LIVE S

0? run “08? RHINBNT

PAINTERS, SCULPTORS,AND

ARCHITECTS

TRAN S LATE D P R O ] ! THE ITAL IAN OF

GIORGIO VASARI.

_

WIIB norm um ILLUSTRATIONS CHIEJ'LY SELECTED [ROI VARIOUS

continuum” .

nuns‘ J ONAT IBAN IP©81PIBIB~

VOL. II.

L O N D O N

HENRY G. BOHN, YORK STREET

,COVENT GARDEN.

TABLE OF CONTENTS.

PART SECOND—continued.

Antonio Filarete and Simone

Giuliano da Maiano

Pia -

o della Francesca

Fm Giovanni da Fiesole

Leon BatistaAlberti

Antonello ofMessina

Aleaso Baldovinetti

V ellano ofPadua

Fm Filippo Lippi

Paolo Romano and Maestro Mino

Chimenti Camicia

Baccio Pintelli .

Andrea dal Castagno

Gentile do Fabriano and Vittore Pisanello

Peeello and Francesco Posalli

Benozzo Gozzoli

Francesco di Giorgio and Lorenzo Veochietti

Galasso Galassi

Rossellino andBernardo

Bosiderio da Settignano

Lorenzo Costa.

Eroole Ferm ese

Gherardo

Domenico Ghirlandajo

Benedetto da Maiano

AndreaMantegna

Bemardino Pinturicchio

Francesco Francia

V ittore Scarpaccia

Jacopo

Luca Signorelli

PART THIRD.

Introduction to Third Part

Giorgione

Antonio da Correggio

Bram nte

Fra Bartolommeo di San Marco

Mariotto Albertinelli

Rafi‘

aellino del Garbo

Torrigiano

Giuliano and Antonio da San Gallo

LIVESor THE MOST EMINENT PAINTERS,

SCULPTORS, AND ARCHITECTS.

[ILTHE FL RENTINE SCULPTORS—ANTONIO FILARE'I‘E"

AND SIMONE.

[n ew Dumas m moon: or ran m ass-m cam ar.)

JrgPope Eugenics IV. had used greater diligence in seekingfor eminent masters to execute thework,when be resolved

to construct the bronze door for San Pietro in Rome‘(and

‘

he might at that time have very easily found such,Giii

'

ce Filippo di Ser Brunellesco, Donato, and other excel

lent artistswere then living), that undertakingwould not

have been conducted in the unhappy mannerwhichwenowsee it exhibit? But perhaps it happened to him, as

it‘ L

very frequently does happen to the greater numberof

princes,who are either not conversantwithworks of that

kind, orwho take very little pleasure in them. If, however.

these princeswould consider howimportant it is that dueregard should be paid to the selection of eminent masters

for the execution of public‘Works, on account of the fame

that accrues from such, neither they nor their ministerswould certainly be so negligent as they are ; forwhoeverpermits himself to make choice of inferior and incapable

artists,will assure but a short life either to hisworks or

his fame ; besideswhich, he does injury to the public and

to the age inwhich he is born, seeing that allwho come

after,will infallibly believe that if better masters had beento ‘be found at that period, the princewould rather have

His namewas Antonio Averlino, orAverulino aswill be seen in a

subsrquent note. The Greek compound, Filerete, appestato have been

one of the bye- names so frequently attached in those days to the true

names of m1 To the lamentations of Vaaari.Bottariadds the following So many

admirableworks, executed by eminent men, thatwere formerly in SanPietro, have been removed, and yet this door,which for many reasons

deserved to be destroyed, is permitted to retain its place.

VOL. II. B

m emo 1m mm m ore. 3

life of the saint above. Under St. Peter is his crucifixion ;under St. Paul, his decapitation ;while certain events fromthe lives of the Saviour and theMadonna are in like mannerrepresentedbeneath their figures! On the lowerpart of theinside of the door, Antonio took it into his head to executea small relief in bronze, representing Simone and himselfwith all their disciples going to amuse themselves in a vine

yard, and havingwith them an ass loadedwith the requisitesfor a feast. These m eterswere not constantly occupiedwith this door during thewhole twelve years:within thatperiod they also 00a certain sepulchral monumentsof marble for different popes and cardinals in San Pietro ;all ofwhich have been destroyed in the erection of the

to Milan by the Duke Francesco Sforza, then Gonfaloniereof Holy Church,who had seen hisworks in Rome. Herehewas commissioned to erect the hospital for the poor

(Albergo de’Poveri diDio), a refuge intended for the sick,

both men andwomen, aswell as for helpless innocents notlegitimately born :1

‘and thiswork Antonio accomplished

after his own design. The division of the building set

The stories beneath the figures of the Saviour and Madonna do not

represent events of their lives, but the coronation of the Emperor Sigis

mond by Pope Eugeuius, and the audience given by the same tiff to

certain ambam dors fiom the East. Beneath the figures of St. eterand

St. Paul are also stories from the life of Pope Eugenius, and then followthe martyrdom of the two mints. This door, rudely engraved by Ciampini,Valera Mania . vol. i. p. 44, plate 19, and again by Giustiniani, in his

Descrisione d dOoacilio Fiormtino, has been much more perfectly repre

sented in the twentieth plate of the Basilica Vatican Illustrate, lately

published. In the storyrepresenting the decapitation of St. Paul, Filerete

has inscribedhis own name thus —0rus Aurorm on From . Good

engravings of this door are also to be found in theworks of Pistolesi, andthere is a circumwsntial description of it in PlatnerandBunsen

’sBeschrei

bang dsr Stal lon . p. 17 1.

1 The Canon Della Torre, in his description of Milan, attributes thearchitecture of this hospital to Bramante but it is known that Bramantewas but thirteen years oldwhen the buildingwas erected. and Piscenza,amost competent authorit declares, in his notes to Baldinucci, that thework is due to Filarete. or thepart really taken in it by this architect,aswell as for the dateswhen the respective portions of the fabricwerecompleted, and otherdetails. the reader isreferred to the Guide diM ilanos sue Territorio, published for the use of the Scientific Association at themeeting held in that city in 1844, vol. pp. 407 , 408.

B 2

LIVES OF rm ARTISTS.

apart formen has an extent of 160 braocia in all directions;the structure being in the form,

of a cross :"

that ' for thewomen is of equal size. Thewidth is 16 braccia, a nd inthe four squares, enclosed by the erosses of each of thesedivisions, are four courts, aroundwhich are gallerieswithrooms for the use of the director, the ofiicials, the servants.

and'

the nurses of the hospital, all very commodioua f Onone side, moreover, is a stream of runningwater for theservice of the hospital and for grinding corn, to the no small

benefit andc onvenience of the institution, as every onewilleasily perceive. Between the two divisions of the hospital

is a cloister, the extent ofwhich is 80 braccia -on the one

side, and 160 on the other. In the midst of this cloister

is the church, so contrived as to serve for both divisions;and, to sum up all in fewwords, the building is sowell c onstructed and arranged, that I do not believe the like of it

can be found in all Europe. The first stone of this fabricwas laid, as appears fromwhatwe find recorded by Filarete

himself,with the ceremony . of a solemn procession of all

the clergy ofM ilan, in the presence of the Duke Francesco

Sforza and in that of the Lady Bianca Maria, accompaniedby all their children ; the Marquis of Mantua, the ambas

sador of the King of Arragon,with many other nobles

being also present. On the first stone laid in the founda

tion, aswell as on the coins,were the followingwordsFranc-ism Sfortia Du: 111

, qui minim per processor-um obitum

vilq‘ue accccrvrr. die xixApril.

These eventswere afterwards depicted on the portico by

MW?Yincenzio diZoppa

'aLombard-I because therewas

110?t en 11 better master to be found in those parts. The

principal l church of Bergamo twas likewise awork of

OrPeppa, as it iswritten in the Abecedario.andas given by Pagavein his notes to the Sienese edition of Vasari

,where he adds that the stories

here mentionedby Vasariwere not painted on the portico, but in two largepictures on canvas,whichwere placed in the ancient church of the Hos

pital. The church is nowdestroyed, and the pictures are lost. Noticesof this artistwill be found in Passavant, and in the Km tblalt for 1838.

1' The Lombard schoolwas at that time in a condition to furnish an

abundance of mastera—See Lanai, History of Painting (EnglishEdition),vol ii.. p. 460, st seq.

This churchwas the Duomo ; being considered too small. the con- 1

m emo m ann a AND smears . 5

Antonio Filerete, andwas erected by himwith no less care

arid judgment than he had shown in the above - namedhospital : and as he also took pleasure inwriting,whiletheseworks of hiswere in course of progress, he composeda book, divided into

"

three parts. In the first of these he

treats of the measurements of buildings 1n general, and of

all things needful to the erection of difi‘

erent fabrics. In

the second he speaks of the methods of building, and of

the manner inwhich a very beautiful and conveniently dis

posed city might be laid out. In the third, he describes

newforms of buildings,wherein he mingles the antique'with the modern. Thewholework is further divided intotwenty- four books,which are all illustrated by drawingsfrom his own hand ; '

but although some things that are good

may be found in thiswork, yet it is forthe most part sufliciently ridiculous, and se

’dull, that perhaps a more stupid

book does not exist. Itwas dedicated '

by the author to the

magnificent Piero di Cosimo de’Medici in the year 1464, and

is nowin the possession of the most illustrious SignorDuke

Cosimo. Andofa truth,sinceAntonio put himself to so muchtrouble, he might have merited a certain degree of commen

dation if he had at least ’recorded some memorials of the

masters of his time and of theirworks ; but as there are butvery fewof these to be found, and those feware scatteredwithout order throughout the book, as they are besides givenwhere they are least required ; he has laboured, as the

saying is, to make himself the poorer, and to earn the repu

of pomessing but little judgment, seeing that he hasset himself to meddlewithwhat he did notunderstand.

‘

But having said quite enough of Filarete, it is nowtimcstruction of itwas forsome time suspended: itwas subsequently completedafter a (1 of the Cav. Carlo Fontana.

The ca n copy ofthiswork isnewin theMagliahechianaLibrary.

The initial letters are gilded and illuminated, and in the dedication to

Cosimo de’Medici the authorexpresses himself as follows “As theworkis, so be pleased to take it ; not as from Vitruvius or the other eminentarchitects, but as from your own Filarete Antonie Averlino, architect of

Florence. A later hand has attemptedto change the name into Am ie

Aver-citizens Pau line, but the olderwriting is still visible. A second copydedicated to Francesco Sferza, is in the Biblioteca Palatine of Florence.

There is some little ingratitude manifest in the judgment pronounced on

thiswork bv Vasari,who 1s certainly indebted to it formuch of the inforrn~

ation contained in certain parts of his own book.

6 -arms or run runners.

i t ;

that I turn to Simone,‘ the brother of Donate . This master,completing the door of San Pietro as above- said, con

structed the bronze monument of Pepe Martin,‘l' also in

bronze he likewise executed some castingswhichwere sentto France,with many others, the fate ofwhich rs not

For the church of the Armenians, beside the mills in the

mode of cork- tree, to render it the lighter. In Santa Feli

cite, Simone executed a figure of the penitentMary Magdalcn, 1n terraecottsfi the height is thre e breeds and a half,the proportionsarebeautiful, andthe musculardevelopment18

displayedin amannerwhich proves this master to have beenwell acquaintedwith anatomy He also executed a menutal stone in the church of the Servites for the brother

cod of the Annunciation, inlaying the samewith a figure 1agrey andwhite marble, ia the manner of a painting,

aswehave before saidwas done by the Sienese Duccio in the

bronze grating for the chapel of the girdle1 in Pratowasalso by Simone, aswas a basso- rilievo placed over the door

of the canonicate, and representing the Virginwith twothe Trinity in San

In the life ofBrunellssco. Vasari speaks of a Simone as the scholarof

thatmaster, butdoes not there call him the brother of Donate from this

and other causes the commentators incline to believe that therewere twoFlorentine sculptors of th

’

u name, one ofwhom they suppose to be the

son ofNannida Fiesole, anda scholarof Ghiberti.

1 PopeMartin V.who diedm 1431. The bronzemonumenthers alludedto is in

pe

the middle aisle of San Giovanni Laterano ; and is but slightlyraked above the pavement of the church.

I The church of St. Basil, belonging to the Armenian monks, havingsecularized, the m

-ucifix fell into private hands: it is nowou the highofthe Basilica of San Inrenzo.

The fate of thiswork '

111 notknown.

No trace of thiswork is to be found at the Nunziata.

”which isnowcalled San Pieriuo and 1s in the Via San Sebastiano.

11The documents discoveredand published by the author of the Descris'ions Jello Cancels-ale di Pralo, (Prato, 1846 , 8vo,) giverespecting this finework, but the name of Simone does not appearamongthose of the masters enumeratedm them. See further, DellaPium obs

W Ia oapclla do!8. 6 119010diM . Virgins alto Carlodm lo di Pralo.

to, 831.

arrroruo m ane-

rs arm smear. 7

and for Sigismondo Malatesti, he constructed the chapel of

San Sigismondo in the church of San Francesco at Bimini.

In thiswork are numerous elephants cut in marble, that

device of Malatesti. To Messer Barto

Canon of the chapter ofArezzo, Simonesent the halfhalf- length figure of the Virgin

'

ln terra- cotta,withthe child ln her arms, andwith angels rn mezzo

- rilievo, ex

tremelywell executed. Thiswork may still be seen in thecolumns.‘ For the baptismalthis master executed certain stories in basso- rilievo, repre

senting the Saviour baptized by St. John ; and in Florence.

be constructed the marble monument of Messer Orlando de’

Medici, in the church of the Nunziata. Finally, havingattained the age of fifty

- five, Simone rendered up his spirit

to Godwho gave it ; andno longtime afier, Filarete, havingreturned to Rome, died there in his sixty

- ninth year, andwas buried in the churchof theMinerva,where he had causedGiovanni FoccoraJ:a painter in very good repute, to depict

the likeness of Pope Eugenius,when hewas residing at

Rome, in the service of that pontifi'

. The portrait ofAntonio himself may be seen at the commencement of his book;in the partwhere he treats of the difi'

erentmodes of building,and is by his own hand. The Florentines, Varrone and

Nrecolo,§were disciples ofthramaster ; andthemarble statue,erected near the Ponte Molle for Pope Pius IL, I]when he

brought the head of Sant'

Andrea to Rome,was by these

artists. They also metered Tigoli, almost from the founds

tions, at the command of the same pontifi’

, and in San Pietrothey executed the marble ornamentwhich is above the

columns of the chapelwherein the before-mentioned head of

Sant’Andrea is preserved, and near towhich is the burial

place of Pope Pius II., himself. This tomb‘is by Pasquino

Thiswork has newdisappeared. Ed. Flor. 1832-8.

In the fifth chapel on the right. Ibid.

1 In the first edition of Vasari this painter is calledFocchetta.

These artists are both mentioned by Filarete 1n the MS. above cited.their names occur in a passagewherein he enumerates the masterswhomhewould have to take part in the erection of his city,whichwas to be calledWhen Bottariwrote the notes to his edition of Vassri ( 1759), thrs

statue had alreadv disappeared.

11 New111 the Church of St. Andrea della Valle, and coveredwith basairilievi rn marble. Ed. Flor. 1832- 8.

“am m o DA W O. 9

Brit this purposewas not carried out, for, although G iuli

anowent for some time to the grammar- school, his thoughtswere never there, and the consequencewas that he made noprogreswwhatever ; on the contrary, he ran away several

times, and showed that hiswhole heartwas given to sculpture ; yet be commenced life byworking as a joiner, butacquired practice in drawing at the same time. It is said

thatG iuliano took part in theworks of the sacristy of the

Nunziatarwherey in companywith Giusto and Minore, twomasters of Tarsia,

’ he executed the seats of the sacristy, as

also those of the choir beside the chapel‘

l'with many things

in the Abbey ofFiesole and 111 San Marco . Having acquireda name by thmworks, it is further said that hewas sum

marred teEran“

,where he executed in the cathedral the seatwhich stands beside the high altar,whereon the priest, the

M n,

“and the sub- deacon are seatedwhile the mass is

sung. The back of this seat be decorated in tarsia-werk,executing figures of the three prophetswhich are still to be

seen there; m tinted and shadowedwoods ; andwhile employed on this undertaking, he availed himself of theance of Guidedel Servellino and Maestro Domenico diMa

riette, joiners of Pisa,whom he so effectually instructed in

the art”

that they afterwards finished the ter part of the

choir, executing the carving aswell as t e Tarsia ; but theworks of this choir have been completed in our own times,after a much better manner, by the Pisan, Battista del

Cervelliera, a truly inventive and ingenious man. But to

return to Giuliano, itwas by him that the presses of the

sacristy of San Marcowere made, and these presseswere at

that time considered most admirable, for the Tarsia and

inlaid-work bywhich they are enriched.

While Giulianowas thus devoting his attention to the

labours of Tarsia, Sculpture, and Architecture, the death of

Filippodi Ser Brunellesco took place,when thewardens oftheworks appointed Giuliane to succeed him.§ He there

Wood in various colours inlaidwas called Tarsia, orIntarsia.

1 These Intarsiaturawere removedwhen the choir and chapelwereadornedwithworks in Pietra dura, as has been related in the life of Mi

cheloszL—See vol. i.This seat still remains.

9 Here Vasari appears to be in error. Filippo dying in 1446 could

scarcely have been succeeded by Giuliano.whowas then but a youth.

'

10 m s or ran -

rm rs.

frieze, and cornice, sswill he related hereafter. It is true

that Giuliano designed to erect a difl'

erent kind of frieze,cornice, and gallery,with'

a pediment on each of the eightsides ofthe cupola as appears from certain designs by hishand,which are preserved in our book ; but, pressed by the

not time to carry this purpose into efl'

ect, and died before it

many splendid fountains, some ofwhichwere constructed on the public squares, and others in

private houses, but all are of beautiful and fanciful inven

under his carewith paintings by Piero del Donzello, and

Pblito his brother ;1'

and for the same king Alfonso,whowas then Duke of Calabria, Giuliano da Maiane executedworks in sculpture ; amongwhichwere stories in basso

rilievo for a door in the great hall of the castle ofNaples,whichwas richly adorned by him, bothwithin andwithout.number of figures , and to thiswork he gave the form of

a triumphs] arch,whereon are represented certain victories

gained by that king,with other events of his life, all

sculptured in marble ; The decorations of the Capuan

Ofthe palace of Poggio Beale but fewtraces nowremain : the fonntains andaqueductaare also dm oyed—Masselfi .

t Fora short notice of these brothers, Pietro and Pelite (Ippolito) delDonzello, see Lanai,History QfPainting. vol. ii. 18,who calls them the

relations of Giuliano da Maiane. See further, eminici,Napolilcni.

3 Here also Vasari is in error, this ,

arch of triumph having been con

structed in 1443, to celebrate the triumphal entry of Alfonso I. into thecity. Dominiciattributes it to Pietro diMartino of Milan, and the laterFlorentine editors agreewith him in that opinion.

amm o DA MAIANO.,l l

gate’are also thework of Giuliano daMaiane

, and here he

executed many ,

trophies ofwar,which are admirably varied

and extremely beautiful, insomuch that the masterwellmerited that the king should treat himwith great regard,while the liberal manner inwhich his labourswere remu

nerated by that monarch, enriched both himself and his

Giuliano hadinstructed his nephewtBenedetto in the artsof tarsia and architecture ; he had also taught him to pro

duce certainworks in sculpture, butBenedetto remained in

Florence devoting his attention to productions in tarsia,because he thereby made larger gains than could be secured

by the other arts ; he therefore remained in Florence, aswehave said,when G iulianowas invited to Rome by Messer

Antonio Roselle, secretary to Paul the Second,whither beinstantly repaired, and entered the service of that pontifi

'

.

Hewas then commanded to construct the Colonnade of tra

vettine in the first court of San Pietro ; three ranges of

columns form this structure ; the first is on the ground- floorwhere are nowthe signet

—ofi ce and other chambers appro

priated to the public service ; the second is over this,wherethe apartments of the Datary and other prelates are situated,and the third,which is the last, is thatwherein are

these rooms of the palacewhich look on the court of San

Pietro, the floors and otherparts ofwhich Giuliano decoratedwith gilding and other ornaments. The marble Loggia, fromwhich the pope gives his benediction,was in like mannerconstructed after the designs of this architect

—a very greatwork, as may be seen even to the resent day ; but the most

and extraordinary of hisworkswas the palacewhich he built for pope Paul II., togetherwith the church

of San Marco of Rome. In these erections he consumed

enormous quantities of travertine,whichwas excavated, as

is said, from certain vine-

grounds situated near the arch of

Constantine, and had been laid to form buttresses and coun

terpoises to that part of the Colosseumwhich is newin ruins,

perhaps because thewhole building gaveway}The gate itselfmayhave been erected byGiuliane,

"remark the Flo

rentina commentators, but the decorations are thework of otherhands.

”

0 Benedettowas the brother andnot the nephewof Giulinno.

t Bottari remarks that this circumstance gave rise to the tradition that

https://www.forgottenbooks.com/join

raves or “m e m 'rrs

'rs.

by the presumption of thosewho seek to

sfi te'

of things manifest, yet it is none the less true, that

the labourer is, for a certain period, defrauded of the honour

an admirable master in thebodies, as alsowell versedand finally by the close of

the various fruits of his

which are still preserved in Borgo, his native place.1'

mm to secure the fame and increase the glory of Piero,whom he had acquired all that he knew, Fra Lucadel Borgo namely,

—he, on the contrary, envious and ma

lignant, did his utmost to annihilate the name of Piero, hisinstructor, and sought to arrogate to himself that honourwhichwas due to his teacher alone, publishing, under his

own name, all the laboriousworks of that good old man,who, in addition to the acquirements named above,washighly distinguished in painting 111304: Pierowas born in

Called also Piero Borghese, from the place of his birth.

+ lt has been asserted that various MSS. belonging to Piero hadde

scended to Signor Marini Franceschi of Borgo San Sepolcro, but this is

not true that gentleman does indeed pos ses a small picture inwhich isthe portrait of Piero, ted by himself, evidently that used b Vasari for

his second edition. A picture representing the Nativity, an said to be

by thismaster, is in pos ession of the cavalier Frescobaldi, of Florence,and there rs a Coronation ofthe Virgin, at Cittadi Castello reported to be

also by Piero. A description of the latterwill be found m the Giomale

Arcadian, May andDecember, 1826.—Ed. Flor. 1849.

t 80 grave a charge as thismustnotbe suffered to passwithout remark,and the less so as the renowned and much respected mathematician, FraLuca del Borgo Se

pplcro has been largely defended from the odious ac

cusation here broug t against him by the Padre della Valle, and moreedectuallyby P. Lanzi Pungileoni, 111 the Giomale Arcadian, Nor. 62—65

$1835

?See also Gaye 111 the Kam lblatt, No. 69. The painterGuiseppe

ikewise, rn his admirablework Del Carm elo di Leonardoda Vinor’

,

has undertaken the defence of Fra Luca,which he conductswith much

rmno ‘ DELLAT RANCESCA. 15

mother ;whom the death of herhusband and his father had

mathematics in his early youth ; and although hewas induced to become a painter in his fifieenth year, he yet never

deserted the study of that science ; but, on the contrary,msde extraordinary progress therein, aswell as in painting. Hewas much employed by Guidobaldo Feltro the

elder, Duke of Urbino,’ forwhom he executed many pic

that this Duchy has been disturbed bywars.1' Some of the

of perspective, are nevertheless still preserved there. In

knowledge of these sciences Pierowas certainly not inferior

to the best- informed of his contemporaries ; nay,was pertemperance and judgment. Nay,Vasari himselfhas tu partwithdrawntheaccusation of the text, by “ dam

me dfrom his second edition 11 certain

epitaph on Piero.wherein the su posed plagiarisms of m Lucawereslludedtowithre rohation, sudwVasaribadinsartedin hisfirstedition.

TugionLV'

raygr, c. vol. ri. p. 65, repeats the charge ofVan riwhichLauriand. afierhim, some of the later commentators, also consider to bewellfounded . the reader is therefore referred to these authorities, bywhomhewill find the question firlly discussed.

Guid’Ubaldo, of Montefeltro, Duke of Urbino,was born in 1472,when Pierowas already old and blind. The prince here meantmay be

Guid’ Antonio di Montefeltro, Count of Urbinpdzwwho died fifieen yearsbefore Piero become blind, or it may have been edarigo, son of Guido

Antonio.

t The onlywell-authenticatedwork of Pia o della Francesca nowto befound in Urbino taa small picture of the Scourging of Christ ; itmay beseen in the sacristy of the cathedral, and bears the inscription

“Opus Perri

do Btu-

go Sci Superior Pungileoniattributes a picture in the sacristy or

San Bartolommeowith six others in the sacristy of the cathedral to this

master; but Gaye considers them to be by no meansworthy of him, anddenies their authenticity. The later Florentine commentators inform us

that there taa smallwork by Piero in the Gallery of the Ufiisj, inwhichare the portraih of Federigo di Montefeltro, and of Battista Storm, hiswife.

lfi m os m e ann ess.

equ4 1QM yM ohave.fo ed-Mm zdown JtO J(chg pref

tune, as may be shown by the many fine .drawingauin ;

church of SaintAgosd even that has . been

the place?

Nicholas V . to Rome,where he painted two stories in the

upper rooms of the palace, in companywith Bramante of

Milan But theseworks alsowere destroyed inner by pope Julius II., to the end that Rafi

‘

aello da Urbinomight paint the imprisonment of St. Peter,withof the corporale ofBolsena in its place.

therewere likewise destroyed certain pictureswhich hadNo vestige nowremains of Piero!works in Pesaro and Ancoua.

Vas'

arifi ils to notifythose performed by him in Bimini,where there is stillto

‘

he ssen a frescowell presa'ved in the

'

church of San Francesco in'

that

city. It is in the Chapel of the Relics,and represents Sigismondo Mala

tests kneeling before hmpsuon St. Sigismundwith the follo inscriptiom—Srscrus Sro1m 1¢1>us Pm nm s Man -

ru n P1 11 F. star 1111

Dem o On e. 1451.

f The church has been demolished, and the paintings are consequentlydestro ed.

3 Vlyiritcrs are divided in opinion as towhether Brsmsnte of Milan, and

Bramantino, be one person ortwo ; but in any casewe are not to confound

the architect Brsmante,whose birth-

placewas Caste ] Durante. nu t

Urbino ,with any other master. On this subject see Passavant in the

Kumtbla“, 1838.

mano’mus; seahorses.

. g ’

of this'

painter; because the latter have been‘

destroyed, Iwillnot refuse the labour '

of inserting a slight notice ass memo

rial'

of him, since the occasion appears opportune for doing soIn theworks destroyed, as has just been related, this artist

had produced, as I have heard say, certain heads fromnature

so beautifulandso perfectly executed, thatthe powerof speechalonewas required to give them life. Many of these portraits

becamewell known from the circumstance thatRaphael causedthem to be copied, to the end that he might possess the like

nesses of the persons represented,whowere all great personages. Among themwere Niccolo Fortebraecio, CharlesVII ,

ceso Spinola and Battista daCanneto. These portraitswereall presented by Giulio Romano, disciple and heirofRaffaello

da Urbino, to Giovi'

o,’who deposited them in his museum

at Como. In M ilan, over the door of San Sepolcro, I haveseen a Dead Christ by the hand of this master,which is sojudiciously executed in foreshortening, that although the

picture is not more than one braccio high, thewhole lengthof the body is shown in a manner that must have beenimpossible but for the judgment and ability of the master.

In the same city are otherworks by the same artist : as, forexample, certain apartments and loggie, or galleries,

’

ln the‘

house of the Marchese Ostanes ia,wherein are many paintings executed by himwith great ability, andmuch evidence

of power in the foreshortening of the figures. Without thePorts Vereellina, and near the castle, Bramantino paintedseveral grooms currying horses, m a stablewhich has since

been entirely demolished ; the pictures are consequently lost,and this rs the more to be regretted as one of these horses

'

rs

declared to have been so life-like that a living horse mistookit for reality and kicked it repeatedly.

But to return to Piero della Francesca when he had

completed hiswork in Rome he returned to Borgo,wherePaul Jovius.

1 The Dead Christ,with other figures, may still be seen over the prineipel doorof this church.

—Ed. Flor. 1849.

VOL. 11. C

are ,con-r

wise painteda.V.

'

irgin in fresco ; forasociety, call

themselves, a brotherhood, of the Misericordia ; aud in the

thiswas the decorationmf:thessacristy” but , as. he left. it

there painted the; chapel of. the Bacci family in the , churchof San Eraueesco, the chapel is.that near the high .altar, . and

Lorenzo di.Bicci.: the

. subject represented is the Historyo fthe Cross?from the momentwhen, at the burial. ofAdamby his sons, the seed ofi the tree fromwhich thewood of thecrosswas afierwards taken,was placed beneath the tongue

of the patriarch by their forethought, to the timewhen theexcitation of the cross itselfwas solemnized by the Emperor

Heraclius,"who, supporting it on hisshoulders andwalking

NowSu v-Agustin . Some years since,when the churchwssrepaired,these two saintswere brought to light, precisely 111 the place here pointedout by Vanni—Ed. Flor. l849.

1 The church is nowcalled Santa Clara. The picture still adorns the

high altar, but hu hgen mnfihted in the repain of the huildim ,

I Thiswork is notin fresco, but on panel ; itis still prcserved in .the

small church of the hospitsl. The princrpul partwill he found engravedinRosini, Star

-is , pl. 88,with one of the five compartments of theGradino,orPredella, pl. 39.

§ The fresco of the palacs of Conservators is still in good condition, and

merits all the commendation bestowed on it by Vasari—Ed. Flor. 1849.ll Luca Signorelli.

11This admirablework may sti! be seen, but has been considerablyil

n

ajuged

, probably more by men than by th e—Masselli, andEd. Pier.

4

This legend is nowdeclaredbythe Catholic Churchtobe apocryphal.

Piano Dam m esses . 19

itinto Jerusalem. In thiswork areandvariousmerits in the attitudes

“

,which areworthy of consideration. Among other

things} the vestmentsworn by the fernale attendants of the

Queen of Sheba"will be found to deserve praise ; they are

treated in a

'

pleasing manner,whichwas then new. There

ar'

e, besides, many portraits from lifewhich exhibit great

animMion;with a range of Corinthian columns, the propor

tibns ofwhich are absolutely perfect and a peasant,who,ié

'

anihgw'ith his hands on his spade, stands listening to the

discourse made by St. Helena,while the three crosses are inprocess of being disinterred,with an attentionwhich 1s ex

pressed so perfectly that itwould not be possible to improveit.

’

The dead bodywhich ‘

rs restored to life at the touch of

the cross is also verywell executed, and the joy felt by St.Heleha isequallywell expressed, as is the arrangement of

bystanders,wh’

o prostrate thems‘

elves'

1n adoration. But,superior to all besides,whether for conception or execution,is the representation of Night, as given by this master

this picture is an angel , the figure, admirably foreshortened,isdescendingwith the head downwards, bearing the 1nsignia

of V ictory to Constantine,who is sleeping in his pavilion,watched by a chamberlain, and guarded by armed men,whose forms are obscum seen in the darkness. These

figures,with the tent, and allwithin a certain distance, are

illumined by the lightwhich proceeds from the angel him

self, andwhich rs managedwith the utmost care and judgment. In thiswork, Piero della Francesca has shown the

importance of copying things as they really are, and of takingnature and reality for the models ; this he has done excel

lentlywell, and has thereby given later artists the opportu

nity of profiting by his example, and in doing so to arrive at

the high positionwhich they have attained in our day. In

the samework is a battle, inwhich fear, animosity, force,dexterity, and other passions and qualities exhibited by thecombatants, are expressedwith extraordinary truthfulness.

The occurrences of the struggle are equallywell represented,and fearful scenes of carnage ; thewounded, the dying, andthe dead, are depictedwith great animation. Piero has

likewise found means to imitate in this fresco, the glitteringof the arms forwhich hewell merits praise ; and no less for

o 2

20 u vss or run ran s'

rs.

and others

indeed by thewholeand ennobled by his

In the episcopmchurch of Arezo

zo, Piero della Francesca

executeda SantaMaria‘Maddalena 111 fresco; beside the doorof the sancristy

‘

; and"ibrthe 'brotherhood of the Nunzata

he painted the bannerwhich they carry in procession. He

likewi se depicted San Donato in episcopal robeswith figuresof children, on a seat drawn in perspective at the head of thecloister belonging to Santa

“

Maria delle Grazie, and at San

Bernardo he executed a figure of San Vincenzio, in a high

niche of thewall, for the monks ofMonte Oliveto,which ismuch esteemed by artists . In a chapel at Sargiano, a resi

dence of the Frati situated outside of Arezzo,

0 The original has,“ too beautiful and too excellent ; troppo 60111 e

lrjoppoe ccellauti.Rumohr, Italimesclre Forsclmngen, 2, 336, note. describes theseworks as mannered and feshl executed ; he does not behave them to be

by Piero della Francesar. ey are also described by Dragomanni,M onographie, p. 20, but he does not clearly distinguish the order of the

arrangement,and the readerwill find a more satisfictory account of them

in Gaye.

3 Still 111 existence.

sNo trace of thiswork nowremains.II The Zoccolantiare Franciscan monks, so called from having originallywornwooden shoes orsandals (zoccoli): they are sometimes called the

Barefooted Friars.

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22 pints or m e u rrrs'

rs.

had been executed byrentwi s of the city.

ts of the surroundingactivity, but

at that time

Gra

Pope

Doctor of Laws. He likewise producedwhich are scattered about in difl'

ere nt

0, that on a certain time, as the

his children entreated him to kill

custom in that neighbourhood. But that he,means for buying one, they asked him, Howyou have no money, howwill youmanage totowhich Lorentino replied, Some saintwill

help us. Butwhen he had made this reply several times,

Vasari speaks of Lorentino'

in another place as the scholar of Don

Bartolommeo della Gatta, but Bottari remarks that he may possibly hatestudied under Piero andDon Bartolomrneo consecutively.

1 See notes second and third, p. 14.

1:The church of the Grazia has been frequently reacted, and these

paintings are probably concealed beneath thewhitewash.

5 This palacewas demolishedm the year 1533,when the portraitsweredestroyed. Bottariremarks that the legist here meantmust be Franand not Angelo Albergotti. Vasari probablywrote Angelo GambiglioniandFrancesco Albergotti, bothDoctors of Law.

memo nsLna su ccess. 28N

and no pigwas forthcoming, the children seeing the season

passing away had lost all hope 3when ato

length, :3 peasan,of the deanerzy fell into their hands. ‘

This'

man desrred tohave a San Martin0 painted for the fulfilment of a vow, buthad no other means of payment than a pig,worth five lire.

for the St. Martin, but had only the pig forpayment. Whereupon they made an agreement; Lorentino painted the SanMartino, and the countryman brought him the pig, and so

the saint provided for the poor children of the painter. 1

Piero da Castel della Pieve‘was also a disciple

As samwith a figure of St. Urban for the nuns of Santa Caterina,

manner, Luca Signor-

elli da Cortona‘l'was among

ciples of Piero, and did him more honourthau all the others.

year 1458. At the age of sixtyhewas attacked by a catarrh,in consequence ofwhich he became blind, and thus lived tillhe had attained his eighty

- sixth year. He left considerable

property amongwhichwere certain houses in Borgo,whichhe had himself built, butwhichwere burnt and destroyed

in the strife of factions during the year Hewashonourably interred by his fellowcitizens in the prin

eipel church,which originally belonged to the monks.

of

Camaldoli, but is nowthe episcopate. His books,whichare for the most part in the library of Frederick IL,duke ofUrbino, are of so much value, that they have de

servedly obtained for him the name of the first geometricianof his time.§

Pietro Perugino.

1 The life of this artist follows, as doesthat of Pietro Peruglno.

3:For the history of these disorders, see Graziani, Dc Script. bu ildM inerod, lib. 3.

Mis eri, Voyage d'

IlaIis, p. 187 , infom s us that a portion of this

librarywas incorporated in that of the Vatican ; a second partwas approprinted to the library of the Sapienza. The remainderis ssrd to have beendestroyed by Ce sarBorgia.

rns‘

storms!’

na’masons . 25

One of the first paintings executed by this good'fatherwas -

a picture on'

panel' for the Carthnsian monasterydn

Florence,where itwasp laccd in the -

principal chapel,whichbelonged to

'

the cardinal'Acciaiuoli the subject is a Virginwith the Child in herarms, andwith'

angels at her feet ; the

latter“

are sounding musical instruments and singing,‘anldare

exceedingly beautiful on“

one'

side’

of the -"Virgin are San

Lorenzo,with Santa ‘

Maria Maddalena ; on the'

other

San Zanobi,

’with San Benedetto ; and ‘

on the pmdellastories from the lives of those

’

saints,‘the figures ofwhich

very small, and are executed‘with infinite care:

' In'

the

same chapel are two other pictures one

representing the Coronation of“

theare the Madonna,with two saints

"in ultra-marine blue, of

great be'

auty.

‘ In‘the have of Santa'

Maria Novdla; and

vanni

martyr. In the chapel of the Coronation ofourLady,whichis in the same part of the church; he likewise painted certainsmall historical pictures ; and

”

on the doorswhich close theoldorgan he painted an Annunciation on

‘

cloth,which isnowin the convent, opposite to the door of the

"

lower dormitory,and between the two cloisters-TFra G iovanniwas so greatly beloved for his admirable

qualities by Cosimo de’Medici, that the latter had no sooner

completed the church and convent of San Marco, than be

caused the good father to paint thewhole story of the Crucifixion of Jesus Christ on one of thewalls of the chapterhonse. In thiswork '

are figures of all those saintswho havebeen heads and founders of religious bodies, mourning andbewailing at the foot of the cross on one s ide, and on theother, St. Mark the Evangelist beside the mother of the Sonof God,who has fainted at sight of the crucified Saviour.

Around the Virgin are the Maries,who are sorrowingwithat the same timewith Fra Giovanni, andwas so remarkable for his excel1lence that he has always been accounted among the most venerated fathersof his convent.

0 These pictures are notin the placehere indicated, nor is itknownwherethey noware.

t The frescoes perishedwhen the churchwas altered. Or the Annunciation the laterFlorentine commentators declare the fate to be unknown.

m GIOVANNI DA FIESOLE .

and in the dormitory, beside many other things 1n the cellsand on thewalls, he executed a story from the NewTestamentwhich is beautiful beyond the power ofwords to

describe.

But exquisite and admirable above all 18 the picture of theHigh Altar 111 that church , for besides that the Madonna

'

111

this painting awakens devotional feeling 111 allwho regardher, by the pure simplicity of her expression ; and that the

saints surrounding her have a similar character ; the pre

della, 111which are stories of the martyrdom of San Cosimo,San Damiano , and others, as so perfectly finished, that one

cannot imagine it possible for any thing to be executedwithgreater care, nor can figures more delicate, or more judiciously arranged, be conceived.

‘1'

At SanDomenico diFiesole FraGiovannilikewise paintedthe picture of the High Altar but this—perhaps because itappeared to have received in)nry

—has been retouched byother masters, andmuch deteriorated. The Predella and the

Ciborium are, fortunately, much better preserved ; and the

many small figureswhich are seen there, surrounded by a

celestial glory, are so beautiful, that they do truly seem to

belong to paradise ; nor can hewho approaches them be everweary of regarding their beauty. 1 In a chapel of the samechurch is a picture from the same hand, representing our

Lady receiving the nnnunciation from the angel Gabriel,with a countenance,which is seen in profile, so devout, so

delicate, and so perfectly executed, that the beholder can

scarcely believe it to be by the hand of man, butwouldrather suppose it to have been delineated in Paradise. In

the landscape forming the background are seen Adam and

Eve, bywhom itwas made needful that the Virgin should

give birth to the Redeemer. In the predella are likewiseNowin the Florentine Academy, butmuch injured by restoration.

These stories have been supposed to be those va y small ones in the

predella of the Chapel of the Painters, in the Annunziata but the later

Florentine commentators consider these pictures to have been dispersed,and declare two of them to be in the Academy of Fine Arts at Florence,one in the collection of Lombardi and Baldi in the same city, and others

in the Pinacothek atMunich.

I Now111 the choir : the M en tion towhich Vaaari here alludeswasby the hand of Lorenzo diCredi ; unhappily, thework has sufl‘

ercdmuchmore serious injury fi

'om restorations, since that time.

Lr'

vicS’or

’ '

rrm ARTISTS;

i

a picture in the same!left hand of the entrance : in

quality‘

of his powers aswell 'possessed of the artwhich heCoronation of the V irginby

for all the saints, male and female,only life and expression, most delibut the colouring also of thewholebeen given by the hand of a saint,

always called Frate G iovanni Angelico. The stories fromthe life of ourLady and of San Domenicowhich adorn the

predella, moreover, are in the same divine manner, andI, for

myself, can afi rmwith truth, that I never see thiswork butit appears something new, nor can I ever satisfy myselfwiththe sight of it, or have enough of beholding itsfIn the chapel of the Nunziata at Florence,which Piero di

Cosimo de’ Medici caused to be constructed, Fra Giovanni

painted"

the doors of the armory or press,wherein the silverutensils for the service of the altar are deposited, the figuresaremade and executedwith much care t He painted besides

This picturewas sold to the Duke Mario Famese, about the middleof the last century ; a copy only being retained in the church of the Dominicana, and this copywas afterwards lost.

-I This picture is nowin the Louvre, having been taken from Fiesole inthe French invasion of 1812. It has been engraved by Ternite,with an

introduction by A. W. Schlegel. Paris, 1816, folio. Forster.

I'

Vasari might have commended the conception and composition of

these stories aswell as the care of theirexecution. They are nowin theGallery of the Fine Arts in Florence. Eight of the stories have been

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m s . 010v DA m eow. 81

customedto ba rmass,with aDeposition from theCross,andwith certain events from .the life of San Lorenzo,which are ,

admirable. The Pope farther appointed him to execute the «

miniatures of several-books,which are also extremely ,beau

tiful. In the church of the Minerva,‘ Fra G iovanni exe

outed the picture of the High Altar and an Annunciation,which is nowplaced against thewall beside the principal

chapel. For. the m e; pontifi'

, Fra G iovanni decoratedthechapel of the sacrament in the palace,which chapelwasafterwards destroyed by Pope Paul IIL,who conducted thestaircase through it. In thiswork,whichwas an excellent

one, Fra'Giovanni had painted stories in fresco from the life

of Christ, in his own admirable manner, and had introducedmany portraits of

'

eminent persons then living. These por

traitswould most. probably have been lost to us, had not

Paul Jovius caused the following among them to be reserved

for his museum Pope Nicholas V ., the Emperor Frederick,who had at that. time arrived in Italy ; Frate Antonino, .who afterwards became archbishop of Florence,1' Biondo da

Forli, and Ferdinand ofArragon.

And now, Fra Giovanni, appearing to the POpe to be, as

he reallywas, a person of most holy life, gentle andmodest,the Pontifi; on the:archbishopric becoming vacant, judgedFra Giovanni to beworthy of that preferment ; but the

Frate, hearing this, entreated his Holiness to provide himselfwith some other person, since he did not feel capable

of ruling men. He added, that among the brethren of his

order,was amanwell skilled in the art of governing others,The German commentators tell us that both the pictures of the

Minerva are still in the church. One in the Carafl‘

a chapel—that dedi

cated to St. ThomasAquinas, the other in the chapel of the Rosary. The

later Florentine annotators, however, say that theworks in question are not

nowto be seen, but that one is believed to be concealed under an inferiorpicture in the chapelof the Rosary, having been thus covered, as is believed,at a timewhen “

ourmost preciousworks of artwere torn from us by

1 la this picture Fra Giovanni may very probably have painted the

Frste Antonino,who might appropriately have place there as an eminentman, but certainly not in the ChapterHouse of St. Mark,where he ap

pearswith the distinctive charactenstics of a saint ; his namewas doubtlesssubstituted for that of the person originally delineated by Fra Giovanni in

the ChapterHouse, as a consequence ofhis canonization. See ante,note t.

32 LIVES or m s u rrere

a friend of the poor, and onewho feared Gpd: onthismanhe considered that the proposed dignity

‘wonld be muchmore appropriately conferred than on himself. The Popehearing this, and remembering thatwhat he said of thisbrotherof his orderwas true, freely granted him the favourhe desired, and thuswas the Frate Antonino of the orderof Friars Preachers made archbishop of Florence. And thenew'

prelatewas in truth most illustrious,whether forlearning or sanctity; hewas of such a character, in fine,

’

that

be fully“

meritedthe honour of canonization bestowed on himin our own days by P0pe Adrian V I.A great proof of excellencewas this act of FraGiovanni’s,

and,without doubt, a very rare thing. The resignation of

a dignity so eminent, of an honour and 611101. 86 importto himself by the supreme pontifl

'

, but yieldedby him

1to the manwhom be,with *

unbiassed judgmentand in r the sincerity of his heart, considered much moreworthy of it than himself. The churchmen of our timesmight learn from this holy man to refrain from taking upon

them those ofiices, the duties ofwhich they cannot'

duly ful

fil, andto resign them‘

to thosewho are moreworthy of them.

Andwould to God, that all ecclesiastics (be it saidwithoutofi

'

ence to the good among them)would employ. their time,

as did this'

excellent father, to return to Fra Giovanni, so

truly named Angelico, seeing that he continued thewholecourse of his life in the service of God,

'

or in labouring for

the benefit of theworld and of his neighbour. And'what

more can or ought to be desired, than by thus livingrighteously, to secure the kingdom of heaven, and by labour

rag virtuously, to obtain everlasting fame'

111 thisworldAnd, of a truth, so extraordinary and sublime a gift as that

possessed by Fra Giovanni, should scarcely be conferredOn any but aman of most holy life, since it is certain that

allwho take upon them to meddlewith sacred and eccle

siastical subjects, should be men of holy and spiritual minds;forwe cannot but have seen thatwhen suchworks are at

tempted bypersonsoflittle faith, andwho do butlightlyesteemreligion, they frequently cause light thoughts and unworthyinclinations to awaken ln the beholder ;whence it followsthat theseworks are censured for their ofi'

ences'

111 this kind,evenwhile praised for the ability displayed in them as

ramgxawamaim smm.'363

alsomfi rzned thithesmnldmeyerdta'

keathe pencillifi ahandz

until .he.had.firstrofiemdaap rayerwufl e ismaidnever-1tolhava;

Were“

dispersed amqng'

the sh ouseq ofthe citizens f'ilfhereds

afpicturerbyahis xmasterlfinxthe ~cent1e zaisle of Santaddu ifi

Novellaepeanrthatgofsfi alGio'vanni, and another,whiclnmmonastery belonging to ,the

monks 1of Camddoli;withgut thePihfi gate'

; peanut

snow:destroyed; [antlgStrosai’sworkzis,atfthisttiine 'ia the

little churchfof-zSanMichele,ginwthemonastery of .the.b

AnIt may be seen as ydunentdr the

~

pr1nclpal door; and no

“glee;Anotherwon-1mmZaaobifluozziy in ;be’

founddin‘

the e. chapelrzoff Nl fl

.wily ih ’S‘ntd‘LHCia thereis likeone in San-Bomcbnand

'

in%he treasury (guardaroba)ofuke, there is the portraitofGiovannidiBiccide

’

Mediciwith that of Bartolonuneo Valori, in one and ,the j amb

1 Gentile daFabriano rwas rlikewise among.the disciples.rof

Fra G iovanni, aswas Domenico diMichelino, awho executedthe altar-

piece b f'San ~Zanobi, in the church of Sant

’

Apollinare, of Florence,with many .

other pictures. § .FraGiovanni

uOf the noble . famil_v of the Stmy i. Thereaderwillfind a ,

detailednotice of this pairiter in Baldinucci, vol. iii. p. 205. Qf the fi ts of 111!11011 1 but little is 1101?known '

the suppression of the regularordershavingbased theirdispersionxwiththat'

of so many'

otherwas-had m .f . 1 a.w

p. 258 declares himself unable

omitted to mention a very beautifulin the followingwords 1 The pic

ture of the Paradise,which is still to be seen in SantaMaddalenade’Pu ziis extremely rich in figuresJ .it is among the rarest of» this W eworks, because of larger proportion thanwas usualwith bin , audmay,

“be considered among the mostl eautiful of them,

”—Ed. Flor. 1822- 8

but does not this fefer to fiérnardorather than to Zaaobi, Stron i?f

'

1 5‘Lanzidonbta that Gentile da Fabiiano vs thedisciple oft

n 2

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M ann a-nu A mish .

Ali

M smay notfbe rcdiiced to depend on others“for

"tli?

theory onwhich his labours must be founded, to ensuresticthe most part, found to avail very little ; butwhen theoryand practice chance to be happily united 1n the same person,ri t can be mbre suitable to the life and vocation

‘

of

more“

perfect by the aid of science, as because the coun

cils andwritings of learned artists have, in themselves, agréater cfi cacy, and obtain

’

ahigher degree of credit, thiincan

“bs

"accorded to thewords orworks of thosewho know

”

hi

s attention

times has been able to surpass'

other qualities as an author,while theremuch more distinguished

than h1msélf

art,’ although it is very generally sup

force of hiswritings, and so extensive

has“

been their influence on the pens andwords of thelearned, his contemporaries and others), thathewas, in fact,superior to all thosewho have, on the contrary, greatlysurpassed him in theirworkat We are thus taught byexperience, that, in so far as regardswrittenword is '

thatwhich, of all things, has the most

for books make theirway to all places, and everywhereOf his acquaintancewith the Iatinwe

as'

thht, havingwritten a comedy, entitledatthe age of twenty, thisworkwas believedtins to be by an ancient author (Lepidus),underthat name accordiagly.

1 Among the most important of thiswriter's artisticworks are theBrave compendiumdc compou nds M ac , and two treatises on painting,the one calledRudsmcuta, the other, a longer one, entitled Elena-ma, andwhich be dedicated to Filippo Brunelleschi. Butamong the most valuableare hiswork on architech1rc, in 10books, De rs edificatoria, anda treatiseentitled, Piscevolesse Matcmatiche.

”wherein Alberti solva many problems

'

m mechanics : h’

n OpuswliMon ti, translated into Italian by CosimoBartoliwith a dialogue on morals calledM aia, tbs lattervnittsn inItalian:are also cited by the learnedwith approbation.

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roam church'

uofian swerer.“ s h am ans

duastenphndlthis hendidt wnm stjudgm m

m mtsdsbyra recrtain:Ia eaid saaifilm nhneewhby160mirig evdr

'

afterto dwell in 'thatlcitwithsre diedydeavingfi a

m owsdvhuugeapsthamltgsdm emfduxfulwith

bssistant, and if no other ever:knew'fthis, I knowshvw( 1

devoted to study than to design ?Yet he fkncwl perfectlywell howto r

g rve expression tohis thoughtswithrthalpendil,m y be seen in cértaimdrawings by his hard"1mourbed .

fIn these are depicted the bridge ofof roof1or

'

covering inrthe'

fm’

anafer iof a Loggia, constructedover it after his design, as:a shelter from the sun in stu mer,”

and from the rain'

and“wind in "Winter; Thiswork tim

NiccolinLinhis eulogium on Leon Bafidg mfom sm thatthe ehumhdSaut

’Andreawas not built until after the death ofAlba -ti. Plates of this,'

aswell as of many otherworks byrfi lbsnhwillflre found inmAgiacourt.“ Arts Jesu its -J spres les sats.

1 Tbewnrks of the chapel ot' the Nunziatawese executed by the Florenfine u chitec ntonio Manetti. 800 011q m

tm wi‘

49

1

i

rl

t o

.

l a"" g i t

.

FLA1 11 1

1 M ario VASAM rPAIN’I‘FR fl F 11113 2201 11 1

L” L V : fl ‘, 4} ss a o nws v o n o .

m[mm 4 -

1- 1 7Q‘ t

.

“

great,withoutwdoubtr '

is the- 1happiness of those Withamopg:their. fowunnm -the men:1of1 1their‘own fanillyffindsome that have been distinguished

Fandmenowned' in ’aliberalprofession,whether ofmums- 108 letters;' f J'Of painting, or tinyotheri noble calling. Menvwho find inf

theirancestors in history h ave thatinciténent; to virtue; it

no other,andmayfi nd thereinwhr-idle tti restrainthcmr‘froin’

born of his blood, itmightbe easily supposed that in praisinghim Iwas over-

passing the limits of discretion, I pruposc

to be silent concerning his-1mm“,

manner to conceal, if IWoulwhich all history depends.

Lazzaro Vasari then, the Aretine painter,was the mostintimate friend of Piero della Francesca, of Borgo

-a- San

Sepolcro, and had constant‘

intercoursewith that master,while the latter laboured, as has been related, in ArezzoAnd, as frequently happens, this friendshipwas the source

of considerable advantage to Lazzaro; fo'rwhereas the latter

had p reviously given his attention to small figum only, for

the decoration of such things aswere at that time in demand,hewas induced by Piero della Francesco to attemptworksof more importance. His firstwork in frescowas executedfor the church of San Domenico of Arezzo, in the second

chapel on the right as you enter the church ; it represented

San V incenzio, at the feet ofwhom Lazzaro depicted himselfVOL . 11. it

02 Lrvaswnxrnm-m tsrs.

Sebasm is ) t v ,

fiftmded by mgelavwb / place ; on 1115 , 1113 1111 the ,new»no!W idow; hut s-Ms m hdis much gam ma,

dim

At thewindows 1wereavpa1nt'

ed 1in Arenas by FabianwW ELT a

youth1 10f 1great excellence in that branch of; artnasm/e findproved in certain M erits - of hiswhich are in the; EpiscopalChurch, theAbbey; theDeanery, 1and other buildings of thatcity ; but Fabiano ; no -t 11beingwell acquaintedwith design,hisworks 1w'ere 11far fromattaining to the perfectiqnpf those

within the Florentine dominion. A sort of politim l inqnimion,whosebusiness itwro te n o that the liege people of the pope-devoted city te

fl’

hen'

thingshto -0 lost. . 1 11

In Bottari’s time many of Samoli

'

sworks remained, as he as hra min Arezzo.

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som e 111m;m am. gm apm fromshe 1d cellen°

eesqof

the ssmsin‘

the 1mannen dlmsdy1ducrihed, hss 1caused snowasce nd-mum;mhamimhe 11m depositedthe renhiasof

MadonnaMaddalena de’i'l

‘

acui histmotherut“And here shall

andthe life ofthaArefineupsin

ter, 14 m m Vasari.”

i i

1 1 1'

of.ii ‘J t u

111

111:111m mAfiroustto1

01 111-1551111 .

[mu'

u oar'

uw- nm '

kabh

Wm I considermthiamyself the ,various qualities of thebenefits andadvantages conferred on the art of painting bythe difl’erent processes brought into operation by those nu

merous masterswho have pursued the second manner, § I

Seem . 161 1.+ This still exists, but 0urauthor is uotburisdiu it, haviag

hesn lnten1

ed

in s distiaguisbedposition beflqm tho highaltar.1 These portraits stillremain, sndm in excellentpreservation.

5 The authorhers alludes to the second of (“ three petiods intowhich

nello fdisplayed tow/him,was oeontent ithatdthemartist; should’see the

'methodofhis proceedingm 'oil- painfihgh;nor did the latter 'dwmt 'from that T1800 numb his badm

i

quired a perfect1acquammneewith that mode of ebloun ng

ofwhich he so earnestly desired the knowledgeafl No xlohgtithe after, Giovahni having

'An to‘

nello le’ft{Flanders

tifl'

fl‘hs .nama bfi thinfl

tm'

is Ahtm ello dg liAntoni, and he ismid/ tohave dm ded from a amily of anus. Gallo,Aunali di M ess

-inc, assignswe‘ym “47 asthatof his birth ; butthis is not in'am dancewith'hnovmM Twe sdhm to thsmost gmm lly reeseived Opinim ;which pm it

M l

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W a rsaw or

thermal:"Immense:ofsthis ‘vehiele , he, gism go ,3led hm .

mostsdxcellentmaster in fthe art ofianahiugiwatchemauda ~

wismhdaafor In cense de’.Medici, .which the most illustriousDuke coaimowowhas in chismakes. andwherein all the

ofiwhec'

is; 15.11.5017 :e thing, .and the first thatwas made inthsu

'

mam as In the picture opposite to this of the queenofzShbha, Aleuo depictedLuigiGuicoiardini the elder, Luca

*Alessohad l1a

to m odernise theintroduced in them

museumofNaturalHbtory ,;butthe Italian

he declarel it to be the first ot'

VOL. 11.

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3.im me riwe 71

who iwamcommission‘

ed to thatm ark hy..the same pope, andexecuted the bust¢ of the HolyFather,which is to be seen

on the sumniitaofthes taircaseA magnificent Courtwas designed i'or this palace by

Vellum“with:an gmceful and commodious flight of steps,butcthe death of.the pontifl

'

intervened to prevent the execu

tion tof theWork, and all these things remained incomplete.

During . the period of his abode in Rome, V ellano executed

for the pope and

but these I have net been able to find. In

of the previous pages and concludes that VasariwroteW communicated to him.by the friends of Vellano,whom he has thusnotdescribedmcconding .to his own judgment, butaccording to the repremutations of others, the resultbeing, that Vellano n ocives unduepraise.t Paul II. (Pietro, Cardinal Barbo.)¢.This b11st retains its place, but itwas at one time the purpose of the

Venetian ambansdor,Zulina, to remove it to Venice—Bottari.

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rm m mm a 139( St:

forwhich hehasever been held in the highestcsteemamongarfistsiiaii

'

d forwhich he 13 extolled byfmodermmastarsmth

“M iam i“ 0011193 113"Withwthe Car-raelite'

,lawman”

her, for the figure of the Virgin in thework hewas exe

outing for them; The result of thiswas, that the painterfell violently in love

'with Lucrezia, and:at length foiindmeans to influence her in such a manner, that he led

’

herthe nuns, and on a certain day,when she had

to the Cintola§ of

at Prato and exhibited on“

that

occasion, he bore her from their keeping. By this event the

nunswere deeply disgraced, and the father ofLucieziawasThe convénfl iifing been suppressed, this picturewas supposed to he

lost, butwe have discovered it in the gallery of the Florentine Academyof the Fine Arts. Itwill he found underi the No. 57 of the d ialogue

published111 1846—Ed Flor. 1849.

1 Theworks executed in the Santa of Padua have been destroyed in thesuccessive restorations of the Church.

t This picture'

isi ’hiativity of Christ, itwas sent to Paris in 1812, and

still’rernains there.

5 The girdle, presented to St. Thomas by Our Indy herself, as saith thelegend.

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was acquiring hisart in Florence, he~pelnted’a

picture inthe old"church of die Templq

1which* “stoea‘wheretheiold

‘

citadel'

now' is. The subject of thisworkwas erstfrom the life of San Jacopo di Galizia, and fre

‘

presents thestory of the- zpilgrimf in

‘whoseon a pilgrimage to

’

‘

that ' sainfi' the‘son of‘him‘host

’’pnt

'

‘

ver cup, to the intent‘

that hemightbe phrlished as'

a thief ;but the pil rim, being aidedby SanJaco o, ,

is b

conducted tgo his home in safety. In this

)

paintingglqittotsg

4 .1 ,The Poem of

21. AldimEdition. Itis thatcommencing,

“8tatuariuu Antigua} Coupau d ug j‘

fic.

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1 217 111.

f

.

“ m c sE.'

T

DESIDERIO D SETTIGNAN

malltl' t'tfi'fiwlid Yd ghpm‘

unn d g.‘

w-yn‘l ‘

vd'

asmzm '

li h m }. r .

hm: .1{39's“MW Im -sffiheglflhWatt-

em“.

14351 ]' 1

"(W .r o t .

f l.

yeargreati;thejatnonht ofgrafitudeitvmchisdue to Heaventhe se s?as:ableLto tpmduoexheirworkswithout 119111113114 certain stats.

which .

othm cannot

imsas fi -bsirpp actions.whetherby study or 1111119119 11 .

For this is in trut a giftofHeaven, showered, so to speak,over“certaipworks in, sucha,

tnanuer hat they hear aboutthem

”

9 11011111111q and

'tattractiohéghic

'

drawtowardsthem99151011111thesewhinewell ”

as aisles, sisalM y.nhém sqtmsnsptesfis ithit, .

.Andthis proéeeds from the

idea of sees and facilitywhich the truly good presents, neverofl

'

ering _to the eyes that hard and crude aspect so frequently

andwith laboured efforts ;by such gmwd,simplicity, .which p leases universally and

performed

“

artistbelongedto Settignano,’

a‘

place

two miles distant from Florence,while others consider him

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sity hs'

ve thisworks inferior to ltheznealityhm yi les s excelle ntthan

‘

those of the master ffiom lwhom hdrtakes his:manner.1

Accordingly, it has happened to many of our artists, that nothaving studiedumythin

'

g :butzthe unm et !of'

rtheirmasters ,

and having thus left‘Natfire ioutof have failed to

acquire any knowledge '

of her, neither'have they

.got beyond

the‘master they have imitated,buthaveBone greatwrong totheiv ownfigeniuwt‘Whereas, if they hadwstndied themannerof:theirmasters and natpral objects at the same time, they!would have proddced more efl

'

ectual:fruits a.than .: .they hawnowdone. 1'An instance .of thismay) be seemin theworksp fth

‘

c sculptor,M inozdazh‘iesole,iwho; possessing-

geniuswherebyhem ight!have accomlilished.whatever he .had chosen to at

tenipt, in s yet“

s

om amofi

red ofs themanner of. his master,

U,

‘

ti2 t s i . i U

ciplen, and proveehisin a tot opposite

8 A result experienced by Vasari himself, as itwas by allwho, like him,

too closely pursuedthe footstepsofMichaelAng los - [bid

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m m an n a ! An‘rtsrs.

works hadJsecg red him anesteemed name

,

I,say, he. retnrmd

ti)"Fie

‘

shle’with‘

hut short delay, bearing thither-As 101m m

the diligenoerot'which'hewas

( 3 1 1 JUN a U i l l s K."

In s l

I It is nowin the old subterranean church of theVitica'

n GrotteVaticnm 'M bie fl

'

fi sBoum-i.

5} Thismonumentisdill in existencc.—Ed. Flor., 18382

'

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.

2 3 arom asmoon l it m

scabs thatm ay others (such 1s the fame of talsht)(arm'wvutimmediately to followan the same path ;

toithegreat lidnont

m ospainsng, andhearing howgreatlyBusinppnosmreptfired to Florence

“ to see'

theirworks, and findingzwvhe'

fl

dry, yet, having returned to hisnative city, he there executedmany very commendableworks." An instance of this may beseen in the t of San Domenico, in Ferrara

'

,which isthe studywhich he bestowed on hisworka In the guards -3

artist, portraits from the life namely, in numerous piemsgsgvery exact likenesses, and extremelywell 111111134 1 110are also manyworks by his hand in the houses of variousnobles, all ofwhich are heldm high esteem.

At Ravenna, Lorenzo Costa painted the Altar-piece forthe chapel of San Sebastian, 1n the church

'

of SanDomenico ,

this’workwas in oil, and in the same chapel he executed

s a n s l \A s l ' d

1 Theseworks arewholly destroyed.1:a

bs lat

rsst I

gl

gy

dfi’

rentine

l

commentators remar” b

k

ewo q to im urea, utmm qw'

1a fresco. {lore iticisppears to

Weation'

1s the one intended, immediately belowwe have as 0:11:5sheword used

, as the Florentines justlywhich they attribute to it.“ghg

hcse pictures haddisappearedeven in

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~tx§ln°

anothtn' :

Fl J:were01min" udge

‘

df

butlah'thewith athos'

e executed in '

n'

otmmpletiedybyWiVarinofi

'itwillhenecessa'rrthat I should in '

th'

e

ants"

any«Hall; their)whichwefe‘

'n

’

ot a'

djudg’

ed ' to“

Gentile,were givenphrtly

‘

to Giovanni '

and partly to Vivarino, to the end» that

allmight be excited; bymutual emulation;'

to more zealouswet-tai a

'Wherefore 'V ivarino; having commenced the partwhich belonged to him, painted,‘

immediately following thelastistoryaofG ’entile, the above flatbed Otho, od

‘

ering hiniself

to thePope'

and the‘

Venetians, as their messenger, to attempt

who notifiestheirhaving done so in hisAmtali l i. as follows 1474.Was it the restoration of the painting of the battle between the Armada; the Signoria.andthat of Ferigo Barbsrosss, in the Hall of theGrandCouncil; because itwas falling to the groundwith the damp and

old age, and'thoss

‘who have done thework are‘Zuene and Zentile Belino,

broth“who have -promised thatit shall last 200years."—Archivio Slorico

Juliana, tom. vii. p. 663.

In the littlework of Sansovino, before cited, this story is said to have

been reviously painted byVittore Pisano, called Pisanello.

'l olfi, and after him Bottari, afi rm this master to have been the

firstof the Vivarini. Forthe various Opinions supported bywriters in reference to these artists, the reader is referred to Zanetti,Lanai, Storia Pillort

'

ca Zanotto, La Pinacoleca della Vand a AccademiaIllustrate Sansovino, Vanessa du o

-rind ; Boschini, Guido do Venezia,

1181 m ael sm m s.

greatlyto his own '

credit, thaw(i s .weaklymomtimfion,md' ei hausted/bydiis idaliourafdtiflm d G od that the shoulddie m r

‘ly, andfhe aoould pmm dkm) ‘

not

macawthat iovmini’Bellini should retoucliwtheworh in

M in pm . I ll l' ’r ‘ rt 2' u,

i

5 -0 i had hiinselfrmeairwhillebegun fourstories,whichfollowed those above described inxregular succession. In the

first he depictedthe tsa tin,the c hurch of SanMarco,which he also delineated»ea sily .as it-stood. The pontifl'

pmsaztschis t‘

ootzto Frederigs arharossa to k iss, hut .thisfirst picture of G iovanni,whatevermay have been the cause,was renderedmuch more animated, and beyond c omparison

Tofollowpresence oi"the Einperor and the Doge, granting plenaryand perpetual indulgence to allwho at certain periods shall

\ isit the churchof SanMarco, the Ascension of our Lord

being particularly specified .The master here depicted the

interior of ‘tha church,with the “Pope in his pontifical habit

on‘the steps descending from the Choir, surrounded by

AlexanderVI

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3 66 m urm urs.

W M le nd'

mM nomealledfibe

rtli h M ainliflans'

lMiellcleudil Murano, os mongstazypnf

{pupihofilfiiotannb e M ddmmioture by this same.masterfih' thé

W W I! of'ithéoBmthci'hmd of San Girolamo.nthe

creams“; butshesi ofl hsiqery‘highly esteemed. .gAndfiiiflthe'hduse

lol’lM cfi e a Cm-

nam fpioture

‘

M'

Bfimui

igesenfingfthétfiavimwithCleophas andLuke.

With the ’ velmaiitionedhhslhfi ioranni painted.another

pastime, that not atutheihmo ifima This containmn -atolyGallowing 'tlie ‘V enetians‘inviting rs.iPopafi

I:know.notwhich,

new“ll 44m ) .Ltd a.“ iowl iun du nl m l 1, . l

06 41‘

M pidarch isfilllimdiefl cifi y. of Santa Maria lG lonosa da'

Fiari.which formerlybelonged tothe Friars-Minors, but is nowa parish- church.

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ofwhose aid he availed himself much in all‘hisworks. This

artist, painted a .picture iii,the church, of, Sanpomenicq, at1

Riivefl

rina,withanother in '

theDuoino,which”

are consideredvery fine, in thatmanner; 1

but the bestwork performed byBondinellowas thatwhich he executed in the church of{Stro hn the Baptist in the sonic city.

"The

‘

church belongsto theCarmelite

'

Friars ; and in the-

painting, besides a'

figuret - c n o

. i v z

" “E quei che furo ainostri dim son ora

Leonardo, Andrea Mantegna 'e Gian Bellin 3"

t Banolommeo ,dZAlviano,whor es leader of the Neuetians, in theirwarwith Pisa in l499.—Ed. Flora

,1849.

I

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.

~m,-csoes .ware .” J

them ”were‘ cbncealed peasants~or9 portm f~who+ cariied 4hemachine on theirvshoulders; arranging themselves around‘thsweddlworkr;whichwe ~havecalleds hame, to the iunder.P3?!we '

fhichzwere rfixed' cushiousfof leatherrfilledwith feathjdimension some other soft andr

yieldiiig'materialpto prev:

the Weight» from~

pressing too ipainfully on theirashoulders.Who '

stsirs for ‘ascendingn thswstructuresiand zever

’

y gather

pitrtybeing c overedfiaswe have 'sdd iabove,with cotton-wool,k "very goodo etfectlWins produced;were calledNan-

ole (clouds). Behirme

'

n ou’fhorseback, and soldiers .

sodordihg’

~to -the demands- of the

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m ann a“ W e

M fifnl miidc'

nsmfirthe ' uncan ny,whoseunames‘ I have

(lit ; 1n thistwork is the portrhtrot’themasterhimselflfwithcertsinlheads!offshepherds,whichtm'

e consideredwondsrfl lyM

”

In fourvbook ‘we havo klravlrmgsfofi the Sybihvand-fofbomeflother parts of lthatfworlrluneswadnfirablrexecutedainM u m-oi;we have (dwtthd perspective exhibitingqtheM dgevf 'Santa'Trinitd; ’fif m f ‘n

'M

'

venomwilForthe! Brotherhood (fi fths Ihgesuati, Domemco:passedin slur-piece bfthe high slurwith nations SaintskneelnigM ud ttheWin-gin, San Giustd,r'hishop vofWolte1-ra natnely,fihilhrm tns . of "thtt” church ; 181m Zanobi, (BishOpl

vlof

Em ilee ; the‘ YAngel

' Raphael, San Michele, 1n mhgm'

ficmtmurmur,with some others , and of

‘

a truth Domenicomerits

pri se for this Work; seeing that hewas t he first’whoattempted to imitate borderingsand

'ornaments of goldrwith

colonirs,which had, up to that dime, not been the custom.

flut omenico did away ln '

a great measurewith - those

flourishes and scrolls formedwith gypsum or hole andgold,whichwere better suited to the decorating of tapesu'

y !i n

W e, than to the paintings of goodmasters.§ Butmorenl 'than any of the Jotherdigures is that of OurLhdy,who has the Child 111 herIrma, and four

littleAngels aroundto; Mt l m a f

‘

n . 1 11" ‘

p

“1 "The dreusa of thesewomen hhve been 'injured to some exténttij' theagainstthctnwhen the church is decoratedwith

the Hoiedth c

Ed. Flor., 1849.

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mbfi rbesidethé’door'whichriefi sinfo the)choir, hatingtliétlm

m am a- 111111111 1.of Botticelli; by the ~mbtiks}’vfho

M a nurealterations' in thechoir-rund being securEdfihy

hneans'ofi theywere 'hoth ‘

tmnspdrted'

fi thhht

155m .into .the o centre '

0f’

the"churcli this 'wa’

s done‘l t

’

o‘tfie

Inoment'vwhen ‘

dthese' iLiveswere inflcourse ‘

of' beisgt

pfimdJar thé}gecond tfineg.

“ '1:w. 4 1 u

1. un t amed

h- nfllhe lunette '

over a tlie vddor ‘

of Sa'

nta ‘Maria’

Ughiflwéqmintednhy Domenico Gbii

-lahdsjo,who"likewise"eit'

eb'

dtwsmall eTabernacle'

=forthe guild'

of the lJoiners, mdlmfl tse

the1 painting hM uoui; a rich

785,and the picturewaswom anly

of thewalL—Ibid.Aswill be related

,

”thntis to say, Vasari having 91111

,the

er of the lives -

, ia the second edition, a circumstance he had $ 0303?when hewrote the shove—Ed. Plan , 1849.

m

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fl)?

.Messer Marsilio Fici

second, in a fredman

Cristofan'

o Landino.

G reek Demetriusd”

somewhat cruises his'

.whom '

are most ani

second story,‘wbich

ation.

os urL ady to St. Eli

several awomen velothed’ in‘

among them js the portrait'

o

«beautifulgmhidemr,

In the third story;which is above isthem,

"l’

i’

bfSt oh

'

nxthe vBaptist, and in‘this there is

'a‘aiéfi

‘

filélfsfiifig

pan-syedin this i nrh

f

The figure here called that '

of.

Demetrius Chalcondy‘

las."

is haid'

h'

yBottari to be that of Gentile de

’Becchi, Bishop of Areup , and Preceptor

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218 .um alowm .W !

his surety to . the extent ol‘'

ducats,-for"

‘

thmexscution

c l thework, a labourwhich he commencedwith much m l'

and in a bettermanner than had everbeen sssn before. «Buttheworkwas interrupted .by the deathof themaster,who lefthis task unfinished, as he had previously léfi the chap

’

ehrotf

San Zanobi,which he had begun to adornwitlu nosaicworkin companywith the miniature painter, Gherardo, butwhichwas left incomplete on account of theLdeathro‘ftthe illustriousIfl renZOs

'

0’

Over that sidedoor of Santa Maria delFiorswhich leadsinto the convent of the Servites, Domenico executed an

t One of the pictures painted for San Giusto still remains on the altar

of San Ranualdo (butM oredby Ippoliton a). This picture repro ents

SS . Remnaldo and Benedetto,with the Saints'

Attinia and Graciniam .

Above them'

1 the Saviour, sa ted between two Angels. Itwas engrasadin the year 1583 by Diana Ghisi, a Mantuan, thewife of the architectFrancesco Capriani, of Voltem

—Ed. Flora. 1832-8.

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with Mtso Finiguerra, Antonio executed various stories,Wherein he fully equalledhis competitor in careful execution.while he surpassed him 111 beauty of design. The syndics of

the guild of merchants being thus convinced of Antonio’

s

to prepare such, at difi'

erent times and by various masters,theyresolved among themselves to employ Antonio for the

purpose. This resolutionwas carried into effect, and the

2 0" ll l l f

‘ i H l ! « oh 0

psm vfi'om Col

3

g ism s namely,andd are “ill to be foundin the collection of the Florentine Gallery of the Uflizj.

m emo m ewho POLLAIUOLO. .223

marks executed in consequencewere so

“were acknowledged to be the best of

The subjects chosenwe‘

re

't‘dhst highly extolled, and executed entirely

The consuls then commissioned Antonio

hil‘ter chandeliers, three'

braccia high,withi’

portiong'when ‘

the

admirablework .

pains on all his undertak

silver . among others, are certain patines in San

Giovanni, coloured so beautifully, that these enamels,by the action of fire, could scarcely

delicately finished evenwith the pencil. In other churcheslikewise in Florence and Rome, aswell as in other partsof

Itdly, his miraculous enamels are to be seem}"Antonio taught his art to Mazzingo, a Florentine, andto

G idliano del Facchino,whowere tolerably good masters.He likewise imparted it to GiovanniTurini, of Siena,whogreatly surpassed both his companions in that calling ;1wherein from Anto nio di Salvi (who executed many goodworks, as, for example, a large cross in silver for the abbeyof Florence,with other things), down to our own day, therehas not been much done that can be considered extraor

dinary. But many of hisworks, aswell as those of the

Pollaiuoli, have been broken and melted for the necessitiesof the city in times ofwarEventually, considering that this art did not secure a long

life to theworks of itsc,

masters, Antonio, desiring for his

Theseworks are still carefully preserved andare annually displayed 111

the church of San G 1ovann1, on the festival of the Saint—Ed. Flor 1832-8.

1There 1s a patine, enamelled by Pollaiuolo, m the Gallery ofthe Uffizj.- Ibid.

Antonio diSalvi also has been extolled by Celliui in the introductiontreatise on Goldsmithswork—Ed. Flea , 1849.

g igAnd howmany admirableworks of the same kind have not been la

meet

:to the nectssitics ofwar, from the time of e i to ouron .n i.849.

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228 .ooaom m m um m -rm

this designwasWnbt carried into execution I have not heeh

b‘

éhutiful. theeon

heads -o f Lorenzo and Giulianode

’

M edicinm xo'

nnthevoneflside, and on the mirers'

e is 'the

Choir of Santa Maria del Fiore'

,with the nibble

'

of thatu !

: .H L ' ‘u

' The spm of lnnp nm thd m to n yymthwhich he pierced tho tide“Child :

‘0 .

'1 r

. d’ In the British unm ithm is a pen-and- ink drawing by Antonio

Pollaiuolo, one of the COM Statues on the Quirinal, namely.

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m m ea su res m ess.

is '. its '

place ;' 1fhe"wili

master" quoth Biagio,

hsfi ng’

suspender! the pw‘ayf l'l’

bereupon Sandro and Jacopo,whoWas N ether..Of

ids? disciples, prepared eight caps of

those 'worn by the' Florentine xcitizens, and these:they fixedwithwhite van on the heads o f the 'eight angels,who, m

aiming in question;were depictedThe morning being some, Biagio appearswith the asses

had bought?the"painting. andwhorwaa aware

jestc'nRaisin s his eyes on entering ' \

theworksboop,beholds'his

‘adonna; not “ hounded by angels, ibut

midst of thé‘‘

Sign'

dria of Florence, and seated

iHeWasabout to break forth intobeen

Mourner, orGrumbler. The followers of SavonamisThiswork isn'

dtlnowin San album s

description.was taken tq h ria 1111 1112, andHoly Fam1igu

likewise by Botticelli. ThereFlhrcritine

'

la y”A - M assclli.

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.am m wm :.n taco

roding the surface, allowbut a short life to theiwork . but as

the mordantscost less, theyare.neverthelessmorefrequentlyused In our day than the dra

- namedmethod.Sandro Botticelli drewremarkablywell, 'iIisomuch that,

fem long time after.his Ideath, artists toob the :utmost painsto procure examples of his drawings, andwe have some in

outi book rmhich are ; executedwith extraordinary skill an- kl

judgment ; his storieswere exceedingly. rich in figures, as

may be . seen in the embroidered ornaments of the Cross

borne gm procession by the monks of Santa Maria Novella;andwhichwere executed entirely after his designs. This

master,was, in .short, deserving of the highest praise for all

suchworks as he chose to execute 'with care‘

and goodwill,ac he did the Adoration of cthe

‘Magi,' in Santa"MariaNovella,whichds exceedingly beautiful. A small round picture by

hic ks-lid,which may be seen in the apartments of the prior,in l tbc nnionastery of the “Angeli

?at Florence; is also veryfinely done ; the figures are srhall, butsingularlygraceful, andfinishedwith the most judicious care and delicacy.1 Similarinulsize to that of the Magi just mentioned§ is a picture,(‘o l l I ' l

This picture is no longer III the church.

1 Thisbsldschino , or cam py, is supposed to have been destroyed by time.

I No account of this picture can nowbe obtained in Florence, butweFlorentine '

editors)have discovereda smallroundpicture by this masterinecu —Ed:Flor, 1849.

5 It Is, on the contrary, considerably smaller.—Ed. Hon , 1849.

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4250 M’ '

oe ans-m s.

At that time; some ofthose large figures of the?Agelessin silver,which stand ordinarily on the altar of . the

chapel In“Rome;werewanting,with Otherom ainentsl'nlso

'

ih

silver ; Wherefore, Andres'being sent for, the commission tc’

I

prepare all thatwas required In that matterwas given to'

himwith great favou’r, by Pope Sixtus,when the master‘

conducted thewholework to completion,with remarkablejudgment and much diligences Meanwhile, Andrea, -

per

ceiving that great storewas set by the many antique statues

and other things of that kind discovered In Rome; seeing toothat the Pope commanded the bronze horse } to be placed In

“

Vamri doesnotname the master ofAndrea del Verrocchio, butBaldi- Inucci deplares him to have studied underDonatello . The reader desirous,of further details,may

find them In Rumohr’

, Ital. Pou ch ,vol ii. p.

st se .1

f f theseworks no authentic account can nowbe obtained—Ed.F lora,1832-8.

1 These re liefs In silver are preservedwith other ornaments of thealtar,in the house of the cathedralwardens—See Richa, Chiess M ine,

“J u l ?

. I§ Bottari informs as that the Apostles, executed by Vermeehio,werestolen towards the middle of the last century,when other!wemmade by

'

Giardoni.

aThe equestrian statue ofMarcus Aurelius, that is to my, afterwardsplaced onthe capitol, by Michael Angelo Buon

’

arottiy at theycommand of

Pope Paul III—Bottari

m asswarms 2151:

SanGiovanniILateI-anofl and,thstevenof such, fragments”,were daily . found- to may» nothing.oi1.entIre ”works—g reatm bwasm de ; o bservingtalhthis. -I .samba,

resolved.to

denote hisattention to.sculpturalandthereupon,abandoning:altogether the calling.of the goldsmith, ,he set himself to castcertain small.figures

gimbrouzemwhichwere very .much;corny:

mfl qrh ln)marble 3 15° '

1

«H 3'l'

ln‘

l v v’v‘ I t: .uu h n lm“

Tomabuoni“f died in child-bed, and harshusband,whouhad;greatlyuloved .her .While livingving;

I desired .to .do her allzthehonour In. his power after her.deaths the therefore commie-

7,

signet d -

ea to erect'

amonument te ller; memory; and. thatmaster thereupon {represented the:lady herself on the stonewhich covered hertomb, .with the tbitth:Of' lheniflfant.W hatdepartumj tp anotherweil.t added three figures. represenwing thr

'

ee virtues,whichwere considered very beautiful.being the firstwork thathe hadexecntedin rumbled:Having then . money, fame,

andhonour, Andrea Verrocchiowas appointed.torexecute afigmte of .David .in bronze, twn ibraocis and a half high,which, being completed,:

lwas placed, to .the great .credit 08the master, on the summit of the staircase,where the .chaiu§formerlywas. While Andreawas occupiedwith the statue

just described, he likewise made that .figure of Our Lady, inmarble,which is over the tomb . of Messer Leonardo . Bruni,of »Arezzo, in . the church of .SantaCroce ; this he executedwhile .still young, for the architect.and sculptor, BernardoRossellino

,who erected thewholework,which Is in marble,

aswe have before said. l The same artist prepared amezzorilievo in marble, of Our Ladywith the Child in her

arms, a half length,whichwas formerly In theMedici palace,

e imust here mean Giovan Francesco, son of FilippoTornabuoni,whosewife, Elisabetta Alamanni, may have died at this period- Ed.

The bes-reliefhere described, IsnowIn the Gallery of the Ufi sj.The bamo-rilievo placed on tbe fim t of the tm h is also said to be inFlam tine Gallery.

Thiswork is likewise in the Uflisj.Still In its place. Cicognara has engraved this monument—See

tav. 2.

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AHPREA vxnupccwc,four braccianhigh, and fixing itzpn a .dlserpf

sizc, he chained and, ,securcd .,it in such ; a

withIinfinite scioicing mm

was needful so .to contrive that .the ball couldbe . 611d M

Andrea Verrocchio never gave himself rest I he. .wss,

porpetually , occupied eitherwith painting or sculpture” .and

thing, as many do. And although he did” not ,pnt

cartoons above descrIbedin execution, he ,neverthelcsspaintsomep ictures; among others, one for the nuns;of SanDomenico, In Florence, awork ,

Inwhichitappeared to

that he had acquitted,himself verywell ;wherefore, no longtime after, he paintedanother?In Spa Salmfonthe,monksofVallombrosa

‘

l’ The subject of this picture is the Baptism

of Christ by St. John, and being assisted In itby Leonardoda .Vinci, then a youth and Andrea’s disciple, the formerpainted therein the figure of an angel,whichwas muchsuperior to the other parts of the picture }: Perceiving thisAndrea resolved never again to take pencil In hand, since

Leonardo,though still so young, had acquitted himself Inthat art better than he had done.

Cosimo de’ Medici, having at this time many antiquities,brought from Rome, In his possession, had caused an exceed

ingly beautiful Marsyas,‘

inwhite marble, fastened to a tree,.The ballwas thrown down by lightning, and one somewhat larger

erected In its place ; the latter still remains.t This picture is no longer in the church. There is an engraving of it

in the E lf-uric P ith -ice, tav. 14,which, though not a goodone, yet provuit tohave becn awork ofmeritfl md ita lom is the more to be regrstted, aswe have so fewwell-authenticated pain of thismaster.

t This precious picture is nowin the lorentine Academy.

of the Fine

Arts, but is somewhat faded in colour. the figure of the Baptistmore particularly—Ed. Flora, 1832- 8.

executeanequestrian statue of'

the commander above-named,whichwas to be placed on the Piazza of SS. GIovaIIni.

and Paolo. The master accordingly, having preparedthemodel,was proceeding to take the necessary measures forcasting itIn bronze,when, by the favour of certain persons

aniong the Venetian nobles, itwas determined thatVellanoof Padua should execute the figure of the

Thatnamely,which had been restored by Donatello, as has been frocorded III his life.

I ’f ThIs

‘

sta'nIe is in thewest corridor of the Gallery of thto

'

that above -mentioned. It is to be observed, that thecommentators throwdoubt oh the assertion , that this is the

JMarsyss restored by Verrocchio,buttheirdissentfi

'

om thegeneral opinion respechngitd' Ie

'

s II‘

ot appa rto bewell grounded.

1 Bartolommeo Colleoni,who entered the service atVenice, as_ gei|

'

uhlof herarmies, in 1467

—See Cicognara, [scrizioni Venesiaw,

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xv?m n 268

to e G reelr philosophenz crunchli

’

et'

g ives the» latterxndficeslsrespeeting centeimmld splinterswho ‘he

'

dexecuted.wdrkmforf

the Garrers d‘

emily, si5s-But' tothe nottthe meridiafinguished

b'

peintefi infl the'

uworldJ andrto‘

the-vend‘wfileth dre

'

amight llt'

nr

owunune than h e did himselfgzhereeusedhitn

'uto "workwdiligsn y. from cestmuziduldedi ourantique

statues;tend(after!

‘

pictures onxcs'

nves, .whiehrhe‘hadlbnoughttof' knowledgocin

his youth : hewas also assisted and stimulatedj nonoelightdegree byhis emulation of Marco Zoppo, of Bolognafi Dario,

The question.whether Mantua, or Padua,was the birth-

place of

Mantegnag hes been much' d

'

uputed; ,the Marchese .

haswritten at some length on this subject, and gives it in favour of Padue,as do Brandolese, the Ahbste Gannon, and others .

.Hewas called Francesco, notJacopo.—Ed. Flor. 1832-8.

Thewriter of many Greek andLatin tracts, and as some say, painter

laws-s aw,warm 701g . 8.

0

.Psrms, 819- 22.

Turbo, notTime». anativeofAlbina, lines in ,Yegu

professorofGreek in Pedant. The letterhm alluded to is

4 1

1-

1:M essedSquareionom not the painter. he ran me treteacher

‘

of hisM end in sfialled, the father of painters, for,his plqll tn

forming pupils, ofwhom 137 are attributed to

s . {Adisciple“LlpmBalmslit), according to Lanai, andcalled by some“writers", the head of the B01 School. Forfurther detailsrespectingthis master, see Malvasia.F

'

naPith-ice. Edition, 1841.l

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”0 LW JYOFLTQEXW I S

chapel above named, a small picture of Our LadywiththeChild sleeping} 1n her arms. The landscape 18 amountain

paring stone for various «kinds ofwork ; allwhich .is so

elaborately depicted, and finishedwith so much patience, .that

by the point ofa pencil. This picture is 11611 111 1 113 ;sion of the most illustrious Francesco Medici,

fp'

rin’

ce of is’

a'

ccoifn

valued rarities i Among the drawingsIn a letterwn'

tteu from Rome to théMarchese Francesm , and; datedJune 81, 1489, Mantegna complains of this circumstance

,andd ecline

that itwould have been betterforhim to have remained athome : and ina second to the same person, underdate of May 16, in the same year, hereiteratesthis complaint—SeeLem-

c P illoriche,tom . viii.

f The Child is not' sleeping, its eyes are Open, and turned towards,the

Mother. Ed. Flor" 1832- 8.

3:Still in goodpreservation in the Gallery of the Uflizj. -Messelk'

.

am m im mwdassum e s; on

1

111 News Lfolio), 3byvth'

e hand of

Mantegna: subjectsaf Judith'Weing

‘

th'

e 'head ofHoloi'

m ewat'mnef heldmy !aubmwsuve;I

thaeixmwuie "there adopted is!3011‘

sso

M ’wai'

eve -wasaemuyef eeutsdWithtthepencil’y in“:“ fifiW tJM e

‘might-in‘0. 6611 111115. salsa lratherean as 111

the archM gel, St. Anna, and Joachim ; they are recommending the martinis—who is portrayed from the life so ad

alive - to the protection of Our

towards ‘

h’

im.1 And thiswork,and still continues to please allwhobehold it, so it satisfied the marquis himself so entirely,

thatbe rewarded the skill and labour of Andrea most libe

rally, and the artist beingwell recomperised by princes for. 1 3 This precious drawing makes part oththe collection in the Uthzj.M

See Ottley,History fornumerous details respectithe'engrsvitgsof Mantegna. See s!» Zuni, Mata -ialipsr ssroirs allo stovgdsll' intaglio ; and Bartsch, Ls Paint" Grow.

"This admirable icture

‘was carried ofl'

by the French in 1791 , and is‘

stil at Paris (in the um ). An engravingwill be found in Count PomLitta

’sFamilie celebn

‘

d’Itah

'

a, under the name Gou aga, part iv. Thetsbehindand around the Virgin are not precisely as given by Vassri,

theysre SS. Michael, Andrew,Mauriceand-Longinus, patron saintsomtnhzl ' St. John, as s child, stands by the Virgin. The Marquis is aecom

panied byhiswife Isabella d’Este, and on the pedestal is the Fall of Man.

—See Lansi, rol. ii. p. 326.

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irh'

u’ro ‘

LD’PL‘

While ‘

y'et ia"hia'first

uyouth; this

fmastermonipldedtheChapel of the Brancacci, in the church of the Carmineyat

'

Florence,which had been'

commenced byMaeolino, and con

tinued butnnot entirely finished .by Masacoiofiwho.an s/alsointerrupted

‘

in his labours by death“,Itwmthusfrom the,

hahdzof Filippo that the ~

,worlt reeeived i ts ultimate

'

iperm

fectiomthat:master completing.

what,

remained“?,beWpliehhdb f

‘a’

nauri'

finisbed picture, representing SS. Pietro and

Antonio Pollaiuolo, and-finally of

he:'

thenwas ; the last-mentioned

again‘in all the rest of his life,

been possible to procure a likeness of him at a moreadvhnpedageq

L In'

the story' following this, Filippo painted the

Kerm it of his master, Sandro Botticello,with many othei

'

ends anddistinguished men among- thesewas the broker,

Raggio, a man of singular talent and verywitty, the samewho executed thewhole Inferno of Dante, in relief, on a

shell,with all the “circles

"anddivisions of its dark caverns,

and, finally, its lowest deep ; all the figures, and every other

minutia, are measured in their exact proportions, and all asthey had been most ingeniously imagined and described bythat great poet,whichwas at the time considered an ad

mirable performance. Filippo afterwards painted a picture

in tempera for the chapel of Franwsco del Pugliese at Campora, a place belonging to the monks of the abbey, outside

the gate of Florence. The subject of thiswork is San

Bernardo,who is in awoodwriting, and towhom our Ladyappears, surrounded by Angels ; it. has been much admired

for the various accessories introduced by the painter ; as, for

many books in the possession of a son of Filippino, filledwith drawingsof the Roman antiquities,which the latterhadtaken from the originals.

1' See the lives of Masolino and Masaccio respectively, vol. 1.

f The portrait.ofAntonio Pollaiuolo and Filippo are not in the picture

here named, but in that of St. Petercondemned to death.

276: 1.1vss,or run m u st

-

s.

Prato fi there is also a picture by this master. In

place there is a small painting by Filippo,whichgreatly extolled ; it is in the audience - chamber of the prior,andrepresents OurLady,withSan Stefano and San GiovanniBatista.

“ This master likewise painted a Tabernacle in

fresco at the corner of theMercatale (also,1uPrato), Opposite

to the convent of Santa Margherita, and near some houses

belonging to the nuns. In thiswork there is an exceedinglybeautiful figure of the V irgin, in the midst of a choir of

It is nowin the church, over the altar of the first chapel to the rightof

the entrance —Ed. Flor 1832.

1” Still in the same chapel.—Ibid.

On the suppression of the church,this picture, a Madonna,with the

Du ine Child, and SS . Jerome andDominick,was removed to the RucellaiPalace .

- Ibid.

5 This church, properly San Rufl‘

elo,was suppremed, and the fatc of thepicture is not known ,

but there is one in the Berlin Gallery, ascribed to

Filippino,which has the Crucifix and figures on a gold ground, as heredescribed.

[1The fate of this picture cannot nowbe ascertained.

l 11Masselli informs us that this picturewas sold in 1785 and he fu'

rthfi

says that itwns in the Gallery ofMunich at the timewhen hewroteFrom the catalogue ofthatGallery itwould seem to be a figure ofthe viour

appearing to the Virgin afier his crucifixion. in the predella is the DeadChrist. supported by an Angelwith four Saints. SS. Francesco, Domenic ),Agostino , andCelestine, namely.

A painting by Filippino 1s still in the Town Hall of Prato. bufths

figure of San Sebastian is not one of those portray ed in it.

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45578 Lrvss or,

1 m '

umara.

ih the . church of San'

Salvadore,5nearFlorence-

rand fot hia

friendPierodelPugliese he executed'a story in small figures,

Rome for this purpose,Filippopassed through .Spoleto at,therequest of the same Lorenzo, to make arrangements felttheconstruction of a marblem b for his father, Fra Blippo,whichLorenzo had determined to erect at his own cost, since

he could not obtain from the people of Spoleto the remainsof Fra Filippo, to depositthem in Florence as he had desired.

Filippino prepared a design accordingly in a very good'man

ner ; and, after that design, Lorenzo caused the monumentto be richly and handsomely constructed, .aswe have already

In the church of SanTeodoro 1n Genoa, 1s an admirable andwellpreserved by this master; it represents St, Sebastian between St.John the gsptist and St. Francis. In a lunette above these figures 1atheVirginwith the Child, andwith an Angel on each pide. Thisworkbearsthe inscription , Philippians Florentiuusfm bat.—F

'

orster.

1 This picture is stillm San Domenico, and represents theMarriage ofSt. Catharine ,with St. Paul. St. Sebastian, and other Sainta Itbam‘thefollowmg 1nscr1pt10n Opus M ppiniFlor.Pict, a s., l 000001,—Bm com,

G uido di Bologna .

1 Of the pictures here mentioned as painted forTana1 de Nerh, ,andPiero del Pugliese, no authentic account can be obtained. There are twoin the Pitti Palace. O ne, a round picturewith theMadonna and Authe other, the Death ofLucretia (figures very small), butthough

'

hothgare

hy Filippino ,wewill not athrnithatthese are theworks here alluded lob]a !) i

m arin ate“! 113m m ; i m9

tum-

vat; dietthere depicted events from ithoLife .oi81.“m

n gfi aimesaprepitiousuin suchoxmattera -t . .Hem, themawem ay hyswhom lnfidelity, Mithrallheretics and sceptics,4M tshichaare 'thdr topposite.

”In, «anothero tcompartment

maria?ofhalluxth'

esewfigm'

es are exceedingly .graoefuloahd

appropriate. . In our book‘

of drawingswaxhave -thewholestb ilslbyrtthb

'

sa'

me' bahd, sllfso ably executed that.theye ould

“ Emm ett:Thereis besida inzthis chapel ‘the delinea

tiotmf th‘

d eventin the life ofSt.Thomas,when the saintbeing

aud'

almost beside himself. On the altar-

piece is the Virgin

wills-

principalwallr is -

rtheAssumption of our Lady,with“sh elve/Apostleswound her tomb. Thewholeworkwasfundx

'wcmsidered 'fextremely fine,

1andfor a painting in fresco

fi mdh iu blyexecut‘

ems The aboveo named Olivieri Carafi'

a,

gardtnal and M ap of Ostia, is portrayed in it from the

1 Seethe life ofh‘ra Fili po, ants, p. 86.

"i‘f Thé fies'

c'

o'

es of this ape],with the exception of the lunette to the

Hahn‘w'lfidhit101mm,well'preserved.’11m sufi

‘

eredmuch, both from timeThs

‘

Disputation of St. Thomas has bsendelle be”:Arti, vol. iii. tav. x. ; and by Rosini,

in this instance be considered as annduncingthan the birth of the Saviour. Thiswill be

'

déterufined hythe symbolboruc in biahand. 1mmbe the lily, it i. an'

Anfiunei'

ation, commonly so called ; ifa palm-branch alone, orone crownedWith‘

stars,’we tiiay consider it the announcementofDeath. The painting

i

ifi but'

tho presentwriter has no immediate opportunity'

df’i'eferring to‘

she‘

it uhintedwith any engraving of thiswork,though such may and probably does exist.

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assassinate 1rmm nmor'

no.3287

bohditions ofm atc hes;whichcityhadbeen atta'

ckedhye afi

‘ourlt:of11Bitiglian

'

0‘

andfbotherst at the instigation1sr

Wabash, King:11st“ rNaplesi l The peace '

thus sought beingsecured}wamq ainst thetpébple ofwho east is determinedon;ahll 1Enéas,1;hhvihg returned to Rome,

11s made cardinal bythe z ed’ope above-M ed

‘

t In 4 the seventh picture Eneas‘is

seen on the death of Calixtus, to be h1mself 1Pope,and takesthename of Pius II. :In the eighth, the Pope pro

?

coeds to iMantuwwhebethe council respecting the expeditiondgainsththo Turks isheld vaudzwhere he is received by

“

the

Marquisof Mantuawith-

the most splendid festivitieafand

'

h

magnificence .almost 1 inconceivable.

‘*In the ninth compart

they call . it, = canonizes, Santa Catarina of Siena, a holyWoman, and aNun of the Dominican Order. In the tenth

and last; Pope Pius,wihils preparing an immense armadaagainst the 1Turkii,with the help

“

and concurrence of all

Christian princes; is overtaken by death .atAncona ;whena

*’hermit ‘

i

of Camaldoli, a holy man, ' sees the soul of his

Holiness’ borne to heaven by angels at the very moment of

his death;asmay be ifound duly recorded. In another part

ofthe!same picture; the remains of Pope Pius II. are borne

from 'Ancona to Rome by a most honourable company of

prelatesandnobles innumerable,who bewail the death of so

great'

a man and .ao holy .a Pontifl'

. Thewhole of thisworkis rich tu portraits from the life, ofwhich there are so many,that itwould be a long story even to recount the names

The pictures are all paintedwiththe finestandmost animatedcolours, they are besides decoratedwith ornaments in gold,and the ceiling is divided into verywell designed compart

ments.

“ Beneath each story is a Latin inscription, explaining the contents of the picture above.

‘ In the centre of the

same library,Cardinal FrancescoPiccolomim, nephewto PopePius II , caused a beautiful antique group, in marble, to beplac ed. This represents the three graces, andwas one of the

These very beautiful pictures have fortunately escaped the hands of

restorers, theywere engraved in the last century by Faucci, but very im

perfectly. The younger Lasinio has executed a much better series of

engravings from them. But even these are said to heme something yet to

288 dr'

rm: sarrs'

rsa

rhyPerlePius?II.

,was not entirely completedwhen the abbveémamedCardinal Francesco, nephewof Pins was himself‘electedPope.

- In memory of his uncle be determined to. take 1111;

name of Pius III , andthe same Pinmissioned to depict the coronation of Pope Pius IIlz, in a

‘

very large painting, over that door of the librarywhichopens into the cathedral .It This picture occupies the:wholeextentof thewall ; it hasmanybeneath it is the following inscription

Pink: 171. Sem is, P ii 11. M p0: 1111111. Septembn'

s xxi, operas clamsp f mgiis, octave

'

Oacbrism m a t.‘

1

:

While Pinturicchiowasworking“ 111 RomewithPietroPerugino, during the pontificate ofPope S ixtus, he had beenalso in the service of Domenico 111111111Rovers, Caiditial ofSan Clemente,wherefore, that prelate having built amyfine .

'

palace 1 11 the Borgo Vccclu'

o, determined that thewholeshould be painted by Pinturicchio,whowas commanded to

place on the facade of the building the arms of Pope S ixtus,‘

with two boys for supporters.§ The same artist also exe

outed certainworks for Sciarra Colonna, in the palace of

Sant’Apostolo ;,L

and no long time after, in the year 1484

that is to say, ope Innocent VIII ,whowas a Genoese,caused Pinturicchio to paint some of the halls and loggie in

the palace of the Belvidere In this building, among pthcrthings, he painted a Loggia entirelywith landscapes, 111-Ico1ding to the command of the same Pope, and depicted

therein Rome, M ilan, Genoa, Florence, Venice, and. Naples,after the manner of the Flemings, and this, being a thing

This group has also beau englavedu

by h sirdo .

1 The books here alluded towere principally therichly illuminated and full of exquisite miniatures by Era Benedetto da

Mater-a and l ra Gabriello Mattei, a Servite Monk of Siena, theywa s verynumerous, but somewere carried into Spain by the Cardinal ofBurgoa, and

otherswere presented to the Public Library of Sham—151m m. 1

The upper part ofthis frescowill be found engraved'

m the PM .

aslebri, &c ., of Litta. Famiglia, Piccolomini

No vestige of theseworks nowremains.3 Of these paintings it is impon

'

blc to discover.any trace.

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393 ‘W -Ob m -u n srs a

a

the heavens, he is aecomthe people of a city are

Buonfigliotwas, in . fine,

Pintu

ricchio, ,and executed manyworks in companywith him.

Gerinowas esteemed to be a very careful painter, and a

(olerably close imitator of the manner of Pietro Perugino,withwhom he :w.orked almost to the time of his death. He

painted,

fewpictures in his native city PistojaJbut atBorgoSan Sepolcro, there is a picture of the Circumcision , in oil,executed by thisartist for the Brotherhood of the Error:which is’

tolerahlywendone and in the capitular church of

the sameplace, he painted'

a chapel in fresco,with another

for the'

same community, also in fresco, on the roadwhichleads to Anghiari, and near the shore of the Tiber. In the

same place Gerino. painted a chapel at San Lorenzo, an

abbey belonging to the monks of Camaldoli, and by all these

Angelieo ; but having us thither,was much complained of by the Orl

yietam for the havoc e made of theirwine and ultra-marine. Of the

former,theywerewilling to give him quantum libebat,

"but forthe many

of ultra-marinewhich he demanded.they could not find the money.

See Tai a cris'ione del Palasso Vaticano .

1 For. details respecting this master'

sworks,Painting arc. Mariotti, Letters Perugine.ac . Morelli, Brevi Notizie,ac. and , Blogsde

’Perugini [flush-i, and Pascoli, rue de

’Pitta -i

,as.

3 One picture only by Gerino di Antonio Gerini is known to exist in

Pit oja, it _is .ia the

.

Church of San Piero Maggiore, and represents the

Virgin enthroned,’with various Saints. Anotherwork by Gerino may be

seen in the Ufiizj . - Ed.

uonfiglio,who,with othermasters,

papal palace in Rome.

“-In

the chapel of the Signoria,the life of the Bishop Sant

’

saint of that city. C ertainwere also depicted byIn San Domenico 'he

o f

ts.

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891 .larvae. or

,firm:sum s.

Andthis shall be the endof the life

among possessed that .Of giving conside

satisfaction toprincesand nobles, because he quickly brought

«

l

ib?works commandedby them to an end, as they like .to

'

*

have

one, although suchwothan those pf . masters .who proceed. more slowly, andwith

was ,GOLDSMITH AND Pum as , FRANCESCO FRANCIA.‘

or BOLOGNA.

[sorts “so—'

us»

M exico Fnancnwas horn in Bologna, in the year1450,ofparents in the rank of artisans, hut respectable andwellconducted people. In his first youth hewas destined to the

calling ,Of the goldsmith ; and labouring at the same .with

ability and goodwill, his progress xin his art kept fair pro

portionwith his increase of stature. His manner and con

versationwere so gentle and Obliging, that he kept all

around him in good humour, and had the gift of dissipatingthe heavy thoughts Of the most melancholy by the charms

Of his conversation for these reasons hewas not onlybeloved by allwhowere acquaintedwith him, but in the

course of time he obtained the favour of many princes and

nobles, Italian and others. While stillworking at his trade

of a goldsmith, I‘h-ancesco applied himself to design, . in

on the road leading from Assfi to

cite one called theM sdounads’C'onsoli,which is in a church at Diruta,

nearPerugia, and bears the name of themaster.—See the Letters Pillar-icho

P See also Gaye, in the Km tblctt for 1837, No. 83 ; and the

Hero ese Bicci, Mm orisddIoArtie dsgtiArtim'

della M ar-ca d

’Anoomr,

The family nuns of Franciswas Raibolini. The name of Franciswas that of hismastu in goldsmiths‘work, andwas adopted by him from

gratitude. The fatherand grandfather of Francesco Raiboliniare inscribed“ Masters of the Guild ofCarpentera—SeeMalvasia, FarinaPittn

'

oe. SeeAlso Calvi, M emorie dd la cita e deae Opere di Frarwa co Raibolim'

, data

aFranoia.—Bologna, 1812.

w m u ms m an n ers.

departure, andduring thewhole of that Pontifl'

h alter life

Arm my be instané’

ed‘the money coined by the Pope on

shin entrance into theacity, and-which bears the head of his

M ess; taken from the, life on one

.pomxBonod am J uBm a M ao liberata, on the other.

“was!Francesco considered to be in this

matterg thatahelcoutinued to make the dies for the coinage,

4379-11 down to the time lof Pope LeO ; the impress of his dies

as; indeed; .‘iqfiuchaesteem, and so highly are they valued by

(thosetwhoipossessthem,thatthey are not nowto be obtainedf inanciers, haviugnbeeu acquaintedwith Andrea Mantegna

.aud twiny other painters,who had attained to riches and

to.trywhether he

colouruseeing thathe hadreached to such a point; in design,

that;hemightaafely assume a place beside any one of them.

By.an y ,Ofinalung an attempt, therefore, he executed a fewportraits andgather

.

small things, entertaining masters of the

m manymonths in his house, to the end that they might

,teach him the method and processes of colouring: In this

mannerFrancesco,who hadremarkable intelligence and excel

lentjudgment, .very rapidly acquired the requisite practice.

The firstworkwhich he executedwas a picture of no great

size, forMesserBartolommeo Felicini,who placed it in the

Misericordia, a church justwithout the gate of Bologna.

The subjectOf this painting is a Madonna seated,with manyfigures around her ; amongwhom is Messer Bartolommeo,

portrayed from the life.§ Theworkwas executed in Oil

On the subject of thismedal, see Cicognara and Litts, at supra. Seealsothe Tresor dc Numismatiquc, ac .

1 The rarity ot‘

these medals and coins hss constsntly increased, asmaybq easily inisgined

—Hatscai.

3 Somewriters, andamong them Baldinucci, afi rm Marco Zeppo to

have been the master of Francis m painting but this is deumd by others,amongwhom 1s Forster(Ramadan),who point to themanifest influence ofthe BelliniandtheVenetian School on thismaster,the resemblance ofwhosemanner to that of Pietro Perugino they also insist on, although admittingthat his connectionwith neither is to be clearly traced.

- See Lanzi, “a, voL iii. p . 1 7, ct seq. (English edition of see also Kugler,

fim dbook qf l’Painting .

5 Nowin the Gsueg-ycf the Audemy at ogm .

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£ 8. un is or, m J anus.

time Messer Giovannito. be decou ted.

'wilh

of the sleeping lover. Thiswas considered one of the best andmost finely executed pictures ever painted by Francis, butwas destroyedwhen the

palacewas demolished, on the departure of the Bentivogli,’

togetherwith one in the apartrnent above. The subject of

the last-mentionedwork,whichwas coloured to resemble

bronze,was a disputation of philosophers itwas admirablyexecuted, and expres sed the thought of themasterwith greatefi

'

ect. All theseworks caused Francis to be held in the

highest esteem and adrhiration by Messer Giovanni and

every one of his house, nay, not only by them, but by all the

citizens of Bologna.

In the chapel of Santa Cecilia,which is attached to thechurch of San Jscopo, Francesco painted two historical

pictures in fresco ; in one of these he represented OurLady,espoused by Joseph ,f and 111 the other the death of Santa

Cecilia:awork held 1n very great estimation by the people

The exile of the Bentivoglio familitool: place in the

year

.

1507 .

1 The subject of thispainting is not t e Marriage ofthe "gm, but thatof St. Cecilia hen elfwith the noble Roman, Valerian. The reader towhom the legend of this Saint is not familiar,will find it agreeably rentiered into English by Mrs. Jameson, atsupra,

vol. ix. p. 202.

.t The burial ofherremains rather—Mauclli.

Fra ncesco season . 299

pf Bologna ,

'

and o f a truth; Francis acquired so much

fi cility, andwas so much encouraged by seeing his productions attain to the perfection he desired for them,

that he

executed numberless paintings, ofwhich I cannot record theparticulars, itmust suflice me to indicate to thosewho maywish to see hisworks, the most celebrated and best only.

Nor did he permit his painting to interferewith his otherworksm models, or to prevent him from giving his attention

to theatfairs of the mint, as he had done from the beginning.

The departure of Messcr Giovanni Bentivoglio from the

city, caused Francis great sorrow, as it is said; the exile of

one fromwhom he had received such important benefits

grieving him exceedingly ,1‘ but yet, like a prudent and

moderate person as hewas, he continued to pursue his

labours:with his usual assiduity. After Messer G iovannihad. gone therefore, he painted three pictures,whichweretaken to Modena in one of these is the Baptism of Christby St. John, in the second a most beautiful Annunciation,§andm the third a Madonna 111 the heavens,with many other

figures ; this lastwas placed 111 the church belonging to the

Frati dell’ Osservanza.

By suchworks, the fame of this excellent master becamebruited abroad, and the difl

'

erent cities contendedwith each

other for the possession of his pictures accordingly he exe

cuted one in Parma, for the Black Friars of San G iovanni ;

The little church of St. Cecilia is nowamere pm geflmd the fresooes

greatly, they are indeed fast going to min. The Marriageand Burial of St. Cecilia, are by Francis himself

,the rest are by his

scholars. One, for example , 1s by Lorenzo Costa.

t There'

1s a letter from Raphael to Francis ,wherein the former condoleswith him on that subject—See Calvi, M anor

-is, arc . p . 57. Take

exhort! the amiablewriter, “a llyour accustomed prudence to

your aid, and believe that I feel your sorrowas my own.

”This letter is

dated Rome, Sept. 5, 1508.

,1 Among these it is to be rememberedwas the preparation of dies for

the newcoinage struck by Julius II. on his entrance ; no very agreeableoccupation forthe friend of the banishedBunily.

The Annunciation is in the ducal palace of Modena; the Baptism of

Christwas taken from that city to Dresden. Of the third picturewecannotspeakwith certainty , but there 111 one in the RoyalGallery ofBerlin,whu'

a'

n re the Virgin enthroned, and surrounded by Cherubim,with saints

beneath,which may be that 111 question, and bears the inscription, Franoia

1800 Lrvns or m axm s'rs.

the subject re the 111915; or Christ lying dead in the lap cftheVirgin,with numerous figures around. ThisWork seuni-s

verbally admitted to '

be most beautiful." ’The same 1monks,therefore , considering themselveswell served m this matter,determined that Francis should paint another in a housefol

"

theirs'

at' Reggie in Lombardy,where he also depicted a

Madonna,with many figures.1 At Cesena likewise, 111 a

church belonging to the Black Friars, this master painte'

d"

a

Circun1cision of' Christ, the colouring ofwhich is exce’

e‘

d~

ingly beautifixl i' Norwould the people of Ferrara consent

to remain behind their neighbours; but determined to adorntheir cathedralwith theworks of Francis ;whereupon the

'

ycommissioned him 1to paint a picturewith a largenumberoffigures,

'

and this they entitled the picture of Ognissanti'

(AllSaints.5) For the church of San Lorenzo, in Bologna;Francis painted 9. Madonna,with two figures on eachf‘sidefi

and two children beneath.[I Thisworkwas highly extolled,and he had scarcely completed it,when hewas called on

“to

execute another m Sant'

Iobbe (Job), representing a Cru

cifix,with Sant’ Iobbe kneeling at the foot, and two figuresat the sides.1The fame andworks of this masterwere efi

'

ectually extended over Lombardy, and from Tuscany also he received

applications for his paintings, as he did from Lucca,whitherbe dispatched a picture representing Sant Anna, Our Lady,andmany other figures,with Christ lying dead 111 the lap of

the Virgin Mother. Thiswork is in the Church of San

Fridiano, and is considered by the people of Lucca to

be one of greatvalue.

” For the Church of the Nunziata, in

Nowm the ducal gallery of Farms .

4 The fi ts of this picture is notcertainly known ; but there 1s awork byFrancis, the subject ofwhich 1s similar 111 the Sanvitali Gallery 111 Penna:

M1.P ith -ice, and the continuation of thatwork by Crespi

—SeeM emos-is di Fruncia, are.

1! This picturewas in the Gallery of the Academy atBologna, buthasbeen sold, and 1s no longer 111 Italy —M asselli.

Thiswork 1s not nowin the church of San Fridiano , butm the ducal

palace of Lucas. So far the Florentine editors of the Passigli edition of

our author (Florence, 1832 Thework in questionwas purchased by4he British Government at the sale of the Duke of Lucca’s picturesin

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Ltv'

ns'

os run um srs.

more particularly after he had'

painted'

a set of caparis'

ons

for'

the .

"Duke‘

of Hrbino, onwhich ‘be depictedvs great

forestall on fire,’

and‘whence '

there rushes forth an immensefinisher pf every kind of animal,with several human figures.

This terrific;‘

yet truly beautiful representation,was all the

more‘

highly'

esteemed for the time that had been expended

ondfi'in

'

the plumage of the birds and other minutia'

, in the

delineation of the difl'

erent animals, and in the diversity ofthe branches and leaves of the various trees seen therein

the“workwasrewardedwith gifts of great value, and

‘

the

duke alwaysconsidered himself obliged to the master, moreo

'

ver,‘

for tthe'

great commendatious thatwere constantlybestowed ‘

on it.

“ The Duke Guido Baldo has also a picture?of this master it

'

represents the Roman'

much esteemed by the duke, and is in his

guardsroba,with many other pictures, ofwhich mentionwillbe ‘made ' iu the proper place.

1"After thesethings Francis painted a picture for the Altarof the Madonnain the Church of San Vitale and Agricola:inthis there are two angels playing on the lute,which are very

beautiful : Of the paintings scattered throughout Bologna,in the houses of the citizens, Iwill not speak, still less of

the vast number of portraits painted by this master ; for I

should thus become too prolix. Let it suffice to say theywere very numerous.

While Franciswas thus living in so much glory, andwaspeacefully enjoying the fruits of his labours, Raffaello da

Urbinowasworking in Rome,where there daily flockedaround him numerous foreigners from various parts, and

among them many gentlemen of Bologna, anxious to see theworks of that master. And as it most commonly happensthat every one is ready to extol the distinguished persons ofhis native place, so these Bolognese began to entertain

Raphaelwith praises of the life, genius, andworks of

Francis, until so much friendshipwas established betweenthose two masters, by means ofwords, that they saluted

Of theworks performed by Francis for the Duke of Urbino, nothingwhatever is nowknown—M an d i.

1 Nor is anything nowknown of thework here alluded to.—Ibid.

1 Still in the church and atthe altar here named. The two Angels aretruly Rsphselesque.

- Ed. Flor, 1832—8.

rm cssco m en .f 803

-

‘Then Francis, having heard so much0 divine paintings

°

ofRaphael, des ired’

to see hisworks, but hewas newold and enjoying his case

in his beloved Bologna: It so chanced, however, that

Cardinal of Pucci Santi Quattro, and thiswas to be sent to

‘ Fordetsils coueerning tbese letters, see tbe Fdsina Pith -ice. Seealso theJ lsmoris ddla Vita di Iii-m eta, of Gelvi ; but for thedeleetsq

of the English reader Iwill notaccount it trouble,” as saith our

or on various occasions, to reproduce here certain parts of the onlyoneby Rephael.which is acknowledged by all'writers to be authentic

My dear Manor Francesco,- I have this moment received your

portrait,which has been brought to me safely andwithout having suf

cred.

any injurywhatever by Basotto. I thank you for it heartily, itissingularly beautiful, an so life- like, that I sometimes fancy

'

m fw' be nehr yms and listeuing to yourwords. I beg you to have orwith me, and to excuse the long delay ofuniue,which perpetufl a ndweighty occupations have p revented me born executingwith my ownband, aswe agreed, and l did uot think it becoming to permit thst itshould be done by my scholars. and only retouched by myself. On the

contrary, itwill be proper that all shall be able to re howlittlemywork is capable of c omparingwith your own. bag that youwillgrant me

' your friendly indulgence, you may yourself have experiencedwhat it is to be deprived of one’s freedom, and to be obliged to live in

the service of nobles.

Meanwhile, I send you. through the same person,who returns in

about six days, another drawing, that of the Presepio, already known to

you namely, but very difiuent, as youwill see, from the picturewhichyou have honouredwith so much praise. And this I constantly hearthat you are pleased to bestowon my attempts, insomuch. that I mustblush for myself,

‘

as indeed, I maywell dowith respect to the trifle Inowsend you, but you must accept it as a token of my respect and

sfl‘

ection.ratherthan for any other cause. If I, on my part, mightpoo essyour story of Judith, I should certainly treasure itamong mymost valuedand dearest possess

ions.

The honourable Signor Datary is awaiting his little Madonnawithgreat dcsire, as is the Csrdinal Riario his largerone ; of allwhich Bazettowill inform you more minutely. I shall myself see themwith all the

pleasure and satisfactionwithwhich I alwayssee and command yourworks.thanwhich I find none more beautiful or executed better. Continue to

holdme in affection as I hold youwithmywhole heart ; being everbound

to your service, and truly yourown, RAPPABLLB Su mo.

”

The above is taken from the German. The original Italian of Raphael

not being for the momentwithin reach of the presentwriter. But thewell- known conscientiousnessof German translators is s sufi cient guu'

antes

for its fidelity.

W Lump rmraaarrsrs.

Wherefore, having opened the letter

and had it removed from

rnent it caused him, and so greatwas thifl iadmiration for it,that, perceiving his own .error and the foolish : presumptionwithwhich he hadweakly believed in ‘

his own superiority,he took it deeply to heart, and, falling illwith his grief, ina very short time he died of its

.

efl’

ectsfiThe picture of Raphaelwas, indeed, divine—not painted,

butrabsolutelyalive t be had executed andfinished it to such

perfection that among all the admirableworks perforrned‘

byhim in hiswhole life, though every one is beautiful,

'

this

may-well be called the most exquisite. Comparing the

beauties of this most exquisite picturewith his ownworks,The admirable picture of St. Cecilia remained in its place until 1796,when itwas taken to Paris, but being restored te Bologna in 1815, now

adorns the nobleGallery ofthatcity—M arcela. See alsoGiordani. Catalogs,&c. ,who gives a biographical sketch of Francis in No. 152 of thatwork.1’ This relation is declared by Malvasia, in his life ofFrancis.tobe totally

ea . Otherworks ofRaphael had, according to thiswriter, been seen

by Ffrancia before the arrival of the St. Cecilia in Bologna, andhe livedeight years at least, says Malrasia, after that event. But this last as crtionisshown by authors ofa later period to be incorrect, the death ofFrauciahaving been proved by documents to have occurred on the 6th Jam, If] 7, 5one yearearlier, be itobserved, than the date assignedhs sari. QuntrerneredeQuincy, in hisof lifeRaphael, remarkswithjustice, that,to a sensitivemanas Franciswas, and one everaccustomed to be considered first in his owncountry, the seeing himself surpamed by a more youthful competitormayhave been a source of pain. That itwas the (muse of death even Vassridoes notaffirm by evidence, anditwillhe remarked that he afterwards cousiderably softens the force of his first assertion to that effect.

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806 Lrvirs or res sarrsrs.

PIETRO PERUGINO, PAINTER

[noint rue—pm 152k ]1, , 1 1 5

THE.

benefits derived by some men of distinction from the

pgverty, of their youth, and howpotent an assistant povertysometimes proves in the cultivation of the faculties and for

he attainment of excellence, may be clearly perceived inhte thistory of

,

Pietro Perugino.

’ This artist, seeking to

escape from .

the extreme of penury in Perugia, departed

to Florence, hoping, by means of his abilities, to attain to

some distinction . He there remained many monthswithouteven a bed to

'

lie on,and miserably took his sleep upon a

chest ; .but, turning night into day, and labouringwithoutintermission, he devoted himself most fervently to the studyof his profession . Continual labour thus became the habitof his life : he knewno other pleasure than that of toilingincessantly in his vocation, and, therefore, paintedperpetually.

Having the prospect and terrors of poverty constantlybefore his eyes, Pietro undertookworks for gain, onwhichhewould probably not have cast his eyes if he had possessedwherewith to support himself ; but it is very possible that

richeswould have closed the path to eminence offered byhis talents, as effectually as itwas opened to him by povertyand by the impulse received from his need, for hewasthereby impelled to struggle, that he might escape from sowretched and dcbased a condition,1

~ and, at least, secure the

means of life, if he might not hope to attain to the highest

eminence. With this in viewhe did not permit himself to

regard cold, hunger, fatigue, or privation of any kind, norwas he ashamed to perform anywork that might help to

promote his object,whichwas to obtain the power of some

For minute details respecting this artist, whose family namewasVannucci, see Mezzanotte, Della vita s delle opera di Pietro Vaanucci do

Casldlo della Prove, dtc . Perugia, 1836 ; see also Pascoli, Vite ds ' PillowPerugini; Mariotti, Letters P illar

-ich Psrugine andOrsini, Vila e Elogiodell

’scrapie P illars Pietro P erugino c degli Scolari di ssso, Perugia,

1804.

f Pietrowas not of lowcondition, though so poor. The Vannucci familyhad enjoyed the rights of citizenship in Perugia, at least from the year“TL—See Mariotti

, Letters, at supra ; see also Rumohr,Italienischc

Forschungen, vol. ii.

rurrao PEBUGING.

'

367

day living in easeand quietness. i twas hiswont to say,andalmost in the manner of aproverb, that

‘

afierbadweatherthe goodmust come ; and thatwhen itis fairweather, amanmust build his house, that hemay thus be under shelterwhenhe most

'

heeds it.

But’

to the endthat the progress of this artist may be thebetter understood, I beginwith his beginning, and relate

that, according to common report, therewas born’

in the cityof Perugia, to a poor man called Christofano,

‘of Castello

della Pieve, a son,whom,

at his baptism,they named Pietro.

This child, brought up in penury andwant,was given byhis

"father to be the shop

-drudge of a painter in Perugia,whowas not particularly distinguished in his calling,’

hut

held the art in great veneration and highly honoured themen‘who excelled therein ;1

'

nor did he ever cease to set

before 'Pietro the greatadvantages and honours thatwere tobe obtained from painting, by allwho acquired the power oflabouring in it efi

'

ectually ; recounting to him all the rewardsbestowed on the variousmasters, ancient andmodern, therebyencouraging Pietro to the study of his art : insomuch that hekindled in the mind of the latter the desire to become one or

those masters, as he resolved, if fortunewere propitious tohim

,that hewould do. The boywould thus often inquire

of such persons as he knewto have seen theworld, inwhatcity the best artistswere formed Thisquestion he addressedmore particularly to his instructor, fromwhom he constantlyreceived the same reply, namely, that Florencewas the

place, above all others,wherein men attain to perfection in

all the arts, but more especially in painting. And to this,he said

,theywere impelled by three causes first

, by the

censure freely expressed by so many persons and in such vari

ous modes, for the air of that city gives a natural quicknessand freedom to the perceptions of men, so that they cannot

Cristofano Vannucci. Pietro Perugino is thus sometimes called PietrodiCristofano , by Italianwriters, sometimes Pietro Vannucci. On hisworksis often found the inscription, Petra: de Castro Plebis, from the circum

ntuco of his birth having taken place in Costello della Pieve (nowCittidella Pieve), and not in Perugia, as Vasari has it.

1' Pietro is believed to have been sent to Perugia in his eleventh year,

and to have acquired the first rudiments of his art under Benedetto

Buonfigli, perhaps also underNiccoloAlunno, ofwhom Vasarihas spoken

iii the life of Pinturicchio.

m s ora nm aartsrs

“

contentthemselves twith mediocrity '

ia theworks presented;.honour o f the good and beautiful in art, rather thanwithrespect to; or consideration for, the manwhothem : next, that, to obtain the means of life

man must be industrious,which rs asmuch as tosay that he

must keep his skill andjudgment 1n perpetual activity, muetbe . ever ready and rapid in his proceedings ; must know, ’

111

gain money, seeing that Florence, not having'

a rich and abundant domain around her, cannot supply,themeans of life to thosewho abidewithin herwalls, at lighthost, as can be done in countrieswhere produce abounds

largely. Thethird cause,which 13, perhaps not less

than the other two, is the des ire for glory and honour,whichis powerfully generated by the air of that .p lace, 111 the menof every profession, andwhereby allwho possess talent'are1 d to struggle, that they may not remain in the su ite

, gradewith those'whom they perceive to be only men like

themselves (much lesswill any consent to remain behind

another), even though theymay acknowledge such to be indeedMasters ;

'

but all labour by every means to be foremost, insomuch that some desire their own exaltation so eagerly as tobecome thankless for benefits, censorious of their competitors,and, inmanyways, evil- minded, unless thateffectbe preventedby natural excellence and sense of justice. It is, however,.true thatwhen a man has acquired sutficient for his purposes

in Florence, if hewish to effect more than merely to live

from day to day, as do the beasts that perish, and desire to

become rich, he must depart from her boundaries and seek

another market for the excellence of hisworks and for the

reputation conferred by that city ; as the learnedderive profitfrom the renown obtained by their studies. For the city ofFlorence treats her artists as Time treats hisworks,which,having perfected, he destroys, and

, by little and little,

gradually consumes.

Influenced by these counsels, therefore, andmoved by the

persuasions of various persons, Pietro repaired to Florencewith the determination to attain excellence,and in this he

succeededwell, for, at that time,works in his manner‘were0 Vasar ihere alludes to the earliermanner of the fifteenth century, as

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310. Lives or In Assi sts.

Pugliese; ofl’

ered ‘to give the Nuns three times as much as

they.hadpaid Pietro for that.picture, and to cause anotherexactly like -tit to be executed for them by the same hand ,

but theywould not consent. because Pietro had toldthemthathe did not think he could equal the one they possessed.

the convent of the Frati- Gesuati, also,1 beyond the,

Pinti Gate, therewere variousworks by this master, and, .

as thatmonastery and church are both destroyed:Iwill notrefuse the labour of describing them, butwill take this

occasion, before proceeding furtherwith the life before nie,to say a fewwords c oncerning them. The architecture of

the churchwas due to Antonio di Giorgio, of Settignano ; .

itwas forty braccia long and twenty broad, At the upper.

and, four steps or stairs conducted to a platform of sixbraccia, onwhich stood the high altar, magnificently decqratedwith ornaments of cut stone and over this altar, also

in a richly adorned frame -work,was a picture by the hand

of Domenico Ghirlandajo, aswe have before related. Inthe midst of the churchwas a screen, orwall of separation,m the centre ofwhichwas a doorworked in openworkfrom the middle upwards. On each side of this door stoodan altar, and over each altarwas a picture by the hand ofPietro Perugino, aswill be related hereafter. Over the

door, also,was a most beautiful Crucifix by Benedetto daMaiano, on ,

oue side. ofwhichwas a Madonna, and on the

other a figure of San G iovanni, both in relief. Before the

platform of the high altar, and against the screen above

mentioned, was a choir of the Doric order, admirablycarved inwalnut-wood, and over the principal door of thechurchwas another choir, or gallery, supported on a strongwood-work, the under part ofwhich as seen from belowreptesenteda canopy, overlaidwith a rich decoration in beautiftarranged compartments a balustradewas added, byway of

Rumohr declares Vasari to be here describing awork of Pietro'

s

maturer years as that ofhis youth.—See 1:4 1.m vol. 11. p. 345.

1 Suppressed by Pope Clement IX . in 1668. These fatherswere ablepainters on glass, and Pietro is said to have acquiredmuch knowledge in

the use of mineral colours, from observing their practice.

The churchwas called San Giusto alle Mura, itwas demolished byPhilip of Orange, 111 the year 1529 ,when that prince marched against

the Florentines, on behalf of Pope Clement VII.

" rm ao rm ucmo. 3 11

defence to that partwhichwas opposite to the high altar

This choirwas exceedingly commodious for the friars of

that cont during the performance of their nocturnal

services, orwhen engaged in their private devotions itwas, besides, very useful to them on all festivals and holidaysOver the principal door of the church,whichwas amplydecoratedwith beautiful ornaments in stone, andwitha portico reposing .on fine columns,which extended even.

to the door of the convent,was rthe figure of the BishopSan G iusto, 1a a lunette,with an Angel on each side, bythe

“

hand of the master in minature, Gherardo ; a veryfinework, and placed there because the churchwas de

dicated to San G iusto : Within the building therewas a

relic prwerved by those friars, an arm of the saint namely.

At the entrance to the conventwas a small cloister,cloister,the extentofwhichwas exactly equal to that of thechurch, forty braccia long that is, and twenty broad. The

arches and vaulting of this cloisterwere supported bycolumns of stone, and thewhole formed a spacious and verycommodious loggia, orgallery, entirelyaround the building,

In the centre of the court of the cloister,whichwas neatlypaved all overwith cut stones,was an extremely beautifulfountain,with a loggia above it, also built on stone columns,which made a rich and handsome ornament to the place .

In this cloisterwas the chapter- house of the monks,with

the lateral door of the church and the stairswhich ascended

to the upper stories,wherewere dormitories and other apart

ments for the use of the brotherhood. On the further side

of the cloister, and exac tly opposite to the principal door 01

the convent,was a spacious avenue, the length ofwhichwasequal to that of the chapter

- house and the chancery : this

avenue led to a cloisterwhichwas larger and more beautiful

than the first. All this line, the forty braccia of the loggia

belonging to the first cloister, that is,with the length of the

avenue and that of the loggia of the second cloister, formed

a very long and most beautiful succession of arcades, the

viewofwhichwas more delightful thanwords could easilydescribe . And the effectwas all the finer from the circum

stance that, beyond the last cloister, and in the same direc

tion, there extended one of thewalks of the convent garden,whichwas two hundred braccia in length; allwhich, as seen

8m; LIVEB’

.os am; sm srs.

the . form'

of the -letter~T, one'

part

was 'double, haVing cells'

on ' e'

ach?t“

which 'those'

fifathers' '

p sed' for the purposes of

' vtheir sglsssi

painting, andwhere they had theirfurnaces and otherf'

thingh

neédful Pietrowas therein veryuseful to ‘them; for iswhile he lived he prepared them thei

'

r’

cartoons fortheseworks; so all‘ that they performed cia 4bis

tinie =

'w'ei-e excellent.‘ The garden

-of this convent, 1 11'

rore=

over,

'was"sowell ’kept '

and so beautiful,the vines ~were~so

finely'

trained around the cloister, and allwas sowellmanaged, that nothing better could be seen eitherin Florenceoraround it. In like manner the placewherein the monksdistilled

'

odoriferouswaters and prepared medicinal extracts,as

.was their custom,was suppliedwith all the conveniences

that could possibly be imagined. This convent, in fine,was one of the most beautiful, most commodious, and best

managedhouses of religion in thewhole state of Florence:wherefore it is that '

I'

have resolved to make this mention of

the same: and'

this I have done the rather because the

greater part of the paintings thereinwere by the hand -'

of

Pietro Perugino.

"

But'

returning,'

atlength, to this Pietro, I proceed to say;that of theworks“ performed by him in the above-described

convent, nothing has been preserved but the pictures ex

sented on panel, seeing that all those in frescowere destroyediii the sig e of Florence;when the buildingwaswhollydemblished,

"

Thepan'

elpictures, however,were carriedto thegate of San Pier Grattolini,where those monkswere providedwith a refuge in

‘

the church and convent of San

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alt s snom en 43mm

threecoats of colourgiyenmne over the other)was applied,wheneq nthe gradual drying by time, they have become

knpwuotmnfiqipate, since itwas but in his time that. thepractice;ofmaintingwell in oil first commenced.

r.Themorkfi qf;Him being much extolled by the Florentines, aswe have said ; a Prior of the same convent of the

Ingesusthivjho, took g reat pleasurem the art, commissioned

him“to pointga Nativity on thewalls of the first cloister,with theAdoration of the Magi, the figures extremely small,

and; thiswork he conducted to perfectionwith much graceandm m " M oog the heads,which are infinitely varied,are portraits from the life not a few, and one of these is thelikeness ofAndreaVermcchio, Pietro

’s master. In the

,

samecourt, and over the arches resting on the

'

columns, our artist

executeda friezewhereinwere heads of the size of life, and

among (themwas that of the Prior himself, so life- like, and

painted insop gooda manner, that the best judges amongartists have ,declared it to be the most perfectwork ever

performed by this master. In the second cloister, over the

door leading into the refectory, hewas likewise commissionedto paint an historical picture, the subject ofwhichwas PopeBoniface, confirming to the Beato Giovanni Colombino, thehabit of his Order. Here Pietro painted the portraits or

eight of the monks,with a most beautiful perspective, receding in a mannerwhichwas greatly extolled, and deservedlyso, for to these matters Pietro gave particular attention.

Beneath this picture he commenced a second, representingtheBirth of Christ,with angels and shepherds, the colouringofwhichwas exceedingly fresh and lively. Over the door

of .the above described oratory also, he painted three half

length figures of Our Lady, St. Jerome, and the Beato Gio

vanni, in so fine a manner, that thiswas esteemed amongthe best of the mural paintings executed by Pietro .

‘

The .Prior of this cloister, as I have been told,was verysuccessful in the preparation of ultra-marine blues, and

having them,from this circumstance, in good store, he

Bottari remaks, andwith reason, that“the 10s of so manyworks

executedwhile Pietro Peruginowas atthe best period of his artistic life,can never be sufficiently deplored.

"

m rao PERUGINO.I 315?

therefore desired that Pietro should use them frequently in’

au’

the above-mentionedworks ; hewas nevertheless so meah'

andmistrustful that he dared not confide the colour to Pietro, l

butwould always '

be presentwhen the latterwas using theazure blue. The master therefore,whowas by nature upright and honest, nor in anyway covetous of anotherman

’

s

goods, took the distrust of the Prior very ill, and determinedto make him ashamed of it. He accordingly placed a ~bowlofwater beside himwhenever he had prepared draperies orother parts of the picture to be painted in blue andwhite,calling every nowand then on the Prior (who turned grudgingly to his little bag of the colour), to put ultra-marine into

the vase or bottlewherein itwas tamperedwithwater :

then setting towork, at every second pencil- full bewashedhis brush into the bowl beside him,wherein there remainedby this means, more colour than the painter had bestowedonhiswork. The Prior finding his bag becoming empty,whilethework made but little show, cried out once and again, timeafter time, Oh,what a quantity of ultra-marine is swallowed up by this plaster.

”You see for yourself howit is,”

replied Pietro, and the Priorwent away. When hewasgone, the master gathered the ultra

-marine from the bottom

of the bowl, andwhen he thought the proper time for doingsowas come, he returned it to the Prior,—saying to him.

This belongs to you, father, learn to trust honestmen, for

such never deceive thosewho confide in them, although theywell knowhowto circumvent distrustful persons like yourself,when they desire to do so.

"

By theworks here executed and many others, Pietro ac

quired so great a reputation, that hewas almost compelled

to go to Siena,where he painted a very large picture in thechurch of San Francesco,whichwas considered to be ex

tremely beautiful,‘ aswas another by his hand in that of

Sant’Agostino ; the latterrepresenting Christ Crucified,

withcertain Saints. 1

‘ A short time after this, Pietro painted a

picture of St. Jerome in penitence,”for the church of San

This picture perished in the deplorable confiagration of this church,which happened about the middle of the seventeenth century .—Dslls

Valle .

1' Still in Sant

’Agostino, andwill he found engraved in Rod ’swork on

the cathedral of Siena.

'

316 Ltvtts orb s-natu rism.

“Gallo tn Florence, but thiswork is nowin San Jacopo-tratFo

‘

ssi, at thc corner of tbe Albe ti,where those monks nowtof’paint

'a figure representing the Dead Saviour,withithe '

such a manner, that, exposed as it is towind andweathe ; ithas nevertheless maintained

'

such freshness, as to haveuthc’

appearance of bcing but just finished by the hand ofi tlie

masters]? Pietro Perugino certainly proved himself ”wellacquaintedwith the management of colours, '

tn fresco aswellsazin oil, . insomuch, that the most able .artists are largelyirtdebtsd to him for thc knowlcdgc'

to he obtainod bymcansofhisworka morc espceially as rcgards thc lights.

Inhthe church of Santa Croce, in the same city; flm

whiclr she sustains‘

on her bosom in '

this:

picture there atetwo figures, the sight ofwhich awakens astonishment,

" not

so much indeed for their excellence, as for their freshnessthat -a . painting in fresco should have remained so newlooking and lively for so long a time is surprising. FromBernardino de

’Rossi, Pietro received a commission to paint

a San Sebastiano to be sent into France, and the price agreedonwas to be one hundred gold crowns, but the picturewassold by Bernardino to the King of France for four hundredgold ducats. AtVallombrosa, this artist paintedafigure forthe High Altar with another for the Certosa or CarthusianMonastery at Pavia, for the samemonks. lFor the High Altar of the episcopal church in Naples,

The fate of thiswork ts not known. There ts a St. Jerome tn prayerby Pietro Perugino among the pictures of the Colonna Gallery to Rome,butwe have no means of ascertainingwhether this be thework herealluded to.

fWhen the church of San Pietro Maggiore,which hadof decay from the year 1784 was entirely demolished, this picturewasplaced by the SenatorAlbizzt, in a small chapel of his palace,where itstill remaina - 8.

This picture is no longer tn Santa Croce.

Nowtn the Florentine Academy of the Fine Arts. It is an Am pof the Virgin. and one of Pietro Perugino

’s bestworks.

A part only of thiswork,which consisted of six compartments, ts nowin the Certosa of Pavia. The remaining portionswere taken to Milan bythe Melzi fitmily

'

tn 1795 .—8ee Rumohr, 1¢al. For-sci», vol. iii. p. 27.

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‘3f8 Lives orThe ”

aarfsrs.

h ide,’

tb'

bk one of7

extraordinary excellence. In thechurchBrash

,Marco; also in Rome, he pfi ntcd an historical piece,

the Sacrament.representing two martyrs:M a

rts

'

acéounted among the goodworks executed by’ '

efrh’i

'

rhile iri Rome.

“ '

For Sciarra Colonna he painted a It'

dggia‘i

'

rith‘several chambers, in the Palace of Sant’Apostolo ;f

'

and{dilthese

'works placed'

him in posses sion of a very large sumbfPietro,

"therefore, determined to remain no

’

1 r ih‘

Bbme,°

-and'

departed thencewith‘

the good favour of thecourt. He then returned to his native city of Perugia,ari

'

d‘there

' '

e'

xecuted'

variousfrescoes and pictures in difi'

erentpartsof the city, more particularly in the palace of the Sign

'

ori,

painted a‘

picture in oil, for the chapel of that'

brifldiitg, representing'

the Virgin,with other saints :i"In ’the

'

church‘of‘San France co -del- Monte, Pietro painted

’two’chhpcls in fresco; the Adoration of the Magi in one, andin

'

th'

e''

oth'

erthe Martyrdom of certain Monks of the Franciscan

‘

order,who, having rocccded to the Sultan of Babylon,‘were‘

there put to deathg In San Francesco del Convento , |lthib masterpainted two pictures in oil

,in one ofwhich he

depicted'

thc resurrection'

of Jesus Christ,1 and in the otherSan

'

Giovanni‘

Batista,with other saints. For the church of

the Servites also, Pietro likewise painted two pictures,” one

There is said to be but one painting by Perugino nowin San Marco,

that of the titularSaint namely,which is in one of the chapels.

t' 07 these paintings no trace nowremains.

i taThc Patron Saints of Perugia namely. 88. Lorenzo, Ercolano.Constantina, and,

Ludovico, Bishop of Tolosa. This picturewas taken to Paris,but on its restoration to that citywas sent to the Gallery of the Vatican.

It has been frequently engraved, among others by Landon, Annals: da

Me n uetts, Vita di Pietro, &c. .does not name theseworks, but describesa third chapelwith a Birth of Christ (presepio) by Perugino.

ll Orof the Padri Conventuali.1 This celebratedworkwas also taken to Paris, andwas sold by its pos

seuora on its re ten tion, to the Government,when itwas placed in the

Gallery of the Vatican. This picture suffered much from cleaning in1788. Somewriters affirm, that the portrait of Raphael may be foundhere, in the face of a sleeping soldiernamely,with that of Pietro himself,which is said to be in the figure of a soldier,who is in the act of flight.An engraving ofthisworkwill be foundin Guattoni, tav. it . of the Pilturadell’ a fl auento Borgia .

Th:church of the Servites is in our days called Santa Maria Nuova.

The Transfiguration is nowabove the smallerdoor, and hasgreatly sufi'ered.

-0tlini, Guide di l’crugia.

ammo rsauumo. 319

representing the'

Transfiguration of Our Lord, andthe other;which is .beside the sacristy, the Adoration of the

But as theseworks are Inot of equal excellencewith .someothers by this master, it isc onsidered certain that they areamong thefirstwhich he executed; In San Lorenzo,whichis the

“

cathedral of that city (Perugia), there is aMadonnaby the hand of Pietro, in the chapel of the Croaj

‘itso,withthe Maries, San G iovanni, San Lorenzo, San Jscope, and

other saints.

“t'

For the altar of the sacrament,where the ringwithwhich the Virgin Marywas espoused is preserved, thismaster painted an altar

-

piece representing the Marriage of

Our Lady:At

'

a later period, Pietro painted the Hall of Audience in'

the Exchange of Perugia entirely in fresco .

ments of the ceiling, that is to say,which he“

the seven planets, each drawn in a kind of chariot bydih

’

erent animals, according to the oldmanner ; on thewall0 posits to the door ,

of entrance he depicted the Birth and{asurrection of

_

Christ ; and on panel he represented San

fiiovanni, in the midst 0 other saints. On the sidewall ofthe building Pietro then painted figures in his own manner,those on one side represent Fabius Maximus, Socrates,Numa Pompilius, Fulvius Camillus, Pythagoras,“Trajan,L. Sicinius, the Spartan Leonidas, Horatius Cocles, FabiusSemproniusfi the Athenian Pericles, and Cincinnatus : onthe Oppositewall are figures of the prophets Isaiah, Moses,

Daniel namely ;with David, Jeremiah, and Solomon

themaster likewise added those of the Sybils; the Erythrtean,the Lybian, the Tiburtine, the Delphic, and the others.

”

The Adoration of the Magiwas taken to Paris, butis now(if, observecertainwriters, that ao -called be indeed the same picture) restored to thechurch—See Rumohr, Ital. Fon da, vol. ii. p. 359.

t No longer in the cathedral.

I Much has been said of this painting, and various stories are relatedrespecting its fate, one declaring it to have perishedwith the ship inwhichitwas about to be transported to America. The certain but grievous truthbeing, says an Italianwriter, that it is lost to Italy .

The Transfiguration, and not the Resurrection, as here asserted byVasari, and repeated by allwho have followed him.

—M assslli.

ll Pittacus, not Pythagoras.1] Publius Scipio . rather.

Fordetails respecting the Sybils, and the oflice assigned to them bycertain theologians, see Blondell, Des Sibylles Célébrer ; Clasen, DeOraculis Genltlium. See also St. Augustine, b e Civil. Deal, mnnnaumr.

82d Lives or”me harm‘s.

This‘work, an exceedingly fine hue, andwhich ' has been

more highly extolled thanany other executed by Pietro in

is s till held 1n «

'

g‘reat estimation by the people off

that cityya s'

then'

nemorial of so renowned an artist of their:

native .

places’

t'

JIn the church of S a n’. Agostino, also iri

Perugia, he painted the Baptism ofthe Saviou'

rlb'

y St. John"

;in the principal chapel ; this isa very

'

large entirely.

isolated, and sin-

rounded by a'

very rich “ornruhent

”or framework, and on . the back, or ‘that side opposite to the choir,

the master further depicted the’Birth of Christ,with ‘

beads

of saints in theupper part of the painting in the predella:

are severalhistorical scenes, represented by small figures verycarefully executed. In the chapelof San Niccolo, in the samechurch, he painted a picture for Messer Benedetto Calera. §Having afterwards returned to Florence, Pietro painted a

picture for the monks of the Cestello, representing San Bernardo ; as he also did another,with our Saviour on the

Cross, the Virgin, San Benedetto, San Bernardo, and SanGiovanni, for the Chapter House. At Fiesole, m the church

The inscriptionwas notwritten by Pietro, but by his fellowcitizensnorwas his portrait introducedwithout an invitation to the master to placeitwhere itis found.

1 It has been engraved by Cecchini. Over the figures are female forms

representing such virtues as the personages beneathwere supposed to be distinguishe d by ; over Fabius Maximus, Socrates and Numa Pompilius, isPrudence

,for exam le ; overCamillus, Pittacus, and Trajan. Justice, &c .

Ste. The figure of ariiel is said to be a likeness of Raphael m his youth.

—See Mnriotti, Letters Perugino.

3 The Hall of the Exchange, observes an Italianwriter. is to the fameof Pietro Perugino , as are the Stanza ofthe Vatican to that of Raphael.

Furminute details respecting theseworks,whichare still in the church,see Orsini, as before cited.

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81322 mu st

or -m mam -

rs.

been previously painted in other of hisworks, forwhich hisfriends reproached him not a little, declaring that he hadtaken no pains, butwhether induced by avarice, or by

- thedesire to spare his time, had departed from his usual gra

i

l:manner; to allwhich Pietro replied, I have painted inwork the figures that you formerly commanded, andWhichthen pleased you greatly if they nowdisplease you, hndg opare longer extol them,what can I do ?”t This did not pre

l l t

The picture partly painted b Filippinc ,’

n in the Academy of FineArts, aswe have said 111 the life thatmaster. The Am n of Pietrois still 1n the church, andwill be found 111 the Rabattach

'l' These mints are no longer in the placethere indicated. They‘

fell

into tbe hands of merchants dming the nei- itndss of troubled timey and

cannot nowbe traced.M

One of the most persevering apologists forthismasterdeclares that,“if

Pietro did not repeat the figures previously used in the citieswhere they

1K¢m ed to penlglfl~ 1 1 1 ( 1? 1} u'm so

11 1111 4118 church of San Severn, 3111 that city;uhe{tha t ex’

e

cuted .

Va-l'iollflworksm Efresco, for the Carthnsiari monks, 40

youngfl andqwhen hewas the disciple o f .Pietro, hadrpaintéd

certaintfigures, aswill zube related in the proper plane t

many other places in the neighbourhood of Perugia,; b utmore particularly .ia Assisi, in the church .of S antaM aria

degli Angeli; namely,where vho painted .imfiesco .:thewallbehind the chapel of the Madonna,{which stands opposite .

'to

the choirof themonks, depicting the Saviour 1on 1the Cross,smith several, figures . In gthe zd mrch tc ft fian

3Abbey in Berg in,which obelongs to {the Black-

1Friaray ihee

painted a very large picture for the thigh altar the ( subjectof thiswork is the Ascension of Jeane,with the Apostlesbeneath, looking up to heaven.§ On the predella of the picture are three stories executed .withmuch care, the Adoration of theMagi that 1s to baptism of the Saviour

and his Resurrection ; thewhole of thiswork 18 repletewithevidences of thought and care, insomuch that it is one of the

best paintings in oil executed by Pietro 1n Perugia ; he also

commenced awork in fresco, of no small importance, at

Castellc dellaPieve, butdid notfinish it.“had first been made known. but in other cities only, the reply thusg1venwas a most suflicient one.

” This questionwe leave to the reader's decision.

But forthe ofi'

ences thus received, Pietrowould seem to have disposed

his afl'

airs for .passing the remainder of his days 111 Florence,where he hadalso purchased a burial place forhimself and his descendants, 111 the churchofthe Anntmziaw—M asselli.

The church ofS t. Severnwas rebuilt from the foundations about the

mi dle of the last century . Thewall of the chapel onwhich are theworksof Pietro and Raphael,was howeverpreserved, and 1s still 111 the monasterv,

but 111 a very confined position—See Orsini, as cited above.

J:For various details respecting theworks of Pietro , in these and other

Costello della P ieve, Commentario [slot-ice.—Perugia, 1836 .

This picturewas taken to France,where it is supposed to remain.

Somewriters affirm it to have been presented by the French Governmentto the cathedral ofLvons.

II In the church of Fontignano, near Castellodella Pieve, according tor 2

3324 nu scor.31 11s ;~saris-

ta.

one,when going or.return

vhimzof all that .he had, but, at his earnest

spared his life for the love of God. Byomeasnres adopted, and the assistance of his t

'

rr

Livtmlduhave rundertsken

g reat riches indeed, and bought, as

large houses in F lorence at Perugia

della ~Pieve .he bought a considerable,

Pietro took a very beautiful girl towiherwear becoming head-dresses, both abroad

“

and at home,that hewas occasionally known to arrange this part of her

toiletwith his own hands. Finally, having attained to theage of seventy- eight, Pietro finished the course of his life in

the Castello della Pieve,where hewas honourably buried 'in

the year 1524;Mezzanotte.who asserts that theworkwas not in fresco but distemper,a Birth of Christ namely,with figures of the Saints Rocco and Sebastisno.

But. otherwriters cite variousworks as performed by Pietro at Castello

(nowCitta)della Pieve. One of the most important is an Adoration of

the Magi in fresco, nowmuch injured by the humidity of the place.

The Madonna 111 this picture is said to be by Raphael, as is also a littledogwho rs barking at some horsa .

‘ Messanotte and otherwriters defend Pietro against the charges of

in eligion and avarice brought against him byVasari, and there'

1s ground to

hope that the biographerhas spokenwith too little consideration,even fromwhat he has himself related of the Priorand his ultra-marinca—See ante,

p. 3 15. See also Orsini, Vim,Ste , 1804 ; and Pascoli, u:supra , 1732.

1 Ofthese he hadthree,GiovanBettina, Francesco and Michael Angelo.the last most probably so named, observa an Italian annotator, before the

disagreement of Pietrowith Buonarroti.t Pietro died at Fontiguano, and notatCastello della Pieve. Neither

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326 m at

ey -tmca rms“ .

emotive” storyrrepresenttng ther

Mir‘acle fofr

masterleftmanysom en his native place,

use for:Pirim-iconic, also received

'

Perugino;withwhom .he remained‘ for - a' long

- ztitrmasfl‘hei

Pietro’s disciples, andwas an artist

care in his colouring,'aswell as design, ’forwhich cause

Pietro made much use of his services. t We have a drawinginfourbook by the hand of Baccio Ubertino, Christ scourgedauthe Coiumn namely, it is done 'with the .open; and 1s a v

ery:charming design:lil-

‘

his fBaccio had a brother,whowas "

also a disciple1'

of

Pietro Perugino : his namewas Franca eo, but bywayirofsurname hewas called Bacchisccaut Hewas a veryrcarefuh

which he '

executed in Florence, more especially in’

the Balac‘w

of ' IG io Maria Benintendi,1'

and in that of Piero -Francesco :

Borgherini. Bacchiacca took great pleasure inn painting

grottesclre‘

; hewas, therefore; commissioned by the Signor

Duke Cosimo to decorate a study forhimselfwith figures ofanimals and rare plants, copied from the life, andwhich areconsidered exceedingly beautiful. He also prepared thecartoons for certain tapestries and carpets,whichwere rafterewardswoven in silk by the Flemish master, Giovanni Beato,for certain apartments in the palace of his Excellency.

G iovanni Spagnuolo, cd led Lo Spagna,was another

disciple of Pietro Perugino :this artistwas a better colouristthan any of the scholars left by Pietro at his death, and,after that event,would,without doubt, have established

himself 111 Perugia, if the envy of the painters of that city,whowere most unfriendly to foreign artists, had not .perse

cuted him to such a degree that hewas compelled to depart.He then retired to Spoleto,where his excellence and abilityobtained for him awife of good family, and hewas, besides,

Of this artist,whowas the frieud of Andrea del Sarto, and diedratFlorence in 1657 , Vasar

'i speaks more circumstantially in -tbe ulifev. of

Bastiano da San Gallo , calledAristotele.

1 The pictures painted for the CasaBenintendiwere taken to Dresdenaboutthemiddle of the lastceutury, and became a part ofthe gallery there.

—Ed. Flora, 1832 8.

.am som aem 1 327 .

i

chapel of Pope Sixtus I In. all {thm labours Andrea gavesuch decided proofs of his ability ,that he .was expected to

surpm his master by very much, and so,without doubt, hei

Mariotti, Letters, p. has them'

that Lo Spagna became acitizen of Spoleto before the death of Piehmand had married a

’lady ofthat city eight years previousto ths death ot

'

hisomaster.

t The beautiful altar-

piece by Lo Spsgua, here alluded to. is in thechapel ofSt. Stephen in this church, it represents the Madonna enthroned,with three Saintspon eachside. Thepainting isingood preservation, andmaybe

'

considered the master-

piece of the artist—See Mca anotte, at supra.

1:Still 111 very fair condition.

The errors of vm mm mwmh M Mu M mpested byall succeedingwriters, Messanotte among the number. Norwas it ttutilRumohrhadpublished hisadmirable Researches,

"(Italiem

'

scke For-sch,usgen, that theywere corrected. Formany interesting details respectingL’Ingegno ,which cannothere find place, the readertareferred to thatwork,

and also to the same author 111 fire Xl , for 1821, No. 73.—See alsoPM “ Dr. Wangu ,with the reply given to thatwriterbyFiirsterin the Kurmblalt, for 1837 , p. 94.

“M admits that L’ Ingegno may have a sided Pietro in the Sistinechapel, butdeuies that he did so iu An in

'

,wbe e

, as he declares, this artist

chapelof theBaglioni, 111 San Domenico, md certain stem in

fresco from‘tlie fife Qf San Batista,

”

111 the chapel

of thememes“ a f ~ we

Benedetto Capomlknotherwise called Bitfi,was, in like

manner,

‘

a disciple of Pietro : there are many pictures by hishhtid in hisnative ‘

tnty of Perugia; He o ccupied himself-

,Yto

a great: extent, in architecture also.and not only executed

numerousv orksf hutialsowrote a Commentary/on ,V itrumus,which every onemay' nes, since it has bene f

printed. Bene

dew; Cap‘

oraliwas followed 1n these studies by his 8011 Giulio,also a painteroff erugia.

notte seéialsb'msint

5 G iannicola di Paolo Manni, one of the beat of Pietro'

s schema—SeeMezzanotte. as cited above.

‘

The picture of the Baglioni chapel here describedism in.the Gallery of theAcademyof f’erugia. His frescoes inlths Exchange are still inexistence.

I His namewas notBenedetto,butGiambnttiste. For hisworld, see

Mariotti, Laure, &c .

e

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M theworld by theirworka But of theae, I repeat,notm ly have l been unable to procure the entire history of

their hm but l have slso fonnd it impossible to obtain their

M made the head of the others. Letmy reader, there-e

forepbe’

pleased to accept such as ‘ I can since I amnot able ’to ido all that I couldwish.

‘ There flourished,then, m the March of Treviso, and in Lombardy, taking a

series of several years, Stefano Veronese, Aldigieri da Zevio,Jacopo Davanzofi of Bologna, Sebete da Verona, Jacohello di Flore, Guariero da Padova, G iusto and G irolamo

Campaguuola,with G iulio, son ofthe latter , V icenzio Bsac,(ofBrescis),V ittore, Sebastiano, andLszzaro Scarpaccis,

"

all Venetians ; V incenzio Catena, Luigi V ivarini, G io

Batista da Conegliano, Marco Esserini, G iovanetto Cor

degliaghi, Il Bassiti, Bartolommeo Vivarino, G iovanni Mansueti, Vittore Bellino, Bartolommeo Montague of Vicenza,Benedetto Diana, and G iovanni Buonconsigli,with manyothers, ofwhom it is not needful that I should nowmakeany furthermention.

To beginwith the first- named of these painters, then, I

may remark, that Stefano ofVerona, ofwhom I have alreadyssidsome fewwords 111 the life ofAgnolo Gaddi,was a morethan tolerable painter of his time, and,when Donatellowasworking in Padua, aswe have related 1n his life, andwent,on a certain occasion among others, to Verona, he professedhimaelf astonished at thewoiha of Stefano, affirming that

0 To give details respecting these masterswould lead us too far,we shallfor the mot part content ourselveswith intimating thewriters, if any, bywhom they are mentioned, so far as thesewriters may bewithin our know1 Whom Vaasri shortly afterwards calls more correctly Avanzi.

upito that time; had ever been executedin those tparta . The,

ofs the churchn f Sant?Antonio in (Yieronap d like extremity

ofthewall cu the left, anddmmediatelysbenesth. the iarch Oft

the .vault : the subject 13 aMadonna, .witbtthe Infant in her.

arms, San xdacopo is on one side .and iSmt’

iAntonio ( 1tother. 1 This .

'work rs still considered very beautiful .

’

111 that

city, .thefigurm having a certain animation . .ofiehm cter morau

especially'in th

§hhesds,which Stefano paintedwith much

grace : In San 00016, a parish church, also in Verona, :this

artist painted a figure of. the atitular saint, San:N1ccolo, m :

fresco,which isimost beautiful ; and on thermal of a house

in the .V ia Ban iPolo,which.leads to the .gate of theEpiscopal .

‘

beautiful, togethertwith .a figure of In the Via,

del Duomo, over thewall of the church of Santa‘f Consolata,‘

various birds, more particularly a .peacoclr,whichwas . the

device of this artist. » In Santa Eufemia, a. convent of the

Eremite monks tof Sant’Agostino, be depicted ,the figure d

that saint over. .the side- door,with two other saints, and

beneath the mantle of Sant’.

-

.Agostino are several monks and

nuns of his order. But the most beautiful part of thisworkare two prophets, half- length figures of the size of life : these

are the most beautiful andmost animatedheads ever painted

by Stefano ; the colouring:of thewholework, having beenexecutedwith extraordinary care, has remained fresh .and

beautiful even to our own days, although -it has been much

exposed to rain,wind, and frost: and this is the result

of1their not having been retouched a secco, the artist havingtakengreat care to paint thewholewell a fresco ; insomuchthat theseworks, had they been under shelter,would havebeen still as fresh and lively as theywerewhen they first

proceeded from his hands ; as it is, they are nowsomewhatfaded.1 Within the church, in the chapel of the Sacrament

namely, this master painted angels flying around the taber

Or the church ofSanta MariaConsolatrice—Boaari.1 These pictures are still to be seen. Persico, Dam ion di Verona,

vol. 1. p. 143. Those paintedwithin the church are no longer to be found.

882 un s nrrrmz,m ists.

nacle thehe f are'

. singing} others"are 80003313"l ei'cht insthmients, and

:

others againare ofl’

ering incense }?the-sacrament; on . the

'

sumnfit of all, and as a finish'to uthe(tabernacle, burartistpainted a

‘

figure -ofithe Savimir,’

fl hq zip

manner inwhich 1Stefano fmost . commonly. drapedlhis angels,atowhom the =alwaysxgavemostgraceful and beautiful features,rwithta charming.e xpression “ In tthe samework are figuneaeof' lSant

‘

n o'

stino zand ~San G-ircismo , the size ofl ife “theystand and, as .itwere, support the church-p r

;Holyo0hurch byrtbeir learning against heretics, andthatAheysfill inphold tthe vsame. On a

‘

pillar. of the priucipal chapel,

1

u

p'

erhaps b ecause it appeared to him, as it is in efi'

ecgto beone =of the xbestvpaintin

'

gs thehbahadever executed.-Accord

ing to his custom; Stefano introduceda beautiful peacocb into

this picture,with two young lions, butthese lastoare tnotaerywell done, because he could not then see them in life, .aswasthe casewith the peacocb Stefano likewise painted a picturefor the same church, containing several half- length figures

in one picture aswas then the custom ; San Niccola daTolentino namely,with other saints the predella be. coveredwith historical subjects in small figures, representing. events

from the life of San Nicco16. In 'San Fermo, a church,of

Franciscan monks, in the same city, Stefano painted twelveprophets, half

- length figures the size of life, and these served

ast frame or.ornament to a Deposition of the Gross, ,whicl1was opposite to the side-door of the church :at,

their feet,anelying the figures ofAdam and Eve the accustomed peacockis also there,

'

and isyindeed, almost to be considered ' as sthe

signature or anagram of this master.

‘

In Mantua, Stefano also executed certainworks, amongwhich is an exceedingly beautiful Madonna, in the church of

San Domenico, situated near the gate of the Martello. NowThese Prophets also,which are in fiasco, are still visible .

' There are

besides, other frescoes by the same master in this church, as there are also

in Sant' Anastasia, San Lorenzo , and other churches of Verona.

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3 34 m ews-n am e.

awas ever irr close '

connexiouwith th6 Signori fldhlla Séslfl,‘andwho paintedp among many other 1Works, the 311111

1 111111611111 1111 1 11a which is nowinhabited thy '

fi e Pedesti .

11mm nulyon eachwall of1the aparuneht, andadding to‘eu‘

éhfa flame ordecoration,which surrounded it on all n

’

des‘

. 20 11

the upper part of this decoration,1and, as itwere, to ‘fimsh

alhhe‘

placedwarangeofmedalliousfinwhichns -itisbelic‘ved,

fi'om the life, more especially those of men belonging t0 1th

'

e

Ddla‘Soda family: therehum concerning them.will say nothing further ;17m !thiswork,

.

'Aldigieri

judgment, and invention, having neglected no one 1101115111111ought to be considered 1n the representation of aviolentiandfobsunate conflict. The colouring, moreover, hasmaintaineditszfseshneu exceedinglywell, and there

1ut'

reno'flrned and learned, or otherwiseamongwhich that of Messer Francesco Petrarca may befound.

In theworks of this Hall, the Bolognese painter, JacopoAvanzi, took partwith Aldigieri beneath the above- named

pictures. and, like them, in fresco, he pain

beautiful triumphal processions, executed in

manner, andwith such consummate art, that Mantegna:dewe are assured by G irolamo Campagnuola, commended‘them

as pictures of extraordinary beauty.

“ In Padua, JacopoAvanzi assisted,with Aldigieri and Sebeto '

l'

of Verona, to

paint the chapel of San G iorgio,which stands “beside‘the

church of Sant’

Antonio, awork executed according to ,the

0 Vasariappears to hate taken the principal part of the noticesof mbard painters here given, from the letterof Campaguuola to Leonico Tomeo,See ants, the life of Mantegna, p. 263.

11 Brandolese conjectures, and perhapswith some reason, that this

Saheto,whowas unknown to Mafl'

ei and Lanai, aswell as to himself,neverhad existence. He believes that Vasarihasmist-km debate, the Latin formadopted by thewriter for Zevio , the birth- place d Aldigiel

'i,whichwasonce called Jehetum, for the name of a person instead of a place - 7 800Lanzi, History of Faulting, vol. ti. 9. 76.

r

war-roan scaau ocn . 9335

,togtbat 'efi'

ectehaviug been lettin the testaments ofsucceedingnobles t The n ppermpartwas rpm

'

nted'

by J acop01Avan

'

zi:

,with al armS upper-{byAldigieri,~and Sebeto depicted events' from the life of. San «Giovanni? At a

,later

'

period,- these

returnedu to Verona,1

painted

together in the palace of the Counts Serenghi, the subjects

.vestments p roper:to that time. Thiswas c onsideredto be

the .best of all . the labours executed by Jacopo Avanzi, but,as ;menticn~has already

- been made of him. in 1fl 1c 1 Life fot‘

1Niccolo d’~Arezzo, in reference to theworks performed.by

him at Bologna, in competitionwith the painters 18im'

one,

Christofanoy andG alasso; Iwill say no more ra pectingthim

was, at .the same time, a painterwhowas held -in

,good- esteem at Venicey although he adhered to the Greek

,manner: thiswas Jacobello di Flore,who executed a 1con

siderable. number ofworksin thatc ity, more particularly analtar-

piece . .for'

the Nuns 1 of 1 the Ger-pus Domim'

,which isplaced on the altar of San Domenico, in their church. Acompetitor of thismasterwas G irominMorzone,1

'whopaintednumerous pictures in Venice andmany other cities of Lombardy ; but as he pursued the oldmanner, andmade all hisfigures standing on the points of their feet, Iwill say nothingmore of him, except that there is a picturewith numerous

saints in by his hand, on the altar of the Assumption inthe church of Santa Lena (St. Helena).A much better master than Mormnewas the Paduan

painter, .Guariero,§who, in addition to many otherworks,The paintings

'

ia the chapel ofSan Giorgio de‘

Lupiwere so coveredwith the dust of ages that theywere considered to be totally spoiled, untilthe German, Dr. ErnestBan ter, discovered them during a prolonged resi

dence 111 Padua,when theywere carefully cleaned.

i According to Zanotti, the name of this artistwas Mom one ; but

Moschini calls him Moroceni.

3:The church having been abandoned to secularuses, this picture has

been removed to the Gallery of the Academy 11: Venice.

This name shouldbe Guariento,most pro bably an errorof the pressorthe copyist.

336 ru ns .os .m ~m rara

Agustino; he zpainted figures representinwithj those -of the virtues .an‘

d the vices ; and as

’

Vassrishould here say of theCa'

nio, he is evidentlywriting frointhe letter of Campagnuols to Leonico men,where themagistrate is calledUrbanus prefeclus.

—See ante, life ofMantegna,p;263

, not:2 -1 The chapels painted for the Augustine Mon were early injured byrestoration. One of the pictures from thesewas engravedby Novelli, andrepeated by d

'

Agincourt. The remainderof theworks here descfibed can

no longer be distinguished.—See Forster, Bride our Italian. KM “,

1838, No . 17 ; see also Ridolfi, Mem oiglis vol vi.

I Giusto the son ofGiovanniMenabuoi, a scholar of Giotto, 1s sometimes

called a Floren tine , from having been born‘in Florence, sometimes a

Paduan, from having been admitted to the right of citizenship in.thitcity,where he also died— See Morelli, Nolisia, &c ., &c ., p. 102

, note. Hisgravestone may be seen in the Baptuery , and bears the following inHioj aosl Dominica: cl Donialfratm stfil u(”91m m sunf ish

-iJu li

pictoris qusfail dc Florencia , migrate“adDominantdisS. M ichadisal l".

dis xxvm rSeptembris.

Theseworks hate perished.—Ed. Flora, 1832—8.

[1 The pictures of this chapelwere grievouslyinjured by retouching or

restoration in the year 1706.—Ibid.

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gio, .which belongedito j the .FriarsiMirmrrs.

‘t liFbri‘the Altar

andSimeon, in the Cope orP-luVial, is placed between We

ministering priests,who are clothed as cardinals ; behilfl

ments, the first a lute, the second awind instrument of ‘

a

spiral form, and the third a lyre or kind ofVia] ; the colour

ing of all this picture is exceedingly pleasing and gracefirL§V ittorewaswithout doubta “

ra y diligent and ,able master

many of the p ictures executed by him in Venice and other

places,with numerous portraits from the life by his handare held in great esteem asworks of 1 tha

'

t time. Scarpaccia

taught his art to two of his brothers, both ofwhom imitated

0 The picture in Santa Maria clarion ds’

Frd hisafi rmed hy RidolfiandZanotti to have been finishedonly by Carpaccio; andMatchiulcitesaninscription on thework itself,which declares it to umber-1 commenced

“ Num a 60m m

one of thes e .was ealleddm zam, the other

There is a picture by these artists in the church.helgnging zto the muns tof the Corpus Domini,1

'

it stands on

shefi ltflil'

lof 4116 .Virgin, and represents her seated“with St.

Gatheline on enes ide and St. Martha-on the other there‘

dye

bes idesgother, saints,with two angels playingmusical lustre

ments, ,and a perspective viewof buildings ,which fdrms theback g round aof.thewholework and is very beautiful.

'

Of

thisnwe have the drawings by the hands of the mastersthemselves inzour book.

fi xer-painterwho lived at the same timewith theabbvenamed, andwas considered a tolerably good one,was V in

> ,cenzio .Oatenaiwho occupied himself much morewithinfi n ite from the life, than

-with any other kind of pictures,andc ertainly, some of those by his handwhichwe have

“seen areimosttadmirable among others is that of a G ermanofl .the .Fugger family, tan honourable person, and held -in

much esteem,who .was at that time dwelling in V enice -

at

themerchants'

hall belonging to the Germans this portraitin most animatedlikeness.

About the same timemanyworkswere executed- inV enice

byG iovanni Battista da Conigliano,§ a disciple ofG iovanni

Bellino among them is a picture by this artist, on the altar

of San Pietro Martire, in the before-mentioned churchof the

nuns of the Corpus Domini ; it repres ents San Pietro Mar

tire himself,with San Niccold and San Benedetto there is

besides .a perspective viewof the distant country, and anangel playing on a c ithern with many small figures more

than tolerably painted indeed, if this artist had not died

ng,we may reasonably infer that hewould have equalled

O The scholarsofVittore Carpacciowere, Benedetto Carpacc'io, probablya brother, ornephew, and Lazzaro Sebastiani, not La zaro and Sebastiano

hisbrothers. The reader,who shall desireminute details, may find them intheworks of Zanotti before cited, and in those ofMoschini, Venice, 1807.

1' The church and convent have both ceased to exist.

1 Fordetails respecting this artist. see Ridolfi, M araoiglis, &c .

g According to Ridolfi, G iovanni Battista Cima, da Conigliano,whocopied the manner of his master so closely that hisworks have been takenibrthose of Gio. Bellini. He is considered to have been among the best

masters of the Bellini school, and had a son Carlo, also a painter,whoseworks are sometimes taken for his own.

2 2

executedwith much grace. In the

Lsanfie ehprgh, this Marco painted a figure of San Bernardino'

and,surrouhded by othersaints.

"Gilitine

'

tto Cordeg‘

liaghi.§ likewise painted a vast number

scarcely.kind ofwork, and in thatvery soft and delicate manartists above named.

. This

the church of San Pantsthat

is ton y San Pietro is represented in disputationwith twoother. saints, .who are clothedin ‘

admirably executed draperies,thewhq lework being painted in a

.very good manner.

Marco Bassitiwas also an artist of good reputation,whoflourished about this period ; there is awork by his handin the churchof,

the,

Carthusian Friars atVenice this is a

large picture representing Christ standing between PeterandAndrew, on the

'

shores of Lake Tiberius,with the sonsof, Zebedee also making part of the principal group. In this

NeitherBum -ifti, norBan ilias called below, but Basaili, observe

the Italian annotutors. This master’sworks come down to the year 1420

hewas one of the most distinguished artists of his time, afterthe Bellini.'FStill

'infa chapel of that church.

t"0ne of these is

'

St. Louis, king ofFrance. Lanai bewails the injurywhich thiswork has sufi'ered from time. ButMoschini consoles himself bythe h ot that it

'

hna not.‘

yet been subjected to the misfortune ofrestora

OrCordelia ; the Italian commentators conjecture that his true namewas Cordella Aghi. ‘

The manner of this master sufficiently proves him to

have beena disciple of Giovanni Bellini.—Fordetails respecting his&c., see Zane-tti, Dead Pillars Vem iaaa.

enjoyed aboutnterwas bornof San Fran

Basarini painted a

d in the church ofSt.

panel, by his hand ;the three

'

Apostles,

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in short of man belonging to divers nations,

W e of varied and peculiar character.

mrc'wwho converts a 'vast crowd , of men to

thework there is besides an infinite variety.in'

"After“this master'

there followed in the same

In"

this picture is'

1 perspective viewof buildingswhich aé'

e

tioned Bartolommeo Mantegna of Vicenza, also a toleral

t

r

ggood painter,who always dwelt in Venice, and execu

church of Santa Maria d’

Artone,1 in Padua. NorwasBenedetto Diana less meritorious in art than the above

named, aswe find proved, among otherworks, by one from

The SsucIa of San Msrcowss one of these, bnt its revenues,with thoss ofmany other associations of like kind, and of numerous sacred edifices,were appropriated some years since forthe erection and to the uses of a

rhihtary Hospital, by command of the Austrian rulers.

Orbs?“ of the bestworks of this master is that called the Miracle of the

ated forthe Scuola of St. John the Baptist, but nowin the Galleryofthe enchan Aeademy of Fine Arts. It has been engraved by Zanotti,P lac enta“ ,

&c ., &c.

1 OrVittore Belliniano,whowas aVenetian ; the picture herementionedby Vasari bears the inscription unxxvr. Victor Bellin ianur.—See Zanetti,Della Pinata Venet ian , &c.

1 SantaMaria diMonte Ortone, according to sorne commentators. Thereb ab e s finework by this master in Santa Maria 1n Vanzo, the church ofthe Seminario m Padua.

—See Lanxi, Moschini,ac . arc.

‘

V‘ITTOfiB'

M OO“ ? 1 1 348.

his hand in thechurch «isSan'Fl‘ancesco zdalla Vigna; in .

. the

city of Venic'

e,

’where, for the"

altat‘ of San Giovanni, he

painted a figure“

of that saint; standing M ean two others,each ofwhomhastibdok 'iri bia‘hand.

GiovanniBlionconsigliwas ’

also accounted a goodmaster,and at the altar of St; Thomas rAquinas, in the church of

San Giovanni e”Paolo, is

'

a paintingthy this artist,wherein

he hasdepictedthefirst namedsaintsurrounded by numerousfigures,

“

towhomhe is reading ‘

the tholy Scriptures : in that

picture there is a p erspective view'

of buildingswhich isnot unworthy of commendation.

“ The Florentine sculptor ,

Simon Bianca also lived throughout the greater part of hislife in V enice,

‘

as'

did 'Tnllio hombarde?an exceedinglyskilful

"masters of ; Lombardy,were the

Clemente, of Reggie; and AgostinoBusto . I

‘

n carving therewere Jacopo Davanzo, a Milanese,with Gaspero and Girolamo Miseeroni. In Brescia, the

painter, V inc‘

enzio V erchio,was a ccounted a skilful and ex

perienced master'

in fresco, and his admirableworks in thatbranch of art acquired him a very great name in his owncountry. As much may be said of Girolamo Romanino,whowas most excellent in design, as is clearly proved byhisworks in Brescia, and for many miles around that city.

Norwas Alessandro Moretto § inferior to these masters, nayrather, he surpassed them ; the colouring of his pictures is

most admirable, and hisworks give ample proof of the

diligencewithwhich he laboured.

But to return to Verona. In this city there have alwaysFor dchilaxelsting to these artists, the reader is referred to Lanxi,

Zanotti, and the otherauthorities above cited.

f lnmbardo is the family name of thh masta , not that of his country,aince hewaswithout doubt born in the a’

ty of Varice. The readerwillfindashort notice ofTullio Lombardo in Cicognars, Slavic della Seullura, fire.

tThe inlaglialorc of Vasarimay here mean carver inwood, orartist inrelief, aswell as engraver.

'h illie Im bardowas a sculptorand architect,

aswaebiafather Pietro.

Alessandro Bonvicino, called the Moretto,was a scholar of Titian.

See Ridolfi, vol. i. p. 246. Of the Breseisn masters immediately precedingthe above-named, certain detailswillbe found in Pan u na—Beilr ’

a‘

ge sm

Gcccbichle def alien Mak rschulm in M Lombard“. (In the Km lblall

for 1838, No.

m; was orm éanm ‘

rs}

“13‘t ,mayremain his inferior: but, “ it

_is

at‘

present of the living, it .shall

minute particulars' but

ample justice, may at least receive that littlewhich I sin

able to render.

THE PAINTER, JAC'

OPO, CALLED L’m mco tr

[Lived during the latterpart of the 1sth century, and the first hali ci'

thel6th century.

.h coro, called 1’

Indaco,was a disciple of Domenimco del:Ghirlandajo, andworked in Romewith Pinturicchio“ he

,

Of theae two painters, Vasari speaks more at lengthwhen treating 017otherVeronese artists at the end of the lives ofFra Giocondo andLiberals,where he calls the first Monsignori, and the second Giovanni Francesco

1' Del Pou o, in his We do

'

Pinon Varanasi, adds nothing to the sllgbtnotice of Vasari. The pictures of Zeno (Donato, called Maestro Zeno),here alluded to, are not nowto be foundm Bimini.3:Francesco Turbido is also named among the artistsmentionedm the

life 0‘ Fra Giocondo.

Called Battista delMere—See life ot'Fra Giocondo,whichfollows.ll Lnnn remarks that this paintcr is one ot

'

thosewhosafame has ex

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from'

the markeg'he perceived, alter having knocked for a

t

figs,which be scattered all over the threshold of the door,and, having done that, hewent hisway. From that time

hewould not speak to Michelagnole for many months, butat length, being appeased, he became more his friend t

ever. Having attained the age of sixty- eight, Jscopo

l’Indaco died at Rome

Not unlike to himwas a younger brother,whose propernsme

o

was fi -ancesco, butwhowas also called L’Indaeo, audwas, in like manner, amore than tolerable painter and man

of good ability. Hewas not dissimilar, I say, for he alsoworked very reluctantly, though hewas ever ready to talk ;but in one thing hewent far beyond Jacopo, seeing that he

spoke ill of every one, and constantly censured the performv

mess of all other artists. After having executed certainworks, both in painting and term , at Montepulciauo, he

painted a small picture in Arezzo for the Brotherhood ofthe Nunziata.

” Theworkwas intended for their Hall .of

merly in the Borghese chapel'

tn the church of the Triniti diMonte,wellknown toall acquaintedwith Rome ; its present locality is not known.

W . ti'

!

Andieme, and:wasanAnnunciation, .with the figure of Godsurrounded, by .numercus angels in the

city, on occasion of tbs ,

first visit paid to it by the Duke Alessandro, this artist constructed a very beautiful triumphal ,

arch at the gate of the

palace of the Signoria,with numerous figures in relief. Therewere, besides, many other preparations made for the entry ofthe Duke, and this master, in competitionwith other artists,

painted the decorations of a dramatic spectacle,whichwereconsidered very beautifuL‘l'

p

.

,

Having proceeded to Rome at theCharles V.was expected to visit that city, Francesco ,

there

executed oertain figures in terms. and on the Capitol he

painted the Arms of the Roman people .ia fresco,whichwasmuch commended. But the bestwork that ever proceeded

Palace ; an Escritoire namelyAustria, so

, 511e ornamentedwith stucco, and so richlyadorned, that it is not possible tosee anything better ; nay,I even believe that itwould be impossible, in a certain sense,

to do asmuch in silveras L’Indaco has here done in stuccn:

From these things it is inferred, that if this master had

taken pleasure in labour, and had made good use of his

abilities,he might have become very eminent.

Francesco drewtolerablywell, but Jscopo much better,as may be seen from the drawings in our book.

THE. PAINTER, LUCA SIGNORELLI, OF OOR'I'ONA.

[scan “40—a

THE excellent painter, Luca Signorelli, ofwhom, accordingto the order of time,we are nowto speak,was, in his day,most highly renowned through all Italy

, and hisworkswereheld in more esteem than those of any other master have

Said to be nowin the choir of the Nuns of themostHoly Annunciation,

” in the small church of St. Ursula.

All these things have disappeared—Ed. Flam, 1838.

1:Schorn remarks that decorations in stucco are somewhatunusual forsuch apurposo.

848 m s'

os rail:diners.

th is'mode of depicting

can be ‘made,'

altliough

artistwas the creature‘and disciple

'

of Pi

San ' Sepolcro, and much'

did"he labour

‘

imitate, or'

r’

ather to surpass; his master.with '

the'

latter in'

Arezio,'

be'was received

M arc .Vasari, h'

is ‘uriclé,’as

"we'

have

copied the manner of Pietrowith such"was difficult to distinguish theworks ofthe other.

'

Th'

e’

firstworks of Luca'werehe painted the chapel of

'

Santa

hood of Santa Caterina he painbannerwhich is bdrne by_

that

did the banner for the‘

Trinita;

Borgo. In the same city; Luca'

Si

of San Niccoloda Tolentino forththe very beautiful little stories of

design and rich invention.§ In

painted two angels“in fresco,

ment. In the church of San Francesco, and 111 the chapelof the Accolti family, he painted a picture for Messer

"

Francescofi doctor of laws,wherein he depicted the portraitsof the said Messer Francesco,with others of personswhowere of his kindred. In thiswork 18 a figure of St. Michaelweighing the souls of the departed,which 13 most admira

'

bleiand here Luca has displayed the knowledge he had acquiredin the brilliancy of the arms, the reflected lights to be seen

Luca Signorelliwas the son of Egidio diVenture SM and ofthe,

“

sister of Lazzaro Vaa ri.—Bottar1°

.

In the life of Laza ro Vasari.

The paintings of the chapel of Santa Barbara are destroyed, as are

also the banners forhearing 111 procession—Boltari.

Itwas taken from the church and placed in the convent, but on thesuppression of the latter itwas removed ; the place towhich itwas t-aliencannot nowbe ascertained —Ed. Flora

,1832- 8.

ll This fresco has perished —Ibid.

“I!The learned Legist, Francesco Acco tiwho died at Siena in1488. o

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w lawman ! M

a, cross. . At Siena he painted aSan Cristofano, in the church of St.Agostino,

Andrea,without the Srlci Gate, there is a Crucifixion, also byhis hands;3 4 . Mar, 1832-8.

This picturewas carriedc fi'

during the Frmch invasion, 1 1mm in

present locality be ascertained.—Ibr'd. j

1 l8n St. Sebast'

nn is still in the Brozzi chapel, nowcalled that ofBourbon del Monte. Otherworks of the master are also dill atCittl diGauchos—See Mariotti, Letters Perugino,&c, p. 274.

I Nowin the choirof the cathedral, itbears the following inscriptionLucas EgidiiSiguorelliCortcnensis, 111m .

”

5 There are nowbut two of these pictures in the church of Gesfi. The

Nativity of Q uiet, anda- conception of the Virgin the Communion of theApostles is in the choir of the cathedral. Lanai also considers the lanmentioned painting one of the bestworks of the master.- SeaHistory qfPM vol. i. p . 91.

' 5 ”thanm omm a (351

seats inse ts n ewest ofwhen a t; figure aofxsen

GHQb fafio’

ifi'

rélii-lfg‘ f'

R,

“H ‘ "t’. 1

to F lorence for-t he

'

the‘

canvas,'fer’Lorenzo de’Medici,

'

aworkwhich‘extolledJand a'f

piothre lof(Our Lady,with two

prophets, sm'

all figures imm .V’This is now'at Gestalt,

“

generosity by‘

any man.

’ This matter likewise painted a

round picture of Our'

Lauy,which is in rthe Audience

Chhinber belonging to"this fChi

‘

efs of the'

Guelphic Council,

lo

‘

f Siena; oneof'

the’

princfipmfabodes of the Mont: o fMonteOlivetti; Lucapainted ele’ifetirhistorical scenes on one side of

thecloister,'

i‘epresentinglthereinevents from the life of San

Benedetto.“From Cortona our artist sent certain ' of hisworks '

to M ontepul‘

ciano,1'

and to Foiano he sent ‘an altar

piece;which ‘

is'

nowon ‘

the high altar of‘

the Capitularchurch 2

"

other pictureswera, ‘

in like manner, sent to other

places in theValdichiana.

‘In'

the Madonnaof Orvieto,whichis the principal church

‘

of '

thatcity, Luca Signorelli finishedthe chapelwhich had been commenced by Fra G iovanni da

This picture is no longerto he seen in Sant’Agostino. OtherWorks

“

of

thismasterare described by Della Valle (in a note to the Sienese edition of

Vasari) as painted by Luca Signorelli, in the Palace of Pandolfo Petrucci,lord of Siena. but all .have unhappily perished. They are alluded to byVasan

'

himself in the life of Genga,which followu—See also the L ame

Saviors ofDella Valle.‘

1 Of this picture no mthentic information can be obtained.I Nowin the Florentine Gallery.Also in the Florentine Gallery, and near that just mentioned (in the

eastern corridornamely).HFordetails respecting the frescoesof Chinsuri.which consist of thirty

pictures, see’

Rumohr, Ital. For-sch ,

vol. ii. p. 387. Nine only of thesepaintings are by Signorelli.

1! In the small room of the Tuscan“

school in the Florentine Gallery,there is a predella by Signorelli.which came from the church of Santa

Lucia in Montepulciano, three separate scenes are represented thereon,the figures being small; an Annunciation namely

, an Adoration of the

Shepherds, andtheOfiering of the Magi.

m aiendous day. By thispertormance the artist enlightenedthe minds of allwho came alter him, henhas,

for his divine (work pt5the Last J udgmmg painted in the

..to a certain extent, tot the inventions of that artisan s} tor

imitated the mode of treatment adopted by Luca, asmay be

seen by everyIn thework here alluded to are numerous portraits of:the

friends of Luca, as also liis own : among zothers are thosemt

Niccolii, , Paolo, and Vitellozzo Vitelli,rl' Giovan-Paolo , and

Orazio Baglioni, and many ‘ others,whose names are ”riot

known .

‘

In Santa Maria di Loretto, Signorelli painted certain frescoes in the Sacristy, the Four Evangelists namely,with the FourDoctors, and other Saints, all very beautiful :1for thiswork hewas most liberally remunerated by Pope

It is related otLuca Signorelli that he hada son killed in

Cortona, a youth of singular beauty in face and person,whom he had tenderly loved. In his deep grief; the fathercaused his child to be despoiled of his clothing, and,with

Fordetails respecting thiswork. see Della Valle, Storia '

del Drum s

of Oroislo, Rome, 1791.

1' According to Marini.whose opinion is supported by Bottari, this is

the portrait of the Marchese di Sant’Angiolo and Duke of Gravina, a

renowned captain otthose times—Ed. Hot

1 Vasari has previously described theseworksdella Francesca and Domenico Veuiziano, and

Signorelli.—{bid.

h5 Thewor is no ongervisi t c eciliawm paintedata laterperiodby Pomerancio

—Ludwig Sahara. 8

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recollection ofLucawill never departwhile I live. Havingplaced his picture in its destined position, Luca returned toCortona, being accompanied to a considerable distance on

his road by many of the citizens, aswell as by his friendsand relations, and thiswas an honourwell meritedexcellences and endowments of this master,who alwayslived rather in the manner of a noble and a gentleman thanin that of a painter.

About the same time Silvio Passerini, Cardinal of Cortona, had built a palace about half a mile distant fromthecity, after the design of the painter, Benedetto Caporali of

Bottari expresses surprise thatVasarihas notmentioned a son ofLucaw,who devoted himself to painting, but did not obtain high tame.

He had a brother also, named Ventura,whowas the father of Francescb

Signorelli, ofwhom there is a short notice in Lanzi,who alludes in terms of

enmmendation to a picture by his hand, painted for the Council-House ofCortona in —See History, &c .

,vol. i. p. 169.

written ‘

a

cardir’

ral ’determiriedto haveamply decoratedwith paintings,wherefore ‘

Benedetth‘l' set himself towork,and being assisted by Maso Papacello, of Cortona,whowashisdisciple, andhad studiedunderGiulio Romano likewise, aswill be related hereafter and by Tcmmasogf. aswell as otherdisciples andworkmen, he did not cease until he had paintedalmost thiiwhole (if thebuilding in ffrés

'

co‘. But the Cardinal

desired to have a picture from the hand ofLuca also,whereupon the latter, although very old and

'

amictedwithpalsy,depicted the Baptism of Christ by St. John, in fresco, on thewall of the palace chapel, on that side namelywhereon the

altar stands , but he could not entirely finish it, seeing thatwhile stillworking at this picture he died, having attained

the eighty- secondo

year of his age.

Luca Signorelliwas a man of the most upright life, sin

cere in all things, affectionate to his friends, mild and

amiable in his dealingswith all, most especially courteous to

every onewho desired hisworks, and very efi cient aswellas kind in the instruction of his disciples.§ He lived verySplendidly, took much pleasure in clothing himself in hand

some vestments,"andwas always held in the highest esteemfor his many good qualities, both in his own country and inothers.

And now,with the close bf this master'

s life,which took

place in 1521,wewill bring this second part of ourwork toan end

, terminatingwith Luca, as the masterwho, in the

fundamental principles of design, more especially in the nudeform, and by the grace of his inventions, aswell as the dis

0 Cardinal Passerini died in 1529, and the translation of Vitruvius byCaporalidid not appear till 1536, butVasari may have known that thework existed in MS . at the time he names.—Ed. Flor, 1839. 8.

IThe name of this artistwas not Benedetto, but Gio. B atista—lbw.Tommaso Bemubei—Botlari.The most distinguished of thesewere . the above-named Tommaso

d’ Arcangelo Bernabei of Cortona. bywhom there is a mural painting inthe Academic E li-urea of that city ; andTarpino Zaccagna,also ofCortona,one or

;whoseworks '

is still there, in the church of St. Angelo di Candalenaname y.[IIn the first edition of Vasariwe have, he lived splendidly, andalways

dressed in silk.”

LIVES OF THE ARTISTS.

position of the events he depicted, laid open to all succeedingartists the path to the ultimate perfecfion of art, that perfec‘tion

,

’

to the highest summit ofwhich thosewho followedhim

, and ofwhomwe are henceforward to speak,wereafterwards enabled to attain .

i

In the Imperial“a

and Gallery of Vienna there is a Nativity ofanother in two compartments in that of

tBerlin. There is alao a

mPicti by tbismad er in the Spada Palacs in Rome.

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m aonuerrorrm- M ‘

tion : to do this in every figure feriall theworks .executed,iswhat is called fine mannerf . These things neitherG iotto,m any other of the .carly masters, treated of in the first

period, had done, although they had discovered the sources

of all the difiiculties in art, and even attained to a superficigl

knowledge thereof; thus their drawingwas moreand made a closer approach to nature than had previo ybeen seen ; they displayed more harmony in colouring, and

a better disposition of their figures in historical composition,with many otherqualities ofwhichwe have sufficiently discoursed. The masters of the second period, although theyefi

'

ected very important ameliorations in art, as to all the

characteristics des cribed above,were yet not so far advancedas to be capable of conducting it to its ultimate perfection

therewas yetwanting .to. their rule a certain fre edomwhich,The dangers incident to

l

this mode of seeking the attainmentof “ finemanner,

"are too obvious to needmention here, even could the cam era

tion of them find placewithin the narrowlimits assigned to a note.

r'

ns THIRDr m . 869

withoutbeing’

exactl'

y of;the rule is directed by the rule,fand

is ca‘

pable‘of existingwithoutcausing confusion ordisturbing

the‘

order, Which last demanded a rich variety in invention,ever ready for all points,with a certain perception of beauty,even in the most trifling accessories,which amply secures

the order and adds a higher degree of ornament. In propor

tion, therewas stillwanting that rectitude of judgmentwhich,without measurement, should give to every figure,in its due relation, a grace exceeding measurement. In

drawing, the highest eminence had not been attained ; for

although the armwas made round and the legstraight, therewas yet not that judicious treatment of the muscles, nor thatgraceful facility,which holds the medium between sufferingthem to be seen but not displaying them,which is apparent

in the life:the masters, on the contrary, had, in this respect,something crude and excoriated in their practice, producingan efi

'

ect thatwas displeasing to the eye andwhich gave

hardness to the manner. This lastwanted the gracewhichimparts lightness and softness to all forms, more particularlyto those ofwomen and children,which should be representedwithasmuch truth to nature asthose ofmen, butwitharoundtrees andfulness, never bordering on coarseness, as may sometimeshappen in nature, butwhich in the drawing should be

refined and snuggled by the judgment0t e artist. VarietyW heauty in the ves tmentswere also manyother rich and multiform fancies. The charm

cz

of colouring,namely, the diversity of buildings, the distance and changefulcharacter of landscape for although many did begin—as,

for example, Andrea Verrocchio, Antonio del Pollaiuolo,andmany still later—to give more study to their figures, toimprove the drawing, and to increase their similitude to

nature ; they had, nevertheless, not succeeded fully, althoughthey had attained to greater firmness, andwere proceedingin a direction tending towards the right path. That this

last assertion is true may be seen even by a comparisonwiththe antique, as is proved by the figure ofMarsyas, ofwhichAndrea Verrocchio’ executed the legs and arms for the

palace of the Medici, in Florence : but there is stillwantinga certain delicacy of finish, and that ultimate charm of

See his life,mils, p. 256.

the Hercules, the mightyTorso of the Belvedere,'w1tht the

Venus, the Cleopatra the Apollo, andmany others, inwhichM me; are alike visible,which display roundness and fulness Justly restrained, andwhich, reproducing themost perfect beauty of nature,with attitudes and movementswholly free from distortion, but turning or bending gracefullyin certain parts, exhibit everywhere the flexibility and ease

of nature,with the most attractive grace. These statues

caused the disappearance ofthat hard, dry sharpness ofmannerwhich had been still left in art, by the too anxious study of

Piero della Francesco, Lan aro Vasari, Alesso Baldovinetti,Andrea dal Gastagno, Pesello, Ercole Ferrares e, GiovanBellini, CosimoRoselli, theAbbotof San Clemente, DomenicoG hirlandajo, Sandro Botticelli, Andrea Mantegna,

‘ FilippoLippi, and Luca Signorelli.

.Fra Filippo Lippi An Italian commentator,who is repeated hy theeditor, remarks thatVaaarihas forgotten to mention “m emo,and

erclams, Woe to him, if Masaccio had not been a Tuscan !”Butm y

not this emission be intentional on the part of Valari,who may thus have

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age m um mmro

exhibited:by theifigures tof Apelles and Zeuxis ; nay,wemightEven ysaymore perchance,c ould theworks of Rafl'

aelloham pered oriplaced togetherwith any by those masters

native herselfcwasiaurpassed by the colours of .Raphael, andhis inventionwas so easy and original, that the historical

allm y~.pcrceive .who examine ’

them : in hisworks, the

the places themselves, findwhether treating our own '

people

on'

estrangm ishe ufeatures; dresses, and’

every other pecu

thelconntmi‘

ances ofi rhis figures {Raphael imparted the most

pcrfcetrgrace and tru‘

th ; to the i

young as to the old, to men

as towomen ; each:and all have their appropriate character,

for1the modcstrhe m arred; an expression of modesty, to the

licantiousdie immrted alook of licentiousness his children

em u , nowby the exquisite beauty of the eyes and ex

pression, now.by:the spirit of theirmovement and the grace

of their attitudes his draperies are neither too rich and

ample, nor toom le andmeagre in their folds, still less are

they complicated or confused, but‘

all are so arranged and

ordered in such a manner, that they appear to be indeedwhat they represent.In the same manner, but softer in colouring and evincing

lass force, there followed Andrea del Sarto,who may be said

to have been remarkable,were it only because hisworkswere free from errors. Itwould be easy to describe the

charming vivacity imparted to his paintings by AntonioCorreggio ; this master painted the hair of his figures in a

manner altogether peculiar, separating thewaves or tresses,

not in the laboured, sharp, and dry manner practised before

his time, but .with a “

feathery softness, permitting each hair,

in the light .and easily flowing masses, to be distinguished,while thewhole has a golden lustre, more beautiful than thatof life itself, insomuch that the reality is surpassed by his

colours.

Similar efi'

ectswere produced by Francesco Mazzola, of

Parma (Parmigianino),whowas superior even to Correggio,in many respects excelling him in grace, in profusion of

m adman rm .

ornament, and in beauty b f manner'this may he seéri ili

many of his pictures,wherein the countenances smile, as'

in

nature,while the eyes look forthwith the most life- like anil

mation, or in other caseswherein the spectator perceives ‘thépulses actually beating, accordingly as it please

d the pencil bf

the artist to portray them.

Butwhoever shall examine themural paintings ’

of Poli-J

doro and Maturino,will see figures in such attitudes as itwouldseem almost impossible to represent, andwill inquire,with amazement, howthey have found means, ”

not“to describe

in discourse,which might easily be done, but to ’

depictwiththe pencil, all the extraordinary circumstances exhibitedbythemwith so much facility ; nor canwe sufi ciently marvel atthe skill and dexteritywithwhich they have representedthedeeds of the Romans, as they really happened.

M any others have there beenwho have given life to‘ th '

e

figures depicted by them, but are nowthemselves numberedwith the dead, as for eM ple, Il Rosso, Fra Sebastiano,G iulio Romano, andPerin delVaga; of living artists,who arerendering themselves mostwidely known by their own acts;

it. . needs not that I should nowspeak, but a factwhich'

he

longs to the universal history of our art may be' here men

tioned, namely, that‘ the masters have nowbrought it to a

degree of perfectionwhich renders it possible for himwhopossesses design, invention, and colouring, to produce six

pictures in one year,whereas formerly those earlier masters

of ourart, could produce ,one picture only in six years ; to

the truth of this I can bear indubitable testimony, both fromwhat I have seen and fromwhat I have done,fwhile thepaintings are nearer to perfection, and more highly finished,thanwere formerly those of the most distinguished masters.

But hewho bears the palm from all,whether of the livingor the dead ; hewho transcends and eclipses every other, is

the divine M ichelagnolo Buonarotti,who takes the first

place, not in one of these arts only, but in all three. This

This judgmentwill not be approved by all readers, since Parmigianino,while seeking to surpass Correggio in grace, not unfrequcmtly falls intoM om—Ed. Flor, 1832

- 8.

1' It is precisely this rapidity of production thatwas the misfortune or

Vasari andpof his contemporaries—Mid.

parisonwith those of the other,therewill

of the modern a more exact rectitude of

principle, a grace more entirely graceful, a much more abso

lute perfection, in short,while there is also in the manner,a certain facility .in the conquering of difficulties, thanwhich it is impossible even to imagine any thing better ; andwhat is here said applies equally to his paintings, for if itwere possible to place these face to facewith those of the

most famous Greeks and Romans, thus brought into com

parisoa, theywould still further increase in value, and The

“ Grace, remarks an Italian commentator, is by common consent

admitted to be notamong the qualities forwhich theworks of Buonarroti

areappreciatcd. The German translatorrepeats this observation, but neither enters a protest against the extravagance of our.author

’

aauc tion that

Michael Angelo very farsurpris es”the perfection of nature.

f fl 0.

wmudam of Vasari for his master is declared by more thanone of his commentators to have here led him into an error of judgmentaswell as into the confusion of figures perceptible in his style.

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I n i f. c at

THE FLORENTINE PAlNTER ‘AND SCULPTOR, LEONARDOU 0 : u L n ta .DA VINCI Q .

been awhichwas rendered

every act and deed, andwho had besides .so rare a gift oftalent and ability, that towhatever subject he turned hisattention, however difficult, he presently made himselfabsolute master of it. Extraordinary powerwas in his caseconjoinedwith remarkable facility, a mind of regal boldnessand magnanimous daring his giftswere such that the

celebrityo f his name extendedmostwidely, and hewas heldin the highest estimation, n ot in his own time only, but also,and even to a greaterextent, after his death, nay, this he has

continued, andwill continue to be by all succeeding ages.

Truly admirable, indeed, and divinely endowedwas Leo~nardo daVinci ; this artistwas the son of SerPiero daVincifihewouldwithout doubt have made great progress in learn

Vinci is a small castle in the lower Valdan e, nearthe lake E icecchio.

This life of l'

ieonardo is one of the bed that Vasai 'ihaswritten . Norhaaany otherwrita conveyedso high an idca of thiswonderhilgening aswehere receive from the simplicity andbrevity of Vasari.—Ed. Flam, 1832- 8.

1 Leonardo, born in 1452, and not earlier, as some of his biographer-s

assert him to have been . Hewas the natural son ofSerPiero, notary to theSignoria ofFlorence, but is believed to have been legitimisedby his fatherin his early youth—See Nolia'ie Stan'

s)” di Lionardo da Vinci, by Carlo

Amoretti—M ilan, 1804 ; see also Brown’s Life of Leonardo Ste. London,1828; and Gaye, Cartegpio inedito d

’

Artisti, vol. i. ,wherewe have docun o tary evidence as to the period ofhis birth,

rumianno ans m om W

caused him to undertake many thingswhich having coinmencedhe afterwards abandoned. In arithmetic, forexample,he made such rapid progress in the short time duringwhichhe gave

’his attention to it, that h e'often '

confonnded~themasterWhowas teaching him, by the

i 'perpetual .ddnbtsnhestarted; and by the difficulty of the questions he proposed.

Heh lso”

cowenced the study of resolvedvto

acquire‘

the'

art'

of playing the late,when, '

being-bynstnrenofan

‘

eialted imagination and full of the most graceful.vivacity,

bate the verses'

and the music.‘

.OfLeonardo’

spoetical compositions, the followingsonnet. [in sertedtobythe care

‘of Lomazzo, is

'

the onlyspecimen.remainingChi noq el che vuol, nel che

.

Chezqiil

elpche ii

‘

on sipud follzé volere.

Adunque saggio l'uomo eda tenere,

Che'

da quel che non padsua vogler tq lia.Perdche ognidiletto nostro edogliaStafin si 0 nd supervvolar, potere ; wAdunque quel sol pud, che col dovereNe tree In ragion fuot di sua soglia.

Ne sempre eda voler, quel che l‘nom pots.

Spen o par dolce quel che toms amaro.

Piana’ git quel eh' io volsi. poi ch’io l

'ebhi.

Adunque tu’ lettordi quests note,

Vogli sempre poter quel che tu debbi.Whichmay thus be rendered

Ifwhatthouwould’st thou can’d not. then cuitentthee

Towill as thoumay 'at set. It is but fullyTowillwhat cannot be. Soon learns thewiseTowresthiswill fmm bootlesswishes tl'ee.Ourblis andwoe depend alike on knowled e

Ofwhatwe should do, and, thatknown, to o it.Buthe alone shall compass thiswho neverDothwarp hiswillwhen right before him stands.

All he can do, man may not safelywill.Ott seemeth sweetwhat soon to hitter turns.Howhave Iwept of some fondwith possened!Thou, there fore, readerof these lines,would’st thanCountwith the good, and to the good he dearlWill only to be potent forthe right.

showeduthbmno ’Andrea idel:Verrocchio,whowas aw’ery ’

intimateiM AOfbhil ,‘begging him'

e arnaatly to tell~"hini

sh een dfdiesdevotedihimself -to 1the arts of design.

: ‘

Andr‘ea‘

thdzzbott'

egii‘

or‘w'orkshdp -o f A'

ndrea.

Thither “th

'

e'boy

‘

ro asted therefore,with theutmost ‘readiness, and net'hnly

ofwhich design made '

a .portion. Endowed 'with such ad

mirable intelligence,~

andbeing also an excellent geometricia'

n,

Leonardo n ot onlyworked in sculpture (having executed

certain heads in tetra- outta; ofwomen smiling, even in hisfirstyouth;which are nowreproduced in '

gypsuny and also others

of childrenwhich might be supposed to’

have proceeded from

the hand of a master); but in architecture likewise be prepared variousgdesigns for

. ground-

plans, and the construc

tion of entire buildings : he too itwaswho, though still but

a youth, first suggestedthe formation of a canal from Pisa to

Florence, by means of certain changes to be effected on the

river Arno.

’ Leonardo likewise made designs for mills,falling machines, and other engines,whichwere to be actedon by means ofwater but as he had resolved to make

painting his profession, he gave the larger portion of time

to drawing from nature. He sometimes formed models of

difi‘

erent figures in clay, onwhich hewould arrange fragments of soft drapery dipped in plaster ; from these hewould then set himself patiently to drawon very fine

cambric or linen that had already been used and rendered

smooth, these he executed in black andwhitewith the pointThis magnificentworkwas executed about 200years after, by Vin'

cansio Viviani, a d'

nciple ofGalilee—Bottari.

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“m m msm mmm s.

of item the followingwords

”ant—«who than governed Florence, that the c hurch efnSaa

Giovanni in that city couldheraised, and steps placedhenelrthigfvitbpntjm

'

nrynto the edifice : ,he supported his auc tions

was inipossible. In conversation Leonardowas indeed. .so

plcau'

ng that lie -wonnthe hearts - of -all hearers, and thoigh

called nothing,while .he yetworked very little; hexstill 0611:stu dy keptmany servants and horses, taking extraordinaryM ight in die latter : bewas indeed fond of all animals, ever

treating.themwith infinite kindness and consideration ; as aproof ofythis it is ..related, thatwhen be pag edplaceswherebindswere sold, hewould frequently take them from their

cages, a id having paid the price demanded for them by xthe

sellers, .would then let them fly into the air, thus restori

ing to them the liberty they had lost. Leonardowas inall things so highly favoured by nature, that towhatever hetinned his thoughts, mind, and spirit, he gave proof in all of

such admirable power and perfection, thatwhatever he didbore an impress of harmony, truthfulness, goodness, sweet.

ness and grace,wherein no otherman could ever equal him.

Leonardo,with his profound intelligence ofart, commencedvarious undertakings, many ofwhich he never completed,because it appeared to him that the band could never; give

its due perfection to the object or purposewhich he had inhis thoughts, or beheld in his imagination ; seeing that in his

mind he frequently formed the idea of some difiicult enter

prise, so subtle and sowonderful that, by means of hands,however excellent or able, the full reality could never beworthily executed and entirely realized. His conception

'

swere varied to infinity ; philosophizing over natural objects;aniong others, he set himself to investigate the properties of

plants, to make observations on the heavenly bodies, to follow

.m nnm: Al 'l ’m s’

l

andnhe course ofirthessunl u wa, Jil

‘

J i ( Lem

the painter, thatmasterwas engdged on a picturethe‘

subjectofwhichwas iSan G iovanni baptizing Jesus 'ChriSt ,

‘in this

Leonardo ’pa

'

intfld ‘an ! angel

‘

holding some vestments ; andalthough hewa s but a youth, he completed that figure

'iilsuchamanner; that the angel of Leonardo

‘fwas much betterthan ithe' iportion executed 'by his master,which“ causedthe latter never to touch colours more,

“so muchwas he

' o i l

M ‘Tl J'

o i t } i f "s to)

!

the hangings of a doorwhich‘wwas’to bewoven in‘

sillrand

gold'ia Funders‘, thence to be’despatched

’ to the kingsfPortugal ,

fthe ‘subjectwas1 the sin of our first pal

-ants ‘in

Paradise: here the artist depicted ameadoiv‘ih chiaro- sctu‘o,

the high lights'being inwhite lead, displaying ’an immense

variety ofvegetation and numerous animals; respectingwhichitmay be truly said; that for careful execution '

and fidelityto mature, they are suchtthat there is nogeniusin theworld,however God- like,

=whieh c ould '

produce similar objectswithequal truth; In the fig- tree, for example, the foreshortening

'

of the leaves, and the disposition of the branches are executedwith so much care, th’

at'

one finds itdifi cult to conceive howany man could have so much patience there

’

is’

besides a

palm- tree,

'iawhich the roundness of the fan- like leaves is

exhibited to such admirable perfection andwith so much

art, that nothing shortof the genius andpatience ofLeonardocould have affected it but thework forwhich the cartoonwas preparedwas never carried into execution, the drawingtherefore remained in Florence, and is nowin the fortunatehouse of the illustrious Ottaviano de’Medici, towhom itwaspresented, no long time since, by the uncle ofLeonardo t

The picturewherein Leonardo painted the Angel '

is nowat Florencein the Academy of Fine Arts. The figures of Andrea arewithout doubthard and dry,while the Angel of Leonardo is full of life and expression.

1 See ante, p. 255.

1 Of this cartoon no authentic account can nowbe obtained, it is behei edto be lost.

rx c- rs

“372 Lin sforrfrnau m srs.

ItLi’s fi lflfed‘thavSer iPiero dat cigibeingfathiszcount-ty’hdusa

' iwas there visited by one autism on, ,his‘estate,Ltliiorl‘diavingf

'

c i'

it down anflg-treeron his zfarmuhadmaiden

“shad from ‘

part'

of 'it 'witht hisown hsnds, and-than bmught”itcb

‘

SérPiero,Ibeggi

'

ngvthatxhewould zhe pleasedtop ause

‘

ithésa‘

metobe '

painted for himfla lorence. .This ithelatter‘ve

'

ry‘wvillingly promiwdstmdo; the countryman .having great

“Fa"

shieldwin-mm to‘

Flomnce itherefm srwithout saying any’

th‘iiig lto‘

Leonardov as to

“whom1ito -was 1 for, he desiteduthe“latter

’

.to paint something

:'

upon its uAccorihngly, be one day

figde, lie straightened it at the rfirey and giving itto.sterner,“itwild brought}back ito~himcsmooth undidelimtelyimlmdqd,

‘

EN

“, of

‘to his liking, he begansto considerwhath e.could' it that might best and. most efi

'

ectually’

; terrifyapproach

- it; producing' the same . effect

With’

that formerly attributed. to the head of Medusa . .Ep rthispurpose therefore,

'Leonardo c arried to one o f zhisj opms,intowhich no one but himself ever entered, a numberh of

lizards, hedgehogs, newts, serpents, dragon- flies, locusts,

bats, glow-worms, and every other sort of strange animal of

similar jkind onwhich he could lay his hands ; from - this

assemblage, variously adapted and joined together, he formeda

‘

hideous and appallingmonster, breathing poison andflames,and surrounded by an atmosphere o f fire ; this he caused.to

issue from a dark and rifted rock,with poison reeking frpmthe cavernous throat, flames darting from the eyes ; andvapours rising from the nostrils in such sort that the l resp ltwas indeedamost fearful and monstrous creature :

,at this,

.be

laboured until the odours arising from all those dead animals

filled the roomwith a mortal fetor, towhich the seal of

Leonardo and the lovewhich he bore to art rendered him

insensible or indifi'

erent. When thiswork,which .neither

the countryman nor Ser Piero any longer inquired for,wascompleted, Leonardowent to his father and told him that he

might send for the shield at his earliest convenience, sinceso far as hewas concerned, theworkwas finished{LSer

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than all other known blacks, to the end that the lights might

by these means be rendered still more lucid, untila

he finally

produced that totally dark shade, inwhich there is absolutelyno light left, and objects have more the appearance of things

seenby night, than the clearness of forms perceived by thelightof day

, but all thiswas donewith the purpose of givingef, and of discovering and attaining to the ulti

mate perfection of art.

Leonardowas so much pleasedwhen be encountered faces

The collections of the Gaddi family havingbecn dispersed, the fate ofis k is nowunknown.

- Ed. Flora,1832 8.

1' Still in excellentpreservation in the Florentine Gallery of the Uflizj ; itwill be found in the roomwherein are the smaller pictures of the Tuscan

school An outline engravi of thiswork may be seen in the firstseries

of the Galleria di Firearm M ush-

atu torn. iii. tar. cxxvm.

1 This picturewas long beliei ed to he lost, butwas found in the hands

ofa broker, by adealer in and restorer of pictures; itwas much injured,and though seen by manv connoisseurs,was not supposed to be aworkof Leonardo, but the dealer,

“ having given it a plausible appearance, sold

it as such to a Russian of high rank.

” For further details,see v ant.

W M PA.W% 3

Offlwfilmore thanm;

mouly attractive, thr‘ougl‘i ‘ the .

whole day, until the figure '

ofthe personwoiildq

‘

become sowell impressed.na his , mind

that, having retul‘ ed.h'

. h m aid drawhmzss readilya

as though he stood before him. .thus obtained

Giovanni Galeazzo, Duke of Milan, in‘

the year 1 vico Sforzawas chosen in the same yearto be his successor,when Leonardowas invitedwith great“

honourto Milan by the Duke,who delighted greatly in the‘music of the lute, to the end that the master might play ,

before him;1 Leonardo therefore tookwith him a certain inc

.The fate of theseworks cannot be ascertainedwith certainty there are

many of the kind here described, and known to he'

by Leonardo, in the ,

British Museum. Other drawings by this masterare in t he possession of

Lord Arundel. A considerable numberof his caricatures have been en

graved.—See Variafigurc monstrous 0 Leon . dc Vinsi dchm la araM a

Jacobo Sandrart. Ratisbon, 1654 ; seealso Gerli, as citedabove. Lomazzo,Traaalo della P illars , relates that hewas himself present at a supper towhich Leonardo had invited a number of peasants,whom he diverted

by storieswhich made them laugh immoderately, and display the most

extravagant contortions ; the artist thenwithdrew, and reproduced the dicesthus distorted,with an effect so irresistibly comic, that none could look atthem

'without in hter.

1 Nowin theuflflizj, in the largerHall of the Tuscan School. There isan outline engraving of thiswork also

,in the Canon

'

s di Hrm e,a

shove cited..

- Serie 1, tom. ii. tav. lxxxviii.

3 For the question ofwhen Leonardo first repaired to Milan, anddetails res ceting hisworks undertaken there, see Amoretti, M am ie

Storiclie s a d i Leonardo, &C.

ego

Swwmch.iieh ammerm ean time“m esscalm , and.inlrhe s1iap0 of a

‘

head,’

a newauras-arm[form .calculatalnto ggive m ore f orce and

,weetnwwthe

g onads: surpassed all the'mustsikns‘wfio hiid

,pssembleddo perform:before 'the 'Duke he’wah b lasidé'

s‘

fdn‘

e

of thebest improvisatan’

in'

verse existing at that'antenna

the,Duke, enemieswith ' the‘"admirable :don‘versat

‘

ioil of

Leonardo,

fipostles'in ' thisipicture

'

rthe ‘mastergave”

so inu'

cli‘

beau"

ssh

M eatyt that .hehyss'

eonstrained‘to

'

leavd‘

thati sf ritit

unfinished; beirig'eohvinced‘that

'

he could ridt‘impart td‘i)

the 'di‘vinity -whicli' “should appefl'

ain to anddistinguish'

a’

i'

i

image uof ,

the’

Redeemer. 1"But thiswork, remainin‘g ‘

th’

hs

in —its ‘unfinished State, has been ever‘held ‘ia

‘

the’

hi'

best

estimation by the' Milhnese, and not by them

'onljg

‘

b“

t byfore ignersalso Leonardo succeeded to'

pei‘fec tion in eicprlzssi

ing the ‘ doubts and "anxiety experienced by the

‘

Apostles;andthe desire 'felt by them to knowbywhom their

"Mas'

ter

is 4to be betrayed ; in the faces of all appear love, terror,anger, or grief and bewilderment, unable as they are to

fathom them eaning. of theirxLord. Nor is the spectator less

struckwith admiration by the force and'

truthwithwhich;on the other hand, the master has exhibited the impious

'

Thiswork has been generally reported to be still in the Imperial,Gallery, but is no longer to be found there.

0

Of‘this’ adniirable'

pictnre, justly regarded by Lorenzo as the com

pendium of all Leonardo'

s undies andwritings, an engraving by Raphael

Adorghén appeared in .1800 andthis engraving is considered the master:

piece of the engraver, as the picture is thatof the painter. Thework 'wasalso copied in mosaic , and for that purpose . a cartoon, nowin the Leuch~

tenbergGallery at Munich. _and a finished picture , nowatMilan (in the

Brou ),wers prepared by '

the Cav. Bossi—See Del Cenacolo di'

Leonordoda

Vinei'

, Milan, 1810 ; see also Goethe’

s admired remarks on the same

subject, in the P ropyle en.

j 1"The head of the Sa

'

viour is, on the contrary, admirably finished, and,notwithstanding the'

ruined c ondition of thework. is one of those inwhichthe hand of Leonardo can he most clearlyrecognized.

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fiifi “ form an t-

s.

t eammate drive xom the digging in his garden, and left

Leonardo in peace: the hu duof Judaswas then finished so

picture, the beauty ofsits m pcaition, and the‘

carewithwhich it ,was executed, awakened in the King of FranosJ

admire to have,itm ovedinto his -

own kingdom,insomuch

thathemademany attemptsto discoverarchitects,'whomight

be side to secure-it by

odefenees ofwood and iron, that' it

The jesting threat of Leonardo has given rise to the belief that thehead of Judaswas in fact a portrait of the Prior, but the character ofLeonardo makes it mod unlikely that he could have offered this affront

to ,an old manwhowmerely causing him a momentary vexation bya vay padmabh it

'

not very reaaonablefimpafimcfl we lwn beaidesthat the Padn BandeHwo m at that time Prior,

erat facts magna a mwmfiu m am M ed ea

See'

SIoria Genuine del Ca n ada, &c., by the Padm Dom. Pine—M ilan,1796 .

Q

1“ Francis 1 . namely,who vifited Milan in 1515 ; not Louis XII. , as

somewriters have it,whowas there in 1499. Yet thework must havebeen completed some short time before the last date, since Ludovico llMoro, presented a vineyard in that year to Leonardo,which is believed tohave been in acknowledgmentof this painting.

—Sclwm , quoting Amomtti,atm a.

I 5; Pagave (Sienese Edition of Vaaari) declares that the king, on findi itimpossible to remove the picture, caused a copy to be made of it byB rdino Luini

,according to Pagave,which he placed in the church of

St. Germain L’Auxerroia, in Paris; but this also is nowlost.

5 Itwould bewell for the Milanese if thiswere fully true, but in so

ruined a atate is thiainedimablework, “ the present time, that its pan ca

vam m so'

na VINCL 379"

Supper, Leonardo pmnted that portrait of the above- namedDuke Ludovico,with that of his first- born son,

these are on thewall opposite to that of the Last Supper,andwhere there is a Crucifixion painted after the oldman

ner. On the other side of the Duke is the portrait of the

Duchess Beatrice,with that of Francesco, their second son

both of these princeswere afterwards Dukes of Milan :”

the

While s till e ngagedwith the paintings of the refectory,Leonal‘do proposed to the Duke to cast a horse in bronze of

colossal size, and to place on it a figure of the Duke,’ byway of monument to his memory . this he commenced, but

finished the model ou so large a , scale that it never cbuld be

commeted, and therewere many ready to declare (for thejudgments of men are various, and are sometimes rendered

malignant by envy) that Leonardo had begun it, as he didothers of his labours,without intending ever to finish it.

The size of thework being such, insuperable difi culties

presented themselves, as I have said,when it came to be

cast ; nay, the casting could not be efi'

ected in one piece, and

it is very probable that,when this resultwas known, manywere led to form the opinion alluded to above, from the fact

that so many of Leonardo’sworks had failed to receive com

sion has almost become amere name. Even in Vasarih time, the humidityof thewall, or other causes, had produced a lamentable deterioration of the

picture. Cleaning or restoration, the neglect of the monks,who even

permitted a door to be broken through the feet of the central figure (thatof the Saviour himself, of course),with the rough usage towhich the

monasterywas subjected '

in time ofwar, have all done theirpart to producethewreck so universally deplored -See Star-ia Genuine del Ckaaeolo, &c .

Amoretti, at supra, Gallenber'

g, Vita di Leonardo. and otherwriters, noneofwhom can sumciently lament the misfortune of art inwhat may becalled the almost total 105 of this noblework .

The Crucifixion is by Gio Donato Montoisani.—Ed. Flor

1' These portraits are, nevertheless, declared to have been undertaken by

Leonardowith much reluctance. Theywere painted in oil on thewall,

and quickly perished.—See Padre Pino, Storia Ge nuine del Cenacolo.are ,who quotes the Padre Gattico ashisauthority. In the Ambrosian Library

,

in Milan, there are portraits of Ludovico il Moro, and of his Duchess,Beatrice d

’

Este, both painted in oil by Ludovico.—See Pam vant,

Karim-rise, &c.

Lab!at of Ludovico himself, as themanner of the textwould imply, but

of father, Francesco Storm

880. Lives or . TI 'M

étib‘

n’

f '

;’But of altruth, there is-

goodreasonto believe that116137 617 .gmmess’ 0B his mm “ all“!

mbre’than could ' be 'efl‘

ectcd,was itself an iimpedimentspert

,h

’

eve'

r se‘

én'

anything more beautifulior more -maiestic nthis’r’

ndde'

l remain‘

ed as .'he ihad .leftit until the French,with.their

‘Ki'

n'

g L ouis; came?to Milan,when they.destroyed,it totally.j"fi ’

ama’

ll model 'of the

‘

same 'work, executed iin .waxfl aqdWhich avas' iwnsida'

ed lperfecgwas ialsqhardwired 1

preparedfornhis rown .use. : He ,attenwards ..gavp

this attention, 'andwith increased,carnestness, to the anatom‘y

frame, -a study.wherein gMeaser Mam nfimo

“assist and‘encourageeacho ~Messer Marcentoniowas

’at‘tbat itime

' holding l ectures in .Pavia, randwmte iion the

hain'

e subject hewas one of the first, as .I have, t isay,‘who'began to apply the doctrines of Galen to . the elucidation

of ' inedical ' science; and to difi'

use .light' over the science gof

anatomy,which, up to that time. had been involved in the

I See Trionfo d’Amore, cap. iii. p. “it—Ed. Flor, 1832-8.

1 The model being completed, Leonardo computed that lbs.wageof bronzewould be required for the casting, but this thewaragainst.Lu vico il Moro rendered him incapable of furnishing, and in 1499 the

French soldiers took the modelfor a target and destroyed it. Thatit,waanever completedwas, therefore, not the .fault of Leonardo. There

,is,

indeed, a pan gs in Fla Luca Pacciolo, fromwhich Gerlij ias sought to

prove that he did cast it, and that the bronze casting, aswellas themodel,was broken.

to pieces ,

by the Frenchsoldiers; but this is by no incarnate beiafely aflirni

ed. There is a design for thiswork in an engravingwhichGerli is inclined to attribute to Leonardo himself

, (see Dissyni di xLeo

male), andwhichwas at one time in the possession of Signor Vallardi, ofMilan : another, the head of an oldman,was in the collection of the Dukeof Buckingham ; and a third, a female head in profile, is mentionedby thelate Mr. YoungOttley as =in the possession ofMr. Woodburn.

,t The celebrated anatomist, Marcantonio della Ton s, of Verona,whosebalmwaswritten by Paul Jovius, butwho died in his thirtieth year.There is a porhait of him in the Ambrosian Library. said to . be byLeonardo,but not considered to beworthy of thatmaster.—See Passavant.See hlso, Madei, Verona illustrate.

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ofMilan ; they treat of painting, ofdesignbgenerally,zatfi ofrcolouring. This artistcame to see

he then had an intention

hatwas the end of '

the

Bdtto’retilrn'

to the labours of Ic onardo. During histimemail ingof France came to Milan,whereupon he (Leonardo)

structed in*verionsmatters relating to art, and certainworksdilldnnMilan,

‘

and said to be by Salai,were retouched by

ffHdving returned to Florence,1:he found that the ServiteMonks had commissioned Filippino to paint the altar-

piece

for the'

principal chapel in their church of the Nunz1ata,when he declared that hewould himself verywillingly haveundertaken such

'

awork. This being repeated to Filippino,he, like - the amiable man that hewas,withdrewhimself atonce,when the Monks gave the picture to Leonardo. And

declared his admiration of M extraordinary exactitude, and has citedthem in the introduction to his Course of Lectures published in Londonin l784.

This is thewell- known Treatise on Paintingwhich first appeared inParis in 1651, under the title of Tread s della Pillars di Leonardo da

Vinai. Later editions have appeared :among them one fi'om a copy in

the library of the Vatican, published at Rome in 1807 . That ofFlorence

( 1792) is alsogreatly valued, and thework is still considered among theheat guides and counsellou of the painter.

—Sclsom .

t Andrea Salai, orSalaino,was the disciple and servant of Leonardo,inwhose testament he is mentioned under the latter designation only.

1:After Ludovico il Moro had been deprived of the Duchy whenLeonardo returned to Florencewith the mathematician, Fro Luca Pacciolo,forwhose tnestiseDsdieinc proportion he had made thedrawings.

—Gaye,in the Kunslblaa for 1836.

M E AN .wither edthat fhemtightgmake 1progress [w1th it, theyztookhim into . their owm abodewith all his household, supplyingthe expenses of .the:whole, and so he.kept them attending oh

.him'dfor (a . long .time, but did.notmslte any commencementat length,however, he prepared a cartoon,with theMadonna,Sant’ Anna, and; the .infantiChrist, so admirably , depicted

that it not only caused astonishment 111 every artistwho sawit, but;whomfinished, the chamberwherein it stoodwascrowded for two days .by men andwomen, old and young,

staccatourse, in fshort, such as one sees flocking . to the. most

solemn f estivals, all hastem'

ng to behold thewonders produced byL eonardo, andwhich awakened amazement in thewhole people. Norwas thiswithoutgood cause, seeing thatIn the icountenance of that Virgin there is

'

all the simplicityanddovcliness .which can be conceived as giving grace and

beauty to:theMother-of Christ, the vartist proposing to ishowin ; her the :modes ty and .humility of the virgin, , filledwithjoy and gladness as she c ontemplates the beauty of her Son,whan . she is tenderly supporting in her lap. AndwhileOur Lady,with eyes modestly bent down, is looking at a

little San Giovanni,who 13 playingwith a lamb, Sant Anna,at the summit of delight, ts observing the groupwith a smile

of happiness, rejoicing as shem that her terrestrial progenyhave become divine all .which is entirelyworthy of the

mind and genius of Leonardo this cartoonwas subsequentlytaken to France, aswill be related hereafter.

“ Leonardothan painted the portrait of G inevra, thewife of AmerigoBenci,+a most beautiful thing, and abandoned the commis

sion entrusted to him by the Servite Monks,who once more

confided it to Filippino, but neither could the last- namedmaster complete it, because his death supervened before he

had time to do

Itwas afterwards restored to Italy, andwas for some time in the'

on ofAurelio Luini,son of the painterBernardino Luini. It is now

in England, as our readers are aware, but there are pictures painted from ithy the disciples of Leonardo ,which are in different galleries, the Louvreand the Leuchtenberg, for example . There are, bes ides, two in Milan, onein the church of St. Eustorgio, the other in the Brera. There is likewiseone in the Florentine Gallery of the Ullizj.

Nowin the Pitti Palace.

Itwas painted by Pietro Perugino, as has been related in the life ofmaster. See also the life of Filippo Lippi.

seen in life,and around them are those Dali‘

sred, and slightly

livid circles;xalso proper to nature,with the lashes,whichcan only belcopied, -as these :are,with the greates t difficulty :theeyebrows nlso are nepresentedwith the closest exactitude;where fuller .ma.where more thinly set,

hairsdelineatedas they issue from the skin, every turn beingfollowed, andall ”the pores exhibited in amanner that couldnot be more lnstural than it is : the nose,with its beautifuland delicately roseate ~nostrils, might be easily believed to bealive ; the mouth, admirable 111 its outline, has the lips unit

ing tlie rose- tints of their colourwith that of the face, tn theutmost

'

perfection ,.and the carnation of the cheek does not

appear to' bez=painted, but truly of fl esh and blood hewho

looks earnestly at the pit of the throat cannot but believethat he sees the beating of the pulses, and it may be trulysaid that thiswork' is paintedin a mannerwell calculated tomake the boldest master tremble, and astonishes allwhobehold it, h oweverwell accustomed to the marvels of art.

Mona Lisawas exceedingly beautiful, andwhile Leonardowas painting -her portrait, he took the precaution of keepingsome one constantly near her, to sing or play on instru

ments, or to jest and otherwise amuse her, to the end that

she might continue cheerful, and so that,her face might not

exhibit the melancholy expression often imparted by painters

to the likenesses they take. In this portrait of Leonardo’

s,

on the contrary, there is so pleasing an expression, and a

smile so,sweet, thatwhile looking at it one thinks it rather

0 It 1s nowin the Gallery of the Louvre. Francis I. paid fourthousand

gold florins, a sum equal to forty th e thousand francs of the presentday,for this picture , ofwhich there exist some good copies in Munich, Madrid,Rome, London, and .St. Petersbnrg. The original appears to have heedearly injured by restoration.

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urns va c uum

speed;while hes -lending ; tbe vwheletthe efl

'

ort,1 clin 1witlh his utmost

thmhmner, an

1l1'

snds 1 of fouro thers, ,who t tare pallwhich .“0h

1m th.10ne :0f

his hands,while '

he grasps the cause of contention .withtlwbothel'l"i ”Ari old 1soldier, fwith1a red cap!on his -head, has“so shizét lle

'

Istlndsrdwith ione 1hand, and-raising a curvedM afifinwhefi other, is 1

uttering cries of rage, and fiercelydealing

1: 1biot‘bywhich he iis endeavouring to cut of

traum as‘

dfiftwouof ‘

1 his 1 'opponents,Ewho, grinding s their

teeth? nie ce-1133111113 in

'

eu attitude -

of fi xeddeterminsfiomtodefeud

‘ftheir”bannerfi 1

'

Ou1 1thc earth, among the feet of thehsrééaiarem Other tfigures foreshortened,who . are obsti

natel'

y‘fighting

flin tha’

trposition ;*one :

1has beemhurled » to the

ground,'

-while '

the‘other 1 has thrown birdself upon .him, and,

raising hJs' armRo its '

utmost height, is bringing down hisdagger

fivithtall‘

his' for'

ce to the '

throat of 1

1his enemy ; thelatter;meahwhile, struggling mightilywith arms andfeet, isdefending hirmelf

1’from ' the impending death. 11 1 Itwould-

,be

scarcely possible adequately to describe the skill shown byLeonardo?ia 3thiswork , or to do justice to the beauty of

design‘withwhich he has depicted thewarlike habiliments

of the‘

soldiers,with their helmets, crests, and other orna

ments, infinitely varied as theyare ; or thewonderful masteryhe exhibits in the forms and movements of the horses ; theseanimsls

‘were, indeed, more admirably treated by Leonardothan by any other

‘

master ; the muscular development, theanimation ‘

of their movements, and their exquisite beauty,are irenderedwith the utmost fidelity.

"1 1It1isosaid that, for the execution of this cartoon, Leonardocaused amost elaborate scaffolding to be constructed,which

The description of Vasari is not correct as regards the number of the

figures, thewhole group consisting of four only.—Schom .

1 The group around the bannerwas engraved by Gerard Edelinck (seeBryan, Dictionary QfPainters and E ngravers), after a design by Rube n,which he is believed to have made according to the description of Van ri,rather than from the cartoon. An engraving similar to t hat of Edeliuckwill be found in Malvasia, E truria Patrice . See also Rosini, Sloria della

Scultura, for various details respecting theworks of Lecun do.

W NW pum a 387

rendered 1widér1

.by being?lowered itwas hispaint the picture in

1oil, on thewall, .but.hesmade ammposutioui for the intention, orugmuudrwhichiwasfi o coarsefilms

sink 1u such amanners s to induce Leonardo .veryabandon it altogether, since he sawthat itwas

- Leonardo da Yinciwas.aman of very highspiri t, andwas very g enerous in all his actious z. it ,is related of himthat, having nnce gone to the bank to receive the salarywhich Piero Sederini caused to be paidto him every month,the cashierwas about to give him certain paper .packetsnf

pence, butLeonardo refused to receive them, remarking, atthe same time, I am no penny .Notc ompletingthe p icture, hewas .chu1gedwith having 41008i .PiargSoderini, andwasreproached.accordinglywhenLeonardo sowroughtwith his friends, that they collected the sumswhichhe had received and took the money to Piero Soderiniwithofl

'

ers of restoration, but Pierowouldnot accept them.

On the exaltation ofPope Leo X . to the chair of St. Peter,Leonardo accompanied the .Duke Giulia-no de

’Medici .to

Rome : the Poutifi'was much inclined to philoSOphical

inquiry, andwas more especially addicted to the studyof alchemy : Leonardo, therefore, having composed a kindof paste fromwax, made of this,while itwas still inits half liquid state, certain figures of animals, entirelyhollowand exceedingly slight in texture,which he then

filledwith air. When he blewinto these figures he could

make them fly through the air, butwhen the airwithinhadescaped from them they fell to the earth. One day thevine- dresser of the Belvedere found a very curious lizard,and for this creature Leonardo constructedwings, made

Vacari has here led a great chasm in his history, remarks the

German annotator, passing,yfrom 1504 to 1515, and omitting all mention

of the travels undertaken Leonardo during that period, aswell as thelabours he performed as an engineerand architect. During a part of thistime he travelledthrough certain districts of Italy as architect and engineer

of his states it is even believed thathemade ajourney to France, but thisseems doubtfuL—S ee Amoretti, Memorie Sh rinks, &c. ; see also Dells

588 Lrvxs'

1

011 um um

the:skins’of other lizards, flayedforthesewings he put quicksilver, so thatwhen the 1auimalwalked, thewings moved also,“with a treinurous motion z1 he

hetamed and kept m a case ; hewould thenYahowit to thefriendswho came to visit him,

'

au‘d allwho sawit run 1

awayof a sheep to be cleansed and scraped until they

1wenébrought aint0 1

such"a state of 1

tenuity thatthey could‘be heldwithin ; the 1 1hollow" of the h and, having then

'

placed iu1 a

neighbouring chamber a'

pair ofwhich he had made fast one end of the intestines, hewouldblowmtmthemuntil he caused them to fill‘thewhole room,

iwhichwas 'a very large one, insomuch that 'whoever might

bethereinwas compelled to take1refuge 1a a corner:he thus

showed' ”

them transparent and fulf ofwind, remarking '

that;whereas’they had previously been containedwithin a1

sméll

conipass, theywere nowfilling all space, and this, hewouldsay,was a fit emblem of talent or genius: He made numbers

of thesefollies in various kmds, occupied himself muchwithmirrors and,

optical instruments, and made the most'

sing‘

ular'

experiments in “

seeking oils for painting; and varnishes to

preserve theworkwhen executed. About this time 1 he

painted a’

small picture for Messer Baldassare Turini, of

Pescia’

,whowas Datary to Pope Leo the subject of thisworkwas Our Lady,with the Child in her arms, and itwasexecuted by Leonardowith infinite care and art, butwhetherfrom the carelessness of thosewho prepared the ground;because of his peculiar and fanciful mixtures for colours;varnishes , &c . , it is nowmuch deteriorated. In another

small picture' he painted a little Child,which is graceful

and beautiful to a miracle. These paintings are both ~in

Pescia, in the p ossession of Messer G iulio Turiui. 1It is'

related that Leonardo, having received a commission sfor. a

certain picture from Pope Leo, immediately began to distil

oils and herbs for the varnish,whereupon the pontifi'

remarked,' “ Alas ! thewhile, this manwill assuredly do

The first of these pictures is said to be'

111 Munich, taken thither fromthe Dumeldorf Gallery , the other is supposed to be lost. The Germanannotator, Forster declares, butwithout givinghis authority, orthe reasonfor his opinion, that neither of theseworkswas byLeonardo .

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w lam fl tm m

honour to the

Was splendidly bemtiful, b rought cheer-fumes

to the heart of the most melancholy, n ewpower of hisword could move the mostobsdnate to says .

“N0,”

1dr

as he desired ; he poswssed so W e dg m of physicalstrength, that hewas capable of

'

resmining. the mast an1petuous violence, andwas '

abis to .bend one. of the. hea ringsused for the knockers of door's, ora hmi eeshoe;

~as:if itwere'

uly that hewere distinguished by talent-m edian s ; the

poorest andmost insignificant abodewasrmda'

ed beautifuland honourable by hisworks ; and ,M

1 the.nfity .bf 1Fbmhcereceived a great gift in the birth

-oflm ds; 10 114111 1 1111amoro thau griOvous loss at his death. To the art of paint

ing in oil this master contributed the discovery’

of 1a certain

been enabled to give great force. and .relieff to ,their figures.

His abilities in statuarywere proved by three figures inbronze,which are over the north door of San

.

Giovmni"

theywere cast by Gio Franwsco Bustici, but conducted

under the advice of Leonardo, and are,without doubt, themost beautiful castings that have been seen in

days,whether fordesign or finish!

We are indebted to Leonardo for awork on the anatomyof the horse, and for another much more valuable, on that

of man ;1'wherefore, fer the M y admirable qualitieswithwhich hewas so richly endowed, although he laboured

much more by hisword than in fact and by deed, his name

and fin e can never be extinguishedt For

They ars still in theirplace. Two of thsmwill bs fouud in Cicognara.—2 tar. 72.

11 His dravtings of the duatomy of the horse are saidto be lost. Of thoserch-ting to the human anatomy many are preserved—Selim .

t Vasari does not make mention of Leonardo's talents in architecture,

nor of his skill as an engineer. For details respecting these and other

matters the readeris tetbrredtoAmoretti,M emoriesStoriche,&c . ; Lomazzo,m um dell

”Arte della Pillars :Pen nant,Waagen,

'

and others. TheEnglish readerwill also find an excellent compendium of the life ofLeonardo,with some interesting details and useful references, in Bryan,

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“

894 um omrm nm rs'

rs.

SVl g~

V V

1‘l

'

r

m vsmmm PAINTER, GIORGIbNE, or‘

cas'

rrznrm co.

[soars 1478.—man

renown from theworksO

.t 'wr 'w

on stone.

5. By means of excavationsmadewithoutnoise, and forming tortuousand narrowways, I have means of reaching any

.

eveu though it bs ueee- ary to pan bsueatb ditches brrmdera river.6. I can also construct covered W secure and indestructible,which; entering among the enemy,will lreak ths “rouge“ bodies ofmar;

and behind these the infintry can followina fety andwithout in pedimeat.

“ 7. I can, if nesdful, also make banba mortars, and fisld-

pieces of

beautiful and useful shape, entirely difsrsut bum thosem common use.

“ 8. Where the use of bombs is not practicable, I canmaks cro- hows,mangonels, bsliste , and other machines of extraordinary etiicisucy and

quite out of the commonway. In fine, as the circumstances of theshall demand, I can prepare engines of

“

offence forall purposes.9. In case of the conflict having to be maintained at sea, I

‘

have

methods for making numerous M umsnts. ofl'

eusive and defensive,withse- sls that ahall reai“ the forcs of the most powerful bombs. l ean also

make powders or vapours forthe offence of the enemy.

“ l0. In time of peace, I belisvs that l could equal any other,as lsgnrdsworks tu architecture. I can prepare designs for buildings,whether publicor private, and she conductwater-imm une placate another.

Furthermore, I can executeworks in sculpture , marble, brouse, ormay be done, aswell as anythe bronze horse,which is a

monument thatwill be to the perpetual glory and immortal honourof mylord your father ofhappy memory,and of the illustrious house of Sforza.

“ And if any of the above-named thins shall seem to any man to beirnpossible and impracticable, I am perfectlyready to make trial of them in

your Excellency'

s park ,:or inwhateverother"place you shall be pleased tocommand, commendingmyself to youwith all pod ble humility.

f

.

Thiswas Giorgio, born rn the year 1478, at Castelfrancod’

in the territory of Tréviso, and at the timewhen G iovanni.Mozzenigo, brother to ,

the Dege

self been electedDog'

s ; G iorgiowas, at a later period, calledG iorgione, aswell fromthe charactero f his person as for the

excitation of hismind: hewas of extremely humble origin,butwasneverthelessvery pleasing ln manner, andmost esti

"

mable in character through thewhole course of his life.

,

Brought up inVenice, he took no small delight ln love

se, end in the sound of the lute, towhich hewas socomly ddevoted, andWhich he practised so constantly, that

he played and sangwith the most exquisite perfection, insomuch that hewas, for this cause, frequently invited to'

mirsi'

cul assemblies and festivals by the most distinguished

persomgesl G iorgione selected the art of design,whichbe greatlyloved, as .his profession, andwas therein so highlyfavoured by nature, that he gave hiswhole heart to her

beauties ; norwould he everrepresentany object 111 hisworkswhich he had not copied from the life ; so entirelywas hesubjugated by her charms, andwith such fervour did he

imitate them,that he not only acquired the reputation of

having excelled Gentile and G iovanni Bellini, but of

being able to competewith thosewhowere thenworking in Tuscany, andwhowere the authors of the modern

manner.Giorgione had seen certainworks from the hand of

Leonardo,whichwere paintedwith extraordinary softness,and thrown into powerful relief, as is said, by extreme dark

ness of the shadows, a mannerwhich pleased him so much,that he ever after continued to imitate it, and 111 oil paintingapproached very closely to the excellence of his modeL§

llrs family namewas Barbarelli. Ridolfi. M araciglie dell'

Arts, &c.

1' Vedelago, another village in the province of Treviso , disputeswith

Castelfranco the honour of having given birth to G iorgione, but he is

generally called Giorgione of Castelfranco .-8.

inih'mmearlier portion of this artist

‘

s life,omitted by Vasari,will be found

dolfi, M araeigl‘

re dell‘ arts. liewas brought up in the school of the

Bellini, and his progresswas so rapid as to awaken the envy of his master.

For'

varrous details and certain remarks concerning theworks of thrs artist,fee Kugle

'

r, Gm hichts def M olar-oi.

5 The Venetianwriters do not agreewith Vasari in the assertion that

Giorgione acquired his manner from theworks of Leonardo. Lauri con

”

896 raves or f'm um '

nsrs.

zealous ."Jadxir

‘

irer at“ the good 111"art,

‘Giorgione alwaysselectedfor represeir

'

tatibn‘

the'most beautiful objects that hec ohldifin

'

d, taxidvthese he treated the most varied manner

he lwas endowed by 'naturewith highly felicitous qualities,and gave to

'aH'that he pai nted,wh’

ether‘

in oil or ’t‘

rescdf’

a

and =.the icolouring is so freshappears toUs ratherreal than paintedwithiarmo‘ur, as is the arm,withwhich he holds the head of

Goliath. The second ismuch larger, and rs the portrait of

aman taken from the life in the hand this figure holds the

red‘

barett- cap of a commander, the mantle rs of furs, and

beneath it “appears one'

of those tunics,’

after the ancient

fashion;which arewell known ; this rs believed to represent

some leader of armies. The third picture is a Boy..with

luxuriant curling hair, and rs as beautiful as imagination can

portray theseworks bear ample testimony to the excel

lence of G iorgione, and no less than his desertswas the estimation in -which hewas ever held by that great patriarch,

siders him to have been merely excited, by the {tune of Leonardo, to

attempt the creation of a newstyle (see History,&c., vol. ii. p. The

manner of G iorgione 1s indeed by no means similarto that of Leonardo.

Ed. Flora, 1 832-8.

There is a picture similar to that here described, and ofwhich thesubject is Davidwith the head ofGoliath, 111 the Gallery of theBelvedereat Vienna—KM .

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898 um ov um usm srs.

bringwith therxi a saline humiditywhich is exceedingly

noxious.

In the year 1604, there happened amostflagration at the Exchange, or Magazines of the German

Merchants, near the bridge of the Rialto,whereby the buildingwas entirely consumed,with all thewares contained '

111 it,to the great loss of the merchants. The Signoria of V enice

thereupon commanded that it should be rebuilt,with ia

creased convenience for thosewho used it or dwelt therein,allwhichwas speedily commencedwith great magnificence,and, in due time,was accomplished in a style of infinite

beauty andwith rich decoration. Giorgione,whose famehad constantly extended,was consulted on this occasion, and

received a commission from thosewho had charge of the

matter, to pairit the building in fresco of various colOurs,according to his own fancy ; provided only that he gave proof

of his ability, and produced awork of adequate excellence,the edifice being in one of the finest sites, and commandingone of the most admirable views in thewhole city.

‘5 Giot

giono set hand to thework accordingly, but thought only

The ficade looking towards the canalwas that awarded to Giorgione ;that towards the bridgewas decorated by Titian. See the life ofthe latter,

neronaroxa.

nfmx'

ecutsng fanciful figures, calculated'for the diaplay. of his,

knowledge in art, andwherein there is, of ,a truth, neitherM omentof events in consecutiveorder, nor even ,single

representations, depicting the history of known or . distinguished persons,whether ancient or modern. I, femmy .

part; have never been able to understandwhat they mesh,nor; m th all the inquiries that I have made, could I evgrfind any onewho didm ailers 1 there 1s a man, .there a

attitudes; one has the headof a lion beeis an angel. butwhich rather resemblescannot divinewhat it allmeans. Over the doorwhich leadstn

”

the shire- rooms for thewares, a seated figure of awomapissiepicted ; she has the head of a dead giant ather feet, ,asis :the custom in representations of Judith, and this headshe 1s raisingwith a sword,while speaking, at the same time,to a

'

figure 1 11 the Gennan habit,who 1s standing, still furtherbeneath her. Whatorwhom this figure may he intendedtorepussent, I have never been able to determine, unless,indeed, it be meant for a figure of Germany ; on thewhole,however, it is, nevertheless, apparent that thework '

rswellcomposed, and that the artistwas continually adding to hisacquirements : there are certain heads and other portraitsof different figures 111 thisworkwhich are extremelywelldesigned, and colouredwith greatanimation. G iorgione has alsolaboured throughout tomaintain the utmostfidelity to nature.

non is any trace of imitation to be discovered 111 the manner.

Thiswork rs highly extolled 1n V enice, and re celebratednotonly for the paintings executed by G iorgione, but also forthe advantages presented by the edifice to the commerce of

the merchants and for its utility to the public iG iorgione likewise executed a picture of C

his Cross,while he 1s himself dragged along by

The Judith, orGermam , orwhatever else this figtu'e may he meant

to typify,was not painted by G iorgione, but by Titian, underwhose name3 is engraved by Piccini. - Boltari. [Giacomo Piccini, a Venetian e n

gaver of the setenteenth century. The print in question is known as a

udith,with the head ofHolofemes at her feet,'I' The Siroccos and saltwinds lim e almost entirely destroyed these

pictures. Certain fragments of themwere published in 1760 by Zanetti,among the twenty four engravings of his Varis pillars afresco, ds’principali M aeslri Vm cz ianL—Ed. Finn , 1838.

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Monk of; the Biombo 111

not onlyequalled, but eventhese artistswe propose {to and.will than fully describe the honour ,andsdvantagewhich .the

o

fi I

r t if: r I tr

y “

‘

rirs riiursm'

hhro‘

mo ‘m - r

conasccro.

[sons lul l—nit» 1115343

willing to depart hastily from the.landwhereinourgreat motherNature, that she might not be accused of par-1

tislity, presented to theworld extraordinary.men, of the samekindwherewith she had for so many years adornedTuscany.

Tithnwas not the d'

nciple of

Jacopo Palms, Paris Bordone, and others of le eminence.

3 Antonio Allegri, of Correggio,was born in a city so named, in theDuchy of Modena. Hewas the son of Pellegrino Allegri, and of Bernarzdina Pian oli, calledDagliArm ani. The very name of this greatmasterwas long involved 111 obscurity, and Vasariwas the firstwho attemptedhisbiography,which 1s, however, exceedingly meagre, and notwithout errors. ,It is true that his defects and omissions have been subsequently rectifiedand supplied, to some extent, byVasarihimself, inthe Life of Girolamoda

a rom m e

eoaaseero. 403

advanced 'by diligent

which man is most commonlyIf; ‘the exercise of his art,

«Antonio betrayed the

melancholy attributed to his disposition sf but, devoted to

the labours of his vocation, hewas a zealous inquirer into all

the diflieulties incidental to the calling he had chosen. Of

his successwe have proof in a vast multitude of figu

executed by his hand in the cathedral of Parma : they are

painted in fresco, and finishedwith much care. These

pictures are in'

the 1great ,cupola-of .

the church, and the fore

shortenings are managedwith extraordinary ability, as the

spectator, regarding thework from below, perceives, to hisin Lombardywho commenced the

modern manner, and it is thought

that’

if he,had travelled beyond the limits of his native

Cami, aswell '

as bymany otherwriters, amongwhom the reader is referred

to Pungileoni,Homeric star-icho diAntonioAllegridella itCorreggio, 3 vols. ,

Parma, 1817 ; Mange, M anaris com m end la vita e ls opera diAntonio

Alkyd, &c. ; also Lanai, at supra, vol. ii. p. 374, at saq., English edition,with Bryan, Dictionary ofPainters and Engravers,whose compendium is

a

l

very satisfactory one. The German readerwill find valuable details in

Fiorillo, Ga s/tickle def M alawiin Italian . Fussli, It'

iinstlsr- Laticou, dto

also in Hirt, Kunstbsmsrlruugen , &c . ; and Fiirster, Briefs iibsr Malawi.Laterwriters prove that Correggiowas not so poor as might he

inferred from thesewords. He is said to have given his sister a dowry of

a,hundred ducats on her marriage, and to have bought lands,which he

afterwards left to his children.— See Pungileoni, u:supra.

1 The German commentator, Schorn, remarks that, as Vasari somewhatlightly accuses Pietro Perugino of irreligion, ofwhichwe, nevertheless, findno trace in his life and conduct, so does he here describe Correggio as a

melancholy and laborious painter,while theworks of thatmuster give constant evidence of a cheerful spirit and of a facilitywhich overcomes all

difl'iculty,without any undue efl'

ort. See German Translation, vol. iii.

Part i. p. 62.

1 Of thiswork Vasari speaks more precisely, andwith the eulogies so

justly its due, in the life of Girolamo da Curpi.

11 13 2

I D ,_A u , y I

LIVES OF THE ARTISTS.

this is, much more that he should be able to execute itwiththe hand, so extraordinary is its beauty, so graceful the flow

Thequestionwhether Corregoio did or did not visit Rome has beenmuch conta ted, but those ,who maintain that he did not are nowin the

ascendante—See Lanzi, ut supra, vol. ii. seq .

. 1 Antonio may have acquired the rudiments of his artfrom his paternaluncle, Lorenzo Allegri, and from Antonio Bertolotti, painters of no great

account in Correggio, butit is certain that be obtained the mostvaluable aidafl

‘

orded :to him from Andrea and Francesco Mantegna, 111whoseworksham. and m that of Begarelli, of Modena, towhich also he had accmhe must have found casts and drawings from the antique in suflicient

t:The second.of these picturesrepresents the martyrdom of San Placido.

Bothwate rformerly in the church of San Giovanni. belonging to the Benedietine Monks. They are nowin the Pinacoteca of Pam —Ed. Flor

1838.

in the year 1687, the .greater part of these paintingswere destroyed,for the purpose of enlarging the choir; but one portion of thework. thegroup containing the Madonna that is,was preserved, andwas placed inthe Royal Librar1 .

- Ed. Flora, 1832 8.

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a romam :assessors.

“407

1111”t thete‘was indeed no Lombardwho could

Unrpfi szaorr’eggiq 'hepainted

1the“

hair moreoverso a'

dniirablyss‘wmldarx and"sd‘lielieately‘as to distinctness and‘

finish,that‘inbthing

‘bstterlcouldp ossibly be seen. Therewere hesidesCupids

’trying their arrows on a stone,

banghforhiedWith much judgmentof lead'

and

cumstanee'wlfich impartedan ‘added charm to

that the sighteyes beholding

theuiz'

l' For ltheseworksA‘

htdnio certainly‘merited all praise

and‘honou’

r duringh is life, andwell deserved to be cele

brated both byword and inwritingswith the unno'

st’

gloryafter his death

i“1COrre

'

ggio painted a figure of the V irgin

also inM odena, and'

thisworkwas held in great esteem byall punters,

‘who ’

considered it to be the bestpicture possessed

by that city'

s: In Bologna likewise, there is awork byAntonio, in the Palace of the Ercolani, one of the noble

families ofwthat place ; the subject of this p ainting is ChristMary Magdalen in the Garden, 11 very beautiful

thin’

g?§'

LAnbther admirable and delightfulwork by AntonioWe learnm Mengs that these pictures, afier pas

sing through several

hands, mine into the poucsi on of the Duke ofOrleans, bywhose son Louistheywere destroyed.

1’ The second of these pictures is said to he not

Venus,but Danae. It

1s nowinthe BorgheseGallery, inVamri is supposed here to be speaking of the marriage of St. Cathe

rine, towhich he further alludes 111 the life of Girolamo da Carpi. This

paintingwas presented by Correggio to his sister on the occasion of her

marriage. It'

is nowin Paris. A very beautiful replica of thiswork 1s in

the posse sion of the King ofNaples.

5 From the Ercolani family thiswork passed into the hands of CardinalAldobr

’

andini, and afterwards into those of one of the Ludovisio familyItwas subsequently taken into Spain, but is said to be nowin Englandand 111 the possession of the Duke ofWellington

-M assslli.

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ge rm film y ; 415

the common

chance or. from

the most singular lscenes, combatsof,horses, strangelyvordered

thatmaster,

he intended

being much ,

although hewas entirely unlike him; his mannerwas indeed altogether

different from that of most other artists, in its extrava

gance or peculiarities nay, he may even be said to have

changed it and adopted a newone, for every newwork that

he executed.

Had Piero di Cosimo been less eccentric, had be imposeda more careful restraint on himself, during the course of

his long life, the extent of that geniuswhich he certainly

possessedwould have been made more clearlymanifest, he

might indeed have rendered himself truly admirable,whereas, by the absurdity and extravagance of his life he caused

himself to be considered a mere fool. In the end, however,he did no harm to any one but himself,while hisworks havebeen very beneficial to the art. Yet, from his example, men

of exalted genius and able artists, may nevertheless lea

that life should not be passed through,without having an

eye to the end.

Iwill not omit to mention that in his youth, Piero di

This variety of manner. remarks an Italian commentator, renders

it diflicult to distinguish theworks of this master by means of the com

parison of oneworkwith another.”

fi f e

LIVES OF THE ARTISTS.

singtlar inventions;was perpetuallyvu lléd rt!)

richly caparisoned,with their riders splendidly arrayed, ac

cording to the subject represented,waswithout doubt an

attractive and beautiful spectacle. Six or eight attendants,also on horseback, accompanied each cavalier,all clothed 1n

the same livery and each bearing a torch in his hand; of

these therewere sometimes above four hundred : next fol

lowed the tr1umphal chariot, elaborately decoratedwith‘

trophies and fanciful ornaments of various kinds, a thingwhichwas notwithout its utility, 1n sharpening thewits ofthe contrivers,while it gave infinite pleasure and delight tothe people.

Among these spectacles,whichwere numerous aswell asingeniously arranged, I am inclined briefly to describe one,whichwas, for the most part, invented by Piero,when hehad already attained to mature age ; this showwas not of

,a

pleasing or attractive character, but, on the contrary,wasaltogether strange, terrible, and unexpected: it gave no

small pleasure to the people nevertheless, for as in their foodthey sometimes prefer the sharp and bitter savours, so in

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mil awn ” r. .

. 11'

nit

arc ineyerweary ofextolling the extraordinary spectacle pre

sented by .it. I remember to have heard Andrea diCoaimo,who assistedPietro 1n the .preparation ofthe show, andAndreadel Sarto,whowas Piero’

s disciple and also took part in‘

it,afi rm that this invenfionwvas intmded, aswas believed i tthe .time, to s ignify .and prefigure the return to Florence of

the, Medici family, for ~at the timewhen this triumphwasexhibited, .the M ediciwere exiles, and so to speak dead, but

dead that might be expected soon to arise again, inwhichsensewere interpreted certainwords .of the verses sung:on

that occasion, andwhich are as followMorn

“

lieu , ca n od d s,Cori morti vedrm 005

Fra m e gid come cei rid e,Voim ete m a M i, cc.

‘

We are dead, as you behold us.

But thu deadwe you -shall -see ;

Wewere once as you are now,But you soon shall be aswe.

«IQ Lm romsrn '

am rsrs.

M M M ing*fmm1thehthtmehnfrthe dragontfi.

inflthismi'

on'

stensindeed; randnin the fantastic ideformity in?d

_

to it, he nhas idihplayed-a degree of ; invention svhinhaiet ztliink', M sdrpassedq avenom is damagi fmmiits

am fine adddeithiam insnts aspect, the creatuneyisiindeedmost:frightfdl,

‘

ttiiorzdo vl believe:that any masterLcnuld iprpyiduhe more

»emtmordinary1efi'

ects than P iero diCosimo 111 that

mannerziorbould indea'

dimagihe any thing equal to them; ofthiswire-thrive proof an a marine monster, executed by Cosimoandwhich he presented; to the 1110801008 1 Giuliano ; .

‘def.Medici?! ithetdefoirmityxof thismnimal 13 something so extras:

m t, a‘

o fantastiq aand so unearthly, that:I cannot believemyd hingho hid

‘

eo'

us and trepulsive:could zposdhlyebe foundin natnre.

'

J M rmdnster 18 ' nowin the Guardarobatbf thflt e .Cosimo de".Medici, as is ”also a book, filledwith zani:fi l ialoffdivers kindusby the hand of P ierwsome iexceedingly,slogan

-

others remarkably. beautiful, and all .executedmclrefullywith?'the'

pen, theing finishedwith inconceivablepatiencef

: (thisi 1bookxfwas presented to theDuke}:byMesserCosimo Bartoli, provost of San G iovanni, a -mosttmstwm'thgcfriend

‘

ofsmynowu, and thewell-wisher of all artists, being,who 18, onewho ihas reverzdelighted, and stilLdoes .delighty

in these our. noble arts.

.vAround a chnmber, in the house of FrancescodelPuliese,Piero paintedhistorical events in asimilarmanner, the figures

beingwsmall. f In this .work also the artist has exhibited’a

singular variety of:those:fantastic objectswhich he so greatly,

delighted in painting-the buildings, the animals, the vest?

ments; the instruments, all are of themost fanciful and varied

character, he depictedwhatever came into his head in {shamthewhole representation being entirely fabulous. After the.

death ofFrancesco ,del Pugliese and his sons, these paintingswere r emoved; nor do -I knowwhat became of them. A

For the legend of this Virgin Martyr

MildMargarete, thatwas God’s maid,MaidMargarete, thatwas so meek andmild,

see Mm. Jameson, Poetry of Sacred and Legendary Art, vol. 11. p. 130,at re see also ante, p.

‘277.

+ z‘hé predella has long been lost.i No authentic information can nowbe obtained, eitherof the monstet

orthe book.

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es m u seum -sums

M ongwb inra.

corner-

.until thwtomiM amma lsfl are dlfpommwas 'extnemely' anim atedarm -193m ;

ise ; ,

butwhen he had attainea he»; mheW 9 90m selziosmmoas(chat-m 5

Hewould sometimes be ached—3 (15759305desirep to get to hiswork,when; his palaied'

ptmnpifl entslghim ;he,would ~fall into fits

'

oi rage, sand. 1labgnn1 t0rfor09 hasmarbling hands to exertions ofwhich gtheywere ‘

n ogouge;wable ; “while thus raving .or\

mntk fina ime mahlyatickwould drop from his grasp, or even the pencils themselveswould. fall from his fingers, so that itwas behold.

the flies on thewallwould sometimes arouse3him, ;to mnayr even the very shadows became ‘an 0394190 to him,

~ and

thus, sickening of mere old ,age, the femfxiendswho stillcgntinued to .visit him exhorted the dying man to {make lh

'

is

peace [with God ; but he put them 05 fromxdayj todayynotthat-hewas an impious or unbelieving p erson; hewas, onthe contraryy a very z ealous Christian, though. ofaso rude-p

membut he did not, believe himself be . 80 M r. death ; my;washonvinced to the conm ry. . He zwould qsometimesndificourse largely,

of. .the torments endured by those,who, die-

oflingering diseases, and remark howdeplorably they mustsgfi

'

erwho find their strengtht mental and bodilyn alilge

gradually decaying, and see themselves to be dying by littleand little,which he declaredmust needshe 'd greatamiction:hewould then abuse

.

all physicians,'

apdthééariei j’

iihdl

duress, declaring that‘

they sdfl'

ered1

their patients toidq of

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m m u‘

0? mwm rs'

rs.v

y ; H M IAm i fl {3 N "1 1

'

s?“ 1 i

m incur-ram;mu m , onm emo.

33 f l: mmib'

imbc

sdvmtagea rvithout “Gu am in

M aofi aFflippo n d following .

-in shis fwummabeisg yslm

Brdmm tc, nor could my master displaymanure preten dacquaintancewith the principles of

’

his art, 11mm !“adherence to the proportions tof his;works, or e nriche

'

r

fi n’

ety of invention in their decoration, then may be fxfonnd

Qualitieswere more thanwas .demanded ,at that time, seeingthat Julius II., a prince full of the boldest fdesignsu

'

tadearnestly . desirous of leaving due , memorials of .himself .

«to

succeeding ages,was then Pope. And very fortunatemit, both for him and ‘for us, that Bramante did meetmithsuch a. prince (forhappen to men of great one atwhose cost he mfurnishedwith Opportunitieswhich rendered it possi. ble for

we Wiiters are by no means agreed ss to the name of thismaster‘; fi e

Donato of Urbino , celled Bramante. According to Mum chelliph'

e

subscribedhimself, Bramante Asdrubaldino ;” butPagan , citingauthenticdocuments, calls him Bramante See further Pung

‘

ileoni,’

”calorie calla vita di Douala o Donnino Bream , 61a , Rome, 1888.

11 D’Agineonrt, in his admirablework .,L

'

Hisloirc ds‘I’

Arl d’cpm It?!

M onumens, Paris, 1823, has a passage,whichwe quote from the Gmedition en '

s-1ri, to the following effect Brunellesehi andLeon BatistaAlbertimay be said to have recalled the ancient style ofarchitecturelta lifc,but itis Bramante towhomwe are indebted for its firm establishment

“

, andwho has found means to adapt it to the requirements ofmoda n life."

t

3 - 51 1 , 11W . . m 42}

him to display the resources"

of the powerwithwhich hewasendowed. and 111mm tombs ;world.

tbst 1namely over the

difi cnlties of his art, the evidences ofwhich are so much

admired in hiswdrks. The extraordinarymeri

architect’is imléediobwods,’ not only in the general arrangeC

also and equallyon and mouldings

of the ioorniees for example, the shafts of the columns, thé

graee and relegance of the capitals and bases, the careful

adjulstihentmf the consoles andfinish of angles, the vaultings;the stairway the buttresses, ressaults, and other supports

all treceivdd hisiattention in:due measure, as did every other

uiangetncnt requiredlliorthe completion of the"whole edifice;

insomuch that fever-ydarchitecturalwork constructed 'by his

counselsaor is an object of surprise aswellas' delight to allwho behold it. Wherefore itappears to methat!the lasfingtzgratitdde justly due to the ancients, by thosewheae studiesenable thein to derive h provement from their

labours, fis duexin noiless degree to the labours of Bram ute,

fnoin‘

l thosewho benefit by them : for if the Greeks

invented that architecturewhich the Romans imitated,Bra

'

mantedidmore than the latter, since he notonly imitated,but, imparting to uswhat they had taught, in a newandameliorated form,headdedunwanted graces and beauties tothe art,whichwe receive ennobled and embellished by his

‘fl‘

m m 1 y 1~ r

'

This masterwas born at Castello Durante,’ in the state

of

poo

Urhino, his parents being of good condition though verypoor j

'u In his ehildhood hewas taught to read andwrite, in

addition towhioh‘

h e applied himselfwith great industry toOrCasteldnrante, »nowcelled Urbania, from Pope Urban VIII..who

erod ed it into a bishopric and gsve it bis own name. But the place s!

Bram nte’

s birth'

n also'

a subject of dispute . Baldi, M anor-is d’Urbino,

afirms that he “ born at Fermignano, nearUrbino. Cesarisno maintainsthatUrbino itsdfwashis birthplace. Others contend forMonte Asdrubale,and others againfforMonte San-Pietro, both in the territory of Urbino ; butDe Pagers (Siamese edition of e i, who seems to be moreaccurately informed than any otherwriter on the subject, declares that“Biamantewas born in Jul the ’y

ear 1444, at Stretta, two miles fromCamel- Durante, nowcalled{Idioms0 His panutswa s Severe La u ri and Cecilia Lombardelli, both of

l“

that .citywas painted. But Bramante foundhis principalpleasure in architecture and; the study of perspecfiye, FMdeparted therefore from Castel Durante; and proceededqto

snoh '

as could do'

the architwt cmuch h onouiy sincerheahad

reinoved to Milan to examine‘thegDuommh

V itriivius, but falling. into despair at finding himself'

disnappointed in the remuneration

‘he had'

expected .toreceive for

Fra Bartolommeo Corradino, a Dominican, called h a hirnsiale,most probably, from his joyous taped and jovial character. The picturehere alluded to is nowat Milarhin the Bm md an uigraving of itwillbe found in thework entitled, [rapes

-id s a Ru le Pinnacle“ 45 f ilm s,

1 Vakari appears to have too hastily over the early yeaia ofBramante. According to De agave, he first studied under the

Seine Scirri, of Caseldurante, and left that place'

in his twentieth year, butbeta s his departure he had already constructed“a smalldrculartemple tothe Madonna del Riscatto, on the banks of the river Metaurus.

” Thesamewriter informs us, that previous to visiting Lombardy, Bramante hadalso a -

ected churches, pubhc hfilding and otheredifices in M endwhen in Milanwas considered one of the most distinguished artists adornd

ing the court of Ludovico ilMoro, butwhether as a painter icr architesv

there are no documents to show. or his paintings, indeed, but little

authentic information can nowbe obtained (consult‘

Pa- avant also;Bcim

'

ige t ar G esdeichle do? alters I dler-solution tse'

der ‘ltwas towards the year 1476 that Bramantewent to Milan,where be con

structed various edifices (see Pagavo, notes). In 1488hewas invited bythe Cardinal, Ascania Sfom , bishop of Pam ,

'

to that city, there to rebuild

the cathea (the Incoronata). Paga'

ve declares himself to have seen thedrawing of this building by Bramants

'

s own hand,

~with the date 1490.

Ses also Pungileoni.—Mm oris m lla u a :

‘

c

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.ererrm flm ee‘

am 33!

eventually, to favom'

ibiS;M 9884 While Bramante, there,

fore,was continuing hisuatudioe be here described, it cameinto the mind of the Cardinal to rebuild a c loister inTra'Vertine, for the monksmf the:Pace, and thiswerk '

:he

committed to Bramanted g Whereupon, being very anxiousto nnakte gain aswell gas m aequire the goodwill of theCardinal, he gave himself to theworkwith the utmost -sealand idiligence,

'bywhich zmeans he quickly brought it,” ,amost true that the buildingWild

inRome,who thendevoted zthemselves to architecturewiththe zealous study and promptitude of executionwhich odisuIn the commencementofhis labours, this master servedasunderlarchitect toPopeAlexanderV I.when that Pontifl'wasconstructing the Fountain in the Trastevere, as likewise forthatwhich he also erected on the Piazza of St. Peter,§ buthisreputation having increased, hewas invited to take partwithothereminentarchitects in thegreaternumberofthe consultationswhichwere held respecting the Palace of San G iorgio,and the church o f .San Lorenzo in Damaso,which RaffaelloRiario

, Cardinal of San G iorgio,was at that time about to

build near the Campo diFiore. And although betterworksmay have been executed at a later period, yet this palace,were it only for its -extent, has ever been considered and still

continues to be thought a splendid and commodious habita

tion ; theworks of this fabricwere conducted by Antonio

Oliviero Carafl'

a.

1 In the year 1604.

I Of these and otberworks by Brsmante alluded to in succeeding pages,

plateswill be found in D’

Agincourt, LesArts deer-its d

’apres lee M ona

stem , tom. iv. plates lvii., lviii.

These fountainswere demolished, and others of greater magnificencewere constructedm their placer—Bottari.

433 Lures or “mada m e.

Monticavallor Bramantewas fh'licwis'

e consulted .im respech

tot the'

preposed enlargement of the clini‘chs of. .

'San lzJacopo'

degli Spagnuoli, situate on the Piasek Navonai‘ he ltook part

also in the 'deliberationsrelating to Su itsMariadelldAiiim'

ar

1116 building ofwhichwas aflaerwards entrustedwto atfl ermatiarchitects!and designed the palace of theCardinal

‘AdrimdldaCorneto in

‘

the Borgo Nuovo,“whichwas 'builtf'

very slowly.

and ultimately remainedunfinished,1 lin conseqnencd ofhtlie

Cardinal’s flight. The enlargement of the principd chapel.

in sane Maria Maggiorewas also efl'

ected according to the

much credit ‘

111 Rome that he began to be esteemed’thetfirstarchitect in that city, being exceedingly bold and prompt,vith igreat and varied powers of invention. The mosowdis-l

tinguished personages of Rome nowemployed him therefore”

.

in'

all their important undertakings, andwhen, in the'

ryant

1503, Julius II.was raised to the pontifical tchtur Bramantewas at once employed 111 his service.

A project had been formed 111 the mind of that pontifl; forcovering the spacewhich then lay between theBelvedere andthe Papal palace,with a building in the form of a quada

gular theatre, des igning thereby to enclose '

s ' small avalleywhich interposed between the palace and the newbuildingserected for the residence of the Pontid

'

a, by Pepe Innocent

VIII . ; the intention ofJuliuswas to construct two corridors,one on each side of the valley, bywhich means he couldpassfrom the Belvedere to the palace under a loggia, and in like

manner could return from the palace to the Belvedere,without exPosure to theweather the ascent from the lowestpoint of the valley to the level of the Belvederewas to beefi

'

ected by flights of steps.

Bramante therefore,who had great judgment and amostingenious fancy 111 such matters, divided the lower part intoWhen the cardinalwas compelled to leave Rome , in l5l7, .

-he

presented this palace to the crown of England. Itwas inhabited by.

the

ambassadorofHenryVIII.at the periodoftheReformation,butthen fell intootherbands

,and ultimately passed into those of the Torlonia family. Such

of ourreaders as are familiarwith Romewill rcmembcr the position of this

palace,which 1s on the Piazza of San Jacopo Sm u lli.

1 Itwanted only the portal,whichwas suppliedduring the last century,but not, according to M11isia, M emoric dtgPAM ,

in the grave and

pure style of Bramante.

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z 1 485

1m zand 1fli'

ghts‘

of steps, ,rich and'

vsried 1n 1 1design,~which

xunite‘

the higher1to thezloimr levels of the building,.all from

ofBramante,'

and admirably executed in the Doric,Ionic, and Corinthian orders frespectively, arrangedwith'

rthe

[mostfperfect 1grace. He hadmade amodel ofall thatwas to1have beendone,which is said to have been ofmost imposing

1 beauty, as indeedwe may see that .it must have been fromthe 1

.commencement of thework ; even left 1

'

as it is in the

1 imperfect statewhereinwe see it. Among other things is“

a

.windingstairconstructedbetween onlumus,whichisgraduatedin suchamanner that it can be ascended on horseback 1ia

thiswork the Doric order is followed by the Ionic, 1

and'

the'

Ionic hy 1the Corinthian, thus rising from one Order into the

other ; thewhole is conductedwith the utmost judgmentand -finishedwith exquisite grace, insomuch that it does him

equal honourwithwhatever otherwork he may have ex

contad in the same place.

* 'The invention of thiswmstair Bramante borrowed from San Niccoldof Pisa, aswehave notified in the life of G iovanni andNiccoloThis .master had formed the fanciful project of making

certain letters, in the manner of the ancient hieroglyphics,on a frieze of the external facade,whereby he designed '

to

display his own ingenuity, aswell as to exhibit the name of

the reigning Pontifl'

and his own, and had commenced thus—J

'

ulio II. Pout. Maximo, having caused a head in profile

of Julius Caesar to be made, byway of expressing the nameof the pontiff, and constructing a bridgewith two arches to

intimate Julio II. Pant ,with an Obelisk of the Circus

Maximus to signify Max. But the Pope laughed at this

fancy and made him change his hieroglyphics for letters a

braccio in height, in the antique form, such aswe nowseethem declaring thatBramante had borrowed that absurdityfrom a gate in Viterbo, overwhich a certain architect. called

Maes tro Francesco, had placed his name after his ownfashion, and thatbe effected iton thiswise :he carvedafigureof San Francescowith an arch (area), a roof (tetto), and a

tower (torre),which he explained in away of his own tomean, Maestro Francesco Architettore.

’

fl‘

his spiral stairmay still be seen behind the Fountain of Cleopatra,but

'

in a part nowabandoned it is therefore altogetheruseless.‘

I' Soc vol. i. of the presentwork .

t s 2

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439

tion of the gwprkwhichwas complecornicewhich surrounds the interiorconductedwith.so ,much ability, lthatormore . graceful 1than; is the [

design

every part,W illi have beenproducedIn the capitals of thisedifice also,which informed

.

of olive leaves, as indeed in all thewhich 13 of the Doric order, and of 1nexpressall these thingofBramante

’

s gif he had possessedmeans of action equivalent to his powersof conception, hewould have performedworks never beforeheard of or even imagined.

But theworkwe are here alluding towasconductedaftera much altered fashion on his death and by succeedingarchitects , nay, to so great an extentwas this the case, thatwith the exception of the four piers bywhich the cupola18

supported,we may safely affirm that nothing ofwhatwasoriginally intended by Bramante nowremains. * For111 the

first place, Raffaello da Urbino and G iuliano da San Gallo,whowere appointed after the death ofJuliusII., to continue

thework,with the assistance of Fra G iocondo of Verona,

began at once to make alterations in the plans and on the

death of these masters, Baldassare Peruzzi also effected

The readerwho shall desire such details as cannot here find place ,

is referred to Duppa’

s Life of M ichael A elo ; Bonanni, Tampli VaticHirloria ; Quatremere de Quincy Vie: dc: as calibre: Architect“ ; and

Milizia, M emorie dcgl’

Archileai see also D’Agincourt, Les Art: deceit:d’

apres les Alonumm s ;with Platnerand Bunsen, Betchreibung der .SladtRom. There are besides , many otherwriters,who have ably treated thesubjectm all its details.

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Lrvss or .rnr. m ars.

”m us Proofs of respectwindadmiration fran c

es,whowere acquaintedwith3

several years.n Branante ”thewhen he died,was home to his graves;with the most honourable solemnities, and attended by thempapal court aswell as by all the sculptors, architects, and“ ;

in Rome. Hewas entombed in San

preparing both known to the ancients. but thew

,

secret ofwhich had been lost in their ruin, and had re»

I

mained concealed even to the time of this master” Wheré-v;

fore, thosewho devote themselves to the examination rand

admeasurement of architectural antiquities, find no 11cmscience and excellence of design in the .works of Bramantethan in those of the ancients themselves, and among artists“well acquaintedwith'

the professionwhich be exercised, this

master must everbe accounted one of the most exaltedminds

bywhom our age has been illustrated. He left behind .him

his intimate friend and associate Giuliano Leno,whowasmuch employed in the buildings erected at that period, but

more to provide for and superintend the execution ofwhatothers had planned and designed, than to erect buildings of

his own, although he possessed considerable judgment aridvery great experience.

In the execution of hisworks, Bramante employed Ven

Hewas buried in the subterranean church (the Grottowas afierwards honouredwith the following epitaphM agma Alexander, magnum ul condersl urban

Niliacis oris, Disco-

raters habuit,Sed si Bramanlcm tellus antique tulissit,Hie M acadam Regi gratior esset co

In the life of Giuliano and Antonio da San Gallo, Vasariagain alludes'

to this invention.

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31146 .t‘ .

.iuvns o ra l-

1m (m ars.

take ~me too far, but th'

érelare

by Baccio that'

they must! riot

these paintings,~afigure

'

ofrthe

rly beautiful picture, anduisg'

highlyanother of them

''was purchased,

PierMaria of the Wells,*a clover -of

in a sale of old furniture, but beihgits beauty, hewould not afterwardsmoney that could be ofi

'

ered to him .

and ' is executedwith extraordinaryhad a small V irgin in marble,Donatello in very lowrelief, ~a

ng todo-it

wouldpainting in chiaro - scuro is perceived to decorate the outer

side of them this also represents Our Lady, receiving the

Annunciation from the Angel, and is likewise painted in oil.The tabernacle is nowin the study orwriting- chamber ofthe Duke Cosimo, a placewherein are kept all the small

bronze figures from the antique,with the medals and other

rare pictures in miniature, possessed by his most illustrious

Excellency ;who treasures it as an extraordinarywork of

art,which in fact it is.1'

Baccio della Portawas much beloved in Florence, not

0 The mode inwhich Vasari speaks of these pictures does not enable‘

us

to distinguish them from others by the same master. nor canwe nowindicate their probable locality.

" —Ed. FIor.,1838.

f The pictures here described are still in perfect preservation ; they are

in the room appropriated to the smaller paintings of the Tuscan School, inthe Florentine Gallery. These are the miniatures towhich Vasari hasreferred in the life of Donatelle—See vol. i. of the presentwork.

gave for 1ts ultimate'

deco

painted on the inner side

from the life of Christ, one

the other the Circumcision

sceneswere ekeures, so delicately

be possible for anything in 011

rm m omm o im 3 411 75114 1100.

”4547

onlyd'

or hi

tained all fthatwasWill fibe related In

masterwas no less

artist, being dissem

h m the commission to paint the chapel,wherein the remains

of the ,dead are deposited, in..the cemetery of the hospital of

Santa Maria Nuova. Here Ba'

ccio commenced a paintingin fresco, of the Last Judgment,which he executedwith so

much care and in so admirable amanner, in the portionwhich he finished, that he acquired a still further increase

of reputation. Hewas extolled above all for the remarkable

abilitywherewith he has depicted the glories of the blessed

in Paradise,‘where Christ‘with the twelve apostles is seated

in judgment on the twelve tribes, the figures being most

beautifully draped and the colouring exquisitely soft. One

part of thiswork remainedunfinished, the condemneddraggedaway to hell namely ; of these formswe have the outline only.

The design of the master has, nevertheless, made the shame,despair, and dread of eternal death, as clearly manifest in the

expression of their faces, as are content and joy 111 the coun

tenances of thosewho are saved, although the picture, aswehave said,was left unfinished, our artist having a greater

inclination for the practices of religiousworship than for

painting.

Nowit happened at the time ofwhichwe nowspeak thatFra G irolamo Savonarola, of Ferrara, a renowned theologianof the order of Preachers,was in the convent of San Marco ;where Baccio attended his preachingwith infinited evotion,

Of this celebrated picture very little is nowto be seem—Mu scat}

huuaeaiwhere young maidensidwelt, itwas dangerous and

improper ytocrretaintpicumeawherein therewere fundrapc'd

figures. NowritwasItho custom in that city to erect cabinsfofthe time aofzfi miln k o

‘

and ' on'themight zof Stu-

ore Tuesday;

th'

eae'

fires,withzaongs 'and dances. On the return of:the

Carnival following rthO period ofwhichwe nowspeak; 'how-gthe people, that 1nstead of these accustomed dances; theybrought pictures andworks in sculpture, many by themexcellent masters—allwhich they cast into the fire,withbooks andmusical instruments,whichwere burnt111 likemannet—a most lamentable destruction , and more particularlyas to the paintings. To this pile brought Baccio della Ports

all his studies and drawingswhich he had made from the

nude figure,when theywere consumed in the flames. Hisexamplewas followed by Lorenzo di Credi, and by manyothers,who received the appellation of the Piagnoni

"

No long time after this, Baccio della Porta, moved hy thelovewhich he bore to Fra G irolamo, painted a picturewhereinwas his portrait,which is indeed most beautiful.Thisworkwas at the time transported to Ferraro, butwas

That the followers of Savomarolawere so fi lled has been alreadyremarked in the life of Sandro Botticelli . that party, in its political

haddeclared against the exaltation of the House ofMedici; theirOpponents,whowere called the Am boica

’

,were equally averse to the

supremacy of that house, but joined the followers of the Medici 111 theirenmity to Savonarola on the groundofwhatthey condderedthe “ intoleranthypocrisy

”of the Piagnoni- Sec Varchi, Stan

'

s M .

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7 an y” or m , m m'

rs.

am plction. In thiaawork he fplaccd the portrait of1the thenM m, .with .those of certain Monks,whowere eminent forq their gknowledge of surgery. He added the vflikensss{bf

W M who hadcausedthe painting to fba‘exscutsd,0

figures ; modem

hunted the ortrait of his pupil G iuliano Bugiardini,hwith long hair,’ as itwas then the customtowear it,,and so carefully has.thework been executed, that each sepa

M hairmight almost be counted. The portrait of Mai-i

mm himself 13 also in this painting— ia the head,with longhair, of a figure emerging from one of the tombs there as is

[flflofihat (If the painter.FraG iovanni da Fiesole,whose lifewe”havewritten. This last is in that portion of the picturewhich” presentsthe blesssdness of the just. Theworkwas all

executed in fresco, both by Fra Bartolommeo and Mariotto;

,it has maintained and continues to maintain its freshness

admirably, and 13 held in great estimation by artists, seeing

that, 111 thismanner, there scarely could be anything better

cheated by the art of the painter.

t When Fra Bartolommeo had been several months in the

convent of San Marco, hewas sent by his superiors to

.Florence, they having appointed him to take up his abode

as .a Monk, in the convent of San Marco in that city,wherehis talents and good qualities caused him to receive number

less .marks of kindness from the Monkswithwhom he

dwelt. At that time Bernardo del Bianco had caused to be

constructed in the abbey of Florence a chapel, richly and

beautiq y erected, of cut stone, after the designs of Bernar

dino da Rovezzano ; awork,whichwas then andis nowmuchadmired for its varied beauty. And to complete the deco

rations, Benedetto Buglioni had prepared angels and other

figures of vitrified terra- cotta in full relief, placedwithinniches,with friezes consisting of the arms and devices of

Bianco, mingledwith heads of cherubims. For this chapel,Bernardo desired to obtain an altar-

piece,which should be

But little of the upper part of thiswork, that executed by Fra

Bartolommeo, nowremains ; and still less is to be seen of that executed by

Mariotto Albertinelli, the lower compartment namelv.-B.

rm marowm o 151 sim m oo.

91151

Mbrthyb f its beauty ; andfeeling convincedftliat“FliaOBifrt

'

o

‘lommeowould . be exactly the‘person to eiecute‘

t at5hewished, the used every possiblemeans, by the intervention,

bfandnby all otherm ethods, to dispose the ‘Mofik fto

.that undertaking .

.Fra Bartolommeowas then‘

in his‘cor

'

i

vent, exclusively occupiedwith his attention to the ~r’

eli°

gious

services, and to the-duties imposed bythe rule 01

"his Ordér,

although:frequently entreated by the Prior,

’

aswell asby'

his

own'odearest friends, to commence some Work

'

in paintin"

Fouryeam -had 'nowpassed since he had refused to exec

any labours of that kind, but on the occasionwe are nowdescribing, being pressed

' by the importunities'

of Bernardo

.del Bianco, hewas at length prevailed on rtc begin the picture of -St. Bernard. The Saint is represented

1aswriting,when the Virgin

vappears to him, holding the'

DivineChild

in her arms, and borne by numerous figures of'

children andangels, all painted by sthe . masterwith exceeding

jammy.

Beholding this appearance, St. Bernard is lost in adoringcontemplation, and there is .acertain inexpressible radiance

of look,which is so to speak, celestial,‘in

‘

his countenance,

andwhich seems, to himwho considers the picture attentively,to become difi

'

used over thewholework. There is, b esides,an arch above this paintingwhich is executed in fresco, andis also finishedwith extraordinary zeal and care.

‘

Fra Bartolommeo painted certain other pictures soon after

that here described, for the cardinal G iovanni de’ Medici,with a figure of the Virgin, of exquisite beauty, for Agnolo

Doni,which last is still on the altar of a chapel in his

houseJ'

About this time the painter, Raffaello da Urbino, came

to study; his art in Florence,when he taught Fra Barto

This picture, nowin the Florentine Academy of the Fine Arts,wasmuch injured during the last century by barbarous retouching

—Ed. Flora,1832- 8.

f Nowin the Corsini Gallery, in Rome—Bottari. It is declared byLanzi to be perhaps the most beautiful and gracefulwork ever executed

by this master.

”- See the History of Painting, Florentine School, Epoch

2nd, vol. i. p. 150.

I The expression of Vasari is here imparare,“ to learn

, forwhich hisItalian critics reprove him sharply. affirming that Raphael had alreadylearned his artwhen he arrived in Florence ; but the gracefulmaster,

”as

ourauthordelights to call him, may verywell have come to study his art

0 0 2

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rm sanrenoxuso m :~SAN1'

MARCO. 455i

terniined'

to depamilmvh gzto aRafl'

asllobtlie'

lcharge f‘

ot‘‘cbin-

‘i’

not ,remain to finish, the (San Pietro Unablely that Viral‘li’}h

therefore, retouched in every pm by the“admirable Rafi

‘

aello,“t til l

5Thus FraBartolommeo returned to Florence, andas he hadbeen frequently assailed therewith declarations to the effect"thathemas not capable of painting nude figures, he resolvedto showwhat he could do, and prove that he could accord- 4

plish the highest labours of the art aswell as othermasters?to lthis end he painted a San Sebastian, fwholly undraped, by'fm yiof. specimen ; the colouring of this figure is like that of“

the living flesh, the countenance most beautiful, and ia'

per-“z,

fecttharmonywith the ' beauty of :the form thewholework,"in short, is finishedwith exquisite delicacy, insomuch that it

"

obtained him infinite praise from the artists.“ f' f

.It is said thatwhen this paintingwas put up in the?“

church, the Monks discovered, fromwhat they heard in

the confessionals, that the grace and beauty of the vivid1

imitation of life, imparted to hiswork by the talents of Fra

Bartolommeo, had given occasion to the sin of light and'eVil

thoughts ; they consequently removed it from the church

and -

placed it in . the Chapter House, but it'did not remain .

there long, having been purchased by G iovanni Batista della

Palla,’who sent it to the King of F

Fra Bartolommeo had often felt greatly displeasedwiththe joinerswho prepared the frames and external ornaments

of his pictures, for these men had the custom then as theyhave now, of concealing one- eighth of the picture by the

projection of their frames, be determined therefore to in

vent some contrivance bywhich he might be enabled to

dispensewith these frames altogether ; to this end be caused

the panel of the San Sebastiano to be prepared, in the form

of a semicircle ; on this he then drewa niche in perspective,

trusted,"he remarks

,with the self-sufficiency of the numberless medi

ocritieswho have sincewalked the sacred city under the aegis of their

slenderabilities.

"

Mentioned again in the life ofAndrea del Sarto , asbeing, according to

Bottari, in the habit of “ buying up the pictures of the masters and sendingthem out of Florence .

"

1 The fate of thiswork is not known.

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fi fi .o'

gumrvas or'

run u n s'

rs.

pmofiioilehis’rpow’ernovev the difi cultiesof his art,friction;with rwhich! he knewhowto manage the

diminution of the shadows, and the softening of th

wilt-ion ; lin a iwordgthis is as perfect a picture as ever pro;m derhd

'

rom ' ihis hands In “the same church he painted“ Shampict

’

ure also on canvas, the subject our SaviourwithSt} (Catherine the'

"

Martyr,“and St. Catherine of Siena, the

latteriin a'

n ecstasy, rapt from earth, a figure thanwhich it isWmm me ‘that-‘anything

better can be done in that

mannerif a a s 4 .x

himsfilfimhchiwrthmusic; and findin

hewould:sometimes sing for his amusement. In Prato he

painteda picture!of the Assumption, 1|:opposite to the prisonhi the c ity; «for the House ofMedici also this master painted

certain?pictures'

of the Madonna,with otherworks for difi'

er

entrpersons am ong these is a figure of the Virgin,which isnowl in the possession ofLudovico, son of Ludovico Capponi,176th another, also of Our Lady holding the divine Child in

herarms, ‘andwith the heads of two Saints beside her . this

last belongs to the very excellent Signor Lelio Torelli,

principal secretary to the most illustrious Duke Cosimo, bywhom it is held in the highest estimation, § not only for the

Thomas Lawrence, and subsequently passed into that of the King of

Holland.

Of the six mints called Catherine, it is not easy,without a moreminute description than is here given, to be quite certain as to the one

meant; an examination ofthe painting itselfwould assist us to a solution, if

the masterhas given the Saint her proper attributes,as he most probably

has done, but this is for the moment not possible to the presentwriter.The probability, meanwhile. is in favour of St. Catherine of Alexandria,sometimes called by the Italians, St. Catherine of the Wheels (delle mate),inallusion to her deliverance by the angels from the first attemptmade tospUect her to martyrdom, herdeath being ultimately effected by the sword;this Saintmay,with great propriety, be designated as in the text.

,

‘

f Still in the church ofSan Romano.

The present place of this picture is not known. There is an

Assumption painted by [Na Bartolommeo, in companywith MariottoAlbertinelli, in the Gallery ofBerlin. Waagen .

Of the two pictures painted for Ludovico Capponiand Lelio Torrelli,the Florentine and German commentators alike declare themselves unableto procure authentic information.

lse pleased. This modd ,

lam eo paimed the shead of Christ in‘

idarkwtints, 1a very'

In fflie chapeltof the Nov-itiate of San fMi rco there is ;

Domenican Monks, at‘

some distance from Florence, there is

a figure of the Saviour,with one ofMary Magdalene,whichEraBartolommeo paintedwhile dwelling there for his re

creation. He likewise executed certain pictures in fresco for

the Cloister of the Convent § In an arch over the Stranger'

s

apartments in theMonastery of SanMarco, FraBartolommeo

also painted a fresco, the subject is the Meeting of our

Sayiourwith Cleophas and Luke ; in thiswork the masterplaced the portrait of Fra Niccolo della Magna,whowas

Thewell- known lay figure, nowan indispensable a piece of furnitureinthe

'

studio of every painter.

f'

The fate of thiswork is not known.

t Nowin the Imperial and Royal Gallery of Vienna. There is a

lien in the Florentine Gallery, but smallerthan the original, and someinjured by retouching.

Q The Saviour, the Magdalen, and an Annunciation, also by Fra

Bafi olommeo, are still to be seen in that convent. Some headswhichwere there have been carried away, and. after having remained for sometime in the Florentine Convent of San Marco, are nowin the Academy ofthe Fine Arts.

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$ 32 un is brwas 1 111-111 8.

Ind‘liéfldohld‘ himself. Haw“ ias'"therefore advisedbyllfis

’lphysi'

ciah to proceed to the'

baths at San F1hppo, butalthough he remained there a cbnsid

'

erable time, he becamebut very little better. Fra Bartolommeowas a great lover

.of fi'uit, finding the flavour particularly grateful to him,

although itwas exceedingly 1njurious to his health ;where.fore :one morning, having eaten very plentifully of figs, hecwas attacked, in addition to his previous malady,with a

violent access of fever,which finished the course of his life

in four days, andwhen ‘

he had attained the age of forty eight

the last, andwithinfinite grief to his

f his order,’who

inother odines, so that all the profit resulting from hisworks,was theproperty of the convent, he retaining in his ownonly so much money aswas necessary for the pur

of colours and othermaterials requisite for his paint“189

‘

The disciples ofFraBartolommeowere Cecchino delFrate,Benedetto Cianfanini, G abbrici Rustici,

“and Fra Paolo

Pistolese, twho became the possessor of all that he left

behind him. Fra Paolo executed numerous pictures of

various kinds, after the death of Fra Bartolommeo, from

the -drawingswhich thus fell into his hands ; three of theworks thus executed are nowin the church of San Domenicoat Pistojat. and one is at Santa Maria del Sasso, in Os

sentino. Fra Bartolommeo gave to his pictures such admi

Ofthese three masters nowell- authenticatedwork can nowbe pointedout.A Ed. Flat , 1882

- 8.

f Fm Paolo, of Pistoja,waswas of the Signoracci family ; his father,Bernardino,was also a painter, and follower of the manner of Domenicb

Ghirlandajo. This master died at Pistoja m the year 1547— lbid.

I Tolomei, Guide 111 P istoja, speaks of two only as nowexisting in the

church of San Domenico , an Adoration of the Magi and a Crucifix,withthe Madonna and St. Thomas Aquinas. There 1s, however, a third 111 the

Sacristy, representing the Madonna,with the Saviour, Santa Caterina of

Siena, Santa Maria Maddalena, and San Domenico ; this lastwas broughtto the church from the convent of Santa Caterina.

m m o oatam m u . 1163

r

colouring, find.enriched1them-wi.thbeauty qfla-ohm"111! original, that, for these reasons hewellm erits ito

’

be .

numbered;

'

THE‘

FLOR’

ENTINE PAINTER, ammo ;ALBERTINEIILI.

1

Mamo'r'ro ALBERTINELLIwas the most intimateand'

tru'

sted’

friend of Fra Bartolommeo, nay,we‘

not onlybecause theyiwerebut

”

also for the similarity of their 111

'

Mariottowas the son of Biagio diB1ndo Albertlnelli upto the age of tvirenty he

'

hadp ractised the trade of a gold;beater, but he then abandoned that calling he acquired the ‘

first principles of painting in theworkshops of CosimoRoselli, andwhile there formedan intimate acquaintanceship '

with Baccio della Porta. Theywere indeed so foompletelyof one mind, and suchwas the brotherly afi

'

ection existingbetween them,

‘

f thatwhen Baccio left the'workshop of

Cosimo to exercise his'

art as amaster,Mariotto left it also,

and again joined himself to his companion . They accord

ingly both dwelt for a long time at the gate of San Pier

G attolini,where they executed numerousworks in company,and as Mariottowas not so thoroughly grounded in the principles ofdesign as Baccio, the former devoted himself to the

study of the antiquitieswhichwere then in Florence, and ofwhich the larger aswell as the best partwas in the Medici

In the first edition of hiswork , Vasari observes that theworks of

Mariotto Albertinelliwere performed about If our author here

intends to intimate the date of the master’

s death, as he sometimes does bythis mode of expression, his birth must have taken place in 1467 ; but

Zani ascribes that event to the year 1475, and declares his death to have

taken place as above.

1 .This is the more remarkablewhenwe cons1derthe great difference inthe opinions, characters, and habits of these two mum—Ed. Flor 1832.

i664 -Lrvss or m mrrsrs‘

.

Mariette copied several times. In one of the rilievi here

,tiful dog, and 111 another are two nude figures, one ofwhichisseated audhas a dogat hisfeet, the

zleaning ott a stud, the legs crossed one

.of these rilievi arewonderfully beautiful, and in the same

M W, one of the last mentioned representing two . 11

2:thunderbolts of Jupiter ; the other displays

aged man, entirely nude. .havingwings at thefeet ”well as the shoulders, and holding a pair of scales in

, his hand. this figure la undei'stood to represent Opportunity.

In, addition to theworks here described; therewere many. iothers in thst garden.whichwas, so to speak, full of fragments from the antique, torsi for instance of the human form,masculine and feminine, allwhichwere the study, not ofMariotto only, but of all the sculptors and painters of his

time. A ood part of theseworks are -nowin the Gum-da

of t . Duke Cosimo , othersremain in the same place,as the two torsi of Marsyas for example, the heads over thewindows, and those of the Cmsars over the doors 1By the study of these antiquities Mariotto made great

progress in design, and the zealwithwhich be prosecutedhis labours, having become known to Madonna Alfonsina,mother of the Duke Lorenzo, that ladywas disposed to

render him all the assistance in . her power, and he executedseveralworks at her command.

Employing himself in this manner, nowoccupiedwith,design, and anonwith colouring, our artist finally obtained

considerable facility, as may be seen from certain pictures

That of the Via Lama namely, built by Cosimo, Pater Patric , after

the designs of Michelozzo Michelozzi (see vol. and nowin pen si on

of the government.

1 The German annotators remark that when Vasari speaks of the

Geardaf oba of the Duke,we may generally understand that the Galleryof the Ufirsj, orthat of the Pitti Palace, 1s the place indicated.

”

I Some of these sculptureswere dispersedwhen the Mediciwere banishedfor the second tin e others, amongwhich are the ten t of Martyn ,

restored by Donatello and Vurocchie, areare in the Gallery of the Ufi q .

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4& W as o rwas sewers.»Work ,and the rather

I

Bartolommeo. The I'wasam

there,with other des'

n olation of his prom1se, at length agreed to finish it;’With

great love and much diligence he then continued theWork,and brought it to a most successful conclusion, insomuch

knowing the facts of the case, Would supposethe

'whole to have been e‘xehuted by one sole 1151111 9 1 1113

performance therefore obtained Mariotto very g

r

eatreputa

‘

tiOn in the art.'

At the Certosafof Florence, Mm otto Albertinellipainteda Crucifix,with our Lady and the Magdalenatthe foot ofthe Cross,while above themare angels receiving tlie bloodof Christ. This picture is in theChapter House, it is painte

d

in frescowith zealous care, and 1s verywell finisliedzt ‘

Nowit chanced that certain of the young men Whowerestudying their artwith Mariotto , andworkedwith him at

the Certosa,were dissatisfiedwith the table supplied to themby the monks,who, as they thought, did not treat thembecomingly. Without the knowledge of their master, the

disciples thereupon made keys, resembling those of the

Windows looking into the cells of the monks, and throughwhich theywere accustomed to receive their food ; by this

means they contrived to steal the pittance of the inhabitants,nowrobbing one and nowanother. This caused a great

outcry among the brethren, for m matters of the mouth a

monk is quite as sensitive as any other man, but as the

young parnters acted their part With great dexterity, andwere considered to be very respectablewell conducted persons, they did not attribute the blame to them,

but on the

contrary accused certain of the monks,whom they believed

Theseworks have been described in the life of Fm Bartolommeox Seeants, page 447

— 449, at seq, n

The fi rthusian Monastery.

I Beneath this picture there 1s the following inscriptionru mor-rt rwm rrur opus

n o one, ru nes, nsus

ou snus m .

1 1100000111. l ass sarr.

m on o

“

fi sherm a n. .467

to .1have .abstracted the foodsoul:of hatredzto those aa‘

olibed,andwho obtained all the credit of the contrivance in one

morning the truthwas made known and the »mysterynexaplained,whereupon the monks, to be rid of their tormentors.agreed to double the rations of Mariotto and his scholars.

provided only that theywould promise to finish theworkspeedily,whichwas accordingly effectedwith greatflmerrimentandmany a joyous laugh. 1 i E11.

For the nuns of San .Giuliano in Florence, .Mariotto

painted the picture of the High Altar. This .

’work heexecuted at 11 roomwhich.he had in the Gualfonday togetherwith another for the same church, inwhich he represented

the Trinity, a Crucifix that 18 to say, surrounded by!angels,with the figure jof God the Father, painted 1n oil on ,a gold

ground.1'

1 w,

Mariottowas a man of restlesscharacter, .a lover of thetable, and addicted to the pleasures of life, it thus happenedthat the laboriousminutiae and.racking of brain attendant on

the study and exercise of art, became insufferable to him. Hehad frequently been nota little mortified also, by thetonguesof his brother artists,who tormented him, as their custom is

and always has been, the habit descending from one to

another by inheritance, and being maintained in perpetual

activity. He determined therefore, to adopt a calling,whichif less elevated,would be also less fatiguing and much more

cheerful : our artist accordingly opened a very handsome

hotel, the house being one of those outside the Gate of San

Gallo but not conte ntwith this he likewise established a

tavern and eating- house, at the Drago, near the Pontc

Vecchio. In these places he performed the duties of host

during several months, affirming that he had chosen a pro

fessionwherein therewas no embarrassmentwith perspective,foreshortenings, or muscles, and Whatwas still more, no

criticism or censure to dread ,whereas thatwhich he hadOn the suppresmon of the monastery and church of San Giuliano, this

picturewas placed in the Gallery of the Academy of Pius Arts. It

represents the Madonna,with the Divine Child 111 herarms; beside her areSt. John the Baptist, St. Giuliano, St. Nicholas ofBari, and St. Dominick.

In the course of the last century thisworkwas retouched by AgostinoVeracini.—Ed. Flor, 1832- 8.

f The painting of the Trinity 1s also 111 the Florentine Academy of FmeArts —1bid.

a n ?

mm.

orm:

contra with all those d1sadballing he;had

rleft:

‘Mariotto

to the ehair of St. Ifeter, he painted a circularpicture'

infoilitr

'

xth

'

e'

hopiseof Media ,whichwas longsuspended o‘vet‘thegate of theirp alace.

1 In thiswork “

he.

depicted’

the armsoft

éie Medici, accompanied by the figures

‘

ofFaith; Hope, and11515

Forzhe brotherhood of

_

San Zanobi,which has its abode

near the Chapter House of Santa Maria del‘

Fiore, Marietta

undertook to execute a picture of the Annunciation, but thishe did not bring to a conclusionwithout a vast amount bf

labour. He had caused the light to be arranged in the pre

cise manner suited to hiswork,which he desired to execute

on the spout to the endthathe mightimpartto each separate'

portion of the picture its due efi'

ect increasing or diminishing, as the distance of each figure mightdemand ; andgivingto every part its required amount of light.

'Mariotto Wasthat paintings areworthy of estimation only in

as they combine reliefand forcewith soflness he

the figures could not stand fbrth from the planesurfacewithoutshadows, but if these are too dark the'work '

isrendered .indistinct, and if too faint the picture is found to bewanting in force ; hewould fain have secured the perfection

of softness for his painting, togetherwith a certain‘

something

Vasari has not mentioned the subjects of theseworks; it thereforebecomes very difficult to distinguish or trace them.

—E'

d. Flora, 1838.

v

On the precise spotwhere the picturewas to be suspended, that 1s to

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m on o u snnrmsnu . 47 1

ing the energies required‘

forsuch‘efi

'

orts, hewasto

“! to l‘liis

“

of"that 7i’

m’of "the place,

she

but

ufiicient to'

ré

cover him" he -

‘

died in the”bui-ied

‘

at San 'Pier‘

o

by7the band of this

hidst‘

ér’ihjonr~lidck

’

of drawings, theyare doneWith the penin‘chiaro theni

‘

is a spiral staircase of exceedi

’

ng' difiiculty, this

“

is’

drawn i n perspective, in the lawswhereof ‘Mariotto’was '

verywell.vetted.

” Our artisv had‘man‘

y disciples,"among

'

others Fra G iuli

ano‘

Bugiardihi,’3assi

'

both‘

Florentines,1'with

Innocenzio da whomWe prep’

ose‘

to’

speak in’

the

properplac'

e.

mThe“Fld'

rentine’’phinter V isin

'

owas also a

disciple of Mariotto and surpassed all those

Whom'we ‘

hitve "previously mentiened, .

Whether in design,colouring,

'

cr‘

eare in execution he hadalso abettermanner,of Which

'

We find proof in the careft finishedworks still

remaining by'

his hand there are‘

indeed very fewof thembut a judgment

’

may be formed of the

artist from thosein possession of G iovanni Battista diAgnolDoni.§ One of these is a circular picture painted in oil

,

and representing‘

Adamand Eve, nude figures, in the act of

eating the apple, awork executedwith infinite ability ;

In the first edition of our author, thesewords are succeeded by the

following inscriptionM eals parum (fak er) constabam mantis acumen

Sad tam attendantpicta, j uices 1111716.

1 The lives of both these artists followin due course.

Innocenzio Francucci, of lmola,whose lifewas principally spent in

Bologna. He entered the School of Francis in 1506 , butwe are not on

that account to inferwith Malvasia, that he could not have studied duringa certain timewith Mariotto Albertinelli, in Florence ; sincewe have not

only the amurance of Vasari to that efi'

ect, but also the observation of

Lanzi,who remarkswith justice that the style of Innocenzio da lmolaresembles that of the best Florentine masters belonging to the period in

question, to such adegree as fully to confirm the assertion of ourbiographer.

This master.”remarks an Italian commentator. must indeed have

been one of no small account, since Vasari dec lares him to have been

superior to Franciabigio and Innocenzio da lmola.”

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474 Lm s or run anrrsrs.

frq an excellent c ommencement ‘and almostc ertain hopes,

indeed remark for the most part, that itis in-the productions

of mature as dnwthose:of '

arty the ,best arise ' from

they attain to theirhighestp erfection.

« But the causes of m y rrh appearance

d

aswell in'

art as m

cases astute of things bywhich the human judgment is oftepfrequentlyc ompelled to admitthemselveswholly at fault, aswas .mamfest »in . the f instance of 'Rafl

'

aellino'

del Garq I n

him .art and nature ,appeared ,to have united

‘

their efforts

In his youth, Rafi'

aellino studied drawing as industrioirslyas any.of the painters,who have laboured by long '

pl'wlii

.

03

to attain perfection in their art, and there still remains a

vast number of drawings -by his hand,which one of his sons

is always ready to sell forthe meanest price to any purchaser,they may therefore be foundwherever there is a lover of art.These designs are partly in chalk, partly donewith the pensome are inwater- colours, but all are on tinted paper, the

lights being added inwhite lead, they are executedwithextraordinary boldness and admirable facility : many beauti

ful examples of them, in a very fine manner, are to be found

in our own book of drawings. He also acquired the power ofpainting in tempera andfresco,which he did sowell thathisfirstworks gave proof of an almost inconceivable care and

patience, as I have already remarked.Among otherworks performed by Rafi'

aellino del Garbo,at this early period of his

'

life, is the ceiling of the vaulted

recess in the Church of the Minerva,withinwhich is thetomb of Cardinal Carafl

'

a, andwhich be decoratedwith such

delicacy of manner that it might be taken for thework‘

of a

mmxaturistf for this'

cause hewas '

at that time held in the

Of thiswork Vasarihas already spoken inthelife ofFilippo Lippi.See ante, p. 280.

RAFFAELLINO DEL GARBO .

highw‘.ésM ‘

among artists,“ inso

'

mu‘

ch that Filip'

po his

masterconsideredxRatihellino to be'

1n some respects amuchhetter p

‘

ainterth‘an himself. ” Rafi'

aellino had indeed acquiredthemanner o

‘

f‘hismaster to such perfection that therewerefewwho ‘m1ght

’

lnot 'have taken hiswork for that of Filippohimself. Nay;

’after having left the latter,'Rafi

'

aellino added

still further softness to hismanner in the draperieswhich bedepicted, and d

? higherperfection of finish to the hair,withh ere

'

s-"

sed"

delicacy to the features, M ,from allwhich the

artistsfaintedsuch flattering expectations ofhim,thatwhile

he‘

contin'

ued to pursue this manner, hewas considered to

he the first among the young painters of his time.

It happened’at this 'time

,that the Capponi family had

caused a chapel, called the Paradise, to be constructed on the

declivity beneath the church of San Bartolommeo, on the

Monte rs at a short distance from the gate of

San Frian6 ~when they entrusted the altar-

piece of this

chapel to Rafi'

aellino,whom they commissioned to paint it in

oil He accordingly represented the Resurrection of Christ,and

'

m thiswork some of the soldierswho have fallen, as ifdead,

*

around the“

scpulchre, are figures of extraordinary truth

and~beauty the 'heads also are as graceful as it is possible'

to

imagine, and=among them is the portrait ofNiccoloCapponi,which 18 indeed admirable. A figure of equal excellence is

that of one onwhom the stone cover of the sepulchre has

fallen, he 13 crying aloud, and the head is as remarkable for

the beauty as for the peculiarity of the expression.1’ The

Capponi family, perceiving the excellence of theworkwhichRafl

'

aellino had produced, caused a richly carved frame to be

placed around it,with a further decoration of round columnsmagnificently gilt, on a ground of burnished bole. Nowitchanced some years after theworkwas completed, that the

tower of the buildingwas struck by lightning,which perforated the vaultand fell close to the picture ofRafi

'

aellino. Thework being in oil, remained nevertheless entirely uninjured,

Filippino that 18 to.

my, the son of Fra Filippo Lippi.

f This picture, still in perfect pres en ation, is nowin the FlorentineAcademy of the Fme Arts, and is considered the bestwork of Rafl

'

aellinodel Garbo . There is a Dead Christ in the Ufiizj, formerly ascribed toRafi

'

aellino del Co lle, butwhich 13 nowconsidered to be by Rafl'

aellino delCarboa—Ed. Flor” 1832

—8.

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$ 713 os im W ~

of San ,Pancrazio, Rati

’

aellino painted a fresco

,Federighi,whose place . of .sepulturewas i n,The ,

subject of thiswork is the Trinity; and

here the painter may be perceived to have commenced his

decline into minuteness of manner : among other figures; is

the portrait of Girolamo Federighiwith that of hiswife, bothofwhom are kneeling:Rafl

'

aellino painted two figures in tempera for the monks

of Cestello, the one represents San Rocco, the other Sam’

Ignazio, they are both in the chapel of San Sebastiano.§ Ina poor little chapel

. situate on that side of the Ponte Rubs

conte,which looks towards the M ills, this painter depictedOur Ladywith San Lorenzo and another saint.“Hewasreducedat last to the acceptance of the meanestworks, preparing drawings ia chiaro

- scuro, to serve as patterns in cmbroidery for certain nuns and other people ; for at that time,

1 Nowin Paris,whither itwas transported in 1812.—Ed. Flor.,

1832- 8.

The church of San Piero Maggiorewas demolished 111 1784, but the

painting here mentionedwas not to be found in the church even atthat

thnq uwe gatherfi-

om a remark of Bottari.

I These buildings, the Murate aswell as the church of San Pancraxio.

have been taken for secular purposes, and theworks of Raffaellino have

perishedorbeen lost.

The figures of San Sebastiano still retain their place in the church.

The paintings here described have been destroyed.

486‘

Lm s ofi firhfiiisfirrsrs.

pain‘by-his

'

Huge family of children,4

allfhiifdistifictioli‘iniart'

fitially disappeared,ando

'

his practice

assasst-nets.

thé‘extreine

’

of' poverty, Rafl’

aellino del Garbo

fl eet-ablyffinished‘lhis3‘lifeat the age

‘

of fifty,when hewasliiiriéd'fbythe

‘

brtfther'

hood of theMiseficbrdia-

at San Siimine

in' the cityofFlorence’t thishappened in the year 1524.

‘le'

ttmany”

discipleswhowere ableartists ; amongth

'

em the'

FlorentinepainterBronzino,‘who had in his child

hose '

a‘

ctiuired principles of‘

the'

art underhis care,ahd afterwards continued ‘his

'

studies under Jscopo daPon

tormo; acquitting himself sowell that he producedworksequal to those of Jscopo his master

-

qt

“

The portrait of Ratfaellino is taken from a designwhichwas in the possession ofBastiano da Monte Carlo,whowaswas a clever, experienced master, con

sidering'

that he had but little knowledge ofdesign.

mi:FLORENTINE scutrroa. roumcmso1470—1110 1522 ]

G M"is the

‘

force of angry disappointment in the spirit

of himwho, strivingwith sensitive pride to obtain the repu

Angiolo Bronzino, ofwhom Vasari speaks at some length in the laterpages ofhiswork —Ed. Flora, 1832- 8.

1 This artist also commenced his careeras a painterin amannerwhichawakened the admiration of Michael Angelo and the jealousy of Andreadel Sarto, but finally closed it in a fashion not unlike that of Rafi

'

aellinodel G erber—lbw.t According to Benvenuto Cellini,who names Ton igiano in his Auto

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LIVES, 0! TH] ”ARTISTS.

lessu let him notattempt the study ofany art,grencii

)whamver, seeing that such delights can never be

In the Florentine sculptor, Tonigiano, therewas moreglen e very able artist. In his ycnth hewas taken byLorenzo de

’

Medicithe elder,’into thegardenwhich the latte

possessedon thePian s ofSanMarco in Florence, andwhichsculptures. In the loggie thewslka and all the buildings

M ewm the noblmt statnes in marble, admirablewm'ksof

academy for thete{

oung painters and sculptors, aswell as forallothers devo to the arts of design, but more particularlyfor the young nobles, seeing that the magnificent Lorenzo

held the firm conviction, that thosewho are born of noble

race are, in all things, capable of attaining perfection more

easilythm , for the most part, are men of lower extraction

in{Whomwe do not commonly find that quickness of perception, nor that elevation of genius, so often perceptible in

those of noble\blood.1‘ We knowbesides, that the less highly

born have almost always to defend themselves from poverty,

Lorenzo the Magnificent.whom Vasariand some otherwriters call 0151ddsr, to distingui h him from his nephew, Lorenzo, Duke of Urbino.

E L Flea , 1832-8.

f Not as an efi'

ect of blood, protests ourjustly-dealing acquaintance,

nasselli, but because of the education received by the nobles, and the

leisure they have for the cultivation of their minds. But Vasariwill beseen to have himself guarded his previous expression from all danger of

misconception .

“

Yem en ite ;" 5 °

'

483

their attention to mechanical

tunity for exercise of the

Ul me plums local,sic grass m y“onus.

Butmen of geniuswere always protected by the magnificentLorenzo, and more especially did he favour such of

’

the

nobles as be perceived to . have an inclination'

for .the study .

of art it is therefore no matterof astonishment thatmastersshould have proceeded from this school. some ofwhom have :

awakened the surprise aswell as admiration of theworld.

And not only didLorenzo provide the m eans'

of instruction,but also those of life for all .whowere '

too poor. to pursue

their studieswithout such aid ; nay, he further supplied

themwith proper clothing, and even bestowed considerable

presents on any one among themwho had distinguished

himself from his fellows by somewell executed design allwhich so encouraged the young students of our arts, that

labouring in emulation of each other, many of them becameexcellentmasters, as I shall relate hereafter.

The guardian and chief of these young menwas, at that

time, the Florentine sculptor Bertoldo fi an old and expe-v

rienccd master,who had been a disciple of Donato. From

him the students received instruction,while he also 'had

charge of all the treasures contained in the garden,with thenumerous designs, drawings, cartoons, and models, collectedthere from the hand of Donate, PippoJ Masaccio, PaoloUccello, Fra G iovanni, Fra Filippo, and other masters,native and foreign and of a truth, these arts can only be

A line taken from the Emblems of Andrea Alciato,wherein he has

represented a youth,with the right hand,which has at thewrist,extended, and one foot raised, in the eil'ort of lifting lf towardsheaven ; but 111 his left hand 1s a stone,which 1s drawing him to the earth.

t See the life of Donate , vol. i.

1 Filippo Brunelleschi.

m Lrves omm fum s'

rs.

fled stddyvun tdrawing,wiflim em es ;whmis not supplicdwwith these facilities ts pm»

portion :ofvhis liferhas

of the garden. In the

the greaterpart'

of the treasures contained”111 the gardenweredispersed, all being sold to the highes t bidder . the larger

portion fof themwere nevertheless restored to the illustriousGiuliano, 1n the year 1512,when be,with the other membersof the house ofMedici, returnedto his country , they

'

arenowforthe mostp

artpreserved in the Guardaroba of the Duke

1The example thus given by Lorenzo,was a truly ’magmfix

centtone,'andwhenever it shall be followed by princes and

other persouages of importance they cannot fail to do them'

selves great honour, and must derive perpetual glory firimsuch imitation

'

:seeing that hewho aids and protects men of

exalted genius in their noble labours, hewho favours thosefrom -whom theworld receives so much credit, utility,

beauty,well deserves that his fame should

live eternally, and that the benefitswhich he has conferred

should be held 1n perpetual remembrance.

Among thosewho studied the arts of design in the above-2

mentioned garden,were the following, all ofwhom became

excellentmasters:Michael Agnolo di Lodovico BuonarrotifiGiovanni

“

Francesco Rustici, Torrigiano Torrigiani,t Francesco Granacci, Niccolb di Domenico Sazzi, Lorenzo di

Credi, .and Giuliano Bugiardini, all Florentines. From

other parts of Italywere Baccio da Monte Lupo, Andrea;Contucci, ofMonte San Savino, and others, ofwhommentionwill be made in their due place.

Torrigiano then, ofwhomwe are nowtowrite the life,These are nowde

gsited partly 1n the Florentine Gallery of the Uifizj ,

partly 111 that of the ttl Palace , and partly in other palace and villan’

belonging to the grand ducal family ofTuscany.

Michael, son of Ludovico Buonarroti.

1 See note (t), p. 480.

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$ 30 ,m as , or:run .aurrera.

ho hadever, provedhimself

11‘

andWithout, ,

Oconstructing goodwalls .and strong outwithall otherdefences nece ssary to the security of theHe remarked that the artillery

-men handled their

thatno'

, furtheraccidents happened to the artillery-men} al

though several of them had previously been killed by'

the

recoil they not having experience and judgment enough to .

fire?their pieces .with .the degree of management proper'

to

prevent thstrecbilfi'

om doing injury to those around. Nay,,furthcm ps, «When.G iuliano took the control of that depen

.irnefit, hia;intelligence in the 11mm of311

'

"'

t'

edtherewith, inspiredthe camp ofthe Dukewith so ‘

much‘

r'

émr that, being compelled by this and other adverse'

cir

and so raised the

siege.

‘ These things gained Giuliano no small praise inFlorence, and obtained“him the good

-Will of Lorenzo,whoreceived him most favourably and loaded himwith com

Having afterwards turned his attention to architecture,G iuliano commenced the first Cloister of the Monastery of

Costello,fand constructedthat part of itwhich is of the Ionicorder, placing the capitals on the columns, and finishingthemwith their volutes,which turned,winding down, to thecollerinowhere the shaft of the column terminates ; beneath

the uvola and fusarola he added a frieze, the height ofwhichwas a thirdof the diameterof the column. This capitalwascopied from a very ancient one in marble,which had beenfound at Fiesole by Messer Leonardo Salviati, bishop of

that place,who had it for a long time,with many other

antiquities, in a house and garden in the V ia San Gallo

opposite to Sant’Agata,wherein he dwelt: it is nowin the

Hurstori, on the contrary, declares that Castellana surrendered to the

Duke ofCalahria bycapitulation.

”—See Annali d’llalia, l478.

1 1 This is the cluster before the church of Santa Maddalena de’

Pau l,which is that formerly called the Cestello ; it remains as here described,and the Ionic capitals still 1maltered.

— Mau elli.

emuu o 491

lposséseion ‘of ' Maser G iovanni Ricasoli, bishop of Pistoya,.bywhom, aswell as by all intelligent artists, thisworkis held in great estimation for its beauty and variety, and

the rather, as no capital resembling this has ever been found

ainong the antiquitieswhich at different times have beendiscovered, even to the present day. But this Cloisterof

Castello remained incomplete,'

the monks of the monastery net

havingatthattimathemeans formeeting so great an expense.wI'Bhencredit of G iulianowith Lorenzo de’Medici had meanwhile much increased, the latter, proposing to erect an edifice.at Poggio

-a- Gajano, a place between Florence and Pistoja,had caused several models ofwhat he dwred to be made byFu nctions and othermasters ; he nowcommissioned Giuliano11156 to 1prepare one. This he did accordingly, making his

model so entirely unlike those of all others and so completelyto

‘Lorenzo’swish,‘ that the latter began to have it instantly.

'

put in execution, as the best of all that had been pres ented

to him ,

"

and the favour of G iuliano so greatly increasedwithhim in consequence, that he ever afterwards paid him a

The architect subsequently desiring to construct the

ceiling of the great hall of that palace 111 the mannerwhichwe call coved, Lorenzowas not to be persuaded that itwaspossible to do this, the extent of the space considered ;whereupon G iuliano,whowas at that time building a house of his

own in Florence, constructed the ceiling of his ball as he

desired to have that in the palace,when the illustrious

Lorenzo, being thus convinced, immediately caused the hall

of the Poggio to be vaulted in like manner, aworkwhichwas completed very successfully.

The reputation of G iuliano constantly increased, and at

the entreaty of the Duke of Calabria, Lorenzo gave him a

commission to prepare the model for a palace,whichwas tobe erected ln Naples ;1

’ he spent a long time over thiswork,andwas still occupiedwith itwhen the Castellan of Ostia,than BishOpofRovers, andafterwards PopeJulius II.

,desiring

See D’

Ayincourt, plate lam , part 1.Am the admirable drawings of Giuliano da San Gallo

,nowin the

Barberiui brnry, is the ground-

p1an of a palace, bearing the date 1488,whichwas sent by Lorenzo the Magnificent to Ferdinand I.—See Gaye,at supra.

M 1 1 .1 l' l l 11”

’

twi l fwln l a.

308 11;M ike xendrtha

'

tclthe'

stnodel

dinn er ofzhisdowhwartime Naples, Iin'

o'

r‘

der that he might

pni’

nts but 1thcfipeétfl'iarities of f the construction, and the

difi oulfieszwhichihad been! repaired to

Nkplm :accordinglyi‘landi‘hhving presented his model,was

m ved very honourably, th'

e courtly insaner'

inwhich themagnificent Lorenzo hadsent him,

‘exciting muchadmiration,

as did also the masterly construction of the model,whichgave .such enfire satisfaction ! that theworkwasun

‘

ninencedm the vicinity of0the Castello NuovowAfter G iuliano had remained forsome time in Naples he

requested permission from the Duke to return to Florence,,when the king of:Naples sent him a present consisfing of

horses; vestments,and a silver goblet, containing some

hundreds of ducats; these last G iulianowould not accept,declaring that he

‘serveda masterwho had no need of gold

nor silver, but that if the king desired to confer on him any

gift or token of approbation, m sign of his having been in

that city, he might bestowon him some of the antiquifies

in his possession, at hi sown choice. This the king most

liberally granted, for the love he bore to the magnificent

Lorenzo, and because of the admirafionwhich thatmonarchfelt for the talents of. 1G iuliano himself : the gifts thus con

ferred being a headof the EmperorAdrian, nowplacedabovethe door of the garden belonging to the Medici palace, a

nude female figure of colossal size, and a Sleeping Cupidm

marble, executed in full relief. These Giuliano despatched

to the magnificent Lorenzo,who received themwith greatdelight, and could never sufficiently eulogize the liberal pro

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494 1117 3 3 701 a s m ass.

gflwm mmogcmsrmithIthemuhurb idwhich?“he; piswwfxthe llatter 1 111311111111e surroundedby

i

time,whenGnunnoG ‘

s fi ery n ob Florentine merchant;rptplfefidxlifl lnflr111nrwsiq rmndMien commissioned G iulianoas” .Gallo; mamas-11 111111 be

'

come '

'well acqumilt’

sd

during Sthe sojoumwfothe iattsratNaples , to'

build a palaceili

. afibfl TM .manner; for his residence; The positionlof

3mm was to benppofite t'

o San tlsh-

ancesco, above the’

placewhere the ;Lions atan‘

di .

‘itwould hate formed the

angle of the piazza, having one of its :‘fronts towards the

Mam-mu.M the death:hf Giuliano G ondi put astop tothe ,Fpr,thispslaec; 1Giulianoda San Gallo executeda

seen. Them architect built a palm for aV enetian, ata short,distance from the Pinti Gate at Camerata,with nu

moronshouses .for private acitizans, ofwhich I neednotmakeLoren” theMagnificent, des iring to provide for the public

ufility and adornment of the state, aswell as thereby to add

another .monument to the manywherewith he had already“Haired so -much.renown, determined to undertake the fortiroadzleading towards Rome. There he desired to found a

i butwould not .proceedwithout the advice and direction

0,G iuliano ;wherefore, the commencement of that most

repownmlafabricwss . 1nade . by that master, and after his

designswere constructed thatwell- arranged series of for

fificafions and . those beautiful edificeswhichwe nowseethere.

Theseworks so greatly increased the fame of the architect,

that the Duke of Milan applied to Lorenzo, rerequesting himto send that master to the above named city,where he

Still 111 the Gondi Palace, on the Piazza di San Firenzc : an outlineengraving of this admiredwork v'nll be found in Cicognara, Sloria dellaScultura M oder-ac, vol. ii. pl. xv.

erunu no m u rowo . 493

denizedno have 10111model iofa palace preparedbylu'

nl

liano.was despatched thither by Lorenzo accordingly, andwas .noxless honoured by the Duke in Milan than he hadbe'

éii‘

in Naples by the King. When the modelwas completed,the master presented it, on the part of the magnificent Lorenzo, to the Duke,whowas filledwith astonishment and

admiration.ashe beheld the fine arrangementandcommodiousdistribution of the different parts, and the rich decbrhtionseverywhere appliedwith the utmostpropriety and judgineht,each ornament beautiful in itself, and all appmpriate to

‘

the

place .which they adorned. The requisites for buildinvweretherefore immediately assembled, and they began at once to

put thework in execution.

Leonardo da fVineLwas in Milan at the same‘

timewitli'Giuliano, ,

andwas also in the service of the Duke 31 theré

'

was then a question of the bronze Horse, towhichwe ha‘

v‘e

more than once alluded, and Leonardo, frequently speakingof his intention in regard to itwith Giuliano da San Gallo,received many valuable counsels from him on that subject.The , .

1model . for the last-mentionedworkwas des troyed on

the arrival of the French, and the horsewas therefore netfinished, neither could the palace designed by Giuliano be

completed.

Having returned to Florence, G iuliano found that his

brotherAntonio,who had assisted him in the preparation of

his models, had himself become a most excellent master

therewas indeed no artist of his timewho executed carvedwork more perfectly than he did, large crucifixes inwoodmore especially. Of thiswe have a proof in thatwhich isover the High Al tar of the Nunziata in Florence,

’aswell

as in one belonging to the monks of San Gallo at San

Jscopo- tra- Posai,tand in anotherwhich the Brotherhood of

the Barefooted Friars have in their possession, all considered

to be truly excellentworks.1 But on his return, Giuliano

persuaded his brother to abandon that occupation, prevailing

Nowin a tabernacle near the chapel of the Virgin, in the church ofthe Nnnziatn, aswe have already observed in the life of Michelou o. Socvol. i.—Ed. Flor. 1832- 4 3.

Still in the church of 83111 Jscopo, and held in great venmflion.- Ibid.

The Brotherhoodwas suppressed in 1785, and the Crucifix has dia p

496 Lrvaszor m mu s-rs;

with himfl f,‘ be having many labours 1n hahd,’ for the publicmanswell as for -

private individuals. But ithappenedmthis case, asiit «sotfrequoutly hasdone in others, thatFortune,the:adversary-of talent, 1deprived the artists of that period of

that best hope and support by the death of Lorenzo de'

Medici, iwhich rwas a grievous loss, not to his native cityonl hutmrall Italy.winliahopoverwhelmed, aswas every otherman of genius

by this. event, remained for a long time inconsolable. In

deep grief:he:retired to Prato‘

,which is nearFlorence, andwhere he occupiedhimselfwith the construction of a church

to the Madonna delle Carceri, 1'

all buildings in Florence,whether{public or private, being for the moment at a stand.

hiszgrici andmares as he best might. At the end of that

time ithe '

church of the Madonna at Loretta requiring to beroofed.and the Cupola,which G iuliano daMaiano had com

menced. but had not completed, having to be vaulted, thewardens,who had charge of thework, became apprehensivelest .the piers should be found incapable of supporting theweight of. the vast erection to be reared on them. Theyconsequentlywrote to G iuliano to the efl

'

ect that, if heweredisposed to undertake thatwork, hemight come and examinethe state of things ; the architect proceeded to Loretta se

cordingly,when, competent and bold as hewas, he declaredthattheCupolamight be raisedwithoutdifficulty, expressinghis confidence in . his own power to effect the task, and

proving .the .truth of his assertions by so many good reasons,that theworkwas at once confided to his care. Havingreceived this commission, Giuliano hastened the completion

of themhurch atPrato, and, takingwith him the master

builders and stone- cutterswho had laboured under his ordersThe fabric Giulianowas nowto erect demanding the

utmost precaution, to secure it the requisite firmness and

The death of Lorenzo the Magnificent took place at his villa of

Careggi, on the 8th May, 1492.

1 Thc Madonna delle Career?(Our Lady of the Prisons) is one of themostremarkable edifices of h to, not for its extent, but for the beauty of

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LIVES OF THE ARTISTS .

and caused him to receive a commission for constructing; thefortress, erected aswe nowsee it, atCivita Castellana, andwhich he also built. While that Pontifl

'

lived, in short,Antoniowas continually employed ,ia building and otherlaboiirs for his service, andwas no less richly rewarded byPope Alexander than highly esteemed.The palace at Savona had meanwhile been carried f orward by G iuliano, andwas proceeding very successfully,when the Cardinal, for some of his purposes, returned to

Rome ; he left numerousworkmen at Savonawith orders to

complete'

thework afler the designs of G iuliano, but thearchitecthimself, Cardinal San Pietro tookwith himVerywillingly did G iuliano undertake thatJourney,much

'

to see h1s brother Antonio, and theworks hewasexecuting. Here then he remained several months, but the

Cardinal fell into disgracewith the Pope at that time, and

left.Rome to avoid being imprisoned,when G iuliano also

departed ln his company.

Thus returned to Savoua, they greatly increased the num

ber of master-masons and artificers of all kinds employedabout the building, but the menaces of his Holiness againstthe Cardinal becoming more and more violent, no long time

elapsed before the latter sawhimself compelled to take refugein Avignon. Having arrived there, he sent the model of a

palace,which G iuliano had prepared for himself, as a presentto the King of France ; thisworkwas one of extraordinarybeauty, the edifice being most richly adorned, and of such ex

tent, that itwas capable of accommodating, not the king only,but hiswhole court. The French monarchwas at Lyonswhen G iuliano presented his model,whichwas most graciously accepted by his majesty, and pleased him so much

that be rewarded the architect very largely, and gave him

infinite commendation. He also caused many thanks to be te

turned to the Cardinal,whowas atAvignon . There the latter

received intelligence to the effect that his palace at Savonawas approaching its completion ,whereupon be resolved that

G iuliano should once more examine thewhole edifice : be

repaired to Savona accordingly, and, after having remained

there some shorttime, beheldhiswork broughtto completion.

The palace built by G iuliano at Savona,was afterwards converted intoa Convent for the Nuns of Santa Clara—M ilitia.

crummo AND ANTONIO . 499

Giulianowas then '

seizedwith a'wxsh to return to Florence,which he had not seen fora h ug ,time ; he set out on hisway

therefore, takingwith him the master- builderswho had beenworking under his directions at Savona. Now, the King of

France had at that time restored the freedom of its government to the City of Pisa, and thewar between theFlorentiuesand the Pisanswas still raging ; but Giuliano desired to passacross the territory of Pisa,wherefore be caused a safe con

duct to be prepared for him at Lucca, having no small

suspicion of the Pisau soldiers. Notwithstanding that precaution, however, as theywere passing nearAltopascio, thewhole companywere made prisoners by the Pisans,whocared nothing at all for their safe conduct, or any other

causes of exemption that could be alleged. For six months,therefore,was G iuliano compelled to remain in Pisa, his

ransom being set at three hundred ducats ; norwas be

permitted to return to Florence until that sumwas paid.

Antonio,whowas then 111 Rome, having heard of these

things, and feeling anxious to see his brother and his native

city once again, obtained permission of the Pope to leave

Rome ; 1u hisway he designed the fortress ofMontefiascone'

for the Duke Valentino, and in the year 1503, he at length

returned to Florence,where the brotherswere re- united, to

the greatjoy of their friends aswell as of themselves.

At this time occurred the death of Pope Alexander V I.

and the accession of Pius III , but the latter lived only a

short time, and the cardinal of San Pietro in V incoliwasthen elected to the pontifical throne, taking the name of

Julius II. This event caused the utmost gladness to G iuli

ano , be having been so long in his service, and be resolved

on proceeding to Rome, there to kiss the feet of hisHoliness.

Having arrived there accordingly, hewas received very

gladly, andwith many kindwords by the Pope,who immediately appointed him superintendent of the first buildings

undertaken by that Pontifi'

before the arrival ofBramante.

Antonio meanwhile remained in Florence,where PierSodariniwas at that time G onfaloniere, and, G iuliano beingabsent, the construction of the buildings at Poggio Impe

rialewas continued, under his directions ; all the Pisan

This fortress,with the exception cf tome fer portions of thewalls, isnow( 1759) entirely demolished.

— Bottari.

K K 2

600 1.1vss'rns mn s

'

rs.

sent to labour there; to the endwarmer;bric might be thus the more rapidly

‘

hrought toicompletidnf.The old fortress in the city ofArezzo had at thisjtime beendestroyed;wherefore Antonio preparedthemodel forthe ‘

newone,with the consent of G iuliano

,who came on accountof

business connectedwith thatmatterfromRome, ’butvery soonneturned thither. Thiswork of the fortress ofW ant edAntonio to be chosen architect to the commune of Florence,bywhich hewas appointed superintendent overall the forti

f

fications of the state.

On the return of G iuliano to Rome, the question as towhether the sepulchral monument of Pope Julius should beconstructed by the divine Michael Angelo Buonarroti.wasin , debate ;when Giuliano encouraged the pontifl

'

to that

undertaking : he even declared that for such,a purpose it

be proper to erect a chapel specifically appropriatedto the exclusive reception thereof, and not place the ‘tombin the . old church of San Pietro,wherein therewas indeedno longer Space for it ;whereas the chapelwhich he“

recan

mendedwould render thework perfect. Numerous artistshaving then made designs, the question became a subject ofso much consideration, that

‘

by little and little they arrived

at the determination not to construct a chapel only, but to

commence the vast fabric of the newSan Pietro.

At that time, the architect Bramante of Castel Durante

arrived in Rome, after having been for some time in Lombardy,when this master had so many proposals to make, andexhibited such extraordinary resources, some of his plans

being indeed altogether out of the usual practice, thathavingwon over Baldassare Peruzzi and Raffaello da Urbino ‘ to

his opinions, he changed thewhole character of thework .

Much timewas then consumed in discussion, but the efi‘

ect

of Bramante’

s proceedings and the force of his representa

tions, ultimately caused the building to be committed to hiscare, he having shown a more profound judgment, superiorintelligence, and richer powers of invention than any of the

other masters.

This dec ision caused the '

utmostdispleasure to G iuliano,

Bottari seeks to prove from this passage that Rafl'

aelwas in Rome,before Bramante had ever

'

lrisiled that city, but the authorities consider

him to have fallcd, and it is certain thatVasaridoesmore than once himselfattirni the direct contrary.

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' 502 Lm s or run m rls'

rs.

o‘

ftsMichelaguolo In like manner Giuliano"accompanifithe Pope to Mirandola andwhen that placewas takeii hereturnedwith Julius to Rome, after having endu

'

red much"

'

The raging desire to drive the French out of Italy, not

having yet got out of the head of Pope Julius, he made varions attemptstowrest the government of Florence fromhands of Piero Soderini, seeing that the

‘

Gonfaloniere Wisno small impedh ent to his accomplishingwhat he lied inhis mind. By these projects the Pontifi

‘was much divertedfrom his architectural undertakings. Hewas indeed almbst

hiswarlike ad’

airs, and Giuliano, seeing, as he did, that no building received any attention, thechurch of San Pietrb excepted, and even that

'

obtainedbut'

very little ; seeing all this, I say, Giuliano becameweary,and determined on requesting his dismissal. But thePope

replied in great anger .

“ Do you think that there is do

other Giuliano da San Gallo 1n theworld besides yourself?"Whereunto G iulianomade answer to the effect that, for tmth

and faithful service neverwould he find another

equal"to

himself,whereas itwould be easy for him to find princeswhowould maintain their promiseswith more fidelity thanthe POpe had shown towards him. Juliuswould neverthe

less not give him leave to go, but said that hewould talk

to him about it at some other time.

Bramante meanwhile having brought Rafi'aello da Urbino

to Rome,1'

set him towork on the paintings of the ponti

fical apartments,whereupon G iuliano, perceiving that those

pictures gave the Pope much pleasure, and that he desired

to have the ceiling of the chapel, built by his uncle Sixtus,also decoratedwith paintings, then spoke to his Holinessof Michelagnolo, reminding him that the latter had alreadyexecuted the statue of bronze in Bologna,wherewith '

the

Pontifl'

had been very much pleased. Michelagnolowastherefore summoned to Rome, and having arrived in thatcity,the ceiling of the chapelwas confided to him accordingly.

Some short time after these things, Giuliano again re

quested permission to depart, and hisHoliness, seeing that

0 Giuliano being, as our readerswill remember, a military and civil

engineer aswell as architect.1 See note, 500.

504t LIVES or rm: anrrsrs.

‘Elgmntine territoriesfl and.putting all into gODdxu dW '

'

r' xBy tha

'

favourand assistance of Pope Julius. the House

incursion made“

into Italy by Ch i-lee vm king of France.

obutfihmuedici. did .not fail to acknowledge - the services

to theimrillastnious house, andwhen, on the death of Pope

Julia :Giovanni, cardinal de’M edici, ascended the papal

dame, Giulianowas tinduced once again to visit Rome.No long time after the arrival of the latter111 .that city, the

architect em s died,when the POpe resolved to entrust

the building of, San Pietro to Giuliano } butworn ,

tact dechned that charge,whichwas then made over to the

moat graceful Raffaello da Urbino,f and Giuliano returned

by permission ofhis Holiness, to Florence t Two years laterGiuliano da. San Gallo, grievously Oppressed by the force of

his malady, also died at the age of seven - four, and

ymr 15 17, leaving his name to thewotlii,his body to theearth, and his soul to God,who gave it.The departure of G iuliano, left his brother Antonio,who

loved him tenderly, in the deepest grief, as it also did a son

named Francesco the latter already engaged in the study of

sculpture, although hewas then very young. This Francesco

i

Platner and Bunsen,Beschreibung der StadtRom aflirm Giuliano to

have been appointed architect of St. Peter’s before the

om

death of Bramante,but that event must have taken place very shortly after.- S se Fen Nofisicmlon o 4 M a lta Sem is,who also considers Giuliano to have received

the appointment during the life of Bramante.

‘I' Afi ociatcdwith the architect, Fra Giocondo,who continued 111 oflice00111 February, 15 14, to March

, 15 18. Raphael received his appointmentinApril, 15 14, and in August of the same vear, afierhaving presented his

model,he appears to have been appointed first architect, and so placed

over his nuociate in thework —See theNotixie andBa de -6 6m g as citedabove.

I According to the documents extracted by Fen from the books of theworks at St. Peter'

s, G iuliano retained his appointmentabout a yearanda half

, to the 1st July, 16 15, namely.

https://www.forgottenbooks.com/join

LIVES‘

OF THE l R‘l‘ISTB.

completed to the'

utinofs'

t p'erfection.

p 0

tiful and richly’

varied composition, and is'

exe

.

cgted by the .

’

genius of’

Antoniowith infinite grace"

; theitvhole edifice is

'

constructed“

of astonewhich resemblesthatr

dulled"

travertine in thewhiteish tint -

'

of its colour.

it issituated at a shortd istance beyond the gate of'

bn‘

the right hand,“

up the hill}?same

‘time

"this architect commenced apalace in

oi"

M onte Sansovin‘

o for“

Antonio’

di Monte, Cardinal "

of

prelate, in Montepulciano, a'worlf designed and completed

With admirable'

gracetIn Florence Antonio erected a range of h ouses for the

Servite monks; on thePiazza of theirmonastery ; the style of

Li Arezzo the prepaved models for the aisles of the church of

Tear'

s ; but thiswasavery‘

ill- conducted'work,

because entirely destitute of harmonywith the '

earlier por’

tions of the edifice, and the arches of the upper part are not

placed in due relation to the centre. Antonio likewisemadea; model . for the

'

church of the Madonna in Cortona ; but I'

do .not believe that this has ever been put into execution. §During the siege of Florence, thismasterwas employed on thebastions and fortificationswithin the city,when his nephewFrancescowas appointed to act as his assistant.

The G iant of the Piazza,"which hadbeen executed by thehand ofMichelagnolo, during the life- time of Giulianq

—thebrother of Antonio, being fixed in its place, the rulers re

solved that the otherfl made byBaccio Bandinelli, should be

The beautiful church of SanBiagio atMontepulciano, is awith a cupola and two campanili, orbell- towers, one ofwhich remains unfinished. On the piazza of the little town there is anotherwork byAntonio,the Canonicate namely,with a doublef The palace of the Cardinal of Santa Praxida (Cardinal delMonte .

afterwards Pope Julius ML), is nowused for the transaction of business

connectedwith the LawCourts. The elegant Loggia. standing opposite tothis building.is also awork ofAntonio.

1:That Opposite to the cathedral.

his“was certainly not put in execution , since this church; called thedonna del Calcinajo

”was constructed after the design ofFrancesco

di Georgio.—For the life of this architect, see ante, p. 122

, et seq.

nThe colossal statue ofDavid namely.

1! The group ofHercules and Cacus.

amm o um ANTONIO. 507

also erected on the Piazza. The care of conducting itthither

in safetywas trusted to Antonio, and he, m taking Baccio

d’Agnolo to assisthim,

by the use Ofvery powerfulmachinery,effected the removal of the statuewithout injury, placingit safely on the pedestalwhich had been prepared to

receive it.

When Antomo had become Old,he took pleasure in no

other occupationthan that of agriculture,which be understood perfectlywell. Finally, being rendered by theweightOfhis years unable to support any longer the cares of thisworld, he resigned his soul to God in the year 1534, andwas laid to his repose, togetherwith his brother G iuliano,in the burial place of the G iamberti family,which is in thechurch of Santa Maria Novella.

The admirableworks Of these two brotherswill supply totheworld sufficient proof of the fine geniuswherewith theywere endowed,while their blameless life and honourable

conduct,in every action caused them to be held in esteem

by thewhole city, and by allwho knewthem. G iuliano and

Antonio bequeathed to architecture the inheritance of better

methods in the Tuscan manner of building,with more beautiful forms than had previously been in use ; they added

finer proportion, and more exact measurement to the Doric

order than had ever before, according to the Opinion and rule

of V itruvius, been attained.

In their houses in Florence, these masters had collected a

large number of beautiful antiquities in marble— treasures,which contributed, and still contribute, to adorn their native

city,while they also do honour to the artists themselves,and redound to the glory of art. G iuliano brought fromRome the method of constructing vaulted ceilings, in ma

terialswhich permit the carvings and other decorations to

be executed 111 one piece : Of thiswe have an example in an

apartment of his own house, and at Poggio a- C.1jano, theceiling of the GreatHall, still to be seen them, is constructed

after this manner. Large is the debt of g1atitude due to

these artists, bywhose labours the Florentmc state has been

fortified,while the city itself has received great inc1ease of

An invention of Bramante, aswe learn from his life—See ante'

p. 439.

608 Lives or m san srs.

tine name hasmaroover receivedagreat accessiono fhonour,to the lasting Glory of the Tuscan genius,which, to their te

following verses

“M um-m m .m ama:

END 0? VOL . ll.

J

1 . "anno y ,n mtstg cs s

‘

n s srau-r, u ncanny.