Part 1

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LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO VASARI:

VOLUME VI. FRA GIOCONDO TO NICCOLO SOGGI 1913

NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED ILLUSTRATIONS: IN TEN VOLUMES

PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON ST. LONDON, W. 1912-14

CONTENTS OF VOLUME VI

PAGE

FRA GIOCONDO, LIBERALE, AND OTHERS 1

FRANCESCO GRANACCI [IL GRANACCIO] 55

BACCIO D' AGNOLO 63

VALERIO VICENTINO [VALERIO BELLI], GIOVANNI DA CASTEL BOLOGNESE [GIOVANNI BERNARDI], MATTEO DAL NASSARO, AND OTHERS 73

MARC' ANTONIO BOLOGNESE, AND OTHERS 89

ANTONIO DA SAN GALLO 121

GIULIO ROMANO 143

FRA SEBASTIANO VINIZIANO DEL PIOMBO 171

PERINO DEL VAGA 187

GIORGIO VASARI, TO THE CRAFTSMEN IN DESIGN 227

DOMENICO BECCAFUMI 233

GIOVANNI ANTONIO LAPPOLI 253

NICCOLO SOGGI 267

INDEX OF NAMES 281

ILLUSTRATIONS TO VOLUME VI

PLATES IN COLOUR

FACING PAGE GIOVAN FRANCESCO CAROTO Elisabetta Gonzaga, Duchess of Mantua Florence: Uffizi, 1121 16

FRANCESCO MONSIGNORI (BONSIGNORI) Portrait of a Gentleman London: N.G., 736 28

FRANCESCO MORONE Madonna and Child London: N.G., 285 32

GIROLAMO DAI LIBRI Madonna and Child, with S. Anne London: N.G., 748 48

FRANCESCO GRANACCI (IL GRANACCIO) The Holy Family Florence: Pitti, 199 58

FRA SEBASTIANO VINIZIANO DEL PIOMBO Portrait of a Lady Florence: Uffizi, 1123 174

DOMENICO BECCAFUMI S. Catharine before the Crucifix Siena: Pinacoteca, 420 238

PLATES IN MONOCHROME

LIBERALE OF VERONA S. Mary Magdalene with Saints Verona: S. Anastasia 10

LIBERALE OF VERONA Miniature Siena: Duomo Library 14

GIOVAN FRANCESCO CAROTO Madonna and Child, with S. Anne and Saints Verona: S. Fermo Maggiore 18

FRANCESCO TURBIDO (IL MORO) Portrait of a Man Munich: Pinacothek, 1125 24

FRANCESCO MONSIGNORI (BONSIGNORI) S. Sebastian Berlin: Kaiser Friedrich Museum, 46c 30

FRANCESCO MORONE The Crucifixion Verona: S. Bernardino 34

PAOLO CAVAZZUOLA The Deposition Verona: Museo Civico, 392 40

GIOVAN MARIA (FALCONETTO) Palazzo del Capitanio Padua 46

GIROLAMO DAI LIBRI Madonna and Child, with Saints Verona: Museo Civico, 290 50

FRANCESCO GRANACCI (IL GRANACCIO) The Madonna giving the Girdle to S. Thomas Florence: Uffizi, 1280 62

GIOVANNI DA CASTEL BOLOGNESE (GIOVANNI BERNARDI) Cassetta Farnese Naples: Museo Nazionale 78

VALERIO VICENTINO (VALERIO BELLI) Casket of Rock Crystal Florence: Uffizi 82

ALESSANDRO CESATI BENVENUTO CELLINI Medals London: British Museum 84

PASTORINO OF SIENA DOMENICO POGGINI Medals London: British Museum 84

MARTIN SCHONGAUER Christ and the Virgin Enthroned London: British Museum, B. 71 92

ALBRECHT DUeRER Hercules London: British Museum, B. 73 92

ALBRECHT DUeRER Christ taking leave of His Mother London: British Museum, B. 92 94

ALBRECHT DUeRER S. Jerome in his Study London: British Museum, B. 60 96

LUCAS VAN LEYDEN "Ecce Homo" of 1510 London: British Museum 98

MARC' ANTONIO BOLOGNESE The Death of Lucretia London: British Museum, B. 192 102

MARC' ANTONIO BOLOGNESE (AFTER BANDINELLI) The Martyrdom of S. Lawrence (engraving) London: British Museum 104

ANTONIO DA SAN GALLO (THE YOUNGER) (WITH MICHELAGNOLO BUONARROTI) Palazzo Farnese Rome 138

GIULIO ROMANO Detail: The Battle of Constantine Rome: The Vatican 146

GIULIO ROMANO The Marriage Banquet of Cupid and Psyche Mantua: Palazzo del Te 154

GIULIO ROMANO The Destruction of the Giants by the Thunderbolts of Jove Mantua: Palazzo del Te, Sala dei Giganti 160

FRA SEBASTIANO VINIZIANO DEL PIOMBO The Flagellation Rome: S. Pietro in Montorio 176

FRA SEBASTIANO VINIZIANO DEL PIOMBO Andrea Doria Rome: Palazzo Doria 182

PERINO DEL VAGA The Passage of the Red Sea Rome: The Vatican, Loggia 192

FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA

LIVES OF FRA GIOCONDO, LIBERALE, AND OTHER CRAFTSMEN OF VERONA

If writers of history were to live a few years longer than the number commonly granted as the span of human life, I, for my part, have no manner of doubt that they would have something to add to the accounts of the past previously written by them, for the reason that, even as it is not possible for a single man, be he ever so diligent, to learn the exact truth in a flash, or to discover all the details of his subject in the little time at his command, so it is as clear as the light of day that Time, who is said to be the father of truth, is always revealing new things every day to the seeker after knowledge. If, many years ago, when I first wrote and also published these Lives of the Painters and other Craftsmen, I had possessed that full information which I have since received concerning Fra Giocondo of Verona, a man of rare parts and a master of all the most noble faculties, I would without a doubt have made that honourable record of him which I am now about to make for the benefit of craftsmen, or rather, of the world; and not of him only, but also of many other masters of Verona, who have been truly excellent. And let no one marvel that I place them all under the image of one only, because, not having been able to obtain portraits of them all, I am forced to do this; but, so far as in me lies, not one of them shall thereby have his excellence defrauded of its due.

Now, since the order of time and merit so demands, I shall speak first of Fra Giocondo. This man, when he assumed the habit of S. Dominic, was called not simply Fra Giocondo, but Fra Giovanni Giocondo. How the name Giovanni dropped from him I know not, but I do know that he was always called Fra Giocondo by everyone. And although his chief profession was that of letters, and he was not only a very good philosopher and theologian, but also an excellent Greek scholar (which was a rare thing at that time, when learning and letters were just beginning to revive in Italy), nevertheless he was also a very fine architect, being a man who always took supreme delight in that art, as Scaliger relates in his epistle against Cardan, and the learned Bude in his book "De Asse," and in the observations that he wrote on the Pandects.

Fra Giocondo, then, who was a fine scholar, a capable architect, and an excellent master of perspective, spent many years near the person of the Emperor Maximilian, and was master in the Greek and Latin tongues to the learned Scaliger, who writes that he heard him dispute with profound learning on matters of the greatest subtlety before the same Maximilian. It is related by persons still living, who remember the facts very clearly, that at the time when Verona was under the power of that Emperor the bridge which is called the Ponte della Pietra, in that city, was being restored, and it was seen to be necessary to refound the central pier, which had been destroyed many times in the past, and Fra Giocondo gave the design for refounding it, and also for safeguarding it in such a manner that it might never be destroyed again. His method of safeguarding it was as follows: he gave orders that the pier should be kept always bound together with long double piles fixed below the water on every side, to the end that these might so protect it that the river should not be able to undermine it; for the place where it is built is in the main current of the river, the bed of which is so soft that no solid ground can be found on which to lay its foundations. And excellent, in truth, as is evident from the result, was the advice of Fra Giocondo, for the reason that the pier has stood firm from that time to our own, as it still does, without ever showing a crack; and there is hope that, by the observation of the suggestions given by that good monk, it will stand for ever.

In his youth Fra Giocondo spent many years in Rome, giving his attention to the study of antiquities, and not of buildings only, but also of the ancient inscriptions that are in the tombs, and the other relics of antiquity, both in Rome itself and its neighbourhood, and in every part of Italy; and he collected all these inscriptions and memorials into a most beautiful book, which he sent as a present, according to the account of the citizens of Verona mentioned above, to the elder Lorenzo de' Medici, the Magnificent, to whom, by reason of the great friendliness and favour that he showed to all men of talent, both Fra Giocondo and Domizio Calderino, his companion and compatriot, were always most deeply devoted. Of this book Poliziano makes mention in his Mugellane, in which he uses various parts of it as authorities, calling Fra Giocondo a profound master in antiquities.

The same Giocondo wrote some observations, which are in print, on the Commentaries of Caesar; and he was the first who made a drawing of the bridge built by Caesar over the River Rhone, and described by him in those same Commentaries, but misunderstood in the time of Fra Giocondo. Him the aforesaid Bude confesses to have had as his master in the study of architecture, thanking God that he had been taught his Vitruvius by a teacher so learned and so diligent as was that monk, who corrected in that author a vast number of errors not recognized up to that time; and this he was able to do with ease, because he was a master of every kind of learning, and had a good knowledge of both the Greek tongue and the Latin. This and other things declares Bude, extolling Fra Giocondo as an excellent architect, and adding that by the researches of the same monk there were discovered in an old library in Paris the greater part of the Epistles of Pliny, which, after having been so long out of the hands of mankind, were printed by Aldus Manutius, as may be read in a Latin letter written by him and printed with the same.

When living in Paris in the service of King Louis XII, Fra Giocondo built two superb bridges over the Seine, covered with shops--works truly worthy of that magnanimous King and of the marvellous intellect of Fra Giocondo. Wherefore that master, in addition to the inscription in his praise that may still be seen on those works, won the honour of being celebrated by Sannazzaro, a rare poet, in this most beautiful distich:

Jocundus geminum imposuit tibi, Sequana, pontem; Hunc tu jure potes dicere pontificem.

Besides this, he executed a vast number of other works for that King throughout all his kingdom; but of these, after having made mention of those above, as being the greatest, I shall say no more.

Then, happening to be in Rome at the death of Bramante, he was placed, in company with Raffaello da Urbino and Giuliano da San Gallo, in charge of the Church of S. Pietro, to the end that the structure begun by Bramante might be carried forward. Now, from the circumstance that it had been erected in haste, and for other reasons given in another place, it was threatening to fall in many parts, and by the advice of Fra Giocondo, Raffaello, and Giuliano, the foundations were in great measure renewed; in which work persons who were present and are still living declare that those masters adopted the following method. They excavated below the foundations many large pits after the manner of wells, but square, at a proper distance one from another, which they filled with masonry; and between every two of these piers, or rather pits filled with masonry, they threw very strong arches across the space below, insomuch that the whole building came to be placed on new foundations without suffering any shock, and was secured for ever from the danger of showing any more cracks.

But the work for which it seems to me that Fra Giocondo deserves the greatest praise is one on account of which an everlasting gratitude is due to him not only from the Venetians, but from the whole world as well. For he reflected that the life of the Republic of Venice depended in great measure on the preservation of its impregnable position on the lagoons on which that city, as it were by a miracle, is built; and that, whenever those lagoons silted up with earth, the air would become infected and pestilential, and the city consequently uninhabitable, or at the least exposed to all the dangers that threaten cities on the mainland. He set himself, therefore, to think in what way it might be possible to provide for the preservation of the lagoons and of the site on which the city had been built in the beginning. And having found a way, Fra Giocondo told the Signori that, if they did not quickly come to some resolution about preventing such an evil, in a few years, to judge by that which could be seen to have happened in part, they would become aware of their error, without being in time to be able to retrieve it. Roused by this warning, and hearing the powerful arguments of Fra Giocondo, the Signori summoned an assembly of the best engineers and architects that there were in Italy, at which many opinions were given and many designs made; but that of Fra Giocondo was held to be the best, and was put into execution. They made a beginning, therefore, with excavating a great canal, which was to divert two-thirds or at least one-half of the water brought down by the River Brenta, and to conduct that water by a long detour so as to debouch into the lagoons of Chioggia; and thus that river, no longer flowing into the lagoons at Venice, has not been able to fill them up by bringing down earth, as it has done at Chioggia, where it has filled and banked up the lagoons in such a manner that, where there was formerly water, many tracts of land and villas have sprung up, to the great benefit of the city of Venice. Wherefore it is the opinion of many persons, and in particular of the Magnificent Messer Luigi Cornaro, a Venetian gentleman of ripe wisdom gained both by learning and by long experience, that, if it had not been for the warning of Fra Giocondo, all the silting up that took place in the lagoons of Chioggia would have happened, and perhaps on a greater scale, in those of Venice, inflicting incredible damage and almost ruin on that city. The same Messer Luigi, who was very much the friend of Fra Giocondo, as he is and always has been of all men of talent, declares that his native city of Venice owes an eternal debt of gratitude for this to the memory of Fra Giocondo, who on this account, he says, might reasonably be called the second founder of Venice; and that he almost deserves more praise for having preserved by that expedient the grandeur and nobility of that marvellous and puissant city, than do those who built it at the beginning in such a weak and ill-considered fashion, seeing that the benefit received from him will be to all eternity, as it has been hitherto, of incalculable utility and advantage to Venice.

Not many years after Fra Giocondo had executed this divine work, the Venetians suffered a great loss in the burning of the Rialto, the place in which are the magazines of their most precious merchandise--the treasure, as it were, of that city. This happened at the very time when that Republic had been reduced by long-continued wars and by the loss of the greater part, or rather almost the whole, of her dominions on the mainland to a desperate condition; and the Signori then governing were full of doubt and hesitation as to what they should do. However, the rebuilding of that place being a matter of the greatest importance, they resolved that it should be reconstructed at all costs. And wishing to give it all possible grandeur, in keeping with the greatness and magnificence of that Republic, and having already recognized the talent of Fra Giocondo and his great ability in architecture, they gave him the commission to make a design for that structure; whereupon he drew one in the following manner. He proposed to occupy all the space that lies between the Canale delle Beccherie,[1] in the Rialto, and the Rio del Fondaco delle Farine,[2] taking as much ground between one canal and the other as would make a perfect square--that is, the length of the sides of this fabric was to be as great as the space which one covers at the present day in walking from the debouchure of one of those canals into the Grand Canal to that of the other. He intended, also, that the same two canals should debouch on the other side into a common canal, which was to run from the one to the other, so that the fabric might be left entirely surrounded by water, having the Grand Canal on one side, the two smaller canals on two other sides, and on the last the new canal that was to be made. Then he desired that between the water and the buildings, right round the square, there should be made, or rather should be left, a beach or quay of some breadth, which might serve as a piazza for the selling in duly appointed places of the vegetables, fruits, fish, and other things, that come from many parts to the city. It was also his opinion that right round the outer side of the buildings there should be erected shops looking out upon those same quays, and that these shops should serve only for the sale of eatables of every kind. And in these four sides the design of Fra Giocondo had four principal gates--namely, one to each side, placed in the centre, one directly opposite to another. But before going into the central piazza, by whichever side one entered, one would have found both on the right hand and on the left a street which ran round the block of buildings and had shops on either side, with handsome workshops above them and magazines for the use of those shops, which were all to be devoted to the sale of woven fabrics--that is, fine woollen cloth and silk, which are the two chief products of that city. This street, in short, was to contain all the shops that are called the Tuscan's and the silk-merchant's.

From this double range of shops there was to be access by way of the four gates into the centre of the whole block--that is to say, into a vast piazza surrounded on every side by spacious and beautiful loggie for the accommodation of the merchants and for the use of the great number of people who flock together for the purposes of their trade and commerce to that city, which is the custom-house of all Italy, or rather of Europe. Under those loggie, on every side, were to be the shops of the bankers, goldsmiths, and jewellers; and in the centre was to be built a most beautiful temple dedicated to S. Matthew, in which the people of quality might be able to hear the divine offices in the morning. With regard to this temple, however, some persons declare that Fra Giocondo changed his mind, and wished to build two under the loggie, so as not to obstruct the piazza. And, in addition, this superb structure was to have so many other conveniences, embellishments, and adornments, all in their proper places, that whoever sees at the present day the beautiful design that Fra Giocondo made for the whole, declares that nothing more lovely, more magnificent, or planned with better order, could be imagined or conceived by the most excellent of craftsmen, be his genius never so happy.

It was proposed, also, with the advice of the same master, and as a completion to this work, to build the Bridge of the Rialto of stone, covered with shops, which would have been a marvellous thing. But this enterprise was not carried into effect, for two reasons: first, because the Republic, on account of the extraordinary expenses incurred in the last war, happened to be drained dry of money; and, secondly, because a gentleman of great position and much authority at that time (of the family, so it is said, of Valereso), being a man of little judgment in such matters, and perchance influenced by some private interest, chose to favour one Maestro Zanfragnino,[3] who, so I am informed, is still alive, and who had worked for him on buildings of his own. This Zanfragnino--a fit and proper name for a master of his calibre--made the design for that medley of marble which was afterwards carried into execution, and which is still to be seen; and many who are still alive, and remember the circumstances very well, are even yet not done with lamenting that foolish choice.

Fra Giocondo, having seen that shapeless design preferred to his beautiful one, and having perceived how much more virtue there often is in favour than in merit with nobles and great persons, felt such disdain that he departed from Venice, nor would he ever return, although he was much entreated to do it. And the design, with others by the same monk, remained in the house of the Bragadini, opposite to S. Marina, in the possession of Frate Angelo, a member of that family and a friar of S. Dominic, who, by reason of his many merits, afterwards became Bishop of Vicenza.