Chapter 3

As the men of the age were not accustomed to see any excellence or greater perfection than the things thus produced, they greatly admired them, and considered them to be the type of perfection, base as they were. Yet some rising spirits aided by some quality in the air of certain places, so far purged themselves of this crude style that in 1250 Heaven took compassion on the fine minds that the Tuscan soil was producing every day, and directed art into its former channels. And although the preceding generations had before them the remains of arches, colossi, statues, pillars or stone columns which were left after the plunder, ruin and fire which Rome had passed through, yet they could never make use of them or derive any profit from them until the period named. Those who came after were able to distinguish the good from the bad, and abandoning the old style they began to copy the ancients with all ardour and industry. That the distinction I have made between old and ancient may be better understood I will explain that I call ancient the things produced before Constantine at Corinth, Athens, Rome and other renowned cities, until the days of Nero, Vaspasian, Trajan, Hadrian and Antoninus; the old works are those which are due to the surviving Greeks from the days of St Silvester, whose art consisted rather of tinting than of painting. For the original artists of excellence had perished in the wars, as I have said, and the surviving Greeks, of the old and not the ancient manner, could only trace profiles on a ground of colour. Countless mosaics done by these Greeks in every part of Italy bear testimony to this, and every old church of Italy possesses examples, notably the Duomo of Pisa, S. Marco at Venice and yet other places. Thus they produced a constant stream of figures in this style, with frightened eyes, outstretched hands and on the tips of their toes, as in S. Miniato outside Florence between the door of the sacristy and that of the convent, and in S. Spirito in the same city, all the side of the cloister towards the church, and in Arezzo in S. Giuliano and S. Bartolommeo and other churches, and at Rome in old S. Peter's in the scenes about the windows, all of which are more like monsters than the figures which they are supposed to represent. They also produced countless sculptures, such as those in bas-relief still over the door of S. Michele on the piazza Padella at Florence, and in Ognissanti, and in many places, in tombs and ornaments for the doors of churches, where there are some figures acting as corbels to carry the roof, so rude and coarse, so grossly made, and in such a rough style, that it is impossible to imagine worse.

Up to the present, I have discoursed exclusively upon the origin of sculpture and painting, perhaps more at length than was necessary at this stage. I have done so, not so much because I have been carried away by my love for the arts, as because I wish to be of service to the artists of our own day, by showing them how a small beginning leads to the highest elevation, and how from so noble a situation it is possible to fall to utterest ruin, and consequently, how the nature of these arts resembles nature in other things which concern our human bodies; there is birth, growth, age, death, and I hope by this means they will be enabled more easily to recognise the progress of the renaissance of the arts, and the perfection to which they have attained in our own time. And again, if ever it happens, which God forbid, that the arts should once more fall to a like ruin and disorder, through the negligence of man, the malignity of the age, or the ordinance of Heaven, which does not appear to wish that the things of this world should remain stationary, these labours of mine, such as they are (if they are worthy of a happier fate), by means of the things discussed before, and by those which remain to be said, may maintain the arts in life, or, at any rate, encourage the better spirits to provide them with assistance, so that, by my good will and the labours of such men, they may have an abundance of those aids and embellishments which, if I may speak the truth freely, they have lacked until now.

But it is now time to come to the life of Giovanni Cimabue, who originated the new method of design and painting, so that it is right that his should be the first of the Lives. And here I may remark that I shall follow the schools rather than a chronological order. And in describing the appearance and the arts of the artists, I shall be brief, because their portraits, which I have collected at great expense, and with much labour and diligence, will show what manner of men they were to look at much better than any description could ever do. If some portraits are missing, that is not my fault, but because they are not to be found anywhere. If it chance that some of the portraits do not appear to be exactly like others which are extant, it is necessary to reflect that a portrait of a man of eighteen or twenty years can never be like one made fifteen or twenty years later, and, in addition to this, portraits in black and white are never so good as those which are coloured, besides which the engravers, who do not design, always take something from the faces, because they are never able to reproduce those small details which constitute the excellence of a work, or to copy that perfection which is rarely, if ever, to be found in wood engravings. To conclude, the reader will be able to appreciate the amount of labour, expense, and care which I have bestowed upon this matter when he sees what efforts I have made in my researches.

VASARI'S LIVES OF THE PAINTERS.

Cimabue, Painter of Florence.

The endless flood of misfortunes which overwhelmed unhappy Italy not only ruined everything worthy of the name of a building, but completely extinguished the race of artists, a far more serious matter. Then, as it pleased God, there was born in the year 1240 in the city of Florence, Giovanni, surnamed Cimabue, of the noble family of the Cimabui, to shed the first light on the art of painting. As he grew up he appeared to his father and others to be a boy of quick intelligence, so that he was accordingly sent to receive instruction in letters to a relation, a master at S. Maria Novella, who then taught grammar to the novices of that convent. Instead of paying attention to his lessons, Cimabue spent the whole day in drawing men, horses, houses, and various other fancies on his books and odd sheets, like one who felt himself compelled to do so by nature. Fortune proved favourable to this natural inclination, for some Greek artists were summoned to Florence by the government of the city for no other purpose than the revival of painting in their midst, since that art was not so much debased as altogether lost. Among the other works which they began in the city, they undertook the chapel of the Gondi, the vaulting and walls of which are to-day all but destroyed by the ravages of time. It is situated in S. Maria Novella, next the principal chapel. In this way Cimabue made a beginning in the art which attracted him, for he often played the truant and spent the whole day in watching the masters work. Thus it came about that his father and the artists considered him so fitted to be a painter that, if he devoted himself to the profession, he might look for honourable success in it, and to his great satisfaction his father procured him employment with the painters. Then, by dint of continual practice and with the assistance of his natural talent, he far surpassed the manner of his teachers both in design and in colour. For they had never cared to make any progress, and had executed their works, not in the good manner of ancient Greece, but in the rude modern style of that time. But although Cimabue imitated the Greeks he introduced many improvements in the art, and in a great measure emancipated himself from their awkward manner, bringing honour to his country by his name and by the works which he produced. The pictures which he executed in Florence bear testimony to this, such as the antipendium to the altar of St Cecilia, and a Madonna in S. Croce, which was then and still is fastened to a pillar on the right hand side of the choir. Subsequently he painted on a panel a St Francis, on a gold ground. He drew this from nature, to the best of his powers, although it was a novelty to do so in those days, and about it he represented the whole of the saint's life in twenty small pictures full of little figures, on a gold ground. He afterwards undertook a large picture for the monks of Vallombrosa in their abbey of S, Trinita at Florence. This was a Madonna with the child in her arms, surrounded by many adoring angels, on a gold ground. To justify the high opinion in which he was already held, he worked at it with great industry, showing improved powers of invention and exhibiting our lady in a pleasing attitude. The painting when finished was placed by the monks over the high altar of the church, whence it was afterwards removed to make way for the picture of Alesso Baldovinetti, which is there to-day. It was afterwards placed in a small chapel of the south aisle in that church. Cimabue next worked in fresco at the hospital of the Porcellana, at the corner of the via Nuova which leads to the Borgo Ognissanti. On one side of the façade, in the middle of which is the principal door, he represented an Annunciation, and on the other side, Jesus Christ with Cleophas and Luke, life-size figures. In this work he abandoned the old manner, making the draperies, garments, and other things somewhat more life-like, natural and soft than the style of the Greeks, full as that was of lines and profiles as well in mosaics as in painting. The painters of those times had taught one another that rough, awkward and common-place style for a great number of years, not by means of study but as a matter of custom, without ever dreaming of improving their designs by beauty of colouring or by any invention of worth. After this was finished Cimabue again received a commission from the same superior for whom he had done the work at S. Croce. He now made him a large crucifix of wood, which may still be seen in the church. The work caused the superior, who was well pleased with it, to take him to their convent of S. Francesco at Pisa, to paint a picture of St Francis there. When completed it was considered most remarkable by the people there, since they recognised a certain quality of excellence in the turn of the heads and in the fall of the drapery which was not to be found in the Byzantine style in any work executed up to that time not only in Pisa but throughout Italy.

For the same church Cimabue afterwards painted a large picture of Our Lady with the child in her arms, surrounded by several angels, on a gold ground. In order to make room for the marble altar which is now there it was soon afterwards removed from its original situation and placed inside the church, near the door on the left hand. For this work he was much praised and rewarded by the Pisans. In Pisa also he painted a panel of St Agnes surrounded by a number of small figures representing scenes from her life, at the request of the Abbot of S. Paolo in Ripa d'Arno. The panel is to-day over the altar of the Virgin in that church.

The name of Cimabue having become generally known through these works, he was taken to Assisi, a city of Umbria, where, in conjunction with some Greek masters, he painted a part of the vaulting of the lower Church of S. Franceso, and on the walls, the life of Jesus Christ and that of St Francis. In these paintings he far surpassed the Greek masters, and encouraged by this, he began to paint the upper church in fresco unaided, and on the large gallery over the choir, on the four walls, he painted some subjects from the history of Our Lady, that is to say, her death, when her soul is carried to Heaven by Christ on a throne of clouds, and when He crowns her in the midst of a choir of angels, with a number of saints beneath. These are now destroyed by time and dust. He then painted several things at the intersections of the vaulting of that church, which are five in number. In the first one over the choir he represented the four Evangelists, larger than life-size, and so well done, that even to-day they are acknowledged to possess some merit; and the freshness of the flesh colouring shows, that by his efforts, fresco-painting was beginning to make great progress. The second intersection he filled with gilt stars on an ultramarine field. In the third he represented Jesus Christ, the Virgin his mother, St John the Baptist and St Francis in medallions, that is to say, a figure in each medallion and a medallion in each of the four divisions of the vault. The fourth intersection like the second he painted with gilt stars on ultramarine. In the fifth he represented the four Doctors of the church, and beside each of them a member of the four principal religious orders. This laborious undertaking was carried out with infinite diligence. When he had finished the vaults he painted the upper part of the walla on the left side of the church from one end to the other, also in fresco. Near the high altar between the windows and right up to the vaulting he represented eight subjects from the Old Testament, starting from the beginning of Genesis and selecting the most noteworthy incidents. In the space flanking the windows to the point where they terminate at the gallery which runs round the inside of the church, he painted the remainder of the Old Testament history in eight other subjects. Opposite these and corresponding to them he painted sixteen subjects representing the deeds of Our Lady and of Jesus Christ, while on the end wall over the principal entrance and about the rose window above it, he painted the Ascension and the descent of the Holy Spirit upon the apostles. This work which is most extraordinary for richness and beauty, must, in my opinion, have astounded the people of those times, painting having been in such blindness for so long a apace. When I saw it again in the year 1563 it seemed most beautiful, as I reflected how marvellous it was that Cimabue should see so much light in the midst of so great darkness. But it is worthy of note that of all these paintings those of the vaults are much the best preserved since they are less injured by the dust and other accidents. When these works were finished Giovanni set about painting the walls beneath, namely those beneath the windows, and he did some things there, but as he was summoned to Florence on some affairs of his own, he did not pursue the task, which was finished by Giotto many years after, as will be related when the time comes.

Cimabue having thus returned to Florence painted in the cloister of S. Spirito, where the whole length of wall towards the church is done in the Byzantine style by other masters, events from the life of Christ, in three arches, with considerable excellence of design. At the same time, he sent to Empoli some things executed by him in Florence, which are held in great reverence to this day in the Pieve of that town. He next painted a picture of Our Lady for the church of S. Maria Novella, where it hangs high up between the chapel of the Rucellai and that of the Bardi of Vernio. The figure was of a larger size than any which had been executed up to that time, and the angels about it show that, although be still had the Byzantine style, he was making, some progress towards the lineaments and methods of modern times. The people of that day, who had never seen anything better, considered this work so marvellous, that they carried it to the church from Cimabue's house in a stately procession with great rejoicing and blowing of trumpets, while Cimabue himself was highly rewarded and honoured. It is reported, and some records of the old painters relate that while Cimabue was painting this picture in some gardens near the gate of S. Piero, the old king Charles of Anjou passed through Florence. Among the many entertainments prepared for him by the men of the city, they brought him to see the picture of Cimabue. As it had not then been seen by anyone, all the men and women of Florence flocked thither in a crowd, with the greatest rejoicings, so that those who lived in the neighbourhood called the place Borgo Allegri (Joyful Quarter), because of the rejoicing there. This name it has ever afterwards retained, being in the course of time enclosed within the walls of the city.

At S. Francesco, at Pisa, where Cimabue executed some other works, which have been mentioned above, in the cloister, at a corner beside the doorway leading into the church, is a small picture in tempera by his hand, representing Christ on the cross, surrounded by some angels who are weeping, and hold in their hands certain words written about the head of Christ, and which they are directing towards the ears of our Lady, who is standing weeping on the right hand side; and on the other side to St John the Evangelist, who is there, plunged in grief. The words to the Virgin are: "_Mulier, ecce filius tuus_," and those to St John: "_Ecce mater tua_." Another angel, separated from these, holds in its hands the sentence: "_Ex illa hora accepit eam discipulus in suam_." In this we perceive how Cimabue began to give light and open the way to inventions, bringing words, as he does here, to the help of his art in order to express his meaning, a curious device certainly and an innovation.

By means of these works Cimabue had now acquired a great name and much profit, so that he was associated with Arnolfo Lapi, an excellent architect of that time, in the building of S. Maria del Fiore, at Florence. But at length, when he had lived sixty years, he passed to the other life in the year 1300, having achieved hardly less than the resurrection of painting from the dead.

He left behind a number of disciples, and among others Giotto, who was afterwards an excellent painter. Giotto dwelt in his master's old house in the via del Cocomero after Cimabue's death. Cimabue was buried in S. Maria del Fiore, with this epitaph made for him by one of the Nini:--

"Credidit ut Clmabos picturæ castra tenere Sic tenuit vivens, nunc tenet astra poli."

I must not omit to say that if the greatness of Giotto, his pupil, had not obscured the glory of Cimabue, the fame of the latter would have been more considerable, as Dante points out in his Commedia in the eleventh canto of the Purgatorio, with an allusion to the inscription on the tomb, where he says:

"Credette Cimabue nella pintura Tener lo campo, ed ora ha Giotto il grido Si che la fama di colui oscura."

A commentator on Dante, who wrote during Giotto's lifetime, about 1334, some ten or twelve years after the poet's death, in his explanation of these lines, says the following words in speaking of Cimabue: "Cimabue was a painter of Florence in the time of our author, a man of unusual eminence and so arrogant and haughty withal, that if any one pointed out a fault or defect in his work, or if he discovered any himself, since it frequently happens that an artist makes mistakes through a defect in the materials which he employs, or because of some fault in the instrument with which he works, he immediately destroyed that work, however costly it might be. Giotto was, and is, the most eminent among the painters of the same city of Florence, as his works testify, at Rome, Naples, Avignon, Florence, Padua, and many parts of the world," etc. This commentary is now in the possession of the Very Rev. Vincenzio Borghini, prior of the Innocents, a man distinguished for his eminence, piety and learning, but also for his love for and skill in all the superior arts, so that he has well deserved his judicious selection by Duke Cosimo to be the ducal representative in our academy of design.

Returning to Cimabue, Giotto certainly overshadowed his renown, just as a great light eclipses a much smaller one, and although Cimabue was, as it were, the first cause of the revival of the art of painting, yet Giotto, his disciple, moved by a praiseworthy ambition, and aided by Heaven and by Nature, penetrated deeper in thought, and threw open the gates of Truth to those who afterwards brought art to that perfection and grandeur which we see in our own age. In fact the marvels, miracles, and impossibilities executed at the present time by those who practise this art, and which are to be seen every day, have brought things to such a pitch, that no one marvels at them although they are rather divine than human, and those who make the most praiseworthy efforts may consider themselves fortunate, if, instead of being praised and admired, they escape censure, and even disgrace. The portrait of Cimabue by the hand of Simone of Siena may be seen in the chapter-house of S. Maria Novella, executed in profile in the picture of the Faith. The face is thin the small beard is somewhat red and pointed, and he wears a hood after the fashion of the day, bound gracefully round his head and throat. The one beside him is Simone himself, the designer of the work, who drew himself with the aid of two mirrors placed opposite each other, which have enabled him to draw his head in profile. The soldier in armour between them is said to be Count Guido Novello, lord of Poppi. In concluding this life I have to remark that I have some small things by Cimabue's hand in the beginning of a book in which I have collected drawings by the hand of every artist, from Cimabue onwards. These little things of Cimabue are done like miniatures, and although they may appear rather crude than otherwise to modern eyes, yet they serve to show to what an extent the art of design profited by his labours.

Arnolfo di Lapo, Florentine Architect.

In the preface to these lives I have spoken of some edifices in the old but not antique style, and I was silent respecting the names of the artists who executed the work, because I did not know them. In the introduction to the present life I propose to mention some other buildings made in Arnolfo's time, or shortly before, the authors of which are equally unknown, and then to speak of those which were erected during his lifetime, the architects of which are known, either because they may be recognised through the style of the buildings, or because there is some notice of them in the writings and memorials left by them in the works done. This will not be beside the point, for although the buildings are neither beautiful nor in good style, but only very large and magnificent, yet they are none the less worthy of some consideration.

In the time of Lapo, and of Arnolfo his son, many buildings of importance were erected in Italy and outside, of which I have not been able to find the names of the architects. Among these are the abbey of Monreale in Sicily, the Piscopio of Naples, the Certosa of Pavia, the Duomo of Milan, S. Pietro and S. Petrodio of Bologna, and many others, which may be seen in all parts of Italy, erected at incredible cost. I have seen and examined all these buildings, as well as many sculptures of these times, particularly at Ravenna, but I have never found any memorial of the masters, and frequently not even the date when they were erected, so that I cannot but marvel at the simplicity and indifference to fame exhibited by the men of that age. But to return to our subject. After the buildings just enumerated there arose some persons of a more exalted temper, who, if they did not succeed in lighting upon the good, at least made the attempt.