Chapter 14

The Clouds, which were made of various kinds and with diverse inventions by the Companies, were generally fashioned in the following manner. A square framework was made of planks, about two braccia in height, with four stout legs at the corners, contrived after the manner of the trestles of a table, and fastened together with cross-pieces. On this framework two panels were laid crosswise, each one braccio wide, with a hole in the middle half a braccio in diameter, in which was fixed a high pole, whereon there was placed a mandorla all covered with cotton-wool, cherubim, lights, and other ornaments, and within this, on a horizontal bar of iron, there sat or stood, according as might be desired, a person representing that Saint whom the particular Company principally honoured as their peculiar patron and protector--to be exact, a Christ, or a Madonna, or a S. John, or some other--and the draperies of this figure covered the iron bar in such a manner that it could not be seen. Round the same pole, lower down, below the mandorla, there radiated four or five iron bars in the manner of the branches of a tree, and at the end of each, attached likewise with irons, stood a little boy dressed like an angel. These boys could move round and round at pleasure on the iron brackets on which their feet rested, for the brackets hung on hinges. And with similar branches there were sometimes made two or three tiers of angels or of saints, according to the nature of the subjects to be represented. The whole of this structure, with the pole and the iron bars (which sometimes represented a lily, sometimes a tree, and often a cloud or some other similar thing), was covered with cotton-wool, and, as has been said, with cherubim, seraphim, golden stars, and other suchlike ornaments. Within were porters or peasants, who carried it on their shoulders, placing themselves round the wooden base that we have called the framework, in which, below the places where the weight rested on their shoulders, were fixed cushions of leather stuffed with down, or cotton-wool, or some other soft and yielding material. All the machinery, steps, and other things were covered, as has been said above, with cotton-wool, which made a beautiful effect; and all these contrivances were called Clouds. Behind them came troops of men on horseback and foot-soldiers of various sorts, according to the nature of the story to be represented, even as in our own day they go behind the cars or other things that are used in place of the said Clouds. Of the form of the latter I have some designs in my book of drawings, very well done by the hand of Cecca, which are truly ingenious and full of beautiful conceptions.

It was from the plans of the same man that those saints were made that went or were carried in processions, either dead or tortured in various ways, for some appeared to be transfixed by a lance or a sword, others had a dagger in the throat, and others had other suchlike weapons in their bodies. With regard to this, it is very well known to-day that it is done with a sword, lance, or dagger broken in half, the pieces of which are held firmly opposite to one another on either side by iron rings, after taking away the proportionate amount that has to appear to be fixed in the person of the sufferer; wherefore I will say no more about them, save that they seem for the most part to have been invented by Cecca.

The giants, likewise, that went about in the said festival, were made in the following manner. Certain men who were very skilful at walking on stilts, or, as they are called in other parts, on wooden legs, had some made five or six braccia high, and, having dressed and decked them with great masks and other ornaments in the way of draperies, and imitations of armour, so that they seemed to have the members and heads of giants, they mounted them and walked dexterously along, appearing truly to be giants. In front of them, however, they had a man who carried a pike, on which the giant leant with one hand, but in such a fashion that the pike appeared to be his own weapon, whether mace, lance, or a great bell-clapper, such as Morgante is said by the poets of romance to have been wont to carry. And even as there were giants, so there were also giantesses, which produced a truly beautiful and marvellous effect.

Different from these, again, were the little phantoms, for these walked on similar stilts five or six braccia high, without anything save their own proper form, in such a manner that they appeared to be true spirits. They likewise had a man in front of them with a pike to assist them; but it is stated that some actually walked very well at so great a height without leaning on anything whatsoever, and I am sure that he who knows what Florentine brains are will in no way marvel at this. For, not to mention that native of Montughi (near Florence) who has surpassed all the masters that ever lived at climbing and dancing on the rope, whoever knew a man called Ruvidino, who died less than ten years ago, remembers that climbing to any height on a rope or cord, leaping from the walls of Florence to the earth, and walking on stilts much higher than those described above, were as easy to him as it is for an ordinary man to walk on the level. Wherefore it is no marvel if the men of those times, who practised suchlike exercises for money or for other reasons, did what has been related above, and even greater things.

I will not speak of certain waxen candles which used to be painted with various fanciful devices, but so rudely that they have given their name to vulgar painters, insomuch that bad pictures are called "candle puppets"; for it is not worth the trouble. I will only say that at the time of Cecca they fell for the most part into disuse, and that in their place were made the cars that are still used to-day, in the form of triumphal chariots. The first of these was the car[21] of the Mint, which was brought to that perfection which is still seen every year when it is sent out for the said festival by the Masters and Lords of the Mint, with a S. John on the highest part and with many other angels and saints around and below him, all represented by living persons. Not long ago it was determined that one should be made for every borough that gave an offering of wax, and ten were made, in order to do magnificent honour to that festival; but the plan was carried no further, by reason of events that supervened no long time after. That first car of the Mint, then, was made under the direction of Cecca by Domenico, Marco, and Giuliano del Tasso, who were among the best master-carpenters, both in squared-work and in carving, who were then working in Florence; and in this car, among other things, no small praise is due to the wheels below it, which are pivoted, in order that the structure may be able to turn sharp corners, and may be managed in such a manner as to shake it as little as possible, particularly for the sake of those who stand fastened upon it.

The same man made a structure for the cleaning and restoration of the mosaics in the tribune of S. Giovanni, which could be turned, raised, lowered, and advanced at pleasure, and that with such ease that two men could handle it; which invention gave Cecca very great repute.

When the Florentine army was besieging Piancaldoli, Cecca ingeniously contrived to enable the soldiers to enter it by means of mines, without striking a blow. Afterwards, continuing to follow the same army to certain other strongholds, his evil fortune would have it that he should be killed while attempting to measure certain heights at a difficult point; for when he had put his head out beyond the wall in order to let a plumb-line down, a priest who was with the enemy (who feared the genius of Cecca more than the might of the whole camp) discharged a catapult at him and fixed a great dart in his head, insomuch that the poor fellow died on the spot. The fate and the loss of Cecca caused great grief to the whole army and to his fellow-citizens; but since there was no remedy, they sent him back in a coffin to Florence, where his sisters gave him honourable burial in S. Piero Scheraggio; and below his portrait in marble there was placed the following epitaph:

FABRUM MAGISTER CICCA, NATUS OPPIDIS VEL OBSIDENDIS VEL TUENDIS, HIC JACET. VIXIT ANN. XXXXI, MENS. IV, DIES XIV. OBIIT PRO PATRIA TELO ICTUS. PIAE SORORES MONUMENTUM FECERUNT MCCCCXCIX.

FOOTNOTES:

[20] See note on p. 57, Vol. I.

[21] The word in the Italian text is not "carro" but "cero," which is obviously an error.

DON BARTOLOMMEO DELLA GATTA

DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE

ILLUMINATOR AND PAINTER

Rarely does it happen that a man of good character and exemplary life fails to be provided by Heaven with the best of friends and with honourable dwellings, or to be held in veneration when alive by reason of the goodness of his ways, and very greatly regretted when dead by all who knew him, as was Don Bartolommeo della Gatta, Abbot of S. Clemente in Arezzo, who was excellent in diverse pursuits and most praiseworthy in all his actions. This man, who was a monk of the Angeli in Florence, a seat of the Order of Camaldoli, was in his youth--perchance for the reasons mentioned above in the Life of Don Lorenzo--a very rare illuminator, and a very able master of design. Of this we have proof in the books that he illuminated for the Monks of SS. Fiore e Lucilla in the Abbey of Arezzo, particularly a missal that was presented to Pope Sixtus, in which, on the first page of the Secret Prayers, there was a very beautiful Passion of Christ. Those are likewise by his hand which are in S. Martino, the Duomo of Lucca.

A little while after these works the said Abbey of S. Clemente in Arezzo was presented to this father by Mariotto Maldoli of Arezzo, General of the Order of Camaldoli, who belonged to the same family from which sprang that Maldolo who gave the site and lands of Camaldoli, then called Campo di Maldolo, to S. Romualdo, the founder of that Order. Don Bartolommeo, in gratitude for that benefice, afterwards executed many works for that General and for his Order. After this there came the plague of 1468, by reason of which the Abbot, like many others, stayed indoors without going about much, and devoted himself to painting large figures; and seeing that he was succeeding as well as he could desire, he began to execute certain works. The first was a S. Rocco that he painted on a panel for the Rectors of the Confraternity of Arezzo, which is now in the Audience Chamber where they assemble. This figure is recommending the people of Arezzo to Our Lady, and in this picture he portrayed the Piazza of the said city and the holy house of that Confraternity, with certain grave-diggers who are returning from burying the dead. He also painted another S. Rocco for the Church of S. Pietro, likewise on a panel, wherein he portrayed the city of Arezzo exactly as it stood at that time, when it was very different from what it is to-day. And he made another, which was much better than the two mentioned above, on a panel which is in the Chapel of the Lippi in the Church of the Pieve of Arezzo; and this S. Rocco is a rare and beautiful figure, almost the best that he ever made, and the head and hands are as beautiful and natural as they could be. In the same city of Arezzo, in S. Pietro, a seat of the Servite Friars, he painted an Angel Raphael on a panel; and in the same place he made a portrait of the Blessed Jacopo Filippo of Piacenza.

Afterwards, being summoned to Rome, he painted a scene in the Chapel of Pope Sixtus, in company with Luca da Cortona and Pietro Perugino. On returning to Arezzo, he painted a S. Jerome in Penitence in the Chapel of the Gozzari in the Vescovado; and this figure, lean and shaven, with the eyes fixed most intently on the Crucifix, and beating his breast, shows very clearly how greatly the passions of love can disturb the chastity even of a body so grievously wasted away. In this work he made an enormous crag, with certain cliffs of rock, among the fissures of which he painted some stories of that Saint, with very graceful little figures. After this, in a chapel in S. Agostino, for the Nuns of the Third Order, as they are called, he wrought in fresco a Coronation of Our Lady, which is very well done and much extolled; and below this, in another chapel, a large panel with an Assumption and certain angels beautifully robed in delicate draperies. This panel, for a work made in distemper, is much extolled, and in truth it was wrought with good design and executed with extraordinary diligence. In the lunette that is over the door of the Church of S. Donato, in the Fortress of Arezzo, the same man painted in fresco a Madonna with the Child in her arms, S. Donatus, and S. Giovanni Gualberto, all very beautiful figures. In the Abbey of S. Fiore in the said city, beside the principal door of entrance into the church, there is a chapel painted by his hand, wherein are S. Benedict and other saints, wrought with much grace, good handling, and sweetness.

For Gentile of Urbino, Bishop of Arezzo, who was much his friend, and with whom he almost always lived, he painted a Dead Christ in a chapel in the Palace of the Vescovado; and in a loggia he portrayed the Bishop himself, his vicar, and Ser Matteo Francini, his court-notary, who is reading a Bull to him; and there he also made his own portrait and those of certain canons of that city. For the same Bishop he designed a loggia which issues from the Palace and leads to the Vescovado, on the same level with both. In the centre of this the Bishop had intended to make a place of burial for himself in the form of a chapel, in which he wished to be interred after his death; and he had carried it well on, when he was overtaken by death, and it remained unfinished, for, although he left orders that it should be completed by his successor, nothing more was done, as generally happens with works of this sort which are left by a man to be finished after his death. For the said Bishop the Abbot painted a large and beautiful chapel in the Duomo Vecchio, but, as it had only a short life, there is no need to say more about it.

Besides this, he made works in various places throughout the whole city, such as three figures in the Carmine, and the Chapel of the Nuns of S. Orsina. At Castiglione Aretino, for the Chapel of the High-Altar in the Pieve of S. Giuliano, he painted a panel in distemper, containing a very beautiful Madonna, S. Julian, and S. Michelagnolo--figures very well wrought and executed, particularly S. Julian, who, with his eyes fixed on the Christ lying in the arms of the Madonna, appears to be much afflicted at having killed his father and mother. In a chapel a little below this, likewise, is a little door painted by his hand (which formerly belonged to an old organ), wherein there is a S. Michael, which is held to be a marvellous thing, with a child in swaddling-clothes, which appears alive, in the arms of a woman. For the Nuns of the Murate at Arezzo he painted the Chapel of the High-Altar, a work which is truly much extolled. At Monte San Savino he painted a shrine opposite to the Palace of Cardinal di Monte, which was held very beautiful. And at Borgo San Sepolcro, where there is now the Vescovado, he decorated a chapel, which brought him very great praise and profit.

Don Clemente was a man of very versatile intelligence, and, besides being a great musician, he made organs of lead with his own hand. In S. Domenico he made one of cardboard, which has ever remained sweet and good; and in S. Clemente there was another, also by his hand, which was placed on high, with the keyboard below on the level of the choir--truly with very beautiful judgment, since, the place being such that the monks were few, he wished that the organist should sing as well as play. And since this Abbot loved his Order, like a true minister and not a squanderer of the things of God, he enriched that place greatly with buildings and pictures, particularly by rebuilding the principal chapel of his church and painting the whole of it; and in two niches, one on either side of it, he painted a S. Rocco and a S. Bartholomew, which were ruined together with the church.

But to return to the Abbot, who was a good and worthy churchman. He left a disciple in painting named Maestro Lappoli, an Aretine, who was an able and practised painter, as is shown by the works from his hand which are in S. Agostino, in the Chapel of S. Sebastiano, where there is that Saint wrought in relief by the same man, with figures round him, in painting, of S. Biagio, S. Rocco, S. Anthony of Padua, and S. Bernardino; while on the arch of the chapel is an Annunciation, and on the vaulting are the four Evangelists, wrought in fresco with a high finish. By the hand of the same man, in another chapel on the left hand as one enters the said church by the side-door, is a Nativity in fresco, with the Madonna receiving the Annunciation from the Angel, in the figure of which Angel he portrayed Giuliano Bacci, then a young man of very beautiful aspect. Over the said door, on the outer side, he made an Annunciation, with S. Peter on one side and S. Paul on the other, portraying in the face of the Madonna the mother of Messer Pietro Aretino, a very famous poet. In S. Francesco, for the Chapel of S. Bernardino, he painted a panel with that Saint, who appears alive, and so beautiful that this is the best figure that he ever made. In the Chapel of the Pietramaleschi in the Vescovado he painted a very beautiful S. Ignazio on a panel in distemper; and in the Pieve, at the entrance of the upper door which opens on the piazza, a S. Andrew and a S. Sebastian. For the Company of the Trinita, by order of Buoninsegna Buoninsegni of Arezzo, he made a work with beautiful invention, which can be numbered among the best that he ever executed, and this was a Crucifix over an altar, with a S. Martin on one side and a S. Rocco on the other, and two figures kneeling at the foot, one in the form of a poor man, lean, emaciated, and wretchedly clothed, from whom there issued certain rays that shone straight on the wounds of the Saviour, while the Saint gazed on him most intently; and the other in the form of a rich man, clothed in purple and fine linen, and all ruddy and cheerful in countenance, whose rays, as he was adoring Christ, although they were issuing from his heart, like those of the poor man, appeared not to shine directly on the wounds of the Crucified Christ, but to stray and spread over certain plains and fields full of grain, green crops, cattle, gardens, and other suchlike things, while some diverged over the sea towards certain boats laden with merchandise; and others, finally, shone on certain money-changers' tables. All these things were wrought by Matteo with judgment, great mastery, and much diligence; but they were thrown to the ground no long time after in the making of a chapel. Beneath the pulpit of the Pieve the same man made a Christ with the Cross for Messer Leonardo Albergotti.

A disciple of the Abbot of S. Clemente, likewise, was a Servite friar of Arezzo, who painted in colours the facade of the house of the Belichini in Arezzo, and two chapels in fresco, one beside the other, in S. Pietro. Another disciple of Don Bartolommeo was Domenico Pecori of Arezzo, who made three figures in distemper on a panel at Sargiano, and painted a very beautiful banner in oil, to be carried in processions, for the Company of S. Maria Maddalena. For Messer Presentino Bisdomini, in the Chapel of S. Andrea in the Pieve, he made a picture of S. Apollonia, similar to that mentioned above; and he finished many works left incomplete by his master, such as the panel of S. Sebastian and S. Fabiano with the Madonna, in S. Pietro, for the family of the Benucci. In the Church of S. Antonio he painted the panel of the high-altar, wherein is a very devout Madonna, with some saints; and since the said Madonna is adoring the Child, whom she has in her lap, he made it appear that a little angel, kneeling behind her, is supporting Our Lord on a cushion, the Madonna not being able to uphold Him because she has her hands clasped in the act of adoration. In the Church of S. Giustino, for Messer Antonio Roselli, he painted a chapel with the Magi in fresco; and for the Company of the Madonna, in the Pieve, he painted a very large panel containing a Madonna in the sky, with the people of Arezzo beneath, in which he made many portraits from the life. In this last work he was helped by a Spanish painter, who painted very well in oil and therein gave assistance to Domenico, who had not as much skill in painting in oil as he had in distemper. With the help of the same man he executed a panel for the Company of the Trinita, containing the Circumcision of Our Lord, which was held a very good work, and a "Noli Me Tangere" in fresco in the garden of S. Fiore. Finally, he painted a panel with many figures in the Vescovado, for Messer Donato Marinelli, Primicere. This work, which then brought him and still continues to bring him very great honour, shows good invention, good design, and strong relief; and in making it, being now very old, he called in the aid of a Sienese painter, Capanna, a passing good master, who painted so many walls in chiaroscuro and so many panels in Siena, and who, if he had lived longer, would have done himself much credit in his art, in so far as one may judge from the little that he executed. Domenico wrought for the Confraternity of Arezzo a baldacchino painted in oil, a rich and costly work, which was lent not many years ago for the holding of a representation in S. Francesco at the festival of S. John and S. Paul, to adorn a Paradise near the roof of the church. A fire breaking out in consequence of the great quantity of lights, this work was burnt, together with the man who was representing God the Father, who, being fastened, could not escape, as the angels did, and many church-hangings were destroyed, while great harm came to the spectators, who, terrified by the fire, struggled furiously to fly from the church, everyone seeking to be the first, so that about eighty were trampled down in the press, which was something very pitiful. This baldacchino was afterwards reconstructed with greater richness, and painted by Giorgio Vasari. Domenico then devoted himself to the making of glass windows, and there were three by his hand in the Vescovado, which were ruined by the artillery in the wars.

Another pupil of the same master was the painter Angelo di Lorentino, who was a man of passing good ability. He painted the arch over the door of S. Domenico, and if he had received assistance he would have become a very good master.

The Abbot died at the age of eighty-three, leaving unfinished the Temple of the Madonna delle Lacrime, for which he had made a model; it was afterwards completed by various masters. He deserves praise, then, as illuminator, architect, painter, and musician. He was given burial by his monks in his Abbey of S. Clemente, and his works have ever been so highly esteemed in the said city that the following verses may be read over his tomb:

PINGEBAT DOCTE ZEUSIS, CONDEBAT ET AEDES NICON, PAN CAPRIPES, FISTULA PRIMA TUA EST. NON TAMEN EX VOBIS MECUM CERTAVERIT ULLUS; QUAE TRES FECISTIS, UNICUS HAEC FACIO.