Chapter 19

Another pupil of Francesco Salviati was Giuseppe Porta of Castelnuovo della Garfagnana, who, out of respect for his master, was also called Giuseppe Salviati. This Giuseppe, having been taken to Rome as a boy, in the year 1535, by an uncle, the secretary of Monsignor Onofrio Bartolini, Archbishop of Pisa, was placed with Salviati, under whom he learned in a short time not only to draw very finely, but also to use colour excellently well. He then went with his master to Venice, where he formed so many connections with noble persons, that, being left there by Francesco, he made up his mind that he would choose that city as his home; and so, having taken a wife there, he has lived there ever since, and he has worked in few other places but Venice. He painted long ago the façade of the house of the Loredani on the Campo di S. Stefano, with scenes very pleasingly coloured in fresco and executed in a beautiful manner. He painted, likewise, that of the Bernardi at S. Polo, and another behind S. Rocco, which is a very good work. Three other façades he has painted in chiaroscuro, very large and covered with various scenes--one at S. Moisè, the second at S. Cassiano, and the third at S. Maria Zebenigo. He has also painted in fresco, at a place called Treville, near Treviso, the whole of the Palace of the Priuli, a rich and vast building, both within and without; of which building there will be a long account in the Life of Sansovino; and at Pieve di Sacco he has painted a very beautiful façade. At Bagnuolo, a seat of the Friars of S. Spirito at Venice, he has executed an altar-piece in oils; and for the same fathers he has painted the ceiling, or rather, soffit of the refectory in the Convent of S. Spirito, with a number of compartments filled with painted pictures, and a most beautiful Last Supper on the principal wall. For the Hall of the Doge, in the Palace of S. Marco, he has painted the Sibyls, the Prophets, the Cardinal Virtues, and Christ with the Maries, which have won him vast praise; and in the above-mentioned Library of S. Marco he painted two large scenes, in competition with the other painters of Venice of whom mention has been made above. Being summoned to Rome by Cardinal Emulio after the death of Francesco, he finished one of the larger scenes that are in the Hall of Kings, and began another; and then, Pope Pius IV having died, he returned to Venice, where the Signoria commissioned him to paint a ceiling with pictures in oils, which is at the head of the new staircase in the Palace.

The same master has painted six very beautiful altar-pieces in oils, one of which is on the altar of the Madonna in S. Francesco della Vigna, the second on the high-altar in the Church of the Servites, the third is with the Friars Minors, the fourth in the Madonna dell'Orto, the fifth at S. Zaccheria, and the sixth at S. Moisè; and he has painted two at Murano, which are beautiful and executed with much diligence and in a lovely manner. But of this Giuseppe, who is still alive and is becoming a very excellent master, I say no more for the present, save that, in addition to his painting, he devotes much study to geometry. By his hand is the Volute of the Ionic Capital that is to be seen in print at the present day, showing how it should be turned after the ancient measure; and there is to appear soon a work that he has composed on the subject of geometry.

A disciple of Francesco, also, was one Domenico Romano, who was of great assistance to him in the hall that he painted in Florence, and in other works. Domenico engaged himself in the year 1550 to Signor Giuliano Cesarino, and he does not work on his own account.

DANIELLO RICCIARELLI

LIFE OF DANIELLO RICCIARELLI

PAINTER AND SCULPTOR OF VOLTERRA

Daniello, when he was a lad, learned to draw a little from Giovanni Antonio Sodoma, who went at that time to execute certain works in the city of Volterra; and when Sodoma had gone away he made much greater and better proficience under Baldassarre Peruzzi than he had done under the discipline of the other. But to tell the truth, for all that, he achieved no great success at that time, for the reason that in proportion as he devoted great effort and study to seeking to learn, being urged by a strong desire, even so, on the other hand, did his brain and hand fail him. Wherefore in his first works, which he executed at Volterra, there is evidence of very great, nay, infinite labour, but not yet any promise of a grand or beautiful manner, nor any grace, charm, or invention, such as have been seen at an early hour in many others who have been born to be painters, and who, even in their first beginnings, have shown facility, boldness, and some indication of a good manner. His first works, indeed, seem in truth as if done by a melancholic, being full of effort and executed with much patience and expenditure of time.

But let us come to his works, leaving aside those that are not worthy of attention; in his youth he painted in fresco at Volterra the façade of M. Mario Maffei, in chiaroscuro, which gave him a good name and won him much credit. But after he had finished it, perceiving that he had there no competition that might spur him to seek to rise to greater heights, and that there were no works in that city, either ancient or modern, from which he could learn much, he determined at all costs to go to Rome, where he heard that there were not at that time many who were engaged in painting, excepting Perino del Vaga. Before departing, he resolved that he would take some finished work that might make him known; and so, having painted a canvas in oils of Christ Scourged at the Column, with many figures, to which he devoted all possible diligence, availing himself of models and portraits from life, he took it with him. And, having arrived in Rome, he had not been long there before he contrived by means of friends to show that picture to Cardinal Triulzi, whom it satisfied in such a manner that he not only bought it, but also conceived a very great affection for Daniello; and a short time afterwards he sent him to work in a village without Rome belonging to himself, called Salone, where he had built a very large house, which he was having adorned with fountains, stucco-work, and paintings, and in which at that very time Gian Maria da Milano and others were decorating certain rooms with stucco and grotesques. Arriving there, then, Daniello, both out of emulation and from a desire to serve that lord, from whom he could hope to win much honour and profit, painted various things in many rooms and loggie in company with the others, and in particular executed many grotesques, full of various little figures of women. But the work that proved to be more beautiful than all the rest was a story of Phaëthon, executed in fresco with figures of the size of life, and a very large River God that he painted there, which is a very good figure; and all these works, since the above-named Cardinal went often to see them, and took with him now one and now another of the Cardinals, were the reason that Daniello formed a friendship and bonds of service with many of them.

Afterwards, Perino del Vaga, who at that time was painting the Chapel of M. Agnolo de' Massimi in the Trinita, having need of a young man who might help him, Daniello, desiring to make proficience, and drawn by his promises, went to work with him and assisted him to execute certain things in the work of that chapel, which he carried to completion with much diligence. Now, before the sack of Rome Perino had painted on the vaulting of the Chapel of the Crocifisso in S. Marcello, as has been related, the Creation of Adam and Eve in figures of the size of life, and in much larger figures two Evangelists, S. John and S. Mark, which were not yet completely finished, since the figure of S. John was wanting from the middle upwards; and the men of that Company resolved, when the affairs of Rome had finally become settled again, that the same Perino should finish the work. But he, having other work to do, made the cartoons and had it finished by Daniello, who completed the S. John that had been left unfinished, painted all by himself the two other Evangelists, S. Luke and S. Matthew, between them two little boys that are holding a candelabrum, and, on the arch of the wall that contains the window, two Angels standing poised on their wings in the act of flight, who are holding in their hands the Mysteries of the Passion of Jesus Christ; and he adorned the arch richly with grotesques and little naked figures of great beauty. In short, he acquitted himself marvellously well in all that work, although he took a considerable time over it.

The same Perino having then caused Daniello to execute a frieze in the hall of the Palace of M. Agnolo Massimi, with many divisions in stucco and other ornaments, and stories of the actions of Fabius Maximus, he bore himself so well, that Signora Elena Orsina, having seen that work and hearing the ability of Daniello much extolled, commissioned him to paint her chapel in the Church of the Trinita in Rome, on the hill, where the Friars of S. Francesco di Paola have their seat. Wherefore Daniello, putting forth all possible effort and diligence, in order to produce a rare work which might make him known as an excellent painter, did not shrink from devoting to it the labour of many years. From the name of that lady, the title given to the chapel being that of the Cross of Christ Our Saviour, the subject chosen was that of the actions of S. Helen; and so in the principal altar-piece Daniello painted Jesus Christ taken down from the Cross by Joseph, Nicodemus, and other disciples, and the Virgin Mary in a swoon, supported on the arms of the Magdalene and the other Maries, in all which he showed very great judgment, and gave proof of very rare ability, for the reason that, besides the composition of the figures, which has a very rich effect, the figure of Christ is very fine and most beautifully foreshortened, with the feet coming forward and the rest backwards. Very beautiful and difficult, likewise, are the foreshortenings in the figures of those who, having removed Him from the Cross, support Him with some bands, standing on some ladders and revealing in certain parts the nude flesh, executed with much grace. Around that altar-piece he made an ornament in stucco-work of great beauty and variety, full of carvings, with two figures that support the pediment with their heads, while with one hand they hold the capital, and with the other they seek to place the column, which stands at the foot on the base, below the capital to support it; which work is done with extraordinary care. In the arch above the altar-piece he painted two Sibyls in fresco, which are the best figures in the whole work; and those Sibyls are one on either side of the window, which is above the centre of the altar-piece, giving light to the whole chapel. The vaulting of the chapel is divided into four compartments by bizarre, well varied, and beautiful partitions of stucco-work and grotesques made with new fantasies of masks and festoons; and in those compartments are four stories of the Cross and of S. Helen, the mother of Constantine. In the first is the scene when, before the Passion of the Saviour, three Crosses are constructed; in the second, S. Helen commanding certain Hebrews to reveal those Crosses to her; in the third, the Hebrews not consenting to reveal them, she causes to be cast into a well him who knows where they are; and in the fourth he reveals the place where all three are buried. Those four scenes are beautiful beyond belief, and executed with great care. On the side-walls are four other scenes, two to each wall, and each is divided off by the cornice that forms the impost of the arch upon which rests the groined vaulting of the chapel. In one is S. Helen causing the Holy Cross and the two others to be drawn up from a well; and in the second is that of the Saviour healing a sick man. Of the pictures below, in that on the right hand is the same S. Helen recognizing the Cross of Christ because it restores to life a corpse upon which it is laid; to the nude flesh of which corpse Daniello devoted extraordinary pains, searching out all the muscles and seeking to render correctly all the parts of the body, as he also did in those who are placing the Cross upon it, and in the bystanders, who are all struck with amazement by the sight of that miracle. And, in addition, there is a bier of bizarre shape painted with much diligence, with a skeleton embracing it, executed with great care and with beautiful invention. In the other picture, which is opposite to the first, he painted the Emperor Heraclius walking barefoot and in his shirt, and carrying the Cross of Christ through the gate of Rome, with men, women, and children kneeling, who are adoring it, many lords in his train, and a groom who is holding his horse. Below each scene, forming a kind of base, are two most beautiful women in chiaroscuro, painted in imitation of marble, who appear to be supporting those scenes. And under the first arch, on the front side, he painted on the flat surface, standing upright, two figures as large as life, a S. Francesco di Paola, the head of the Order that administers the above-named church, and a S. Jerome robed as a Cardinal, which are two very good figures, even as are those of the whole work, which Daniello executed in seven years, with incalculable labour and study.

But, since pictures that are executed in that way have always a certain hard and laboured quality, the work is wanting in the grace and facility that give most pleasure to the eye. Wherefore Daniello, himself confessing the fatigue that he had endured in the work, and fearing the fate that did come upon him (namely, that he would be censured), made below the feet of those two Saints, to please himself, and as it were in his own defence, two little scenes of stucco in low-relief, in which he sought to show that, although he worked slowly and with effort, nevertheless, since Michelagnolo Buonarroti and Fra Sebastiano del Piombo were his friends, and he was always imitating their works and observing their precepts, his imitation of those two men should be enough to defend him from the biting words of envious and malignant persons, whose evil nature must perforce be revealed, although they may not think it. In one of these scenes, then, he made many figures of Satyrs that are weighing legs, arms, and other members of figures with a steelyard, in order to put on one side those that are correct in weight and satisfactory, and to give those that are bad to Michelagnolo and Fra Sebastiano, who are holding conference over them; and in the other is Michelagnolo looking at himself in a mirror, the significance of which is clear enough. At two angles of the arch, likewise, on the outer side, he painted two nudes in chiaroscuro, which are of the same excellence as the other figures in that work. When it was all uncovered, which was after a very long time, it was much extolled, and held to be a very beautiful work and a triumph over difficulties, and the painter a most excellent master.

After that chapel, Cardinal Alessandro Farnese caused him to execute in a room in his Palace--namely, at the corner, under one of those very rich ceilings made under the direction of Maestro Antonio da San Gallo for three large chambers that are in a line--a very beautiful frieze in painting, with a scene full of figures on each wall, the scenes being a very beautiful triumph of Bacchus, a Hunt, and others of that kind. These much pleased the Cardinal, who caused him to paint, in addition, in several parts of that frieze, the Unicorn in various forms in the lap of a Virgin, which is the device of that most illustrious family. Which work was the reason that that lord, who has ever been the friend of all talented and distinguished men, always favoured him, and even more would he have done it, if Daniello had not been so dilatory over his work; but for that Daniello was not to blame, seeing that such was his nature and genius, and he was content to do little well rather than much not so well. Now, in addition to the affection that the Cardinal bore him, Signor Annibale Caro worked on his behalf in such a manner with his patrons, the Farnesi, that they always assisted him. And for Madama Margherita of Austria, the daughter of Charles V, he painted in eight spaces in the study of which mention has been made in the Life of Indaco, in the Palace of the Medici on the Piazza Navona, eight little stories of the actions and illustrious deeds of the above-named Emperor Charles V, with such diligence and excellence, that it would be almost impossible to do better in that kind of work.

In the year 1547 Perino del Vaga died, leaving unfinished the Hall of Kings, which, as has been related, is in the Papal Palace, in front of the Sistine and Pauline Chapels; and by the mediation of many friends and lords, and in particular of Michelagnolo Buonarroti, Daniello was set in his place by Pope Paul III, with the same salary that Perino had received, and was commanded to make a beginning with the ornaments of the walls that were to be executed in stucco, with many nudes in the round over certain pediments. Now, since the walls of that Hall are broken by six large doors in variegated marble, and only one wall is left unbroken, Daniello made over each door what is almost a tabernacle in stucco, of great beauty. In each of these he intended to execute in painting one of those Kings who have defended the Apostolic Church, and then to continue on the walls with stories of those Kings who have benefited the Church with tributes or victories, so that in all there were to be six stories and six niches. After those niches, or rather, tabernacles, Daniello with the aid of many assistants executed all the other very rich decorations in stucco that are to be seen in that Hall, studying at the same time over the cartoons for all that he had proposed to do in that place in the way of painting. Which done, he made a beginning with one of the stories, but he did not paint more than about two braccia of it, and two of the Kings in the tabernacles of stucco over the doors. For, although he was pressed by Cardinal Farnese and by the Pope, not reflecting that death very often spoils the designs of men, he carried on the work so slowly that when in the year 1549 the death of the Pope took place, there was nothing done save what has been described; and then, the Conclave having to be held in the Hall, which was full of scaffolding and woodwork, it became necessary to throw everything to the ground and uncover the work. The whole being thus seen by everyone, the works in stucco were vastly extolled, as they deserved, but not so the two Kings in painting, for it was thought that they were not equal in excellence to the work at the Trinita, and that with all those fine allowances and advantages he had gone rather backward than forward.

Julius III having been created Pontiff in the year 1550, Daniello put himself forward by means of friends and interests, hoping to obtain the same salary and to continue the work of that Hall, but the Pope, not having any inclination in his favour, always put him off; indeed, sending for Giorgio Vasari, who had been his servant from the time when he was Archbishop of Siponto, he made use of him in all matters concerned with design. Nevertheless, his Holiness having determined to make a fountain at the head of the corridor of the Belvedere, and not liking a design by Michelagnolo (in which was Moses striking the rock and causing water to flow from it) because it was a thing that could not be carried out without a great expenditure of time, since Michelagnolo wished to make it of marble; his Holiness, I say, preferring the advice of Giorgio, which was that the Cleopatra, a divine figure made by the Greeks, should be set up in that place, the charge of that work was given by means of Buonarroti to Daniello, with orders that he should make in the above-named place a grotto in stucco-work, within which that Cleopatra was to be placed. Daniello, then, having set his hand to that work, pursued it so slowly, although he was much pressed, that he finished only the stucco-work and the paintings in that room, but as for the many other things that the Pope wished to have done, seeing them delayed longer than he had expected, he lost all desire for them, so that nothing more was done and everything was left in the condition that is still to be seen.

In a chapel in the Church of S. Agostino Daniello painted in fresco, with figures of the size of life, S. Helen causing the Cross to be found, and in two niches at the sides S. Cecilia and S. Lucia, which work was painted partly by him and partly, after his designs, by the young men who worked with him, so that it did not prove as perfect as his others. At this same time there was allotted to him by Signora Lucrezia della Rovere a chapel in the Trinita, opposite to that of Signora Elena Orsina. In that chapel, having divided it into compartments with stucco-work, he had the vaulting painted with stories of the Virgin, after his own cartoons, by Marco da Siena and Pellegrino da Bologna; on one of the walls he caused the Nativity of the Virgin to be painted by the Spaniard Bizzerra, and on the other, by Giovan Paolo Rossetti of Volterra, his disciple, the Presentation of Jesus Christ to Simeon; and he caused the same Giovan Paolo to execute two scenes that are on the arches above, Gabriel bringing the Annunciation to the Virgin and the Nativity of Christ. On the outer side, at the angles, he painted two large figures, and on the pilasters, at the foot, two Prophets. On the altar-front Daniello painted with his own hand the Madonna ascending the steps of the Temple, and on the principal wall the same Virgin ascending into Heaven, borne by many most beautiful Angels in the forms of little boys, and the twelve Apostles below, gazing on her as she ascends. And since the place would not hold so many figures, and he desired to use a new invention in the work, he made it appear as if the altar of that chapel were the sepulchre, and placed the Apostles around it, making their feet rest on the floor of the chapel, where the altar begins; which method of Daniello's has pleased some, but others, who form the greater and better part, not at all. And although Daniello toiled fourteen years over executing that work, it is not a whit better than the first. On the last wall of the chapel that remained to be finished, on which there was to be painted the Massacre of the Innocents, having himself made the cartoons, he had the whole executed by the Florentine Michele Alberti, his disciple.