Alfonso likewise was seized with a desire to execute a portrait of that Sovereign. And having no other means of contriving to do that, he besought Tiziano, without revealing to him what he had in mind, that he should do him the favour of introducing him, in the place of one of those who used to carry his colours, into the presence of his Majesty. Wherefore Tiziano, who loved him much, like the truly courteous man that he has always been, took Alfonso with him into the apartments of the Emperor. Alfonso, as soon as Tiziano had settled down to work, took up a position behind him, in such a way that he could not be seen by the other, who was wholly intent on his portrait; and, taking up a little box in the shape of a medallion, he made therein a portrait of the Emperor in stucco, and had it finished at the very moment when Tiziano had likewise brought his picture to completion. The Emperor then rising, Alfonso closed the box and had already hidden it in his sleeve, to the end that Tiziano might not see it, when his Majesty said to him: "Show me what you have done." He was thus forced to give his portrait humbly into the hand of the Emperor, who, having examined it and praised it highly, said to him: "Would you have the courage to do it in marble?" "Yes, your sacred Majesty," answered Alfonso. "Do it, then," added the Emperor, "and bring it to me in Genoa." How unusual this proceeding must have seemed to Tiziano every man may imagine for himself. For my part, I believe that it must have appeared to him that he had compromised his credit. But what must have seemed to him most strange was this, that when his Majesty sent a present of a thousand crowns to Tiziano, he bade him give the half, or five hundred crowns, to Alfonso, keeping the other five hundred for himself, at which it is likely enough that Tiziano felt aggrieved. Alfonso, then, setting to work with the greatest zeal in his power, brought the marble head to completion with such diligence, that it was pronounced to be a very fine thing: which was the reason that, when he had taken it to the Emperor, his Majesty ordered that three hundred crowns more should be given to him.

Alfonso having come into great repute through the gifts and praises bestowed on him by the Emperor, Cardinal Ippolito de' Medici took him to Rome, where he kept many sculptors and painters about his person, in addition to a vast number of other men of ability; and he commissioned him to make a copy in marble of a very famous antique head of the Emperor Vitellius. In that work Alfonso justified the opinion held of him by the Cardinal and by all Rome, and he was charged by the same patron to make a portrait-bust in marble of Pope Clement VII, after the life, and shortly afterwards one of Giuliano de' Medici, father of the Cardinal; but the latter was left not quite finished. These heads were afterwards sold in Rome, and bought by me at the request of the Magnificent Ottaviano de' Medici, together with some pictures; and in our own day they have been placed by the Lord Duke Cosimo de' Medici in that hall of the new apartments of his palace wherein I have painted, on the ceiling and the walls, all the stories of Pope Leo X; they have been placed, I say, in that hall, over the doors made of that red veined marble which is found near Florence, in company with the heads of other illustrious men of the house of Medici.

But returning to Alfonso; he then went on to execute many works in sculpture for the same Cardinal, but these, being small things, have disappeared. After the death of Clement, when a tomb had to be made for him and also for Leo, the work was allotted by Cardinal de' Medici to Alfonso; whereupon he made a model with figures of wax, which was held to be very beautiful, after some sketches by Michelagnolo Buonarroti, and went off to Carrara with money to have the marble quarried. But not long afterwards the Cardinal, having departed from Rome on his way to Africa, died at Itri, and the work slipped out of the hands of Alfonso, because he was dismissed by its executors, Cardinals Salviati, Ridolfi, Pucci, Cibo, and Gaddi, and it was entrusted by the favour of Madonna Lucrezia Salviati, daughter of the great Lorenzo de' Medici, the elder, and sister of Leo, to Baccio Bandinelli, a sculptor of Florence, who had made models for it during the lifetime of Clement.

For this reason Alfonso, thus knocked off his high horse and almost beside himself, determined to return to Bologna; and, having arrived in Florence, he presented to Duke Alessandro a most beautiful head in marble of the Emperor Charles V, which is now in Carrara, whither it was sent by Cardinal Cibo, who removed it after the death of Duke Alessandro from the guardaroba of that Prince. The Duke, when Alfonso arrived in Florence, was in the humour to have his portrait taken; for it had already been done on medals by Domenico di Polo, a gem-engraver, and by Francesco di Girolamo dal Prato, for the coinage by Benvenuto Cellini, and in painting by Giorgio Vasari of Arezzo and Jacopo da Pontormo, and he wished that Alfonso should likewise portray him. Wherefore he made a very beautiful portrait of him in relief, much better than the one executed by Danese da Carrara, and then, since he was wholly set on going to Bologna, he was given the means to make one there in marble, after the model. And so, having received many gifts and favours from Duke Alessandro, Alfonso returned to Bologna, where, being still far from content on account of the death of the Cardinal, and sorely vexed by the loss of the tombs, there came upon him a pestilent and incurable disease of the skin, which wasted him away little by little, until, having reached the age of forty-nine, he passed to a better life, never ceasing to rail at Fortune, which had robbed him of a patron to whom he might have looked for all the blessings which could make him happy in this life, and saying that she should have closed his own eyes, since she had reduced him to such misery, rather than those of Cardinal Ippolito de' Medici. Alfonso died in the year 1536.

Michelagnolo, a sculptor of Siena, after he had spent the best years of his life in Sclavonia with other excellent sculptors, made his way to Rome on the following occasion. After the death of Pope Adrian, Cardinal Hincfort, who had been the friend and favourite of that Pontiff, determined, as one not ungrateful for the benefits received from him, to erect to him a tomb of marble; and he gave the charge of this to Baldassarre Peruzzi, the painter of Siena. And that master, having made the model, desired that the sculptor Michelagnolo, his friend and compatriot, should undertake the work on his own account. Michelagnolo, therefore, made on that tomb a lifesize figure of Pope Adrian, lying upon the sarcophagus and portrayed from nature, with a scene, also in marble, below him, showing his arrival in Rome and the Roman people going to meet him and to do him homage. Around the tomb, moreover, in four niches, are four Virtues in marble, Justice, Fortitude, Peace, and Prudence, all executed with much diligence by the hand of Michelagnolo after the counsel of Baldassarre. It is true, indeed, that some of the things that are in this work were wrought by the Florentine sculptor, Tribolo, then a very young man, and these were considered the best of all; but Michelagnolo executed the minor details of the work with supreme diligence and subtlety, and the little figures that are in it deserve to be extolled more than all the rest. Among other things, there are some variegated marbles wrought with a high finish, and put together so well that nothing more could be desired. For these labours Michelagnolo received a just and honourable reward from the aforesaid Cardinal, and was treated with much favour by him for the rest of his life; and, in truth, with right good reason, seeing that this tomb and the Cardinal's gratitude have done as much to bring fame to him as did the work to give a name to Michelagnolo in his lifetime and renown after his death. This work finished, no long time elapsed before Michelagnolo passed from this life to the next, at about the age of fifty.

Girolamo Santa Croce of Naples, although he was snatched from us by death in the very prime of life, at a time when greater things were looked for from him, yet showed in the works of sculpture that he made at Naples during his few years, what he would have done if he had lived longer; for the works that he executed in sculpture at Naples were wrought and finished with all the lovingness that could be desired in a young man who wishes to surpass by a great measure those who for many years before his day have held the sovereignty in some noble profession. In S. Giovanni Carbonaro at Naples he built the Chapel of the Marchese di Vico, which is a round temple, partitioned by columns and niches, with some tombs carved with much diligence. And because the altar-piece of this chapel, made of marble in half-relief and representing the Magi bringing their offerings to Christ, is by the hand of a Spaniard, Girolamo executed in emulation of this work a S. John in a niche, so beautifully wrought in full-relief, that it showed that he was not inferior to the Spaniard either in courage or in judgment; on which account he won such a name, that, although Giovanni da Nola was held in Naples to be a marvellous sculptor and better than any other, nevertheless Girolamo worked in competition with him as long as he lived, notwithstanding that his rival was now old and had executed a vast number of works in that city, where it is much the custom to make chapels and altar-pieces of marble. Competing with Giovanni, then, Girolamo undertook to execute a chapel in Monte Oliveto at Naples, just within the door of the church, on the left hand, while Giovanni executed another opposite to his, on the other side, in the same style. In his chapel Girolamo made a lifesize Madonna in the round, which is held to be a very beautiful figure; and since he took infinite pains in executing the draperies and the hands, and in giving bold relief to the marble by undercutting, he brought it to such perfection that it was the general opinion that he had surpassed all those who had handled tools for working marble at Naples in his time. This Madonna he placed between a S. John and a S. Peter, figures very well conceived and executed, and finished in a beautiful manner, as are also some children which are placed above them.

In addition to these, he made two large and most beautiful statues in full-relief for the Church of Capella, a seat of the Monks of Monte Oliveto. He then began a statue of the Emperor Charles V, at the time of his return from Tunis; but after he had blocked it and carved it with the pointed chisel, and even in some places with the broad-toothed chisel, it remained unfinished, because fortune and death, envying the world such excellence, snatched him from us at the age of thirty-five. It was confidently expected that Girolamo, if he had lived, even as he had outstripped all his compatriots in his profession, would also have surpassed all the craftsmen of his time. Wherefore his death was a grievous blow to the Neapolitans, and all the more because he had been endowed by nature not only with a most beautiful genius, but also with as much modesty, sweetness, and gentleness as could be looked for in mortal man; so that it is no marvel if all those who knew him are not able to restrain their tears when they speak of him. His last sculptures were executed in 1537, in which year he was buried at Naples with most honourable obsequies.

Old as he was, Giovanni da Nola, who was a well-practised sculptor, as may be seen from many works made by him at Naples with good skill of hand, but not with much design, still remained alive. Him Don Pedro di Toledo, Marquis of Villafranca, and at that time Viceroy of Naples, commissioned to execute a tomb of marble for himself and his wife; and therein Giovanni made a great number of scenes of the victories obtained by that lord over the Turks, with many statues for the same work, which stands quite by itself, and was executed with much diligence. This tomb was to have been taken to Spain; but, since that nobleman did not do this while he was alive, it remained in Naples. Giovanni died at the age of seventy, and was buried in Naples, in the year 1558.

About the same time that Heaven presented to Ferrara, or rather, to the world, the divine Lodovico Ariosto, there was born in the same city the painter Dosso, who, although he was not as rare among painters as Ariosto among poets, nevertheless acquitted himself in his art in such a manner, that, besides the great esteem wherein his works were held in Ferrara, his merits caused the learned poet, his intimate friend, to honour his memory by mentioning him in his most celebrated writings; so that the pen of Messer Lodovico has given more renown to the name of Dosso than did all the brushes and colours that he used in the whole of his life. Wherefore I, for my part, declare that there could be no greater good-fortune than that of those who are celebrated by such great men, since the might of the pen forces most of mankind to accept their fame, even though they may not wholly deserve it.

Dosso was much beloved by Duke Alfonso of Ferrara: first for his good abilities in the art of painting, and then because he was a very pleasant and amiable person--a manner of man in whom the Duke greatly delighted. Dosso had the reputation in Lombardy of executing landscapes better than any other painter engaged in that branch of the profession, whether in mural painting, in oils, or in gouache; and all the more after the German manner became known. In Ferrara, for the Cathedral Church, he executed a panel-picture with figures in oils, which was held to be passing beautiful; and in the Duke's Palace he painted many rooms, in company with a brother of his, called Battista. These two were always enemies, one against the other, although they worked together by the wish of the Duke. In the court of the said palace they executed stories of Hercules in chiaroscuro, with an endless number of nudes on those walls; and in like manner they painted many works on panel and in fresco throughout all Ferrara. By their hands is a panel in the Duomo of Modena; and they painted many things in the Cardinal's Palace at Trento, in company with other painters.

At this same time the painter and architect, Girolamo Genga, was executing various decorations in the Imperiale Palace, above Pesaro, as will be related in the proper place, for Duke Francesco Maria of Urbino; and among the number of painters who were summoned to that work by order of the same Signor Francesco Maria, invitations were sent to Dosso and Battista of Ferrara, principally for the painting of landscapes; many paintings having been executed long before in that palace by Francesco di Mirozzo[10] of Forli, Raffaello dal Colle of Borgo a San Sepolcro, and many others. Now, having arrived at the Imperiale, Dosso and Battista, according to the custom of men of their kidney, found fault with most of the paintings that they saw, and promised the Duke that they would do much better work; and Genga, who was a shrewd person, seeing how the matter was likely to end, gave them an apartment to paint by themselves. Thereupon, setting to work, they strove with all labour and diligence to display their worth; but, whatever may have been the reason, never in all the course of their lives did they do any work less worthy of praise, or rather, worse, than that one. It seems often to happen, indeed, that in their greatest emergencies, when most is expected of them, men become blinded and bewildered in judgment, and do worse work than at any other time; which may result, perchance, from their own malign and evil disposition to be always finding fault with the works of others, or from their seeking to force their genius overmuch, seeing that to proceed step by step according to the ruling of nature, yet without neglecting diligence and study, appears to be a better method than seeking to wrest from the brain, as it were by force, things that are not there; and it is a fact that in the other arts as well, but above all in that of writing, lack of spontaneity is only too easily recognized, and also, so to speak, over-elaboration in everything.

Now, when the work of the Dossi was unveiled, it proved to be so ridiculous that they left the service of the Duke in disgrace; and he was forced to throw to the ground all that they had executed, and to have it repainted by others after the designs of Genga.

Finally, they painted a very beautiful panel-picture in the Duomo of Faenza for the Chevalier, M. Giovan Battista de' Buosi, of Christ disputing in the Temple; in which work they surpassed themselves, by reason of the new manner that they used, and particularly in the portraits of that Chevalier and of others. That picture was set up in that place in the year 1536. Ultimately Dosso, having grown old, spent his last years without working, being pensioned until the close of his life by Duke Alfonso. And in the end Battista survived him, executing many works by himself, and maintaining himself in a good condition. Dosso was buried in his native city of Ferrara.

There lived in the same times the Milanese Bernazzano, a very excellent painter of landscapes, herbage, animals, and other things of earth, air, and water. And since, as one who knew himself to have little aptitude for figures, he did not give much attention to them, he associated himself with Cesare da Sesto, who painted them very well and in a beautiful manner. It is said that Bernazzano executed in a courtyard some very beautiful landscapes in fresco, in which he painted a strawberry-bed full of strawberries, ripe, green, and in blossom, and so well imitated, that some peacocks, deceived by their natural appearance, were so persistent in picking at them as to make holes in the plaster.

FOOTNOTE:

[9] "What is it that I feel, if it is not love?"

[10] This seems to be an error for Melozzo.

GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHER PAINTERS OF FRIULI

LIVES OF GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OF OTHER PAINTERS OF FRIULI

It would seem, as has been remarked already in the same connection, that Nature, the kindly mother of the universe, sometimes presents the rarest things to certain places that never had any knowledge of such gifts, and that at times she creates in some country men so much inclined to design and to painting, that, without masters, but only by imitating living and natural objects, they become most excellent. And it also happens very often that when one man has begun, many set themselves to work in competition with him, and labour to such purpose, without seeing Rome, Florence, or any other place full of notable pictures, but merely through rivalry one with another, that marvellous works are seen to issue from their hands. All this may be seen to have happened more particularly in Friuli, where, in our own day, in consequence of such a beginning, there has been a vast number of excellent painters--a thing which had not occurred in those parts for many centuries.

While Giovanni Bellini was working in Venice and teaching his art to many, as has been related, he had two disciples who were rivals one with another--Pellegrino da Udine, who, as will be told, was afterwards called Da San Daniele, and Giovanni Martini of Udine. Let us begin, then, by speaking of Giovanni. He always imitated the manner of Bellini, which was somewhat crude, hard, and dry; nor was he ever able to give it sweetness or softness, although he was a diligent and finished painter. This may have happened because he was always making trial of certain reflections, half-lights, and shadows, with which, cutting the relief in the middle, he contrived to define light and shade very abruptly, in such a way that the colouring of all his works was always crude and unpleasant, although he strove laboriously with his art to imitate Nature. By the hand of this master are numerous works in many places in Friuli, particularly in the city of Udine, in the Duomo of which there is a panel-picture executed in oils, of S. Mark seated with many figures round him, which is held to be the best of all that he ever painted. There is another on the altar of S. Ursula in the Church of the Friars of S. Pietro Martire, wherein the first-mentioned Saint is standing with some of her virgins round her, all painted with much grace and beautiful expressions of countenance. This Giovanni, besides being a passing good painter, was endowed by Nature with beauty and grace of features and an excellent character, and, what is most desirable, with such foresight and power of management, that, after his death, in default of heirs male, he left an inheritance of much property to his wife. And she, being, so I have heard, a lady as shrewd as she was beautiful, knew so well how to manage her life after the death of her husband, that she married two very beautiful daughters into the richest and most noble houses of Udine.

Pellegrino da San Daniele, who was a rival of Giovanni, as has been related, and a man of greater excellence in painting, received at baptism the name of Martino. But Giovanni Bellini, judging that he was destined to become, as he afterwards did, a truly rare master of art, changed his name from Martino to Pellegrino.[11] And even as his name was changed, so he may be said by chance to have changed his country, since, living by preference at San Daniele, a township ten miles distant from Udine, and spending most of his time in that place, where he had taken a wife, he was called ever afterwards not Martino da Udine, but Pellegrino da San Daniele. He painted many pictures in Udine, and some may still be seen on the doors of the old organ, on the outer side of which is painted a sunken arch in perspective, containing a S. Peter seated among a multitude of figures and handing a pastoral staff to S. Ermacora the Bishop. On the inner side of the same doors, likewise, in some niches, he painted the four Doctors of the Church in the act of studying. For the Chapel of S. Giuseppe he executed a panel-picture in oils, drawn and coloured with much diligence, in the middle of which is S. Joseph standing in a beautiful attitude, with an air of dignity, and beside him is Our Lord as a little Child, while S. John the Baptist is below in the garb of a little shepherd-boy, gazing intently on his Master. And since this picture is much extolled, we may believe what is said of it--namely, that he painted it in competition with the aforesaid Giovanni, and that he put forward every effort to make it, as it proved to be, more beautiful than that which Giovanni painted of S. Mark, as has been related above. Pellegrino also painted at Udine, for the house of Messer Pre Giovanni, intendant to the illustrious Signori della Torre, a picture of Judith from the waist upwards, with the head of Holofernes in one hand, which is a very beautiful work. By the hand of the same man is a large panel in oils, divided into several pictures, which may be seen on the high-altar of the Church of S. Maria in the town of Civitale, at a distance of eight miles from Udine; and in it are some heads of virgins and other figures with great beauty of expression. And in his township of San Daniele, in a chapel of S. Antonio, he painted in fresco scenes of the Passion of Jesus Christ, and that so finely that he well deserved to be paid more than a thousand crowns for the work. He was much beloved for his talents by the Dukes of Ferrara, and, in addition to other favours and many gifts, he obtained through their good offices two Canonicates in the Duomo of Udine for two of his relatives.

Among his pupils, of whom he had many, making much use of them and rewarding them liberally, was one of Greek nationality, a man of no little ability, who had a very beautiful manner and imitated Pellegrino closely. But Luca Monverde of Udine, who was much beloved by Pellegrino, would have been superior to the Greek, if he had not been snatched from the world prematurely when still a mere lad; although one work by his hand was left on the high-altar of S. Maria delle Grazie in Udine, a panel-picture in oils, his first and last, in which, in a recess in perspective, there is a Madonna seated on high with the Child in her arms, painted by him with a soft gradation of shadow, while on the level surface below there are two figures on either side, so beautiful that they show that if he had lived longer he would have become truly excellent.

Another disciple of the same Pellegrino was Bastianello Florigorio, who painted a panel-picture that is over the high-altar of S. Giorgio in Udine, of a Madonna in the sky surrounded by an endless number of little angels in various attitudes, all adoring the Child that she holds in her arms; while below there is a very well executed landscape. There is also a very beautiful S. John, and a S. George in armour and on horseback, who, foreshortened in a spirited attitude, is slaying the Dragon with his lance; while the Maiden, who is there on one side, appears to be thanking God and the glorious Virgin for the succour sent to her. In the head of the S. George Bastianello is said to have made his own portrait. He also painted two pictures in fresco in the Refectory of the Friars of S. Pietro Martire: in one is Christ seated at table with the two disciples at Emmaus, and breaking the bread with a benediction, and in the other is the death of S. Peter Martyr. The same master painted in fresco in a niche on a corner of the Palace of M. Marguando, an excellent physician, a nude man in foreshortening, representing a S. John, which is held to be a good painting. Finally, he was forced through some dispute to depart from Udine, for the sake of peace, and to live like an exile in Civitale.

Bastianello had a crude and hard manner, because he much delighted in drawing works in relief and objects of Nature by candle-light. He had much beauty of invention, and he took great pleasure in executing portraits from life, making them truly beautiful and very like; and at Udine, among others, he made one of Messer Raffaello Belgrado, and one of the father of M. Giovan Battista Grassi, an excellent painter and architect, from whose loving courtesy we have received much particular information touching our present subject of Friuli. Bastianello lived about forty years.

Another disciple of Pellegrino was Francesco Floriani of Udine, who is still alive and is a very good painter and architect, like his younger brother, Antonio Floriani, who, thanks to his rare abilities in his profession, is now in the service of his glorious Majesty the Emperor Maximilian. Some of the pictures of that same Francesco were to be seen two years ago in the possession of the Emperor, who was then a King; one of these being a Judith who has cut off the head of Holofernes, painted with admirable judgment and diligence. And in the collection of that monarch there is a book of pen-drawings by the same master, full of lovely inventions, buildings, theatres, arches, porticoes, bridges, palaces, and many other works of architecture, all useful and very beautiful.

Gensio Liberale was also a disciple of Pellegrino, and in his pictures, among other things, he imitated every sort of fish excellently well. This master is now in the service of the Archduke Ferdinand of Austria, a splendid position, which he deserves, for he is a very good painter.

But among the most illustrious and renowned painters of the territory of Friuli, the rarest and most famous in our day--since he has surpassed those mentioned above by a great measure in the invention of scenes, in draughtsmanship, in boldness, in mastery over colour, in fresco work, in swiftness of execution, in strength of relief, and in every other department of our arts--is Giovanni Antonio Licinio, called by some Cuticello. This master was born at Pordenone, a township in Friuli, twenty-five miles from Udine; and since he was endowed by nature with a beautiful genius and an inclination for painting, he devoted himself without any teacher to the study of natural objects, imitating the style of Giorgione da Castelfranco, because that manner, seen by him many times in Venice, had pleased him much. Now, having learnt the rudiments of art, he was forced, in order to save his life from a pestilence that had fallen upon his native place, to take to flight; and thus, passing many months in the surrounding country, he executed various works in fresco for a number of peasants, gaining at their expense experience of using colour on plaster. Wherefore, since the surest and best method of learning is practice and a sufficiency of work, it came to pass that he became a well-practised and judicious master of that kind of painting, and learned to make colours produce the desired effect when used in a fluid state, which is done on account of the white, which dries the plaster and produces a brightness that ruins all softness. And so, having mastered the nature of colours, and having learnt by long practice to work very well in fresco, he returned to Udine, where he painted for the altar of the Nunziata, in the Convent of S. Pietro Martire, a panel-picture in oils containing the Madonna at the moment of receiving the Salutation from the Angel Gabriel; and in the sky he made a God the Father surrounded by many little boys, who is sending down the Holy Spirit. This work, which is executed with good drawing, grace, vivacity, and relief, is held by all craftsmen of judgment to be the best that he ever painted.

In the Duomo of the same city, on the balustrade of the organ, below the doors already painted by Pellegrino, he painted a story of S. Ermacora and Fortunatus, also in oils, graceful and well designed. In the same city, in order to gain the friendship of the Signori Tinghi, he painted in fresco the facade of their palace; in which work, wishing to make himself known and to prove what a master he was of architectural invention and of working in fresco, he made a series of compartments and groups of varied ornaments full of figures in niches; and in three great spaces in the centre of the work he painted scenes with figures in colours, two spaces, high and narrow, being on either side, and one square in shape in the middle; and in the latter he painted a Corinthian column planted with its base in the sea, with a Siren on the right hand, holding the column upright, and a nude Neptune on the left supporting it on the other side; while above the capital of the column there is a Cardinal's hat, the device, so it is said, of Pompeo Colonna, who was much the friend of the owners of that palace. In one of the two other spaces are the Giants being slain with thunderbolts by Jove, with some dead bodies on the ground very well painted and most beautifully foreshortened. On the other side is a Heaven full of Gods, and on the earth two Giants who, club in hand, are in the act of striking at Diana, who, defending herself in a bold and spirited attitude, is brandishing a blazing torch as if to burn the arms of one of them.

At Spelimbergo, a large place fifteen miles above Udine, the balustrade and the doors of the organ in the great church are painted by the hand of the same master; on the outer side of one door is the Assumption of Our Lady, and on the inner side S. Peter and S. Paul before Nero, gazing at Simon Magus in the air above; while on the other door there is the Conversion of S. Paul, and on the balustrade the Nativity of Christ.

Through this work, which is very beautiful, and many others, Pordenone came into repute and fame, and was summoned to Vicenza, whence, after having executed some works there, he made his way to Mantua, where he coloured a facade in fresco with marvellous grace for M. Paris, a gentleman of that city. Among other beautiful inventions which are in that work, much praise is due to a frieze of antique letters, one braccio and a half in height, at the top, below the cornice, among which, passing in and out of them, are many little children in various attitudes, all most beautiful.

That work finished, he returned in great credit to Vicenza, and there, besides many other works, he painted the whole of the tribune of S. Maria di Campagna, although by reason of his departure a part remained unfinished, which was afterwards finished with great diligence by Maestro Bernardo da Vercelli. In the same church he painted two chapels in fresco: one with stories of S. Catherine, and the other with the Nativity of Christ and the Adoration of the Magi, both being worthy of the highest praise. He then painted some poetical pictures in the beautiful garden of M. Barnaba dal Pozzo, a doctor; and, in the said Church of S. Maria di Campagna, the picture of S. Augustine, which is on the left hand as one enters the church. All these most beautiful works brought it about that the gentlemen of that city persuaded him to take a wife there, and always held him in vast veneration.

Going afterwards to Venice, where he had formerly executed some works, he painted a wall of S. Geremia, on the Grand Canal, and a panel-picture in oils for the Madonna del Orto, with many figures, making a particular effort to prove his worth in the S. John the Baptist. He also painted many scenes in fresco on the facade of the house of Martin d'Anna on the same Grand Canal; in particular, a Curtius on horseback in foreshortening, which has the appearance of being wholly in the round, like the Mercury flying freely through the air, not to speak of many other things that all prove his ability. That work pleased the whole city of Venice beyond measure, and Pordenone was therefore extolled more highly than any other man who had ever worked in the city up to that time.

Among other reasons that caused him to give an incredible amount of effort to all his works, was his rivalry with the most excellent Tiziano; since, setting himself to compete with him, he hoped by means of continual study and by a bold and resolute method of working in fresco to wrest from the hands of Tiziano that sovereignty which he had gained with so many beautiful works; employing, also, unusual methods outside the field of art, such as that of being obliging and courteous and associating continually and of set purpose with great persons, making his interests universal, and taking a hand in everything. And, in truth, this rivalry was a great assistance to him, for it caused him to devote the greatest zeal and diligence in his power to all his works, so that they proved worthy of eternal praise.

For these reasons, then, he was commissioned by the Wardens of S. Rocco to paint in fresco the chapel of that church, with all the tribune. Setting his hand, therefore, to this work, he painted a God the Father in the tribune, with a vast number of children in various beautiful attitudes, radiating from Him. In the frieze of the same tribune he painted eight figures from the Old Testament, with the four Evangelists in the angles, and the Transfiguration of Christ over the high-altar; and in the two lunettes at the sides are the four Doctors of the Church. By the hand of the same master are two large pictures in the middle of the church: in one is Christ healing an endless number of the sick, all very well painted, and in the other is S. Christopher carrying Jesus Christ on his shoulders. On the wooden tabernacle of the same church, wherein the vessels of silver are kept, he painted a S. Martin on horseback, with many beggars who are bringing votive offerings, in a building in perspective.

This work, which was much extolled and brought him honour and profit, was the reason that M. Jacopo Soranzo, having become his intimate friend, caused him to be commissioned to paint the Sala de' Pregai in competition with Tiziano; and there he executed many pictures with figures seen foreshortened from below, which are very beautiful, together with a frieze of marine monsters painted in oils round that hall. These works made him so dear to the Senate, that as long as he lived he always received an honourable salary from them. And since, out of rivalry, he always sought to do work in places where Tiziano had also worked, he painted for S. Giovanni di Rialto a S. John, as Almoner, giving alms to beggars, and also placed on an altar a picture of S. Sebastian, S. Rocco, and other saints, which was very beautiful, but yet not equal to the work of Tiziano, although many, more out of malignity than out of a love for the truth, exalted that of Giovanni Antonio. The same master painted in the cloister of S. Stefano many scenes in fresco from the Old Testament, and one from the New, divided one from another by various Virtues; and in these figures he displayed amazing foreshortenings, in which method of painting he always delighted, seeking to introduce them into his every composition with no fear of difficulties, and making them more ornate than any other painter.

Prince Doria had built a palace on the seashore in Genoa, and had commissioned Perino del Vaga, a very celebrated painter, to paint halls, apartments, and ante-chambers both in oils and in fresco, which are quite marvellous for the richness and beauty of the paintings. But seeing that Perino was not then giving much attention to the work, and wishing to make him do by the spur of emulation what he was not doing by himself, he sent for Pordenone, who began with an open terrace, wherein, following his usual manner, he executed a frieze of children, who are hurrying about in very beautiful attitudes and unloading a barque full of merchandise. He also painted a large scene of Jason asking leave from his uncle to go in search of the Golden Fleece. But the Prince, seeing the difference that there was between the work of Perino and that of Pordenone, dismissed the latter, and summoned in his place Domenico Beccafumi of Siena, an excellent painter and a rarer master than Pordenone. And he, glad to serve so great a Prince, did not scruple to leave his native city of Siena, where there are so many marvellous works by his hand; but he did not paint more than one single scene in that palace, because Perino brought everything to completion by himself.

Giovanni Antonio then returned to Venice, where he was given to understand that Ercole, Duke of Ferrara, had brought a great number of masters from Germany, and had caused them to begin to make fabrics in silk, gold, floss-silk, and wool, for his own use and pleasure, but that he had no good designers of figures in Ferrara, since Girolamo da Ferrara had more ability for portraits and separate things than for difficult and complicated scenes, which called for great power of art and design; and that he should enter the service of that Prince. Whereupon, desiring to gain fame no less than riches, he departed from Venice, and on reaching Ferrara was received with great warmth by the Duke. But a little time after his arrival, being attacked by a most grievous affliction of the chest, he took to his bed with the doom of death upon him, and, growing continually worse and finding no remedy, within three days or little more he finished the course of his life, at the age of fifty-six. This seemed a strange thing to the Duke, and also to Pordenone's friends; and there were not wanting men who for many months believed that he had died of poison. The body of Giovanni Antonio was buried with honour, and his death was a grief to many, particularly in Venice, for the reason that he was ready of speech and the friend and companion of many, and delighted in music; and his readiness and grace of speech came from his having given attention to the study of Latin. He always made his figures grand, and was very rich in invention, and so versatile that he could imitate everything very well; but he was, above all, resolute and most facile in works in fresco.

A disciple of Pordenone was Pomponio Amalteo of San Vito, who won by his good qualities the honour of becoming the son-in-law of his master. This Pomponio, always following that master in matters of art, has acquitted himself very well in all his works, as may be seen at Udine from the doors of the new organ, painted in oils, on the outer side of which is Christ driving the traders from the Temple, and on the inner side the story of the Pool of Bethesda and the Resurrection of Lazarus. In the Church of S. Francesco, in the same city, there is a panel-picture in oils by the hand of the same man, of S. Francis receiving the Stigmata, with some very beautiful landscapes, and with a sunrise from which, in the midst of some rays of the greatest splendour, there radiates the celestial light, which pierces the hands, feet, and side of S. Francis, who, kneeling devoutly and full of love, receives it, while his companion lies on the ground, in foreshortening, all overcome with amazement. Pomponio also painted in fresco for the Friars of La Vigna, at the end of their refectory, Jesus Christ between the two disciples at Emmaus. In the township of San Vito, his native place, twenty miles distant from Udine, he painted in fresco the Chapel of the Madonna in the Church of S. Maria, in so beautiful a manner, and so much to the satisfaction of all, that he has won from the most reverend Cardinal Maria Grimani, Patriarch of Aquileia and Lord of San Vito, the honour of being enrolled among the nobles of that place.

I have thought it right in this Life of Pordenone to make mention of these excellent craftsmen of Friuli, both because it appears to me that their talents deserve it, and to the end that it may be recognized in the account to be given later how much more excellent are those who, after such a beginning, have lived since that day, as will be related in the Life of Giovanni Ricamatori of Udine, to whom our age owes a very great obligation for his works in stucco and his grotesques.

But returning to Pordenone; after the works mentioned above as having been executed by him at Venice in the time of the most illustrious Gritti, he died, as has been related, in the year 1540. And because he was one of the most able men that our age has possessed, and for the reason, above all, that his figures seem to be in the round and detached from their walls, and almost in relief, he can be numbered among those who have rendered assistance to art and benefit to the world.

FOOTNOTE:

[11] _I.e._, singular or rare.

GIOVANNI ANTONIO SOGLIANI

LIFE OF GIOVANNI ANTONIO SOGLIANI

PAINTER OF FLORENCE

Very often do we see in the sciences of learning and in the more liberal of the manual arts, that those men who are melancholy are the most assiduous in their studies and show the greatest patience in supporting the burden of their labours; so that there are few of that disposition who do not become excellent in such professions. Even so did Giovanni Antonio Sogliani, a painter of Florence, whose cast of countenance was so cold and woeful that he looked like the image of melancholy; and such was the power of this humour over him that he gave little thought to anything but matters of art, with the exception of his household cares, through which he endured most grievous anxieties, although he had enough to live in comfort. He worked at the art of painting under Lorenzo di Credi for four-and-twenty years, living with him, honouring him always, and rendering him every sort of service. Having become during that time a very good painter, he showed afterwards in all his works that he was a most faithful disciple of his master and a close imitator of his manner. This was seen from his first paintings, in the Church of the Osservanza on the hill of San Miniato without Florence, for which he painted a panel-picture copied from the one that Lorenzo had executed for the Nuns of S. Chiara, containing the Nativity of Christ, and no less excellent than the one of Lorenzo.

Afterwards, having left his master, he painted for the Church of S. Michele in Orto, at the commission of the Guild of Vintners, a S. Martin in oils, robed as a Bishop, which gave him the name of a very good master. And since Giovanni Antonio had a vast veneration for the works and the manner of Fra Bartolommeo di San Marco, and made great efforts to approach that manner in his colouring, it may be seen from a panel which he began but did not finish, not being satisfied with it, how much he imitated that painter. This panel remained in his house during his lifetime as worthless: but after his death it was sold as a piece of old rubbish to Sinibaldo Gaddi, and he had it finished by Santi Titi dal Borgo, then a mere boy, and placed it in a chapel of his own in S. Domenico da Fiesole. In this work are the Magi adoring Jesus Christ, who is in the lap of His Mother, and in one corner is his own portrait from life, which is a passing good likeness.

He then painted for Madonna Alfonsina, the wife of Piero de' Medici, a panel-picture that was placed as a votive offering over the altar of the Chapel of the Martyrs in the Camaldolite Church at Florence: in which picture he painted the Crucifixion of S. Arcadio and other martyrs with their crosses in their arms, and two figures, half covered with draperies and half naked, kneeling with their crosses on the ground, while in the sky are some little angels with palms in their hands. This work, which was painted with much diligence, and executed with good judgment in the colouring and in the heads, which are very lifelike, was placed in the above-mentioned Camaldolite Church; but that monastery was taken on account of the siege of Florence from those Eremite Fathers, who used devoutly to celebrate the Divine offices in the church, and was afterwards given to the Nuns of S. Giovannino, of the Order of the Knights of Jerusalem, and finally destroyed; and the picture, being one which may be numbered among the best works that Sogliani painted, was placed by order of the Lord Duke Cosimo in one of the chapels of the Medici family in S. Lorenzo.

The same master executed for the Nuns of the Crocetta a Last Supper coloured in oils, which was much extolled at that time. And in a shrine in the Via de' Ginori, he painted in fresco for Taddeo Taddei a Crucifix with Our Lady and S. John at the foot, and in the sky some angels lamenting Christ, very lifelike--a picture truly worthy of praise, and a well-executed example of work in fresco. By the hand of Sogliani, also, is a Crucifix in the Refectory of the Abbey of the Black Friars in Florence, with angels flying about and weeping with much grace; and at the foot the Madonna, S. John, S. Benedict, S. Scholastica, and other figures. For the Nuns of the Spirito Santo, on the hill of San Giorgio, he painted two pictures that are in their church, one of S. Francis, and the other of S. Elizabeth, Queen of Hungary and a sister of that Order. For the Company of the Ceppo he painted the banner for carrying in processions, which is very beautiful, representing on the front of it the Visitation of Our Lady, and on the other side S. Niccolo the Bishop, with two children dressed as Flagellants, one of whom holds his book and the other the three balls of gold. On a panel in S. Jacopo sopra Arno he painted the Trinity, with an endless number of little boys, S. Mary Magdalene kneeling, S. Catherine, S. James, and two figures in fresco standing at the sides, S. Jerome in Penitence and S. John; and in the predella he made his assistant, Sandrino del Calzolaio, execute three scenes, which won no little praise.

On the end wall of the Oratory of a Company in the township of Anghiari, he executed on panel a Last Supper in oils, with figures of the size of life; and on one of the two adjoining walls (namely, the sides) he painted Christ washing the feet of the Apostles, and on the other a servant bringing two vessels of water. The work is held in great veneration in that place, for it is indeed a rare thing, and one that brought him both honour and profit. A picture that he executed of a Judith who had cut off the head of Holofernes, being a very beautiful work, was sent to Hungary. And likewise another, in which was the Beheading of S. John the Baptist, with a building in perspective for which he had copied the exterior of the Chapter-house of the Pazzi, which is in the first cloister of S. Croce, was sent as a most beautiful work to Naples by Paolo da Terrarossa, who had given the commission for it. For one of the Bernardi, also, Sogliani executed two other pictures, which were placed in a chapel in the Church of the Osservanza at San Miniato, containing two lifesize figures in oils--S. John the Baptist and S. Anthony of Padua. But as for the panel that was to stand between them, Giovanni Antonio, being dilatory by nature and leisurely over his work, lingered over it so long that he who had given the commission died: wherefore that panel, which was to contain a Christ lying dead in the lap of His Mother, remained unfinished.

After these things, when Perino del Vaga, having departed from Genoa on account of his resentment against Prince Doria, was working at Pisa, where the sculptor Stagio da Pietrasanta had begun the execution of the new chapels in marble at the end of the nave of the Duomo, together with that space behind the high-altar, which serves as a sacristy, it was ordained that the said Perino, as will be related in his Life, with other masters, should begin to fill up those adornments of marble with pictures. But Perino being recalled to Genoa, Giovanni Antonio was commissioned to set his hand to the pictures that were to adorn the aforesaid recess behind the high-altar, and to deal in his works with the sacrifices of the Old Testament, as symbols of the Sacrifice of the Most Holy Sacrament, which was there over the centre of the high-altar. Sogliani, then, painted in the first picture the sacrifice that Noah and his sons offered when they had gone forth from the Ark, and afterwards those of Cain and of Abel; which were all highly extolled, but above all that of Noah, because some of the heads and parts of the figures in it were very beautiful. The picture of Abel is charming for its landscapes, which are very well executed, and the head of Abel himself, which is the very presentment of goodness; but quite the opposite is that of Cain, which has the mien of a truly sorry villain. And if Sogliani had pursued the work with energy instead of being dilatory, he would have been charged by the Warden, who had given him his commission and was much pleased with his manner and character, to execute all the work in that Duomo, whereas at that time, in addition to the pictures already mentioned, he painted no more than one panel, which was destined for the chapel wherein Perino had begun to work; and this he finished in Florence, but in such wise that it pleased the Pisans well enough and was held to be very beautiful. In it are the Madonna, S. John the Baptist, S. George, S. Mary Magdalene, S. Margaret, and other saints. His picture, then, having given satisfaction, Sogliani received from the Warden a commission for three other panels, to which he set his hand, but did not finish them in the lifetime of that Warden, in whose place Bastiano della Seta was elected; and he, perceiving that the business was moving but slowly, allotted four pictures for the aforesaid sacristy behind the high-altar to Domenico Beccafumi of Siena, an excellent painter, who dispatched them very quickly, as will be told in the proper place, and also painted a panel there, and other painters executed the rest. Giovanni Antonio, then, working at his leisure, finished two other panels with much diligence, painting in each a Madonna surrounded by many saints. And finally, having made his way to Pisa, he there painted the fourth and last, in which he acquitted himself worse than in any other, either through old age, or because he was competing with Beccafumi, or for some other reason.

But the Warden Bastiano, perceiving the slowness of the man, and wishing to bring the work to an end, allotted the three other panels to Giorgio Vasari of Arezzo, who finished two of them, those that are beside the door of the facade. In the one nearer the Campo Santo is Our Lady with the Child in her arms, with S. Martha caressing Him. There, also, on their knees, are S. Cecilia, S. Augustine, S. Joseph, and S. Guido the Hermit, and in the foreground a nude S. Jerome, with S. Luke the Evangelist, and some little boys uplifting a piece of drapery, and others holding flowers. In the other, by the wish of the Warden, he painted another Madonna with her Son in her arms, S. James the Martyr, S. Matthew, S. Sylvester the Pope, and S. Turpe the Chevalier. Having to paint the Madonna, and not wishing to repeat the same composition (although he had varied it much in other respects), he made her with Christ dead in her arms, and those saints as it were round a Deposition from the Cross; and on the crosses, planted on high and made of tree-trunks, are fixed two naked Thieves, surrounded by horses and ministers of the crucifixion, with Joseph, Nicodemus, and the Maries; all for the satisfaction of the Warden, who wished that in those new pictures there should be included all the saints that there had been in the past in the various dismantled chapels, in order to renew their memory in the new works. One picture was still wanting to complete the whole, and this was executed by Bronzino, who painted a nude Christ and eight saints. And in this manner were those chapels brought to completion, all of which Giovanni Antonio could have done with his own hand if he had not been so slow.

And since Sogliani had won much favour with the Pisans, after the death of Andrea del Sarto he was commissioned to finish a panel for the Company of S. Francesco, which the said Andrea left only sketched; which panel is now in the building of that Company on the Piazza di S. Francesco at Pisa. The same master executed some rows of cloth-hangings for the Wardens of Works of the aforesaid Duomo, and many others in Florence, because he took pleasure in doing that sort of work, and above all in company with his friend Tommaso di Stefano, a painter of Florence.

Being summoned by the Friars of S. Marco in Florence to paint a work in fresco at the head of their refectory, at the expense of one of their number, a lay-brother of the Molletti family, who had possessed a rich patrimony when in the world, Giovanni Antonio wished to paint there the scene of Jesus Christ feeding five thousand persons with five loaves and two fishes, in order to make the most of his powers; and he had already made the design for it, with many women and children and a great multitude of other people, when the friars refused to have that story, saying that they wanted something definite, simple, and familiar. Whereupon, to please them, he painted the scene when S. Dominic, being in the refectory with his friars and having no bread, made a prayer to God, when the table was miraculously covered with bread, brought by two angels in human form. In this work he made portraits of many friars who were then in the convent, which have the appearance of life, and particularly that of the lay-brother of the Molletti family, who is serving at table. Then, in the lunette above the table, he painted S. Dominic at the foot of a Crucifix, with Our Lady and S. John the Evangelist, who are weeping, and at the sides S. Catherine of Siena and S. Antonino, Archbishop of Florence, a brother of their Order. All this, for a work in fresco, was executed with much diligence and a high finish; but Sogliani would have been much more successful if he had executed what he had designed, because painters express the conceptions of their own minds better than those of others. On the other hand, it is only right that he who pays the piper should call the tune. The design for the Miracle of the Loaves and Fishes is in the hands of Bartolommeo Gondi, who, in addition to a large picture that he has by the hand of Sogliani, also possesses many drawings and heads painted from life on tinted paper, which he received from the wife of the painter, who had been very much his friend, after his death. And we, also, have in our book some drawings by the same hand, which are beautiful to a marvel.

Sogliani began for Giovanni Serristori a large panel-picture which was to be placed in S. Francesco dell' Osservanza, without the Porta a S. Miniato, with a vast number of figures, among which are some marvellous heads, the best that he ever made; but it was left unfinished at the death of the said Giovanni Serristori. Nevertheless, since Giovanni Antonio had received full payment, he finished it afterwards little by little, and gave it to Messer Alamanno di Jacopo Salviati, the son-in-law and heir of Giovanni Serristori; and he presented it, frame and all, to the Nuns of S. Luca, who have it over their high-altar in the Via di S. Gallo.

Giovanni Antonio executed many other works in Florence, some of which are in the houses of citizens, and some were sent to various countries; but of these there is no need to make mention, for we have spoken of the most important. Sogliani was an upright person, very religious, always occupied with his own business, and never interfering with his fellow-craftsmen.

One of his disciples was Sandrino del Calzolaio, who painted the shrine that is on the Canto delle Murate, and, in the Hospital of the Temple, a S. John the Baptist who is assigning shelter to the poor; and he would have done more work, and good work, if he had not died as young as he