Chapter 9

Finally, in the year 1550, Giovanni went to Rome to take part in the most holy Jubilee, on foot and dressed poorly as a pilgrim, and in the company of humble folk; and he stayed there many days without being known by anyone. But one day, while going to S. Paolo, he was recognized by Giorgio Vasari, who was riding in a coach to the same Pardon in company with Messer Bindo Altoviti, who was much his friend. At first Giovanni denied that it was he, but finally he was forced to reveal himself and to confess that he had great need of Giorgio's assistance with the Pope in the matter of the pension that he had from the Piombo, which was being denied to him by one Fra Guglielmo, a Genoese sculptor, who had received that office after the death of Fra Sebastiano. Giorgio spoke of this matter to the Pope, which was the reason that the bond was renewed, and afterwards it was proposed to exchange it for a canonicate at Udine for Giovanni's son. But afterwards, being again defrauded by that Fra Guglielmo, Giovanni went from Udine to Florence, after Pope Pius had been elected, in the hope of being assisted and favoured by his Excellency with that Pontiff, by means of Vasari. Having arrived in Florence, then, he was presented by Giorgio to his most illustrious Excellency, with whom he went to Siena, and then from there to Rome, whither there also went the Lady Duchess Leonora; and in such wise was he assisted by the kindness of the Duke, that he was not only granted all that he desired, but also set to work by the Pope with a good salary to give the final completion to the last Loggia, which is the one over that which Pope Leo had formerly caused him to decorate. That finished, the same Pope commissioned him to retouch all that first Loggia, which was an error and a thing very ill considered, for the reason that retouching it "a secco" caused it to lose all those masterly strokes that had been drawn by Giovanni's brush in all the excellence of his best days, and also the boldness and freshness that had made it in its original condition so rare a work.

After finishing that work, Giovanni, being seventy years of age, finished also the course of his life, in the year 1564, rendering up his spirit to God in that most noble city which had enabled him for many years to live with so much success and so great a name. Giovanni was always, but much more in his last years, a God-fearing man and a good Christian. In his youth he took pleasure in scarcely any other thing but hunting and fowling; and his custom when he was young was to go hunting on feast-days with his servant, at times roaming over the Campagna to a distance of ten miles from Rome. He could shoot very well with the fusil and the crossbow, and therefore rarely returned home without his servant being laden with wild geese, ringdoves, wild ducks, and other creatures such as are to be found in those marshy places. Giovanni, so many declare, was the inventor of the ox painted on canvas that is made for using in that pursuit, so as to fire off the fusil without being seen by the wild creatures; and on account of those exercises of hunting and fowling he always delighted to keep dogs and to train them by himself.

Giovanni, who deserves to be extolled among the greatest masters of his profession, chose to be buried in the Ritonda, near his master Raffaello da Urbino, in order not to be divided in death from him to whom in life his spirit was always attached; and since, as has been told, each of them was an excellent Christian, it may be believed that they are still together in eternal blessedness.

BATTISTA FRANCO

LIFE OF BATTISTA FRANCO

PAINTER OF VENICE

Battista Franco of Venice, having given his attention in his early childhood to design, went off at the age of twenty, as one who aimed at perfection in that art, to Rome, where, after he had devoted himself for some time with much study to design, and had seen the manner of various masters, he resolved that he would not study or seek to imitate any other works but the drawings, paintings, and sculptures of Michelagnolo; wherefore, having set himself to make research, there remained no sketch, study, or even any thing copied by Michelagnolo that he had not drawn. Wherefore no long time passed before he became one of the first draughtsmen who frequented the Chapel of Michelagnolo; and, what was more, he would not for a time set himself to paint or to do any other thing but draw. But in the year 1536, festive preparations of a grand and sumptuous kind being arranged by Antonio da San Gallo for the coming of the Emperor Charles V, in which, as has been related in another place, all the craftsmen, good and bad, were employed, Raffaello da Montelupo, who had to execute the decorations of the Ponte S. Angelo with the ten statues that were placed upon it, having seen that Battista was a young man of good parts and a finished draughtsman, resolved to bring it about that he also should be employed, and by hook or by crook to have some work given to him to do. And so, having spoken of this to San Gallo, he so contrived that Battista was commissioned to execute in fresco four large scenes in chiaroscuro on the front of the Porta Capena, now called the Porta di S. Bastiano, through which the Emperor was to enter.

In that work Battista, without having hitherto touched colours, executed over the gate the arms of Pope Paul III and those of the Emperor Charles, with a Romulus who was placing on the arms of the Pontiff a Papal crown, and on those of the Emperor an Imperial crown; which Romulus, a figure of five braccia, dressed in the ancient manner, with a crown on the head, had on the right hand Numa Pompilius, and on the left Tullus Hostilius, and above him these words--Quirinus Pater. In one of the scenes that were on the faces of the towers standing on either side of the gate, was the elder Scipio triumphing over Carthage, which he had made tributary to the Roman people; and in the other, on the right hand, was the triumph of the younger Scipio, who had ruined and destroyed that same city. In one of the two pictures that were on the exterior of the towers, on the front side, could be seen Hannibal under the walls of Rome, driven back by the tempest, and in the other, on the left, Flaccus entering by that gate to succour Rome against that same Hannibal. All these scenes and pictures, being Battista's first paintings, and in comparison with those of the others, were passing good and much extolled. And, if Battista had begun from the first to paint and from time to time to practise using colours and handling brushes, there is no doubt that he would have surpassed many craftsmen; but his obstinate adherence to a certain opinion that many others hold, who persuade themselves that draughtsmanship is enough for him who wishes to paint, did him no little harm. For all that, however, he acquitted himself much better than did some of those who executed the scenes on the arch of S. Marco, on which there were eight scenes, four on each side, the best of which were painted partly by Francesco Salviati, and partly by a certain Martino[8] and other young Germans, who had come to Rome at that very time in order to learn. Nor will I omit to tell, in this connection, that the above-named Martino, who was very able in works in chiaroscuro, executed some battle scenes with such boldness and such beautiful inventions in certain encounters and deeds of arms between Christians and Turks, that nothing better could have been done. And the marvellous thing was that Martino and his assistants executed those canvases with such assiduity and rapidity, in order that the work might be finished in time, that they never quitted their labour; and since drink, and that good Greco, was continually being brought to them, what with their being constantly drunk and inflamed with the heat of the wine, and their facility in execution, they achieved wonders. Wherefore, when Salviati, Battista, and Calavrese saw the work of these men, they confessed that for him who wishes to be a painter it is necessary to begin to handle brushes in good time; which matter having afterwards considered more carefully in his own mind, Battista began not to give so much study to finishing his drawings, and at times to use colour.

[Footnote 8: Martin Heemskerk.]

Montelupo then going to Florence, where, in like manner, very great preparations were being made for the reception of the above-named Emperor, Battista went with him, and when they arrived they found those preparations well on the way to completion; but Battista, being set to work, made a base all covered with figures and trophies for the statue on the Canto de' Carnesecchi that Fra Giovanni Agnolo Montorsoli had executed. Having therefore become known among the craftsmen as a young man of good parts and ability, he was much employed afterwards at the coming of Madama Margherita of Austria, the wife of Duke Alessandro, and particularly in the festive preparations that Giorgio Vasari made in the Palace of Messer Ottaviano de' Medici, where that lady was to reside.

These festivities finished, Battista set himself to draw with the greatest industry the statues of Michelagnolo that are in the new Sacristy of S. Lorenzo, to which at that time all the painters and sculptors of Florence had flocked to draw and to work in relief; and among these Battista made no little proficience, but, nevertheless, it was recognized that he had committed an error in never consenting to draw from the life and to use colours, or to do anything but imitate statues and little else besides, which had given his manner a hardness and dryness that he was not able to shake off, nor could he prevent his works from having a hard and angular quality, as may be seen from a canvas in which he depicted with much pains and labour the Roman Lucretia violated by Tarquinius. Consorting thus with the others and frequenting that sacristy, Battista formed a friendship with the sculptor Bartolommeo Ammanati, who was studying the works of Buonarroti there in company with many others. And of such a kind was that friendship, that Ammanati took Battista into his house, as well as Genga of Urbino, and they lived thus in company for some time, attending with much profit to the studies of art.

Duke Alessandro having then been done to death in the year 1536, and Signor Cosimo de' Medici elected in his place, many of the servants of the dead Duke remained in the service of the new, but others did not, and among those who went away was the above-named Giorgio Vasari, who returned to Arezzo, with the intention of having nothing more to do with Courts, having lost Cardinal Ippolito de' Medici, his first lord, and then Duke Alessandro; but he brought it about that Battista was invited to serve Duke Cosimo and to work in his guardaroba, where he painted in a large picture Pope Clement and Cardinal Ippolito, copying them from a work by Fra Sebastiano and from one by Tiziano, and Duke Alessandro from a picture by Pontormo. This picture was not of that perfection that was expected; but, having seen in the same guardaroba the cartoon of the "Noli me tangere" by Michelagnolo, which Pontormo had previously executed in colours, he set himself to make a cartoon like it, but with larger figures; which done, he painted a picture from it wherein he acquitted himself much better in the colouring. And the cartoon, which he copied exactly after that of Michelagnolo, was executed with great patience and very beautiful.

The affair of Monte Murlo having then taken place, in which the exiles and rebels hostile to the Duke were routed and captured, Battista depicted with beautiful invention a scene of the battle fought there, mingled with poetic fantasies of his own, which was much extolled, although there were recognized in the armed encounter and in the taking of the prisoners many things copied bodily from the works and drawings of Buonarroti. For the battle was in the distance, and in the foreground were the huntsmen of Ganymede, who were standing there gazing at Jove's Eagle carrying the young man away into Heaven; which part Battista took from the design of Michelagnolo, in order to use it to signify that the young Duke had risen by the grace of God from the midst of his friends into Heaven, or some such thing. This scene, I say, was first drawn by Battista in a cartoon, and then painted with supreme diligence in a picture; and it is now, together with his other works mentioned above, in the upper apartments of the Pitti Palace, which his most illustrious Excellency has just caused to be completely finished.

Having thus been engaged on these and some other works in the service of the Duke, until the time when he took to wife the Lady Donna Leonora of Toledo, Battista was next employed in the festive preparations for those nuptials, on the triumphal arch at the Porta al Prato, where Ridolfo Ghirlandajo caused him to execute some scenes of the actions of Signor Giovanni, father of Duke Cosimo. In one of these that lord could be seen passing the Rivers Po and Adda, in the presence of Cardinal Giulio de' Medici, who became Pope Clement VII, Signor Prospero Colonna, and other lords; and in another was the scene of the delivering of San Secondo. On the other side Battista painted in another scene the city of Milan, and around it the Camp of the League, which, on departing, the above-named Signor Giovanni leaves there. On the right flank of the arch he painted on one side a picture of Opportunity, who, having her tresses all unbound, was offering them with one hand to Signor Giovanni, and on the other side Mars, who was likewise offering him his sword. In another scene under the arch, by the hand of Battista, was Signor Giovanni fighting between the Tesino and Biegrassa upon the Ponte Rozzo, defending it, as it were like another Horatius, with incredible bravery. Opposite to this was the Taking of Caravaggio, and in the centre of the battle Signor Giovanni, who was passing fearlessly through fire and sword in the midst of the hostile army. Between the columns, on the right hand, there was in an oval Garlasso, taken by the same lord with a single company of soldiers, and on the left hand, between the two other columns, the bastion of Milan, likewise taken from the enemy. On the fronton, which was at the back of anyone entering, was the same Signor Giovanni on horseback under the walls of Milan, when, tilting in single combat with a knight, he ran him through from side to side with his lance. Above the great cornice, which reached out to the other cornice, on which the pediment rested, in another large scene executed by Battista with much diligence, there was in the centre the Emperor Charles V, who, crowned with laurel, was seated on a rock, with the sceptre in his hand; at his feet lay the River Betis with a vase that poured water from two mouths, and beside that figure was the River Danube, which, with seven mouths, was pouring its waters into the sea. I shall not make mention here of the vast number of statues that accompanied the above-named pictures and others on that arch, for the reason that it is enough for me at the present moment to describe that which concerns Battista Franco, and it is not my office to give an account of all that was done by others in the festive preparations for those nuptials and described at great length; besides which, having spoken of the masters of those statues where the necessity arose, it would be superfluous for me to say anything about them here, and particularly because the statues are not now standing, so that they cannot be seen and considered. But to return to Battista: the best thing that he did for those nuptials was one of the ten above-mentioned pictures which were in the decorations in the great court of the Medici Palace, wherein he painted in chiaroscuro Duke Cosimo invested with all the Ducal insignia. But, for all the diligence that he used there, he was surpassed by Bronzino, and by others who had less design than himself, in invention, in boldness, and in the treatment of the chiaroscuro. For, as has been said before, pictures must be executed with facility, and the parts set in their places with judgment, and without that effort and that labour which make things appear hard and crude; besides which, overmuch study often makes them come out heavy and dark, and spoils them, while lingering over them so long takes away the grace, boldness and excellence that facility is wont to give them. And these qualities, although they come in great measure as gifts from nature, can also in part be acquired by study and art.

Having then been taken by Ridolfo Ghirlandajo to the Madonna di Vertigli in Valdichiana (which place was once attached to the Monastery of the Angeli, of the Order of Camaldoli, in Florence, and is now an independent body in place of the Monastery of S. Benedetto, which, being without the Porta a Pinti, was destroyed on account of the siege of Florence), Battista painted there the scenes in the cloister already mentioned, while Ridolfo was executing the altar-piece and the ornaments of the high-altar. These finished, as has been related in the Life of Ridolfo, they adorned with other pictures that holy place, which is very celebrated and renowned for the many miracles that are wrought there by the Virgin Mother of the Son of God.

Battista then returned to Rome, at the very time when the Judgment of Michelagnolo had just been uncovered; and, being a zealous student of the manner and works of that master, he gazed at it very gladly, and in infinite admiration made drawings of it all. And then, having resolved to remain in Rome, at the commission of Cardinal Francesco Cornaro--who had rebuilt the palace that he occupied beside S. Pietro, which looks out on the portico in the direction of the Camposanto--he painted over the stucco a loggia that looks towards the Piazza, making there a kind of grotesques all full of little scenes and figures; which work, executed with much labour and diligence, was held to be very beautiful.

About the same time, which was the year 1538, Francesco Salviati, having painted a scene in fresco in the Company of the Misericordia, was to give it the final completion and to set his hand to others, which many private citizens desired to have painted; but, by reason of the rivalry that there was between him and Jacopo del Conte, nothing more was done; which hearing, Battista sought to obtain by this means an opportunity to prove himself superior to Francesco and the best master in Rome; and he so went to work, employing his friends and other means, that Monsignor della Casa, after seeing a design by his hand, allotted the work to him. Thereupon, setting his hand to it, he painted there in fresco S. John the Baptist taken at the command of Herod and cast into prison. But, although this picture was executed with much labour, it was not held to be equal by a great measure to that of Salviati, from its having been painted with very great effort and in a manner crude and melancholy, while it had no order in the composition, nor in a single part any of that grace and charm of colouring which Francesco's work possessed. And from this it may be concluded that those men are deceived who, in pursuing this art, give all their attention to executing well and with a good knowledge of muscles a torso, an arm, a leg, or other member, believing that a good grasp of that part is the whole secret; for the reason that the part of a work is not the whole, and only he carries it to perfect completion, in a good and beautiful manner, who, after executing the parts well, knows how to make them fit in due proportion into the whole, and who, moreover, so contrives that the composition of the figures expresses and produces well and without confusion the effect that it should produce. And, above all, care must be taken to make the heads vivacious, spirited, gracious, and beautiful in the expressions, the manner not crude, and the nudes so tinted with black that they may have relief, melting gradually into the distance according as may be required; to say nothing of the perspective-views, landscapes, and other parts that good pictures demand, nor that in making use of the works of others a man should proceed in such a manner that this may not be too easily recognized. Battista thus became aware too late that he had wasted time beyond all reason over the minutiæ of muscles and over drawing with too great diligence, while paying no attention to the other fields of art.