,transcriber's note3 ,bold text is marked with 4 ,obvious printer's errors have been corrected1 all other inconsistencies are as in the original4 ,the author's spelling has been maintained4 ,,lives ,,of ,,the ,,most ,,eminent ,,painters ,,sculptors ,,architects ,,by ,,giorgio ,,vasari3 ,,volume ,,iv4 ,,filippino ,,lippi ,,to ,,domenico ,,puligo #aiac ,,newly ,,translated ,,by ,,gaston ,du ,c4 ,,de ,,vere4 ,,with ,,five ,,hundred ,,illustrations3 ,,in ,,ten ,,volumes ,illustration3 #aeaa-aegd ,,philip ,,lee ,,warner1 ,,publisher ,,to ,,the ,,medici ,,society1 ,,limited #g ,,grafton ,,st4 ,,london1 ,w4 #aiab-ad ,,contents ,,of ,,volume ,,iv ,,page ,,filippo ,,lippi1 ,,called ,,filippino #a ,,bernardino ,,pinturicchio #aa ,,francesco ,,francia #ba ,,pietro ,,perugino ,,pietro ,,vannucci1 ,,or ,,pietro ,,da ,,castel ,,della ,,pieve #ca ,,vittore ,,scarpaccia ,,carpaccio1 ,,and ,,other ,,venetian ,,and ,,lombard ,,painters #di ,,jacopo1 ,,called ,l',,indaco #fc ,,luca ,,signorelli ,,luca ,,da ,,cortona #fi ,,the ,,author',s ,,preface ,,to ,,the ,,third ,,part #gg ,,leonardo ,,da ,,vinci #hg ,,giorgione ,,da ,,castelfranco #ajg ,,antonio ,,da ,,correggio #aae ,,piero ,,di ,,cosimo #abc ,,bramante ,,da ,,urbino #ace ,,fra ,,bartolommeo ,,di ,,san ,,marco ,,baccio ,,della ,,porta #adi ,,mariotto ,,albertinelli #afc ,,raffaellino ,,del ,,garbo #agc ,,torrigiano #aha ,,giuliano ,,and ,,antonio ,,da ,,san ,,gallo #ahi ,,raffaello ,,da ,,urbino ,,raffaello ,,sanzio #bjg ,,guglielmo ,,da ,,marcilla ,,guillaume ,,de ,,marcillac #bea ,,simone1 ,,called ,,il ,,cronaca ,,simone ,,del ,,pollaiuolo #bfc ,,domenico ,,puligo #bgg ,,index ,,of ,,names #bhe ,,illustrations ,,to ,,volume ,,iv ,,plates ,,in ,,colour ,,facing ,,page ,,filippo ,,lippi 7,,filippino7 ,the ,vision of ,s4 ,bernard ,florence3 ,church of the ,badia #b ,,bernardino ,,pinturicchio ,the ,madonna in ,glory ,san ,gimignano3 ,palazzo ,pubblico #ad ,,benedetto ,,buonfiglio ,madonna1 ,child1 and ,three ,angels ,perugia3 ,pinacoteca #ah ,,francesco ,,francia ,piet ,london3 ,n4,g41 #ahj #bf ,,pietro ,,perugino ,apollo and ,marsyas ,paris3 ,louvre1 #aeji #cd ,,pietro ,,perugino ,triptych3 ,the ,madonna adoring1 with the ,archangels ,michael1 ,raphael1 and ,tobit ,london3 ,n4,g41 #bhh #db ,,vittore ,,scarpaccia 7,,carpaccio7 ,the ,vision of ,s4 ,ursula ,venice3 ,accademia1 #egh #ef ,,vincenzio ,,catena ,s4 ,jerome in his ,study ,london3 ,n4,g41 #fid #eh ,,giovan ,,battista ,,da ,,conigliano 7,,cima7 ,detail3 ,tobit and the ,angel ,venice3 ,accademia1 #eib #eh ,,luca ,,signorelli ,pan ,berlin3 ,kaiser ,friedrich ,museum1 #gi;,a #gb ,,andrea ,,verrocchio ,the ,baptism in ,jordan ,florence3 ,accademia1 #ga #ib ,,leonardo ,,da ,,vinci ,monna ,lisa 7formerly7 ,paris3 ,louvre1 #afja #ajb ,,giorgione ,,da ,,castelfranco ,figures in a ,landscape ,venice3 ,prince ,giovanelli's ,collection #aaj ,,antonio ,,da ,,correggio ,antiope ,paris3 ,louvre1 #aaah #aah ,,antonio ,,da ,,correggio ,the ,adoration of the ,magi ,milan3 ,brera1 #dbg #abb ,,piero ,,di ,,cosimo ,the ,death of ,procris ,london3 ,n4,g41 #fih #abf ,,fra ,,bartolommeo ,,di ,,san ,,marco ,the ,deposition from the ,cross ,florence3 ,pitti1 #fd #aeb ,,mariotto ,,albertinelli ,the ,salutation ,florence3 ,uffizi1 #abei #afh ,,raffaello ,,da ,,urbino ,s4 ,george and the ,dragon ,s4 ,petersburg3 ,hermitage1 #ci #baj ,,raffaello ,,da ,,urbino ,angelo ,doni ,florence3 ,pitti1 #fa #bad ,,raffaello ,,da ,,urbino ,the ,three ,graces ,chantilly1 #ch #bdb ,,raffaello ,,da ,,urbino ,baldassare ,gastiglione ,paris3 ,louvre1 #aeje #bdh ,,plates ,,in ,,monochrome ,,facing ,,page ,,filippo ,,lippi 7,,filippino7 ,the ,liberation of ,s4 ,peter ,florence3 ,s4 ,maria ,del ,carmine #f ,,filippo ,,lippi 7,,filippino7 ,s4 ,john the ,evangelist ,raising ,drusiana from the ,dead ,florence3 ,s4 ,maria ,novella1 ,strozzi ,chapel #h ,,filippo ,,lippi 7,,filippino7 ,the ,adoration of the ,magi ,florence3 ,uffizi1 #abeg #aj ,,bernardino ,,pinturicchio ,frederick ,,iii ,crowning the ,poet neas ,sylvius ,siena3 ,sala ,piccolominea #af ,,bernardino ,,pinturicchio ,pope ,alexander ,,vi ,adoring the ,risen ,christ ,rome3 the ,vatican1 ,borgia ,apartments #af ,,francesco ,,francia ,,and ,a ,,pupil ,medals ,london3 ,british ,museum #bb ,,francesco ,,francia ,madonna and ,child1 with ,saints ,bologna3 ,s4 ,giacomo ,maggiore1 ,bentivoglio ,chapel #bd ,,pietro ,,perugino ,the ,deposition ,florence3 ,pitti1 #afd #ch ,,pietro ,,perugino ,christ ,giving the ,keys to ,s4 ,peter ,rome3 ,sistine ,chapel #dj ,,pietro ,,perugino ,fortitude and ,temperance1 with ,warriors ,perugia3 ,collegio ,del ,cambio #dj ,,giovanni 7,,lo ,,spagna7 ,madonna and ,child1 with ,saints ,assisi3 ,lower ,church #df ,,stefano ,,da ,,verona 7,,da ,,zevio7 ,the ,madonna and ,child with ,s4 ,catharine in a ,rose ,garden ,verona3 ,gallery1 #eei #eb ,,aldigieri ,,da ,,zevio 7,,altichiero7 ,presentation to the ,madonna of ,three ,knights of the ,cavalli ,family ,verona3 ,s4 ,anastasia #ed ,,vittore ,,scarpaccia 7,,carpaccio7 ,s4 ,george and the ,dragon ,venice3 ,s4 ,giorgio ,degli ,schiavoni #ef ,,marco ,,bassiti 7,,basaiti7 ,christ on the ,mount of ,olives ,venice3 ,accademia1 #fi #fj ,,giovanni ,,buonconsigli ,piet ,vicenza3 ,pinacoteca1 #bb #fj ,,luca ,,signorelli ,detail3 ,the ,last ,judgment ,orvieto3 ,duomo #gd ,,leonardo ,,da ,,vinci ,the ,adoration of the ,magi ,florence3 ,uffizi1 #abeb #id ,,leonardo ,,da ,,vinci ,the ,last ,supper ,milan3 ,s4 ,maria delle ,grazie #if ,,leonardo ,,da ,,vinci ,cartoon3 ,the ,madonna and ,child with ,s4 ,anne ,london3 ,burlington ,house #ih ,,leonardo ,,da ,,vinci 787 ,fragment of ,cartoon3 ,the ,battle of the ,standard ,oxford3 ,ashmolean ,museum #ajd ,,giovan ,,antonio ,,boltraffio ,man and ,woman ,praying ,milan3 ,brera1 #bha #ajd ,,giorgione ,,da ,,castelfranco ,portrait of a ,young ,man ,berlin3 ,kaiser ,friedrich ,museum1 #ab;,a #aab ,,giorgione ,,da ,,castelfranco ,judith ,s4 ,petersburg3 ,hermitage1 #aab #aab ,,giorgione ,,da ,,castelfranco 787 ,caterina1 ,queen of ,cyprus ,milan3 ,crespi ,collection #aad ,,antonio ,,da ,,correggio ,detail3 ,s4 ,thomas and ,s4 ,james the ,less ,parma3 ,s4 ,giovanni ,evangelista #abj ,,antonio ,,da ,,correggio ,the ,madonna and ,child with ,s4 ,jerome ,parma3 ,gallery1 #cea #abj ,,piero ,,di ,,cosimo ,perseus delivering ,andromeda ,florence3 ,uffizi1 #acab #abh ,,piero ,,di ,,cosimo ,venus1 ,mars1 and ,cupid ,berlin3 ,kaiser ,friedrich ,museum1 #ajg #acj ,,piero ,,di ,,cosimo ,francesco ,giamberti ,hague3 ,royal ,museum1 #bee #acd ,,bramante ,,da ,,urbino ,interior of ,sacristy ,milan3 ,s4 ,satiro #ach ,,bramante ,,da ,,urbino ,tempietto ,rome3 ,s4 ,pietro in ,montorio #adb ,,bramante ,,da ,,urbino ,palazzo ,giraud ,rome #adf ,,fra ,,bartolommeo ,,di ,,san ,,marco ,the ,holy ,family ,rome3 ,corsini ,gallery1 #egi #aed ,,fra ,,bartolommeo ,,di ,,san ,,marco ,s4 ,mark ,florence3 ,pitti1 #abe #aeh ,,fra ,,bartolommeo ,,di ,,san ,,marco ,god the ,father1 with ,,ss4 ,mary ,magdalen and ,catharine ,lucca3 ,gallery1 #ab #afj ,,mariotto ,,albertinelli ,the ,madonna enthroned1 with ,saints ,florence3 ,accademia1 #afg #aff ,,raffaellino ,,del ,,garbo ,the ,resurrection ,florence3 ,accademia1 #ij #agf ,,torrigiano ,tomb of ,henry ,,vii ,london3 ,westminster ,abbey #ahf ,,giuliano ,,da ,,san ,,gallo ,faade of ,s4 ,maria delle ,carceri ,prato #aid ,,raffaello ,,da ,,urbino ,lo ,sposalizio ,milan3 ,brera1 #dgb #bab ,,raffaello ,,da ,,urbino ,maddalena ,doni ,florence3 ,pitti1 #ei #bab ,,raffaello ,,da ,,urbino ,the ,school of ,athens ,rome3 ,the ,vatican #baf ,,raffaello ,,da ,,urbino ,the ,disputa del ,sacramento ,rome3 ,the ,vatican #bbb ,,raffaello ,,da ,,urbino ,the ,mass of ,bolsena ,rome3 ,the ,vatican #bbd ,,raffaello ,,da ,,urbino ,pope ,leo ,x with ,two ,cardinals ,florence3 ,pitti1 #dj #bcj ,,raffaello ,,da ,,urbino ,the ,transfiguration ,rome3 ,the ,vatican #bdj ,,simone 7,,il ,,cronaca7 ,detail of ,cornice ,florence3 ,palazzo ,strozzi #bff ,,niccol ,,grosso ,iron ,link-holder ,florence3 ,palazzo ,strozzi #bfh ,,niccol ,,grosso ,iron ,lantern ,florence3 ,palazzo ,strozzi #bfh ,,simone 7,,il ,,cronaca7 ,interior of ,sacristy ,florence3 ,s4 ,spirito #bgj ,,domenico ,,puligo 787 ,madonna and ,child1 with ,saints ,florence3 ,s4 ,maria ,maddalena de' ,pazzi #bhj ,,filippo ,,lippi ,illustration3 ,,filippo ,,lippi 7,,filippino73 ,,the ,,vision ,,of ,s4 ,,bernard 7,florence3 ,church of the ,badia4 ,panel7 ,,life ,,of ,,filippo ,,lippi1 ,,called ,,filippino ,,painter ,,of ,,florence ,there was at this same time in ,florence a painter of most beautiful intelligence and most lovely invention1 namely1 ,filippo1 son of ,fra ,filippo of the ,carmine1 who1 following in the steps of his dead father in the art of painting1 was brought up and instructed1 being still very young1 by ,sandro ,botticelli1 notwithstanding that his father had commended him on his death-bed to ,fra ,diamante1 who was much his friend--nay1 almost his brother4 ,such was the intelligence of ,filippo1 and so abundant his invention in painting1 and so bizarre and new were his ornaments1 that he was the first who showed to the moderns the new method of giving variety to vestments1 and embellished and adorned his figures with the girt-up garments of antiquity4 ,he was also the first to bring to light grotesques1 in imitation of the antique1 and he executed them on friezes in terretta or in colours1 with more design and grace than the men before him had shown2 wherefore it was a marvellous thing to see the strange fancies that he expressed in painting4 ,what is more1 he never executed a single work in which he did not avail himself with great diligence of ,roman antiquities1 such as vases1 buskins1 trophies1 banners1 helmet-crests1 adornments of temples1 ornamental head-dresses1 strange kinds of draperies1 armour1 scimitars1 swords1 togas1 mantles1 and such a variety of other beautiful things1 that we owe him a very great and perpetual obligation1 seeing that he added beauty and adornment to art in this respect4 ,in his earliest youth he completed the ,chapel of the ,brancacci in the ,carmine at ,florence1 begun by ,masolino1 and left not wholly finished by ,masaccio on account of his death4 ,filippo1 therefore1 gave it its final perfection with his own hand1 and executed what was lacking in one scene1 wherein ,s4 ,peter and ,s4 ,paul are restoring to life the nephew of the ,emperor4 ,in the nude figure of this boy he portrayed the painter ,francesco ,granacci1 then a youth2 and he also made portraits of the ,chevalier1 ,messer ,tommaso ,soderini1 ,piero ,guicciardini1 father of ,messer ,francesco the historian1 ,piero del ,pugliese1 and the poet ,luigi ,pulci2 likewise ,antonio ,pollaiuolo1 and himself as a youth1 as he then was1 which he never did again throughout the whole of his life1 so that it has not been possible to find a portrait of him at a more mature age4 ,in the scene following this he portrayed ,sandro ,botticelli1 his master1 and many other friends and people of importance2 among others1 the broker ,raggio1 a man of great intelligence and wit1 who executed in relief on a conch the whole ,inferno of ,dante1 with all the circles and divisions of the pits and the nethermost well in their exact proportions1 and all the figures and details that were most ingeniously imagined and described by that great poet2 which conch was held in those times to be a marvellous thing4 ,next1 in the ,chapel of ,francesco del ,pugliese at ,campora1 a seat of the ,monks of the ,badia1 without ,florence1 he painted a panel in distemper of ,s4 ,bernard1 to whom ,our ,lady is appearing with certain angels1 while he is writing in a wood2 which picture is held to be admirable in certain respects1 such as rocks1 books1 herbage1 and similar things1 that he painted therein1 besides the portrait from life of ,francesco himself1 so excellent that he seems to lack nothing save speech4 ,this panel was removed from that place on account of the siege1 and placed for safety in the ,sacristy of the ,badia of ,florence4 ,in ,s4 ,spirito in the same city1 for ,tanai de' ,nerli1 he painted a panel with ,our ,lady1 ,s4 ,martin1 ,s4 ,nicholas1 and ,s4 ,catherine2 with a panel in the ,chapel of the ,rucellai in ,s4 ,pancrazio1 and a ,crucifix and two figures on a ground of gold in ,s4 ,raffaello4 ,in front of the ,sacristy of ,s4 ,francesco1 without the ,porta a ,s4 ,miniato1 he made a ,god the ,father1 with a number of children4 ,at ,palco1 a seat of the ,frati del ,zoccolo1 without ,prato1 he painted a panel2 and in the ,audience ,chamber of the ,priori in that territory he executed a little panel containing the ,madonna1 ,s4 ,stephen1 and ,s4 ,john the ,baptist1 which has been much extolled4 ,on the ,canto al ,mercatale1 also in ,prato1 in a shrine opposite to the ,nuns of ,s4 ,margherita1 and near some houses belonging to them1 he painted in fresco a very beautiful ,madonna1 with a choir of seraphim1 on a ground of dazzling light4 ,in this work1 among other things1 he showed art and beautiful judgment in a dragon that is at the feet of ,s4 ,margaret1 which is so strange and horrible1 that it is revealed to us as a true fount of venom1 fire1 and death2 and the whole of the rest of the work is so fresh and vivacious in colouring1 that it deserves infinite praise4 ,he also wrought certain things in ,lucca1 particularly a panel in a chapel of the ,church of ,s4 ,ponziano1 which belongs to the ,monks of ,monte ,oliveto2 in the centre of which chapel there is a niche containing a very beautiful ,s4 ,anthony in relief by the hand of ,andrea ,sansovino1 a most excellent sculptor4 ,being invited to go to ,hungary by ,king ,matthias1 ,filippo refused1 but made up for this by painting two very beautiful panels for that ,king in ,florence1 and sending them to him2 and in one of these he made a portrait of the ,king1 taken from his likeness on medals4 ,he also sent certain works to ,genoa2 and beside the ,chapel of the ,high-,altar in ,s4 ,domenico at ,bologna1 on the left hand1 he painted a ,s4 ,sebastian on a panel1 which was a thing worthy of much praise4 ,for ,tanai de' ,nerli he executed another panel in ,s4 ,salvadore1 without ,florence2 and for his friend ,piero del ,pugliese he painted a scene with little figures1 executed with so much art and diligence that when another citizen besought him to make a second like it1 he refused1 saying that it was not possible to do it4 ,after these things he executed a very great work in ,rome for the ,neapolitan ,cardinal1 ,olivieri ,caraffa1 at the request of the elder ,lorenzo de' ,medici1 who was a friend of that ,cardinal4 ,while going thither for that purpose1 he passed through ,spoleto at the wish of ,lorenzo1 in order to give directions for the making of a marble tomb for his father ,fra ,filippo at the expense of ,lorenzo1 who had not been able to obtain his body from the people of ,spoleto for removal to ,florence4 ,filippo1 therefore1 made a beautiful design for the said tomb1 and ,lorenzo had it erected after that design 7as has been told in another place71 sumptuous and beautiful4 ,afterwards1 having arrived in ,rome1 ,filippo painted a chapel in the ,church of the ,minerva for the said ,cardinal ,caraffa1 depicting therein scenes from the life of ,s4 ,thomas ,aquinas1 and certain most beautiful poetical compositions ingeniously imagined by himself1 for he had a nature ever inclined to this4 ,in the scene1 then1 wherein ,faith has taken ,infidelity captive1 there are all the heretics and infidels4 ,hope has likewise overcome ,despair1 and so1 too1 there are many other ,virtues that have subjugated the ,vice that is their opposite4 ,in a disputation is ,s4 ,thomas defending the ,church ex cathedra against a school of heretics1 and holding vanquished beneath him ,sabellius1 ,arius1 ,averroes1 and others1 all clothed in graceful garments2 of which scene we have in our book of drawings the original design by ,filippo's own hand1 with certain others by the same man1 wrought with such mastery that they could not be bettered4 ,there1 too1 is the scene when1 as ,s4 ,thomas is praying1 the ,crucifix says to him1 ,bene scripsisti de me1 ,thoma2 while a companion of the ,saint1 hearing that ,crucifix thus speaking1 is standing amazed and almost beside himself4 ,in the panel is the ,virgin receiving the ,annunciation from ,gabriel2 and on the main wall there is her ,assumption into ,heaven1 with the twelve ,apostles round the sepulchre4 ,the whole of this work was held1 as it still is1 to be very excellent and wrought perfectly for a work in fresco4 ,it contains a portrait from life of the said ,cardinal ,olivieri ,caraffa1 ,bishop of ,ostia1 who was buried in this chapel in the year #aeaa1 and afterwards removed to the ,piscopio in ,naples4 ,illustration3 ,,the ,,liberation ,,of ,s4 ,,peter 7,after the fresco by ,filippo ,lippi 7,filippino74 ,florence3 ,s4 ,maria del ,carmine7 ,anderson ,having returned to ,florence1 ,filippo undertook to paint at his leisure the ,chapel of the elder ,filippo ,strozzi in ,s4 ,maria ,novella1 and he actually began it2 but1 having finished the ceiling1 he was compelled to return to ,rome1 where he wrought a tomb with stucco-work for the said ,cardinal1 and decorated with gesso a little chapel beside that tomb in a part of the same ,church of the ,minerva1 together with certain figures1 some of which were executed by his disciple1 ,raffaellino del ,garbo4 ,the chapel described above was valued by ,maestro ,lanzilago of ,padua and by the ,roman ,antonio1 known as ,antoniasso1 two of the best painters that were then in ,rome1 at #b1jjj ducats of gold1 without the cost of the blues and of the assistants4 ,having received this sum1 ,filippo returned to ,florence1 where he finished the aforesaid ,chapel of the ,strozzi1 which was executed so well1 and with so much art and design1 that it causes all who see it to marvel1 by reason of the novelty and variety of the bizarre things that are seen therein--armed men1 temples1 vases1 helmet-crests1 armour1 trophies1 spears1 banners1 garments1 buskins1 head-dresses1 sacerdotal vestments1 and other things--all executed in so beautiful a manner that they deserve the highest commendation4 ,in this work there is the scene of ,drusiana being restored to life by ,s4 ,john the ,evangelist1 wherein we see most admirably expressed the marvel of the bystanders at beholding a man restore life to a dead woman by a mere sign of the cross2 and the greatest amazement of all is seen in a priest1 or rather philosopher1 whichever he may be1 who is clothed in ancient fashion and has a vase in his hand4 ,in the same scene1 likewise1 among a number of women draped in various manners1 there is a little boy1 who1 terrified by a small spaniel spotted with red1 which has seized him with its teeth by one of his swathing-bands1 is running round his mother and hiding himself among her clothes1 and appears to be as much afraid of being bitten by the dog as his mother is awestruck and filled with a certain horror at the resurrection of ,drusiana4 ,next to this1 in the scene where ,s4 ,john himself is being boiled in oil1 we see the wrath of the judge1 who is giving orders for the fire to be increased1 and the flames reflected on the face of the man who is blowing at them2 and all the figures are painted in beautiful and varied attitudes4 ,on the other side is ,s4 ,philip in the ,temple of ,mars1 compelling the serpent1 which has slain the son of the ,king with its stench1 to come forth from below the altar4 ,in certain steps the painter depicted the hole through which the serpent issued from beneath the altar1 and so well did he paint the cleft in one of the steps1 that one evening one of ,filippo's lads1 wishing to hide something1 ,i know not what1 from the sight of someone who was knocking for admittance1 ran up in haste in order to conceal it in the hole1 being wholly deceived by it4 ,filippo also showed so much art in the serpent1 that its venom1 fetid breath1 and fire1 appear rather real than painted4 ,greatly extolled1 too1 is his invention in the scene of the ,crucifixion of that ,saint1 for he imagined to himself1 so it appears1 that the ,saint was stretched on the cross while it lay on the ground1 and that afterwards the whole was drawn up and raised on high by means of ropes1 cords1 and poles2 which ropes and cords are wound round certain fragments of antiquities1 pieces of pillars1 and bases1 and pulled by certain ministers4 ,on the other side the weight of the said cross and of the ,saint who is stretched nude thereon is supported by two men1 on the one hand by a man with a ladder1 with which he is propping it up1 and on the other hand by another with a pole1 upholding it1 while two others1 setting a lever against the base and stem of the cross1 are balancing its weight and seeking to place it in the hole made in the ground1 wherein it had to stand upright4 ,but why say more8 ,it would not be possible for the work to be better either in invention or in drawing1 or in any other respect whatsoever of industry or art4 ,besides this1 it contains many grotesques and other things wrought in chiaroscuro to resemble marble1 executed in strange fashion with invention and most beautiful drawing4 ,illustration3 ,s4 ,,john ,,the ,,evangelist ,,raising ,,drusiana ,,from ,,the ,,dead 7,after the fresco by ,filippo ,lippi ,filippino4 ,florence3 ,s4 ,maria ,novella1 ,strozzi ,chapel7 ,anderson ,for the ,frati ,scopetini1 also1 at ,s4 ,donato1 without ,florence1 which is called ,scopeto and is now in ruins1 he painted a panel with the ,magi presenting their offerings to ,christ1 finished with great diligence1 wherein he portrayed the elder ,pier ,francesco de' ,medici1 son of ,lorenzo di ,bicci1 in the figure of an astrologer who is holding a quadrant in his hand1 and likewise ,giovanni1 father of ,signor ,giovanni de' ,medici1 and another ,pier ,francesco1 brother of that ,signor ,giovanni1 and other people of distinction4 ,in this work are ,moors1 ,indians1 costumes of strange shapes1 and a most bizarre hut4 ,in a loggia at ,poggio a ,cajano he began a ,sacrifice in fresco for ,lorenzo de' ,medici1 but it remained unfinished4 ,and for the ,nunnery of ,s4 ,geronimo1 above the ,costa di ,s4 ,giorgio in ,florence1 he began the panel of the high-altar1 which was brought nearly to completion after his death by the ,spaniard ,alonzo ,berughetta1 but afterwards wholly finished by other painters1 ,alonzo having gone to ,spain4 ,in the ,palazzo della ,signoria he painted the panel of the hall where the ,council of ,eight held their sittings1 and he made the design for another large panel1 with its ornament1 for the ,sala del ,consiglio2 which design his death prevented him from beginning to put into execution1 although the ornament was carved2 which ornament is now in the possession of ,maestro ,baccio ,baldini1 a most excellent physician of ,florence1 and a lover of every sort of talent4 ,for the ,church of the ,badia of ,florence he made a very beautiful ,s4 ,jerome2 and he began a ,deposition from the ,cross for the high-altar of the ,friars of the ,nunziata1 but only finished the figures in the upper half of the picture1 for1 being overcome by a most cruel fever and by that contraction of the throat that is commonly known as quinsy1 he died in a few days at the age of forty-five4 ,thereupon1 having ever been courteous1 affable1 and kindly1 he was lamented by all those who had known him1 and particularly by the youth of his noble native city1 who1 in their public festivals1 masques1 and other spectacles1 ever availed themselves1 to their great satisfaction1 of the ingenuity and invention of ,filippo1 who has never had an equal in things of that kind4 ,nay1 he was so excellent in all his actions1 that he blotted out the stain 7if stain it was7 left to him by his father--blotted it out1 ,i say1 not only by the excellence of his art1 wherein he was inferior to no man of his time1 but also by the modesty and regularity of his life1 and1 above all1 by his courtesy and amiability2 and how great are the force and power of such qualities to conciliate the minds of all men without exception1 is only known to those who either have experienced or are experiencing it4 ,filippo was buried by his sons in ,s4 ,michele ,bisdomini1 on ,april #ac1 #aeje2 and while he was being borne to his tomb all the shops in the ,via de' ,servi were closed1 as is done sometimes for the obsequies of great men4 ,among the disciples of ,filippo1 who all failed by a great measure to equal him1 was ,raffaellino del ,garbo1 who made many works1 as will be told in the proper place1 although he did not justify the opinions and hopes that were conceived of him while ,filippo was alive and ,raffaellino himself still a young man4 ,the fruits1 indeed1 are not always equal to the blossoms that are seen in the spring4 ,nor did any great success come to ,niccol ,zoccolo1 otherwise known as ,niccol ,cartoni1 who was likewise a disciple of ,filippo1 and painted at ,arezzo the wall that is over the altar of ,s4 ,giovanni ,decollato2 a little panel1 passing well done1 in ,s4 ,agnesa2 a panel over a lavatory in the ,abbey of ,s4 ,fiora1 containing a ,christ who is asking for water from the woman of ,samaria2 and many other works1 which1 since they were commonplace1 are not mentioned4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,magi 7,after the panel by ,filippo ,lippi 7,filippino74 ,florence3 ,uffizi1 #abeg7 ,alinari ,,bernardino ,,pinturicchio ,,life ,,of ,,bernardino ,,pinturicchio ,,painter ,,of ,,perugia ,even as many are assisted by fortune without being endowed with much talent1 so1 on the contrary1 there is an infinite number of able men who are persecuted by an adverse and hostile fortune2 whence it is clearly manifest that she acknowledges as her children those who depend upon her without the aid of any talent1 since it pleases her to exalt by her favour certain men who would never be known through their own merit2 which is seen in ,pinturicchio of ,perugia1 who1 although he made many works and was assisted by various helpers1 nevertheless had a much greater name than his works deserved4 ,however1 he was a man who had much practice in large works1 and ever kept many assistants to aid him in his labours4 ,now1 having worked at many things in his early youth under his master ,pietro da ,perugia1#a receiving a third of all that was earned1 he was summoned to ,siena by ,cardinal ,francesco ,piccolomini to paint the library made by ,pope ,pius ,,ii in the ,duomo of that city4 ,it is true1 indeed1 that the sketches and cartoons for all the scenes that he painted there were by the hand of ,raffaello da ,urbino1 then a youth1 who had been his companion and fellow-disciple under the same ,pietro1 whose manner the said ,raffaello had mastered very well4 ,one of these cartoons is still to be seen at the present day in ,siena1 and some of the sketches1 by the hand of ,raffaello1 are in our book4 ,illustration3 ,,bernardino ,,pinturicchio3 ,,the ,,madonna ,,in ,,glory 7,san ,gimignano4 ,panel7 ,now the stories in this work1 wherein ,pinturicchio was aided by many pupils and assistants1 all of the school of ,pietro1 were divided into ten pictures4 ,in the first is painted the scene when the said ,pope ,pius ,,ii was born to ,silvio ,piccolomini and ,vittoria1 and was called neas1 in the year #adje1 in ,valdorcia1 at the township of ,corsignano1 which is now called ,pienza after the name of that ,pope1 who afterwards enriched it with buildings and made it a city2 and in this picture are portraits from nature of the said ,silvio and ,vittoria4 ,in the same is the scene when1 in company with ,cardinal ,domenico of ,capranica1 he is crossing the ,alps1 which are covered with ice and snow1 on his way to the ,council of ,ble4 ,in the second the ,council is sending neas on many embassies--namely1 to ,argentina 7three times71 to ,trent1 to ,constance1 to ,frankfurt1 and to ,savoy4 ,in the third is the sending of the same neas by the ,antipope ,felix as ambassador to the ,emperor ,frederick ,,iii1 with whom the ready intelligence1 the eloquence1 and the grace of neas found so much favour that he was given the poet's crown of laurel by ,frederick himself1 who made him his ,protonotary1 received him into the number of his friends1 and appointed him his ,first ,secretary4 ,in the fourth he is sent by ,frederick to ,eugenius ,,iv1 by whom he was made ,bishop of ,trieste1 and then ,archbishop of ,siena1 his native city4 ,in the fifth scene the same ,emperor1 who is about to come to ,italy to receive the crown of ,empire1 is sending neas to ,telamone1 a port of the people of ,siena1 to meet his wife1 ,leonora1 who was coming from ,portugal4 ,in the sixth neas is going to ,calistus ,,iv1#b at the bidding of the said ,emperor1 to induce him to make war against the ,turks2 and in this part1 ,siena being harassed by the ,count of ,pittigliano and by others at the instigation of ,king ,alfonso of ,naples1 that ,pontiff is sending him to treat for peace4 ,this effected1 war is planned against the ,orientals2 and he1 having returned to ,rome1 is made a ,cardinal by the said ,pontiff4 ,in the seventh1 ,calistus being dead1 neas is seen being created ,supreme ,pontiff1 and called ,pius ,,ii4 ,in the eighth the ,pope goes to ,mantua for the ,council about the expedition against the ,turks1 where the ,marquis ,lodovico receives him with most splendid pomp and incredible magnificence4 ,in the ninth the same ,pope is placing in the catalogue of saints--or1 as the saying is1 canonizing--,catherine of ,siena1 a holy woman and nun of the ,preaching ,order4 ,in the tenth and last1 while preparing a vast expedition against the ,turks with the help and favour of all the ,christian ,princes1 ,pope ,pius dies at ,ancona2 and a hermit of the ,hermitage of ,camaldoli1 a holy man1 sees the soul of the said ,pontiff being borne by ,angels into ,heaven at the very moment of his death1 as may also be read4 ,afterwards1 in the same picture1 the body of the same ,pope is seen being borne from ,ancona to ,rome by a vast and honourable company of lords and prelates1 who are lamenting the death of so great a man and so rare and holy a ,pontiff4 ,the whole of this work is full of portraits from the life1 so numerous that it would be a long story to recount their names2 and it is all painted with the finest and most lively colours1 and wrought with various ornaments of gold1 and with very well designed partitions in the ceiling4 ,below each scene is a ,latin inscription1 which describes what is contained therein4 ,in the centre of this library the said ,cardinal ,francesco ,piccolomini1 nephew of the ,pope1 placed the three ,graces of marble1 ancient and most beautiful1 which are still there1 and which were the first antiquities to be held in price in those times4 ,this library1 wherein are all the books left by the said ,pius ,,ii1 was scarcely finished1 when the same ,cardinal ,francesco1 nephew of the aforesaid ,pontiff1 ,pius ,,ii1 was created ,pope1 choosing the name of ,pius ,,iii in memory of his uncle4 ,over the door of that library1 which opens into the ,duomo1 the same ,pinturicchio painted in a very large scene1 occupying the whole extent of the wall1 the ,coronation of the said ,pope ,pius ,,iii1 with many portraits from life2 and beneath it may be read these words3 ,,pius ,,iii ,,senensis1 ,,pii ,,secundi ,,nepos1 ,,mdiii1 ,,septembris ,,xxi1 ,,apertis ,,electus ,,suffragiis1 ,,octavo ,,octobris ,,coronatus ,,est4 ,when ,pinturicchio was working with ,pietro ,perugino and painting at ,rome in the time of ,pope ,sixtus1 he had also been in the service of ,domenico della ,rovere1 ,cardinal of ,san ,clemente2 wherefore the said ,cardinal1 having built a very beautiful palace in the ,borgo ,vecchio1 charged ,pinturicchio to paint the whole of it1 and to make on the faade the coat of arms of ,pope ,sixtus1 with two little boys as supporters4 ,the same master executed certain works for ,sciarra ,colonna in the ,palace of ,s4 ,apostolo2 and no long time after--namely1 in the year #adhd--;,innocent ,,viii1 the ,genoese1 caused him to paint certain halls and loggie in the ,palace of the ,belvedere1 where1 among other things1 by order of that ,pope1 he painted a loggia full of landscapes1 depicting therein ,rome1 ,milan1 ,genoa1 ,florence1 ,venice1 and ,naples1 after the manner of the ,flemings2 and this1 being a thing not customary at that time1 gave no little satisfaction4 ,in the same place1 over the principal door of entrance1 he painted a ,madonna in fresco4 ,in ,s4 ,pietro1 in the chapel that contains the ,lance which pierced the side of ,christ1 he painted a panel in distemper1 with the ,madonna larger than life1 for the said ,innocent ,,viii2 and he painted two chapels in the ,church of ,s4 ,maria del ,popolo1 one for the aforesaid ,domenico della ,rovere1 ,cardinal of ,san ,clemente1 who was afterwards buried therein1 and the other for ,cardinal ,innocenzio ,cibo1 wherein he also was afterwards buried2 and in each of these chapels he portrayed the ,cardinal who had caused him to paint it4 ,in the ,palace of the ,pope he painted certain rooms that look out upon the courtyard of ,s4 ,pietro1 the ceilings and paintings of which were renovated a few years ago by ,pope ,pius ,,iv4 ,in the same palace ,alexander ,,vi caused ,pinturicchio to paint all the rooms that he occupied1 together with the whole of the ,borgia ,tower1 wherein he wrought stories of the liberal arts in one room1 besides decorating all the ceilings with stucco and gold2 but1 since they did not then know the method of stucco-work that is now in use1 the aforesaid ornaments are for the most part ruined4 ,over the door of an apartment in the said palace he portrayed the ,signora ,giulia ,farnese in the countenance of a ,madonna1 and1 in the same picture1 the head of ,pope ,alexander in a figure that is adoring her4 ,bernardino was much given to making gilt ornaments in relief for his pictures1 to satisfy people who had little understanding of his art with the more showy lustre that this gave them1 which is a most barbarous thing in painting4 ,having then executed a story of ,s4 ,catherine in the said apartments1 he depicted the arches of ,rome in relief and the figures in painting1 insomuch that1 the figures being in the foreground and the buildings in the background1 the things that should recede stand out more prominently than those that should strike the eye as the larger--a very grave heresy in our art4 ,illustration3 ,,frederick ,,iii ,,crowning ,,the ,,poet ,,neas ,,sylvius 7,after the fresco by ,bernardino ,pinturicchio4 ,siena3 ,sala ,piccolominea7 ,brogi ,in the ,castello di ,s4 ,angelo he painted a vast number of rooms with grotesques2 and in the ,great ,tower1 in the garden below1 he painted stories of ,pope ,alexander1 with portraits of the ,catholic ,queen1 ,isabella2 ,niccol ,orsino1 ,count of ,pittigliano2 ,gianjacomo ,trivulzi1 and many other relatives and friends of the said ,pope1 in particular ,csar ,borgia and his brother and sisters1 with many talented men of those times4 ,at ,monte ,oliveto in ,naples1 in the ,chapel of ,paolo ,tolosa1 there is a panel with an ,assumption by the hand of ,pinturicchio4 ,this master made an infinite number of other works throughout all ,italy1 which1 since they are of no great excellence1 and wrought in a superficial manner1 ,i will pass over in silence4 ,pinturicchio used to say that a painter could only give the greatest relief to his figures when he had it in himself1 without owing anything to principles or to others4 ,he also made works in ,perugia1 but these were few4 ,in the ,araceli he painted the ,chapel of ,s4 ,bernardino2 and in ,s4 ,maria del ,popolo1 where1 as we have said1 he painted the two chapels1 he made the four ,doctors of the ,church on the vaulting of the principal chapel4 ,illustration3 ,,pope ,,alexander ,,vi ,,adoring ,,the ,,risen ,,christ 7,after the fresco by ,bernardino ,pinturicchio4 ,rome3 ,the ,vatican1 ,borgia ,apartments7 ,anderson ,afterwards1 having reached the age of fifty-nine1 he was commissioned to paint the ,nativity of ,our ,lady on a panel in ,s4 ,francesco at ,siena4 ,to this he set his hand1 and the friars assigned to him a room to live in1 which they gave to him1 as he wished1 empty and stripped of everything1 save only a huge old chest1 which appeared to them too awkward to remove4 ,but ,pinturicchio1 like the strange and whimsical man that he was1 made such an outcry at this1 and repeated it so often1 that finally in despair the friars set themselves to carry it away4 ,now their good fortune was such1 that in removing it there was broken a plank which contained #ejj ,roman ducats of gold2 at which ,pinturicchio was so displeased1 and felt so aggrieved at the good luck of those poor friars1 that it can hardly be imagined--nay1 he took it so much to heart1 being unable to get it out of his thoughts1 that it was the death of him4 ,his pictures date about the year #aeac4 ,a companion and friend of ,pinturicchio1 although he was a much older man1 was ,benedetto ,buonfiglio1 a painter of ,perugia1 who executed many works in company with other masters in the ,papal ,palace at ,rome4 ,in the ,chapel of the ,signoria in ,perugia1 his native city1 he painted scenes from the life of ,s4 ,ercolano1 ,bishop and ,protector of that city1 and in the same place certain miracles wrought by ,s4 ,louis4 ,in ,s4 ,domenico he painted the story of the ,magi on a panel in distemper1 and many saints on another4 ,in the ,church of ,s4 ,bernardino he painted a ,christ in the sky1 with ,s4 ,bernardino himself1 and a multitude below4 ,in short1 this master was in no little repute in his native city before ,pietro ,perugino had come to be known4 ,another friend of ,pinturicchio1 associated with him in not a few of his works1 was ,gerino ,pistoiese1 who was held to be a diligent colourist and a faithful imitator of the manner of ,pietro ,perugino1 with whom he worked nearly up to his death4 ,he did little work in his native city of ,pistoia2 but for the ,company of the ,buon ,ges in ,borgo ,san ,sepolcro he painted a ,circumcision in oil on a panel1 which is passing good4 ,in the ,pieve of the same place he painted a chapel in fresco2 and on the bank of the ,tiber1 on the road that leads to ,anghiari1 he painted another chapel1 also in fresco1 for the ,commune4 ,and he painted still another chapel in the same place1 in ,s4 ,lorenzo1 an abbey of the ,monks of ,camaldoli4 ,by reason of all these works he made so long a stay in the ,borgo that he almost adopted it as his home4 ,he was a sorry fellow in matters of art1 labouring with the greatest difficulty1 and toiling with such pains at the execution of a work1 that it was a torture to him4 ,illustration3 ,,benedetto ,,buonfiglio3 ,,madonna1 ,,child ,,and ,,three ,,angels 7,perugia3 ,pinacoteca4 ,panel7 ,at this same time there was a painter in the city of ,foligno1 ,niccol ,alunno1 who was held to be excellent1 for it was little the custom before ,pietro ,perugino's day to paint in oil1 and many were held to be able men who did not afterwards justify this opinion4 ,niccol therefore gave no little satisfaction with his works1 since1 although he only painted in distemper1 he portrayed the heads of his figures from life1 so that they appeared alive1 and his manner won considerable praise4 ,in ,s4 ,agostino at ,foligno there is a panel by his hand with a ,nativity of ,christ1 and a predella with little figures4 ,at ,assisi he painted a banner that is borne in processions1 besides the panel of the high-altar in the ,duomo1 and another panel in ,s4 ,francesco4 ,but the best painting that ,niccol ever did was in a chapel in the ,duomo1 where1 among other things1 there is a ,piet1 with two angels who are holding two torches and weeping so naturally1 that ,i do not believe that any other painter1 however excellent1 would have been able to do much better4 ,in the same place he also painted the faade of ,s4 ,maria degli ,angeli1 besides many other works of which there is no need to make mention1 it being enough to have touched on the best4 ,and let this be the end of the ,life of ,pinturicchio1 who1 besides his other qualities1 gave no little satisfaction to many princes and lords because he finished and delivered his works quickly1 which is their pleasure1 although such works are perchance less excellent than those that are made slowly and deliberately4 ,,footnote3 #a ,pietro ,perugino4 #b ,this seems to be an error for ,calistus ,,iii4 ,,francesco ,,francia ,illustration3 ,,medals 7,london3 ,british ,museum7 #a4 ,,ulisse ,,musotti #c4 ,,francesco ,,alidosi #b4 ,,giovanni ,,ii ,,bentivoglio #d4 ,,bernardo ,,rossi 7,after ,francesco ,francia7 7,after a pupil of ,francesco ,francia7 ,,life ,,of ,,francesco ,,francia ,,goldsmith ,,and ,,painter ,,of ,,bologna ,francesco ,francia1 who was born in ,bologna in the year #adej1 of parents who were artisans1 but honest and worthy enough1 was apprenticed in his earliest boyhood to the goldsmith's art1 in which calling he worked with intelligence and spirit2 and as he grew up he became so well proportioned in person and appearance1 and so sweet and pleasant in manner and speech1 that he was able to keep the most melancholy of men cheerful and free from care with his talk2 for which reason he was beloved not only by all those who knew him1 but also by many ,italian princes and other lords4 ,while working as a goldsmith1 then1 he gave attention to design1 in which he took so much pleasure1 that his mind began to aspire to higher things1 and he made very great progress therein1 as may be seen from many works in silver that he executed in his native city of ,bologna1 and particularly from certain most excellent works in niello4 ,in this manner of work he often put twenty most beautiful and well-proportioned little figures within a space no higher than the breadth of two fingers and not much more in length4 ,he also enamelled many works in silver1 which were destroyed at the time of the ruin and exile of the ,bentivogli4 ,in a word1 he did everything that can be done in that art better than any other man4 ,but that in which he delighted above all1 and in which he was truly excellent1 was the making of dies for medals1 wherein he was the rarest master of his day1 as may be seen in some that he made with a most lifelike head of ,pope ,julius ,,ii1 which bear comparison with those of ,caradosso2 not to mention that he made medals of ,signor ,giovanni ,bentivogli1 in which he appears alive1 and of an infinite number of princes1 who would stop in ,bologna on their way through the city1 whereupon he would make their portraits in wax for medals1 and afterwards1 having finished the matrices of the dies1 he would send them2 for which1 besides immortal fame1 he also received very rich presents4 ,as long as he lived he was ever ,master of the ,mint in ,bologna1 for which he made the stamps of all the dies1 both under the rule of the ,bentivogli and also during the lifetime of ,pope ,julius1 after their departure1 as is proved by the coins struck by that ,pope on his entrance into the city1 which had on one side his head portrayed from life1 and on the other these words3 ,,bononia ,,per ,,julium ,a ,,tyranno ,,liberata4 ,so excellent was he held in this profession1 that he continued to make the dies for the coinage down to the time of ,pope ,leo2 and the impressions of his dies are so greatly prized1 and those who have some hold them in such esteem1 that money cannot buy them4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,saints 7,after the panel by ,francesco ,francia4 ,bologna3 ,s4 ,giacomo ,maggiore1 ,bentivoglio ,chapel7 ,anderson ,now it came to pass that ,francia1 being desirous of greater glory1 and having known ,andrea ,mantegna and many other painters who had gained wealth and honours by their art1 determined to try whether he could succeed in that part of painting which had to do with colour2 his drawing was already such that it could well bear comparison with theirs4 ,thereupon1 having made arrangements to try his hand1 he painted certain portraits and some little things1 keeping in his house for many months men of that profession to teach him the means and methods of colouring1 insomuch that1 having very good judgment1 he soon acquired the needful practice4 ,the first work that he made was a panel of no great size for ,messer ,bartolommeo#c ,felicini1 who placed it in the ,misericordia1 a church without ,bologna2 in which panel there is a ,madonna seated on a throne1 with many other figures1 and the said ,messer ,bartolommeo portrayed from life4 ,this work1 which was wrought in oil with the greatest diligence1 was painted by him in the year #adij2 and it gave such satisfaction in ,bologna1 that ,messer ,giovanni ,bentivogli1 desiring to honour his own chapel1 which was in ,s4 ,jacopo in that city1 with works by this new painter1 commissioned him to paint a panel with the ,madonna in the sky1 two figures on either side of her1 and two angels below sounding instruments2 which work was so well executed by ,francia1 that he won from ,messer ,giovanni1 besides praise1 a most honourable present4 ,wherefore ,monsignore de' ,bentivogli1 impressed by this work1 caused him to paint a panel containing the ,nativity of ,christ1 which was much extolled1 for the high-altar of the ,misericordia2 wherein1 besides the design1 which is not otherwise than beautiful1 the invention and the colouring are worthy of nothing but praise4 ,in this work he made a portrait of ,monsignore de' ,bentivogli from the life 7a very good likeness1 so it is said by those who knew him71 clothed in that very pilgrim's dress in which he returned from ,jerusalem4 ,he also painted a panel in the ,church of the ,nunziata1 without the ,porta di ,s4 ,mammolo1 representing the ,madonna receiving the ,annunciation from the ,angel1 with two figures on either side1 which is held to be a very well executed work4 ,now that ,francia's works had spread his fame abroad1 even as his painting in oil had brought him both profit and repute1 so he determined to try whether he would succeed as well at working in fresco4 ,messer ,giovanni ,bentivogli had caused his palace to be painted by diverse masters of ,ferrara and ,bologna1 and by certain others from ,modena2 but1 having seen ,francia's experiments in fresco1 he determined that this master should paint a scene on one wall of an apartment that he occupied for his own use4 ,there ,francia painted the camp of ,holofernes1 guarded by various sentinels both on foot and on horseback1 who were keeping watch over the pavilions2 and the while that they were intent on something else1 the sleeping ,holofernes was seen surprised by a woman clothed in widow's garments1 who1 with her left hand1 was holding his hair1 which was wet with the heat of wine and sleep1 and with her right hand she was striking the blow to slay her enemy1 the while that an old wrinkled handmaid1 with the true air of a most faithful slave1 and with her eyes fixed on those of her ,judith in order to encourage her1 was bending down and holding a basket near the ground1 to receive therein the head of the slumbering lover4 ,this scene was one of the most beautiful and most masterly that ,francia ever painted1 but it was thrown to the ground in the destruction of that edifice at the time of the expulsion of the ,bentivogli1 together with another scene over that same apartment1 coloured to look like bronze1 and representing a disputation of philosophers1 which was excellently wrought1 with his conception very well expressed4 ,these works brought it about that he was loved and honoured by ,messer ,giovanni and all the members of his house1 and1 after them1 by all the city4 ,in the ,chapel of ,s4 ,cecilia1 which is attached to the ,church of ,s4 ,jacopo1 he painted two scenes wrought in fresco1 in one of which he made the ,marriage of ,our ,lady with ,joseph1 and in the other the ,death of ,s4 ,cecilia--a work held in great esteem by the people of ,bologna4 ,and1 indeed1 ,francia gained such mastery and such confidence from seeing his works advancing towards the perfection that he desired1 that he executed many pictures1 of which ,i will make no mention1 it being enough for me to point out1 to all who may wish to see his works1 only the best and most notable4 ,nor did his painting hinder him from carrying on both the ,mint and his other work of making medals1 as he had done from the beginning4 ,francia1 so it is said1 felt the greatest sorrow at the departure of ,messer ,giovanni ,bentivogli1 for he had received such great benefits from ,messer ,giovanni1 that it caused him infinite grief2 however1 like the prudent and orderly man that he was1 he kept at his work4 ,after his parting from his patron1 he painted three panels that went to ,modena1 in one of which there was the ,baptism of ,christ by ,s4 ,john2 in the second1 a very beautiful ,annunciation2 and in the last1 which was placed in the ,church of the ,frati dell' ,osservanza1 a ,madonna in the sky with many figures4 ,illustration3 ,,francesco ,,francia3 ,,piet 7,london3 ,national ,gallery1 #ahj4 ,panel7 ,the fame of so excellent a master being spread abroad by means of so many works1 the cities contended with one another to obtain his pictures4 ,whereupon he painted a panel for the ,black ,friars of ,s4 ,giovanni in ,parma1 containing a ,dead ,christ in the lap of ,our ,lady1 surrounded by many figures2 which panel was universally held to be a most beautiful work2 and the same friars1 therefore1 thinking that they had been well served1 induced him to make another for a house of theirs at ,reggio in ,lombardy1 wherein he painted a ,madonna with many figures4 ,at ,cesena1 likewise for the church of these friars1 he executed another panel1 painting therein the ,circumcision of ,christ1 with lovely colouring4 ,nor would the people of ,ferrara consent to be left behind by their neighbours2 nay1 having determined to adorn their ,duomo with works by ,francia1 they commissioned him to paint a panel1 on which he made a great number of figures2 and they named it the panel of ,ognissanti4 ,he painted one in ,s4 ,lorenzo at ,bologna1 with a ,madonna1 a figure on either side1 and two children below1 which was much extolled2 and scarcely had he finished this when he had to make another in ,s4 ,giobbe1 representing a ,crucifixion1 with that ,saint kneeling at the foot of the ,cross1 and two figures at the sides4 ,so widely had the fame and the works of this craftsman spread throughout ,lombardy1 that even from ,tuscany men sent for something by his hand1 as they did from ,lucca1 whither there went a panel containing a ,s4 ,anne and a ,madonna1 with many other figures1 and a ,dead ,christ above in the lap of ,his ,mother2 which work is set up in the ,church of ,s4 ,fridiano1 and is held in great price by the people of ,lucca4 ,for the ,church of the ,nunziata in ,bologna he painted two other panels1 which were wrought with much diligence2 and in the ,misericordia1 likewise1 without the ,porta a ,str ,castione1 at the request of a lady of the ,manzuoli family1 he painted another1 wherein he depicted the ,madonna with the ,child in her arms1 ,s4 ,george1 ,s4 ,john the ,baptist1 ,s4 ,stephen1 and ,s4 ,augustine1 with an angel below1 who has his hands clasped with such grace1 that he appears truly to belong to ,paradise4 ,he executed another for the ,company of ,s4 ,francesco in the same city1 and likewise one for the ,company of ,s4 ,gieronimo4 ,he lived in close intimacy with ,messer ,polo ,zambeccaro1 who1 being much his friend1 and wishing to have some memorial of him1 caused him to paint a rather large picture of the ,nativity of ,christ1 which is one of the most celebrated works that he ever made2 and for this reason ,messer ,polo commissioned him to paint at his villa two figures in fresco1 which are very beautiful4 ,he also executed a most charming scene in fresco in the house of ,messer ,gieronimo ,bolognino1 with many varied and very beautiful figures4 ,all these works together had won him such veneration in that city1 that he was held in the light of a god2 and what made this infinitely greater was that the ,duke of ,urbino caused him to paint a set of horse's caparisons1 in which he made a vast forest of trees that had caught fire1 from which there were issuing great numbers of all sorts of animals1 both of the air and of the earth1 and certain figures--a terrible1 awful1 and truly beautiful thing1 which was held in no little esteem by reason of the time spent in painting the plumage of the birds1 and the various sorts of terrestrial animals1 to say nothing of the diversity of foliage and the variety of branches that were seen in the different trees4 ,for this work ,francia was rewarded with gifts of great value as a recompense for his labours1 not to mention that the ,duke ever held himself indebted to him for the praises that he received for it4 ,duke ,guido ,baldo1 also1 has in his guardaroba a picture of the ,roman ,lucretia1 which he esteems very highly1 by the same man's hand1 together with many other pictures1 of which mention will be made when the time comes4 ,after these things he painted a panel for the altar of the ,madonna in ,,ss4 ,vitale e ,agricola2 in which panel are two very beautiful angels1 who are playing on the lute4 ,i will not enumerate the pictures that are scattered throughout ,bologna in the houses of gentlemen of that city1 and still less the infinite number of portraits that he made from life1 for it would be too wearisome4 ,let it be enough to say that while he was living in such glory and enjoying the fruits of his labours in peace1 ,raffaello da ,urbino was in ,rome1 and all day long there flocked round him many strangers1 among them many gentlemen of ,bologna1 eager to see his works4 ,and since it generally comes to pass that every man extols most willingly the intellects of his native place1 these ,bolognese began to praise the works1 the life1 and the talents of ,francia in the presence of ,raffaello1 and they established such a friendship between them with these words1 that ,francia and ,raffaello sent letters of greeting to each other4 ,and ,francia1 hearing such great praise spoken of the divine pictures of ,raffaello1 desired to see his works2 but he was now old1 and too fond of his comfortable life in ,bologna4 ,now after this it came about that ,raffaello painted in ,rome for ,cardinal ,santi ,quattro1 of the ,pucci family1 a panel-picture of ,s4 ,cecilia1 which had to be sent to ,bologna to be placed in a chapel of ,s4 ,giovanni in ,monte1 where there is the tomb of the ,blessed ,elena dall' ,olio4 ,this he packed up and addressed to ,francia1 who1 as his friend1 was to have it placed on the altar of that chapel1 with the ornament1 just as he had prepared it himself4 ,right readily did ,francia accept this charge1 which gave him a chance of seeing a work by ,raffaello1 as he had so much desired4 ,and having opened the letter that ,raffaello had written to him1 in which he besought ,francia1 if there were any scratch in the work1 to put it right1 and likewise1 as a friend1 to correct any error that he might notice1 with the greatest joy he had the said panel taken from its case into a good light4 ,but such was the amazement that it caused him1 and so great his marvel1 that1 recognizing his own error and the foolish presumption of his own rash confidence1 he took it greatly to heart1 and in a very short time died of grief4 ,raffaello's panel was divine1 not so much painted as alive1 and so well wrought and coloured by him1 that among all the beautiful pictures that he painted while he lived1 although they are all miraculous1 it could well be called most rare4 ,wherefore ,francia1 half dead with terror at the beauty of the picture1 which lay before his eyes challenging comparison with those by his own hand that he saw around him1 felt all confounded1 and had it placed with great diligence in that chapel of ,s4 ,giovanni in ,monte for which it was destined2 and taking to his bed in a few days almost beside himself1 thinking that he was now almost of no account in his art in comparison with the opinion held both by himself and by others1 he died of grief and melancholy1 so some believe1 overtaken by the same fate1 through contemplating too attentively that most lifelike picture of ,raffaello's1 as befell ,fivizzano from feasting his eyes with his own beautiful ,death1 about which the following epigram was written3 ,me veram pictor divinus mente recepit2 ,admota est operi deinde perita manus4 ,dumque opere in facto defigit lumina pictor1 ,intentus nimium1 palluit et moritur4 ,viva igitur sum mors1 non mortua mortis imago1 ,si fungor quo mors fungitur officio4 ,however1 certain others say that his death was so sudden1 that from many symptoms it appeared to be due rather to poison or apoplexy than to anything else4 ,francia was a prudent man1 most regular in his way of life1 and very robust4 ,after his death1 in the year #aeah1 he was honourably buried by his sons in ,bologna4 ,,footnote3 #c ,the text says ,messer ,bart4444 ,,pietro ,,perugino ,,life ,,of ,,pietro ,,perugino ,,pietro ,,vannucci1 ,,or ,,pietro ,,da ,,castel ,,della ,,pieve ,,painter ,how great a benefit poverty may be to men of genius1 and how potent a force it may be to make them become excellent--nay1 perfect--in the exercise of any faculty whatsoever1 can be seen clearly enough in the actions of ,pietro ,perugino1 who1 flying from the extremity of distress at ,perugia1 and betaking himself to ,florence in the desire to attain to some distinction by means of his talent1 remained for many months without any other bed than a miserable chest to sleep in1 turning night into day1 and devoting himself with the greatest ardour to the unceasing study of his profession4 ,and1 having made a habit of this1 he knew no other pleasure than to labour continually at his art1 and to be for ever painting2 for with the fear of poverty constantly before his eyes1 he would do for gain such work as he would probably not have looked at if he had possessed the wherewithal to live4 ,riches1 indeed1 might perchance have closed the path on which his talent should advance towards excellence1 no less effectually than poverty opened it to him1 while necessity spurred him on in his desire to rise from so low and miserable a condition1 if not to supreme eminence1 at least to a rank in which he might have the means of life4 ,for this reason he never took heed of cold1 of hunger1 of hardship1 of discomfort1 of fatigue1 or of ridicule1 if only he might one day live in ease and repose2 ever saying1 as it were by way of proverb1 that after bad weather there must come the good1 and that during the good men build the houses that are to shelter them when there is need4 ,illustration3 ,,pietro ,,perugino3 ,,apollo ,,and ,,marsyas 7,paris3 ,louvre1 #aeji4 ,panel7 ,but in order that the rise of this craftsman may be better known1 let me begin with his origin1 and relate that1 according to common report1 there was born in the city of ,perugia1 to a poor man of ,castello della ,pieve1 named ,cristofano1 a son who was baptized with the name of ,pietro4 ,this son1 brought up amid misery and distress1 was given by his father as a shop-boy to a painter of ,perugia1 who was no great master of his profession1 but held in great veneration both the art and the men who were excellent therein2 nor did he ever cease to tell ,pietro how much gain and honour painting brought to those who practised it well1 and he would urge the boy to the study of that art by recounting to him the rewards won by ancient and modern masters2 wherefore he fired his mind in such a manner1 that ,pietro took it into his head to try1 if only fortune would assist him1 to become one of these4 ,for this reason he was often wont to ask any man whom he knew to have seen the world1 in what part the best craftsmen in that calling were formed2 particularly his master1 who always gave him one and the same answer--namely1 that it was in ,florence more than in any other place that men became perfect in all the arts1 especially in painting1 since in that city men are spurred by three things4 ,the first is censure1 which is uttered freely and by many1 seeing that the air of that city makes men's intellects so free by nature1 that they do not content themselves1 like a flock of sheep1 with mediocre works1 but ever consider them with regard to the honour of the good and the beautiful rather than out of respect for the craftsman4 ,the second is that1 if a man wishes to live there1 he must be industrious1 which is naught else than to say that he must continually exercise his intelligence and his judgment1 must be ready and adroit in his affairs1 and1 finally1 must know how to make money1 seeing that the territory of ,florence is not so wide or abundant as to enable her to support at little cost all who live there1 as can be done in countries that are rich enough4 ,the third1 which is perchance no less potent than the others1 is an eager desire for glory and honour1 which is generated mightily by that air in the men of all professions2 and this desire1 in all persons of spirit1 will not let them stay content with being equal1 much less inferior1 to those whom they see to be men like themselves1 although they may recognize them as masters--nay1 it forces them very often to desire their own advancement so eagerly1 that1 if they are not kindly or wise by nature1 they turn out evil-speakers1 ungrateful1 and unthankful for benefits4 ,it is true1 indeed1 that when a man has learnt there as much as suffices him1 he must1 if he wishes to do more than live from day to day like an animal1 and desires to become rich1 take his departure from that place and find a sale abroad for the excellence of his works and for the repute conferred on him by that city1 as the doctors do with the fame derived from their studies4 ,for ,florence treats her craftsmen as time treats its own works1 which when perfected1 it destroys and consumes little by little4 ,moved by these counsels1 therefore1 and by the persuasions of many others1 ,pietro came to ,florence1 minded to become excellent2 and well did he succeed1 for the reason that in those times works in his manner were held in very great price4 ,he studied under the discipline of ,andrea ,verrocchio1 and his first figures were painted without the ,porta a ,prato1 in the ,nunnery of ,s4 ,martino1 now in ruins by reason of the wars4 ,in ,camaldoli he made a ,s4 ,jerome on a wall1 which was then much esteemed by the ,florentines and celebrated with great praise1 for the reason that he made that ,saint old1 lean1 and emaciated1 with his eyes fixed on the ,crucifix1 and so wasted away1 that he seems like an anatomical model1 as may be seen from a copy of that picture which is in the hands of the aforesaid ,bartolommeo ,gondi4 ,in a few years1 then1 he came into such credit1 that his works filled not only ,florence and all ,italy1 but also ,france1 ,spain1 and many other countries to which they were sent4 ,wherefore1 his paintings being held in very great price and repute1 merchants began to buy them up wholesale and to send them abroad to various countries1 to their own great gain and profit4 ,for the ,nuns of ,s4 ,chiara he painted a ,dead ,christ on a panel1 with such lovely and novel colouring1 that he made the craftsmen believe that he would become excellent and marvellous4 ,in this work there are seen some most beautiful heads of old men1 and likewise certain figures of the ,maries1 who1 having ceased to weep1 are contemplating the ,dead ,jesus with extraordinary awe and love2 not to mention that he made therein a landscape that was then held most beautiful1 because the true method of making them1 such as it appeared later1 had not yet been seen4 ,it is said that ,francesco del ,pugliese offered to give to the aforesaid nuns three times as much money as they had paid to ,pietro1 and to have a similar one made for them by the same man's hand1 but that they would not consent1 because ,pietro said that he did not believe he could equal it4 ,there were also many things by the hand of ,pietro in the ,convent of the ,frati ,gesuati1 without the ,porta a ,pinti2 and since the said church and convent are now in ruins1 ,i do not wish1 with this occasion1 and before ,i proceed further with this ,life1 to grudge the labour of giving some little account of them4 ,this church1 then1 the architect of which was ,antonio di ,giorgio of ,settignano1 was forty braccia long and twenty wide4 ,at the upper end one ascended by four treads1 or rather steps1 to a platform six braccia in extent1 on which stood the high-altar1 with many ornaments carved in stone2 and on the said altar was a panel with a rich ornament1 by the hand1 as has been related1 of ,domenico ,ghirlandajo4 ,in the centre of the church was a partition-wall1 with a door wrought in open-work from the middle upwards1 on either side of which was an altar1 while over either altar1 as will be told1 there stood a panel by the hand of ,pietro ,perugino4 ,over the said door was a most beautiful ,crucifix by the hand of ,benedetto da ,maiano1 with a ,madonna on one side and a ,s4 ,john on the other1 both in relief4 ,before the said platform of the high-altar1 and against the said partition-wall1 was a choir of the ,doric ,order1 very well wrought in walnut-wood2 and over the principal door of the church there was another choir1 which rested on well-strengthened woodwork1 with the under part forming a ceiling1 or rather soffit1 beautifully partitioned1 and with a row of balusters acting as parapet to the front of the choir1 which faced towards the high-altar4 ,this choir was very convenient to the friars of that convent for holding their night services1 for saying their individual prayers1 and likewise for week-days4 ,over the principal door of the church--which was made with most beautiful ornaments of stone1 and had a portico in front raised on columns1 which made a covered way as far as the door of the convent--was a lunette with a very beautiful figure of ,s4 ,giusto1 the ,bishop1 and an angel on either side1 by the hand of the illuminator ,gherardo2 and this because that church was dedicated to the said ,s4 ,giusto1 and within it those friars preserved a relic of that ,saint--that is1 an arm4 ,at the entrance of the convent was a little cloister of exactly the same size as the church--namely1 forty braccia long and twenty wide--with arches and vaulting going right round and supported by columns of stone1 thus making a spacious and most commodious loggia on every side4 ,in the centre of the court of this cloister1 which was all neatly paved with squared stone1 was a very beautiful well1 with a loggia above1 which likewise rested on columns of stone1 and made a rich and beautiful ornament4 ,in this cloister were the chapter-house of the friars1 the side-door of entrance into the church1 and the stairs that ascended to the dormitory and other rooms for the use of the friars4 ,on the farther side of this cloister1 in a straight line with the principal door of the convent1 was a passage as long as the chapter-house and the steward's room put together1 leading into another cloister larger and more beautiful than the first2 and the whole of this straight line--that is1 the forty braccia of the loggia of the first cloister1 the passage1 and the line of the second cloister--made a very long enfilade1 more beautiful than words can tell1 and the rather as from that farther cloister1 in the same straight line1 there issued a garden-walk two hundred braccia in length2 and all this1 as one came from the principal door of the convent1 made a marvellous view4 ,in the said second cloister was a refectory1 sixty braccia long and eighteen wide1 with all those well-appointed rooms1 and1 as the friars call them1 offices1 which were required in such a convent4 ,over this was a dormitory in the shape of a ,t1 one part of which--namely1 the principal part in the direct line1 which was sixty braccia long--was double--that is to say1 it had cells on either side1 and at the upper end1 in a space of fifteen braccia1 was an oratory1 over the altar of which there was a panel by the hand of ,pietro ,perugino2 and over the door of this oratory was another work by the same man's hand1 in fresco1 as will be told4 ,and on the same floor1 above the chapter-house1 was a large room where those fathers worked at making glass windows1 with the little furnaces and other conveniences that were necessary for such an industry2 and since while ,pietro lived he made the cartoons for many of their works1 those that they executed in his time were all excellent4 ,then the garden of this convent was so beautiful and so well kept1 and the vines were trained round the cloister and in every place with such good order1 that nothing better could be seen in the neighbourhood of ,florence4 ,in like manner the room wherein they distilled scented waters and medicines1 as was their custom1 had all the best conveniences that could possibly be imagined4 ,in short1 that convent was one of the most beautiful and best appointed that there were in the ,state of ,florence2 and it is for this reason that ,i have wished to make this record of it1 and the rather as the greater part of the pictures that were therein were by the hand of our ,pietro ,perugino4 ,illustration3 ,,the ,,deposition 7,after the panel by ,pietro ,perugino4 ,florence3 ,pitti1 #afd7 ,anderson ,returning at length to this ,pietro1 ,i have to say that of the works that he made in the said convent none have been preserved save the panels1 since those executed in fresco were thrown to the ground1 together with the whole of that building1 by reason of the siege of ,florence1 when the panels were carried to the ,porta a ,s4 ,pier ,gattolini1 where a home was given to those friars in the ,church and ,convent of ,s4 ,giovannino4 ,now the two panels on the aforesaid partition-wall were by the hand of ,pietro2 and in one was ,christ in the ,garden1 with the ,apostles sleeping1 in whom ,pietro showed how well sleep can prevail over pains and discomforts1 having represented them asleep in attitudes of perfect ease4 ,in the other he made a ,piet--that is1 ,christ in the lap of ,our ,lady--surrounded by four figures no less excellent than any others in his manner2 and1 to mention only one thing1 he made the ,dead ,christ all stiffened1 as if ,he had been so long on the ,cross that the length of time and the cold had reduced ,him to this2 wherefore he painted ,him supported by ,john and the ,magdalene1 all sorrowful and weeping4 ,in another panel he painted the ,crucifixion1 with the ,magdalene1 and1 at the foot of the ,cross1 ,s4 ,jerome1 ,s4 ,john the ,baptist1 and the ,blessed ,giovanni ,colombini1 founder of that ,order2 all with infinite diligence4 ,these three panels have suffered considerably1 and they are all cracked in the dark parts and where there are shadows2 and this comes to pass when the first coat of colour1 which is laid on the ground 7for three coats of colour are used1 one over the other71 is worked on before it is thoroughly dry2 wherefore afterwards1 with time1 in the drying1 they draw through their thickness and come to have the strength to make those cracks2 which ,pietro could not know1 seeing that in his time they were only just beginning to paint well in oil4 ,now1 the works of ,pietro being much commended by the ,florentines1 a ,prior of the same ,convent of the ,ingesuati1 who took delight in art1 caused him to make a ,nativity1 with the ,magi1 on a wall in the first cloister1 after the manner of a miniature4 ,this he brought to perfect completion with great loveliness and a high finish1 and it contained an infinite number of different heads1 many of them portrayed from life1 among which was the head of ,andrea del ,verrocchio1 his master4 ,in the same court1 over the arches of the columns1 he made a frieze with heads of the size of life1 very well executed1 among which was one of the said ,prior1 so lifelike and wrought in so good a manner1 that it was judged by the most experienced craftsmen to be the best thing that ,pietro ever made4 ,in the other cloister1 over the door that led into the refectory1 he was commissioned to paint a scene of ,pope ,boniface confirming the habit of his ,order to the ,blessed ,giovanni ,colombino1 wherein he portrayed eight of the aforesaid friars1 and made a most beautiful view receding in perspective1 which was much extolled1 and rightly1 since ,pietro made a particular profession of this4 ,in another scene below the first he began a ,nativity of ,christ1 with certain angels and shepherds1 wrought with the freshest colouring4 ,and in an arch over the door of the aforesaid oratory he made three half-length figures--,our ,lady1 ,s4 ,jerome1 and the ,blessed ,giovanni--with so beautiful a manner1 that this was held to be one of the best mural paintings that ,pietro ever wrought4 ,the said ,prior1 so ,i once heard tell1 was very excellent at making ultramarine blues1 and1 therefore1 having an abundance of them1 he desired that ,pietro should use them freely in all the above-mentioned works2 but he was nevertheless so mean and suspicious that he would never trust ,pietro1 and always insisted on being present when he was using blue in the work4 ,wherefore ,pietro1 who had an honest and upright nature1 and had no desire for another man's goods save in return for his own labour1 took the ,prior's distrust very ill1 and resolved to put him to shame2 and so1 having taken a basin of water1 and having laid on the ground for draperies or for anything else that he wished to paint in blue and white1 from time to time he caused the ,prior1 who turned grudgingly to his little bag1 to put some ultramarine into the little vase that contained the tempera-water1 and then1 setting to work1 at every second stroke of the brush ,pietro would dip his brush in the basin1 so that there remained more in the water than he had used on the picture4 ,the ,prior1 who saw his little bag becoming empty without much to show for it in the work1 kept saying time after time3 ,oh1 what a quantity of ultramarine this plaster consumes6 ,does it not8 ,pietro would answer4 ,after the departure of the ,prior1 ,pietro took the ultramarine from the bottom of the basin1 and gave it back to him when he thought the time had come1 saying3 ,father1 this is yours2 learn to trust honest men1 who never cheat those who trust them1 although1 if they wished1 they could cheat such distrustful persons as yourself4 ,by reason of these works1 then1 and many others1 ,pietro came into such repute that he was almost forced to go to ,siena1 where he painted a large panel1 which was held very beautiful1 in ,s4 ,francesco2 and he painted another in ,s4 ,agostino1 containing a ,crucifix with some saints4 ,a little time after this1 for the ,church of ,s4 ,gallo in ,florence1 he painted a panel-picture of ,s4 ,jerome in ,penitence1 which is now in ,s4 ,jacopo tra ,fossi1 where the aforesaid friars live1 near the ,canto degli ,alberti4 ,he was commissioned to paint a ,dead ,christ1 with the ,madonna and ,s4 ,john1 above the steps of the side-door of ,s4 ,pietro ,maggiore2 and this he wrought in such a manner1 that it has been preserved1 although exposed to rain and wind1 as fresh as if it had only just been finished by ,pietro's hand4 ,truly intelligent was ,pietro's understanding of colour1 both in fresco and in oil2 wherefore all experienced craftsmen are indebted to him1 for it is through him that they have knowledge of the lights that are seen throughout his works4 ,illustration3 ,,christ ,,giving ,,the ,,keys ,,to ,s4 ,,peter 7,after the fresco by ,pietro ,perugino4 ,rome3 ,sistine ,chapel7 ,alinari ,in ,s4 ,croce1 in the same city1 he made a ,piet--that is1 ,our ,lady with the ,dead ,christ in her arms--and two figures1 which are marvellous to behold1 not so much for their excellence1 as for the fact that they have remained so fresh and vivid in colouring1 painted as they are in fresco4 ,he was commissioned by ,bernardino de' ,rossi1 a citizen of ,florence1 to paint a ,s4 ,sebastian to be sent into ,france1 the price agreed on being one hundred gold crowns2 but this work was sold by ,bernardino to the ,king of ,france for four hundred gold ducats4 ,at ,vallombrosa he painted a panel for the high-altar2 and in the ,certosa of ,pavia1 likewise1 he executed a panel for the friars of that place4 ,at the command of ,cardinal ,caraffa of ,naples he painted an ,assumption of ,our ,lady1 with the ,apostles marvelling round the tomb1 for the high-altar of the ,piscopio2 and for ,abbot ,simone de' ,graziani of ,borgo a ,san ,sepolcro he executed a large panel1 which was painted in ,florence1 and then borne to ,s4 ,gilio in the ,borgo on the shoulders of porters1 at very great expense4 ,to ,s4 ,giovanni in ,monte at ,bologna he sent a panel with certain figures standing upright1 and a ,madonna in the sky4 ,illustration3 ,,fortitude ,,and ,,temperance1 ,,with ,,warriors 7,after the fresco by ,pietro ,perugino4 ,perugia3 ,collegio del ,cambio7 ,alinari ,thereupon the fame of ,pietro spread so widely throughout ,italy and abroad1 that to his great glory he was summoned to ,rome by ,pope ,sixtus ,,iv to work in his chapel in company with the other excellent craftsmen4 ,there1 in company with ,don ,bartolommeo della ,gatta1 ,abbot of ,s4 ,clemente at ,arezzo1 he painted the scene of ,christ giving the keys to ,s4 ,peter2 and likewise the ,nativity and ,baptism of ,christ1 and the ,birth of ,moses1 with the daughter of ,pharaoh finding him in the little ark4 ,and on the same wall where the altar is he painted a mural picture of the ,assumption of ,our ,lady1 with a portrait of ,pope ,sixtus on his knees4 ,but these works were thrown to the ground in preparing the wall for the ,judgment of the divine ,michelagnolo1 in the time of ,pope ,paul ,,iii4 ,on a vault of the ,borgia ,tower in the ,papal ,palace he painted certain stories of ,christ1 with some foliage in chiaroscuro1 which had an extraordinary name for excellence in his time4 ,in ,s4 ,marco1 likewise in ,rome1 he painted a story of two martyrs beside the ,sacrament--one of the best works that he made in ,rome4 ,for ,sciarra ,colonna1 also1 in the ,palace of ,s4 ,apostolo1 he painted a loggia and certain rooms4 ,these works brought him a very great sum of money2 wherefore1 having resolved to remain no longer in ,rome1 and having departed in good favour with the whole ,court1 he returned to his native city of ,perugia1 in many parts of which he executed panels and works in fresco2 and1 in particular1 a panel-picture painted in oils for the ,chapel of the ,palace of the ,signori1 containing ,our ,lady and other saints4 ,in ,s4 ,francesco del ,monte he painted two chapels in fresco1 one with the story of the ,magi going to make offering to ,christ1 and the other with the martyrdom of certain friars of ,s4 ,francis1 who1 going to the ,soldan of ,babylon1 were put to death4 ,in ,s4 ,francesco del ,convento1 likewise1 he painted two panels in oil1 one with the ,resurrection of ,christ1 and the other with ,s4 ,john the ,baptist and other saints4 ,for the ,church of the ,servi he also painted two panels1 one of the ,transfiguration of ,our ,lord1 and in the other1 which is beside the sacristy1 the ,story of the ,magi2 but1 since these are not of the same excellence as the other works of ,pietro1 it is held to be certain that they are among the first that he made4 ,in the ,chapel of the ,crocifisso in ,s4 ,lorenzo1 the ,duomo of the same city1 there are by the hand of ,pietro the ,madonna1 the other ,maries1 ,s4 ,john1 ,s4 ,laurence1 ,s4 ,james1 and other saints4 ,and for the ,altar of the ,sacrament1 where there is preserved the ring with which the ,virgin ,mary was married1 he painted the ,marriage of the ,virgin4 ,illustration3 ,,pietro ,,perugino3 ,,triptych 7,london3 ,national ,gallery1 #bhh4 ,panel7 ,afterwards he painted in fresco the whole of the ,audience ,chamber of the ,cambio1#d adorning the compartments of the vaulting with the seven planets1 drawn in certain cars by diverse animals1 according to the old usage2 on the wall opposite to the door of entrance he painted the ,nativity and ,resurrection of ,christ1 with a panel containing ,s4 ,john the ,baptist in the midst of certain other saints4 ,the side-walls he painted in his own manner2 one with figures of ,fabius ,maximus1 ,socrates1 ,numa ,pompilius1 ,f4 ,camillus1 ,pythagoras1 ,trajan1 ,l4 ,sicinius1 the ,spartan ,leonidas1 ,horatius ,cocles1 ,fabius1 ,sempronius1 the ,athenian ,pericles1 and ,cincinnatus4 ,on the other wall he made the ,prophets1 ,isaiah1 ,moses1 ,daniel1 ,david1 ,jeremiah1 and ,solomon2 and the ,sibyls1 the ,erythran1 the ,libyan1 the ,tiburtine1 the ,delphic1 and the others4 ,below each of the said figures he placed1 in the form of a written motto1 something said by them1 and appropriate to that place4 ,and in one of the ornaments he made his own portrait1 which appears absolutely alive1 and he wrote his own name below it in the following manner3 ,,petrus ,,perusinus ,,egregius ,,pictor4 ,,perdita ,,si ,,fuerat1 ,,pingendo ,,hic ,,retulit ,,artem2 ,,si ,,nunquam ,,inventa ,,esset ,,hactenus1 ,,ipse ,,dedit4 ,,anno ,d4 #aejj4 ,this work1 which was very beautiful and more highly extolled than any other that was executed by ,pietro in ,perugia1 is now held in great price by the men of that city in memory of so famous a craftsman of their own country4 ,afterwards1 in the principal chapel of the ,church of ,s4 ,agostino1 the same man executed a large panel standing by itself and surrounded by a rich ornament1 with ,s4 ,john baptizing ,christ on the front part1 and on the back--that is1 on the side that faces the choir--the ,nativity of ,christ1 with certain saints in the upper parts1 and in the predella many scenes wrought very diligently with little figures4 ,and in the ,chapel of ,s4 ,niccol1 in the said church1 he painted a panel for ,messer ,benedetto ,calera4 ,after this1 returning to ,florence1 he painted a ,s4 ,bernard on a panel for the ,monks of ,cestello1 and in the chapter-house a ,crucifix1 the ,madonna1 ,s4 ,benedict1 ,s4 ,bernard1 and ,s4 ,john4 ,and in ,s4 ,domenico da ,fiesole1 in the second chapel on the right hand1 he painted a panel containing ,our ,lady and three figures1 among which is a ,s4 ,sebastian worthy of the highest praise4 ,now ,pietro had done so much work1 and he always had so many works in hand1 that he would very often use the same subjects2 and he had reduced the theory of his art to a manner so fixed1 that he made all his figures with the same expression4 ,by that time ,michelagnolo ,buonarroti had already come to the front1 and ,pietro greatly desired to see his figures1 by reason of the praise bestowed on him by craftsmen2 and seeing the greatness of his own name1 which he had acquired in every place through so grand a beginning1 being obscured1 he was ever seeking to wound his fellow-workers with biting words4 ,for this reason1 besides certain insults aimed at him by the craftsmen1 he had only himself to blame when ,michelagnolo told him in public that he was a clumsy fool at his art4 ,but ,pietro being unable to swallow such an affront1 they both appeared before the ,tribunal of ,eight1 where ,pietro came off with little honour4 ,meanwhile the ,servite ,friars of ,florence1 wishing to have the altar-piece of their high-altar painted by some famous master1 had handed it over1 by reason of the departure of ,leonardo da ,vinci1 who had gone off to ,france1 to ,filippino2 but he1 when he had finished half of one of two panels that were to adorn the altar1 passed from this life to the next2 wherefore the friars1 by reason of the faith that they had in ,pietro1 entrusted him with the whole work4 ,in that panel1 wherein he was painting the ,deposition of ,christ from the ,cross1 ,filippino had finished the figures of ,nicodemus that are taking ,him down2 and ,pietro continued the lower part with the ,swooning of the ,madonna1 and certain other figures4 ,now this work was to be composed of two panels1 one facing towards the choir of the friars1 and the other towards the body of the church1 and the ,deposition from the ,cross was to be placed behind1 facing the choir1 with the ,assumption of ,our ,lady in front2 but ,pietro made the latter so commonplace1 that the ,deposition of ,christ was placed in front1 and the ,assumption on the side of the choir4 ,these panels have now been removed1 both one and the other1 and replaced by the ,tabernacle of the ,sacrament2 they have been set up over certain other altars in that church1 and out of the whole work there only remain six pictures1 wherein are some saints painted by ,pietro in certain niches4 ,it is said that when the work was unveiled1 it received no little censure from all the new craftsmen1 particularly because ,pietro had availed himself of those figures that he had been wont to use in other pictures2 with which his friends twitted him1 saying that he had taken no pains1 and that he had abandoned the good method of working1 either through avarice or to save time4 ,to this ,pietro would answer3 ,i have used the figures that you have at other times praised1 and which have given you infinite pleasure2 if now they do not please you1 and you do not praise them1 what can ,i do8 ,but they kept assailing him bitterly with sonnets and open insults2 whereupon1 although now old1 he departed from ,florence and returned to ,perugia4 ,there he executed certain works in fresco in the ,church of ,s4 ,severo1 a place belonging to the ,monks of the ,order of ,camaldoli1 wherein ,raffaello da ,urbino1 when quite young and still the disciple of ,pietro1 had painted certain figures1 as will be told in his ,life4 ,pietro likewise worked at ,montone1 at ,la ,fratta1 and in many other places in the district of ,perugia2 more particularly in ,s4 ,maria degli ,angeli at ,assisi1 where he painted in fresco a ,christ on the ,cross1 with many figures1 on the wall at the back of the ,chapel of the ,madonna1 which faces the choir of the monks4 ,and for the high-altar of the ,church of ,s4 ,pietro1 an abbey of ,black ,friars in ,perugia1 he painted a large panel containing the ,ascension1 with the ,apostles below gazing up to ,heaven2 in the predella of which panel are three stories1 wrought with much diligence--namely1 that of the ,magi1 the ,baptism of ,christ1 and ,his ,resurrection4 ,the whole of this picture is seen to be full of beautiful and careful work1 insomuch that it is the best of those wrought in oil by the hand of ,pietro which are in ,perugia4 ,the same man began a work in fresco of no small importance at ,castello della ,pieve1 but did not finish it4 ,it was ever ,pietro's custom on his going and coming between the said ,castello and ,perugia1 like a man who trusted nobody1 to carry all the money that he possessed about his person4 ,wherefore certain men1 lying in wait for him at a pass1 robbed him1 but at his earnest entreaty they spared his life for the love of ,god2 and afterwards1 by means of the services of his friends1 who were numerous enough1 he also recovered a great part of the money that had been taken from him2 but none the less he came near dying of vexation4 ,pietro was a man of very little religion1 and he could never be made to believe in the immortality of the soul--nay1 with words in keeping with his head of granite1 he rejected most obstinately every good suggestion4 ,he placed all his hopes in the goods of fortune1 and he would have sold his soul for money4 ,he earned great riches2 and he both bought and built houses in ,florence1 and acquired much settled property both at ,perugia and at ,castello della ,pieve4 ,he took a most beautiful young woman to wife1 and had children by her2 and he delighted so greatly in seeing her wearing beautiful head-dresses1 both abroad and at home1 that it is said that he would often tire her head with his own hand4 ,finally1 having reached the age of seventy-eight1 ,pietro finished the course of his life at ,castello della ,pieve1 where he was honourably buried1 in the year #aebd4 ,pietro made many masters in his own manner1 and one among them1 who was truly most excellent1 devoted himself heart and soul to the honourable studies of painting1 and surpassed his master by a great measure2 and this was the miraculous ,raffaello ,sanzio of ,urbino1 who worked for many years under ,pietro in company with his father1 ,giovanni de' ,santi4 ,another disciple of this man was ,pinturicchio1 a painter of ,perugia1 who1 as it has been said in his ,life1 ever held to ,pietro's manner4 ,his disciple1 likewise1 was ,rocco ,zoppo1 a painter of ,florence1 by whose hand is a very beautiful ,madonna in a round picture1 which is in the possession of ,filippo ,salviati2 although it is true that it was brought to completion by ,pietro himself4 ,the same ,rocco painted many pictures of ,our ,lady1 and made many portraits1 of which there is no need to speak2 ,i will only say that in the ,sistine ,chapel in ,rome he painted portraits of ,girolamo ,riario and of ,f4 ,pietro1 ,cardinal of ,san ,sisto4 ,another disciple of ,pietro was ,montevarchi1 who painted many pictures in ,san ,giovanni di ,valdarno2 more particularly1 in the ,madonna1 the stories of the ,miracle of the ,milk4 ,he also left many works in ,montevarchi1 his birth-place4 ,likewise a pupil of ,pietro's1 working with him for no little time1 was ,gerino da ,pistoia1 of whom there has been mention in the ,life of ,pinturicchio2 and so also was ,baccio ,ubertino of ,florence1 who was most diligent both in colouring and in drawing1 for which reason ,pietro made much use of him4 ,by this man's hand is a drawing in our book1 done with the pen1 of ,christ being scourged at the ,column1 which is a very lovely thing4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,saints 7,after the panel by ,giovanni 7,lo ,spagna74 ,assisi3 ,lower ,church7 ,anderson ,a brother of this ,baccio1 and likewise a disciple of ,pietro1 was ,francesco1 called ,il ,bacchiaccha by way of surname1 who was a most diligent master of little figures1 as may be seen in many works wrought by him in ,florence1 above all in the house of ,giovan ,maria ,benintendi and in that of ,pier ,francesco ,borgherini4 ,bacchiaccha delighted in painting grotesques1 wherefore he covered a little cabinet belonging to the ,lord ,duke ,cosimo with animals and rare plants1 drawn from nature1 which are held very beautiful4 ,besides this1 he made the cartoons for many tapestries1 which were afterwards woven in silk by the ,flemish master1 ,giovanni ,rosto1 for the apartments of his ,excellency's ,palace4 ,still another disciple of ,pietro was the ,spaniard ,giovanni1 called ,lo ,spagna by way of surname1 who was a better colourist than any of the others whom ,pietro left behind him at his death2 after which this ,giovanni would have settled in ,perugia1 if the envy of the painters of that city1 so hostile to strangers1 had not persecuted him in such wise as to force him to retire to ,spoleto1 where1 by reason of his excellence and virtue1 he obtained a wife of good family and was made a citizen of that city4 ,he made many works in that place1 and likewise in all the other cities of ,umbria2 and at ,assisi1 in the lower ,church of ,s4 ,francesco1 he painted the panel of the ,chapel of ,s4 ,caterina1 for the ,spanish ,cardinal ,egidio1 and also one in ,s4 ,damiano4 ,in ,s4 ,maria degli ,angeli1 in the little chapel where ,s4 ,francis died1 he painted some half-length figures of the size of life--that is1 certain companions of ,s4 ,francis and other saints--all very lifelike1 on either side of a ,s4 ,francis in relief4 ,but the best master among all the aforesaid disciples of ,pietro was ,andrea ,luigi of ,assisi1 called ,l',ingegno1 who in his early youth competed with ,raffaello da ,urbino under the discipline of ,pietro1 who always employed him in the most important pictures that he made2 as may be seen in the ,audience ,chamber of the ,cambio in ,perugia1 where there are some very beautiful figures by his hand2 in those that he wrought at ,assisi2 and1 finally1 in the ,chapel of ,pope ,sixtus at ,rome4 ,in all these works ,andrea gave such proof of his worth1 that he was expected to surpass his master by a great measure1 and so1 without a doubt1 it would have come to pass2 but fortune1 which is almost always pleased to oppose herself to lofty beginnings1 did not allow ,l',ingegno to reach perfection1 for a flux of catarrh fell upon his eyes1 whence the poor fellow became wholly blind1 to the infinite grief of all who knew him4 ,hearing of this most pitiful misfortune1 ,pope ,sixtus1 like a man who ever loved men of talent1 ordained that a yearly provision should be paid to ,andrea in ,assisi during his lifetime by those who managed the revenues there2 and this was done until he died at the age of eighty-six4 ,likewise disciples of ,pietro1 and also natives of ,perugia1 were ,eusebio ,san ,giorgio1 who painted the panel of the ,magi in ,s4 ,agostino2 ,domenico di ,paris1 who made many works in ,perugia and in the neighbouring townships1 being followed by his brother ,orazio2 and also ,gian ,niccola1 who painted ,christ in the ,garden on a panel in ,s4 ,francesco1 the panel of ,ognissanti in the ,chapel of the ,baglioni in ,s4 ,domenico1 and stories of ,s4 ,john the ,baptist in fresco in the ,chapel of the ,cambio4 ,benedetto ,caporali1 otherwise called ,bitti1 was also a disciple of ,pietro1 and there are many pictures by his hand in his native city of ,perugia4 ,and he occupied himself so greatly with architecture1 that he not only executed many works1 but also wrote a commentary on ,vitruvius in the manner that all can see1 for it is printed2 in which studies he was followed by his son ,giulio1 a painter of ,perugia4 ,but not one out of all these disciples ever equalled ,pietro's diligence1 or the grace of colouring that he showed in that manner of his own1 which pleased his time so much1 that many came from ,france1 from ,spain1 from ,germany1 and from other lands1 to learn it4 ,and a trade was done in his works1 as has been said1 by many who sent them to diverse places1 until there came the manner of ,michelagnolo1 which1 having shown the true and good path to these arts1 has brought them to that perfection which will be seen in the ,third ,part1 about to follow1 wherein we will treat of the excellence and perfection of art1 and show to craftsmen that he who labours and studies continuously1 and not in the way of fantasy or caprice1 leaves true works behind him and acquires fame1 wealth1 and friends4 ,,footnote3 #d ,exchange or ,bank4 ,,vittore ,,scarpaccia 7,,carpaccio71 ,,and ,,other ,,venetian ,,and ,,lombard ,,painters ,,lives ,,of ,,vittore ,,scarpaccia 7,,carpaccio71 ,,and ,,of ,,other ,,venetian ,,and ,,lombard ,,painters ,it is very well known that when some of our craftsmen make a beginning in some province1 they are afterwards followed by many1 one after another2 and very often there is an infinite number of them at one and the same time1 for the reason that rivalry1 emulation1 and the fact that they have been dependent on others1 one on one excellent master1 and one on another1 bring it about that the craftsmen seek with all the greater effort to surpass one another1 to the utmost of their ability4 ,and even when many depend on one1 no sooner do they separate1 either at the death of their master or for some other reason1 than they straightway also separate in aim2 whereupon each seeks to prove his own worth1 in order to appear better than the rest and a master by himself4 ,of many1 then1 who flourished almost at one and the same time and in one and the same province1 and about whom ,i have not been able to learn and am not able to write every particular1 ,i will give some brief account1 to the end that1 now that ,i find myself at the end of the ,second ,part of this my work1 ,i may not omit some who have laboured to leave the world adorned by their works4 ,of these men1 ,i say1 besides having been unable to discover their whole history1 ,i have not even been able to find the portraits1 excepting that of ,scarpaccia1 whom for this reason ,i have made head of the others4 ,let my readers therefore accept what ,i can offer in this connection1 seeing that ,i cannot offer what ,i would wish4 ,there lived1 then1 in the ,march of ,treviso and in ,lombardy1 during a period of many years1 ,stefano ,veronese1 ,aldigieri da ,zevio1 ,jacopo ,davanzo of ,bologna1 ,sebeto da ,verona1 ,jacobello de ,flore1 ,guerriero da ,padova1 ,giusto1 ,girolamo ,campagnola and his son ,giulio1 and ,vincenzio ,bresciano2 ,vittore1 ,sebastiano1#e and ,lazzaro#e ,scarpaccia1 ,venetians2 ,vincenzio ,catena1 ,luigi ,vivarini1 ,giovan ,battista da ,conigliano1 ,marco ,basarini1#f ,giovanetto ,cordegliaghi1 ,il ,bassiti1 ,bartolommeo ,vivarini1 ,giovanni ,mansueti1 ,vittore ,bellini1 ,bartolommeo ,montagna of ,vicenza1 ,benedetto ,diana1 and ,giovanni ,buonconsigli1 with many others1 of whom there is no need to make mention here4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,s4 ,,catharine ,,in ,a ,,rose ,,garden 7,after the panel by ,stefano da ,verona 7da ,zevio74 ,verona3 ,gallery1 #eei7 ,brogi ,to begin with the first1 ,i start by saying that ,stefano ,veronese1 of whom ,i gave some account in the ,life of ,agnolo ,gaddi1 was a painter more than passing good in his day4 ,and when ,donatello was working in ,padua1 as has been already told in his ,life1 going on one of several occasions to ,verona1 he was struck with marvel at the works of ,stefano1 declaring that the pictures which he had made in fresco were the best that had been wrought in those parts up to that time4 ,the first works of this man were in the tramezzo#g of the ,church of ,s4 ,antonio at ,verona1 at the top of a wall on the left1 below the curve of a part of the vaulting2 and the subjects were a ,madonna with the ,child in her arms1 and ,s4 ,james and ,s4 ,anthony1 one on either side of her4 ,this work is held very beautiful in that city even at the present day1 by reason of a certain liveliness that is seen in the said figures1 particularly in the heads1 which are wrought with much grace4 ,in ,s4 ,niccol1 a parish church of that city1 likewise1 he painted a ,s4 ,nicholas in fresco1 which is very beautiful4 ,on the front of a house in the ,via di ,s4 ,polo1 which leads to the ,porta del ,vescovo1 he painted the ,virgin1 with certain very beautiful angels and a ,s4 ,christopher2 and over the wall of the ,church of ,s4 ,consolata in the ,via del ,duomo1 in a recess made in the wall1 he painted a ,madonna and certain birds1 in particular a peacock1 his emblem4 ,in ,s4 ,eufemia1 a convent of the ,eremite ,friars of ,s4 ,augustine1 he painted over the side-door a ,s4 ,augustine with two other saints1 and under the mantle of this ,s4 ,augustine are many friars and nuns of his ,order2 but the most beautiful things in this work are two half-length prophets of the size of life1 for the reason that they have the most beautiful and most lifelike heads that ,stefano ever made2 and the colouring of the whole work1 having been executed with diligence1 has remained beautiful even to our own day1 notwithstanding that it has been much exposed to rain1 wind1 and frost4 ,if this work had been under cover1 it would still be as beautiful and fresh as it issued from his hands1 for the reason that ,stefano did not retouch it on the dry1 but used diligence in executing it well in fresco2 as it is1 it has suffered a little4 ,within the church1 in the ,chapel of the ,sacrament--namely1 round the ,tabernacle--he afterwards painted certain angels flying1 some of whom are sounding instruments1 some singing1 and others burning incense before the ,sacrament2 together with a figure of ,jesus ,christ1 which he painted at the top as a finish to the ,tabernacle4 ,below there are other angels1 who are supporting ,him1 clothed in white garments reaching to their feet1 and ending1 as it were1 in clouds1 which was an idea peculiar to ,stefano in painting figures of angels1 whom he always made most gracious in countenance and very beautiful in expression4 ,in this same work are life-size figures of ,s4 ,augustine and ,s4 ,jerome1 one on either side2 and these are supporting with their hands the ,church of ,god1 as if to show that both of them defend ,holy ,church from heretics with their learning1 and support her4 ,on a pilaster of the principal chapel in the same church he painted a ,s4 ,eufemia in fresco1 with a beautiful and gracious expression of countenance2 and there he wrote his own name in letters of gold1 perchance since it appeared to him to be1 as in fact it is1 one of the best pictures that he had made2 and according to his custom he painted there a very beautiful peacock1 and beside it two lion cubs1 which are not very beautiful1 because at that time he could not see live ones1 as he saw the peacock4 ,he also painted for the same place a panel containing1 as was the custom in those times1 many half-length figures1 such as ,s4 ,niccola da ,tolentino and others2 and he filled the predella with scenes in little figures from the life of that ,saint4 ,in ,s4 ,fermo1 a church in the same city belonging to the ,friars of ,s4 ,francis1 he painted1 as an ornament for a ,deposition from the ,cross on the wall opposite to the side-door of entrance1 twelve half-length prophets of the size of life1 with ,adam and ,eve lying below them1 and his usual peacock1 which is almost the hall-mark of pictures executed by him4 ,in ,mantua1 at the ,martello gate of the ,church of ,s4 ,domenico1 the same ,stefano painted a most beautiful ,madonna2 the head of which ,madonna1 when they had need to build in that place1 those fathers placed with care in the tramezzo#h of the church--that is1 in the ,chapel of ,s4 ,orsola1 which belongs to the ,recuperati family1 and contains some pictures in fresco by the hand of the same man4 ,and in the ,church of ,s4 ,francesco1 on the right hand as one enters by the principal door1 there is a row of chapels formerly built by the noble ,della ,ramma family1 in one of which are seated figures of the four ,evangelists1 painted on the vaulting by the hand of ,stefano2 and behind their shoulders1 for a background1 he made certain espaliers of roses1 with a cane trellis-work in a pattern of mandorle1 above which are various trees and other greenery full of birds1 particularly of peacocks2 and there are also some very beautiful angels4 ,in this same church1 on a column on the right hand as one enters1 he painted a life-size figure of ,s4 ,mary ,magdalene4 ,and in the same city1 on the frontal of a door in the street called ,rompilanza1 he painted in fresco a ,madonna with the ,child in her arms1 and some angels kneeling before her2 and the background he made of trees covered with fruit4 ,these1 then1 are the works that are found to have been executed by ,stefano1 although it may well be believed1 since his life was not a short one1 that he made many others4 ,but even as ,i have not been able to discover any more of them1 so ,i have failed to find his surname1 his father's name1 his portrait1 or any other particulars4 ,some declare that before he came to ,florence he was a disciple of ,maestro ,liberale1 a painter of ,verona2 but this matters nothing4 ,it is enough that he learnt all that there was of the good in him from ,agnolo ,gaddi in ,florence4 ,illustration3 ,,presentation ,,to ,,the ,,madonna ,,of ,,three ,,knights ,,of ,,the ,,cavalli ,,family 7,after the fresco by ,aldigieri da ,zevio ,altichiero4 ,verona3 ,s4 ,anastasia7 ,alinari ,of the same city of ,verona was ,aldigieri da ,zevio1 who was very much the friend of the ,signori della ,scala1 and who1 besides many other works1 painted the ,great ,hall of their ,palace 7which is now the habitation of the ,podest71 depicting therein the ,war of ,jerusalem1 according as it is described by ,josephus4 ,in this work ,aldigieri showed great spirit and judgment1 distributing one scene over the walls of that hall on every side1 with a single ornament encircling it right round2 on the upper part of which ornament1 as it were to set it off1 he placed a row of medallions1 in which it is believed that there are the portraits from life of many distinguished men of those times1 particularly of many of those ,signori della ,scala2 but1 since the truth about this is not known1 ,i will say no more of it4 ,i must say1 indeed1 that ,aldigieri showed in this work that he had intelligence1 judgment1 and invention1 seeing that he took into consideration all the things that can be taken into consideration in a serious war4 ,besides this1 the colouring has remained very fresh2 and among many portraits of men of distinction and learning1 there is seen that of ,messer ,francesco ,petrarca4 ,jacopo ,avanzi1 a painter of ,bologna1 shared the work of this hall with ,aldigieri1 and below the aforesaid pictures he painted two most beautiful ,triumphs1 likewise in fresco1 with so much art and so good a manner1 that ,girolamo ,campagnola declares that ,mantegna used to praise them as pictures of the rarest merit4 ,the same ,jacopo1 together with ,aldigieri and ,sebeto da ,verona1 painted the ,chapel of ,s4 ,giorgio1 which is beside the ,church of ,s4 ,antonio1 in ,padua1 according to the directions left in the testaments of the ,marquesses of ,carrara4 ,jacopo ,avanzi painted the upper part2 below this were certain stories of ,s4 ,lucia1 with a ,last ,supper1 by ,aldigieri2 and ,sebeto painted stories of ,s4 ,john4 ,afterwards these three masters1 having all returned to ,verona1 joined together to paint a wedding-feast1 with many portraits and costumes of those times1 in the house of the ,counts ,serenghi4 ,now the work of ,jacopo ,avanzi was held to be the best of all2 but1 since mention has been made of him in the ,life of ,niccol d' ,arezzo by reason of the works that he made in ,bologna in competition with the painters ,simone1 ,cristofano1 and ,galasso1 ,i will say no more about him in this place4 ,a man who was held in esteem at ,venice about the same time1 although he adhered to the ,greek manner1 was ,jacobello de ,flore1 who made a number of works in that city2 in particular1 a panel for the ,nuns of the ,corpus ,domini1 which stands on the altar of ,s4 ,domenico in their church4 ,a competitor of this master was ,giromin ,morzone1 who painted a number of pictures in ,venice and in many cities of ,lombardy2 but1 since he held to the old manner and made all his figures on tiptoe1 we will say nothing about him1 save that there is a panel by his hand1 with many saints1 on the ,altar of the ,assumption in the ,church of ,s4 ,lena4 ,a much better master than ,morzone was ,guerriero1 a painter of ,padua1 who1 besides many other works1 painted the principal chapel of the ,eremite ,friars of ,s4 ,augustine in ,padua1 and a chapel for the same friars in the first cloister4 ,he also painted a little chapel in the house of the ,urban ,prefect1 and the ,hall of the ,roman ,emperors1 where the students go to dance at the time of the ,carnival4 ,he also painted in fresco1 in the ,chapel of the ,podest of the same city1 some scenes from the ,old ,testament4 ,giusto1 likewise a painter of ,padua1 painted in the ,chapel of ,s4 ,giovanni ,battista1 without the ,church of the ,vescovado1 not only certain scenes from the ,old ,testament and the ,new1 but also the ,revelations of the ,apocalypse of ,s4 ,john the ,evangelist2 and in the upper part he made a ,paradise containing many choirs of angels and other adornments1 wrought with beautiful conceptions4 ,in the ,church of ,s4 ,antonio he painted in fresco the ,chapel of ,s4 ,luca2 and in a chapel in the ,church of the ,eremite ,friars of ,s4 ,augustine he painted the liberal arts1 with the virtues and vices beside them1 and likewise those who have been celebrated for their virtues1 and those who have fallen by reason of their vices into the extreme of misery and into the lowest depth of ,hell4 ,there was working in ,padua1 in this man's time1 ,stefano1 a painter of ,ferrara1 who1 as has been said elsewhere1 adorned with various pictures the chapel and the tomb wherein is the body of ,s4 ,anthony1 and also painted the ,virgin ,mary that is called the ,vergine del ,pilastro4 ,illustration3 ,,vittore ,,scarpaccia 7,,carpaccio73 ,,the ,,vision ,,of ,s4 ,,ursula 7,venice3 ,accademia1 #egh4 ,canvas7 ,another man who was held in esteem in the same times was ,vincenzio1 a painter of ,brescia1 according to the account of ,filarete1 as was also ,girolamo ,campagnola1 another ,paduan painter1 and a disciple of ,squarcione4 ,then ,giulio1 son of ,girolamo1 made many beautiful works of painting1 illumination1 and copper-engraving1 both in ,padua and in other places4 ,in the same city of ,padua many things were wrought by ,niccol ,moreto1 who lived eighty years1 and never ceased to exercise his art4 ,illustration3 ,s4 ,,george ,,and ,,the ,,dragon 7,after the panel by ,vittore ,scarpaccia ,carpaccio4 ,venice3 ,s4 ,giorgio ,segli ,schiavoni7 ,anderson ,besides these there were many others1 who were connected with ,gentile and ,giovanni ,bellini2 but ,vittore ,scarpaccia was truly the first among them who made works of importance4 ,his first works were in the ,scuola of ,s4 ,orsola1 where he painted on canvas the greater part of the stories that are there1 representing the life and death of that ,saint2 the labours of which pictures he contrived to carry out so well and with such great diligence and art1 that he acquired thereby the name of a very good and practised master4 ,this1 so it is said1 was the reason that the people of ,milan caused him to paint a panel in distemper with many figures for the ,friars ,minor1 in their ,chapel of ,s4 ,ambrogio4 ,on the altar of the ,risen ,christ in the ,church of ,s4 ,antonio he painted the scene of ,christ appearing to the ,magdalene and the other ,maries1 in which he made a very beautiful view in perspective of a landscape receding into the distance2 and in another chapel he painted the story of the ,martyrs--that is1 their crucifixion--in which work he made more than three hundred figures1 what with the large and the small1 besides a number of horses and trees1 an open ,heaven1 figures both nude and clothed in diverse attitudes1 many foreshortenings1 and so many other things1 that it can be seen that he did not execute it without extraordinary labour4 ,for the altar of the ,madonna1 in the ,church of ,s4 ,giobbe in ,canareio1 he painted her presenting the ,infant ,christ to ,simeon1 and depicted the ,madonna herself standing1 and ,simeon in his cope between two ministers clothed as ,cardinals2 behind the ,virgin are two women1 one of whom has two doves1 and below are three boys1 who are playing on a lute1 a serpent1 and a lyre1 or rather a viol2 and the colouring of the whole panel is very charming and beautiful4 ,and1 in truth1 ,vittore was a very diligent and practised master1 and many pictures by his hand that are in ,venice1 both portraits from life and other kinds1 are much esteemed for works wrought in those times4 ,he taught his art to two brothers of his own1 who imitated him closely1 one being ,lazzaro1 and the other ,sebastiano2 and by their hand is a panel on the altar of the ,virgin in the ,church of the ,nuns of the ,corpus ,domini1 showing her seated between ,s4 ,catherine and ,s4 ,martha1 with other female saints1 two angels who are sounding instruments1 and a very beautiful view of buildings in perspective as a background to the whole work1 of which we have the original drawings1 by the hand of these men1 in our book4 ,another passing good painter in the time of these masters was ,vincenzio ,catena1 who occupied himself much more with making portraits from the life than with any other sort of painting2 and1 in truth1 some that are to be seen by his hand are marvellous--among others1 that of a ,german of the ,fugger family1 a man of rank and importance1 who was then living in the ,fondaco de' ,tedeschi at ,venice1 was painted with great vivacity4 ,another man who made many works in ,venice1 about the same time1 was a disciple of ,giovanni ,bellini1 ,giovan ,battista da ,conigliano1 by whose hand is a panel on the altar of ,s4 ,pietro ,martire in the aforesaid ,church of the ,nuns of the ,corpus ,domini1 containing the said ,saint1 ,s4 ,nicholas1 and ,s4 ,benedict1 with landscapes in perspective1 an angel tuning a cithern1 and many little figures more than passing good4 ,and if this man had not died young1 it may be believed that he would have equalled his master4 ,the name of a master not otherwise than good1 likewise1 in the same art and at the same time1 was enjoyed by ,marco ,basarini1 who1 painting in ,venice1 where he was born from a ,greek father and mother1 executed in ,s4 ,francesco della ,vigna a panel with a ,deposition of ,christ from the ,cross1 and another panel in the ,church of ,s4 ,giobbe1 representing ,christ in the ,garden1 and below ,him the three ,apostles1 who are sleeping1 and ,s4 ,francis1 ,s4 ,dominic1 and two other saints2 but what was most praised in this work was a landscape with many little figures wrought with good grace4 ,in that same church the same ,marco painted ,s4 ,bernardino on a rock1 with other saints4 ,illustration3 ,,vincenzio ,,catena 7,,di ,,biagio73 ,s4 ,,jerome ,,in ,,his ,,study 7,london3 ,national ,gallery1 #fid4 ,panel7 ,giovanetto ,cordegliaghi made an infinity of devotional pictures in the same city2 nay1 he scarcely worked at anything else1 and1 in truth1 he had in this sort of painting a very delicate and sweet manner1 no little better than that of the aforesaid masters4 ,in ,s4 ,pantaleone1 in a chapel beside the principal one1 this man painted ,s4 ,peter making disputation with two other saints1 who are wearing most beautiful draperies1 and are wrought with a beautiful manner4 ,illustration3 ,,giovan ,,battista ,,da ,,conigliano 7,,cima73 ,,tobit ,,and ,,the ,,angel 7,,detail7 7,venice3 ,accademia1 #eib4 ,panel transferred to ,canvas7 ,marco ,bassiti was in good repute almost at the same time1 and by his hand is a large panel in the ,church of the ,carthusian ,monks at ,venice1 in which he painted ,christ between ,peter and ,andrew on the ,sea of ,tiberias1 with the sons of ,zebedee2 making therein an arm of the sea1 a mountain1 and part of a city1 with many persons in the form of little figures4 ,many other works by this man could be enumerated1 but let it be enough to have spoken of this one1 which is the best4 ,bartolommeo ,vivarini of ,murano also acquitted himself very well in the works that he made1 as may be seen1 besides many other examples1 in the panel that he executed for the altar of ,s4 ,luigi in the ,church of ,,ss4 ,giovanni e ,polo2 in which panel he portrayed the said ,s4 ,luigi seated1 wearing the cope1 with ,s4 ,gregory1 ,s4 ,sebastian1 and ,s4 ,dominic on one side of him1 and on the other side ,s4 ,nicholas1 ,s4 ,jerome1 and ,s4 ,rocco1 and above them half-length figures of other saints4 ,another man who executed his pictures very well1 taking much delight in counterfeiting things of nature1 figures1 and distant landscapes1 was ,giovanni ,mansueti1 who1 imitating the works of ,gentile ,bellini not a little1 made many pictures in ,venice4 ,at the upper end of the ,audience ,chamber of the ,scuola of ,s4 ,marco he painted a ,s4 ,mark preaching on the ,piazza2 in which picture he painted the faade of the church1 and1 among the multitude of men and women who are listening to the ,saint1 ,turks1 ,greeks1 and the faces of men of diverse nations1 with bizarre costumes4 ,in the same place1 in another scene wherein he painted ,s4 ,mark healing a sick man1 he made a perspective view of two staircases and many loggie4 ,in another picture1 near to that one1 he made a ,s4 ,mark converting an infinite multitude to the faith of ,christ2 in this he made an open temple1 with a ,crucifix on an altar1 and throughout the whole work there are diverse persons with a beautiful variety of expression1 dress1 and features4 ,the work in the same place was continued after him by ,vittore ,bellini1 who made a view of buildings in perspective1 which is passing good1 in a scene wherein ,s4 ,mark is taken prisoner and bound1 with a number of figures1 in which he imitated his predecessors4 ,after these men came ,bartolommeo ,montagna of ,vicenza1 a passing good painter1 who lived ever in ,venice and made many pictures there2 and he painted a panel in the ,church of ,s4 ,maria d' ,artone at ,padua4 ,benedetto ,diana1 likewise1 was a painter no less esteemed than the masters mentioned above1 as is proved1 to say nothing of his other works1 by those from his hand that are in ,s4 ,francesco della ,vigna at ,venice1 where1 for the altar of ,s4 ,giovanni1 he painted that ,saint standing between two other saints1 each of whom has a book in his hand4 ,another man who was accounted a good master was ,giovanni ,buonconsigli1 who painted a picture in the ,church of ,,ss4 ,giovanni e ,polo for the altar of ,s4 ,tommaso d' ,aquino1 showing that ,saint surrounded by many figures1 to whom he is reading the ,holy ,scriptures2 and he made therein a perspective view of buildings1 which is not otherwise than worthy of praise4 ,there also lived in ,venice throughout almost the whole course of his life the ,florentine sculptor1 ,simon ,bianco1 as did ,tullio ,lombardo1 an excellent master of intaglio4 ,in ,lombardy1 likewise1 there were excellent sculptors in ,bartolommeo ,clemente of ,reggio and ,agostino ,busto2 and1 in intaglio1 ,jacopo ,davanzo of ,milan1 with ,gasparo and ,girolamo ,misceroni4 ,in ,brescia there was a man who was able and masterly at working in fresco1 called ,vincenzio ,verchio1 who acquired a very great name in his native place by reason of his beautiful works4 ,the same did ,girolamo ,romanino1 a fine master of design1 as is clearly demonstrated by the works made by him in ,brescia and in the neighbourhood for many miles around4 ,and not inferior to these--nay1 even superior--was ,alessandro ,moretto1 who was very delicate in his colouring1 and much the friend of diligence1 as the works made by him demonstrate4 ,illustration3 ,,christ ,,on ,,the ,,mount ,,of ,,olives 7,after the panel by ,marco ,bassiti ,basaiti4 ,venice3 ,accademia1 #fi7 ,anderson ,but to return to ,verona1 in which city there have flourished excellent craftsmen1 even as they flourish more than ever to-day2 there1 in times past1 were excellent masters in ,francesco ,bonsignori and ,francesco ,caroto1 and afterwards ,maestro ,zeno of ,verona1 who painted the panel of ,s4 ,marino in ,rimini1 with two others1 all with much diligence4 ,but the man who surpassed all others in making certain marvellous figures from life was ,il ,moro of ,verona1 or rather1 as others called him1 ,francesco ,turbido1 by whose hand is a portrait now in the house of ,monsignor de' ,martini at ,venice1 of a gentleman of the house of ,badovaro1 painted in the character of a shepherd2 which portrait appears absolutely alive1 and can challenge comparison with any of the great number that have been seen in these parts4 ,battista d' ,angelo1 son-in-law of this ,francesco1 is also so lovely in colouring and so masterly in drawing1 that he is rather superior than inferior to his father-in-law4 ,but since it is not my intention to speak at present of the living1 it must suffice me to have spoken in this place of some with regard to whose lives1 as ,i said at the beginning of this ,life1 ,i have not been able to discover every particular with equal minuteness1 to the end that their talents and merits may receive from me at least all that little which ,i1 who would fain make it much1 am able to give them4 ,illustration3 ,,piet 7,after the panel by ,giovanni ,buonconsigli4 ,vincenza3 ,pinacoteca1 #bb7 ,alinari ,,footnote3 #e ,it is now generally accepted that these two men are one1 under the name of ,lazzaro ,bastiani4 #f ,this master has been identified with ,il ,bassiti1 under the name of ,basaiti4 #g ,see note on p4 #eg1 ,vol4 ,i4 #h ,see note on p4 #eg1 ,vol4 ,i4 ,,jacopo1 ,,called ,l',,indaco ,,life ,,of ,,jacopo1 ,,called ,l',,indaco ,,painter ,jacopo1 called ,l',indaco1 who was a disciple of ,domenico del ,ghirlandajo1 and who worked in ,rome with ,pinturicchio1 was a passing good master in his day2 and although he did not make many works1 yet those that he did make are worthy of commendation4 ,nor is there any need to marvel that only very few works issued from his hands1 for the reason that1 being a gay and humorous fellow and a lover of good cheer1 he harboured but few thoughts and would never work save when he could not help it2 and so he used to say that doing nothing else but labour1 without taking a little pleasure in the world1 was no life for a ,christian4 ,he lived in close intimacy with ,michelagnolo1 for when that craftsman1 supremely excellent beyond all who have ever lived1 wished to have some recreation after his studies and his continuous labours of body and mind1 no one was more pleasing to him for the purpose or more suited to his humour than this man4 ,jacopo worked for many years in ,rome1 or1 to be more precise1 he lived many years in ,rome1 working very little4 ,by his hand1 in that city1 is the first chapel on the right hand as one enters the ,church of ,s4 ,agostino by the door of the faade2 on the vaulting of which chapel are the ,apostles receiving the ,holy ,spirit1 and on the wall below are two stories of ,christ--in one ,his taking ,peter and ,andrew from their nets1 and in the other the ,feast of ,simon and the ,magdalene1 in which there is a ceiling of planks and beams1 counterfeited very well4 ,in the panel of the same chapel1 which he painted in oil1 is a ,dead ,christ1 wrought and executed with much mastery and diligence4 ,in the ,trinit at ,rome1 likewise1 there is a little panel by his hand with the ,coronation of ,our ,lady4 ,but what need is there to say more about this man8 ,what more1 indeed1 is there to say8 ,it is enough that he loved gossiping as much as he always hated working and painting4 ,now seeing that1 as has been said1 ,michelagnolo used to take pleasure in this man's chattering and in the jokes that he was ever making1 he kept him almost always at his table2 but one day ,jacopo wearied him--as such fellows more often than not do come to weary their friends and patrons with their incessant babbling1 so often ill-timed and senseless2 babbling1 ,i call it1 for reasonable talk it cannot be called1 since for the most part there is neither reason nor judgment in such people--and ,michelagnolo1 who1 perchance1 had other thoughts in his mind at the time and wished to get rid of him1 sent him to buy some figs2 and no sooner had ,jacopo left the house than ,michelagnolo bolted the door behind him1 determined not to open to him when he came back4 ,l',indaco1 then1 on returning from the market-square1 perceived1 after having knocked at the door for a time in vain1 that ,michelagnolo did not intend to open to him2 whereupon1 flying into a rage1 he took the figs and the leaves and spread them all over the threshold of the door4 ,this done1 he went his way and for many months refused to speak to ,michelagnolo2 but at last1 becoming reconciled with him1 he was more his friend than ever4 ,finally1 having reached the age of sixty-eight1 he died in ,rome4 ,not unlike ,jacopo was a younger brother of his1 whose proper name was ,francesco1 although he too was afterwards called ,l',indaco by way of surname2 and he1 likewise1 was a painter1 and more than passing good4 ,he was not unlike ,jacopo--,i mean1 in his unwillingness to work 7to say the least71 and in his love of talking--but in one respect he surpassed ,jacopo1 for he was ever speaking evil of everyone and decrying the works of every craftsman4 ,this man1 after having wrought certain things in ,montepulciano both in painting and in clay1 painted a little panel for the ,audience ,chamber of the ,company of the ,nunziata in ,arezzo1 containing an ,annunciation1 and a ,god the ,father in ,heaven surrounded by many angels in the form of children4 ,and in the same city1 on the first occasion when ,duke ,alessandro went there1 he made a most beautiful triumphal arch1 with many figures in relief1 at the gate of the ,palazzo de' ,signori2 and also1 in competition with other painters who executed a number of other works for the entry of the said ,duke1 the scenery for the representation of a play1 which was held to be very beautiful4 ,afterwards1 having gone to ,rome at the time when the ,emperor ,charles ,v was expected there1 he made some figures in clay1 and a coat of arms in fresco for the ,roman people on the ,campidoglio1 which was much extolled4 ,but the best work that ever issued from the hands of this master1 and the most highly praised1 was a little study wrought in stucco for the ,duchess ,margherita of ,austria in the ,palace of the ,medici at ,rome--a thing so beautiful and so ornate that there is nothing better to be seen2 nor do ,i believe that it is possible1 in a certain sense1 to do with silver what ,l',indaco did in this work with stucco4 ,from these things it may be judged that if this man had taken pleasure in work and had made use of his intelligence1 he would have become excellent4 ,francesco drew passing well1 but ,jacopo much better1 as may be seen in our book4 ,,luca ,,signorelli ,,of ,,cortona ,,life ,,of ,,luca ,,signorelli ,,of ,,cortona ,,luca ,,da ,,cortona ,,painter ,luca ,signorelli1 an excellent painter1 of whom1 according to the order of time1 we have now to speak1 was more famous throughout ,italy in his day1 and his works were held in greater price than has ever been the case with any other master at any time whatsoever1 for the reason that in the works that he executed in painting he showed the true method of making nudes1 and how they can be caused1 although only with art and difficulty1 to appear alive4 ,he was a pupil and disciple of ,piero dal ,borgo a ,san ,sepolcro1 and greatly did he strive in his youth to imitate his master1 and even to surpass him2 and the while that he was working with ,piero at ,arezzo1 living in the house of his uncle ,lazzaro ,vasari1 as it has been told1 he imitated the manner of the said ,piero so well that the one could scarcely be distinguished from the other4 ,the first works of ,luca were in ,s4 ,lorenzo at ,arezzo1 where he painted the ,chapel of ,s4 ,barbara in fresco in the year #adgb2 and he painted for the ,company of ,s4 ,caterina1 on cloth and in oil1 the banner that is borne in processions1 and likewise that of the ,trinit1 although this does not appear to be by the hand of ,luca1 but by ,piero dal ,borgo himself4 ,in ,s4 ,agostino in the same city he painted the panel of ,s4 ,niccola da ,tolentino1 with most beautiful little scenes1 executing the work with good drawing and invention2 and in the same place1 in the ,chapel of the ,sacrament1 he made two angels wrought in fresco4 ,in the ,chapel of the ,accolti in the ,church of ,s4 ,francesco1 for ,messer ,francesco1 ,doctor of ,laws1 he painted a panel in which he portrayed the said ,messer ,francesco with some of his relatives4 ,in this work is a ,s4 ,michael weighing souls1 who is admirable2 and in him there is seen the knowledge of ,luca1 both in the splendour of his armour and in the reflected lights1 and1 in short1 throughout the whole work4 ,in his hands he placed a pair of scales1 in which are nude figures1 very beautifully foreshortened1 one going up and the other down2 and among other ingenious things that are in this picture is a nude figure most skilfully transformed into a devil1 with a lizard licking the blood from a wound in its body4 ,besides this1 there is a ,madonna with the ,child on her lap1 with ,s4 ,stephen1 ,s4 ,laurence1 ,s4 ,catherine1 and two angels1 of whom one is playing on a lute and the other on a rebec2 and all these figures are draped and adorned so beautifully that it is a marvel4 ,but the most miraculous part of this panel is the predella1 which is full of ,friars of the said ,s4 ,catherine in the form of little figures4 ,illustration3 ,,luca ,,signorelli3 ,,pan 7,berlin3 ,kaiser ,friedrich ,museum1 #gi;,a4 ,canvas7 ,in ,perugia1 also1 he made many works2 among others1 a panel in the ,duomo for ,messer ,jacopo ,vannucci of ,cortona1 ,bishop of that city2 in which panel are ,our ,lady1 ,s4 ,onofrio1 ,s4 ,ercolano1 ,s4 ,john the ,baptist1 and ,s4 ,stephen1 with a most beautiful angel1 who is tuning a lute4 ,at ,volterra1 over the altar of a ,company in the ,church of ,s4 ,francesco1 he painted in fresco the ,circumcision of ,our ,lord1 which is considered beautiful to a marvel1 although the ,infant1 having been injured by damp1 was restored by ,sodoma and made much less beautiful than before4 ,and1 in truth1 it would be sometimes better to leave works half spoilt1 when they have been made by men of excellence1 rather than to have them retouched by inferior masters4 ,in ,s4 ,agostino in the same city he painted a panel in distemper1 and the predella of little figures1 with stories of the ,passion of ,christ2 and this is held to be extraordinarily beautiful4 ,at ,s4 ,maria a ,monte he painted a ,dead ,christ on a panel for the monks of that place2 and at ,citt di ,castello a ,nativity of ,christ in ,s4 ,francesco1 with a ,s4 ,sebastian on another panel in ,s4 ,domenico4 ,in ,s4 ,margherita1 a seat of the ,frati del ,zoccolo in his native city of ,cortona1 he painted a ,dead ,christ1 one of the rarest of his works2 and for the ,company of the ,ges1 in the same city1 he executed three panels1 of which the one that is on the high-altar is marvellous1 showing ,christ administering the ,sacrament to the ,apostles1 and ,judas placing the ,host into his wallet4 ,in the ,pieve1 now called the ,vescovado1 in the ,chapel of the ,sacrament1 he painted some life-size prophets in fresco2 and round the tabernacle are some angels who are opening out a canopy1 with ,s4 ,jerome and ,s4 ,thomas ,aquinas at the sides4 ,for the high-altar of the said church he painted a panel with a most beautiful ,assumption1 and he designed the pictures for the principal round window of the same church2 which pictures were afterwards executed by ,stagio ,sassoli of ,arezzo4 ,in ,castiglione ,aretino he made a ,dead ,christ1 with the ,maries1 over the ,chapel of the ,sacrament2 and in ,s4 ,francesco1 at ,lucignano1 he painted the folding-doors of a press1 wherein there is a tree of coral surmounted by a cross4 ,at ,siena1 in the ,chapel of ,s4 ,cristofano in ,s4 ,agostino1 he painted a panel with some saints1 in the midst of whom is a ,s4 ,cristopher in relief4 ,having gone from ,siena to ,florence in order to see both the works of those masters who were then living and those of many already dead1 he painted for ,lorenzo de' ,medici certain nude gods on a canvas1 for which he was much commended1 and a picture of ,our ,lady with two little prophets in terretta1 which is now at ,castello1 a villa of ,duke ,cosimo's4 ,these works1 both the one and the other1 he presented to the said ,lorenzo1 who would never be beaten by any man in liberality and magnificence4 ,he also painted a round picture of ,our ,lady1 which is in the ,audience ,chamber of the ,captains of the ,guelph party--a very beautiful work4 ,at ,chiusuri in the district of ,siena1 the principal seat of the ,monks of ,monte ,oliveto1 he painted eleven scenes of the life and acts of ,s4 ,benedict on one side of the cloister4 ,and from ,cortona he sent some of his works to ,montepulciano2 to ,foiano the panel which is on the high-altar of the ,pieve2 and other works to other places in ,valdichiana4 ,in the ,madonna1 the principal church of ,orvieto1 he finished with his own hand the chapel that ,fra ,giovanni da ,fiesole had formerly begun there2 in which chapel he painted all the scenes of the end of the world with bizarre and fantastic invention--angels1 demons1 ruins1 earthquakes1 fires1 miracles of ,antichrist1 and many other similar things besides1 such as nudes1 foreshortenings1 and many beautiful figures2 imagining the terror that there shall be on that last and awful day4 ,by means of this he encouraged all those who have lived after him1 insomuch that since then they have found easy the difficulties of that manner2 wherefore ,i do not marvel that the works of ,luca were ever very highly extolled by ,michelagnolo1 nor that in certain parts of his divine ,judgment1 which he made in the chapel1 he should have deigned to avail himself in some measure of the inventions of ,luca1 as he did in the angels1 the demons1 the division of the ,heavens1 and other things1 in which ,michelagnolo himself imitated ,luca's method1 as all may see4 ,in this work ,luca portrayed himself and many of his friends2 ,niccol1 ,paolo1 and ,vitelozzo ,vitelli1 ,giovan ,paolo and ,orazio ,baglioni1 and others whose names are not known4 ,in the ,sacristy of ,s4 ,maria at ,loreto he painted in fresco the four ,evangelists1 the four ,doctors1 and other saints1 all very beautiful2 and for this work he was liberally rewarded by ,pope ,sixtus4 ,it is said that a son of his1 most beautiful in countenance and in person1 whom he loved dearly1 was killed at ,cortona2 and that ,luca1 heart-broken as he was1 had him stripped naked1 and with the greatest firmness of soul1 without lamenting or shedding a tear1 portrayed him1 to the end that1 whenever he might wish1 he might be able by means of the work of his own hands to see that which nature had given him and adverse fortune had snatched away4 ,being then summoned by the said ,pope ,sixtus to work in the chapel of his ,palace in competition with many other painters1 he painted therein two scenes1 which are held the best among so many2 one is ,moses declaring his testament to the ,jewish people on having seen the ,promised ,land1 and the other is his death4 ,illustration3 ,,the ,,last ,,judgment 7,detail1 after the fresco by ,luca ,signorelli4 ,orvieto3 ,duomo7 ,anderson ,finally1 having executed works for almost every ,prince in ,italy1 and being now old1 he returned to ,cortona1 where1 in those last years of his life1 he worked more for pleasure than for any other reason1 as one who1 being used to labour1 neither could nor would stay idle4 ,in this his old age1 then1 he painted a panel for the ,nuns of ,s4 ,margherita at ,arezzo1 and one for the ,company of ,s4 ,girolamo1 which was paid for in part by ,messer ,niccol ,gamurrini1 ,doctor of ,laws and ,auditor of the ,ruota1#i who is portrayed from life in that panel1 kneeling before the ,madonna1 to whom he is being presented by a ,s4 ,nicholas who is in the same panel2 there are also ,s4 ,donatus and ,s4 ,stephen1 and lower down a nude ,s4 ,jerome1 and a ,david who is singing to a psaltery2 and also two prophets1 who1 as it appears from the scrolls that they have in their hands1 are speaking about the ,conception4 ,this work was brought from ,cortona to ,arezzo on the shoulders of the men of that ,company2 and ,luca1 old as he was1 insisted on coming to set it in place1 and partly also in order to revisit his friends and relatives4 ,and since he lodged in the house of the ,vasari1 in which ,i then was1 a little boy of eight years old1 ,i remember that the good old man1 who was most gracious and courteous1 having heard from the master who was teaching me my first letters1 that ,i gave my attention to nothing in lesson-time save to drawing figures1 ,i remember1 ,i say1 that he turned to my father ,antonio and said to him3 ,antonio1 if you wish little ,giorgio not to become backward1 by all means let him learn to draw1 for1 even were he to devote himself to letters1 design cannot be otherwise than helpful1 honourable1 and advantageous to him1 as it is to every gentleman4 ,then1 turning to me1 who was standing in front of him1 he said3 ,mind your lessons1 little kinsman4 ,he said many other things about me1 which ,i withhold1 for the reason that ,i know that ,i have failed by a great measure to justify the opinion which the good old man had of me4 ,and since he heard1 as was true1 that the blood used to flow from my nose at that age in such quantities that this left me sometimes half dead1 with infinite lovingness he bound a jasper round my neck with his own hand2 and this memory of ,luca will stay for ever fixed in my mind4 ,the said panel set in place1 he returned to ,cortona1 accompanied for a great part of the way by many citizens1 friends1 and relatives1 as was due to the excellence of ,luca1 who always lived rather as a noble and a man of rank than as a painter4 ,about the same time a palace had been built for ,cardinal ,silvio ,passerini of ,cortona1 half a mile beyond the city1 by ,benedetto ,caporali1 a painter of ,perugia1 who1 delighting in architecture1 had written a commentary on ,vitruvius a short time before2 and the said ,cardinal determined to have almost the whole of it painted4 ,wherefore ,benedetto1 putting his hand to this with the aid of ,maso ,papacello of ,cortona 7who was his disciple and had also learnt not a little from ,giulio ,romano1 as will be told71 of ,tommaso1 and of other disciples and lads1 did not cease until he had painted it almost all over in fresco4 ,but the ,cardinal wishing to have some painting by the hand of ,luca as well1 he1 old as he was1 and hindered by palsy1 painted in fresco1 on the altar-wall of the chapel of that palace1 the scene of ,s4 ,john the ,baptist baptizing the ,saviour2 but he was not able to finish it completely1 for while still working at it he died1 having reached the age of eighty-two4 ,luca was a man of most excellent character1 true and loving with his friends1 sweet and amiable in his dealings with every man1 and1 above all1 courteous to all who had need of him1 and kindly in teaching his disciples4 ,he lived splendidly1 and he took delight in clothing himself well4 ,and for these good qualities he was ever held in the highest veneration both in his own country and abroad4 ,and so1 with the end of this master's life1 which was in #aeba1 we will bring to an end the ,second ,part of these ,lives2 concluding with ,luca1 as the man who1 with his profound mastery of design1 particularly in nudes1 and with his grace in invention and in the composition of scenes1 opened to the majority of craftsmen the way to the final perfection of art1 to which those men who followed were afterwards enabled to add the crown1 of whom we are henceforward to speak4 ,,footnote3 #i ,a judicial court1 the members of which sat in rotation4 ,,the ,,third ,,part ,,of ,,the ,,lives ,,of ,,the ,,sculptors1 ,,painters1 ,,and ,,architects1 ,,who ,,have ,,lived ,,from ,,cimabue ,,to ,,our ,,own ,,day4 ,,written ,,by ,,messer ,,giorgio ,,vasari1 ,,painter ,,and ,,architect ,,of ,,arezzo ,,preface ,,to ,,the ,,third ,,part ,truly great was the advancement conferred on the arts of architecture1 painting1 and sculpture by those excellent masters of whom we have written hitherto1 in the ,second ,part of these ,lives1 for to the achievements of the early masters they added rule1 order1 proportion1 draughtsmanship1 and manner2 not1 indeed1 in complete perfection1 but with so near an approach to the truth that the masters of the third age1 of whom we are henceforward to speak1 were enabled1 by means of their light1 to aspire still higher and attain to that supreme perfection which we see in the most highly prized and most celebrated of our modern works4 ,but to the end that the nature of the improvement brought about by the aforesaid craftsmen may be even more clearly understood1 it will certainly not be out of place to explain in a few words the five additions that ,i have named1 and to give a succinct account of the origin of that true excellence which1 having surpassed the age of the ancients1 makes the modern so glorious4 ,rule1 then1 in architecture1 was the process of taking measurements from antiquities and studying the ground-plans of ancient edifices for the construction of modern buildings4 ,order was the separating of one style from another1 so that each body should receive its proper members1 with no more interchanging between ,doric1 ,ionic1 ,corinthian1 and ,tuscan4 ,proportion was the universal law applying both to architecture and to sculpture1 that all bodies should be made correct and true1 with the members in proper harmony2 and so1 also1 in painting4 ,draughtsmanship was the imitation of the most beautiful parts of nature in all figures1 whether in sculpture or in painting2 and for this it is necessary to have a hand and a brain able to reproduce with absolute accuracy and precision1 on a level surface--whether by drawing on paper1 or on panel1 or on some other level surface--everything that the eye sees2 and the same is true of relief in sculpture4 ,manner then attained to the greatest beauty from the practice which arose of constantly copying the most beautiful objects1 and joining together these most beautiful things1 hands1 heads1 bodies1 and legs1 so as to make a figure of the greatest possible beauty4 ,this practice was carried out in every work for all figures1 and for that reason it is called the beautiful manner4 ,these things had not been done by ,giotto or by the other early craftsmen1 although they had discovered the rudiments of all these difficulties1 and had touched them on the surface2 as in their drawing1 which was sounder and more true to nature than it had been before1 and likewise in harmony of colouring and in the grouping of figures in scenes1 and in many other respects of which enough has been said4 ,now although the masters of the second age improved our arts greatly with regard to all the qualities mentioned above1 yet these were not made by them so perfect as to succeed in attaining to complete perfection1 for there was wanting in their rule a certain freedom which1 without being of the rule1 might be directed by the rule and might be able to exist without causing confusion or spoiling the order2 which order had need of an invention abundant in every respect1 and of a certain beauty maintained in every least detail1 so as to reveal all that order with more adornment4 ,in proportion there was wanting a certain correctness of judgment1 by means of which their figures1 without having been measured1 might have1 in due relation to their dimensions1 a grace exceeding measurement4 ,in their drawing there was not the perfection of finish1 because1 although they made an arm round and a leg straight1 the muscles in these were not revealed with that sweet and facile grace which hovers midway between the seen and the unseen1 as is the case with the flesh of living figures2 nay1 they were crude and excoriated1 which made them displeasing to the eye and gave hardness to the manner4 ,this last was wanting in the delicacy that comes from making all figures light and graceful1 particularly those of women and children1 with the limbs true to nature1 as in the case of men1 but veiled with a plumpness and fleshiness that should not be awkward1 as they are in nature1 but refined by draughtsmanship and judgment4 ,they also lacked our abundance of beautiful costumes1 our great number and variety of bizarre fancies1 loveliness of colouring1 wide knowledge of buildings1 and distance and variety in landscapes4 ,and although many of them1 such as ,andrea ,verrocchio and ,antonio del ,pollaiuolo1 and many others more modern1 began to seek to make their figures with more study1 so as to reveal in them better draughtsmanship1 with a degree of imitation more correct and truer to nature1 nevertheless the whole was not yet there1 even though they had one very certain assurance--namely1 that they were advancing towards the good1 and their figures were thus approved according to the standard of the works of the ancients1 as was seen when ,andrea ,verrocchio restored in marble the legs and arms of the ,marsyas in the house of the ,medici in ,florence4 ,but they lacked a certain finish and finality of perfection in the feet1 hands1 hair1 and beards1 although the limbs as a whole are in accordance with the antique and have a certain correct harmony in the proportions4 ,now if they had had that minuteness of finish which is the perfection and bloom of art1 they would also have had a resolute boldness in their works2 and from this there would have followed delicacy1 refinement1 and supreme grace1 which are the qualities produced by the perfection of art in beautiful figures1 whether in relief or in painting2 but these qualities they did not have1 although they give proof of diligent striving4 ,that finish1 and that certain something that they lacked1 they could not achieve so readily1 seeing that study1 when it is used in that way to obtain finish1 gives dryness to the manner4 ,after them1 indeed1 their successors were enabled to attain to it through seeing excavated out of the earth certain antiquities cited by ,pliny as amongst the most famous1 such as the ,laocoon1 the ,hercules1 the ,great ,torso of the ,belvedere1 and likewise the ,venus1 the ,cleopatra1 the ,apollo1 and an endless number of others1 which1 both with their sweetness and their severity1 with their fleshy roundness copied from the greatest beauties of nature1 and with certain attitudes which involve no distortion of the whole figure but only a movement of certain parts1 and are revealed with a most perfect grace1 brought about the disappearance of a certain dryness1 hardness1 and sharpness of manner1 which had been left to our art by the excessive study of ,piero della ,francesca1 ,lazzaro ,vasari1 ,alesso ,baldovinetti1 ,andrea dal ,castagno1 ,pesello1 ,ercole ,ferrarese1 ,giovanni ,bellini1 ,cosimo ,rosselli1 the ,abbot of ,s4 ,clemente1 ,domenico del ,ghirlandajo1 ,sandro ,botticelli1 ,andrea ,mantegna1 ,filippo1 and ,luca ,signorelli4 ,these masters sought with great efforts to do the impossible in art by means of labour1 particularly in foreshortenings and in things unpleasant to the eye1 which were as painful to see as they were difficult for them to execute4 ,and although their works were for the most part well drawn and free from errors1 yet there was wanting a certain resolute spirit which was never seen in them1 and that sweet harmony of colouring which the ,bolognese ,francia and ,pietro ,perugino first began to show in their works2 at the sight of which people ran like madmen to this new and more lifelike beauty1 for it seemed to them quite certain that nothing better could ever be done4 ,but their error was afterwards clearly proved by the works of ,leonardo da ,vinci1 who1 giving a beginning to that third manner which we propose to call the modern--besides the force and boldness of his drawing1 and the extreme subtlety wherewith he counterfeited all the minutenesses of nature exactly as they are--with good rule1 better order1 right proportion1 perfect drawing1 and divine grace1 abounding in resources and having a most profound knowledge of art1 may be truly said to have endowed his figures with motion and breath4 ,there followed after him1 although at some distance1 ,giorgione da ,castelfranco1 who obtained a beautiful gradation of colour in his pictures1 and gave a sublime movement to his works by means of a certain darkness of shadow1 very well conceived2 and not inferior to him in giving force1 relief1 sweetness1 and grace to his pictures1 with his colouring1 was ,fra ,bartolommeo di ,san ,marco4 ,but more than all did the most gracious ,raffaello da ,urbino1 who1 studying the labours of the old masters and those of the modern1 took the best from them1 and1 having gathered it together1 enriched the art of painting with that complete perfection which was shown in ancient times by the figures of ,apelles and ,zeuxis2 nay1 even more1 if we may make bold to say it1 as might be proved if we could compare their works with his4 ,wherefore nature was left vanquished by his colours2 and his invention was facile and peculiar to himself1 as may be perceived by all who see his painted stories1 which are as vivid as writings1 for in them he showed us places and buildings true to reality1 and the features and costumes both of our own people and of strangers1 according to his pleasure2 not to mention his gift of imparting grace to the heads of young men1 old men1 and women1 reserving modesty for the modest1 wantonness for the wanton1 and for children now mischief in their eyes1 now playfulness in their attitudes2 and the folds of his draperies1 also1 are neither too simple nor too intricate1 but of such a kind that they appear real4 ,in the same manner1 but sweeter in colouring and not so bold1 there followed ,andrea del ,sarto1 who may be called a rare painter1 for his works are free from errors4 ,nor is it possible to describe the charming vivacity seen in the works of ,antonio da ,correggio1 who painted hair in detail1 not in the precise manner used by the masters before him1 which was constrained1 sharp1 and dry1 but soft and feathery1 with each single hair visible1 such was his facility in making them2 and they seemed like gold and more beautiful than real hair1 which is surpassed by that which he painted4 ,the same did ,francesco ,mazzuoli of ,parma1 who excelled him in many respects in grace1 adornment1 and beauty of manner1 as may be seen in many of his pictures1 which smile on whoever beholds them2 and even as there is a perfect illusion of sight in the eyes1 so there is perceived the beating of the pulse1 according as it best pleased his brush4 ,but whosoever shall consider the mural paintings of ,polidoro and ,maturino1 will see figures in attitudes that seem beyond the bounds of possibility1 and he will wonder with amazement how it can be possible1 not to describe with the tongue1 which is easy1 but to express with the brush the tremendous conceptions which they put into execution with such mastery and dexterity1 in representing the deeds of the ,romans exactly as they were4 ,and how many there are who1 having given life to their figures with their colours1 are now dead1 such as ,il ,rosso1 ,fra ,sebastiano1 ,giulio ,romano1 and ,perino del ,vaga6 ,for of the living1 who are known to all through their own efforts1 there is no need to speak here4 ,but what most concerns the whole world of art is that they have now brought it to such perfection1 and made it so easy for him who possesses draughtsmanship1 invention1 and colouring1 that1 whereas those early masters took six years to paint one panel1 our modern masters can paint six in one year1 as ,i can testify with the greatest confidence both from seeing and from doing2 and our pictures are clearly much more highly finished and perfect than those executed in former times by masters of account4 ,but he who bears the palm from both the living and the dead1 transcending and eclipsing all others1 is the divine ,michelagnolo ,buonarroti1 who holds the sovereignty not merely of one of these arts1 but of all three together4 ,this master surpasses and excels not only all those moderns who have almost vanquished nature1 but even those most famous ancients who without a doubt did so gloriously surpass her2 and in his own self he triumphs over moderns1 ancients1 and nature1 who could scarcely conceive anything so strange and so difficult that he would not be able1 by the force of his most divine intellect and by means of his industry1 draughtsmanship1 art1 judgment1 and grace1 to excel it by a great measure2 and that not only in painting and in the use of colour1 under which title are comprised all forms1 and all bodies upright or not upright1 palpable or impalpable1 visible or invisible1 but also in the highest perfection of bodies in the round1 with the point of his chisel4 ,and from a plant so beautiful and so fruitful1 through his labours1 there have already spread branches so many and so noble1 that1 besides having filled the world in such unwonted profusion with the most luscious fruits1 they have also given the final form to these three most noble arts4 ,and so great and so marvellous is his perfection1 that it may be safely and surely said that his statues are in all their parts much more beautiful than the ancient2 for if we compare the heads1 hands1 arms1 and feet shaped by the one with those of the others1 we see in his a greater depth and solidity1 a grace more completely graceful1 and a much more absolute perfection1 accomplished with a manner so facile in the overcoming of difficulties1 that it is not possible ever to see anything better4 ,and the same may be believed of his pictures1 which2 if we chanced to have some by the most famous ,greeks and ,romans1 so that we might compare them face to face1 would prove to be as much higher in value and more noble as his sculptures are clearly superior to all those of the ancients4 ,but if we admire so greatly those most famous masters who1 spurred by such extraordinary rewards and by such good-fortune1 gave life to their works1 how much more should we not celebrate and exalt to the heavens those rare intellects who1 not only without reward1 but in miserable poverty1 bring forth fruits so precious8 ,we must believe and declare1 then1 that if1 in this our age1 there were a due meed of remuneration1 there would be without a doubt works greater and much better than were ever wrought by the ancients4 ,but the fact that they have to grapple more with famine than with fame1 keeps our hapless intellects submerged1 and1 to the shame and disgrace of those who could raise them up but give no thought to it1 prevents them from becoming known4 ,and let this be enough to have said on this subject2 for it is now time to return to the ,lives1 and to treat in detail of all those who have executed famous works in this third manner1 the creator of which was ,leonardo da ,vinci1 with whom we will now begin4 ,,leonardo ,,da ,,vinci ,,life ,,of ,,leonardo ,,da ,,vinci#aj ,,painter ,,and ,,sculptor ,,of ,,florence ,the greatest gifts are often seen1 in the course of nature1 rained by celestial influences on human creatures2 and sometimes1 in supernatural fashion1 beauty1 grace1 and talent are united beyond measure in one single person1 in a manner that to whatever such an one turns his attention1 his every action is so divine1 that1 surpassing all other men1 it makes itself clearly known as a thing bestowed by ,god 7as it is71 and not acquired by human art4 ,this was seen by all mankind in ,leonardo da ,vinci1 in whom1 besides a beauty of body never sufficiently extolled1 there was an infinite grace in all his actions2 and so great was his genius1 and such its growth1 that to whatever difficulties he turned his mind1 he solved them with ease4 ,in him was great bodily strength1 joined to dexterity1 with a spirit and courage ever royal and magnanimous2 and the fame of his name so increased1 that not only in his lifetime was he held in esteem1 but his reputation became even greater among posterity after his death4 ,truly marvellous and celestial was ,leonardo1 the son of ,ser ,piero da ,vinci2 and in learning and in the rudiments of letters he would have made great proficience1 if he had not been so variable and unstable1 for he set himself to learn many things1 and then1 after having begun them1 abandoned them4 ,thus1 in arithmetic1 during the few months that he studied it1 he made so much progress1 that1 by continually suggesting doubts and difficulties to the master who was teaching him1 he would very often bewilder him4 ,he gave some little attention to music1 and quickly resolved to learn to play the lyre1 as one who had by nature a spirit most lofty and full of refinement3 wherefore he sang divinely to that instrument1 improvising upon it4 ,nevertheless1 although he occupied himself with such a variety of things1 he never ceased drawing and working in relief1 pursuits which suited his fancy more than any other4 ,ser ,piero1 having observed this1 and having considered the loftiness of his intellect1 one day took some of his drawings and carried them to ,andrea del ,verrocchio1 who was much his friend1 and besought him straitly to tell him whether ,leonardo1 by devoting himself to drawing1 would make any proficience4 ,andrea was astonished to see the extraordinary beginnings of ,leonardo1 and urged ,ser ,piero that he should make him study it2 wherefore he arranged with ,leonardo that he should enter the workshop of ,andrea1 which ,leonardo did with the greatest willingness in the world4 ,and he practised not one branch of art only1 but all those in which drawing played a part2 and having an intellect so divine and marvellous that he was also an excellent geometrician1 he not only worked in sculpture1 making in his youth1 in clay1 some heads of women that are smiling1 of which plaster casts are still taken1 and likewise some heads of boys which appeared to have issued from the hand of a master2 but in architecture1 also1 he made many drawings both of ground-plans and of other designs of buildings2 and he was the first1 although but a youth1 who suggested the plan of reducing the river ,arno to a navigable canal from ,pisa to ,florence4 ,he made designs of flour-mills1 fulling-mills1 and engines1 which might be driven by the force of water3 and since he wished that his profession should be painting1 he studied much in drawing after nature1 and sometimes in making models of figures in clay1 over which he would lay soft pieces of cloth dipped in clay1 and then set himself patiently to draw them on a certain kind of very fine ,rheims cloth1 or prepared linen3 and he executed them in black and white with the point of his brush1 so that it was a marvel1 as some of them by his hand1 which ,i have in our book of drawings1 still bear witness2 besides which1 he drew on paper with such diligence and so well1 that there is no one who has ever equalled him in perfection of finish2 and ,i have one1 a head drawn with the style in chiaroscuro1 which is divine4 ,and there was infused in that brain such grace from ,god1 and a power of expression in such sublime accord with the intellect and memory that served it1 and he knew so well how to express his conceptions by draughtsmanship1 that he vanquished with his discourse1 and confuted with his reasoning1 every valiant wit4 ,and he was continually making models and designs to show men how to remove mountains with ease1 and how to bore them in order to pass from one level to another2 and by means of levers1 windlasses1 and screws1 he showed the way to raise and draw great weights1 together with methods for emptying harbours1 and pumps for removing water from low places1 things which his brain never ceased from devising2 and of these ideas and labours many drawings may be seen1 scattered abroad among our craftsmen2 and ,i myself have seen not a few4 ,he even went so far as to waste his time in drawing knots of cords1 made according to an order1 that from one end all the rest might follow till the other1 so as to fill a round2 and one of these is to be seen in stamp1 most difficult and beautiful1 and in the middle of it are these words1 ,leonardus ,vinci ,accademia4 ,and among these models and designs1 there was one by which he often demonstrated to many ingenious citizens1 who were then governing ,florence1 how he proposed to raise the ,temple of ,s4 ,giovanni in ,florence1 and place steps under it1 without damaging the building2 and with such strong reasons did he urge this1 that it appeared possible1 although each man1 after he had departed1 would recognize for himself the impossibility of so vast an undertaking4 ,he was so pleasing in conversation1 that he attracted to himself the hearts of men4 ,and although he possessed1 one might say1 nothing1 and worked little1 he always kept servants and horses1 in which latter he took much delight1 and particularly in all other animals1 which he managed with the greatest love and patience2 and this he showed when often passing by the places where birds were sold1 for1 taking them with his own hand out of their cages1 and having paid to those who sold them the price that was asked1 he let them fly away into the air1 restoring to them their lost liberty4 ,for which reason nature was pleased so to favour him1 that1 wherever he turned his thought1 brain1 and mind1 he displayed such divine power in his works1 that1 in giving them their perfection1 no one was ever his peer in readiness1 vivacity1 excellence1 beauty1 and grace4 ,it is clear that ,leonardo1 through his comprehension of art1 began many things and never finished one of them1 since it seemed to him that the hand was not able to attain to the perfection of art in carrying out the things which he imagined2 for the reason that he conceived in idea difficulties so subtle and so marvellous1 that they could never be expressed by the hands1 be they ever so excellent4 ,and so many were his caprices1 that1 philosophizing of natural things1 he set himself to seek out the properties of herbs1 going on even to observe the motions of the heavens1 the path of the moon1 and the courses of the sun4 ,he was placed1 then1 as has been said1 in his boyhood1 at the instance of ,ser ,piero1 to learn art with ,andrea del ,verrocchio1 who was making a panel-picture of ,s4 ,john baptizing ,christ1 when ,leonardo painted an angel who was holding some garments2 and although he was but a lad1 ,leonardo executed it in such a manner that his angel was much better than the figures of ,andrea2 which was the reason that ,andrea would never again touch colour1 in disdain that a child should know more than he4 ,illustration3 ,,andrea ,,verrocchio3 ,,the ,,baptism ,,in ,,jordan 7,florence3 ,accademia1 #ga4 ,panel7 ,he was commissioned to make a cartoon for a door-hanging that was to be executed in ,flanders1 woven in gold and silk1 to be sent to the ,king of ,portugal1 of ,adam and ,eve sinning in the ,earthly ,paradise2 wherein ,leonardo drew with the brush in chiaroscuro1 with the lights in lead-white1 a meadow of infinite kinds of herbage1 with some animals1 of which1 in truth1 it may be said that for diligence and truth to nature divine wit could not make it so perfect4 ,in it is the fig-tree1 together with the foreshortening of the leaves and the varying aspects of the branches1 wrought with such lovingness that the brain reels at the mere thought how a man could have such patience4 ,there is also a palm-tree which has the radiating crown of the palm1 executed with such great and marvellous art that nothing save the patience and intellect of ,leonardo could avail to do it4 ,this work was carried no farther2 wherefore the cartoon is now at ,florence1 in the blessed house of the ,magnificent ,ottaviano de' ,medici1 presented to him not long ago by the uncle of ,leonardo4 ,it is said that ,ser ,piero da ,vinci1 being at his villa1 was besought as a favour1 by a peasant of his1 who had made a buckler with his own hands out of a fig-tree that he had cut down on the farm1 to have it painted for him in ,florence1 which he did very willingly1 since the countryman was very skilful at catching birds and fishing1 and ,ser ,piero made much use of him in these pursuits4 ,thereupon1 having had it taken to ,florence1 without saying a word to ,leonardo as to whose it was1 he asked him to paint something upon it4 ,leonardo1 having one day taken this buckler in his hands1 and seeing it twisted1 badly made1 and clumsy1 straightened it by the fire1 and1 having given it to a turner1 from the rude and clumsy thing that it was1 caused it to be made smooth and even4 ,and afterwards1 having given it a coat of gesso1 and having prepared it in his own way1 he began to think what he could paint upon it1 that might be able to terrify all who should come upon it1 producing the same effect as once did the head of ,medusa4 ,for this purpose1 then1 ,leonardo carried to a room of his own into which no one entered save himself alone1 lizards great and small1 crickets1 serpents1 butterflies1 grasshoppers1 bats1 and other strange kinds of suchlike animals1 out of the number of which1 variously put together1 he formed a great ugly creature1 most horrible and terrifying1 which emitted a poisonous breath and turned the air to flame2 and he made it coming out of a dark and jagged rock1 belching forth venom from its open throat1 fire from its eyes1 and smoke from its nostrils1 in so strange a fashion that it appeared altogether a monstrous and horrible thing2 and so long did he labour over making it1 that the stench of the dead animals in that room was past bearing1 but ,leonardo did not notice it1 so great was the love that he bore towards art4 ,the work being finished1 although it was no longer asked for either by the countryman or by his father1 ,leonardo told the latter that he might send for the buckler at his convenience1 since1 for his part1 it was finished4 ,ser ,piero having therefore gone one morning to the room for the buckler1 and having knocked at the door1 ,leonardo opened to him1 telling him to wait a little2 and1 having gone back into the room1 he adjusted the buckler in a good light on the easel1 and put to the window1 in order to make a soft light1 and then he bade him come in to see it4 ,ser ,piero1 at the first glance1 taken by surprise1 gave a sudden start1 not thinking that that was the buckler1 nor merely painted the form that he saw upon it1 and1 falling back a step1 ,leonardo checked him1 saying1 ,this work serves the end for which it was made2 take it1 then1 and carry it away1 since this is the effect that it was meant to produce4 ,this thing appeared to ,ser ,piero nothing short of a miracle1 and he praised very greatly the ingenious idea of ,leonardo2 and then1 having privately bought from a pedlar another buckler1 painted with a heart transfixed by an arrow1 he presented it to the countryman1 who remained obliged to him for it as long as he lived4 ,afterwards1 ,ser ,piero sold the buckler of ,leonardo secretly to some merchants in ,florence1 for a hundred ducats2 and in a short time it came into the hands of the ,duke of ,milan1 having been sold to him by the said merchants for three hundred ducats4 ,leonardo then made a picture of ,our ,lady1 a most excellent work1 which was in the possession of ,pope ,clement ,,vii2 and1 among other things painted therein1 he counterfeited a glass vase full of water1 containing some flowers1 in which1 besides its marvellous naturalness1 he had imitated the dew-drops on the flowers1 so that it seemed more real than the reality4 ,for ,antonio ,segni1 who was very much his friend1 he made1 on a sheet of paper1 a ,neptune executed with such careful draughtsmanship that it seemed absolutely alive4 ,in it one saw the ocean troubled1 and ,neptune's car drawn by sea-horses1 with fantastic creatures1 marine monsters and winds1 and some very beautiful heads of sea-gods4 ,this drawing was presented by ,fabio1 the son of ,antonio1 to ,messer ,giovanni ,gaddi1 with this epigram3 ,pinxit ,virgilius ,neptunum1 pinxit ,homerus1 ,dum maris undisoni per vada flectit equos4 ,mente quidem vates illum conspexit uterque1 ,vincius ast oculis2 jureque vincit eos4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,magi 7,after the panel by ,leonardo da ,vinci4 ,florence3 ,uffizi1 #abeb7 ,anderson ,the fancy came to him to paint a picture in oils of the head of a ,medusa1 with the head attired with a coil of snakes1 the most strange and extravagant invention that could ever be imagined2 but since it was a work that took time1 it remained unfinished1 as happened with almost all his things4 ,it is among the rare works of art in the ,palace of ,duke ,cosimo1 together with the head of an angel1 who is raising one arm in the air1 which1 coming forward1 is foreshortened from the shoulder to the elbow1 and with the other he raises the hand to the breast4 ,it is an extraordinary thing how that genius1 in his desire to give the highest relief to the works that he made1 went so far with dark shadows1 in order to find the darkest possible grounds1 that he sought for blacks which might make deeper shadows and be darker than other blacks1 that by their means he might make his lights the brighter2 and in the end this method turned out so dark1 that1 no light remaining there1 his pictures had rather the character of things made to represent an effect of night1 than the clear quality of daylight2 which all came from seeking to give greater relief1 and to achieve the final perfection of art4 ,he was so delighted when he saw certain bizarre heads of men1 with the beard or hair growing naturally1 that he would follow one that pleased him a whole day1 and so treasured him up in idea1 that afterwards1 on arriving home1 he drew him as if he had had him in his presence4 ,of this sort there are many heads to be seen1 both of women and of men1 and ,i have several of them1 drawn by his hand with the pen1 in our book of drawings1 which ,i have mentioned so many times2 such was that of ,amerigo ,vespucci1 which is a very beautiful head of an old man drawn with charcoal1 and likewise that of ,scaramuccia1 ,captain of the ,gypsies1 which afterwards came into the hands of ,m4 ,donato ,valdambrini of ,arezzo1 ,canon of ,s4 ,lorenzo1 left to him by ,giambullari4 ,he began a panel-picture of the ,adoration of the ,magi1 containing many beautiful things1 particularly the heads1 which was in the house of ,amerigo ,benci1 opposite the ,loggia de' ,peruzzi2 and this1 also1 remained unfinished1 like his other works4 ,it came to pass that ,giovan ,galeazzo1 ,duke of ,milan1 being dead1 and ,lodovico ,sforza raised to the same rank1 in the year #adid1 ,leonardo was summoned to ,milan in great repute to the ,duke1 who took much delight in the sound of the lyre1 to the end that he might play it3 and ,leonardo took with him that instrument which he had made with his own hands1 in great part of silver1 in the form of a horse's skull--a thing bizarre and new--in order that the harmony might be of greater volume and more sonorous in tone2 with which he surpassed all the musicians who had come together there to play4 ,besides this1 he was the best improviser in verse of his day4 ,the ,duke1 hearing the marvellous discourse of ,leonardo1 became so enamoured of his genius1 that it was something incredible3 and he prevailed upon him by entreaties to paint an altar-panel containing a ,nativity1 which was sent by the ,duke to the ,emperor4 ,he also painted in ,milan1 for the ,friars of ,s4 ,dominic1 at ,s4 ,maria delle ,grazie1 a ,last ,supper1 a most beautiful and marvellous thing2 and to the heads of the ,apostles he gave such majesty and beauty1 that he left the head of ,christ unfinished1 not believing that he was able to give it that divine air which is essential to the image of ,christ4 ,this work1 remaining thus all but finished1 has ever been held by the ,milanese in the greatest veneration1 and also by strangers as well2 for ,leonardo imagined and succeeded in expressing that anxiety which had seized the ,apostles in wishing to know who should betray their ,master4 ,for which reason in all their faces are seen love1 fear1 and wrath1 or rather1 sorrow1 at not being able to understand the meaning of ,christ2 which thing excites no less marvel than the sight1 in contrast to it1 of obstinacy1 hatred1 and treachery in ,judas2 not to mention that every least part of the work displays an incredible diligence1 seeing that even in the tablecloth the texture of the stuff is counterfeited in such a manner that linen itself could not seem more real4 ,illustration3 ,,the ,,last ,,supper 7,after the oil fresco by ,leonardo da ,vinci4 ,milan3 ,s4 ,maria delle ,grazie7 ,m4,s4 ,it is said that the ,prior of that place kept pressing ,leonardo1 in a most importunate manner1 to finish the work2 for it seemed strange to him to see ,leonardo sometimes stand half a day at a time1 lost in contemplation1 and he would have liked him to go on like the labourers hoeing in his garden1 without ever stopping his brush4 ,and not content with this1 he complained of it to the ,duke1 and that so warmly1 that he was constrained to send for ,leonardo and delicately urged him to work1 contriving nevertheless to show him that he was doing all this because of the importunity of the ,prior4 ,leonardo1 knowing that the intellect of that ,prince was acute and discerning1 was pleased to discourse at large with the ,duke on the subject1 a thing which he had never done with the ,prior3 and he reasoned much with him about art1 and made him understand that men of lofty genius sometimes accomplish the most when they work the least1 seeking out inventions with the mind1 and forming those perfect ideas which the hands afterwards express and reproduce from the images already conceived in the brain4 ,and he added that two heads were still wanting for him to paint2 that of ,christ1 which he did not wish to seek on earth2 and he could not think that it was possible to conceive in the imagination that beauty and heavenly grace which should be the mark of ,god incarnate4 ,next1 there was wanting that of ,judas1 which was also troubling him1 not thinking himself capable of imagining features that should represent the countenance of him who1 after so many benefits received1 had a mind so cruel as to resolve to betray his ,lord1 the ,creator of the world4 ,however1 he would seek out a model for the latter2 but if in the end he could not find a better1 he should not want that of the importunate and tactless ,prior4 ,this thing moved the ,duke wondrously to laughter1 and he said that ,leonardo had a thousand reasons on his side4 ,and so the poor ,prior1 in confusion1 confined himself to urging on the work in the garden1 and left ,leonardo in peace1 who finished only the head of ,judas1 which seems the very embodiment of treachery and inhumanity2 but that of ,christ1 as has been said1 remained unfinished4 ,the nobility of this picture1 both because of its design1 and from its having been wrought with an incomparable diligence1 awoke a desire in the ,king of ,france to transport it into his kingdom2 wherefore he tried by all possible means to discover whether there were architects who1 with cross-stays of wood and iron1 might have been able to make it so secure that it might be transported safely2 without considering any expense that might have been involved thereby1 so much did he desire it4 ,but the fact of its being painted on the wall robbed his ,majesty of his desire2 and the picture remained with the ,milanese4 ,in the same refectory1 while he was working at the ,last ,supper1 on the end wall where is a ,passion in the old manner1 ,leonardo portrayed the said ,lodovico1 with ,massimiliano1 his eldest son2 and1 on the other side1 the ,duchess ,beatrice1 with ,francesco1 their other son1 both of whom afterwards became ,dukes of ,milan2 and all are portrayed divinely well4 ,while he was engaged on this work1 he proposed to the ,duke to make a horse in bronze1 of a marvellous greatness1 in order to place upon it1 as a memorial1 the image of the ,duke4 ,and on so vast a scale did he begin it and continue it1 that it could never be completed4 ,and there are those who have been of the opinion 7so various and so often malign out of envy are the judgments of men7 that he began it with no intention of finishing it1 because1 being of so great a size1 an incredible difficulty was encountered in seeking to cast it in one piece2 and it might also be believed that1 from the result1 many may have formed such a judgment1 since many of his works have remained unfinished4 ,but1 in truth1 one can believe that his vast and most excellent mind was hampered through being too full of desire1 and that his wish ever to seek out excellence upon excellence1 and perfection upon perfection1 was the reason of it4 ,tal che l' opera fosse ritardata dal desio1 as our ,petrarca has said4 ,and1 indeed1 those who saw the great model that ,leonardo made in clay vow that they have never seen a more beautiful thing1 or a more superb2 and it was preserved until the ,french came to ,milan with ,king ,louis of ,france1 and broke it all to pieces4 ,lost1 also1 is a little model of it in wax1 which was held to be perfect1 together with a book on the anatomy of the horse made by him by way of study4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,s4 ,,anne 7,after the cartoon by ,leonardo da ,vinci4 ,london3 ,burlington ,house7 ,vasari ,society ,he then applied himself1 but with greater care1 to the anatomy of man1 assisted by and in turn assisting1 in this research1 ,messer ,marc' ,antonio della ,torre1 an excellent philosopher1 who was then lecturing at ,pavia1 and who wrote of this matter2 and he was one of the first 7as ,i have heard tell7 that began to illustrate the problems of medicine with the doctrine of ,galen1 and to throw true light on anatomy1 which up to that time had been wrapped in the thick and gross darkness of ignorance4 ,and in this he found marvellous aid in the brain1 work1 and hand of ,leonardo1 who made a book drawn in red chalk1 and annotated with the pen1 of the bodies that he dissected with his own hand1 and drew with the greatest diligence2 wherein he showed all the frame of the bones2 and then added to them1 in order1 all the nerves1 and covered them with muscles2 the first attached to the bone1 the second that hold the body firm1 and the third that move it2 and beside them1 part by part1 he wrote in letters of an ill-shaped character1 which he made with the left hand1 backwards2 and whoever is not practised in reading them cannot understand them1 since they are not to be read save with a mirror4 ,of these papers on the anatomy of man1 a great part is in the hands of ,messer ,francesco da ,melzo1 a gentleman of ,milan1 who in the time of ,leonardo was a very beautiful boy1 and much beloved by him1 and now is a no less beautiful and gentle old man2 and he holds them dear1 and keeps such papers together as if they were relics1 in company with the portrait of ,leonardo of happy memory2 and to all who read these writings1 it seems impossible that that divine spirit should have discoursed so well of art1 and of the muscles1 nerves1 and veins1 and with such diligence of everything4 ,so1 also1 there are in the hands of ----1#aa a painter of ,milan1 certain writings of ,leonardo1 likewise in characters written with the left hand1 backwards1 which treat of painting1 and of the methods of drawing and colouring4 ,this man1 not long ago1 came to ,florence to see me1 wishing to print this work1 and he took it to ,rome1 in order to put it into effect2 but ,i do not know what may afterwards have become of it4 ,and to return to the works of ,leonardo2 there came to ,milan1 in his time1 the ,king of ,france1 wherefore ,leonardo being asked to devise some bizarre thing1 made a lion which walked several steps and then opened its breast1 and showed it full of lilies4 ,in ,milan he took for his assistant the ,milanese ,salai1 who was most comely in grace and beauty1 having fine locks1 curling in ringlets1 in which ,leonardo greatly delighted2 and he taught him many things of art2 and certain works in ,milan1 which are said to be by ,salai1 were retouched by ,leonardo4 ,he returned to ,florence1 where he found that the ,servite ,friars had entrusted to ,filippino the painting of the panel for the high-altar of the ,nunziata2 whereupon ,leonardo said that he would willingly have done such a work4 ,filippino1 having heard this1 like the amiable fellow that he was1 retired from the undertaking2 and the friars1 to the end that ,leonardo might paint it1 took him into their house1 meeting the expenses both of himself and of all his household2 and thus he kept them in expectation for a long time1 but never began anything4 ,in the end1 he made a cartoon containing a ,madonna and a ,s4 ,anne1 with a ,christ1 which not only caused all the craftsmen to marvel1 but1 when it was finished1 men and women1 young and old1 continued for two days to flock for a sight of it to the room where it was1 as if to a solemn festival1 in order to gaze at the marvels of ,leonardo1 which caused all those people to be amazed2 for in the face of that ,madonna was seen whatever of the simple and the beautiful can by simplicity and beauty confer grace on a picture of the ,mother of ,christ1 since he wished to show that modesty and that humility which are looked for in an image of the ,virgin1 supremely content with gladness at seeing the beauty of her ,son1 whom she was holding with tenderness in her lap1 while with most chastened gaze she was looking down at ,s4 ,john1 as a little boy1 who was playing with a lamb2 not without a smile from ,s4 ,anne1 who1 overflowing with joy1 was beholding her earthly progeny become divine--ideas truly worthy of the brain and genius of ,leonardo4 ,this cartoon1 as will be told below1 afterwards went to ,france4 ,he made a portrait of ,ginevra d' ,amerigo ,benci1 a very beautiful work2 and abandoned the work for the friars1 who restored it to ,filippino2 but he1 also1 failed to finish it1 having been overtaken by death4 ,leonardo undertook to execute1 for ,francesco del ,giocondo1 the portrait of ,monna ,lisa1 his wife2 and after toiling over it for four years1 he left it unfinished2 and the work is now in the collection of ,king ,francis of ,france1 at ,fontainebleau4 ,in this head1 whoever wished to see how closely art could imitate nature1 was able to comprehend it with ease2 for in it were counterfeited all the minutenesses that with subtlety are able to be painted1 seeing that the eyes had that lustre and watery sheen which are always seen in life1 and around them were all those rosy and pearly tints1 as well as the lashes1 which cannot be represented without the greatest subtlety4 ,the eyebrows1 through his having shown the manner in which the hairs spring from the flesh1 here more close and here more scanty1 and curve according to the pores of the skin1 could not be more natural4 ,the nose1 with its beautiful nostrils1 rosy and tender1 appeared to be alive4 ,the mouth1 with its opening1 and with its ends united by the red of the lips to the flesh-tints of the face1 seemed1 in truth1 to be not colours but flesh4 ,in the pit of the throat1 if one gazed upon it intently1 could be seen the beating of the pulse4 ,and1 indeed1 it may be said that it was painted in such a manner as to make every valiant craftsman1 be he who he may1 tremble and lose heart4 ,he made use1 also1 of this device3 ,monna ,lisa being very beautiful1 he always employed1 while he was painting her portrait1 persons to play or sing1 and jesters1 who might make her remain merry1 in order to take away that melancholy which painters are often wont to give to the portraits that they paint4 ,and in this work of ,leonardo's there was a smile so pleasing1 that it was a thing more divine than human to behold2 and it was held to be something marvellous1 since the reality was not more alive4 ,by reason1 then1 of the excellence of the works of this most divine craftsman1 his fame had so increased that all persons who took delight in art--nay1 the whole city of ,florence--desired that he should leave them some memorial1 and it was being proposed everywhere that he should be commissioned to execute some great and notable work1 whereby the commonwealth might be honoured and adorned by the great genius1 grace and judgment that were seen in the works of ,leonardo4 ,and it was decided between the ,gonfalonier and the chief citizens1 the ,great ,council ,chamber having been newly built--the architecture of which had been contrived with the judgment and counsel of ,giuliano da ,san ,gallo1 ,simone ,pollaiuolo1 called ,il ,cronaca1 ,michelagnolo ,buonarroti1 and ,baccio d' ,agnolo1 as will be related with more detail in the proper places--and having been finished in great haste1 it was ordained by public decree that ,leonardo should be given some beautiful work to paint2 and so the said hall was allotted to him by ,piero ,soderini1 then ,gonfalonier of ,justice4 ,whereupon ,leonardo1 determining to execute this work1 began a cartoon in the ,sala del ,papa1 an apartment in ,s4 ,maria ,novella1 representing the story of ,niccol ,piccinino1 ,captain of ,duke ,filippo of ,milan2 wherein he designed a group of horsemen who were fighting for a standard1 a work that was held to be very excellent and of great mastery1 by reason of the marvellous ideas that he had in composing that battle2 seeing that in it rage1 fury1 and revenge are perceived as much in the men as in the horses1 among which two with the fore-legs interlocked are fighting no less fiercely with their teeth than those who are riding them do in fighting for that standard1 which has been grasped by a soldier1 who seeks by the strength of his shoulders1 as he spurs his horse to flight1 having turned his body backwards and seized the staff of the standard1 to wrest it by force from the hands of four others1 of whom two are defending it1 each with one hand1 and1 raising their swords in the other1 are trying to sever the staff2 while an old soldier in a red cap1 crying out1 grips the staff with one hand1 and1 raising a scimitar with the other1 furiously aims a blow in order to cut off both the hands of those who1 gnashing their teeth in the struggle1 are striving in attitudes of the utmost fierceness to defend their banner2 besides which1 on the ground1 between the legs of the horses1 there are two figures in foreshortening that are fighting together1 and the one on the ground has over him a soldier who has raised his arm as high as possible1 that thus with greater force he may plunge a dagger into his throat1 in order to end his life2 while the other1 struggling with his legs and arms1 is doing what he can to escape death4 ,it is not possible to describe the invention that ,leonardo showed in the garments of the soldiers1 all varied by him in different ways1 and likewise in the helmet-crests and other ornaments2 not to mention the incredible mastery that he displayed in the forms and lineaments of the horses1 which ,leonardo1 with their fiery spirit1 muscles1 and shapely beauty1 drew better than any other master4 ,it is said that1 in order to draw that cartoon1 he made a most ingenious stage1 which was raised by contracting it and lowered by expanding4 ,and conceiving the wish to colour on the wall in oils1 he made a composition of so gross an admixture1 to act as a binder on the wall1 that1 going on to paint in the said hall1 it began to peel off in such a manner that in a short time he abandoned it1 seeing it spoiling4 ,illustration3 ,,leonardo ,,da ,,vinci3 ,,monna ,,lisa 7,formerly ,paris3 ,the ,louvre1 #afja4 ,canvas on ,panel7 ,leonardo had very great spirit1 and in his every action was most generous4 ,it is said that1 going to the bank for the allowance that he used to draw every month from ,piero ,soderini1 the cashier wanted to give him certain paper-packets of pence2 but he would not take them1 saying in answer1 ,i am no penny-painter4 ,having been blamed for cheating ,piero ,soderini1 there began to be murmurings against him2 wherefore ,leonardo so wrought upon his friends1 that he got the money together and took it to ,piero to repay him2 but he would not accept it4 ,he went to ,rome with ,duke ,giuliano de' ,medici1 at the election of ,pope ,leo1 who spent much of his time on philosophical studies1 and particularly on alchemy2 where1 forming a paste of a certain kind of wax1 as he walked he shaped animals very thin and full of wind1 and1 by blowing into them1 made them fly through the air1 but when the wind ceased they fell to the ground4 ,on the back of a most bizarre lizard1 found by the vine-dresser of the ,belvedere1 he fixed1 with a mixture of quicksilver1 wings composed of scales stripped from other lizards1 which1 as it walked1 quivered with the motion2 and having given it eyes1 horns1 and beard1 taming it1 and keeping it in a box1 he made all his friends1 to whom he showed it1 fly for fear4 ,he used often to have the guts of a wether completely freed of their fat and cleaned1 and thus made so fine that they could have been held in the palm of the hand2 and having placed a pair of blacksmith's bellows in another room1 he fixed to them one end of these1 and1 blowing into them1 filled the room1 which was very large1 so that whoever was in it was obliged to retreat into a corner2 showing how1 transparent and full of wind1 from taking up little space at the beginning they had come to occupy much1 and likening them to virtue4 ,he made an infinite number of such follies1 and gave his attention to mirrors2 and he tried the strangest methods in seeking out oils for painting1 and varnish for preserving works when painted4 ,he made at this time1 for ,messer ,baldassarre ,turini da ,pescia1 who was ,datary to ,pope ,leo1 a little picture of the ,madonna with the ,child in her arms1 with infinite diligence and art2 but whether through the fault of whoever primed the panel with gesso1 or because of his innumerable and capricious mixtures of grounds and colours1 it is now much spoilt4 ,and in another small picture he made a portrait of a little boy1 which is beautiful and graceful to a marvel2 and both of them are now at ,pescia1 in the hands of ,messer ,giuliano ,turini4 ,it is related that1 a work having been allotted to him by the ,pope1 he straightway began to distil oils and herbs1 in order to make the varnish2 at which ,pope ,leo said3 ,alas6 this man will never do anything1 for he begins by thinking of the end of the work1 before the beginning4 ,there was very great disdain between ,michelagnolo ,buonarroti and him1 on account of which ,michelagnolo departed from ,florence1 with the excuse of ,duke ,giuliano1 having been summoned by the ,pope to the competition for the faade of ,s4 ,lorenzo4 ,leonardo1 understanding this1 departed and went into ,france1 where the ,king1 having had works by his hand1 bore him great affection2 and he desired that he should colour the cartoon of ,s4 ,anne1 but ,leonardo1 according to his custom1 put him off for a long time with words4 ,finally1 having grown old1 he remained ill many months1 and1 feeling himself near to death1 asked to have himself diligently informed of the teaching of the ,catholic faith1 and of the good way and holy ,christian religion2 and then1 with many moans1 he confessed and was penitent2 and although he could not raise himself well on his feet1 supporting himself on the arms of his friends and servants1 he was pleased to take devoutly the most holy ,sacrament1 out of his bed4 ,the ,king1 who was wont often and lovingly to visit him1 then came into the room2 wherefore he1 out of reverence1 having raised himself to sit upon the bed1 giving him an account of his sickness and the circumstances of it1 showed withal how much he had offended ,god and mankind in not having worked at his art as he should have done4 ,thereupon he was seized by a paroxysm1 the messenger of death2 for which reason the ,king having risen and having taken his head1 in order to assist him and show him favour1 to the end that he might alleviate his pain1 his spirit1 which was divine1 knowing that it could not have any greater honour1 expired in the arms of the ,king1 in the seventy-fifth year of his age4 ,illustration3 ,,fragment ,,from ,,the ,,battle ,,of ,,the ,,standard 7,after the cartoon attributed to ,leonardo da ,vinci4 ,oxford3 ,ashmolean ,museum7 ,reproduced by permission of the ,visitors of the ,ashmolean ,museum ,the loss of ,leonardo grieved beyond measure all those who had known him1 since there was never any one who did so much honour to painting4 ,with the splendour of his aspect1 which was very beautiful1 he made serene every broken spirit3 and with his words he turned to yea1 or nay1 every obdurate intention4 ,by his physical force he could restrain any outburst of rage3 and with his right hand he twisted the iron ring of a door-bell1 or a horse-shoe1 as if it were lead4 ,with his liberality he would assemble together and support his every friend1 poor or rich1 if only he had intellect and worth4 ,he adorned and honoured1 in every action1 no matter what mean and bare dwelling2 wherefore1 in truth1 ,florence received a very great gift in the birth of ,leonardo1 and an incalculable loss in his death4 ,in the art of painting1 he added to the manner of colouring in oils a certain obscurity1 whereby the moderns have given great force and relief to their figures4 ,and in statuary1 he proved his worth in the three figures of bronze that are over the door of ,s4 ,giovanni1 on the side towards the north1 executed by ,giovan ,francesco ,rustici1 but contrived with the advice of ,leonardo2 which are the most beautiful pieces of casting1 the best designed1 and the most perfect that have as yet been seen in modern days4 ,by ,leonardo we have the anatomy of the horse1 and that of man even more complete4 ,and so1 on account of all his qualities1 so many and so divine1 although he worked much more by words than by deeds1 his name and fame can never be extinguished2 wherefore it was thus said in his praise by ,messer ,giovan ,battista ,strozzi3 ,vince costui pur solo ,tutti altri2 e vince ,fidia e vince ,apelle ,e tutto il lor vittorioso stuolo4 ,illustration3 ,,man ,,and ,,woman ,,praying 7,after the panel by ,giovan ,antonio ,boltraffio4 ,milan3 ,brera1 #bha7 ,anderson ,a disciple of ,leonardo was ,giovan ,antonio ,boltraffio of ,milan1 a person of great skill and understanding1 who1 in the year #aejj1 painted with much diligence1 for the ,church of the ,misericordia1 without ,bologna1 a panel in oils containing ,our ,lady with the ,child in her arms1 ,s4 ,john the ,baptist1 ,s4 ,sebastian naked1 and the patron who caused it to be executed1 portrayed from the life1 on his knees--a truly beautiful work1 on which he wrote his name1 calling himself a disciple of ,leonardo4 ,he has made other works1 both at ,milan and elsewhere2 but it must be enough here to have named this1 which is the best4 ,another 7of his disciples7 was ,marco ,oggioni1 who painted1 in ,s4 ,maria della ,pace1 the ,passing of ,our ,lady and the ,marriage of ,cana in ,galilee4 ,,footnote3 #aj ,two accurate literal translations of the same original must often coincide2 and in dealing with this beautiful ,life1 the translator has had to take the risk either of seeming to copy the almost perfect rendering of ,mr4 ,h4 ,p4 ,horne1 or of introducing unsatisfactory variants for mere variety's sake4 ,having rejected the latter course1 he feels doubly bound to record once more his deep obligation to ,mr4 ,horne's example4 #aa ,this name is missing in the text4 ,,giorgione ,,da ,,castelfranco ,,life ,,of ,,giorgione ,,da ,,castelfranco ,,painter ,,of ,,venice ,at the same time when ,florence was acquiring such fame by reason of the works of ,leonardo1 no little adornment was conferred on ,venice by the talent and excellence of one of her citizens1 who surpassed by a great measure not only the ,bellini1 whom the ,venetians held in such esteem1 but also every other master who had painted up to that time in that city4 ,this was ,giorgio1 who was born at ,castelfranco in the territory of ,treviso1 in the year #adgh1 when the ,doge was ,giovanni ,mozzenigo1 brother of ,doge ,piero4 ,in time1 from the nature of his person and from the greatness of his mind1 ,giorgio came to be called ,giorgione2 and although he was born from very humble stock1 nevertheless he was not otherwise than gentle and of good breeding throughout his whole life4 ,he was brought up in ,venice1 and took unceasing delight in the joys of love2 and the sound of the lute gave him marvellous pleasure1 so that in his day he played and sang so divinely that he was often employed for that purpose at various musical assemblies and gatherings of noble persons4 ,he studied drawing1 and found it greatly to his taste2 and in this nature favoured him so highly1 that he1 having become enamoured of her beauties1 would never represent anything in his works without copying it from life2 and so much was he her slave1 imitating her continuously1 that he acquired the name not only of having surpassed ,giovanni and ,gentile ,bellini1 but also of being the rival of the masters who were working in ,tuscany and who were the creators of the modern manner4 ,giorgione had seen some things by the hand of ,leonardo with a beautiful gradation of colours1 and with extraordinary relief1 effected1 as has been related1 by means of dark shadows2 and this manner pleased him so much that he was for ever studying it as long as he lived1 and in oil-painting he imitated it greatly4 ,taking pleasure in the delights of good work1 he was ever selecting1 for putting into his pictures1 the greatest beauty and the greatest variety that he could find4 ,and nature gave him a spirit so benign1 and with this1 both in oil-painting and in fresco1 he made certain living forms and other things so soft1 so well harmonized1 and so well blended in the shadows1 that many of the excellent masters of his time were forced to confess that he had been born to infuse spirit into figures and to counterfeit the freshness of living flesh better than any other painter1 not only in ,venice1 but throughout the whole world4 ,illustration3 ,,giorgione ,,da ,,castelfranco3 ,,figures ,,in ,a ,,landscape 7,venice3 ,prince ,giovanelli4 ,canvas7 ,in his youth he executed in ,venice many pictures of ,our ,lady and other portraits from nature1 which are very lifelike and beautiful2 of which we still have proof in three most beautiful heads in oils by his hand1 which are in the study of the ,very ,reverend ,grimani1 ,patriarch of ,aquileia4 ,one represents ,david--and it is reported to be his own portrait--with long locks reaching to the shoulders1 as was the custom of those times2 it is so vivacious and so fresh in colouring that it seems to be living flesh1 and there is armour on the breast1 as there is on the arm with which he is holding the severed head of ,goliath4 ,the second is a much larger head1 portrayed from nature2 one hand is holding the red cap of a commander1 and there is a cape of fur1 below which is one of the old-fashioned doublets4 ,this is believed to represent some military leader4 ,the third is that of a boy1 as beautiful as could be1 with fleecy hair4 ,these works demonstrate the excellence of ,giorgione1 and no less the affection which that great ,patriarch has ever borne to his genius1 holding them very dear1 and that rightly4 ,in ,florence1 in the house of the sons of ,giovanni ,borgherini1 there is a portrait by his hand of the said ,giovanni1 taken when he was a young man in ,venice1 and in the same picture is the master who was teaching him2 and there are no two heads to be seen with better touches in the flesh-colours or with more beautiful tints in the shadows4 ,in the house of ,anton de' ,nobili there is another head of a captain in armour1 very lively and spirited1 which is said to be one of the captains whom ,consalvo ,ferrante took with him to ,venice when he visited ,doge ,agostino ,barberigo2 at which time1 it is related1 ,giorgione made a portrait of the great ,consalvo in armour1 which was a very rare work1 insomuch that there was no more beautiful painting than this to be seen1 and ,consalvo took it away with him4 ,giorgione made many other portraits which are scattered throughout many parts of ,italy2 all very beautiful1 as may be believed from that of ,leonardo ,loredano1 painted by ,giorgione when ,leonardo was ,doge1 which ,i saw exhibited on one ,ascension day1 when ,i seemed to see that most illustrious ,prince alive4 ,there is also one at ,faenza1 in the house of ,giovanni da ,castel ,bolognese1 an excellent engraver of cameos and crystals2 which work1 executed for his father-in-law1 is truly divine1 since there is such a harmony in the gradation of the colours that it appears to be rather in relief than painted4 ,giorgione took much delight in painting in fresco1 and one among many works that he executed was the whole of a faade of the ,ca ,soranzo on the ,piazza di ,s4 ,polo2 wherein1 besides many pictures and scenes and other things of fancy1 there may be seen a picture painted in oils on the plaster1 a work which has withstood rain1 sun1 and wind1 and has remained fresh up to our own day4 ,there is also a ,spring1 which appears to me to be one of the most beautiful works that he painted in fresco1 and it is a great pity that time has consumed it so cruelly4 ,for my part1 ,i know nothing that injures works in fresco more than the sirocco1 and particularly near the sea1 where it always brings a salt moisture with it4 ,there broke out at ,venice1 in the year #aejd1 in the ,fondaco de' ,tedeschi by the ,ponte del ,rialto1 a most terrible fire1 which consumed the whole building and all the merchandise1 to the very great loss of the merchants2 wherefore the ,signoria of ,venice ordained that it should be rebuilt anew1 and it was speedily finished with more accommodation in the way of living-rooms1 and with greater magnificence1 adornment1 and beauty4 ,thereupon1 the fame of ,giorgione having grown great1 it was ordained after deliberation by those who had charge of the matter1 that ,giorgione should paint it in fresco with colours according to his own fancy1 provided only that he gave proof of his genius and executed an excellent work1 since it would be in the most beautiful place and most conspicuous site in the city4 ,and so ,giorgione put his hand to the work1 but thought of nothing save of making figures according to his own fancy1 in order to display his art1 so that1 in truth1 there are no scenes to be found there with any order1 or representing the deeds of any distinguished person1 either ancient or modern2 and ,i1 for my part1 have never understood them1 nor have ,i found1 for all the inquiries that ,i have made1 anyone who understands them1 for in one place there is a woman1 in another a man1 in diverse attitudes1 while one has the head of a lion near him1 and another an angel in the guise of a ,cupid1 nor can one tell what it may all mean4 ,there is1 indeed1 over the principal door1 which opens into the ,merceria1 a woman seated who has at her feet the severed head of a giant1 almost in the form of a ,judith2 she is raising the head with her sword1 and speaking with a ,german1 who is below her2 but ,i have not been able to determine for what he intended her to stand1 unless1 indeed1 he may have meant her to represent ,germany4 ,however1 it may be seen that his figures are well grouped1 and that he was ever making progress2 and there are in it heads and parts of figures very well painted1 and most vivacious in colouring4 ,in all that he did there he aimed at being faithful to nature1 without any imitation of another's manner2 and the work is celebrated and famous in ,venice1 no less for what he painted therein than through its convenience for commerce and its utility to the commonwealth4 ,he executed a picture of ,christ bearing the ,cross1 with a ,jew dragging him along1 which in time was placed in the ,church of ,s4 ,rocco1 and which now1 through the veneration that many feel for it1 works miracles1 as all may see4 ,he worked in various places1 such as ,castelfranco1 and throughout the territory of ,treviso1 and he made many portraits for ,italian ,princes2 and many of his works were sent out of ,italy1 as things truly worthy to bear testimony that if ,tuscany had a superabundance of craftsmen in every age1 the region beyond1 near the mountains1 was not always abandoned and forgotten by ,heaven4 ,illustration3 ,,portrait ,,of ,a ,,young ,,man 7,after the painting by ,giorgione da ,castelfranco4 ,berlin3 ,kaiser ,friedrich ,museum1 #ab;,a7 ,bruckmann ,it is related that ,giorgione1 at the time when ,andrea ,verrocchio was making his bronze horse1 fell into an argument with certain sculptors1 who maintained1 since sculpture showed various attitudes and aspects in one single figure to one walking round it1 that for this reason it surpassed painting1 which only showed one side of a figure4 ,giorgione was of the opinion that there could be shown in a painted scene1 without any necessity for walking round1 at one single glance1 all the various aspects that a man can present in many gestures--a thing which sculpture cannot do without a change of position and point of view1 so that in her case the points of view are many1 and not one4 ,moreover1 he proposed to show in one single painted figure the front1 the back1 and the profile on either side1 a challenge which brought them to their senses2 and he did it in the following way4 ,he painted a naked man with his back turned1 at whose feet was a most limpid pool of water1 wherein he painted the reflection of the man's front4 ,at one side was a burnished cuirass that he had taken off1 which showed his left profile1 since everything could be seen on the polished surface of the piece of armour2 and on the other side was a mirror1 which reflected the other profile of the naked figure2 which was a thing of most beautiful and bizarre fancy1 whereby he sought to prove that painting does in fact1 with more excellence1 labour1 and effect1 achieve more at one single view of a living figure than does sculpture4 ,and this work was greatly extolled and admired1 as something ingenious and beautiful4 ,illustration3 ,,judith 7,after the painting by ,giorgione da ,castelfranco4 ,s4 ,petersburg3 ,hermitage1 #aab7 ,m4,s4 ,he also made a portrait from life of ,caterina1 ,queen of ,cyprus1 which ,i once saw in the hands of the illustrious ,messer ,giovanni ,cornaro4 ,there is in our book a head coloured in oils1 the portrait of a ,german of the ,fugger family1 who was at that time one of the chief merchants in the ,fondaco de' ,tedeschi1 which is an admirable work2 together with other sketches and drawings made by him with the pen4 ,while ,giorgione was employed in doing honour both to himself and to his country1 and frequenting many houses in order to entertain his various friends with his music1 he became enamoured of a lady1 and they took much joy1 one with another1 in their love4 ,now it happened that in the year #aeaa she became infected with plague1 without1 however1 knowing anything about it2 and ,giorgione1 visiting her as usual1 caught the plague in such a manner1 that in a short time1 at the age of thirty-four1 he passed away to the other life1 not without infinite grief on the part of his many friends1 who loved him for his virtues1 and great hurt to the world1 which thus lost him4 ,however1 they could bear up against this hurt and loss1 in that he left behind him two excellent disciples in ,sebastiano1 the ,venetian1 who afterwards became ,friar of the ,piombo#ab at ,rome1 and ,tiziano da ,cadore1 who not only equalled him1 but surpassed him greatly2 of both of whom we will speak at the proper time1 describing fully the honour and benefit that they have conferred on art4 ,illustration3 ,,caterina1 ,,queen ,,of ,,cyprus 7,after the painting by ,giorgione da ,castelfranco 7874 ,milan3 ,crespi ,collection7 ,anderson ,,footnote3 #ab ,signet-office1 for the sealing of ,papal ,bulls and other papers of the ,papal ,court4 ,,antonio ,,da ,,correggio ,,life ,,of ,,antonio ,,da ,,correggio ,,painter ,i do not wish to leave that country wherein our great mother ,nature1 in order not to be thought partial1 gave to the world extraordinary men of that sort with which she had already for many and many a year adorned ,tuscany2 among whom was one endowed with an excellent and very beautiful genius1 by name ,antonio da ,correggio1 a most rare painter1 who acquired the modern manner so perfectly1 that in a few years1 what with his natural gifts and his practice in art1 he became a most excellent and marvellous craftsman4 ,he was very timid by nature1 and with great discomfort to himself he was continually labouring at the exercise of his art1 for the sake of his family1 which weighed upon him2 and although it was a natural goodness that impelled him1 nevertheless he afflicted himself more than was right in bearing the burden of those sufferings which are wont to crush mankind4 ,he was very melancholy in his practice of art1 a slave to her labours1 and an unwearying investigator of all the difficulties of her realm2 to which witness is borne by a vast multitude of figures in the ,duomo of ,parma1 executed in fresco and well finished1 which are to be found in the great tribune of the said church1 and are seen foreshortened from below with an effect of marvellous grandeur4 ,antonio was the first who began to work in the modern manner in ,lombardy2 wherefore it is thought that if he1 with his genius1 had gone forth from ,lombardy and lived in ,rome1 he would have wrought miracles1 and would have brought the sweat to the brow of many who were held to be great men in his time4 ,for1 his works being such as they are without his having seen any of the ancient or the best of the modern1 it necessarily follows that1 if he had seen them1 he would have vastly improved his own1 and1 advancing from good to better1 would have reached the highest rank4 ,it may1 at least1 be held for certain that no one ever handled colours better than he1 and that no craftsman ever painted with greater delicacy or with more relief1 such was the softness of his flesh-painting1 and such the grace with which he finished his works4 ,illustration3 ,,antonio ,,da ,,correggio3 ,,antiope 7,paris3 ,louvre1 #aaah4 ,canvas7 ,in the same place1 also1 he painted two large pictures executed in oils1 in one of which1 among other figures1 there may be seen a ,dead ,christ1 which was highly extolled4 ,and in ,s4 ,giovanni1 in the same city1 he painted a tribune in fresco1 wherein he represented ,our ,lady ascending into ,heaven amidst a multitude of angels1 with other saints around2 as to which1 it seems impossible that he should have been able1 ,i do not say to express it with his hand1 but even to conceive it in his imagination1 so beautiful are the curves of the draperies and the expressions that he gave to those figures4 ,of these there are some drawings in our book1 done in red chalk by his hand1 with some very beautiful borders of little boys1 and other borders drawn in that work by way of ornament1 with various fanciful scenes of sacrifices in the ancient manner4 ,and in truth1 if ,antonio had not brought his works to that perfection which is seen in them1 his drawings 7although they show excellence of manner1 and the charm and practised touch of a master7 would not have gained for him among craftsmen the name that he has won with his wonderful paintings4 ,this art is so difficult1 and has so many branches1 that very often a craftsman is not able to practise them all to perfection2 for there have been many who have drawn divinely well1 but have shown some imperfection in colouring1 and others have been marvellous in colouring1 but have not drawn half so well4 ,all this depends on choice1 and on the practice bestowed1 in youth1 in one case on drawing1 in another on colour4 ,but since all is learnt in order to carry works to the height of perfection1 which is to put good colouring1 together with draughtsmanship1 into everything that is executed1 for this reason ,correggio deserves great praise1 having attained to the height of perfection in the works that he coloured either in oils or in fresco2 as he did in the ,church of the ,frati de' ,zoccoli di ,s4 ,francesco1 in the same city1 where he painted an ,annunciation in fresco so well1 that1 when it became necessary to pull it down in making some changes in that building1 those friars caused the wall round it to be bound with timber strengthened with iron1 and1 cutting it away little by little1 they saved it2 and it was built by them into a more secure place in the same convent4 ,he painted1 also1 over one of the gates of that city1 a ,madonna who has the ,child in her arms2 and it is an astounding thing to see the lovely colouring of this work in fresco1 through which he has won from passing strangers1 who have seen nothing else of his1 infinite praise and honour4 ,for ,s4 ,antonio1 likewise in that city1 he painted a panel wherein is a ,madonna1 with ,s4 ,mary ,magdalene2 and near them is a boy in the guise of a little angel1 holding a book in his hand1 who is smiling1 with a smile that seems so natural that he moves whoever beholds him to smile also1 nor can any person1 be his nature ever so melancholy1 see him without being cheered4 ,there is also a ,s4 ,jerome2 and the whole work is coloured in a manner so wonderful and so astounding1 that painters revere it for the marvel of its colouring1 and it is scarcely possible to paint better4 ,in like manner1 he executed square pictures and other paintings for many lords throughout ,lombardy2 and1 among other works1 two pictures in ,mantua for ,duke ,federigo ,,ii1 to be sent to the ,emperor1 a gift truly worthy of such a ,prince4 ,giulio ,romano1 seeing these works1 said that he had never seen any colouring that attained to such perfection4 ,one was a naked ,leda1 and the other a ,venus2 both so soft in colouring1 with the shadows of the flesh so well wrought1 that they appeared to be not colours1 but flesh4 ,in one there was a marvellous landscape1 nor was there ever a ,lombard who painted such things better than he2 and1 besides this1 hair so lovely in colour1 and executed in detail with such exquisite finish1 that it is not possible to see anything better4 ,there were also certain ,loves1 executed with beautiful art1 who were making trial of their arrows1 some of gold and some of lead1 on a stone2 and what lent most grace to the ,venus was a clear and limpid stream1 which ran among some stones and bathed her feet1 but scarcely concealed any part of them1 so that the sight of their delicate whiteness was a moving thing for the eye to behold4 ,for which reason ,antonio most certainly deserved all praise and honour during his lifetime1 and the greatest glory from the lips and pens of men after his death4 ,in ,modena1 also1 he painted a panel-picture of ,our ,lady1 which is held in esteem by all painters1 as the best picture in that city4 ,in ,bologna1 likewise1 in the house of the ,ercolani1 gentlemen of that city1 there is a work by his hand1 a ,christ appearing to ,mary ,magdalene in the ,garden1 which is very beautiful4 ,in ,reggio there was a rare and most beautiful picture2 and not long since1 ,messer ,luciano ,pallavigino1 who takes much delight in noble paintings1 passing through the city and seeing it1 gave no thought to the cost1 and1 as if he had bought a jewel1 sent it to his house in ,genoa4 ,at ,reggio1 likewise1 is a panel containing a ,nativity of ,christ1 wherein the splendour radiating from ,him throws its light on the shepherds and all around on the figures that are contemplating ,him2 and among the many conceptions shown in that subject1 there is a woman who1 wishing to gaze intently at ,christ1 and not being able with her mortal sight to bear the light of ,his ,divinity1 which seems to be beating upon her with its rays1 places a hand before her eyes2 which is expressed so well that it is a marvel4 ,over the hut is a choir of angels singing1 who are so well executed1 that they appear rather to have rained down from ,heaven than to have been made by the hand of a painter4 ,and in the same city there is a little picture1 a foot square1 the rarest and most beautiful work that is to be seen by his hand1 of ,christ in the ,garden1 representing an effect of night1 and painted with little figures2 wherein the ,angel1 appearing to ,christ1 illumines ,him with the splendour of his light1 with such truth to nature1 that nothing better can be imagined or expressed4 ,below1 on a plain at the foot of the mountain1 are seen the three ,apostles sleeping1 over whom the mountain on which ,christ is praying casts a shadow1 giving those figures a force which one is not able to describe4 ,far in the background1 over a distant landscape1 there is shown the appearing of the dawn2 and on one side are seen coming some soldiers1 with ,judas4 ,and although it is so small1 this scene is so well conceived1 that there is no work of the same kind to equal it either in patience or in study4 ,illustration3 ,s4 ,,thomas ,,and ,s4 ,,james ,,the ,,less 7,detail1 after the fresco by ,antonio da ,correggio4 ,parma3 ,s4 ,giovanni ,evangelista7 ,anderson ,many things might be said of the works of this master2 but since1 among the eminent men of our art1 everything that is to be seen by his hand is admired as something divine1 ,i will say no more4 ,i have used all possible diligence in order to obtain his portrait1 but1 since he himself did not make it1 and he was never portrayed by others1 for he always lived in retirement1 ,i have not been able to find one4 ,he was1 in truth1 a person who had no opinion of himself1 nor did he believe himself to be an able master of his art1 contrasting his deficiencies with that perfection which he would have liked to achieve4 ,he was contented with little1 and he lived like an excellent ,christian4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,s4 ,,jerome 7,after the painting by ,antonio da ,correggio4 ,parma3 ,gallery1 #cea7 ,anderson ,antonio1 like a man who was weighed down by his family1 was anxious to be always saving1 and he had thereby become as miserly as he could well be4 ,wherefore it is related that1 having received at ,parma a payment of sixty crowns in copper coins1 and wishing to take them to ,correggio to meet some demand1 he placed the money on his back and set out to walk on foot2 but1 being smitten by the heat of the sun1 which was very great1 and drinking water to refresh himself1 he was seized by pleurisy1 and had to take to his bed in a raging fever1 nor did he ever raise his head from it1 but finished the course of his life at the age of forty1 or thereabout4 ,his pictures date about #aeab2 and he bestowed a very great gift on painting by his handling of colours1 which was that of a true master2 and it was by means of him that men's eyes were opened in ,lombardy1 where so many beautiful intellects have been seen in painting1 following him in making works worthy of praise and memory4 ,thus1 by showing them his treatment of hair1 executed with such facility1 for all the difficulty of painting it1 he taught them how it should be painted2 for which all painters owe him an everlasting debt4 ,at their instance the following epigram was written to him by ,messer ,fabio ,segni1 a gentleman of ,florence3 ,hujus cum regeret mortales spiritus artus ,pictoris1 ,charites supplicuere ,jovi4 ,non alia pingi dextra1 ,pater alme1 rogamus2 ,hunc prter1 nulli pingere nos liceat4 ,annuit his votis summi regnator ,olympi1 ,et juvenem subito sidera ad alta tulit1 ,ut posset melius ,charitum simulacra referre ,prsens1 et nudas cerneret inde ,deas4 ,at this same time lived ,andrea del ,gobbo of ,milan1 a very pleasing painter and colourist1 many of whose works are scattered about in the houses of his native city of ,milan4 ,there is a large panel-picture of the ,assumption of ,our ,lady1 by his hand1 in the ,certosa of ,pavia1 but it was left unfinished1 on account of death overtaking him2 which panel shows how excellent he was1 and how great a lover of the labours of art4 ,illustration3 ,,antonio ,,da ,,correggio3 ,,the ,,adoration ,,of ,,the ,,magi 7,milan3 ,brera1 #dbg4 ,canvas7 ,,piero ,,di ,,cosimo ,,life ,,of ,,piero ,,di ,,cosimo ,,painter ,,of ,,florence ,while ,giorgione and ,correggio1 to their own great credit and glory1 were honouring the regions of ,lombardy1 ,tuscany1 on her part1 was not wanting in men of beautiful intellect2 among whom1 not one of the least was ,piero1 the son of one ,lorenzo1 a goldsmith1 and a pupil of ,cosimo ,rosselli1 after whom he was always called ,piero di ,cosimo1 and known by no other name4 ,and in truth1 when a man teaches us excellence and gives us the secret of living rightly1 he deserves no less gratitude from us1 and should be held no less as a true father1 than he who begets us and gives us life and nothing more4 ,piero was entrusted by his father1 who saw in his son a lively intelligence and an inclination to the art of design1 to the care of ,cosimo1 who took him with no ordinary willingness2 and seeing him grow no less in ability than in years1 among the many disciples that he had1 he bore him love as to a son1 and always held him as such4 ,this young man had by nature a most lofty spirit1 and he was very strange1 and different in fancy from the other youths who were working with ,cosimo in order to learn the same art4 ,he was at times so intent on what he was doing1 that when some subject was being discussed1 as often happens1 at the end of the discussion it was necessary to go back to the beginning and tell him the whole1 so far had his brain wandered after some other fancy of his own4 ,and he was likewise so great a lover of solitude1 that he knew no pleasure save that of going off by himself with his thoughts1 letting his fancy roam and building his castles in the air4 ,right good reason had ,cosimo1 his master1 for wishing him well1 seeing that he made so much use of him in his works1 that very often he caused him to execute things of great importance1 knowing that ,piero had a more beautiful manner1 as well as better judgment1 than himself4 ,for this reason he took ,piero with him to ,rome1 when he was summoned thither by ,pope ,sixtus in order to paint the scenes in his chapel2 in one of which ,piero executed a very beautiful landscape1 as was related in the ,life of ,cosimo4 ,and since ,piero drew most excellently from the life1 he made in ,rome many portraits of distinguished persons2 in particular1 those of ,virginio ,orsino and ,ruberto ,sanseverino1 which he placed in the aforesaid scenes4 ,afterwards1 also1 he made a portrait of ,duke ,valentino1 the son of ,pope ,alexander ,,vi2 which painting1 to my knowledge1 is not now to be found2 but the cartoon by his hand still exists1 being in the possession of the reverend and cultured ,m4 ,cosimo ,bartoli1 ,provost of ,s4 ,giovanni4 ,in ,florence1 he painted many pictures for a number of citizens1 which are dispersed among their various houses1 and of such ,i have seen some that are very good2 and so1 also1 various things for many other persons4 ,in the ,noviciate of ,s4 ,marco is a picture by his hand of ,our ,lady1 standing1 with the ,child in her arms1 coloured in oils4 ,and for the ,chapel of ,gino ,capponi1 in the ,church of ,s4 ,spirito at ,florence1 he painted a panel wherein is the ,visitation of ,our ,lady1 with ,s4 ,nicholas1 and a ,s4 ,anthony who is reading with a pair of spectacles on his nose1 a very spirited figure4 ,here he counterfeited a book bound in parchment1 somewhat old1 which seems to be real1 and also some balls that he gave to the ,s4 ,nicholas1 shining and casting gleams of light and reflections from one to another2 from which even by that time men could perceive the strangeness of his brain1 and his constant seeking after difficulties4 ,illustration3 ,,piero ,,di ,,cosimo3 ,,the ,,death ,,of ,,procris 7,london3 ,national ,gallery1 #fih4 ,panel7 ,even better did he show this after the death of ,cosimo1 when he kept himself constantly shut up1 and would not let himself be seen at work1 leading the life of a man who was less man than beast4 ,he would never have his rooms swept1 he would only eat when hunger came to him1 and he would not let his garden be worked or his fruit-trees pruned2 nay1 he allowed his vines to grow1 and the shoots to trail over the ground1 nor were his fig-trees ever trimmed1 or any other trees1 for it pleased him to see everything wild1 like his own nature2 and he declared that ,nature's own things should be left to her to look after1 without lifting a hand to them4 ,he set himself often to observe such animals1 plants1 or other things as ,nature at times creates out of caprice1 or by chance2 in which he found a pleasure and satisfaction that drove him quite out of his mind with delight2 and he spoke of them so often in his discourse1 that at times1 although he found pleasure in them1 it became wearisome to others4 ,he would sometimes stop to gaze at a wall against which sick people had been for a long time discharging their spittle1 and from this he would picture to himself battles of horsemen1 and the most fantastic cities and widest landscapes that were ever seen2 and he did the same with the clouds in the sky4 ,he gave his attention to colouring in oils1 having seen some works of ,leonardo's1 executed with that gradation of colour1 and finished with that extraordinary diligence1 which ,leonardo used to employ when he wished to display his art4 ,and so ,piero1 being pleased with his method1 sought to imitate it1 although he was afterwards very distant from ,leonardo1 and worlds away from any other manner4 ,it may be said1 in truth1 that he changed his manner almost for every work that he executed4 ,if ,piero had not been so solitary1 and had taken more care of himself in his way of living than he did1 he would have made known the greatness of his intellect in such a way that he would have been revered1 whereas1 by reason of his uncouth ways1 he was rather held to be a madman1 although in the end he did no harm save to himself alone1 while his works were beneficial and useful to his art4 ,for which reason every good intellect and every excellent craftsman should always be taught1 from such an example1 to keep his eyes on the end of life4 ,nor will ,i refrain from saying that ,piero1 in his youth1 being fanciful and extravagant in invention1 was much employed for the masquerades that are held during the ,carnival2 and he became very dear to the young noblemen of ,florence1 having improved their festivals much in invention1 adornment1 grandeur1 and pomp4 ,as to that kind of pastime1 it is said that he was one of the first to contrive to marshal them in the form of triumphal processions2 at least1 he improved them greatly1 by accompanying the invention of the story represented1 not only with music and with words suited to the subject1 but also with a train of incredible pomp1 formed of men on foot and on horseback1 with habits and ornaments in keeping with the story2 which produced a very rich and beautiful effect1 and had in it something both grand and ingenious4 ,and it was certainly a very beautiful thing to see1 by night1 twenty-five or thirty pairs of horses1 most richly caparisoned1 with their riders in costume1 according to the subject of the invention1 and six or eight grooms to each rider1 with torches in their hands1 and all clothed in one and the same livery1 sometimes more than four hundred in number2 and then the chariot1 or triumphal car1 covered with ornaments1 trophies1 and most bizarre things of fancy2 altogether1 a thing which makes men's intellects more subtle1 and gives great pleasure and satisfaction to the people4 ,illustration3 ,,perseus ,,delivering ,,andromeda 7,after the panel by ,piero di ,cosimo4 ,florence3 ,uffizi1 #acab7 ,brogi ,among these spectacles1 which were numerous and ingenious1 it is my pleasure to give a brief description of one1 which was contrived mostly by ,piero1 when he was already of a mature age1 and which was not1 like many1 pleasing through its beauty1 but1 on the contrary1 on account of a strange1 horrible1 and unexpected invention1 gave no little satisfaction to the people3 for even as in the matter of food bitter things sometimes give marvellous delight to the human palate1 so do horrible things in such pastimes1 if only they be carried out with judgment and art2 which is evident in the representation of tragedies4 ,this was the ,car of ,death1 wrought by him with the greatest secrecy in the ,sala del ,papa1 so that nothing could ever be found out about it1 until it was seen and known at one and the same moment4 ,this triumphal chariot was an enormous car drawn by buffaloes1 black all over and painted with skeletons and white crosses2 and upon the highest point of the car stood a colossal figure of ,death1 scythe in hand1 and right round the car were a number of covered tombs2 and at all the places where the procession halted for the chanting of dirges1 these tombs opened1 and from them issued figures draped in black cloth1 upon which were painted all the bones of a skeleton1 over their arms1 breasts1 flanks1 and legs2 which1 what with the white over the black1 and the appearing in the distance of some figures carrying torches1 with masks that represented a death's head both in front and behind1 as well as the neck1 not only gave an appearance of the greatest reality1 but was also horrible and terrifying to behold4 ,and these figures of the dead1 at the sound of certain muffled trumpets1 low and mournful in tone1 came half out of their tombs1 and1 seating themselves upon them1 sang to music full of melancholy that song so celebrated at the present day3 ,dolor1 pianto1 e penitenzia4 ,before and after the car came a great number of the dead1 riding on certain horses picked out with the greatest diligence from among the leanest and most meagre that could be found1 with black caparisons covered with white crosses2 and each had four grooms draped in the garb of death1 with black torches1 and a large black standard with crosses1 bones1 and death's heads4 ,after the car were trailed ten black standards2 and as they walked1 the whole company sang in unison1 with trembling voices1 that ,psalm of ,david that is called the ,miserere4 ,this dread spectacle1 through its novelty and terror1 as ,i have said1 filled the whole city with fear and marvel together2 and although at the first sight it did not seem suited to a ,carnival1 nevertheless1 being new and very well arranged1 it pleased the minds of all1 and ,piero1 the creator and inventor of the whole1 gained consummate praise and commendation for it2 and it was the reason that afterwards1 going from one thing to another1 men continued to contrive lively and ingenious inventions1 so that in truth1 for such representations and for holding similar festivals1 this city has never had an equal4 ,and in those old men who saw it there still remains a vivid memory of it1 nor are they ever weary of celebrating this fantastic invention4 ,i have heard from the lips of ,andrea di ,cosimo1 who helped him to carry out the work1 and of ,andrea del ,sarto1 who was ,piero's disciple1 and who also had a hand in it1 that it was a common opinion at that time that this invention was intended to foreshadow the return of the ,medici family to ,florence in the year #aeab1 since at the time when the procession was held they were exiles1 and1 so to speak1 dead1 but destined in a short time to come to life2 and in this sense were interpreted the following words in the song-- ,morti siam come vedete1 ,cos morti vedrem voi2 ,fummo gi come voi siete1 ,voi sarete come noi1 etc4 whereby men wished to signify the return of that family 7a resurrection1 as it were1 from death to life71 and the expulsion and abasement of their enemies2 or it may have been that many gave it that significance from the subsequent fact of the return of that illustrious house to ,florence--so prone is the human intellect to applying every word and act that has come previously1 to the events that happen afterwards4 ,certain it is that this was the opinion of many at that time2 and it was much spoken of4 ,illustration3 ,,venus1 ,,mars1 ,,and ,,cupid 7,after the panel by ,piero di ,cosimo4 ,berlin3 ,kaiser ,friedrich ,museum1 #ajg7 ,hanfstaengl ,but to return to the art and actions of ,piero2 he was given the commission for a panel in the ,church of the ,servite ,friars1 in the ,chapel of the ,tedaldi1 where they keep the garment and the pillow of ,s4 ,filippo1 a brother of their ,order2 wherein he depicted ,our ,lady standing1 raised from the ground on a pedestal1 and uplifting her head towards ,heaven1 with a book in her hand1 but without her ,son2 and above her is the ,holy ,spirit1 bathing her with light4 ,nor did he wish that any other light than that of the ,dove should illumine her and the figures that are round her1 such as a ,s4 ,margaret and a ,s4 ,catherine1 who are on their knees1 adoring her1 while ,s4 ,peter and ,s4 ,john the ,evangelist are standing1 contemplating her1 together with ,s4 ,filippo1 the ,servite ,friar1 and ,s4 ,antonino1 ,archbishop of ,florence4 ,moreover1 he made there a landscape that is very bizarre1 what with the strange trees and certain grottoes4 ,and in truth1 there are some very beautiful things in this work1 such as certain heads that reveal both draughtsmanship and grace2 besides the colouring1 which is very harmonious1 for it is certain that ,piero was a great master of colouring in oils4 ,in the predella he painted some little scenes1 very well executed2 and1 among others1 there is one of ,s4 ,margaret issuing from the belly of the ,dragon1 wherein he made that animal so monstrous and hideous1 that ,i do not think that there is anything better of that kind to be seen1 for with its eyes it reveals venom1 fire1 and death1 in an aspect truly terrifying4 ,and certainly1 as for such things1 ,i do not believe that any one ever did them better than he1 or came near him in imagining them2 to which witness is borne by a marine monster that he made and presented to the ,magnificent ,giuliano de' ,medici1 which is so extravagant1 bizarre1 and fantastic in its deformity1 that it seems impossible that ,nature should produce anything so deformed and strange among her creations4 ,this monster is now in the guardaroba of ,duke ,cosimo de' ,medici1 as is also a book1 likewise by the hand of ,piero1 of animals of the same kind1 most beautiful and bizarre1 hatched very diligently with the pen1 and finished with an incredible patience2 which book was presented to him by ,m4 ,cosimo ,bartoli1 ,provost of ,s4 ,giovanni1 who is very much my friend1 as he is of all our craftsmen1 being a man who has always delighted1 and still delights1 in our profession4 ,he also executed1 round a chamber in the house of ,francesco del ,pugliese1 various scenes with little figures2 nor is it possible to describe the different fantastic things that he delighted to paint in all those scenes1 what with the buildings1 the animals1 the costumes1 the various instruments1 and any other fanciful things that came into his head1 since the stories were drawn from fables4 ,these scenes1 after the death of ,francesco del ,pugliese and his sons1 were taken away1 nor do ,i know what has become of them2 and the same thing has happened to a picture of ,mars and ,venus1 with her ,loves and ,vulcan1 executed with great art and with an incredible patience4 ,piero painted1 for the elder ,filippo ,strozzi1 a picture with little figures of ,perseus delivering ,andromeda from the ,monster1 in which are some very beautiful things4 ,it is now in the house of ,signor ,sforza ,almeni1 ,first ,chamberlain to ,duke ,cosimo1 having been presented to him by ,messer ,giovanni ,battista1 the son of ,lorenzo ,strozzi1 who knew how much that nobleman delighted in painting and sculpture2 and he holds it in great account1 for ,piero never made a more lovely or more highly finished picture than this one1 seeing that it is not possible to find a more bizarre or more fantastic sea-monster than that which ,piero imagined and painted1 or a fiercer attitude than that of ,perseus1 who is raising his sword in the air to smite the beast4 ,in it1 trembling between fear and hope1 ,andromeda is seen bound1 most beautiful in countenance2 and in the foreground are many people in various strange costumes1 playing instruments and singing2 among whom are some heads1 smiling and rejoicing at seeing the deliverance of ,andromeda1 that are divine4 ,the landscape is very beautiful1 and the colouring sweet and full of grace4 ,in short1 with regard to the harmony and gradation of the colours1 he executed this work with the greatest possible diligence4 ,he painted1 also1 a picture containing a nude ,venus1 with a ,mars1 likewise nude1 who is sleeping in a meadow full of flowers1 and all around are various ,loves1 who are carrying away1 some here1 some there1 the helmet1 armlets1 and other pieces of armour of ,mars2 there is a grove of myrtle1 with a ,cupid that is afraid of a rabbit1 and there are also the ,doves of ,venus and the other emblems of ,love4 ,this picture is at ,florence1 in the house of ,giorgio ,vasari1 who keeps it in memory of that master1 whose caprices have always pleased him4 ,the ,director of the ,hospital of the ,innocenti was much the friend of ,piero2 and wishing to have a panel painted1 which was to be placed in the ,pugliese ,chapel1 near the entrance into the church1 on the left hand1 he gave the commission for it to ,piero1 who brought it to completion at his leisure2 but first he reduced his patron to despair1 for on no account would he let him see it until it was finished4 ,how strange this seemed to the patron1 both because of their friendship1 and because of his supplying ,piero continually with money1 without seeing what was being done1 he himself showed1 when1 on the occasion of the final payment1 he refused to give it to him without seeing the work4 ,but1 on ,piero threatening that he would destroy all that he had painted1 he was forced to give him the rest1 and to wait patiently1 in a greater rage than ever1 for it to be set in place4 ,this picture contains much that is truly beautiful4 ,he undertook to paint a panel for a chapel in the ,church of ,s4 ,piero ,gattolini1 and in this he represented ,our ,lady seated1 with four figures round her1 and two angels in the sky1 who are crowning her2 which work1 executed with such diligence that it brought him praise and honour1 is now to be seen in ,s4 ,friano1 the other church having been ruined4 ,for the tramezzo#ac of the ,church of ,s4 ,francesco1 at ,fiesole1 he painted a little panel-picture of the ,conception1 which is a passing good little work1 the figures being of no great size4 ,for ,giovanni ,vespucci1 who lived in a house now belonging to ,piero ,salviati1 opposite to ,s4 ,michele1 in the ,via de' ,servi1 he executed some bacchanalian scenes1 which are round an apartment2 wherein he made such strange fauns1 satyrs1 sylvan gods1 little boys1 and bacchanals1 that it is a marvel to see the diversity of the bay horses and garments1 and the variety of the goatlike features1 and all with great grace and most vivid truth to nature4 ,in one scene is ,silenus riding on an ass1 with many children1 some supporting him1 and some giving him drink2 and throughout the whole is a feeling of the joy of life1 produced by the great genius of ,piero4 ,and in truth1 in all that there is to be seen by his hand1 one recognizes a spirit very different and far distant from that of other painters1 and a certain subtlety in the investigation of some of the deepest and most subtle secrets of ,nature1 without grudging time or labour1 but only for his own delight and for his pleasure in the art4 ,and it could not well be otherwise2 since1 having grown enamoured of her1 he cared nothing for his own comfort1 and reduced himself to eating nothing but boiled eggs1 which1 in order to save firing1 he cooked when he was boiling his glue1 and not six or eight at a time1 but in fifties2 and1 keeping them in a basket1 he would eat them one by one4 ,in this life he found such peculiar pleasure that any other1 in comparison with his own1 seemed to him slavery4 ,he could not bear the crying of children1 the coughing of men1 the sound of bells1 and the chanting of friars2 and when the rain was pouring in torrents from the sky1 it pleased him to see it streaming straight down from the roofs and splashing on the ground4 ,he had the greatest terror of lightning2 and1 when he heard very loud thunder1 he wrapped himself in his mantle1 and1 having closed the windows and the door of the room1 he crouched in a corner until the storm should pass4 ,he was very varied and original in his discourse1 and sometimes said such beautiful things1 that he made his hearers burst with laughter4 ,but when he was old1 and near the age of eighty1 he had become so strange and eccentric that nothing could be done with him4 ,he would not have assistants standing round him1 so that his misanthropy had robbed him of all possible aid4 ,he was sometimes seized by a desire to work1 but was not able1 by reason of the palsy1 and fell into such a rage that he tried to force his hands to labour2 but1 as he muttered to himself1 the mahlstick fell from his grasp1 and even his brushes1 so that it was pitiable to behold4 ,flies enraged him1 and even shadows annoyed him4 ,and so1 having become ill through old age1 he was visited by one or two friends1 who besought him to make his peace with ,god2 but he would not believe that he was dying1 and put them off from one day to another2 not that he was hard of heart1 or an unbeliever1 for he was a most zealous ,christian1 although his life was that of a beast4 ,he discoursed at times on the torments of those ills that destroy men's bodies1 and of the suffering endured by those who come to die with their strength wasting away little by little1 which he called a great affliction4 ,he spoke evil of physicians1 apothecaries1 and those who nurse the sick1 saying that they cause them to die of hunger2 besides the tortures of syrups1 medicines1 clysters1 and other martyrdoms1 such as not being allowed to sleep when you are drowsy1 making your will1 seeing your relatives round you1 and staying in a dark room4 ,he praised death by the hand of justice1 saying that it was a fine thing to go to your death in that way2 to see the broad sky about you1 and all that throng2 to be comforted with sweetmeats and with kind words2 to have the priest and the people praying for you2 and to go into ,paradise with the ,angels2 so that whoever departed from this life at one blow1 was very fortunate4 ,and as he discoursed1 he would twist everything to the strangest meanings that were ever heard4 ,wherefore1 living in such strange fashion1 he reduced himself to such a state with his extravagant fancies1 that one morning he was found dead at the foot of a staircase1 in the year #aeba2 and he was given burial in ,s4 ,piero ,maggiore4 ,his disciples were many1 and one among them was ,andrea del ,sarto1 who was a host in himself4 ,piero's portrait ,i received from ,francesco da ,san ,gallo1 who was much his friend and intimate companion1 and who made it when ,piero was old2 which ,francesco still has a work by the hand of ,piero that ,i must not pass by1 a very beautiful head of ,cleopatra1 with an asp wound round her neck1 and two portraits1 one of his father ,giuliano1 and the other of his grandfather ,francesco ,giamberti1 which seem to be alive4 ,illustration3 ,,francesco ,,giamberti 7,after the panel by ,piero di ,cosimo4 ,hague3 ,royal ,museum1 #bee7 ,bruckmann ,,footnote3 #ac ,see note on p4 #eg1 ,vol4 ,i4 ,,bramante ,,da ,,urbino ,,life ,,of ,,bramante ,,da ,,urbino ,,architect ,of very great advantage to architecture1 in truth1 was the new method of ,filippo ,brunelleschi1 who imitated and restored to the light1 after many ages1 the noble works of the most learned and marvellous ancients4 ,but no less useful to our age was ,bramante1 in following the footsteps of ,filippo1 and making the path of his profession of architecture secure for all who came after him1 by means of his courage1 boldness1 intellect1 and science in that art1 wherein he had the mastery not of theory only1 but of supreme skill and practice4 ,nor could nature have created a more vigorous intellect1 or one to exercise his art and carry it into execution with greater invention and proportion1 or with a more thorough knowledge1 than ,bramante4 ,but no less essential than all this was the election to the ,pontificate1 at that time1 of ,julius ,,ii1 a ,pope of great spirit1 full of desire to leave memorials behind him4 ,and it was fortunate both for us and for ,bramante that he found such a ,prince 7a thing which rarely happens to men of great genius71 at whose expense he might be able to display the worth of his intellect1 and that mastery over difficulties which he showed in architecture4 ,his ability was so universal in the buildings that he erected1 that the outlines of the cornices1 the shafts of the columns1 the graceful capitals1 the bases1 the consoles and corners1 the vaults1 the staircases1 the projections1 and every detail of every ,order of architecture1 contrived from the counsel or model of this craftsman1 never failed to astonish all who saw them4 ,wherefore it appears to me that the everlasting gratitude which is due to the ancients from the intellects that study their works1 is also due from them to the labours of ,bramante2 for if the ,greeks were the inventors of architecture1 and the ,romans their imitators1 ,bramante not only imitated what he saw1 with new invention1 and taught it to us1 but also added very great beauty and elaboration to the art1 which we see embellished by him at the present day4 ,he was born at ,castel ,durante1 in the ,state of ,urbino1 of poor but honest parentage4 ,in his boyhood1 besides reading and writing1 he gave much attention to arithmetic2 but his father1 who had need that he should earn money1 perceiving that he delighted much in drawing1 applied him1 when still a mere boy1 to the art of painting2 whereupon ,bramante gave much study to the works of ,fra ,bartolommeo1 otherwise called ,fra ,carnovale da ,urbino1 who painted the panel-picture of ,s4 ,maria della ,bella at ,urbino4 ,but since he always delighted in architecture and perspective1 he departed from ,castel ,durante1 and made his way to ,lombardy1 where he went now to one city1 and now to another1 working as best he could1 but not on things of great cost or much credit1 having as yet neither name nor reputation4 ,for this reason he determined at least to see some noteworthy work1 and betook himself to ,milan1 in order to see the ,duomo4 ,in that city there was then living one ,cesare ,cesariano1 reputed to be a good geometrician and an able architect1 who wrote a commentary on ,vitruvius1 and1 out of despair at not having received for this the remuneration that he had expected1 became so strange that he would work no more2 and1 having grown almost savage1 he died more like a beast than like a human being4 ,there was also one ,bernardino da ,trevio1 a ,milanese1 engineer and architect for the ,duomo1 and an excellent draughtsman1 who was held by ,leonardo da ,vinci to be a rare master1 although his manner was rather crude and somewhat hard in painting4 ,by his hand is a ,resurrection of ,christ to be seen at the upper end of the cloister of the ,grazie1 with some very beautiful foreshortenings2 and a chapel in fresco in ,s4 ,francesco1 containing the deaths of ,s4 ,peter and ,s4 ,paul4 ,he painted many other works in ,milan1 and he also made a good number in the surrounding district1 which are held in esteem2 and in our book there is a head of a very beautiful woman1 in charcoal and lead-white1 which still bears witness to the manner that he followed4 ,illustration3 ,,interior ,,of ,,sacristy 7,after ,bramante da ,urbino4 ,milan3 ,s4 ,satiro7 ,brogi ,but to return to ,bramante2 having studied that building1 and having come to know those engineers1 he so took courage1 that he resolved to devote himself wholly to architecture4 ,having therefore departed from ,milan1 he betook himself1 just before the holy year of #aejj1 to ,rome1 where he was recognized by some friends1 both from his own country and from ,lombardy1 and received a commission to paint1 over the ,porta ,santa of ,s4 ,giovanni ,laterano1 which is opened for the ,jubilee1 the coat of arms of ,pope ,alexander ,,vi1 to be executed in fresco1 with angels and other figures acting as supporters4 ,bramante had brought some money from ,lombardy1 and he earned some more in ,rome by executing certain works2 and this he spent with the greatest economy1 since he wished to be able to live independently1 and at the same time1 without having to work1 to be free to take measurements1 at his ease1 of all the ancient buildings in ,rome4 ,and having put his hand to this1 he set out1 alone with his thoughts2 and within no great space of time he had measured all the buildings in that city and in the ,campagna without2 and he went as far as ,naples1 and wherever he knew that there were antiquities4 ,he measured all that was at ,tivoli and in the ,villa of ,hadrian1 and1 as will be related afterwards in the proper place1 made great use of it4 ,the mind of ,bramante becoming known in this way1 the ,cardinal of ,naples1 having noticed him1 began to favour him4 ,whereupon1 while ,bramante was continuing his studies1 the desire came to the said ,cardinal to have the cloister of the ,frati della ,pace rebuilt in travertine1 and he gave the charge of this cloister to ,bramante1 and he1 desiring to earn money and to gain the good will of that ,cardinal1 set himself to work with all possible industry and diligence1 and brought it quickly to perfect completion4 ,and although it was not a work of perfect beauty1 it gave him a very great name1 since there were not many in ,rome who followed the profession of architecture with such zeal1 study1 and resolution as ,bramante4 ,at the beginning he served as under-architect to ,pope ,alexander ,,vi for the fountain of ,trastevere1 and likewise for that which was made on the ,piazza di ,s4 ,pietro4 ,he also took part1 together with other excellent architects1 when his reputation had increased1 in the planning of a great part of the ,palace of ,s4 ,giorgio1 and of the ,church of ,s4 ,lorenzo in ,damaso1 at the commission of ,raffaello ,riario1 ,cardinal of ,s4 ,giorgio1 near the ,campo di ,fiore2 which palace1 whatever better work may have been executed afterwards1 nevertheless was and still is held1 on account of its greatness1 to be a commodious and magnificent habitation2 and the building of this edifice was carried out by one ,antonio ,montecavallo4 ,bramante was consulted with regard to the enlargement of ,s4 ,jacopo degli ,spagnuoli1 on the ,piazza ,navona1 and likewise in the deliberations for the building of ,s4 ,maria de ,anima1 which was afterwards carried out by a ,german architect4 ,from his design1 also1 was the ,palace of ,cardinal ,adriano da ,corneto in the ,borgo ,nuovo1 which was built slowly1 and then finally remained unfinished by reason of the flight of that ,cardinal2 and in like manner1 the enlargement of the principal chapel of ,s4 ,maria del ,popolo was executed from his design4 ,these works brought him so much credit in ,rome1 that he was considered the best architect1 in that he was resolute1 prompt1 and most fertile in invention2 and he was continually employed by all the great persons in that city for their most important undertakings4 ,wherefore1 after ,julius ,,ii had been elected ,pope1 in the year #aejc1 he entered into his service4 ,the fancy had taken that ,pontiff to so transform the space that lay between the ,belvedere and the ,papal ,palace1 as to give it the aspect of a square theatre1 embracing a little valley that ran between the old ,papal ,palace and the new buildings that ,innocent ,,viii had erected as a habitation for the ,popes2 and he intended1 by means of two corridors1 one on either side of this little valley1 to make it possible to go from the ,belvedere to the ,palace under loggie1 and also to go from the ,palace to the ,belvedere in the same way1 and likewise1 by means of various flights of steps1 to ascend to the level of the ,belvedere4 ,whereupon ,bramante1 who had very good judgment and an inventive genius in such matters1 distributed two ranges of columns along the lowest part2 first1 a very beautiful ,doric loggia1 similar to the ,colosseum of the ,savelli 7although1 in place of half-columns1 he used pilasters71 and all built of travertine2 and over this a second range of the ,ionic ,order1 full of windows1 of such a height as to come to the level of the first-floor rooms of the ,papal ,palace1 and to the level of those of the ,belvedere2 intending to make1 afterwards1 a loggia more than four hundred paces long on the side towards ,rome1 and likewise another on the side towards the wood1 with which1 one on either hand1 he proposed to enclose the valley2 into which1 after it had been levelled1 was to be brought all the water from the ,belvedere2 and for this a very beautiful fountain was to be made4 ,of this design1 ,bramante finished the first corridor1 which issues from the ,palace and leads to the ,belvedere on the side towards ,rome1 except the upper loggia1 which was to go above it4 ,as for the opposite part1 on the side towards the wood1 the foundations1 indeed1 were laid1 but it could not be finished1 being interrupted by the death of ,julius1 and then by that of ,bramante4 ,his design was held to be so beautiful in invention1 that it was believed that from the time of the ancients until that day1 ,rome had seen nothing better4 ,but of the other corridor1 as has been said1 he left only the foundations1 and the labour of finishing it has dragged on down to our own day1 when ,pius ,,iv has brought it almost to completion4 ,bramante also erected the head-wall of the ,museum of ancient statues in the ,belvedere1 together with the range of niches2 wherein were placed1 in his lifetime1 the ,laocoon1 one of the rarest of ancient statues1 the ,apollo1 and the ,venus2 and the rest of the statues were set up there afterwards by ,leo ,x1 such as the ,tiber1 the ,nile1 and the ,cleopatra1 with some others added by ,clement ,,vii2 and in the time of ,paul ,,iii and ,julius ,,iii many important improvements were made1 at great expense4 ,but to return to ,bramante2 he was very resolute1 although he was hindered by the avarice of those who supplied him with the means to work1 and he had a marvellous knowledge of the craft of building4 ,this construction at the ,belvedere was executed by him with extraordinary speed1 and such was his eagerness as he worked1 and that of the ,pope1 who would have liked to see the edifice spring up from the ground1 without needing to be built1 that the builders of the foundations brought the sand and the solid foundation-clay by night and let#ad it down by day in the presence of ,bramante1 who caused the foundations to be made without seeing anything more of the work4 ,this inadvertence was the reason that all his buildings have cracked1 and are in danger of falling down1 as did this same corridor1 of which a piece eighty braccia in length fell to the ground in the time of ,clement ,,vii1 and was afterwards rebuilt by ,pope ,paul ,,iii1 who also had the foundations restored and the whole strengthened4 ,from his design1 also1 are many flights of steps in the ,belvedere1 varied according to their situations1 whether high or low1 in the ,doric1 ,ionic1 and ,corinthian ,orders--a very beautiful work1 executed with extraordinary grace4 ,and he had made a model for the whole1 which is said to have been a marvellous thing1 as may still be imagined from the beginning of the work1 unfinished as it is4 ,moreover1 he made a spiral staircase upon mounting columns1 in such a way that one can ascend it on horseback2 wherein the ,doric passes into the ,ionic1 and the ,ionic into the ,corinthian1 rising from one into the other2 a work executed with supreme grace1 and with truly excellent art1 which does him no less honour than any other thing by his hand that is therein4 ,this invention was copied by ,bramante from ,s4 ,niccol at ,pisa1 as was said in the ,lives of ,giovanni and ,niccola of ,pisa4 ,the fancy took ,bramante to make1 in a frieze on the outer faade of the ,belvedere1 some letters after the manner of ancient hieroglyphics1 representing the name of the ,pope and his own1 in order to show his ingenuity3 and he had begun thus1 ,julio ,,ii1 ,pont4 ,massimo1 having caused a head in profile of ,julius ,csar to be made1 and a bridge1 with two arches1 which signified1 ,julio ,,ii1 ,pont41 and an obelisk from the ,circus ,maximus1 to represent ,max4 ,at which the ,pope laughed1 and caused him to make the letters in the ancient manner1 one braccio in height1 which are there at the present day2 saying that he had copied this folly from a door at ,viterbo1 over which one ,maestro ,francesco1 an architect1 had placed his name1 carved in the architrave1 and represented by a ,s4 ,francis 7,s4 ,francesco71 an arch 7arco71 a roof 7tetto71 and a tower 7torre71 which1 interpreted in his own way1 denoted1 ,maestro ,francesco ,architettore4 ,the ,pope1 on account of his ability in architecture1 was very well disposed towards him4 ,illustration3 ,,tempietto 7,after ,bramante da ,urbino4 ,rome3 ,s4 ,pietro in ,montorio7 ,anderson ,for these reasons he was rightly held worthy by the aforesaid ,pope1 who loved him very dearly for his great gifts1 to be appointed to the ,office of the ,piombo1 for which he made a machine for printing ,bulls1 with a very beautiful screw4 ,in the service of that ,pontiff ,bramante went to ,bologna1 in the year #aejd1 when that city returned to the ,church2 and he occupied himself1 throughout the whole war against ,mirandola1 on many ingenious things of the greatest importance4 ,he made many designs for ground-plans and complete buildings1 which he drew very well2 and of such there are some to be seen in our book1 accurately drawn and executed with very great art4 ,he taught many of the rules of architecture to ,raffaello da ,urbino2 designing for him1 for example1 the buildings that ,raffaello afterwards drew in perspective in that apartment of the ,pope wherein there is ,mount ,parnassus2 in which apartment he made a portrait of ,bramante taking measurements with a pair of compasses4 ,the ,pope resolved1 having had the ,strada ,julia straightened out by ,bramante1 to place in it all the public offices and tribunals of ,rome1 on account of the convenience which this would bring to the merchants in their business1 which up to that time had always been much hindered4 ,wherefore ,bramante made a beginning with the palace that is to be seen by ,s4 ,biagio sul ,tevere1 wherein there is still an unfinished ,corinthian temple1 a thing of rare excellence4 ,the rest of this beginning is in rustic work1 and most beautiful2 and it is a great pity that a work so honourable1 useful1 and magnificent1 which is held by the masters of the profession to be the most beautiful example of design in that kind that has ever been seen1 should not have been finished4 ,he made1 also1 in the first cloister of ,s4 ,pietro a ,montorio1 a round temple of travertine1 than which nothing more shapely or better conceived1 whether in proportion1 design1 variety1 or grace1 could be imagined2 and even more beautiful would it have been1 if the whole extent of the cloister1 which is not finished1 had been brought to the form that is to be seen in a drawing by his hand4 ,he directed the building1 in the ,borgo1 of the palace which afterwards belonged to ,raffaello da ,urbino1 executed with bricks and mould-castings1 the columns and bosses being of the ,doric ,order and of rustic work--a very beautiful work--with a new invention in the making of these castings4 ,he also made the design and preparations for the decoration of ,s4 ,maria at ,loreto1 which was afterwards continued by ,andrea ,sansovino2 and an endless number of models for palaces and temples1 which are in ,rome and throughout the ,states of the ,church4 ,so sublime was the intellect of this marvellous craftsman1 that he made a vast design for restoring and rearranging the ,papal ,palace4 ,and so greatly had his courage grown1 on seeing the powers and desires of the ,pope rise to the level of his own wishes and genius1 that1 hearing that he was minded to throw the ,church of ,s4 ,pietro to the ground1 in order to build it anew1 he made him an endless number of designs4 ,and among those that he made was one that was very wonderful1 wherein he showed the greatest possible judgment1 with two bell-towers1 one on either side of the faade1 as we see it in the coins afterwards struck for ,julius ,,ii and ,leo ,x by ,caradosso1 a most excellent goldsmith1 who had no peer in making dies1 as may still be seen from the medal of ,bramante1 executed by him1 which is very beautiful4 ,and so1 the ,pope having resolved to make a beginning with the vast and sublime structure of ,s4 ,pietro1 ,bramante caused half of the old church to be pulled down1 and put his hand to the work1 with the intention that it should surpass1 in beauty1 art1 invention1 and design1 as well as in grandeur1 richness1 and adornment1 all the buildings that had been erected in that city by the power of the ,commonwealth1 and by the art and intellect of so many able masters2 and with his usual promptness he laid the foundations1 and carried the greater part of the building1 before the death of the ,pope and his own1 to the height of the cornice1 where are the arches to all the four piers2 and these he turned with supreme expedition and art4 ,he also executed the vaulting of the principal chapel1 where the recess is1 giving his attention at the same time to pressing on the building of the chapel that is called the ,chapel of the ,king of ,france4 ,for this work he invented the method of casting vaults in wooden moulds1 in such a manner that patterns of friezes and foliage1 like carvings1 come out in the plaster2 and in the arches of this edifice he showed how they could be turned with flying scaffoldings1 a method that we have since seen followed by ,antonio da ,san ,gallo4 ,in the part that was finished by him1 the cornice that runs right round the interior is seen to be so graceful1 that no other man's hand could take away or alter anything from its design without spoiling it4 ,it is evident from his capitals1 which are of olive leaves within1 and from all the ,doric work on the outer side1 which is extraordinarily beautiful1 how sublime was the courage of ,bramante1 whereby1 in truth1 if he had possessed physical powers equal to the intellect that adorned his spirit1 he would most certainly have achieved even more unexampled things than he did4 ,this work1 as will be related in the proper places1 since his death and down to the present day1 has been much mutilated by other architects1 insomuch that it may be said that with the exception of four arches which support the tribune1 nothing of his has remained there4 ,for ,raffaello da ,urbino and ,giuliano da ,san ,gallo1 who carried on the work after the death of ,julius ,,ii1 together with ,fra ,giocondo of ,verona1 thought fit to begin to alter it2 and after the death of those masters1 ,baldassarre ,peruzzi1 in building the ,chapel of the ,king of ,france1 in the transept on the side towards the ,campo ,santo1 changed ,bramante's design2 and under ,paul ,,iii ,antonio da ,san ,gallo changed it again entirely4 ,finally1 ,michelagnolo ,buonarroti1 sweeping away the countless opinions and superfluous expenses1 has brought it to such beauty and perfection as not one of those others ever thought of1 which all comes from his judgment and power of design2 although he said to me several times that he was only the executor of the design and arrangements of ,bramante1 seeing that he who originally lays the foundations of a great edifice is its true creator4 ,vast1 indeed1 seemed the conception of ,bramante in this work1 and he gave it a very great beginning1 which1 even if he had begun on a smaller scale1 neither ,san ,gallo nor the others1 nor even ,buonarroti1 would have had enough power of design to increase1 although they were able to diminish it2 so immense1 stupendous1 and magnificent was this edifice1 and yet ,bramante had conceived something even greater4 ,it is said that he was so eager to see this structure making progress1 that he pulled down many beautiful things in ,s4 ,pietro1 such as tombs of ,popes1 paintings1 and mosaics1 and that for this reason we have lost all trace of many portraits of distinguished persons1 which were scattered throughout that church1 which was the principal church of all ,christendom4 ,he preserved only the altar of ,s4 ,pietro1 and the old tribune1 round which he made a most beautiful ornament of the ,doric ,order1 all of peperino-stone1 to the end that when the ,pope came to ,s4 ,pietro to say ,mass1 he might be able to stand within it with all his ,court and with the ,ambassadors of the ,christian ,princes2 but death prevented him from finishing it entirely1 and the ,sienese ,baldassarre afterwards brought it to completion4 ,bramante was a very merry and pleasant person1 ever delighting to help his neighbour4 ,he was very much the friend of men of ability1 and favoured them in whatever way he could2 as may be seen from his kindness to the gracious ,raffaello da ,urbino1 most celebrated of painters1 whom he brought to ,rome4 ,he always lived in the greatest splendour1 doing honour to himself2 and in the rank to which his merits had raised him1 what he possessed was nothing to what he would have been able to spend4 ,he delighted in poetry1 and loved to improvise upon the lyre1 or to hear others doing this3 and he composed some sonnets1 if not as polished as we now demand them1 at least weighty and without faults4 ,he was much esteemed by the prelates1 and was received by an endless number of noblemen who made his acquaintance4 ,in his lifetime he had very great renown1 and even greater after his death1 because of which the building of ,s4 ,pietro was interrupted for many years4 ,he lived to the age of seventy1 and he was borne to his tomb in ,rome1 with most honourable obsequies1 by the ,court of the ,pope and by all the sculptors1 architects1 and painters4 ,he was buried in ,s4 ,pietro1 in the year #aead4 ,illustration3 ,,palazzo ,,giraud 7,after ,bramante da ,urbino4 ,rome7 ,anderson ,very great was the loss that architecture suffered in the death of ,bramante1 who was the discoverer of many good methods wherewith he enriched that art1 such as the invention of casting vaults1 and the secret of stucco2 both of which were known to the ancients1 but had been lost until his time through the ruin of their buildings4 ,and those who occupy themselves with measuring ancient works of architecture1 find in the works of ,bramante no less science and design than in any of the former2 wherefore1 among those who are versed in the profession1 he can be accounted one of the rarest intellects that have adorned our age4 ,he left behind him an intimate friend1 ,giuliano ,leno1 who had much to do with the buildings of his time1 but was employed rather to make preparations and to carry out the wishes of whoever designed them1 than to work on his own account1 although he had judgment and great experience4 ,during his lifetime1 ,bramante employed in his works one ,ventura1 a carpenter of ,pistoia1 who was a man of very good ability1 and drew passing well4 ,this ,ventura1 while in ,rome1 delighted much in taking measurements of antiquities2 and afterwards1 wishing to live once more in his native place1 he returned to ,pistoia4 ,now it happened in that city1 in the year #aeji1 that a ,madonna1 which is now called the ,madonna della ,umilt1 worked miracles2 and since many offerings were brought to her1 the ,signoria that was then governing the city determined to build a temple in her honour4 ,whereupon ,ventura1 confronted with this opportunity1 made with his own hand a model of an octagonal temple 444#ae braccia in breadth and 444 braccia in height1 with a vestibule or closed portico in front1 very ornate within and truly beautiful4 ,this having given satisfaction to the ,signoria and to the chief men of the city1 the building was begun according to the plans of ,ventura1 who1 having laid the foundations of the vestibule and the temple1 completely finished the vestibule1 which he made very rich in pilasters and cornices of the ,corinthian ,order1 with other carved stonework2 while all the vaults in that work were made in like manner1 with squares surrounded by mouldings1 also in stone1 and filled with rosettes4 ,afterwards1 the octagonal temple was also carried to the height of the last cornice1 from which the vaulting of the tribune was to rise1 during the lifetime of ,ventura2 and since he was not very experienced in works of that size1 he did not consider how the weight of the tribune might be safely laid on the building1 but made within the thickness of the wall1 at the first range of windows1 and at the second1 where the others are1 a passage that runs right round1 whereby he contrived to weaken the walls so much1 that1 the edifice being without buttresses at the base1 it was dangerous to raise a vault over it1 and particularly on the angles at the corners1 upon which all the weight of the vault of that tribune must rest4 ,wherefore1 after the death of ,ventura1 there was no architect with courage enough to raise that vault3 nay1 they had caused long and stout beams of timber to be brought to the place1 in order to make a tent-shaped roof2 but this did not please the citizens1 and they would not have it put into execution4 ,and so the building remained for many years without a roof1 until1 in the year #aefa1 the ,wardens of ,works besought ,duke ,cosimo that his ,excellency should so favour them as to cause that tribune to be vaulted4 ,whereupon1 in order to meet their wishes1 the ,duke ordered ,giorgio ,vasari to go there and see whether he could find some method of vaulting it2 and he1 having done this1 made a model raising the building to the height of eight braccia above the cornice that ,ventura had left1 in order to make buttresses for it2 and he decreased the breadth of the passage that runs right round between the walls1 and reinforced the building with buttresses1 besides binding the corners and the parts below the passages that ,ventura had made1 between the windows1 with stout keys of iron1 double at the angles2 which secured the whole in such a manner that the vault could be raised with safety4 ,whereupon his ,excellency was pleased to visit the place1 and1 being satisfied with everything1 gave orders for the work to be executed2 and so all the buttresses have been built1 and a beginning has already been made with the raising of the cupola4 ,thus1 then1 the work of ,ventura will become richer1 greater in size and adornment1 and better in proportions2 but he truly deserves to have record made of him1 since that building is the most noteworthy modern work in the city of ,pistoia4 ,,footnote3 #ad ,the word calavano has been substituted here for the cavavano of the text1 which gives no sense4 #ae ,these numbers are missing from the text4 ,,fra ,,bartolommeo ,,di ,,san ,,marco ,,life ,,of ,,fra ,,bartolommeo ,,di ,,san ,,marco ,,baccio ,,della ,,porta ,,painter ,,of ,,florence ,near the territory of ,prato1 which is ten miles distant from ,florence1 in a village called ,savignano1 was born ,bartolommeo1 known1 according to the ,tuscan custom1 by the name of ,baccio4 ,he1 having shown in his childhood not merely inclination1 but also aptitude1 for drawing1 was placed1 through the good services of ,benedetto da ,maiano1 with ,cosimo ,rosselli1 and lodged in the house of some relatives of his own1 who lived at the ,porta a ,s4 ,piero ,gattolini2 where he stayed for many years1 so that he was never called or known by any other name than that of ,baccio della ,porta4 ,after taking his leave of ,cosimo ,rosselli1 he began to study with great devotion the works of ,leonardo da ,vinci2 and in a short time he made such proficience and such progress in colouring1 that he acquired the name and reputation of being one of the best young men of his art1 both in colouring and in drawing4 ,he had a companion in ,mariotto ,albertinelli1 who in a short time acquired his manner passing well2 and together with him he executed many pictures of ,our ,lady1 which are scattered throughout ,florence4 ,to speak of all these would take too long1 and ,i will mention only some excellently painted by ,baccio4 ,there is one1 containing a ,madonna1 in the house of ,filippo di ,averardo ,salviati1 which is most beautiful1 and which he holds very dear and in great price4 ,another was bought not long since1 at a sale of old furniture1 by ,pier ,maria delle ,pozze1 a person greatly devoted to pictures1 who1 having recognized its beauty1 will not let it go for any sum of money2 in which work is a ,madonna executed with extraordinary diligence4 ,piero del ,pugliese had a little ,madonna of marble1 in very low relief1 a very rare work by the hand of ,donatello1 for which1 in order to do it honour1 he caused a wooden tabernacle to be made1 with two little doors to enclose it4 ,this he gave to ,baccio della ,porta1 who painted1 on the inner side of the doors1 two little scenes1 of which one was the ,nativity of ,christ1 and the other ,his ,circumcision2 which ,baccio executed with little figures after the manner of miniatures1 in such a way that it would not be possible to do better work in oils2 and then he painted ,our ,lady receiving the ,annunciation from the ,angel1 in chiaroscuro1 and likewise in oils1 on the outer side of the same little doors1 so as to be seen when they are closed4 ,this work is now in the study of ,duke ,cosimo1 wherein he keeps all his little antique figures of bronze1 medals1 and other rare pictures in miniature2 and it is treasured by his most illustrious ,excellency as a rare thing1 as indeed it is4 ,illustration3 ,,fra ,,bartolommeo ,,di ,,san ,,marco3 ,,the ,,deposition ,,from ,,the ,,cross 7,florence3 ,pitti1 #fd4 ,panel7 ,baccio was beloved in ,florence for his virtues1 for he was assiduous in his work1 quiet and good by nature1 and a truly ,god-fearing man2 he had a great liking for a life of peace1 and he shunned vicious company1 delighted much in hearing sermons1 and always sought the society of learned and serious persons4 ,and in truth1 it is seldom that nature creates a man of good parts and a gentle craftsman1 without also providing him1 after some time1 with peace and favour1 as she did for ,baccio1 who1 as will be told below1 obtained all that he desired4 ,the report having spread abroad that he was no less good than able1 his fame so increased that he was commissioned by ,gerozzo di ,monna ,venna ,dini to paint the chapel wherein the bones of the dead are kept1 in the cemetery of the ,hospital of ,s4 ,maria ,nuova4 ,there he began a ,judgment in fresco1 which he executed with such diligence and beauty of manner in the part which he finished1 that he acquired extraordinary fame thereby1 in addition to what he had already1 and became greatly celebrated1 on account of his having represented with excellent conceptions the ,glory of ,paradise1 and ,christ with the twelve ,apostles judging the twelve ,tribes1 wherein the figures are soft in colouring and most beautifully draped4 ,moreover1 in those figures that are being dragged to ,hell1 in the part that was designed but left unfinished1 one sees the despair1 grief1 and shame of everlasting death1 even as one perceives contentment and gladness in those that are being saved2 although this work remained unfinished1 since ,baccio was inclined to give his attention more to religion than to painting4 ,for there was living in ,s4 ,marco1 at this time1 ,fra ,girolamo ,savonarola of ,ferrara1 of the ,order of ,preaching ,friars1 a very famous theologian2 and ,baccio1 going continually to hear his preaching1 on account of the devotion that he felt for him1 contracted a very strait intimacy with him1 and passed almost all his time in the convent1 having also become the friend of the other friars4 ,now it happened that ,fra ,girolamo1 continuing his preaching1 and crying out every day from the pulpit that lascivious pictures1 music1 and amorous books often lead the mind to evil1 became convinced that it was not right to keep in houses where there were young girls painted figures of naked men and women4 ,and at the next ,carnival--when it was the custom in the city to make little huts of faggots and other kinds of wood on the public squares1 and on the ,tuesday evening1 according to ancient use1 to burn these1 with amorous dances1 in which men and women1 joining hands1 danced round these fires1 singing certain airs--the people were so inflamed by ,fra ,girolamo1 and he wrought upon them so strongly with his words1 that on that day they brought to the place a vast quantity of nude figures1 both in painting and in sculpture1 many by the hand of excellent masters1 and likewise books1 lutes1 and volumes of songs1 which was a most grievous loss1 particularly for painting4 ,thither ,baccio carried all the drawings of nudes that he had made by way of studies1 and he was followed by ,lorenzo di ,credi and by many others1 who had the name of ,piagnoni4 ,and it was not long before ,baccio1 on account of the affection that he bore to ,fra ,girolamo1 made a very beautiful portrait of him in a picture1 which was then taken to ,ferrara2 but not long ago it came back to ,florence1 and it is now in the house of ,filippo di ,alamanno ,salviati1 who1 since it is by the hand of ,baccio1 holds it very dear4 ,it happened1 after this1 that one day the opponents of ,fra ,girolamo rose against him1 in order to take him and deliver him over to the hands of justice1 on account of the disturbances that he had caused in the city2 and his friends1 seeing this1 also banded themselves together1 to the number of more than five hundred1 and shut themselves up in ,s4 ,marco1 and ,baccio with them1 on account of the great affection that he had for their party4 ,it is true that1 being a person of little courage1 nay1 even timorous and mean-spirited1 and hearing an attack being made a little time after this on the convent1 and men being wounded and killed1 he began to have serious doubts about himself4 ,for which reason he made a vow that if he were to escape from that turmoil1 he would straightway assume the habit of that ,order2 which vow he carried out afterwards most faithfully1 for when the uproar had ceased1 and ,fra ,girolamo had been taken and condemned to death1 as the writers of history relate with more detail1 ,baccio betook himself to ,prato and became a monk in ,s4 ,domenico1 in that city1 on ,july #bf1 in the year #aejj1 as is found written in the chronicles of that same convent in which he assumed the habit2 to the great displeasure of all his friends1 who were grieved beyond measure at having lost him1 and particularly because they heard that he had taken it into his head to forsake his painting4 ,whereupon ,mariotto ,albertinelli1 his friend and companion1 at the entreaties of ,gerozzo ,dini1 took over the materials of ,fra ,bartolommeo--which was the name given by the ,prior to ,baccio1 on investing him with the habit--and brought to completion the work of the ,ossa in ,s4 ,maria ,nuova2 where he portrayed from life the ,director of the ,hospital at that time1 and some friars skilled in surgery1 with ,gerozzo1 the patron of the work1 and his wife1 full-length figures on their knees1 upon the walls on either side2 and in a nude figure that is seated1 he portrayed ,giuliano ,bugiardini1 his pupil1 as a young man1 with long locks according to the custom of that time1 in which each separate hair might be counted1 so carefully are they painted4 ,he made there1 likewise1 his own portrait1 in the head1 with long locks1 of a figure that is issuing from one of the tombs2 and in that work1 in the region of the blessed1 there is also the portrait of ,fra ,giovanni da ,fiesole1 the painter1 whose ,life we have written4 ,this painting was executed wholly in fresco1 both by ,fra ,bartolommeo and by ,mariotto1 so that it has remained1 and still remains1 marvellously fresh1 and is held in esteem by craftsmen1 since it is scarcely possible to do better in that kind of work4 ,illustration3 ,,the ,,holy ,,family 7,after the panel by ,fra ,bartolommeo di ,san ,marco4 ,rome3 ,corsini ,gallery1 #egi7 ,anderson ,when ,fra ,bartolommeo had been many months in ,prato1 he was sent by his superiors to take up his abode in ,s4 ,marco at ,florence1 and on account of his virtues he was received very warmly by the friars of that convent4 ,in those days ,bernardo del ,bianco had caused to be erected1 in the ,badia of ,florence1 a chapel of grey-stone1 full of carving1 and very rich and beautiful1 from the design of ,benedetto da ,rovezzano3 which chapel was and still is much esteemed on account of some ornamental work of great variety1 wherein ,benedetto ,buglioni placed1 in some niches1 angels and other figures made of glazed terra-cotta1 in the round1 to adorn it the more1 with friezes containing cherubs and the devices of ,bianco4 ,and ,bernardo1 wishing to set up in the chapel a panel-picture that should be worthy of that adornment1 and conceiving the idea that ,fra ,bartolommeo would be the right man for the work1 sought in every possible way1 through the intervention of his friends1 to persuade him4 ,fra ,bartolommeo was living in his convent1 giving his attention to nothing save the divine offices and the duties of his ,rule1 although often besought by the ,prior and by his dearest friends that he should work again at his painting2 and for more than four years he had refused to touch a brush4 ,but on this occasion1 being pressed by ,bernardo del ,bianco1 at length he began the panel-picture of ,s4 ,bernard1 in which the ,saint is writing1 and gazing with such deep contemplation at the ,madonna1 with the ,child in her arms1 being borne by many angels and children1 all coloured with great delicacy1 that there is clearly perceived in him a certain celestial quality1 ,i know not what1 which seems1 to him who studies it with attention1 to shine out over that work1 into which ,baccio put much diligence and love2 not to mention an arch executed in fresco1 which is above it4 ,he also made some pictures for ,cardinal ,giovanni de' ,medici2 and for ,agnolo ,doni he painted a picture of ,our ,lady1 which stands on the altar of a chapel in his house--a work of extraordinary beauty4 ,at this time the painter ,raffaello da ,urbino came to ,florence to study his art1 and taught the best principles of perspective to ,fra ,bartolommeo2 and desiring to acquire the friar's manner of colouring1 and being pleased with his handling of colours and his method of harmonizing them1 ,raffaello was always in his company4 ,fra ,bartolommeo painted about the same time1 in ,s4 ,marco at ,florence1 a panel with an infinite number of figures1 which is now in the possession of the ,king of ,france1 having been presented to him after being exposed to view for many months in ,s4 ,marco4 ,afterwards1 he painted another in that convent1 containing an endless number of figures1 in place of the one that was sent into ,france2 in which picture are some children who are flying in the air and holding open a canopy1 executed with such good drawing and art1 and with such strong relief1 that they appear to stand out from the panel1 while the colouring of the flesh reveals that beauty and excellence which every able craftsman seeks to give to his pictures2 and this work is still considered at the present day to be most excellent4 ,in it are many figures surrounding a ,madonna1 all most admirable1 and executed with grace1 feeling1 boldness1 spirit1 and vivacity2 and coloured1 moreover1 in so striking a manner1 that they seem to be in relief1 since he wished to show that he was able not only to draw1 but also to give his figures force and make them stand out by means of the darkness of the shadows1 as may be seen in some children who are round a canopy1 upholding it1 who1 as they fly through the air1 almost project from the panel4 ,besides this1 there is an ,infant ,christ who is marrying ,s4 ,catherine the ,nun1 than which it would not be possible to paint anything more lifelike with the dark colouring that he used4 ,there is a circle of saints on one side diminishing in perspective1 round the depth of a great recess1 who are distributed with such fine design that they seem to be real2 and the same may be seen on the other side4 ,and in truth1 in this manner of colouring1 he imitated to a great extent the works of ,leonardo2 particularly in the darks1 for which he used printer's smoke-black and the black of burnt ivory4 ,this panel has now become much darker than it was when he painted it1 on account of those blacks1 which have kept growing heavier and darker4 ,in the foreground1 among the principal figures1 he made a ,s4 ,george in armour1 who has a standard in his hand1 a bold1 spirited1 and vivacious figure1 in a beautiful attitude4 ,there is also a ,s4 ,bartholomew1 standing1 a figure that deserves the highest praise2 with two children who are playing1 one on a lute1 and the other on a lyre1 one of whom he made with a leg drawn up and his instrument resting upon it1 and with the hands touching the strings in the act of running over them1 an ear intent on the harmony1 the head upraised1 and the mouth slightly open1 in such a way that whoever beholds him cannot persuade himself that he should not also hear the voice4 ,no less lifelike is the other1 who1 leaning on one side1 and bending over with one ear to the lyre1 appears to be listening to learn how far it is in accord with the sound of the lute and the voice1 while1 with his eyes fixed on the ground1 and his ear turned intently towards his companion1 who is playing and singing1 he seeks to follow in harmony with the air4 ,these conceptions and expressions are truly ingenious2 the children1 who are seated1 and clothed in veiling1 are marvellous and executed with great industry by the practised hand of ,fra ,bartolommeo2 and the whole work is brought out into strong relief by a fine gradation of dark shadows4 ,a little time afterwards he painted another panel1 to stand opposite to the former1 and containing a ,madonna surrounded by some saints1 which is held to be a good work4 ,he won extraordinary praise for having introduced a method of blending the colouring of his figures in such a way as to add a marvellous degree of harmony to art1 making them appear to be in relief and alive1 and executing them with supreme perfection of manner4 ,hearing much of the noble works made in ,rome by ,michelagnolo1 and likewise those of the gracious ,raffaello1 and being roused by the fame1 which was continually reaching him1 of the marvels wrought by those two divine craftsmen1 with leave from his ,prior he betook himself to ,rome4 ,there he was entertained by ,fra ,mariano ,fetti1 ,friar of the ,piombo1 for whom he painted two pictures of ,s4 ,peter and ,s4 ,paul at his ,convent of ,s4 ,silvestro a ,monte ,cavallo4 ,but since he did not succeed in working as well in the air of ,rome as he had done in that of ,florence1 while the vast number of works that he saw1 what with the ancient and the modern1 bewildered him so that much of the ability and excellence that he believed himself to possess1 fell away from him1 he determined to depart1 leaving to ,raffaello the charge of finishing one of those pictures1 that of ,s4 ,peter1 which he had not completed2 which picture was retouched all over by the hand of the marvellous ,raffaello1 and given to ,fra ,mariano4 ,thus1 then1 ,fra ,bartolommeo returned to ,florence4 ,there he had been accused many times of not knowing how to paint nudes2 for which reason he resolved to put himself to the test1 and to show by means of his labour that he was as well fitted as any other master for the highest achievements of his art4 ,whereupon1 to prove this1 he painted a picture of ,s4 ,sebastian1 naked1 very lifelike in the colouring of the flesh1 sweet in countenance1 and likewise executed with corresponding beauty of person1 whereby he won infinite praise from the craftsmen4 ,it is said that1 while this figure was exposed to view in the church1 the friars found1 through the confessional1 women who had sinned at the sight of it1 on account of the charm and melting beauty of the lifelike reality imparted to it by the genius of ,fra ,bartolommeo2 for which reason they removed it from the church and placed it in the chapter-house1 where it did not remain long before it was bought by ,giovan ,battista della ,palla and sent to the ,king of ,france4 ,illustration3 ,s4 ,,mark 7,after the painting by ,fra ,bartolommeo di ,san ,marco4 ,florence3 ,pitti1 #abe7 ,anderson ,fra ,bartolommeo had fallen into a rage against the joiners who made the ornamental frames for his panels and pictures1 for it was their custom1 as it still is at the present day1 always to cover an eighth part of the figures with the projecting inner edges of the frames4 ,he determined1 therefore1 to invent some means of doing without frames for panels2 and for this ,s4 ,sebastian he caused the panel to be made in the form of a half-circle1 wherein he drew a niche in perspective1 which has the appearance of being carved in relief in the panel4 ,thus1 painting a frame all round1 he made an ornament for the figure in the middle2 and he did the same for our ,s4 ,vincent1 and for the ,s4 ,mark that will be described after the ,s4 ,vincent4 ,for the arch of a door leading into the sacristy1 he painted in oils1 on wood1 a figure of ,s4 ,vincent1 a brother of that ,order1 representing him in the act of preaching on the ,judgment1 so that there may be perceived in his gestures1 and particularly in his head1 that vehemence and fury which are generally seen in the faces of preachers1 when they are doing their utmost1 with threats of the vengeance of ,god1 to lead men hardened in sin into the perfect life2 in such a manner that this figure appears1 to one who studies it with attention1 to be not painted but real and alive1 with such strong relief is it executed2 and it is a pity that it is all cracking and spoiling1 on account of its having been painted with fresh coats of colour on fresh size1 as ,i said of the works of ,pietro ,perugino in the ,convent of the ,ingesuati4 ,the fancy took him1 in order to show that he was able to make large figures--for he had been told that his manner was that of a miniaturist--to paint on panel1 for the wall in which is the door of the choir1 a figure of ,s4 ,mark the ,evangelist1 five braccia in height1 and executed with very good draughtsmanship and supreme excellence4 ,after this1 ,salvadore ,billi1 a ,florentine merchant1 on his return from ,naples1 having heard the fame of ,fra ,bartolommeo1 and having seen his works1 caused him to paint a panel-picture of ,christ the ,saviour1 in allusion to his own name1 with the four ,evangelists round ,him2 wherein1 at the foot1 are also two little boys upholding the globe of the world1 whose flesh1 fresh and tender1 is excellently painted1 as is the whole work1 in which there are likewise two prophets that are much extolled4 ,this panel stands in the ,nunziata at ,florence1 below the great organ1 according to the wish of ,salvadore2 it is a very beautiful work1 finished by ,fra ,bartolommeo with much lovingness and great perfection2 and it is surrounded by an ornament of marble1 all carved by the hand of ,pietro ,rosselli4 ,afterwards1 having need of a change of air1 the ,prior at that time1 who was his friend1 sent him away to a monastery of his ,order1 wherein1 while he stayed there1 he combined the labour of his hands with the contemplation of death1 with profit#af both for his soul and for the convent4 ,for ,s4 ,martino in ,lucca he painted a panel wherein1 at the feet of a ,madonna1 there is a little angel playing on a lute1 together with ,s4 ,stephen and ,s4 ,john2 in which picture1 executed with excellent draughtsmanship and colouring1 he proved his ability4 ,for ,s4 ,romano1 likewise1 he painted a panel on canvas of the ,madonna della ,misericordia1 who is placed on a pedestal of stone1 with some angels holding her mantle2 and together with her he depicted a throng of people on some steps1 some standing1 others seated1 and others kneeling1 but all gazing at a figure of ,christ on high1 who is sending down lightnings and thunderbolts upon the people4 ,clearly did ,fra ,bartolommeo prove in this work how well he was able to manage the gradation of shadows and darks in painting1 giving extraordinary relief to his figures1 and showing a rare and excellent mastery over the difficulties of his art in colouring1 drawing1 and invention2 and the work is as perfect as any that he ever made4 ,for the same church he painted another panel1 also on canvas1 containing a ,christ and ,s4 ,catherine the ,martyr1 together with a ,s4 ,catherine of ,siena1 rapt in ecstasy from the earth1 a figure as good as any that could possibly be painted in that manner4 ,illustration3 ,,god ,,the ,,father1 ,,with ,,ss4 ,,mary ,,magdalen ,,and ,,catharine 7,after the painting by ,fra ,bartolommeo di ,san ,marco4 ,lucca3 ,gallery1 #ab7 ,alinari ,returning to ,florence1 he gave some attention to the study of music2 and1 delighting much therein1 he would sometimes sing to pass the time4 ,at ,prato1 opposite to the prison1 he painted a panel-picture of the ,assumption4 ,he executed some pictures of ,our ,lady for the house of the ,medici1 and also other paintings for various people1 such as a picture of ,our ,lady which ,lodovico di ,lodovico ,capponi has in his apartment1 and likewise another of the ,virgin holding the ,child in her arms1 with two heads of saints1 that is in the possession of the very ,excellent ,messer ,lelio ,torelli1 ,chief ,secretary to the most ,illustrious ,duke ,cosimo1 who holds it very dear both on account of the genius of ,fra ,bartolommeo1 and because he delights in1 loves1 and favours not only the men of our art1 but every fine intellect4 ,in the house of ,piero del ,pugliese1 which now belongs to ,matteo ,botti1 a citizen and merchant of ,florence1 in an antechamber at the head of a staircase1 he painted a ,s4 ,george in armour1 on horseback1 who is slaying the ,dragon with his lance--a very spirited figure4 ,this he executed in chiaroscuro1 in oils1 a method that he much delighted to use for all his works1 sketching them in the manner of a cartoon1 with ink or with bitumen1 before colouring them2 as may still be seen from many beginnings of pictures and panels1 which he left unfinished on account of his death1 and as may also be perceived from many drawings by his hand1 executed in chiaroscuro1 of which the greater part are now in the ,monastery of ,s4 ,caterina da ,siena on the ,piazza di ,s4 ,marco1 in the possession of a nun who paints1 and of whom record will be made in the proper place2 while many made in the same way adorn our book of drawings1 honouring his memory1 and some are in the hands of ,messer ,francesco del ,garbo1 a most excellent physician4 ,fra ,bartolommeo always liked to have living objects before him when he was working2 and in order to be able to draw draperies1 armour1 and other suchlike things1 he caused a life-size figure of wood to be made1 which moved at the joints2 and this he clothed with real draperies1 from which he painted most beautiful things1 being able to keep them in position as long as he pleased1 until he had brought his work to perfection4 ,this figure1 worm-eaten and ruined as it is1 is in our possession1 treasured in memory of him4 ,at ,arezzo1 for the ,abbey of the ,black ,friars1 he made a head of ,christ in dark tints--a very beautiful work4 ,he painted1 also1 the panel of the ,company of the ,contemplanti1 which was preserved in the house of the ,magnificent ,messer ,ottaviano de' ,medici1 and has now been placed in a chapel of that house1 with many ornaments1 by his son ,messer ,alessandro1 who holds it very dear in memory of ,fra ,bartolommeo1 and also because he takes vast pleasure in painting4 ,in the chapel of the ,noviciate of ,s4 ,marco there is a panel-picture of the ,purification1 very lovely1 which he executed with good draughtsmanship and high finish4 ,at ,s4 ,maria ,maddalena1 a seat of the ,friars of his ,order1 without ,florence1 while staying there for his own pleasure1 he made a ,christ and a ,magdalene2 and he also painted certain things in fresco in that convent4 ,in like manner1 he wrought in fresco an arch over the strangers' apartment in ,s4 ,marco1 in which he painted ,christ with ,cleophas and ,luke1 and made a portrait of ,fra ,niccol della ,magna1 who was then a young man1 and who afterwards became ,archbishop of ,capua1 and finally a ,cardinal4 ,he began a panel for ,s4 ,gallo1 afterwards finished by ,giuliano ,bugiardini1 which is now on the high-altar of ,s4 ,jacopo fra ,fossi1 on the ,canto degli ,alberti2 and likewise a picture of the ,rape of ,dinah1 now in the possession of ,messer ,cristofano ,rinieri1 and afterwards coloured by the same ,giuliano1 in which are buildings and conceptions that are much extolled4 ,from ,piero ,soderini he received the commission for the panel of the ,council ,chamber1 which he began in such a manner1 drawing it in chiaroscuro1 that it seemed destined to do him very great credit2 and1 unfinished as it is1 it now has a place of honour in the ,chapel of the ,magnificent ,ottaviano de' ,medici1 in ,s4 ,lorenzo4 ,in it are all the ,patron ,saints of the city of ,florence1 and those saints on whose days that city has gained her victories2 and there is also the portrait of ,fra ,bartolommeo himself1 made by him with a mirror4 ,he had begun this picture1 and had drawn the whole design1 when it happened that1 from working continually under a window1 with the light from it beating on his back1 he became completely paralyzed on that side of his body1 and quite unable to move4 ,thereupon he was advised--such being the orders of his physicians--to go to the baths of ,san ,filippo2 where he stayed a long time1 but became very little better thereby4 ,now ,fra ,bartolommeo was a great lover of fruit1 which pleased his palate mightily1 although it was ruinous to his health4 ,wherefore one morning1 having eaten many figs1 there came upon him1 in addition to his other infirmity1 a very violent fever1 which cut short the course of his life in four days1 at the age of forty-eight2 when1 still wholly conscious1 he rendered up his soul to ,heaven4 ,his death grieved his friends1 and particularly the friars1 who gave him honourable sepulture in their burial-place in ,s4 ,marco1 on ,october #h1 in the year #aeag4 ,he had a dispensation from attending any of the offices in the choir with the other friars1 and the gains from his works went to the convent1 enough money being left in his hands to pay for colours and other materials necessary for his painting4 ,he left disciples in ,cecchino del ,frate1 ,benedetto ,cianfanini1 ,gabriele ,rustici1 and ,fra ,paolo ,pistoiese1 the latter inheriting all his possessions4 ,this ,fra ,paolo painted many panels and pictures from his master's drawings1 after his death2 of which three are in ,s4 ,domenico at ,pistoia1 and one at ,s4 ,maria del ,sasso in the ,casentino4 ,fra ,bartolommeo gave such grace to his figures with his colouring1 and made them so novel and so modern in manner1 that for these reasons he deserves to be numbered by us among the benefactors of art4 ,,footnote3 #af ,the word utilmente is substituted here for the ultimamente of the text1 which makes no sense4 ,,mariotto ,,albertinelli ,,life ,,of ,,mariotto ,,albertinelli ,,painter ,,of ,,florence ,mariotto ,albertinelli1 the closest and most intimate friend of ,fra ,bartolommeo--his other self1 one might call him1 not only on account of the constant connection and intercourse between them1 but also through their similarity of manner during the period when ,mariotto gave proper attention to art--was the son of ,biagio di ,bindo ,albertinelli4 ,at the age of twenty he abandoned his calling of gold-beater1 in which he had been employed up to that time2 and he learnt the first rudiments of painting in the workshop of ,cosimo ,rosselli1 where he formed such an intimacy with ,baccio della ,porta1 that they were one soul and one body4 ,such1 indeed1 was the brotherly friendship between them1 that when ,baccio took his leave of ,cosimo1 in order to practise his art as a master by himself1 ,mariotto went off with him2 whereupon they lived for a long time1 both one and the other1 at the ,porta a ,s4 ,piero ,gattolini1 executing many works in company4 ,and since ,mariotto was not so well grounded in drawing as was ,baccio1 he devoted himself to the study of such antiquities as were then in ,florence1 the greater part and the best of which were in the house of the ,medici4 ,he made a number of drawings of certain little panels in half-relief that were under the loggia in the garden1 on the side towards ,s4 ,lorenzo1 in one of which is ,adonis with a very beautiful dog1 and in another two nude figures1 one seated1 with a dog at its feet1 and the other standing with the legs crossed1 leaning on a staff4 ,both these panels are marvellous2 and there are likewise two others of the same size1 in one of which are two little boys carrying ,jove's thunderbolt1 while in the other is the nude figure of an old man1 with wings on his shoulders and feet1 representing ,chance1 and balancing a pair of scales in his hands4 ,in addition to these works1 that garden was full of torsi of men and women1 which were a school not only for ,mariotto1 but for all the sculptors and painters of his time4 ,a good part of these are now in the guardaroba of ,duke ,cosimo1 and others1 such as the two torsi of ,marsyas1 the heads over the windows1 and those of the ,emperors over the doors1 are still in the same place4 ,by studying these antiquities1 ,mariotto made great proficience in drawing2 and he entered into the service of the mother of ,duke ,lorenzo1 ,madonna ,alfonsina1 who1 desiring that he should devote himself to becoming an able master1 offered him all possible assistance4 ,dividing his time1 therefore1 between drawing and colouring1 he became a passing good craftsman1 as is proved by some pictures that he executed for that lady1 which were sent by her to ,rome1 for ,carlo and ,giordano ,orsini1 and which afterwards came into the hands of ,csar ,borgia4 ,he made a very good portrait of ,madonna ,alfonsina from the life2 and it seemed to him1 on account of his friendship with her1 that his fortune was made1 when1 in the year #adid1 ,piero de' ,medici was banished1 and her assistance and favour failed him4 ,whereupon he returned to the workshop of ,baccio1 where he set himself with even greater zeal to make models of clay and to increase his knowledge1 labouring at the study of nature1 and imitating the works of ,baccio1 so that in a few years he became a sound and practised master4 ,and then1 seeing his work succeeding so well1 he so grew in courage1 that1 imitating the manner and method of his companion1 the hand of ,mariotto was taken by many for that of ,fra ,bartolommeo4 ,illustration3 ,,the ,,madonna ,,enthroned1 ,,with ,,saints 7,after the panel by ,mariotto ,albertinelli4 ,florence3 ,accademia1 #afg7 ,alinari ,but when he heard that ,baccio had gone off to become a monk1 ,mariotto was almost overwhelmed and out of his mind2 and so strange did the news seem to him1 that he was in despair1 and nothing could cheer him4 ,if it had not been1 indeed1 that ,mariotto could not then endure having anything to do with monks1 against whom he was ever railing1 and belonged to the party that was opposed to the faction of ,fra ,girolamo of ,ferrara1 his love for ,baccio would have wrought upon him so strongly1 that it would have forced him to don the cowl in the same convent as his companion4 ,however1 he was besought by ,gerozzo ,dini1 who had given the commission for the ,judgment that ,baccio had left unfinished in the ,ossa1 that he1 having a manner similar to ,baccio's1 should undertake to finish it2 whereupon1 being also moved by the circumstance that the cartoon completed by the hand of ,baccio and other drawings were there1 and by the entreaties of ,fra ,bartolommeo himself1 who had received money on account of the painting1 and was troubled in conscience at not having kept his promise1 he finished the work1 and executed all that was wanting with diligence and love1 in such a way that many1 not knowing this1 think that it was painted by one single hand2 and this brought him vast credit among craftsmen4 ,in the ,chapter-house of the ,certosa of ,florence he executed a ,crucifixion1 with ,our ,lady and the ,magdalene at the foot of the ,cross1 and some angels in the sky1 who are receiving the blood of ,christ2 a work wrought in fresco1 with diligence and lovingness1 and passing well painted4 ,now some of the young men who were learning art under him1 thinking that the friars were not giving them proper food1 had counterfeited1 without the knowledge of ,mariotto1 the keys of those windows opening into the friar's rooms1 through which their pittance is passed2 and sometimes1 in secret1 they stole some of it1 now from one and now from another4 ,there was a great uproar about this among the friars1 since in the matter of eating they are as sensitive as any other person2 but the lads did it with great dexterity1 and1 since they were held to be honest fellows1 the blame fell on some of the friars1 who were said to be doing it from hatred of one another4 ,however1 one day the truth was revealed1 and the friars1 to the end that the work might be finished1 gave a double allowance to ,mariotto and his lads1 who finished the work with great glee and laughter4 ,for the ,nuns of ,s4 ,giuliano in ,florence he painted the panel of their high-altar1 which he executed in a room that he had in the ,gualfonda2 together with another for the same church1 with a ,crucifix1 some ,angels1 and ,god the ,father1 representing the ,trinity1 in oils and on a gold ground4 ,mariotto was a most restless person1 devoted to the pleasures of love1 and a good liver in the matter of eating2 wherefore1 conceiving a hatred for the subtleties and brain-rackings of painting1 and being often wounded by the tongues of other painters 7according to the undying custom among them1 handed down from one to another71 he resolved to turn to a more humble1 less fatiguing1 and more cheerful art4 ,and so1 having opened a very fine inn1 without the ,porta ,s4 ,gallo1 and a tavern and inn on the ,ponte ,vecchio1 at the ,dragon1 he followed that calling for many months1 saying that he had chosen an art without foreshortenings1 muscles1 and perspectives1 and1 what was much more important1 free from censure1 and that the art which he had given up was quite the contrary of his new one1 since the former imitated flesh and blood1 and the latter made both blood and flesh2 and now1 having good wine1 he heard himself praised all day long1 whereas before he used to hear nothing but censure4 ,illustration3 ,,mariotto ,,albertinelli3 ,,the ,,salutation 7,florence3 ,uffizi1 #abei4 ,panel7 ,however1 having grown weary of this as well1 and ashamed of the baseness of his calling1 he returned to painting1 and executed pictures and paintings for the houses of citizens in ,florence4 ,for ,giovan ,maria ,benintendi he painted three little scenes with his own hand2 and for the house of the ,medici1 at the election of ,leo ,x1 he painted a round picture of his arms1 in oils1 with ,faith1 ,hope1 and ,charity1 which hung for a long time over the door of their palace4 ,he undertook to make1 in the ,company of ,s4 ,zanobi1 near the ,chapter-house of ,s4 ,maria del ,fiore1 a panel-picture of the ,annunciation1 which he executed with great labour4 ,for this he caused special windows to be made1 wishing to work on the spot1 in order to be able to make the views recede1 where they were high and distant1 by lowering the tones1 or to bring them forward1 at his pleasure4 ,now he had conceived the idea that pictures which have no relief and force1 combined with delicacy1 are of no account2 but since he knew that they cannot be made to stand out from the surface without shadows1 which1 if they are too dark1 remain indistinct1 while1 if they are delicate1 they have no force1 he was eager to combine this delicacy with a certain method of treatment to which up to that time1 so it seemed to him1 art had not attained in any satisfactory manner4 ,wherefore1 looking on this work as an opportunity for accomplishing this1 he set himself1 to this end1 to make extraordinary efforts1 which may be recognized in a figure of ,god the ,father1 which is in the sky1 and in some little children1 who stand out from the panel in strong relief against a dark background in perspective that he made there with a ceiling in the form of a barrel-shaped vault1 which1 with its arches curving and its lines diminishing to a point1 recedes inwards in such a manner that it appears to be in relief2 besides which1 there are some angels scattering flowers as they fly1 that are very graceful4 ,this work was painted out and painted in again many times by ,mariotto before he could bring it to completion4 ,he was for ever changing the colouring1 making it now lighter1 now darker1 and sometimes more lively and glowing1 sometimes less2 but1 never being completely satisfied1 and never persuaded that he had done justice with his hand to the thoughts of his intellect1 he wished to find a white that should be more brilliant than lead-white1 and set himself1 therefore1 to clarify the latter1 in order to be able to heighten the highest light to his own satisfaction4 ,however1 having recognized that he was not able to express by means of art all that the intelligence of the human brain grasps and comprehends1 he contented himself with what he had achieved1 since he could not attain to what it was not possible to reach4 ,this work brought ,mariotto praise and honour among craftsmen1 but by no means as much profit as he hoped to gain from his patrons in return for his labours1 since a dispute arose between him and those who had commissioned him to paint it4 ,but ,pietro ,perugino1 then an old man1 ,ridolfo ,ghirlandajo1 and ,francesco ,granacci valued it1 and settled the price of the work by common consent4 ,for ,s4 ,pancrazio1 in ,florence1 ,mariotto painted a semicircular picture of the ,visitation of ,our ,lady4 ,for ,s4 ,trinit1 likewise1 he executed with diligence a panel-picture of ,our ,lady1 ,s4 ,jerome1 and ,s4 ,zanobi1 at the commission of ,zanobi del ,maestro2 and for the ,church of the ,congregation of the ,priests of ,s4 ,martino1 he painted a picture on panel of the ,visitation1 which is much extolled4 ,he was invited to the ,convent of ,la ,quercia1 without ,viterbo2 but after having begun a panel there1 he conceived a desire to see ,rome4 ,having made his way to that city1 therefore1 he executed to perfection for the ,chapel of ,fra ,mariano ,fetti in ,s4 ,silvestro di ,monte ,cavallo1 a panel-picture in oils of ,s4 ,dominic1 ,s4 ,catherine of ,siena1 with ,christ marrying her1 and ,our ,lady1 in a delicate manner4 ,he then returned to ,la ,quercia1 where he had a mistress1 to whom1 on account of the desire that he had felt while he was in ,rome and could not enjoy her love1 he sought to show that he was valiant in the lists2 wherefore he exerted himself so much1 that1 being no longer young and so stalwart in such efforts1 he was forced to take to his bed4 ,and laying the blame for this on the air of the place1 he had himself carried to ,florence in a litter2 but no expedients or remedies availed him in his sickness1 from which he died in a few days1 at the age of forty-five4 ,he was buried in ,s4 ,piero ,maggiore1 in that city4 ,there are some drawings by the hand of this master in our book1 executed with the pen and in chiaroscuro1 which are very good2 particularly a spiral staircase1 drawn with great ingenuity in perspective1 of which he had a good knowledge4 ,mariotto had many disciples2 among others1 ,giuliano ,bugiardini and ,franciabigio1 both ,florentines1 and ,innocenzio da ,imola1 of whom we will speak in the proper place4 ,visino1 a painter of ,florence1 was likewise his disciple1 and excelled all these others in drawing1 colouring1 and industry1 showing1 also1 a better manner in the works that he made1 which he executed with great diligence4 ,a few of them are still in ,florence2 and one can study his work at the present day in the house of ,giovan ,battista d' ,agnol ,doni1 in a mirror#ag--picture painted in oils after the manner of a miniature1 wherein are ,adam and ,eve naked1 eating the apple1 a work executed with great care2 and from another picture1 of ,christ being taken down from the ,cross1 together with the ,thieves1 in which there is a beautifully contrived complication of ladders1 with some men aiding each other to take down the body of ,christ1 and others bearing one of the ,thieves on their shoulders to burial1 and all the figures in varied and fantastic attitudes1 suited to that subject1 and proving that he was an able man4 ,the same master was brought by some ,florentine merchants to ,hungary1 where he executed many works and gained great renown4 ,but the poor man was soon in danger of coming to an evil end1 because1 being of a frank and free-spoken nature1 he was not able to endure the wearisome persistence of some ,hungarians1 who kept tormenting him all day long with praises of their own country1 as if there were no pleasure or happiness in anything except eating and drinking in their stifling rooms1 and no grandeur or nobility save in their ,king and his ,court1 all the rest of the world being rubbish4 ,it seemed to him 7and indeed it is true7 that in ,italy there was another kind of excellence1 culture1 and beauty2 and one day1 being weary of their nonsense1 and chancing to be a little merry1 he let slip the opinion that a flask of ,trebbiano and a berlingozzo#ah were worth all the ,kings and ,queens that had ever reigned in those regions4 ,and if the matter had not happened to fall into the hands of a ,bishop1 who was a gentleman and a man of the world1 and also1 above all1 a tactful person1 both able and willing to turn the thing into a joke1 ,visino would have learnt not to play with savages2 for those brutes of ,hungarians1 not understanding his words1 and thinking that he had uttered something terrible1 such as a threat that he would rob their ,king of his life and throne1 wished to give him short shrift and crucify him by mob-law4 ,but the good ,bishop drew him out of all embarrassment1 and1 appraising the merit of the excellent master at its true value1 and putting a good complexion on the affair1 restored him to the favour of the ,king1 who1 on hearing the story1 was much amused by it4 ,his good fortune1 however1 did not last long1 for1 not being able to endure the stifling rooms and the cold air1 which ruined his constitution1 in a short time this brought his life to an end2 although his repute and fame survived in the memory of those who knew him when alive1 and of those who saw his works in the years after his death4 ,his pictures date about the year #aeab4 ,,footnote3 #ag ,the words of the text1 un quadro d' una spera1 are a little obscure2 but the translator has been strengthened in his belief that his rendering is correct by seeing a little picture1 painted on a mirror1 and numbered #gfig1 in the ,victoria and ,albert ,museum4 ,the subject of this picture1 which the translator was enabled to see by the courtesy of ,mr4 ,b4 ,s4 ,long1 of the ,department of ,paintings1 is the same as that of the work mentioned by ,vasari1 and it may be a copy4 #ah ,florentine puff-pastry4 ,,raffaellino ,,del ,,garbo ,,life ,,of ,,raffaellino ,,del ,,garbo ,,painter ,,of ,,florence ,raffaello del ,garbo1 while he was a little boy1 was called by the pet name of ,raffaellino1 which he retained ever afterwards2 and in his earliest days he gave such promise in his art1 that he was already numbered among the most excellent masters1 a thing which happens to few4 ,but still fewer meet the fate which afterwards came upon him1 in that from a splendid beginning and almost certain hopes1 he arrived at a very feeble end4 ,for it is a general rule1 in the world both of nature and of art1 for things to grow gradually from small beginnings1 little by little1 until they reach their highest perfection4 ,it is true1 however1 that many laws both of art and of nature are unknown to us1 nor do they hold to one unvarying order at all times and in every case1 a thing which very often renders uncertain the judgments of men4 ,how this may happen is seen in ,raffaellino1 since it appeared that in him nature and art did their utmost to set out from extraordinary beginnings1 the middle stage of which was below mediocrity1 and the end almost nothing4 ,in his youth he drew as much as any painter who has ever exercised himself in drawing in order to become perfect2 wherefore there may still be seen1 throughout the world of art1 a great number of his drawings1 which have been dispersed by a son of his for ridiculous prices1 partly drawn with the style1 partly with the pen or in water-colours1 but all on tinted paper1 heightened with lead-white1 and executed with marvellous boldness and mastery2 and there are many of them in our book1 drawn in a most beautiful manner4 ,besides this1 he learnt to paint so well in distemper and in fresco1 that his first works were executed with an incredible patience and diligence1 as has been related4 ,in the ,minerva1 round the tomb of ,cardinal ,caraffa1 he painted the vaulted ceiling1 with such delicacy1 that it seems like the work of an illuminator2 wherefore it was held in great estimation by craftsmen at that time4 ,his master1 ,filippo1 regarded him in some respects as a much better painter than himself2 and ,raffaellino had acquired ,filippo's manner so well1 that there were few who could distinguish the one from the other4 ,later1 after having left his master1 he gave much more delicacy to that manner in the draperies1 and greater softness to hair and to the expressions of the heads2 and he was held in such expectation by craftsmen1 that1 while he followed this manner1 he was considered the first of the young painters of his day4 ,now the family of the ,capponi1 having built a chapel that is called the ,paradiso1 on the hill below the ,church of ,s4 ,bartolommeo a ,monte ,oliveto1 without the ,porta a ,s4 ,friano1 wished to have the panel executed by ,raffaellino1 and gave him the commission2 whereupon he painted in oils the ,resurrection of ,christ1 with some soldiers who have fallen1 as if dead1 round the ,sepulchre4 ,these figures are very spirited and beautiful1 and they have the most graceful heads that it is possible to see2 among which1 in the head of a young man1 is a marvellous portrait of ,niccola ,capponi1 while1 in like manner1 the head of one who is crying out because the stone covering of the tomb has fallen upon him1 is most beautiful and bizarre4 ,wherefore the ,capponi1 having seen that ,raffaellino's picture was a rare work1 caused a frame to be made for it1 all carved1 with round columns richly adorned with burnished gold on a ground of bole4 ,before many years had passed1 the campanile of that building was struck by lightning1 which pierced the vault and fell near that panel1 which1 having been executed in oils1 suffered no harm2 but where the fluid passed near the gilt frame1 it consumed the gold1 leaving nothing there but the bare bole4 ,it has seemed to me right to say that much with regard to oil-painting1 to the end that all may see how important it is to know how to guard against such injury1 which lightning has done not only to this work1 but to many others4 ,illustration3 ,,the ,,resurrection 7,after the panel by ,raffaellino del ,garbo4 ,florence3 ,accademia1 #ij7 ,anderson ,he painted in fresco1 at the corner of a house that now belongs to ,matteo ,botti1 between the ,canto del ,ponte alla ,carraja and the ,canto della ,cuculia1 a little shrine containing ,our ,lady with the ,child in her arms1 with ,s4 ,catherine and ,s4 ,barbara kneeling1 a very graceful and carefully executed work4 ,for the ,villa of ,marignolle1 belonging to the ,girolami1 he painted two most beautiful panels1 with ,our ,lady1 ,s4 ,zanobi1 and other saints2 and he filled the predella below both of these with little figures representing scenes from the lives of those saints1 executed with great diligence4 ,on the wall above the door of the ,church of the ,nuns of ,s4 ,giorgio1 he painted a ,piet1 with a group of the ,maries2 and in like manner1 in another arch below this1 a figure of ,our ,lady1 a work worthy of great praise1 executed in the year #aejd4 ,in the ,church of ,s4 ,spirito at ,florence1 in a panel over that of the ,nerli1 which his master ,filippo had executed1 he painted a ,piet1 which is held to be a very good and praiseworthy work2 but in another1 representing ,s4 ,bernard1 he fell short of that standard4 ,below the door of the sacristy are two panel-pictures by his hand2 one showing ,s4 ,gregory the ,pope saying ,mass1 when ,christ appears to him1 naked1 with the ,cross on ,his shoulder1 and shedding blood from ,his side1 with the deacon and sub-deacon1 in their vestments1 serving the ,mass1 and two angels swinging censers over the body of ,christ4 ,for another chapel1 lower down1 he executed a panel-picture containing ,our ,lady1 ,s4 ,jerome1 and ,s4 ,bartholomew4 ,on these two works he bestowed no little labour2 but he went on deteriorating from day to day4 ,i do not know to what ,i should attribute his misfortune1 for poor ,raffaellino was not wanting in industry1 diligence1 and application2 yet they availed him little4 ,it is believed1 indeed1 that1 becoming overburdened and impoverished by the cares of a family1 and being compelled to use for his daily needs whatever he earned1 not to mention that he was a man of no great spirit and undertook to do work for small prices1 in this way he went on growing worse little by little2 although there is always something of the good to be seen in his works4 ,for the ,monks of ,cestello1 on the wall of their refectory1 he painted a large scene coloured in fresco1 in which he depicted the miracle wrought by ,jesus ,christ with the five loaves and two fishes1 with which he satisfied five thousand people4 ,for the ,abbot de' ,panichi he executed the panel-picture of the high-altar in the ,church of ,s4 ,salvi1 without the ,porta alla ,croce1 painting therein ,our ,lady1 ,s4 ,giovanni ,gualberto1 ,s4 ,salvi1 ,s4 ,bernardo1 a ,cardinal of the ,uberti family1 and ,s4 ,benedetto the ,abbot1 and1 at the sides1 ,s4 ,batista and ,s4 ,fedele in armour1 in two niches on either hand of the picture1 which had a rich frame2 and in the predella are several scenes1 with little figures1 from the ,life of ,s4 ,giovanni ,gualberto4 ,in all this he acquitted himself very well1 because he was assisted in his wretchedness by that ,abbot1 who took pity on him for the sake of his talents2 and in the predella of the panel ,raffaellino made a portrait of him from life1 together with one of the ,general who was then ruling his ,order4 ,in ,s4 ,piero ,maggiore1 on the right as one enters the church1 there is a panel by his hand1 and in the ,murate there is a picture of ,s4 ,sigismund1 the ,king4 ,for ,girolamo ,federighi1 in that part of ,s4 ,pancrazio where he was afterwards buried1 he painted a ,trinity in fresco1 with portraits of him and of his wife on their knees2 and here he began to decline into pettiness of manner4 ,he also made two figures in distemper for the ,monks of ,cestello1 a ,s4 ,rocco and a ,s4 ,ignazio1 which are in the ,chapel of ,s4 ,sebastiano4 ,and in a little chapel on the abutment of the ,ponte ,rubaconte1 on the side towards the ,mills1 he painted a ,madonna1 a ,s4 ,laurence1 and another saint4 ,in the end he was reduced to undertaking any work1 however mean2 and he was employed by certain nuns and other persons1 who were embroidering a quantity of church vestments and hangings at that time1 to make designs in chiaroscuro and ornamental borders containing saints and stories1 for ridiculous prices4 ,for although he had deteriorated1 there sometimes issued from his hand most beautiful designs and fancies1 as is proved by many drawings that were sold and dispersed after the death of those who used them for embroidery2 of which there are many in the book of the illustrious hospital-director1#ai that show how able he was in draughtsmanship4 ,this was the reason that many vestments1 hangings1 and ornaments1 which are held to be very beautiful1 were made for the churches of ,florence and throughout the ,florentine territory1 and also for ,cardinals and ,bishops in ,rome4 ,at the present day this method of embroidery1 which was used by ,paolo da ,verona1 the ,florentine ,galieno1 and others like them1 is almost lost1 and another method1 with wide stitches1 has been introduced1 which has neither the same beauty nor the same careful workmanship1 and is much less durable than the other4 ,wherefore1 in return for this benefit1 although poverty caused him misery and hardship during his lifetime1 he deserves to have honour and glory for his talents after his death4 ,and in truth ,raffaellino was unfortunate in his connections1 for he always mixed with poor and humble people1 like a man who had sunk and become ashamed of himself1 seeing that in his youth he had given such great promise1 and now knew how distant he was from the extraordinary excellence of the works that he had made at that time4 ,and thus1 growing old1 he fell away so much from his early standard1 that his works no longer appeared to be by his hand2 and forgetting his art more and more every day1 he was reduced to painting1 in addition to his usual panels and pictures1 the meanest kinds of works4 ,and he sank so low that everything was a torment to him1 but above all his burdensome family of children1 which turned all his ability in art into mere clumsiness4 ,wherefore1 being overtaken by infirmities and impoverished1 he finished his life in misery at the age of fifty-eight1 and was buried in ,s4 ,simone1 at ,florence1 by the ,company of the ,misericordia1 in the year #aebd4 ,he left behind him many pupils who became able masters4 ,one1 who went in his boyhood to learn the rudiments of art from ,raffaellino1 was the ,florentine painter ,bronzino1 who afterwards acquitted himself so well under the wing of ,jacopo da ,pontormo1 another painter of ,florence1 that he has made as much proficience in the art as his master ,jacopo4 ,the portrait of ,raffaellino was copied from a drawing that belonged to ,bastiano da ,monte ,carlo1 who was also his disciple1 and who1 for a man with no draughtsmanship1 became a passing good master4 ,,footnote3 #ai ,don ,vincenzio ,borghini4 ,,torrigiano ,,life ,,of ,,torrigiano ,,sculptor ,,of ,,florence ,great is the power of anger in the soul of one who is seeking1 with arrogance and pride1 to gain a reputation for excellence in some profession1 when he sees rising in the same art1 at a time when he does not expect it1 some unknown man of beautiful genius1 who not only equals him1 but in time surpasses him by a great measure4 ,of such persons1 in truth1 it may be said that there is no iron that they would not gnaw in their rage1 nor any evil which they would not do if they were able1 for it seems to them too grievous an affront in the eyes of the world1 that children whom they saw born should have reached maturity almost in one bound from their cradles4 ,they do not reflect that every day one may see the will of young men1 spurred on by zeal in their tender years1 and exercised by them in continual studies1 rise to infinite heights2 while the old1 led by fear1 pride1 and ambition1 lose the cunning of their hands1 so that the better they think to work1 the worse they do it1 and where they believe that they are advancing1 they are going backwards4 ,wherefore1 out of envy1 they never give credit to the young for the perfection of their works1 however clearly they may see it1 on account of the obstinacy that possesses them4 ,and it is known from experience that when1 in order to show what they can do1 they exert themselves to the utmost of their power1 they often produce works that are ridiculous and a mere laughing-stock4 ,in truth1 when craftsmen have reached the age when the eye is no longer steady and the hand trembles1 their place1 if they have saved the wherewithal to live1 is to give advice to men who can work1 for the reason that the arts of painting and sculpture call for a mind in every way vigorous and awake 7as it is at the age when the blood is boiling71 full of burning desire1 and a capital enemy of the pleasures of the world4 ,and whoever is not temperate with regard to the delights of the world should shun the studies of any art or science whatsoever1 seeing that such pleasures and study can never agree well together4 ,since1 therefore1 these arts involve so many burdens1 few1 indeed1 are they who attain to the highest rank2 and those who start with eagerness from the post are greater in number than those who run well in the race and win the prize4 ,now there was more pride than art1 although he was very able1 to be seen in ,torrigiano1 a sculptor of ,florence1 who in his youth was maintained by the elder ,lorenzo de' ,medici in the garden which that magnificent citizen possessed on the ,piazza di ,s4 ,marco in ,florence4 ,this garden was in such wise filled with the best ancient statuary1 that the loggia1 the walks1 and all the apartments were adorned with noble ancient figures of marble1 pictures1 and other suchlike things1 made by the hands of the best masters who ever lived in ,italy or elsewhere4 ,and all these works1 in addition to the magnificence and adornment that they conferred on that garden1 were as a school or academy for the young painters and sculptors1 as well as for all others who were studying the arts of design1 and particularly for the young nobles2 since the ,magnificent ,lorenzo had a strong conviction that those who are born of noble blood can attain to perfection in all things more readily and more speedily than is possible1 for the most part1 for men of humble birth1 in whom there are rarely seen those conceptions and that marvellous genius which are perceived in men of illustrious stock4 ,moreover1 the less highly born1 having generally to defend themselves from hardship and poverty1 and being forced in consequence to undertake any sort of work1 however mean1 are not able to exercise their intellect1 or to attain to the highest degree of excellence4 ,wherefore it was well said by the learned ,alciato--when speaking of men of beautiful genius1 born in poverty1 who are not able to raise themselves1 because1 in proportion as they are impelled upwards by the wings of their genius1 so are they held down by their poverty-- ,ut me pluma levat1 sic grave mergit onus4 ,lorenzo the ,magnificent1 then1 always favoured men of genius1 and particularly such of the nobles as showed an inclination for these our arts2 wherefore it is no marvel that from that school there should have issued some who have amazed the world4 ,and what is more1 he not only gave the means to buy food and clothing to those who1 being poor1 would otherwise not have been able to pursue the studies of design1 but also bestowed extraordinary gifts on any one among them who had acquitted himself in some work better than the others2 so that the young students of our arts1 competing thus with each other1 thereby became very excellent1 as ,i will relate4 ,the guardian and master of these young men1 at that time1 was the ,florentine sculptor ,bertoldo1 an old and practised craftsman1 who had once been a disciple of ,donato4 ,he taught them1 and likewise had charge of the works in the garden1 and of many drawings1 cartoons1 and models by the hand of ,donato1 ,pippo1#bj ,masaccio1 ,paolo ,uccello1 ,fra ,giovanni1 ,fra ,filippo1 and other masters1 both native and foreign4 ,it is a sure fact that these arts can only be acquired by a long course of study in drawing and diligently imitating works of excellence2 and whoever has not such facilities1 however much he may be assisted by nature1 can never arrive at perfection1 save late in life4 ,but to return to the antiquities of the garden2 they were in great part dispersed in the year #adid1 when ,piero1 the son of the aforesaid ,lorenzo1 was banished from ,florence1 all being sold by auction4 ,the greater part of them1 however1 were restored to the ,magnificent ,giuliano in the year #aeab1 at the time when he and the other members of the ,house of ,medici returned to their country2 and at the present day they are for the most part preserved in the guardaroba of ,duke ,cosimo4 ,truly magnificent was the example thus given by ,lorenzo1 and whenever ,princes and other persons of high degree choose to imitate it1 they will always gain everlasting honour and glory thereby2 since he who assists and favours1 in their noble undertakings1 men of rare and beautiful genius1 from whom the world receives such beauty1 honour1 convenience and benefit1 deserves to live for ever in the minds and memories of mankind4 ,among those who studied the arts of design in that garden1 the following all became very excellent masters2 ,michelagnolo1 the son of ,lodovico ,buonarroti2 ,giovan ,francesco ,rustici2 ,torrigiano ,torrigiani2 ,francesco ,granacci2 ,niccol1 the son of ,jacopo#ba ,soggi2 ,lorenzo di ,credi1 and ,giuliano ,bugiardini2 and1 among the foreigners1 ,baccio da ,montelupo1 ,andrea ,contucci of ,monte ,sansovino1 and others1 of whom mention will be made in the proper places4 ,torrigiano1 then1 whose ,life we are now about to write1 was a student in the garden with those named above2 and he was not only powerful in person1 and proud and fearless in spirit1 but also by nature so overbearing and choleric1 that he was for ever tyrannizing over all the others both with words and deeds4 ,his chief profession was sculpture1 yet he worked with great delicacy in terra-cotta1 in a very good and beautiful manner4 ,but not being able to endure that any one should surpass him1 he would set himself to spoil with his hands such of the works of others as showed an excellence that he could not achieve with his brain2 and if these others resented this1 he often had recourse to something stronger than words4 ,he had a particular hatred for ,michelagnolo1 for no other reason than that he saw him attending zealously to the study of art1 and knew that he used to draw in secret at his own house by night and on feast-days1 so that he came to succeed better in the garden than all the others1 and was therefore much favoured by ,lorenzo the ,magnificent4 ,wherefore1 moved by bitter envy1 ,torrigiano was always seeking to affront him1 both in word and deed2 and one day1 having come to blows1 ,torrigiano struck ,michelagnolo so hard on the nose with his fist1 that he broke it1 insomuch that ,michelagnolo had his nose flattened for the rest of his life4 ,this matter becoming known to ,lorenzo1 he was so enraged that ,torrigiano1 if he had not fled from ,florence1 would have suffered some heavy punishment4 ,illustration3 ,,tomb ,,of ,,henry ,,vii 7,after ,torrigiano4 ,london3 ,westminster ,abbey7 ,mansell ,having therefore made his way to ,rome1 where ,alexander ,,vi was then pressing on the work of the ,borgia ,tower1 ,torrigiano executed in it a great quantity of stucco-work1 in company with other masters4 ,afterwards1 money being offered in the service of ,duke ,valentino1 who was making war against the people of ,romagna1 ,torrigiano was led away by certain young ,florentines2 and1 having changed himself in a moment from a sculptor to a soldier1 he bore himself valiantly in those campaigns of ,romagna4 ,he did the same under ,paolo ,vitelli in the war with ,pisa2 and he was with ,piero de' ,medici at the action on the ,garigliano1 where he won the right to arms1 and the name of a valiant standard-bearer4 ,but in the end1 recognizing that he was never likely to reach the rank of captain that he desired1 although he deserved it1 and that he had saved nothing in the wars1 and had1 on the contrary1 wasted his time1 he returned to sculpture4 ,for certain ,florentine merchants1 then1 he made small works in marble and bronze1 little figures1 which are scattered throughout the houses of citizens in ,florence1 and he executed many drawings in a bold and excellent manner1 as may be seen from some by his hand that are in our book1 together with others which he made in competition with ,michelagnolo4 ,and having been brought by those merchants to ,england1 he executed there1 in the service of the ,king1 an endless number of works in marble1 bronze1 and wood1 competing with some masters of that country1 to all of whom he proved superior4 ,for this he was so well and so richly rewarded1 that1 if he had not been as reckless and unbridled as he was proud1 he might have lived a life of ease and ended his days in comfort2 but what happened to him was the very opposite4 ,after this1 having been summoned from ,england into ,spain1 he made many works there1 which are scattered about in various places1 and are held in great estimation2 and1 among others1 he made a ,crucifix of terra-cotta1 which is the most marvellous thing that there is in all ,spain4 ,for a monastery of ,friars of ,s4 ,jerome1 without the city of ,seville1 he made another ,crucifix2 a ,s4 ,jerome in ,penitence1 with his lion1 the figure of that ,saint being a portrait of an old house-steward of the ,botti family1 ,florentine merchants settled in ,spain2 and a ,madonna with the ,child4 ,this last figure was so beautiful that it led to his making another like it for the ,duke of ,arcus1 who1 in order to obtain it1 made such promises to ,torrigiano1 that he believed that it would make him rich for the rest of his life4 ,the work being finished1 the ,duke gave him so many of those coins that are called maravedis1 which are worth little or nothing1 that ,torrigiano1 to whose house there came two persons laden with them1 became even more confirmed in his belief that he was to be a very rich man4 ,but afterwards1 having shown this money to a ,florentine friend of his1 and having asked him to count it and reckon its value in ,italian coin1 he saw that all that vast sum did not amount to thirty ducats2 at which1 holding himself to have been fooled1 he went in a violent rage to where the figure was that he had made for the ,duke1 and wholly destroyed it4 ,whereupon that ,spaniard1 considering himself affronted1 denounced ,torrigiano as a heretic2 on which account he was thrown into prison1 and after being examined every day1 and sent from one inquisitor to the other1 he was finally judged to deserve the severest penalty4 ,but this was never put into execution1 because ,torrigiano himself was plunged thereby into such melancholy1 that1 remaining many days without eating1 and thus becoming very weak1 little by little he put an end to his own life2 and in this way1 by denying himself his food1 he avoided the shame into which he would perchance have fallen1 for it was believed that he had been condemned to death4 ,the works of this master date about the year of our salvation1 #aeae1 and he died in the year #aebb4 ,,footnote3 #bj ,filippo ,brunelleschi4 #ba ,the name given in the text is ,domenico4 ,,giuliano ,,and ,,antonio ,,da ,,san ,,gallo ,,lives ,,of ,,giuliano ,,and ,,antonio ,,da ,,san ,,gallo ,,architects ,,of ,,florence ,francesco di ,paolo ,giamberti1 who was a passing good architect in the time of ,cosimo de' ,medici1 and was much employed by him1 had two sons1 ,giuliano and ,antonio1 whom he apprenticed to the art of wood-carving4 ,one of these two sons1 ,giuliano1 he placed with ,francione1 a joiner1 an ingenious person1 who gave attention at the same time to wood-carving and to perspective1 and with whom ,francesco was very intimate1 since they had executed many works in company1 both in carving and in architecture1 for ,lorenzo de' ,medici4 ,this ,giuliano learnt so well all that ,francione taught him1 that the carvings and beautiful perspectives that he afterwards executed by himself in the choir of the ,duomo of ,pisa are still regarded not without marvel at the present day1 even among the many new perspectives4 ,while ,giuliano was studying design1 and his young blood ran hot in his veins1 the army of the ,duke of ,calabria1 by reason of the hatred which that lord bore to ,lorenzo de' ,medici1 encamped before ,castellina1 in order to occupy the dominions of the ,signoria of ,florence1 and also1 if this should be successful1 in order to accomplish some greater design4 ,wherefore ,lorenzo the ,magnificent was forced to send an engineer to ,castellina1 who might make mills and bastions1 and should have the charge of handling the artillery1 which few men at that time were able to do2 and he sent thither ,giuliano1 considering him to have a mind more able1 more ready1 and more resolute than any other man1 and knowing him already as the son of ,francesco1 who had been a devoted servant of the ,house of ,medici4 ,arriving at ,castellina1 therefore1 ,giuliano fortified that place with good walls and mills1 both within and without1 and furnished it with everything else necessary for the defence4 ,then1 observing that the artillery-men stood at a great distance from their pieces1 handling1 loading1 and discharging them with much timidity1 he gave his attention to this1 and so contrived that from that time onwards the artillery did harm to no one1 whereas it had previously killed many of them1 since they had not had judgment and knowledge enough to avoid suffering injury from the recoil4 ,having therefore taken charge of the artillery1 ,giuliano showed great skill in discharging it to the best possible advantage2 and the ,duke's forces so lost heart by reason of this and other adverse circumstances1 that they were glad to make terms and depart from the town4 ,in consequence of this ,giuliano won no little praise from ,lorenzo in ,florence1 and was looked upon with favour and affection ever afterwards4 ,having meanwhile given his attention to architecture1 he began the first cloister of the ,monastery of ,cestello1 and executed that part of it that is seen to be of the ,ionic ,order2 placing capitals on the columns with volutes curving downwards to the collarino1 where the shaft of the column ends1 and making1 below the ovoli and the fusarole1 a frieze1 one-third in height of the diameter of the column4 ,this capital was copied from a very ancient one of marble1 found at ,fiesole by ,messer ,leonardo ,salutati1 ,bishop of that place1 who kept it for some time1 together with other antiquities1 in a house and garden that he occupied in the ,via di ,s4 ,gallo1 opposite to ,s4 ,agata2 and it is now in the possession of ,messer ,giovan ,battista da ,ricasoli1 ,bishop of ,pistoia1 and is prized for its beauty and variety1 since among the ancient capitals there has not been seen another like it4 ,but that cloister remained unfinished1 because those monks were not then able to bear such an expense4 ,meanwhile ,giuliano had come into even greater credit with ,lorenzo2 and the latter1 who was intending to build a palace at ,poggio a ,cajano1 a place between ,florence and ,pistoia1 and had caused several models to be made for it by ,francione and by others1 commissioned ,giuliano1 also1 to make one of the sort of building that he proposed to erect4 ,and ,giuliano made it so completely different in form from the others1 and so much to ,lorenzo's fancy1 that he began straightway to have it carried into execution1 as the best of all the models2 on which account he took ,giuliano even more into his favour1 and ever afterwards gave him an allowance4 ,after this1 ,giuliano wishing to make a vaulted ceiling for the great hall of that palace in the manner that we call barrel-shaped1 ,lorenzo could not believe1 on account of the great space1 that it could be raised4 ,whereupon ,giuliano1 who was building a house for himself in ,florence1 made a ceiling for his hall according to the design of the other1 in order to convince the mind of that ,magnificent ,prince2 and ,lorenzo therefore gave orders for the ceiling at the ,poggio to be carried out1 which was successfully done4 ,by that time the fame of ,giuliano had so increased1 that1 at the entreaty of the ,duke of ,calabria1 he was commissioned by ,lorenzo the ,magnificent to make the model for a palace that was to be built at ,naples2 and he spent a long time over executing it4 ,now while he was working at this1 the ,castellan of ,ostia1 then ,bishop della ,rovere1 who after a time became ,pope ,julius ,,ii1 wishing to restore that stronghold and to put it into good order1 and having heard the fame of ,giuliano1 sent to ,florence for him2 and1 having supplied him with a good provision1 he kept him employed for two years in making therein all the useful improvements that he was able to execute by means of his art4 ,and to the end that the model for the ,duke of ,calabria might not be neglected1 but might be brought to conclusion1 he left it to his brother ,antonio1 who finished it according to his directions1 which1 in executing it and carrying it to completion1 he followed with great diligence1 for he was no less competent in that art than ,giuliano himself4 ,now ,giuliano was advised by the elder ,lorenzo to present it in person1 to the end that he might show from the model itself the difficulties that he had triumphed over in making it4 ,whereupon he departed for ,naples1 and1 having presented the work1 was received with honour2 for men were as much impressed by the gracious manner in which the ,magnificent ,lorenzo had sent him1 as they were struck with marvel at the masterly work in the model1 which gave such satisfaction that the building was straightway begun near the ,castel ,nuovo4 ,after ,giuliano had been some time in ,naples1 he sought leave from the ,duke to return to ,florence2 whereupon he was presented by the ,king with horses and garments1 and1 among other things1 with a silver cup containing some hundreds of ducats4 ,these things ,giuliano would not accept1 saying that he served a patron who had no need of silver or gold1 but that if he did indeed wish to give him some present or some token of approbation1 to show that he had been in that city1 he might bestow upon him some of his antiquities1 which he would choose himself4 ,these the ,king granted to him most liberally1 both for love of the ,magnificent ,lorenzo and on account of ,giuliano's own worth2 and they were a head of the ,emperor ,hadrian1 which is now above the door of the garden at the house of the ,medici1 a nude woman1 more than life-size1 and a ,cupid sleeping1 all in marble and in the round4 ,giuliano sent them as presents to the ,magnificent ,lorenzo1 who expressed vast delight at the gift1 and never tired of praising the action of this most liberal of craftsmen1 who had refused gold and silver for the sake of art1 a thing which few would have done4 ,that ,cupid is now in the guardaroba of ,duke ,cosimo4 ,illustration3 ,,fa,,ade ,,of ,s4 ,,maria ,,delle ,,carceri 7,after ,giuliano da ,san ,gallo4 ,prato7 ,alinari ,having then returned to ,florence1 ,giuliano was received most graciously by the ,magnificent ,lorenzo4 ,now the fancy had taken that ,prince to build a convent capable of holding a hundred friars1 without the ,porta ,s4 ,gallo1 in order to give satisfaction to ,fra ,mariano da ,ghinazzano1 a most learned member of the ,order of ,eremite ,friars of ,s4 ,augustine4 ,for this convent models were made by many architects1 and in the end that of ,giuliano was put into execution1 which was the reason that ,lorenzo1 from this work1 gave him the name of ,giuliano da ,san ,gallo4 ,wherefore ,giuliano1 who heard himself called by everyone da ,san ,gallo1 said one day in jest to the ,magnificent ,lorenzo1 ,by giving me this new name of 'da ,san ,gallo1' you are making me lose the ancient name of my house1 so that1 in place of going forward in the matter of lineage1 as ,i thought to do1 ,i am going backward4 ,whereupon ,lorenzo answered that he would rather have him become the founder of a new house through his own worth1 than depend on others2 at which ,giuliano was well content4 ,meanwhile the work of ,s4 ,gallo was carried on1 together with ,lorenzo's other buildings2 but neither the convent nor the others were finished1 by reason of the death of ,lorenzo4 ,and even the completed part of this structure of ,s4 ,gallo did not long remain standing1 because in #aecj1 on account of the siege of ,florence1 it was destroyed and thrown to the ground1 together with the whole suburb1 the piazza of which was completely surrounded by very beautiful buildings2 and at the present day there is no trace to be seen there of house1 church1 or convent4 ,at this time there took place the death of the ,king of ,naples1 whereupon ,giuliano ,gondi1 a very rich ,florentine merchant1 returned from that city to ,florence1 and commissioned ,giuliano da ,san ,gallo1 with whom he had become very intimate on account of his visit to ,naples1 to build him a palace in rustic work1 opposite to ,s4 ,firenze1 above the place where the lions used to be4 ,this palace was to form the angle of the piazza and to face the old ,mercatanzia2 but the death of ,giuliano ,gondi put a stop to the work4 ,in it1 among other things1 ,giuliano made a chimney-piece1 very rich in carvings1 and so varied and beautiful in composition1 that up to that time there had never been seen the like1 nor one with such a wealth of figures4 ,the same master made a palace for a ,venetian in ,camerata1 without the ,porta a ,pinti1 and many houses for private citizens1 of which there is no need to make mention4 ,lorenzo the ,magnificent1 in order to benefit the commonwealth and adorn the ,state1 and at the same time to leave behind him some splendid monument1 in addition to the endless number that he had already erected1 wished to execute the fortification of the ,poggio ,imperiale1 above ,poggibonsi1 on the road to ,rome1 with a view to founding a city there2 and he would not lay it out without the advice and design of ,giuliano4 ,wherefore that master began that most famous structure1 in which he made the well-designed and beautiful range of fortifications that we see at the present day4 ,these works brought him such fame1 that he was then summoned to ,milan1 through the mediation of ,lorenzo1 by the ,duke of ,milan1 to the end that he might make for him the model of a palace2 and there ,giuliano was no less honoured by the ,duke than he had previously been honoured by the ,king of ,naples1 when that ,sovereign had invited him to that city4 ,for when he had presented the model to him1 on the part of the ,magnificent ,lorenzo1 the ,duke was filled with astonishment and marvel at seeing the vast number of beautiful adornments in it1 so well arranged and distributed1 and all accommodated in their places with art and grace2 for which reason all the materials necessary for the work were got together1 and they began to put it into execution4 ,in the same city1 together with ,giuliano1 was ,leonardo da ,vinci1 who was working for the ,duke2 and ,leonardo1 speaking with ,giuliano about the casting of the horse that he was proposing to make1 received from him some excellent suggestions4 ,this work was broken to pieces on the arrival of the ,french1 so that the horse was never finished2 nor could the palace be brought to completion4 ,having returned to ,florence1 ,giuliano found that his brother ,antonio1 who worked for him on his models1 had become so excellent1 that there was no one in his day who was a better master in carving1 particularly for large ,crucifixes of wood2 to which witness is borne by the one over the high-altar of the ,nunziata in ,florence1 by another that is kept by the ,friars of ,s4 ,gallo in ,s4 ,jacopo tra ,fossi1 and by a third in the ,company of the ,scalzo1 which are all held to be very good4 ,but ,giuliano removed him from that profession and caused him to give his attention to architecture1 in company with himself1 since he had many works to execute1 both public and private4 ,now it happened1 as it is always happening1 that ,fortune1 the enemy of talent1 robbed the followers of the arts of their hope and support by the death of ,lorenzo de' ,medici1 which was a heavy loss not only to all able craftsmen and to his country1 but also to all ,italy4 ,wherefore ,giuliano1 together with all the other lofty spirits1 was left wholly inconsolable2 and in his grief he betook himself to ,prato1 near ,florence1 in order to build the ,temple of the ,madonna delle ,carcere1 since all building in ,florence1 both public and private1 was at a standstill4 ,he lived in ,prato1 therefore1 three whole years1 supporting the expense1 discomfort1 and sorrow as best he could4 ,at the end of that time1 it being proposed to roof the ,church of the ,madonna at ,loreto1 and to raise the cupola1 which had been formerly begun but not finished by ,giuliano da ,maiano1 and those who had charge of the matter doubting that the piers were too weak to bear such a weight1 they wrote1 therefore1 to ,giuliano1 that if he desired such a work1 he should go and see it for himself4 ,and having gone1 like the bold and able man that he was1 he showed them that the cupola could be raised with ease1 and that he had courage enough for the task2 and so many1 and of such a kind1 were the reasons that he put before them1 that the work was allotted to him4 ,after receiving this commission1 he caused the work in ,prato to be despatched1 and made his way1 with the same master-builders and stone-cutters1 to ,loreto4 ,and to the end that this structure1 besides beauty of form1 might be firm1 solid1 stable1 and well bound in the stonework1 he sent to ,rome for pozzolana#bb2 nor was any lime used that was not mixed with it1 nor any stone built in without it2 and thus1 within the space of three years1 it was brought to perfect completion1 ready for use4 ,giuliano then went to ,rome1 where1 for ,pope ,alexander ,,vi1 he restored the roof of ,s4 ,maria ,maggiore1 which was falling into ruin2 and he made there the ceiling that is to be seen at the present day4 ,while he was thus employed about the ,court1 ,bishop della ,rovere1 who had been the friend of ,giuliano from the time when he was ,castellan of ,ostia1 and who had been created ,cardinal of ,s4 ,pietro in ,vincula1 caused him to make a model for the ,palace of ,s4 ,pietro in ,vincula4 ,and a little time after1 desiring to build a palace in his own city of ,savona1 he wished to have it erected likewise from the design and under the eye of ,giuliano4 ,but such a journey was difficult for ,giuliano1 for the reason that his ceiling was not yet finished1 and ,pope ,alexander would not let him go4 ,he entrusted the finishing of it1 therefore1 to his brother ,antonio1 who1 having a good and versatile intelligence1 and coming thus into contact with the ,court1 entered into the service of the ,pope1 who conceived a very great affection for him2 and this he proved when he resolved to restore1 with new foundations and with defences after the manner of a castle1 the ,mausoleum of ,hadrian1 now called the ,castello di ,s4 ,angelo1 for ,antonio was made overseer of this undertaking1 and under his direction were made the great towers below1 the ditches1 and the rest of the fortifications that we see at the present day4 ,this work brought him great credit with the ,pope1 and with his son1 ,duke ,valentino2 and it led to his building the fortress that is now to be seen at ,civit ,castellana4 ,thus1 then1 while that ,pontiff was alive1 he was continually employed in building2 and while working for him1 he was rewarded by him no less than he was esteemed4 ,giuliano had already carried well forward the work at ,savona1 when the ,cardinal returned to ,rome on some business of his own1 leaving many workmen to bring the building to completion after the directions and design of ,giuliano1 whom he took with him to ,rome4 ,giuliano made that journey willingly1 wishing to see ,antonio and his works2 and he stayed there some months4 ,during that time1 however1 the ,cardinal fell into disgrace with the ,pope1 and departed from ,rome1 in order not to be taken prisoner1 and ,giuliano1 as before1 went in his company4 ,on arriving at ,savona1 they set a much greater number of master-builders and other artificers to work on the building4 ,but the threats of the ,pope against the ,cardinal becoming every day louder1 it was not long before he made his way to ,avignon4 ,from there he sent as a present to the ,king of ,france a model for a palace that ,giuliano had made for him1 which was marvellous1 very rich in ornament1 and spacious enough for the accommodation of his whole ,court4 ,the royal ,court was at ,lyons when ,giuliano presented his model2 and the gift was so welcome and acceptable to the ,king1 that he rewarded ,giuliano liberally and gave him infinite praise1 besides rendering many thanks for it to the ,cardinal1 who was at ,avignon4 ,meanwhile they received news that the palace at ,savona was already nearly finished2 whereupon the ,cardinal determined that ,giuliano should once more see the work1 and ,giuliano1 having gone for this purpose to ,savona1 had not been there long when it was completely finished4 ,then1 desiring to return to ,florence1 where he had not been for a long time1 ,giuliano took the road for that city together with his master-builders4 ,now at that time the ,king of ,france had restored ,pisa her liberty1 and the war between the ,florentines and the ,pisans was still raging2 and ,giuliano1 wishing to pass through ,pisan territory1 had a safe-conduct made out for his company at ,lucca1 for they had no small apprehension about the ,pisan soldiers4 ,nevertheless1 while passing near ,altopascio1 they were captured by the ,pisans1 who cared nothing for safe-conducts or for any other warrant that they might have4 ,and for six months ,giuliano was detained in ,pisa1 his ransom being fixed at three hundred ducats2 nor was he able to return to ,florence until he had paid it4 ,antonio had heard this news in ,rome1 and1 desiring to see his native city and his brother again1 obtained leave to depart from ,rome2 and on his way he designed for ,duke ,valentino the fortress of ,montefiascone4 ,finally1 in the year #aejc1 he reached ,florence1 where the two brothers and their friends took joyful pleasure in each other's company4 ,there now ensued the death of ,alexander ,,vi1 and the election of ,pius ,,iii1 who lived but a short time2 whereupon the ,cardinal of ,s4 ,pietro in ,vincula was created ,pontiff1 under the name of ,pope ,julius ,,ii2 which brought great joy to ,giuliano1 on account of his having been so long in his service1 and he determined1 therefore1 to go to kiss the ,pope's foot4 ,having then arrived in ,rome1 he was warmly received and welcomed lovingly1 and was straightway commissioned to execute the first buildings undertaken by that ,pope before the coming of ,bramante4 ,antonio1 who had remained in ,florence1 continued1 in the absence of ,giuliano 7,piero ,soderini being ,gonfalonier71 the building of the ,poggio ,imperiale1 to which all the ,pisan prisoners were sent to labour1 in order to finish the work the quicker4 ,after this1 by reason of the troubles at ,arezzo1 the old fortress was destroyed1 and ,antonio made the model for the new one1 with the consent of ,giuliano1 who had come from ,rome for this purpose1 but soon returned thither2 and this work was the reason that ,antonio was appointed architect to the ,commune of ,florence for all the fortifications4 ,on the return of ,giuliano to ,rome1 the question was being debated as to whether the divine ,michelagnolo ,buonarroti should make the tomb of ,pope ,julius2 whereupon ,giuliano exhorted the ,pope to pursue that undertaking1 adding that it seemed to him that it was necessary to build a special chapel for such a monument1 and that it should not be placed in the old ,s4 ,pietro1 in which there was no space for it1 whereas a new chapel would bring out all the perfection of the work4 ,after many architects1 then1 had made designs1 the matter little by little became one of such importance1 that1 in place of erecting a chapel1 a beginning was made with the great fabric of the new ,s4 ,pietro4 ,there had arrived in ,rome1 about that time1 the architect ,bramante of ,castel ,durante1 who had been in ,lombardy2 and he went to work in such a manner1 with various extraordinary means and methods of his own1 and with his fantastic ideas1 having on his side ,baldassarre ,peruzzi1 ,raffaello da ,urbino1 and other architects1 that he put the whole undertaking into confusion2 whereby much time was consumed in discussions4 ,finally--so well did he know how to set about the matter--the work was entrusted to him1 as the man who had shown the finest judgment1 the best intelligence1 and the greatest invention4 ,giuliano1 resenting this1 for it appeared to him that he had received an affront from the ,pope1 in view of the faithful service that he had rendered to him when his rank was not so high1 and of the promise made to him by the ,pope that he should have that building1 sought leave to go2 and so1 notwithstanding that he was appointed companion to ,bramante for other edifices that were being erected in ,rome1 he departed1 and returned1 with many gifts received from that ,pontiff1 to ,florence4 ,this was a great joy to ,piero ,soderini1 who straightway set him to work4 ,nor had six months gone by1 when ,messer ,bartolommeo della ,rovere1 the nephew of the ,pope1 and a friend of ,giuliano1 wrote to him in the name of his ,holiness that he should return for his own advantage to ,rome2 but neither terms nor promises availed to move ,giuliano1 who considered that he had been put to shame by the ,pope4 ,finally1 however1 a letter was written to ,piero ,soderini1 urging him in one way or another to send ,giuliano to ,rome1 since his ,holiness wished to finish the fortifications of the ,great ,round ,tower1 which had been begun by ,nicholas ,v1 and likewise those of the ,borgo and the ,belvedere1 with other works2 and ,giuliano allowed himself to be persuaded by ,soderini1 and therefore went to ,rome1 where he received a gracious welcome and many gifts from the ,pope4 ,having afterwards gone to ,bologna1 from which the ,bentivogli had just been driven out1 the ,pope resolved1 by the advice of ,giuliano1 to have a figure of himself in bronze made by ,michelagnolo ,buonarroti2 and this was carried out1 as will be related in the ,life of ,michelagnolo himself4 ,giuliano also followed the ,pope to ,mirandola1 and after it was taken1 having endured much fatigue and many discomforts1 he returned with the ,court to ,rome4 ,but the furious desire to drive the ,french out of ,italy not having yet got out of the head of the ,pope1 he strove to wrest the government of ,florence out of the hands of ,piero ,soderini1 whose power was no small hindrance to him in the project that he had in mind4 ,whereupon1 since the ,pontiff1 for these reasons1 had turned aside from building and had embroiled himself in wars1 ,giuliano1 by this time weary1 and perceiving that attention was being given only to the construction of ,s4 ,pietro1 and not much even to that1 sought leave from him to depart4 ,but the ,pope answered him in anger1 ,do you believe that you are the only ,giuliano da ,san ,gallo to be found8 ,to which he replied that none could be found equal to him in faithful service1 while he himself would easily find ,princes truer to their promises than the ,pope had been towards him4 ,however1 the ,pontiff would by no means give him leave to go1 saying that he would speak to him about it another time4 ,meanwhile ,bramante1 having brought ,raffaello da ,urbino to ,rome1 set him to work at painting the ,papal apartments2 whereupon ,giuliano1 perceiving that the ,pope took great delight in those pictures1 and knowing that he wished to have the ceiling of the chapel of his uncle ,sixtus painted1 spoke to him of ,michelagnolo1 adding that he had already executed the bronze statue in ,bologna4 ,which news pleased the ,pope so much that he sent for ,michelagnolo1 who1 on arriving in ,rome1 received the commission for the ceiling of that chapel4 ,a little time after this1 ,giuliano coming back once more to seek leave from the ,pope to depart1 his ,holiness1 seeing him determined on this1 was content that he should return to ,florence1 without forfeiting his favour2 and1 after having blessed him1 he gave him a purse of red satin containing five hundred crowns1 telling him that he might return home to rest1 but that he would always be his friend4 ,giuliano1 then1 having kissed the sacred foot1 returned to ,florence1 at the very time when ,pisa was surrounded and besieged by the army of ,florence4 ,no sooner had he arrived1 therefore1 than ,piero ,soderini1 after the due greetings1 sent him to the camp to help the military commissaries1 who had found themselves unable to prevent the ,pisans from passing provisions into ,pisa by way of the ,arno4 ,giuliano made a design for a bridge of boats to be built at some better season1 and then went back to ,florence2 and when spring had come1 taking with him his brother ,antonio1 he made his way to ,pisa1 where they constructed a bridge1 which was a very ingenious piece of work1 since1 besides the fact that1 rising or falling with the water1 and being well bound with chains1 it stood safe and sound against floods1 it carried out the desires of the commissaries in such a manner1 cutting off ,pisa from access to the sea by way of the ,arno1 that the ,pisans1 having no other expedient in their sore straits1 were forced to come to terms with the ,florentines2 and so they surrendered4 ,nor was it long before the same ,piero ,soderini again sent ,giuliano1 with a vast number of master-builders1 to ,pisa1 where with extraordinary swiftness he erected the fortress that still stands at the ,porta a ,s4 ,marco1 and also the gate itself1 which he built in the ,doric ,order4 ,and the while that ,giuliano was engaged on this work1 which was until the year #aeab1 ,antonio went through the whole dominion1 inspecting and restoring the fortresses and other public buildings4 ,after this1 by the favour of the same ,pope ,julius1 the house of ,medici was reinstated in the government of ,florence1 from which they had been driven out on the invasion of ,italy by ,charles ,,viii1 ,king of ,france1 and ,piero ,soderini was expelled from the ,palace2 and the ,medici showed their gratitude to ,giuliano and ,antonio for the services that they had rendered in the past to their illustrious family4 ,now ,cardinal ,giovanni de' ,medici having been elected ,pope a short time after the death of ,julius ,,ii1 ,giuliano was forced once again to betake himself to ,rome2 where1 ,bramante dying not long after his arrival1 it was proposed to give to ,giuliano the charge of the building of ,s4 ,pietro4 ,but he1 being worn out by his labours1 and crushed down by old age and by the stone1 which made his life a burden1 returned by leave of his ,holiness to ,florence2 and that commission was given to the most gracious ,raffaello da ,urbino4 ,and ,giuliano1 after two years1 was pressed so sorely by his malady1 that he died at the age of seventy-four in the year #aeag1 leaving his name to the world1 his body to the earth1 and his soul to ,god4 ,by his departure he left a heavy burden of sorrow to his brother ,antonio1 who loved him tenderly1 and to a son of his own named ,francesco1 who was engaged in sculpture1 although he was still quite young4 ,this ,francesco1 who has preserved up to our own day all the treasures of his elders1 and holds them in veneration1 executed many works at ,florence and elsewhere1 both in sculpture and in architecture1 and by his hand is the ,madonna of marble1 with the ,child in her arms1 and lying in the lap of ,s4 ,anne1 that is in ,orsanmichele2 which work1 with the figures carved in the round out of one single block1 was held1 as it still is1 to be very beautiful4 ,he has also executed the tomb that ,pope ,clement caused to be made for ,piero de' ,medici at ,monte ,cassino1 besides many other works1 of which no mention is here made because the said ,francesco is still alive4 ,after the death of ,giuliano1 ,antonio1 being a man who was not willing to stay idle1 made two large ,crucifixes of wood1 one of which was sent into ,spain1 while the other1 by order of the ,vice-,chancellor1 ,cardinal ,giulio de' ,medici1 was taken by ,domenico ,buoninsegni into ,france4 ,it being then proposed to build the fortress of ,livorno1 ,antonio was sent thither by ,cardinal de' ,medici to make the design for it2 which he did1 although it was afterwards not carried completely into execution1 nor even after the method suggested by ,antonio4 ,after this1 the men of ,montepulciano determining1 by reason of the miracles wrought by an image of ,our ,lady1 to build a temple for it at very great cost1 ,antonio made the model for this1 and became head of the undertaking2 on which account he visited that building twice a year4 ,at the present day it is to be seen carried to perfect completion1 having been executed with supreme grace1 and with truly marvellous beauty and variety of composition1 by the genius of ,antonio1 and all the masonry is of a certain stone that has a tinge of white1 after the manner of travertine4 ,it stands without the ,porta di ,s4 ,biagio1 on the right hand1 half-way up the slope of the hill4 ,at this time1 he made a beginning with a palace in the township of ,monte ,san ,sovino1 for ,antonio di ,monte1 ,cardinal of ,santa ,prassedia2 and he built another for the same man at ,montepulciano1 both being executed and finished with extraordinary grace4 ,he made the design for the side of the buildings of the ,servite ,friars 7in ,florence71 on their ,piazza1 following the order of the ,loggia of the ,innocenti2 and at ,arezzo he made models for the aisles of the ,madonna delle ,lacrime1 although that work was very badly conceived1 because it is out of harmony with the original part of the building1 and the arches at the ends are not in true line with the centre4 ,he also made a model for the ,madonna of ,cortona2 but ,i do not think that this was put into execution4 ,he was employed in the siege on the bastions and fortifications within the city1 and in this undertaking he had as a companion his nephew ,francesco4 ,after this1 the ,giant of the ,piazza1 executed by the hand of ,michelagnolo1 having been set into place in the time of ,giuliano1 the brother of our ,antonio1 it was proposed to set up the other1 which had been made by ,baccio ,bandinelli2 and the task of bringing it safely into position was given to ,antonio1 who1 taking ,baccio d' ,agnolo as his companion1 carried this out by means of very powerful machines1 and placed it in safety on the base that had been prepared for that purpose4 ,in the end1 having become old1 he took no pleasure in anything save agriculture1 of which he had an excellent knowledge4 ,and then1 when on account of old age he was no longer able to bear the discomforts of this world1 he rendered up his soul to ,god1 in the year #aecd1 and was laid to rest by the side of his brother ,giuliano in the tomb of the ,giamberti1 in the ,church of ,s4 ,maria ,novella4 ,the marvellous works of these two brothers will bear witness before the world to the extraordinary genius that they possessed2 and for their lives1 their honourable ways1 and their every action1 they were held in estimation by all men4 ,giuliano and ,antonio bequeathed to the art of architecture methods that gave the ,tuscan ,order of building better form than any other architect had yet achieved1 and the ,doric ,order they enriched with better measures and proportions than their predecessors1 following the rules and canons of ,vitruvius1 had been wont to use4 ,they collected in their houses at ,florence an infinite number of most beautiful antiquities in marble1 which adorned ,florence1 and still adorn her1 no less than those masters honoured themselves and their art4 ,giuliano brought from ,rome the method of casting vaults with such materials as made them ready carved2 examples of which may be seen in a room in his own house1 and in the vaulting of the ,great ,hall at ,poggio a ,cajano1 which is still to be seen there4 ,wherefore we should acknowledge our obligation to their labours1 whereby they fortified the dominion of ,florence1 adorned the city1 and gave a name1 throughout the many regions where they worked1 to ,florence and to the intellects of ,tuscany1 who1 to honour their memory1 have written to them these verses-- ,cedite ,romani structores1 cedite ,graii1 ,artis1 ,vitruvi1 tu quoque cede parens4 ,etruscos celebrare viros1 testudinis arcus1 ,urna1 tholus1 statu1 templa1 domusque petunt4 ,,footnote3 #bb ,a friable volcanic tufa4 ,,raffaello ,,da ,,urbino ,,life ,,of ,,raffaello ,,da ,,urbino ,,raffaello ,,sanzio ,,painter ,,and ,,architect ,how bountiful and benign ,heaven sometimes shows itself in showering upon one single person the infinite riches of its treasures1 and all those graces and rarest gifts that it is wont to distribute among many individuals1 over a long space of time1 could be clearly seen in the no less excellent than gracious ,raffaello ,sanzio da ,urbino1 who was endowed by nature with all that modesty and goodness which are seen at times in those who1 beyond all other men1 have added to their natural sweetness and gentleness the beautiful adornment of courtesy and grace1 by reason of which they always show themselves agreeable and pleasant to every sort of person and in all their actions4 ,him nature presented to the world1 when1 vanquished by art through the hands of ,michelagnolo ,buonarroti1 she wished to be vanquished1 in ,raffaello1 by art and character together4 ,and in truth1 since the greater part of the craftsmen who had lived up to that time had received from nature a certain element of savagery and madness1 which1 besides making them strange and eccentric1 had brought it about that very often there was revealed in them rather the obscure darkness of vice than the brightness and splendour of those virtues that make men immortal1 there was right good reason for her to cause to shine out brilliantly in ,raffaello1 as a contrast to the others1 all the rarest qualities of the mind1 accompanied by such grace1 industry1 beauty1 modesty1 and excellence of character1 as would have sufficed to efface any vice1 however hideous1 and any blot1 were it ever so great4 ,wherefore it may be surely said that those who are the possessors of such rare and numerous gifts as were seen in ,raffaello da ,urbino1 are not merely men1 but1 if it be not a sin to say it1 mortal gods2 and that those who1 by means of their works1 leave an honourable name written in the archives of fame in this earthly world of ours1 can also hope to have to enjoy in ,heaven a worthy reward for their labours and merits4 ,illustration3 ,,raphael3 ,s4 ,,george ,,and ,,the ,,dragon 7,s4 ,petersburg3 ,hermitage1 #ci4 ,panel7 ,raffaello was born at ,urbino1 a very famous city in ,italy1 at three o'clock of the night on ,good ,friday1 in the year #adhc1 to a father named ,giovanni de' ,santi1 a painter of no great excellence1 and yet a man of good intelligence1 well able to direct his children on that good path which he himself had not been fortunate enough to have shown to him in his boyhood4 ,and since ,giovanni knew how important it is to rear infants1 not with the milk of nurses1 but with that of their own mothers1 no sooner was ,raffaello born1 to whom with happy augury he gave that name at baptism1 than he insisted that this his only child--and he had no more afterwards--should be suckled by his own mother1 and that in his tender years he should have his character formed in the house of his parents1 rather than learn less gentle or even boorish ways and habits in the houses of peasants or common people4 ,when he was well grown1 he began to exercise him in painting1 seeing him much inclined to such an art1 and possessed of a very beautiful genius3 wherefore not many years passed before ,raffaello1 still a boy1 became a great help to ,giovanni in many works that he executed in the state of ,urbino4 ,in the end1 this good and loving father1 knowing that his son could learn little from him1 made up his mind to place him with ,pietro ,perugino1 who1 as he heard tell1 held the first place among painters at that time4 ,he went1 therefore1 to ,perugia3 but not finding ,pietro there1 he set himself1 in order to lessen the annoyance of waiting for him1 to execute some works in ,s4 ,francesco4 ,when ,pietro had returned from ,rome1 ,giovanni1 who was a gentle and well-bred person1 formed a friendship with him1 and1 when the time appeared to have come1 in the most adroit method that he knew1 told him his desire4 ,and so ,pietro1 who was very courteous and a lover of beautiful genius1 agreed to have ,raffaello3 whereupon ,giovanni1 going off rejoicing to ,urbino1 took the boy1 not without many tears on the part of his mother1 who loved him dearly1 and brought him to ,perugia1 where ,pietro1 after seeing ,raffaello's method of drawing1 and his beautiful manners and character1 formed a judgment of him which time1 from the result1 proved to be very true4 ,it is a very notable thing that ,raffaello1 studying the manner of ,pietro1 imitated it in every respect so closely1 that his copies could not be distinguished from his master's originals1 and it was not possible to see any clear difference between his works and ,pietro's2 as is still evident from some figures in a panel in ,s4 ,francesco at ,perugia1 which he executed in oils for ,madonna ,maddalena degli ,oddi4 ,these are a ,madonna who has risen into ,heaven1 with ,jesus ,christ crowning her1 while below1 round the sepulchre1 are the twelve ,apostles1 contemplating the ,celestial ,glory1 and at the foot of the panel is a predella divided into three scenes1 painted with little figures1 of the ,madonna receiving the ,annunciation from the ,angel1 of the ,magi adoring ,christ1 and of ,christ in the arms of ,simeon in the ,temple4 ,this work is executed with truly supreme diligence2 and one who had not a good knowledge of the two manners1 would hold it as certain that it is by the hand of ,pietro1 whereas it is without a doubt by the hand of ,raffaello4 ,after this work1 ,pietro returning to ,florence on some business of his own1 ,raffaello departed from ,perugia and went off with some friends to ,citt di ,castello1 where he painted a panel for ,s4 ,agostino in the same manner1 and likewise one of a ,crucifixion for ,s4 ,domenico1 which1 if his name were not written upon it1 no one would believe to be a work by ,raffaello1 but rather by ,pietro4 ,for ,s4 ,francesco1 also in the same city1 he painted a little panel-picture of the ,marriage of ,our ,lady1 in which one may recognize the excellence of ,raffaello increasing and growing in refinement1 and surpassing the manner of ,pietro4 ,in this work is a temple drawn in perspective with such loving care1 that it is a marvellous thing to see the difficulties that he was for ever seeking out in this branch of his profession4 ,meanwhile1 when he had acquired very great fame by following his master's manner1 ,pope ,pius ,,ii#bc had given the commission for painting the library of the ,duomo at ,siena to ,pinturicchio2 and he1 being a friend of ,raffaello1 and knowing him to be an excellent draughtsman1 brought him to ,siena1 where ,raffaello made for him some of the drawings and cartoons for that work4 ,the reason that he did not continue at it was that some painters in ,siena kept extolling with vast praise the cartoon that ,leonardo da ,vinci had made in the ,sala del ,papa#bd of a very beautiful group of horsemen1 to be painted afterwards in the ,hall of the ,palace of the ,signoria1 and likewise some nudes executed by ,michelagnolo ,buonarroti in competition with ,leonardo1 and much better2 and ,raffaello1 on account of the love that he always bore to the excellent in art1 was seized by such a desire to see them1 that1 putting aside that work and all thought of his own advantage and comfort1 he went off to ,florence4 ,having arrived there1 and being pleased no less with the city than with those works1 which appeared to him to be divine1 he determined to take up his abode there for some time2 and thus he formed a friendship with some young painters1 among whom were ,ridolfo ,ghirlandajo1 ,aristotile da ,san ,gallo1 and others1 and became much honoured in that city1 particularly by ,taddeo ,taddei1 who1 being one who always loved any man inclined to excellence1 would have him ever in his house and at his table4 ,and ,raffaello1 who was gentleness itself1 in order not to be beaten in courtesy1 made him two pictures1 which incline to his first manner1 derived from ,pietro1 but also to the other much better manner that he afterwards acquired by study1 as will be related2 which pictures are still in the house of the heirs of the said ,taddeo4 ,illustration3 ,,lo ,,sposalizio 7,after the panel by ,raffaello da ,urbino4 ,milan3 ,brera1 #dgb7 ,anderson ,raffaello also formed a very great friendship with ,lorenzo ,nasi2 and for this ,lorenzo1 who had taken a wife about that time1 he painted a picture in which he made a ,madonna1 and between her legs her ,son1 to whom a little ,s4 ,john1 full of joy1 is offering a bird1 with great delight and pleasure for both of them4 ,in the attitude of each is a certain childlike simplicity which is wholly lovely1 besides that they are so well coloured1 and executed with such diligence1 that they appear to be rather of living flesh than wrought by means of colour and draughtsmanship2 the ,madonna1 likewise1 has an air truly full of grace and divinity2 and the foreground1 the landscapes1 and in short all the rest of the work1 are most beautiful4 ,this picture was held by ,lorenzo ,nasi1 as long as he lived1 in very great veneration1 both in memory of ,raffaello1 who had been so much his friend1 and on account of the dignity and excellence of the work2 but afterwards1 on ,august #i1 in the year #aedh1 it met an evil fate1 when1 on account of the collapse of the hill of ,s4 ,giorgio1 the house of ,lorenzo fell down1 together with the ornate and beautiful houses of the heirs of ,marco del ,nero1 and other neighbouring dwellings4 ,however1 the pieces of the picture being found among the fragments of the ruins1 the son of ,lorenzo1 ,battista1 who was a great lover of art1 had them put together again as well as was possible4 ,illustration3 ,,maddalena ,,doni 7,after the panel by ,raffaello da ,urbino4 ,florence3 ,pitti1 #ei7 ,anderson ,after these works1 ,raffaello was forced to depart from ,florence and go to ,urbino1 where1 on account of the death of his mother and of his father ,giovanni1 all his affairs were in confusion4 ,while he was living in ,urbino1 therefore1 he painted for ,guidobaldo da ,montefeltro1 then ,captain of the ,florentines1 two pictures of ,our ,lady1 small but very beautiful1 and in his second manner1 which are now in the possession of the most illustrious and excellent ,guidobaldo1 ,duke of ,urbino4 ,for the same patron he painted a little picture of ,christ praying in the ,garden1 with the three ,apostles sleeping at some distance from ,him4 ,this painting is so highly finished1 that a miniature could not be better1 or in any way different2 and after having been a long time in the possession of ,francesco ,maria1 ,duke of ,urbino1 it was then presented by the most illustrious ,signora ,leonora1 his consort1 to the ,venetians ,don ,paolo ,giustiniano and ,don ,pietro ,quirini1 hermits of the holy ,hermitage of ,camaldoli1 who afterwards placed it1 as a relic and a very rare thing1 and1 in a word1 as a work by the hand of ,raffaello da ,urbino1 and also to honour the memory of that most illustrious lady1 in the apartment of the ,superior of that hermitage1 where it is held in the veneration that it deserves4 ,having executed these works and settled his affairs1 ,raffaello returned to ,perugia1 where he painted a panel-picture of ,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,nicholas1 for the ,chapel of the ,ansidei in the ,church of the ,servite ,friars4 ,and in the ,chapel of the ,madonna in ,s4 ,severo1 a little monastery of the ,order of ,camaldoli1 in the same city1 he painted in fresco a ,christ in ,glory1 and a ,god the ,father with angels round ,him1 and six saints seated1 ,s4 ,benedict1 ,s4 ,romualdo1 ,s4 ,laurence1 ,s4 ,jerome1 ,s4 ,mauro1 and ,s4 ,placido1 three on either side2 and on this picture1 which was held at that time to be most beautiful for a work in fresco1 he wrote his name in large and very legible letters4 ,in the same city1 also1 he was commissioned by the ,nuns of ,s4 ,anthony of ,padua to paint a panel-picture of ,our ,lady1 with ,jesus ,christ fully dressed1 as it pleased those simple and venerable sisters1 in her lap1 and on either side of the ,madonna ,s4 ,peter1 ,s4 ,paul1 ,s4 ,cecilia1 and ,s4 ,catherine2 to which two holy virgins he gave the sweetest and most lovely expressions of countenance and the most beautifully varied head-dresses that are anywhere to be seen1 which was a rare thing in those times4 ,above this panel1 in a lunette1 he painted a very beautiful ,god the ,father1 and in the predella of the altar three scenes with little figures1 of ,christ praying in the ,garden1 bearing the ,cross 7wherein are some soldiers dragging ,him along with most beautiful movements71 and lying dead in the lap of ,his ,mother4 ,this work is truly marvellous and devout2 and it is held in great veneration by those nuns1 and much extolled by all painters4 ,i will not refrain from saying that it was recognized1 after he had been in ,florence1 that he changed and improved his manner so much1 from having seen many works by the hands of excellent masters1 that it had nothing to do with his earlier manner2 indeed1 the two might have belonged to different masters1 one much more excellent than the other in painting4 ,before he departed from ,perugia1 ,madonna ,atalanta ,baglioni besought him that he should consent to paint a panel for her chapel in the ,church of ,s4 ,francesco2 but since he was not able to meet her wishes at that time1 he promised her that1 after returning from ,florence1 whither he was obliged to go on some affairs1 he would not fail her4 ,and so1 having come to ,florence1 where he applied himself with incredible labour to the studies of his art1 he made the cartoon for that chapel1 with the intention of going1 as he did1 as soon as the occasion might present itself1 to put it into execution4 ,illustration3 ,,raffaello ,,da ,,urbino3 ,,angelo ,,doni 7,florence3 ,pitti1 #fa4 ,panel7 ,while he was thus staying in ,florence1 ,agnolo ,doni--who was very careful of his money in other things1 but willing to spend it1 although still with the greatest possible economy1 on works of painting and sculpture1 in which he much delighted--caused him to make portraits of himself and of his wife2 and these may be seen1 painted in his new manner1 in the possession of ,giovan ,battista1 his son1 in the beautiful and most commodious house that the same ,agnolo built on the ,corso de' ,tintori1 near the ,canto degli ,alberti1 in ,florence4 ,for ,domenico ,canigiani1 also1 he painted a picture of ,our ,lady1 with the ,child ,jesus welcoming a little ,s4 ,john brought to ,him by ,s4 ,elizabeth1 who1 as she holds him1 is gazing with a most animated expression at a ,s4 ,joseph1 who is standing with both his hands leaning on a staff1 and inclines his head towards her1 as though praising the greatness of ,god and marvelling that she1 so advanced in years1 should have so young a child4 ,and all appear to be amazed to see with how much feeling and reverence the two cousins1 for all their tender age1 are caressing one another2 not to mention that every touch of colour in the heads1 hands1 and feet seems to be living flesh rather than a tint laid on by a master of that art4 ,this most noble picture is now in the possession of the heirs of the said ,domenico ,canigiani1 who hold it in the estimation that is due to a work by ,raffaello da ,urbino4 ,this most excellent of painters studied in the city of ,florence the old works of ,masaccio2 and what he saw in those of ,leonardo and ,michelagnolo made him give even greater attention to his studies1 in consequence of which he effected an extraordinary improvement in his art and manner4 ,while he was living in ,florence1 ,raffaello1 besides other friendships1 became very intimate with ,fra ,bartolommeo di ,san ,marco1 being much pleased with his colouring1 and taking no little pains to imitate it3 and in return he taught that good father the principles of perspective1 to which up to that time the monk had not given any attention4 ,but at the very height of this friendly intercourse1 ,raffaello was recalled to ,perugia1 where he began by finishing the work for the aforesaid ,madonna ,atalanta ,baglioni in ,s4 ,francesco1 for which1 as has been related1 he had made the cartoon in ,florence4 ,in this most divine picture there is a ,dead ,christ being borne to the ,sepulchre1 executed with such freshness and such loving care1 that it seems to the eye to have been only just painted4 ,in the composition of this work1 ,raffaello imagined to himself the sorrow that the nearest and most affectionate relatives of the dead one feel in laying to rest the body of him who has been their best beloved1 and on whom1 in truth1 the happiness1 honour1 and welfare of a whole family have depended4 ,our ,lady is seen in a swoon2 and the heads of all the figures are very gracious in their weeping1 particularly that of ,s4 ,john1 who1 with his hands clasped1 bows his head in such a manner as to move the hardest heart to pity4 ,and in truth1 whoever considers the diligence1 love1 art1 and grace shown by this picture1 has great reason to marvel1 for it amazes all who behold it1 what with the air of the figures1 the beauty of the draperies1 and1 in short1 the supreme excellence that it reveals in every part4 ,illustration3 ,,the ,,school ,,of ,,athens 7,after the fresco by ,raffaello da ,urbino4 ,rome3 ,the ,vatican7 ,anderson ,this work finished1 he returned to ,florence1 where he received from the ,dei1 citizens of that city1 the commission for an altar-panel that was to be placed in their chapel in ,s4 ,spirito2 and he began it1 and brought the sketch very nearly to completion4 ,at the same time he painted a picture that was afterwards sent to ,siena1 although1 on the departure of ,raffaello1 it was left with ,ridolfo ,ghirlandajo1 to the end that he might finish a piece of blue drapery that was wanting4 ,this happened because ,bramante da ,urbino1 who was in the service of ,julius ,,ii1 wrote to ,raffaello1 on account of his being distantly related to him and also his compatriot1 that he had so wrought upon the ,pope1 who had caused some new rooms to be made 7in the ,vatican71 that ,raffaello would have a chance of showing his worth in them4 ,this proposal pleased ,raffaello3 wherefore1 abandoning his works in ,florence1 and leaving the panel for the ,dei unfinished1 in the state in which ,messer ,baldassarre da ,pescia had it placed in the ,pieve of his native city after the death of ,raffaello1 he betook himself to ,rome4 ,having arrived there1 he found that most of the rooms in the ,palace had been painted1 or were still being painted1 by a number of masters4 ,to be precise1 he saw that there was one room in which a scene had been finished by ,piero della ,francesca2 ,luca da ,cortona had brought one wall nearly to completion2 and ,don ,pietro#be della ,gatta1 ,abbot of ,s4 ,clemente at ,arezzo1 had begun some works there4 ,bramantino1 the ,milanese1 had likewise painted many figures1 which were mostly portraits from life1 and were held to be very beautiful4 ,after his arrival1 therefore1 having been received very warmly by ,pope ,julius1 ,raffaello began in the ,camera della ,segnatura a scene of the theologians reconciling ,philosophy and ,astrology with ,theology3 wherein are portraits of all the sages in the world1 disputing in various ways4 ,standing apart are some astrologers1 who have made various kinds of figures and characters of geomancy and astrology on some little tablets1 which they send to the ,evangelists by certain very beautiful angels2 and these ,evangelists are expounding them4 ,among them is ,diogenes with his cup1 lying on the steps1 and lost in thought1 a figure very well conceived1 which1 for its beauty and the characteristic negligence of its dress1 is worthy to be extolled4 ,there1 also1 are ,aristotle and ,plato1 one with the ,timus in his hand1 the other with the ,ethics2 and round them1 in a circle1 is a great school of philosophers4 ,nor is it possible to express the beauty of those astrologers and geometricians who are drawing a vast number of figures and characters with compasses on tablets3 among whom1 in the figure of a young man1 shapely and handsome1 who is throwing out his arms in admiration1 and inclining his head1 is the portrait of ,federigo ,,ii1 ,duke of ,mantua1 who was then in ,rome4 ,there is also a figure that is stooping to the ground1 holding in its hand a pair of compasses1 with which it is making a circle on a tablet3 this is said to be the architect ,bramante1 and it is no less the man himself than if he were alive1 so well is it drawn4 ,beside a figure with its back turned and holding a globe of the heavens in its hand1 is the portrait of ,zoroaster2 and next to him is ,raffaello1 the master of the work1 who made his own portrait by means of a mirror1 in a youthful head with an air of great modesty1 filled with a pleasing and excellent grace1 and wearing a black cap4 ,nor is one able to describe the beauty and goodness that are to be seen in the heads and figures of the ,evangelists1 to whose countenances he gave an air of attention and intentness very true to life1 and particularly in those who are writing4 ,thus1 behind ,s4 ,matthew1 who is copying the characters from the tablet wherein are the figures 7which is held before him by an angel71 and writing them down in a book1 he painted an old man who1 having placed a piece of paper on his knee1 is copying all that ,s4 ,matthew writes down2 and while intent on his work in that uncomfortable position1 he seems to twist his head and his jaws in time with the motion of the pen4 ,and in addition to the details of the conceptions1 which are numerous enough1 there is the composition of the whole scene1 which is truly arranged with so much order and proportion1 that he may be said to have given therein such a proof of his powers as made men understand that he was resolved to hold the sovereignty1 without question1 among all who handled the brush4 ,he also adorned this work with a view in perspective and with many figures1 executed in such a sweet and delicate manner1 that ,pope ,julius was induced thereby to cause all the scenes of the other masters1 both the old and the new1 to be thrown to the ground1 so that ,raffaello alone might have the glory of all the labours that had been devoted to these works up to that time4 ,the work of ,giovanni ,antonio ,sodoma of ,vercelli1 which was above ,raffaello's painting1 was to be thrown down by order of the ,pope2 but ,raffaello determined to make use of its compartments and grotesques4 ,there were also some medallions1 four in number1 and in each of these he made a figure as a symbol of the scenes below1 each figure being on the same side as the scene that it represented4 ,over the first scene1 wherein he painted ,philosophy1 ,astrology1 ,geometry1 and ,poetry making peace with ,theology1 is a woman representing ,knowledge1 who is seated on a throne that is supported on either side by a figure of the ,goddess ,cybele1 each with those many breasts which in ancient times were the attributes of ,diana ,polymastes2 and her dress is of four colours1 standing for the four elements2 from the head downwards there is the colour of fire1 below the girdle that of the sky1 from the groin to the knees there is the colour of earth1 and the rest1 down to the feet1 is the colour of water4 ,with her1 also1 are some truly beautiful little boys4 ,in another medallion1 on the side towards the window that looks over the ,belvedere1 is a figure of ,poetry1 who is in the form of ,polyhymnia1 crowned with laurel1 and holds an antique musical instrument in one hand1 and a book in the other1 and has her legs crossed4 ,with a more than human beauty of expression in her countenance1 she stands with her eyes uplifted towards ,heaven1 accompanied by two little boys1 who are lively and spirited1 and who make a group of beautiful variety both with her and with the others4 ,on this side1 over the aforesaid window1 ,raffaello afterwards painted ,mount ,parnassus4 ,in the third medallion1 which is above the scene where the ,holy ,doctors are ordaining the ,mass1 is a figure of ,theology1 no less beautiful than the others1 with books and other things round her1 and likewise accompanied by little boys4 ,and in the fourth medallion1 over the other window1 which looks out on the court1 he painted ,justice with her scales1 and her sword uplifted1 and with the same little boys that are with the others2 of which the effect is supremely beautiful1 for in the scene on the wall below he depicted the giving of the ,civil and the ,canon ,law1 as we will relate in the proper place4 ,in like manner1 on the same ceiling1 in the angles of the pendentives1 he executed four scenes which he drew and coloured with great diligence1 but with figures of no great size4 ,in one of these1 that near the ,theology1 he painted the ,sin of ,adam1 the eating of the apple1 which he executed with a most delicate manner2 and in the second1 near the ,astrology1 is a figure of that science setting the fixed stars and planets in their places4 ,in the next1 that belonging to ,mount ,parnassus1 is ,marsyas1 whom ,apollo has caused to be bound to a tree and flayed2 and on the side of the scene wherein the ,decretals are given1 there is the ,judgment of ,solomon1 showing him proposing to have the child cut in half4 ,these four scenes are all full of expression and feeling1 and executed with excellent draughtsmanship1 and with pleasing and gracious colouring4 ,but now1 having finished with the vaulting--that is1 the ceiling--of that apartment1 it remains for us to describe what he painted below the things mentioned above1 wall by wall4 ,on the wall towards the ,belvedere1 where there are ,mount ,parnassus and the ,fount of ,helicon1 he made round that mount a laurel wood of darkest shadows1 in the verdure of which one almost sees the leaves quivering in the gentle zephyrs2 and in the air are vast numbers of naked ,loves1 most beautiful in feature and expression1 who are plucking branches of laurel and with them making garlands1 which they throw and scatter about the mount4 ,over the whole1 in truth1 there seems to breathe a spirit of divinity1 so beautiful are the figures1 and such the nobility of the picture1 which makes whoever studies it with attention marvel how a human brain1 by the imperfect means of mere colours1 and by excellence of draughtsmanship1 could make painted things appear alive4 ,most lifelike1 also1 are those ,poets who are seen here and there about the mount1 some standing1 some seated1 some writing1 and others discoursing1 and others1 again1 singing or conversing together1 in groups of four or six1 according as it pleased him to distribute them4 ,there are portraits from nature of all the most famous poets1 ancient and modern1 and some only just dead1 or still living in his day2 which were taken from statues or medals1 and many from old pictures1 and some1 who were still alive1 portrayed from the life by himself4 ,and to begin with one end1 there are ,ovid1 ,virgil1 ,ennius1 ,tibullus1 ,catullus1 ,propertius1 and ,homer2 the last-named1 blind and chanting his verses with uplifted head1 having at his feet one who is writing them down4 ,next1 in a group1 are all the nine ,muses and ,apollo1 with such beauty in their aspect1 and such divinity in the figures1 that they breathe out a spirit of grace and life4 ,there1 also1 are the learned ,sappho1 the most divine ,dante1 the gracious ,petrarca1 and the amorous ,boccaccio1 who are wholly alive1 with ,tibaldeo1 and an endless number of other moderns2 and this scene is composed with much grace1 and executed with diligence4 ,on another wall he made a ,heaven1 with ,christ1 ,our ,lady1 ,s4 ,john the ,baptist1 the ,apostles1 the ,evangelists1 and the ,martyrs1 enthroned on clouds1 with ,god the ,father sending down the ,holy ,spirit over them all1 and particularly over an endless number of saints1 who are below1 writing the ,mass1 and engaged in disputation about the ,host1 which is on the altar4 ,among these are the four ,doctors of the ,church1 who have about them a vast number of saints1 such as ,dominic1 ,francis1 ,thomas ,aquinas1 ,buonaventura1 ,scotus1 and ,nicholas of ,lira1 with ,dante1 ,fra ,girolamo ,savonarola of ,ferrara1 and all the ,christian theologians1 with an infinite number of portraits from nature2 and in the air are four little children1 who are holding open the ,gospels4 ,anything more graceful or more perfect than these figures no painter could create1 since those saints are represented as seated in the air1 in a circle1 and so well1 that in truth1 besides the appearance of life that the colouring gives them1 they are foreshortened and made to recede in such a manner1 that they would not be otherwise if they were in relief4 ,moreover1 their vestments show a rich variety1 with most beautiful folds in the draperies1 and the expressions of the heads are more ,divine than human2 as may be seen in that of ,christ1 which reveals all the clemency and devoutness that ,divinity can show to mortal men through the medium of painting4 ,for ,raffaello received from nature a particular gift of making the expressions of his heads very sweet and gracious2 of which we have proof also in the ,madonna1 who1 with her hands pressed to her bosom1 gazing in contemplation upon her ,son1 seems incapable of refusing any favour2 not to mention that he showed a truly beautiful sense of fitness1 giving a look of age to the expressions of the ,holy ,patriarchs1 simplicity to the ,apostles1 and faith to the ,martyrs4 ,even more art and genius did he display in the holy ,christian ,doctors1 in whose features1 while they make disputation throughout the scene in groups of six or three or two1 there may be seen a kind of eagerness and distress in seeking to find the truth of that which is in question1 revealing this by gesticulating with their hands1 making various movements of their persons1 turning their ears to listen1 knitting their brows1 and expressing astonishment in many different ways1 all truly well varied and appropriate2 save only the four ,doctors of the ,church1 who1 illumined by the ,holy ,spirit1 are unravelling and expounding1 by means of the ,holy ,scriptures1 all the problems of the ,gospels1 which are held up by those little boys who have them in their hands as they hover in the air4 ,on another wall1 where the other window is1 on one side1 he painted ,justinian giving the ,laws to the ,doctors to be revised2 and above this1 ,temperance1 ,fortitude1 and ,prudence4 ,on the other side he painted the ,pope giving the ,canonical ,decretals2 for which ,pope he made a portrait from life of ,pope ,julius1 and1 beside him1 ,cardinal ,giovanni de' ,medici1 who became ,pope ,leo1 ,cardinal ,antonio di ,monte1 and ,cardinal ,alessandro ,farnese1 who afterwards became ,pope ,paul ,,iii1 with other portraits4 ,the ,pope was very well satisfied with this work2 and in order to make the panelling worthy of the paintings1 he sent to ,monte ,oliveto di ,chiusuri1 a place in the territory of ,siena1 for ,fra ,giovanni da ,verona1 a great master at that time of perspective-views in inlaid woodwork1 who made there not only the panelling right round1 but also very beautiful doors and seats1 wrought with perspective-views1 which brought him great favour1 rewards1 and honour from the ,pope4 ,and it is certain that in that craft there was never any man more able than ,giovanni1 either in design or in workmanship3 of which we still have proof in the ,sacristy1 wrought most beautifully with perspective-views in woodwork1 of ,s4 ,maria in ,organo in his native city of ,verona1 in the choir of ,monte ,oliveto di ,chiusuri and that of ,s4 ,benedetto at ,siena1 in the ,sacristy of ,monte ,oliveto at ,naples1 and also in the choir of the ,chapel of ,paolo da ,tolosa in the same place1 executed by that master4 ,wherefore he well deserved to be esteemed and held in very great honour by the convent of his ,order1 in which he died at the age of sixty-eight1 in the year #aecg4 ,of him1 as of a person truly excellent and rare1 ,i have thought it right to make mention1 believing that this was due to his talents1 which1 as will be related in another place1 led to many beautiful works being made by other masters after him4 ,illustration3 ,,the ,,disputa ,,del ,,sacramento 7,after the fresco by ,raffaello da ,urbino4 ,rome3 ,the ,vatican7 ,anderson ,but to return to ,raffaello2 his powers grew in such a manner1 that he was commissioned by the ,pope to go on to paint a second room1 that near the ,great ,hall4 ,and at this time1 when he had gained a very great name1 he also made a portrait of ,pope ,julius in a picture in oils1 so true and so lifelike1 that the portrait caused all who saw it to tremble1 as if it had been the living man himself4 ,this work is now in ,s4 ,maria del ,popolo1 together with a very beautiful picture of ,our ,lady1 painted at the same time by the same master1 and containing the ,nativity of ,jesus ,christ1 wherein is the ,virgin laying a veil over her ,son1 whose beauty is such1 both in the air of the head and in all the members1 as to show that ,he is the true ,son of ,god4 ,and no less beautiful than the ,child is the ,madonna1 in whom1 besides her supreme loveliness1 there may be seen piety and gladness4 ,there is also a ,joseph1 who1 leaning with both his hands on a staff1 and lost in thoughtful contemplation of the ,king and ,queen of ,heaven1 gazes with the adoration of a most saintly old man4 ,both these pictures are exhibited on days of solemn festival4 ,by this time ,raffaello had acquired much fame in ,rome2 but1 although his manner was graceful and held by all to be very beautiful1 and despite the fact that he had seen so many antiquities in that city1 and was for ever studying1 nevertheless he had not yet given thereby to his figures that grandeur and majesty which he gave to them from that time onward4 ,for it happened in those days that ,michelagnolo made the terrifying outburst against the ,pope in the chapel1 of which we will speak in his ,life2 whence he was forced to fly to ,florence4 ,whereupon ,bramante1 having the keys of the chapel1 allowed ,raffaello1 who was his friend1 to see it1 to the end that he might be able to learn the methods of ,michelagnolo4 ,and the sight of it was the reason that ,raffaello straightway repainted1 although he had already finished it1 the ,prophet ,isaiah that is to be seen in ,s4 ,agostino at ,rome1 above the ,s4 ,anne by ,andrea ,sansovino2 in which work1 by means of what he had seen of ,michelagnolo's painting1 he made the manner immeasurably better and more grand1 and gave it greater majesty4 ,wherefore ,michelagnolo1 on seeing afterwards the work of ,raffaello1 thought1 as was the truth1 that ,bramante had done him that wrong on purpose in order to bring profit and fame to ,raffaello4 ,not long after this1 ,agostino ,chigi1 a very rich merchant of ,siena1 who was much the friend of every man of excellence1 gave ,raffaello the commission to paint a chapel2 and this he did because a short time before ,raffaello had painted for him in his softest manner1 in a loggia of his palace1 now called the ,chigi1 in the ,trastevere1 a ,galatea in a car on the sea drawn by two dolphins1 and surrounded by ,tritons and many sea-gods4 ,raffaello1 then1 having made the cartoon for that chapel1 which is at the entrance of the ,church of ,s4 ,maria della ,pace1 on the right hand as one goes into the church by the principal door1 executed it in fresco1 in his new manner1 which was no little grander and more magnificent than his earlier manner4 ,in this painting ,raffaello depicted some ,prophets and ,sibyls1 before ,michelagnolo's chapel had been thrown open to view1 although he had seen it2 and in truth it is held to be the best of his works1 and the most beautiful among so many that are beautiful1 for in the women and children that are in it1 there may be seen a marvellous vivacity and perfect colouring4 ,and this work caused him to be greatly esteemed both in his lifetime and after his death1 being the rarest and most excellent that ,raffaello executed in all his life4 ,next1 spurred by the entreaties of a ,chamberlain of ,pope ,julius1 he painted the panel for the high-altar of the ,araceli1 wherein he made a ,madonna in the sky1 with a most beautiful landscape1 a ,s4 ,john1 a ,s4 ,francis1 and a ,s4 ,jerome represented as a ,cardinal2 in which ,madonna may be seen a humility and a modesty truly worthy of the ,mother of ,christ2 and besides the beautiful gesture of the ,child as ,he plays with ,his ,mother's hand1 there is revealed in ,s4 ,john that penitential air which fasting generally gives1 while his head displays the sincerity of soul and frank assurance appropriate to those who live away from the world and despise it1 and1 in their dealings with mankind1 make war on falsehood and speak out the truth4 ,in like manner1 the ,s4 ,jerome has his head uplifted with his eyes on the ,madonna1 deep in contemplation2 and in them seem to be suggested all the learning and knowledge that he showed in his writings1 while with both his hands he is presenting the ,chamberlain1 in the act of recommending him to her2 which portrait of the ,chamberlain is as lifelike as any ever painted4 ,nor did ,raffaello fail to do as well in the figure of ,s4 ,francis1 who1 kneeling on the ground1 with one arm outstretched1 and with his head upraised1 is gazing up at the ,madonna1 glowing with a love in tone with the feeling of the picture1 which1 both by the lineaments and by the colouring1 shows him melting with affection1 and taking comfort and life from the gracious sight of her beauty and of the vivacity and beauty of her ,son4 ,in the middle of the panel1 below the ,madonna1 ,raffaello made a little boy standing1 who is raising his head towards her and holding an inscription3 than whom none better or more graceful could be painted1 what with the beauty of his features and the proportionate loveliness of his person4 ,and in addition there is a landscape1 which is singularly beautiful in its absolute perfection4 ,illustration3 ,,the ,,mass ,,of ,,bolsena 7,after the fresco by ,raffaello da ,urbino4 ,rome3 ,the ,vatican7 ,anderson ,afterwards1 going on with the apartments of the ,palace1 he painted a scene of the ,miracle of the ,sacramental ,corporal of ,orvieto1 or of ,bolsena1 whichever it may be called4 ,in this scene there may be perceived in the face of the priest who is saying ,mass1 which is glowing with a blush1 the shame that he felt on seeing the ,host turned into blood on the ,corporal on account of his unbelief4 ,with terror in his eyes1 dumbfoundered and beside himself in the presence of his hearers1 he seems like one who knows not what to do2 and in the gesture of his hands may almost be seen the fear and trembling that a man would feel in such a case4 ,round him ,raffaello made many figures1 all varied and different1 some serving the ,mass1 others kneeling on a flight of steps2 and all1 bewildered by the strangeness of the event1 are making various most beautiful movements and gestures1 while in many1 both men and women1 there is revealed a belief that they are to blame4 ,among the women is one who is seated on the ground at the foot of the scene1 holding a child in her arms2 and she1 hearing the account that another appears to be giving her of the thing that has happened to the priest1 turns in a marvellous manner as she listens to this1 with a womanly grace that is very natural and lifelike4 ,on the other side he painted ,pope ,julius hearing that ,mass1 a most marvellous work1 wherein he made a portrait of ,cardinal di ,san ,giorgio1 with innumerable others2 and the window-opening he turned to advantage by making a flight of steps1 in such a way that all the painting seems to be one whole3 nay1 it appears as if1 were that window-space not there1 the work would in nowise have been complete4 ,wherefore it may be truly credited to him that in the invention and composition of every kind of painted story1 no one has ever been more dexterous1 facile1 and able than ,raffaello4 ,this he also proved in another scene in the same place1 opposite to the last-named1 of ,s4 ,peter in the hands of ,herod1 and guarded in prison by men-at-arms2 wherein he showed such a grasp of architecture1 and such judgment in the buildings of the prison1 that in truth the others after him seem to have more confusion than he has beauty4 ,for he was ever seeking to represent stories just as they are written1 and to paint in them things gracious and excellent2 as is proved in this one by the horror of the prison1 wherein that old man is seen bound in chains of iron between the two men-at-arms1 by the deep slumber of the guards1 and by the dazzling splendour of the ,angel1 which1 in the thick darkness of the night1 reveals with its light every detail of the prison1 and makes the arms of the soldiers shine resplendent1 in such a way that their burnished lustre seems more lifelike than if they were real1 although they are only painted4 ,no less art and genius are there in the action of ,s4 ,peter1 when1 freed from his chains1 he goes forth from the prison1 accompanied by the ,angel1 wherein one sees in the face of the ,saint a belief that it is rather a dream than a reality2 and so1 also1 terror and dismay are shown in some other armed guards without the prison1 who hear the noise of the iron door1 while a sentinel with a torch in his hand rouses the others1 and1 as he gives them light with it1 the blaze of the torch is reflected in all their armour2 and all that its glow does not reach is illumined by the light of the moon4 ,this composition ,raffaello painted over the window1 where the wall is darkest2 and thus1 when you look at the picture1 the light strikes you in the face1 and the real light conflicts so well with the different lights of the night in the painting1 that the smoke of the torch1 the splendour of the ,angel1 and the thick darkness of the night seem to you to be wholly real and natural1 and you would never say that it was all painted1 so vividly did he express this difficult conception4 ,in it are seen shadows playing on the armour1 other shadows projected1 reflections1 and a vaporous glare from the lights1 all executed with darkest shade1 and so well1 that it may be truly said that he was the master of every other master2 and as an effect of night1 among all those that painting has ever produced1 this is the most real and most divine1 and is held by all the world to be the rarest4 ,on one of the unbroken walls1 also1 he painted the ,divine ,worship and the ,ark of the ,hebrews1 with the ,candlestick2 and likewise ,pope ,julius driving ,avarice out of the ,temple1 a scene as beautiful and as excellent as the ,night described above4 ,here1 in some bearers who are carrying ,pope ,julius1 a most lifelike figure1 in his chair1 are portraits of men who were living at that time4 ,and while the people1 some women among them1 are making way for the ,pope1 so that he may pass1 one sees the furious onset of an armed man on horseback1 who1 accompanied by two on foot1 and in an attitude of the greatest fierceness1 is smiting and riding down the proud ,heliodorus1 who is seeking1 at the command of ,antiochus1 to rob the ,temple of all the wealth stored for the widows and orphans4 ,already the riches and treasures could be seen being removed and taken away1 when1 on account of the terror of the strange misfortune of ,heliodorus1 so rudely struck down and smitten by the three figures mentioned above 7although1 this being a vision1 they are seen and heard by him alone71 behold1 they are all dropped and upset on the ground1 those who were carrying them falling down through the sudden terror and panic that had come upon all the following of ,heliodorus4 ,apart from these may be seen the holy ,onias1 the ,high ,priest1 dressed in his robes of office1 with his eyes and hands raised to ,heaven1 and praying most fervently1 being seized with pity for the poor innocents who were thus nearly losing their possessions1 and rejoicing at the help that he feels has come down from on high4 ,besides this1 through a beautiful fancy of ,raffaello's1 one sees many who have climbed on to the socles of the column-bases1 and1 clasping the shafts1 stand looking in most uncomfortable attitudes2 with a throng of people showing their amazement in many various ways1 and awaiting the result of this event4 ,this work is in every part so stupendous1 that even the cartoons are held in the greatest veneration2 wherefore ,messer ,francesco ,masini1 a gentleman of ,cesena--who1 without the help of any master1 but giving his attention by himself from his earliest childhood1 guided by an extraordinary instinct of nature1 to drawing and painting1 has painted pictures that have been much extolled by good judges of art--possesses1 among his many drawings and some ancient reliefs in marble1 certain pieces of the cartoon which ,raffaello made for this story of ,heliodorus1 and he holds them in the estimation that they truly deserve4 ,nor will ,i refrain from saying that ,messer ,niccol ,masini1 who has given me information about these matters1 is as much a true lover of our arts as he is a man of real culture in all other things4 ,but to return to ,raffaello2 on the ceiling above these works1 he then executed four scenes1 ,god appearing to ,abraham and promising him the multiplication of his seed1 the ,sacrifice of ,isaac1 ,jacob's ,ladder1 and the ,burning ,bush of ,moses3 wherein may be recognized no less art1 invention1 draughtsmanship1 and grace1 than in the other works that he painted4 ,while the happy genius of this craftsman was producing such marvels1 the envy of fortune cut short the life of ,julius ,,ii1 who had fostered such abilities1 and had been a lover of every excellent work4 ,whereupon a new ,pope was elected in ,leo ,x1 who desired that the work begun should be carried on2 and ,raffaello thereby soared with his genius into the heavens1 and received endless favours from him1 fortunate in having come upon a ,prince so great1 who had by the inheritance of blood a strong inclination for such an art4 ,raffaello1 therefore1 thus encouraged to pursue the work1 painted on the other wall the ,coming of ,attila to ,rome1 and his encounter at the foot of ,monte ,mario with ,leo ,,iii1 who drove him away with his mere benediction4 ,in this scene ,raffaello made ,s4 ,peter and ,s4 ,paul in the air1 with swords in their hands1 coming to defend the ,church2 and while the story of ,leo ,,iii says nothing of this1 nevertheless it was thus that he chose to represent it1 perchance out of fancy1 for it often happens that painters1 like poets1 go straying from their subject in order to make their work the more ornate1 although their digressions are not such as to be out of harmony with their first intention4 ,in those ,apostles may be seen that celestial wrath and ardour which the ,divine ,justice is wont often to impart to the features of its ministers1 charged with defending the most holy ,faith2 and of this we have proof in ,attila1 who is to be seen riding a black horse with white feet and a star on its forehead1 as beautiful as it could be1 for in an attitude of the utmost terror he throws up his head and turns his body in flight4 ,there are other most beautiful horses1 particularly a dappled jennet1 which is ridden by a figure that has all the body covered with scales after the manner of a fish2 which is copied from the ,column of ,trajan1 wherein the figures have armour of that kind2 and it is thought that such armour is made from the skins of crocodiles4 ,there is ,monte ,mario1 all aflame1 showing that when soldiers march away1 their quarters are always left a prey to fire4 ,he made portraits from nature1 also1 in some mace-bearers accompanying the ,pope1 who are marvellously lifelike1 as are the horses on which they are riding2 and the same is true of the retinue of ,cardinals1 and of some grooms who are holding the palfrey on which rides the ,pope in full pontificals 7a portrait of ,leo ,x1 no less lifelike than those of the others71 with many courtiers2 the whole being a most pleasing spectacle and well in keeping with such a work1 and also very useful to our art1 particularly for those who have no such objects at their command4 ,at this same time he painted a panel containing ,our ,lady1 ,s4 ,jerome robed as a ,cardinal1 and an ,angel ,raphael accompanying ,tobias1 which was placed in ,s4 ,domenico at ,naples1 in that chapel wherein is the ,crucifix that spoke to ,s4 ,thomas ,aquinas4 ,for ,signor ,leonello da ,carpi1 ,lord of ,meldola1 who is still alive1 although more than ninety years old1 he executed a picture that was most marvellous in colouring1 and of a singular beauty1 for it is painted with such force1 and also with a delicacy so pleasing1 that ,i do not think it is possible to do better4 ,in the countenance of the ,madonna may be seen such a divine air1 and in her attitude such a dignity1 that no one would be able to improve her2 and he made her with the hands clasped1 adoring her ,son1 who is seated on her knees1 caressing a ,s4 ,john1 a little boy1 who is adoring ,him1 in company with ,s4 ,elizabeth and ,joseph4 ,this picture was once in the possession of the very reverend ,cardinal da ,carpi1 the son of the said ,signor ,leonello1 and a great lover of our arts2 and it should be at the present day in the hands of his heirs4 ,afterwards1 ,lorenzo ,pucci1 ,cardinal of ,santi ,quattro1 having been created ,grand ,penitentiary1 ,raffaello was favoured by him with a commission to paint a panel for ,s4 ,giovanni in ,monte at ,bologna1 which is now set up in the chapel wherein lies the body of the ,blessed ,elena dall' ,olio3 in which work it is evident how much grace1 in company with art1 could accomplish by means of the delicate hands of ,raffaello4 ,in it is a ,s4 ,cecilia1 who1 entranced by a choir of angels on high1 stands listening to the sound1 wholly absorbed in the harmony2 and in her countenance is seen that abstraction which is found in the faces of those who are in ecstasy4 ,scattered about the ground1 moreover1 are musical instruments1 which have the appearance of being1 not painted1 but real and true2 and such1 also1 are some veils that she is wearing1 with vestments woven in silk and gold1 and1 below these1 a marvellous hair-shirt4 ,and in a ,s4 ,paul1 who has the right arm leaning on his naked sword1 and the head resting on the hand1 one sees his profound air of knowledge1 no less well expressed than the transformation of his pride of aspect into dignity4 ,he is clothed in a simple red garment by way of mantle1 below which is a green tunic1 after the manner of the ,apostles1 and his feet are bare4 ,there is also ,s4 ,mary ,magdalene1 who is holding in her hands a most delicate vase of stone1 in an attitude of marvellous grace2 turning her head1 she seems full of joy at her conversion2 and indeed1 in that kind of painting1 ,i do not think that anything better could be done4 ,very beautiful1 likewise1 are the heads of ,s4 ,augustine and ,s4 ,john the ,evangelist4 ,of a truth1 other pictures may be said to be pictures1 but those of ,raffaello life itself1 for in his figures the flesh quivers1 the very breath may be perceived1 the pulse beats1 and the true presentment of life is seen in them2 on which account this picture gave him1 in addition to the fame that he had already1 an even greater name4 ,wherefore many verses were written in his honour1 both ,latin and in the vulgar tongue1 of which1 in order not to make my story longer than ,i have set out to do1 ,i will cite only the following3 ,pingant sola alii referantque coloribus ora2 ,ccili os ,raphael atque animum explicuit4 ,after this he also painted a little picture with small figures1 which is likewise at ,bologna1 in the house of ,count ,vincenzio ,ercolano1 containing a ,christ after the manner of ,jove in ,heaven1 surrounded by the four ,evangelists as ,ezekiel describes them1 one in the form of a man1 another as a lion1 the third an eagle1 and the fourth an ox1 with a little landscape below to represent the earth3 which work1 in its small proportions1 is no less rare and beautiful than his others in their greatness4 ,illustration3 ,,pope ,,leo ,x ,,with ,,two ,,cardinals 7,after the panel by ,raffaello da ,urbino4 ,florence3 ,pitti1 #dj7 ,m4,s4 ,to the ,counts of ,canossa in ,verona he sent a large picture of equal excellence1 in which is a very beautiful ,nativity of ,our ,lord1 with a daybreak that is much extolled1 as is also the ,s4 ,anne1 and1 indeed1 the whole work1 which cannot be more highly praised than by saying that it is by the hand of ,raffaello da ,urbino4 ,wherefore those ,counts rightly hold it in supreme veneration1 nor have they ever consented1 for all the vast prices that have been offered to them by many ,princes1 to sell it to anyone4 ,for ,bindo ,altoviti1 he made a portrait of him when he was a young man1 which is held to be extraordinary2 and likewise a picture of ,our ,lady1 which he sent to ,florence1 and which is now in the ,palace of ,duke ,cosimo1 in the chapel of the new apartments1 which were built and painted by me1 where it serves as altar-piece4 ,in it is painted a very old ,s4 ,anne1 seated1 and holding out to ,our ,lady her ,son1 the features of whose countenance1 as well as the whole of ,his nude form1 are so beautiful that with ,his smile ,he rejoices whoever beholds ,him2 besides which1 ,raffaello depicted1 in painting the ,madonna1 all the beauty that can be imparted to the aspect of a ,virgin1 with the complement of chaste humility in the eyes1 honour in the brow1 grace in the nose1 and virtue in the mouth2 not to mention that her raiment is such as to reveal infinite simplicity and dignity4 ,and1 indeed1 ,i do not think that there is anything better to be seen than this whole work4 ,there is a nude ,s4 ,john1 seated1 with a female saint1 who is likewise very beautiful2 and for background there is a building1 in which he painted a linen-covered window that gives light to the room wherein are the figures4 ,in ,rome he made a picture of good size1 in which he portrayed ,pope ,leo1 ,cardinal ,giulio de' ,medici1 and ,cardinal de' ,rossi4 ,in this the figures appear to be not painted1 but in full relief2 there is the pile of the velvet1 with the damask of the ,pope's vestments shining and rustling1 the fur of the linings soft and natural1 and the gold and silk so counterfeited that they do not seem to be in colour1 but real gold and silk4 ,there is an illuminated book of parchment1 which appears more real than the reality2 and a little bell of wrought silver1 which is more beautiful than words can tell4 ,among other things1 also1 is a ball of burnished gold on the ,pope's chair1 wherein are reflected1 as if it were a mirror 7such is its brightness71 the light from the windows1 the shoulders of the ,pope1 and the walls round the room4 ,and all these things are executed with such diligence1 that one may believe without any manner of doubt that no master is able1 or is ever likely to be able1 to do better4 ,for this work the ,pope was pleased to reward him very richly2 and the picture is still to be seen in ,florence1 in the guardaroba of the ,duke4 ,in like manner he executed portraits of ,duke ,lorenzo and ,duke ,giuliano1 with a perfect grace of colouring not achieved by any other than himself1 which are in the possession of the heirs of ,ottaviano de' ,medici at ,florence4 ,thereupon there came to ,raffaello a great increase of glory1 and likewise of rewards2 and for this reason1 in order to leave some memorial of himself1 he caused a palace to be built in the ,borgo ,nuovo at ,rome1 which ,bramante executed with castings4 ,now1 the fame of this most noble craftsman1 by reason of the aforesaid works and many others1 having passed into ,france and ,flanders1 ,albrecht ,drer1 a most marvellous ,german painter1 and an engraver of very beautiful copperplates1 rendered tribute to ,raffaello out of his own works1 and sent to him a portrait of himself1 a head1 executed by him in gouache on a cloth of fine linen1 which showed the same on either side1 the lights being transparent and obtained without lead-white1 while the only grounding and colouring was done with water-colours1 the white of the cloth serving for the ground of the bright parts4 ,this work seemed to ,raffaello to be marvellous1 and he sent him1 therefore1 many drawings executed by his own hand1 which were received very gladly by ,albrecht4 ,that head was among the possessions of ,giulio ,romano1 the heir of ,raffaello1 in ,mantua4 ,raffaello1 having thus seen the manner of the engravings of ,albrecht ,drer1 and desiring on his own behalf to show what could be done with his work by such an art1 caused ,marc' ,antonio ,bolognese to make a very thorough study of the method2 and that master became so excellent1 that ,raffaello commissioned him to make prints of his first works1 such as the drawing of the ,innocents1 a ,last ,supper1 the ,neptune1 and the ,s4 ,cecilia being boiled in oil4 ,marc' ,antonio afterwards made for ,raffaello a number of other engravings1 which ,raffaello finally gave to ,baviera1 his assistant1 who had charge of a mistress whom ,raffaello loved to the day of his death4 ,of her he made a very beautiful portrait1 wherein she seemed wholly alive3 and this is now in ,florence1 in the possession of that most gentle of men1 ,matteo ,botti1 a ,florentine merchant1 and an intimate friend of every able person1 and particularly of painters1 who treasures it as a relic1 on account of the love that he bears to art1 and above all to ,raffaello4 ,and no less esteem is shown to the works of our arts and to the craftsmen by his brother1 ,simon ,botti1 who1 besides being held by us all to be one of the most loving spirits that show favour to the men of our professions1 is held in estimation by me in particular as the best and greatest friend that ever man loved after a long experience2 not to mention the good judgment that he has and shows in matters of art4 ,but to return to the engravings2 the favour shown by ,raffaello to ,baviera was the reason that there afterwards sprang up ,marco da ,ravenna and a host of others1 insomuch that the dearth of copper engravings was changed into that abundance that we see at the present day4 ,thereupon ,ugo da ,carpi1 having a brain inclined to ingenious and fanciful things1 and showing beautiful invention1 discovered the method of wood-engraving1 whereby1 with three blocks1 giving the middle values1 the lights1 and the shadows1 it is possible to imitate drawings in chiaroscuro1 which was certainly a thing of beautiful and fanciful invention2 and from this1 also1 there afterwards came an abundance of prints1 as will be related with greater detail in the ,life of ,marc' ,antonio ,bolognese4 ,raffaello then painted for the ,monastery of the ,monks of ,monte ,oliveto1 called ,s4 ,maria dello ,spasmo1 at ,palermo1 a panel-picture of ,christ bearing the ,cross1 which is held to be a marvellous work4 ,in this may be seen the impious ministers of the ,crucifixion1 leading ,him with wrath and fury to ,his death on ,mount ,calvary2 and ,christ1 broken with agony at the near approach of death1 has fallen to the ground under the weight of the ,tree of the ,cross1 and1 bathed with sweat and blood1 turns towards the ,maries1 who are in a storm of weeping4 ,moreover1 there is seen among them ,veronica1 who stretches out her arms and offers ,him a cloth1 with an expression of the tenderest love1 not to mention that the work is full of men-at-arms both on horseback and on foot1 who are pouring forth from the gate of ,jerusalem with the standards of justice in their hands1 in various most beautiful attitudes4 ,this panel1 when completely finished1 but not yet brought to its resting-place1 was very near coming to an evil end1 for the story goes that after it had been put on shipboard1 in order that it might be carried to ,palermo1 a terrible storm dashed against a rock the ship that was carrying it1 in such a manner that the timbers broke asunder1 and all the men were lost1 together with the merchandise1 save only the panel1 which1 safely packed in its case1 was washed by the sea on to the shore of ,genoa4 ,there1 having been fished up and drawn to land1 it was found to be a thing divine1 and was put into safe keeping2 for it had remained undamaged and without any hurt or blemish1 since even the fury of the winds and the waves of the sea had respect for the beauty of such a work4 ,the news of this being then bruited abroad1 the monks took measures to recover it1 and no sooner had it been restored to them1 by the favour of the ,pope1 than they gave satisfaction1 and that liberally1 to those who had rescued it4 ,thereupon it was once more put on board ship and brought at last to ,sicily1 where they set it up in ,palermo2 in which place it has more fame and reputation than the ,mount of ,vulcan itself4 ,while ,raffaello was engaged on these works1 which1 having to gratify great and distinguished persons1 he could not refuse to undertake--not to mention that his own private interests prevented him from saying them nay--yet for all this he never ceased to carry on the series of pictures that he had begun in the ,papal apartments and halls2 wherein he always kept men who pursued the work from his own designs1 while he himself1 continually supervising everything1 lent to so vast an enterprise the aid of the best efforts of which he was capable4 ,no long time passed1 therefore1 before he threw open that apartment of the ,borgia ,tower in which he had painted a scene on every wall1 two above the windows1 and two others on the unbroken walls4 ,in one was the ,burning of the ,borgo ,vecchio of ,rome1 when1 all other methods having failed to put out the fire1 ,s4 ,leo ,,iv presents himself at the ,loggia of his ,palace and extinguishes it completely with his benediction4 ,in this scene are represented various perils4 ,on one side are women who are bearing vessels filled with water in their hands and on their heads1 whereby to extinguish the flames2 and their hair and draperies are blown about by the terrible fury of a tempestuous wind4 ,others1 who are seeking to throw water on the fire1 are blinded by the smoke and wholly bewildered4 ,on the other side1 after the manner of ,virgil's story of ,anchises being carried by neas1 is shown an old sick man1 overcome by his infirmity and the flames of the fire2 and in the figure of the young man are seen courage and strength1 and great effort in all his limbs under the weight of the old man1 who lies helpless on the young man's back4 ,he is followed by an old woman with bare feet and disordered garments1 who is flying from the fire2 and a little naked boy runs before them4 ,on the top of some ruins1 likewise1 may be seen a naked woman1 with hair all dishevelled1 who has her child in her hands and is throwing him to a man of her house1 who1 having escaped from the flames1 is standing in the street on tiptoe1 with arms outstretched to receive the child wrapped in swathing-bands2 wherein the eager anxiety of the woman to save her son may be recognized no less clearly than her torment in the peril of the fierce flames1 which are already licking around her4 ,and no less suffering is evident in him who is receiving the child1 both for its sake and on account of his own fear of death4 ,nor is it possible to describe the imagination that this most ingenious and most marvellous craftsman showed in a mother with her feet bare1 her garments in disorder1 her girdle unbound1 and her hair dishevelled1 who has gathered her children before her and is driving them on1 holding part of her clothing in one hand1 that they may escape from the ruins and from that blazing furnace2 not to mention that there are also some women who1 kneeling before the ,pope1 appear to be praying to his ,holiness that he should make the fire cease4 ,the next scene is from the life of the same ,s4 ,leo ,,iv1 wherein ,raffaello depicted the port of ,ostia occupied by the fleet of the ,turks1 who had come to take the ,pope prisoner4 ,the ,christians may be seen fighting against that fleet on the sea2 and already there has come to the harbour an endless number of prisoners1 who are disembarking from a boat and being dragged by the beard by some soldiers1 who are very beautiful in features and most spirited in their attitudes4 ,the prisoners1 dressed in the motley garb of galley-slaves1 are being led before ,s4 ,leo1 whose figure is a portrait of ,pope ,leo ,x4 ,here ,raffaello painted his ,holiness in pontificals1 between ,cardinal ,santa ,maria in ,portico1 who was ,bernardo ,divizio of ,bibbiena1 and ,cardinal ,giulio de' ,medici1 who afterwards became ,pope ,clement4 ,nor is it possible to describe in detail the beautiful conceptions that this most ingenious craftsman showed in the expressions of the prisoners1 wherein one can recognize1 without speech1 their grief and the fear of death4 ,in the first of the other two scenes is ,pope ,leo ,x consecrating the most ,christian ,king1 ,francis ,i of ,france1 chanting the ,mass in his pontificals1 and blessing the oil for the anointing of the ,king1 and likewise the royal crown4 ,there1 besides the great number of ,cardinals and ,bishops in their robes1 who are assisting1 he portrayed from life many ,ambassadors and other persons1 and also some figures dressed in the ,french fashion1 according to the style of that time4 ,in the other scene he painted the ,crowning of the same ,king1 wherein are portraits from life of the ,pope and of ,francis1 one in armour and the other in his pontificals2 besides which1 all the ,cardinals1 ,bishops1 ,chamberlains1 ,esquires1 and ,grooms of the ,chamber are seated in due order in their places1 as is the custom in the chapel1 all in their robes and portrayed from life1 among them being ,giannozzo ,pandolfini1 ,bishop of ,troia1 a close friend of ,raffaello1 with many others who were distinguished at that time4 ,near the ,king is a little boy kneeling1 who is holding the royal crown--a portrait of ,ippolito de' ,medici1 who afterwards became ,cardinal and ,vice-,chancellor1 a man of great repute1 and much the friend not only of this art1 but of all others1 to whose blessed memory ,i acknowledge a vast obligation1 seeing that my first steps1 such as they were1 were taken under his auspices4 ,it is not possible to write of every detail in the works of this craftsman1 wherein every least thing1 although dumb1 appears to have speech3 save only of the bases executed below these pictures1 with various figures of defenders and benefactors of the ,church1 and various terminal figures on either side of them1 the whole being wrought in such a manner that everything reveals spirit1 feeling1 and thought1 and with such a harmony and unity of colouring that nothing better can be conceived4 ,and since the ceiling of that apartment had been painted by ,pietro ,perugino1 his master1 ,raffaello would not destroy it1 moved by respect for his memory and by the love that he bore to the man who had been the origin of the rank that he held in his art4 ,such was the greatness of this master1 that he kept designers all over ,italy1 at ,pozzuolo1 and even in ,greece2 and he was for ever searching out everything of the good that might help his art4 ,now1 continuing his work1 he also painted a hall1 wherein were some figures of the ,apostles and other saints in tabernacles1 executed in terretta2 and there he caused to be made by ,giovanni da ,udine1 his disciple1 who has no equal in the painting of animals1 all the animals that ,pope ,leo possessed1 such as the chameleon1 the civet-cats1 the apes1 the parrots1 the lions1 the elephants1 and other beasts even more strange4 ,and besides embellishing the ,palace greatly with grotesques and varied pavements1 he also gave the designs for the ,papal staircases1 as well as for the loggie begun by the architect ,bramante1 but left unfinished on account of his death1 and afterwards carried out with the new design and architecture of ,raffaello1 who made for this a model of wood with better proportion and adornment than had been accomplished by ,bramante4 ,the ,pope wishing to demonstrate the greatness and magnificence of his generous ambition1 ,raffaello made the designs for the ornaments in stucco and for the scenes that were painted there1 and likewise for the compartments2 and as for the stucco and the grotesques1 he placed at the head of that work ,giovanni da ,udine1 and the figures he entrusted to ,giulio ,romano1 although that master worked but little at them2 and he also employed ,giovanni ,francesco1 ,il ,bologna1 ,perino del ,vaga1 ,pellegrino da ,modena1 ,vincenzio da ,san ,gimignano1 and ,polidoro da ,caravaggio1 with many other painters1 who executed scenes and figures and other things that were required throughout that work1 which ,raffaello caused to be completed with such perfection1 that he even sent to ,florence for pavements by the hand of ,luca della ,robbia4 ,wherefore it is certain that with regard to the paintings1 the stucco-ornaments1 the arrangement1 or any of the beautiful inventions1 no one would be able to execute or even to imagine a more marvellous work2 and its beauty was the reason that ,raffaello received the charge of all the works of painting and architecture that were in progress in the ,palace4 ,it is said that the courtesy of ,raffaello was such that he prevailed upon the masons1 in order that he might accommodate his friends1 not to build the walls absolutely solid and unbroken1 but to leave1 above the old rooms below1 various openings and spaces for the storage of barrels1 flasks1 and wood2 which holes and spaces so weakened the lower part of the masonry1 that afterwards they had to be filled in1 because the whole was beginning to show cracks4 ,he commissioned ,gian ,barile to adorn all the doors and ceilings of woodwork with a good number of carvings1 which he executed and finished with beautiful grace4 ,he gave architectural designs for the ,vigna#bf of the ,pope1 and for many houses in the ,borgo2 in particular1 for the ,palace of ,messer ,giovanni ,battista dall' ,aquila1 which was a very beautiful work4 ,he also designed one for the ,bishop of ,troia1 who had it built in the ,via di ,s4 ,gallo at ,florence4 ,for the ,black ,friars of ,s4 ,sisto in ,piacenza1 he painted the picture for their high-altar1 containing the ,madonna with ,s4 ,sisto and ,s4 ,barbara1 a truly rare and extraordinary work4 ,he executed many pictures to be sent into ,france1 and in particular1 for the ,king1 a ,s4 ,michael fighting with the ,devil1 which was held to be a marvellous thing4 ,in this work he painted a fire-scarred rock1 to represent the centre of the earth1 from the fissures of which were issuing sulphurous flames2 and in ,lucifer1 whose scorched and burned limbs are painted with various tints of flesh-colour1 could be seen all the shades of anger that his venomous and swollen pride calls up against ,him who overbears the greatness of him who is deprived of any kingdom where there might be peace1 and doomed to suffer perpetual punishment4 ,the opposite may be perceived in the ,s4 ,michael1 clad in armour of iron and gold1 who1 although he is painted with a celestial air1 yet has valour1 force1 and terror in his aspect1 and has already thrown ,lucifer down and hurled him backwards with his spear4 ,in a word1 this work was of such a kind that he won for it1 and rightly1 a most honourable reward from that ,king4 ,he made portraits of ,beatrice of ,ferrara and other ladies1 and in particular that of his own mistress1 with an endless number of others4 ,raffaello was a very amorous person1 delighting much in women1 and ever ready to serve them2 which was the reason that1 in the pursuit of his carnal pleasures1 he found his friends more complacent and indulgent towards him than perchance was right4 ,wherefore1 when his dear friend ,agostino ,chigi commissioned him to paint the first loggia in his palace1 ,raffaello was not able to give much attention to his work1 on account of the love that he had for his mistress2 at which ,agostino fell into such despair1 that he so contrived by means of others1 by himself1 and in other ways1 as to bring it about1 although only with difficulty1 that this lady should come to live continually with ,raffaello in that part of the house where he was working2 and in this manner the work was brought to completion4 ,for this work he made all the cartoons1 and he coloured many of the figures in fresco with his own hand4 ,and on the ceiling he made the ,council of the ,gods in ,heaven1 wherein1 in the forms of the ,gods1 are seen many vestments and lineaments copied from the antique1 and executed with very beautiful grace and draughtsmanship4 ,in like manner he made the ,marriage of ,psyche1 with ministers serving ,jove1 and the ,graces scattering flowers over the table4 ,in the spandrels of the vaulting he executed many scenes1 in one of which is ,mercury with his flute1 who1 as he flies1 has all the appearance of descending from ,heaven2 and in another is ,jove with an air of celestial dignity1 kissing ,ganymede2 and in another1 likewise1 lower down1 is the ,car of ,venus1 and the ,graces1 with ,mercury1 drawing ,psyche up to ,heaven2 with many other scenes from the poets in the other spandrels4 ,and in the spherical triangles of the vaulting above the arches1 between the spandrels1 are many most beautiful little boys in foreshortening1 hovering in the air and carrying all the instruments of the gods2 ,jove's lightnings and thunderbolts1 the helmet1 sword1 and shield of ,mars1 ,vulcan's hammers1 the club and lion-skin of ,hercules1 the caduceus of ,mercury1 ,pan's pipes1 and the agricultural rakes of ,vertumnus4 ,all are accompanied by animals appropriate to their character2 and the whole work1 both as picture and as poem1 is truly beautiful4 ,round these scenes he caused ,giovanni da ,udine to make a border of all kinds of flowers1 foliage1 and fruits1 in festoons1 which are as beautiful as they could be4 ,raffaello made the designs for the architecture of the stables of the ,chigi1 and the design for the chapel of the aforesaid ,agostino in ,s4 ,maria del ,popolo1 wherein1 besides painting it1 he made arrangements for the erection of a marvellous tomb1 causing ,lorenzetto1 a sculptor of ,florence1 to execute two figures1 which are still in his house in the ,macello de' ,corbi at ,rome2 but the death of ,raffaello1 followed by that of ,agostino1 brought it about that this work was given to ,sebastiano ,viniziano4 ,meanwhile ,raffaello had risen to such greatness1 that ,leo ,x ordained that he should set to work on the ,great ,hall on the upper floor1 wherein are the ,victories of ,constantine2 and with this he made a beginning4 ,a fancy likewise took the ,pope to have some very rich tapestries made in gold and floss-silk2 whereupon ,raffaello drew and coloured with his own hand1 of the exact form and size1 all the cartoons1 which were sent to ,flanders to be woven2 and the tapestries1 when finished1 were brought to ,rome4 ,this work was executed so marvellously1 that it arouses astonishment in whoever beholds it1 wondering how it could have been possible to weave the hair and beards in such detail1 and to give softness to the flesh with mere threads2 and it is truly rather a miracle than the work of human art1 seeing that in these tapestries are animals1 water1 and buildings1 all made in such a way that they seem to be not woven1 but really wrought with the brush4 ,the work cost #gj1jjj crowns1 and it is still preserved in the ,papal ,chapel4 ,for ,cardinal ,colonna he painted a ,s4 ,john on canvas1 for which1 on account of its beauty1 that ,cardinal had an extraordinary love2 but happening to be attacked by illness1 he was asked by ,messer ,jacopo da ,carpi1 the physician who cured him1 to give it to him as a present2 and because of this desire of ,messer ,jacopo1 to whom he felt himself very deeply indebted1 he gave it up4 ,it is now in the possession of ,francesco ,benintendi1 in ,florence4 ,illustration3 ,,the ,,transfiguration 7,after the panel by ,raffaello da ,urbino4 ,rome3 ,the ,vatican7 ,anderson ,for ,giulio de' ,medici1 ,cardinal and ,vice-,chancellor1 he painted a panel-picture1 to be sent into ,france1 of the ,transfiguration of ,christ1 at which he laboured without ceasing1 and brought it to the highest perfection with his own hand4 ,in this scene he represented ,christ ,transfigured on ,mount ,tabor1 at the foot of which are the eleven ,disciples awaiting ,him4 ,there may be seen a young man possessed by a spirit1 who has been brought thither in order that ,christ1 after descending from the mountain1 may deliver him2 which young man stretches himself out in a distorted attitude1 crying and rolling his eyes1 and reveals his suffering in his flesh1 his veins1 and the beat of his pulse1 all infected by that malignant spirit2 and the colour of his flesh1 as he makes those violent and fearsome gestures1 is very pale4 ,this figure is supported by an old man1 who1 having embraced him and taken heart1 with his eyes wide open and the light shining in them1 is raising his brows and wrinkling his forehead1 showing at one and the same time both strength and fear2 gazing intently1 however1 at the ,apostles1 he appears to be encouraging himself by trusting in them4 ,among many women is one1 the principal figure in that panel1 who1 having knelt down before the ,apostles1 and turning her head towards them1 stretches her arms in the direction of the maniac and points out his misery2 besides which the ,apostles1 some standing1 some seated1 and others kneeling1 show that they are moved to very great compassion by such misfortune4 ,and1 indeed1 he made therein figures and heads so fine in their novelty and variety1 to say nothing of their extraordinary beauty1 that it is the common opinion of all craftsmen that this work1 among the vast number that he painted1 is the most glorious1 the most lovely1 and the most divine4 ,for whoever wishes to know how ,christ ,transfigured and made ,divine should be represented in painting1 must look at this work1 wherein ,raffaello made ,him in perspective over that mount1 in a sky of exceeding brightness1 with ,moses and ,elias1 who1 illumined by a dazzling splendour1 burst into life in ,his light4 ,prostrate on the ground1 in attitudes of great beauty and variety1 are ,peter1 ,james1 and ,john2 one has his head to the earth1 and another1 shading his eyes with his hands1 is defending himself from the rays and intense light of the splendour of ,christ4 ,he1 clothed in snow-white raiment1 with ,his arms outstretched and ,his head raised1 appears to reveal the ,divine essence and nature of all the ,three ,persons united and concentrated in ,himself by the perfect art of ,raffaello1 who seems to have summoned up all his powers in such a manner1 in order to show the supreme force of his art in the countenance of ,christ1 that1 after finishing this1 the last work that he was to do1 he never again touched a brush1 being overtaken by death4 ,illustration3 ,,raffaello ,,da ,,urbino3 ,,the ,,three ,,graces 7,chantilly1 #ch4 ,panel7 ,now1 having described the works of this most excellent craftsman1 before ,i come to relate other particulars of his life and death1 ,i do not wish to grudge the labour of saying something1 for the benefit of the men of our arts1 about the various manners of ,raffaello4 ,he1 then1 after having imitated in his boyhood the manner of his master1 ,pietro ,perugino1 which he made much better in draughtsmanship1 colouring1 and invention1 believed that he had done enough2 but he recognized1 when he had reached a riper age1 that he was still too far from the truth4 ,for1 after seeing the works of ,leonardo da ,vinci1 who had no peer in the expressions of heads both of men and of women1 and surpassed all other painters in giving grace and movement to his figures1 he was left marvelling and amazed2 and in a word1 the manner of ,leonardo pleasing him more than any other that he had ever seen1 he set himself to study it1 and abandoning little by little1 although with great difficulty1 the manner of ,pietro1 he sought to the best of his power and knowledge to imitate that of ,leonardo4 ,but for all his diligence and study1 in certain difficulties he was never able to surpass ,leonardo2 and although it appears to many that he did surpass him in sweetness and in a kind of natural facility1 nevertheless he was by no means superior to him in that sublime groundwork of conceptions and that grandeur of art in which few have been the peers of ,leonardo4 ,yet ,raffaello came very near to him1 more than any other painter1 and above all in grace of colouring4 ,but to return to ,raffaello himself2 in time he found himself very much hindered and impeded by the manner that he had adopted from ,pietro when he was quite young1 which he acquired with ease1 since it was over-precise1 dry1 and feeble in draughtsmanship4 ,his being unable to forget it was the reason that he had great difficulty in learning the beauties of the nude and the methods of difficult foreshortenings from the cartoon that ,michelagnolo ,buonarroti made for the ,council ,hall in ,florence2 and another might have lost heart1 believing that he had been previously wasting his time1 and would never have achieved1 however lofty his genius1 what ,raffaello accomplished4 ,but he1 having purged himself of ,pietro's manner1 and having thoroughly freed himself of it1 in order to learn the manner of ,michelagnolo1 so full of difficulties in every part1 was changed1 as it were1 from a master once again into a disciple2 and he forced himself with incredible study1 when already a man1 to do in a few months what might have called for the tender age at which all things are best acquired1 and for a space of many years4 ,for in truth he who does not learn in good time right principles and the manner that he wishes to follow1 and does not proceed little by little to solve the difficulties of the arts by means of experience1 seeking to understand every part1 and to put it into practice1 can scarcely ever become perfect2 and even if he does1 that can only be after a longer space of time and much greater labour4 ,when ,raffaello resolved to set himself to change and improve his manner1 he had never given his attention to nudes with that zealous study which is necessary1 and had only drawn them from life in the manner that he had seen practised by his master ,pietro1 imparting to them the grace that he had from nature4 ,he then devoted himself to studying the nude and to comparing the muscles of anatomical subjects and of flayed human bodies with those of the living1 which1 being covered with skin1 are not clearly defined1 as they are when the skin has been removed2 and going on to observe in what way they acquire the softness of flesh in the proper places1 and how certain graceful flexures are produced by changing the point of view1 and also the effect of inflating1 lowering1 or raising either a limb or the whole person1 and likewise the concatenation of the bones1 nerves1 and veins1 he became excellent in all the points that are looked for in a painter of eminence4 ,knowing1 however1 that in this respect he could never attain to the perfection of ,michelagnolo1 he reflected1 like a man of supreme judgment1 that painting does not consist only in representing the nude human form1 but has a wider field2 that one can enumerate among the perfect painters those who express historical inventions well and with facility1 and who show fine judgment in their fancies2 and that he who1 in the composition of scenes1 can make them neither confused with too much detail nor poor with too little1 but distributed with beautiful invention and order1 may also be called an able and judicious craftsman4 ,to this1 as ,raffaello was well aware1 may be added the enriching those scenes with a bizarre variety of perspectives1 buildings1 and landscapes1 the method of clothing figures gracefully1 the making them fade away sometimes in the shadows1 and sometimes come forward into the light1 the imparting of life and beauty to the heads of women1 children1 young men and old1 and the giving them movement and boldness1 according to necessity4 ,he considered1 also1 how important is the furious flight of horses in battles1 fierceness in soldiers1 the knowledge how to depict all the sorts of animals1 and above all the power to give such resemblance to portraits that they seem to be alive1 and that it is known whom they represent2 with an endless number of other things1 such as the adornment of draperies1 foot-wear1 helmets1 armour1 women's head-dresses1 hair1 beards1 vases1 trees1 grottoes1 rocks1 fires1 skies turbid or serene1 clouds1 rain1 lightning1 clear weather1 night1 the light of the moon1 the splendour of the sun1 and innumerable other things1 which are called for every moment by the requirements of the art of painting4 ,pondering over these things1 ,i say1 ,raffaello resolved1 since he could not approach ,michelagnolo in that branch of art to which he had set his hand1 to seek to equal1 and perchance to surpass him1 in these others2 and he devoted himself1 therefore1 not to imitating the manner of that master1 but to the attainment of a catholic excellence in the other fields of art that have been described4 ,and if the same had been done by many craftsmen of our own age1 who1 having determined to pursue the study of ,michelagnolo's works alone1 have failed to imitate him and have not been able to reach his extraordinary perfection1 they would not have laboured in vain nor acquired a manner so hard1 so full of difficulty1 wanting in beauty and colouring1 and poor in invention1 but would have been able1 by aiming at catholicity and at imitation in the other fields of art1 to render service both to themselves and to the world4 ,raffaello1 then1 having made this resolution1 and having recognized that ,fra ,bartolommeo di ,san ,marco had a passing good method of painting1 well-grounded draughtsmanship1 and a pleasing manner of colouring1 although at times1 in order to obtain stronger relief1 he made too much use of darks1 took from him what appeared to him to suit his need and his fancy--namely1 a middle course1 both in drawing and in colouring2 and mingling with that method certain others selected from the best work of other masters1 out of many manners he made one1 which was looked upon ever afterwards as his own1 and which was and always will be vastly esteemed by all craftsmen4 ,this was then seen perfected in the ,sibyls and ,prophets of the work that he executed1 as has been related1 in ,s4 ,maria della ,pace2 in the carrying out of which work he was greatly assisted by having seen the paintings of ,michelagnolo in the ,chapel of the ,pope4 ,and if ,raffaello had remained content with this same manner1 and had not sought to give it more grandeur and variety in order to prove that he had as good a knowledge of the nude as ,michelagnolo1 he would not have lost a part of the good name that he had acquired2 but the nudes that he made in that apartment of the ,borgia ,tower where there is the ,burning of the ,borgo1 although they are fine1 are not in every way excellent4 ,in like manner1 those that were painted likewise by him on the ceiling of the ,palace of ,agostino ,chigi in the ,trastevere did not give complete satisfaction1 for they are wanting in that grace and sweetness which were peculiar to ,raffaello2 the reason of which1 in great part1 was the circumstance that he had them coloured by others after his design4 ,however1 repenting of this error1 like a man of judgment1 he resolved afterwards to execute by himself1 without assistance from others1 the panel-picture of the ,transfiguration of ,christ that is in ,s4 ,pietro a ,montorio1 wherein are all those qualities which1 as has already been described1 are looked for and required in a good picture4 ,and if he had not employed in this work1 as it were from caprice1 printer's smoke-black1 the nature of which1 as has been remarked many times1 is to become ever darker with time1 to the injury of the other colours with which it is mixed1 ,i believe that the picture would still be as fresh as when he painted it2 whereas it now appears to be rather a mass of shadows than aught else4 ,i have thought fit1 almost at the close of this ,life1 to make this discourse1 in order to show with what labour1 study1 and diligence this honoured craftsman always pursued his art2 and even more for the sake of other painters1 to the end that they may learn how to avoid those hindrances from which the wisdom and genius of ,raffaello were able to deliver him4 ,i must add this as well1 that every man should be satisfied and contented with doing that work to which he feels himself drawn by a natural inclination1 and should not seek1 out of emulation1 to put his hand to that for which nature has not adapted him2 for otherwise he will labour in vain1 and often to his own shame and loss4 ,moreover1 where striving is enough1 no man should aim at super-striving1#bg merely in order to surpass those who1 by some great gift of nature1 or by some special grace bestowed on them by ,god1 have performed or are performing miracles in art2 for the reason that he who is not suited to any particular work1 can never reach1 let him labour as he may1 the goal to which another1 with the assistance of nature1 has attained with ease4 ,of this1 among the old craftsmen1 we may see an example in ,paolo ,uccello1 who1 striving against the limitations of his powers1 in order to advance1 did nothing but go backwards4 ,the same has been done in our own day1 no long time since1 by ,jacopo da ,pontormo1 and it has been proved by the experience of many others1 as we have shown before and will point out yet again4 ,and this1 perchance1 happens because ,heaven always distributes its favours1 to the end that every man may rest content with that which falls to him4 ,but now1 having discoursed on these matters of art1 perchance at greater length than was needful1 let us return to the life and death of ,raffaello4 ,he had a strait friendship with ,cardinal ,bernardo ,divizio of ,bibbiena1 who had importuned him for many years to take a wife of his choosing2 and ,raffaello1 while not directly refusing to obey the wishes of the ,cardinal1 had yet put the matter off1 saying that he would rather wait till three or four years had passed4 ,this term came upon ,raffaello when he was not expecting it1 and he was reminded by the ,cardinal of his promise2 whereupon1 seeing himself bound1 like the courteous man that he was1 he would not break his word1 and thus accepted as his wife a niece of that ,cardinal4 ,and because he was always very ill content with this entanglement1 he continued to delay the matter in such a way that many months passed without the marriage being brought to pass4 ,but it was with no dishonourable motive that he did this1 for1 having been so many years in the service of the ,court1 and being the creditor of ,leo for a good sum1 it had been hinted to him that when the hall on which he was engaged was finished1 the ,pope proposed to reward him for his labours and abilities by giving him a red hat1 of which he had already determined to distribute a good number1 and some of them to men of less merit than ,raffaello4 ,meanwhile1 pursuing his amours in secret1 ,raffaello continued to divert himself beyond measure with the pleasures of love2 whence it happened that1 having on one occasion indulged in more than his usual excess1 he returned to his house in a violent fever4 ,the physicians1 therefore1 believing that he had overheated himself1 and receiving from him no confession of the excess of which he had been guilty1 imprudently bled him1 insomuch that he was weakened and felt himself sinking2 for he was in need rather of restoratives4 ,thereupon he made his will3 and first1 like a good ,christian1 he sent his mistress out of the house1 leaving her the means to live honourably4 ,next1 he divided his possessions among his disciples1 ,giulio ,romano1 whom he had always loved dearly1 and the ,florentine ,giovanni ,francesco1 called ,il ,fattore1 with a priest of ,urbino1 his kinsman1 whose name ,i do not know4 ,then he gave orders that some of his wealth should be used for restoring with new masonry one of the ancient tabernacles in ,s4 ,maria ,ritonda1 and for making an altar1 with a marble statue of ,our ,lady1 in that church1 which he chose as his place of repose and burial after death2 and he left all the rest to ,giulio and ,giovanni ,francesco1 appointing as executor of his will ,messer ,baldassarre da ,pescia1 then ,datary to the ,pope4 ,finally1 he confessed and was penitent1 and ended the course of his life at the age of thirty-seven1 on the same day that he was born1 which was ,good ,friday4 ,and even as he embellished the world with his talents1 so1 it may be believed1 does his soul adorn ,heaven by its presence4 ,as he lay dead in the hall where he had been working1 there was placed at his head the picture of the ,transfiguration1 which he had executed for ,cardinal de' ,medici2 and the sight of that living picture1 in contrast with the dead body1 caused the hearts of all who beheld it to burst with sorrow4 ,that work1 in memory of the loss of ,raffaello1 was placed by the ,cardinal on the high-altar of ,s4 ,pietro a ,montorio2 and on account of the nobility of his every action1 it was held ever afterwards in great estimation4 ,his body received that honourable burial which his noble spirit had deserved1 for there was no craftsman who did not weep with sorrow and follow him to the grave4 ,his death was also a great grief to the whole ,court of the ,pope1 first because he had held in his lifetime the office of ,groom of the ,chamber1 and likewise because he had been so dear to the ,pope that his loss caused him to weep bitterly4 ,illustration3 ,,rafaello ,,sanzio3 ,,baldassare ,,castiglione 7,paris3 ,louvre1 #aeje4 ,canvas7 ,o happy and blessed spirit1 in that every man is glad to speak of thee1 to celebrate thy actions1 and to admire every drawing that thou didst leave to us6 ,when this noble craftsman died1 the art of painting might well have died also1 seeing that when he closed his eyes1 she was left as it were blind4 ,and now for us who have survived him1 it remains to imitate the good1 nay1 the supremely excellent method bequeathed to us by him as a pattern1 and1 as is called for by his merit and our obligations1 to hold a most grateful remembrance of this in our minds1 and to pay the highest honour to his memory with our lips4 ,for in truth we have from him art1 colouring1 and invention harmonized and brought to such a pitch of perfection as could scarcely be hoped for2 nor may any intellect ever think to surpass him4 ,and in addition to this benefit that he conferred on art1 like a true friend to her1 as long as he lived he never ceased to show how one should deal with great men1 with those of middle station1 and with the lowest4 ,and1 indeed1 among his extraordinary gifts1 ,i perceive one of such value that ,i for my part am amazed at it1 in that ,heaven gave him the power to produce in our art an effect wholly contrary to the nature of us painters1 which was that our craftsmen--,i do not mean only the lesser1 but also those whose humour it was to be great persons2 and of this humour art creates a vast number--while working in company with ,raffaello1 felt themselves naturally united and in such accord1 that all evil humours vanished at the sight of him1 and every vile and base thought fell away from their minds4 ,such unity was never greater at any other time than his2 and this happened because they were overcome both by his courtesy and by his art1 and even more by the good disposition of his nature1 which was so full of gentleness and so overflowing with loving-kindness1 that it was seen that the very animals1 not to speak of men1 honoured him4 ,it is said that if any painter who knew him1 and even any who did not know him1 asked him for some drawing that he needed1 ,raffaello would leave his own work in order to assist him4 ,and he always kept a vast number of them employed1 aiding them and teaching them with such a love as might have been the due rather of his own children than of fellow-craftsmen2 for which reason he was never seen to go to ,court without having with him1 as he left his house1 some fifty painters1 all able and excellent1 who kept him company in order to do him honour4 ,in short1 he lived not like a painter1 but like a prince4 ,wherefore1 ,o art of painting1 thou couldst then esteem thyself indeed most blessed1 in possessing a craftsman who1 both with his genius and his virtues1 exalted thee higher than ,heaven6 ,truly happy mightest thou call thyself1 in that thy disciples1 following in the footsteps of so great a man1 have seen how life should be lived1 and how important is the union of art and virtue1 which1 wedded in ,raffaello1 had strength to prevail on the magnificent ,julius ,,ii and the magnanimous ,leo ,x1 exalted as they were in rank and dignity1 to make him their most intimate friend and show him all possible generosity1 insomuch that by their favour and by the wealth that they bestowed upon him1 he was enabled to do vast honour both to himself and to art4 ,blessed1 also1 may be called all those who1 employed in his service1 worked under him1 since whoever imitated him found that he had reached an honourable haven2 and in like manner all those who imitate his labours in art will be honoured by the world1 even as1 by resembling him in uprightness of life1 they will win rewards from ,heaven4 ,raffaello received from ,bembo the following epitaph3 ,d4 ,o4 ,m4 ,,raphaelli ,,sanctio ,,joan4 ,f4 ,,urbinat4 ,,pictori ,,eminentiss4 ,,veterumque ,,mulo1 ,,cujus ,,spiranteis ,,prope ,,imagineis ,,si ,,contemplere1 ,,natur ,,atque ,,artis ,,foedus ,,facile ,,inspexeris4 ,,julii ,,ii ,,et ,,leonis ,x ,,pontt4 ,,maxx4 ,,pictur ,,et ,,architect4 ,,operibus ,,gloriam ,,auxit4 ,,vixit ,,an4 ,,xxxvii1 ,,integer1 ,,integros4 ,,quo ,,die ,,natus ,,est1 ,,eo ,,esse ,,desiit1 ,,viii ,,id4 ,,april4 ,,mdxx4 ,,ille ,,hic ,,est ,,raphael1 ,,timuit ,,quo ,,sospite ,,vinci ,,rerum ,,magna ,,parens1 ,,et ,,moriente ,,mori4 ,and ,count ,baldassarre ,castiglione wrote of his death in the following manner3 ,quod lacerum corpus medica sanaverit arte1 ,hyppolitum ,stygiis et revocarit aquis1 ,ad ,stygias ipse est raptus ,epidaurius undas2 ,sic precium vit mors fuit artifici4 ,tu quoque dum toto laniatam corpore ,romam ,componis miro1 ,raphael1 ingenio1 ,atque urbis lacerum ferro1 igni1 annisque cadaver1 ,ad vitam antiquum jam revocasque decus1 ,movisti superum invidiam1 indignataque mors est ,te dudum extinctis reddere posse animam1 ,et quod longa dies paulatim aboleverat1 hoc te ,mortali spreta lege parare iterum4 ,sic1 miser1 heu1 prima cadis intercepte juventa1 ,deberi et morti nostraque nosque mones4 ,,footnote3 #bc ,in the ,life of ,pinturicchio1 ,vasari says that this commission was given to ,pinturicchio by ,cardinal ,francesco ,piccolomini1 who afterwards became ,pope ,pius ,,iii4 #bd ,the text reads ,palazzo1 which is obviously an error for ,papa4 #be ,this seems to be an error for ,bartolommeo4 #bf ,villa ,madama4 #bg ,the use of this word1 though perhaps too modern1 seems to the translator to be the only way to preserve the play of words in the text4 ,,guglielmo ,,da ,,marcilla ,,life ,,of ,,guglielmo ,,da ,,marcilla ,,guillaume ,,de ,,marcillac1 ,,or ,,the ,,french ,,prior ,,french ,,painter ,,and ,,master ,,of ,,glass ,,windows ,at this same time1 wherein our arts were endowed by ,god with the greatest felicity that they could possibly enjoy1 there flourished one ,guglielmo da ,marcilla1 a ,frenchman1 who1 from his constant residence in ,arezzo1 and from the affection that he bore to that city1 may be said to have chosen it for his country1 insomuch that all men considered and called him an ,aretine4 ,and1 in truth1 among the benefits that are derived from ability1 one is that from whatever strange and distant region and from however barbarous and unknown a race a man may come1 be he who he may1 if only he has a mind adorned with ability and practises some ingenious craft with his hands1 no sooner does he make his first appearance in each city to which he turns his steps1 demonstrating his worth1 than the skill of his hand works so powerfully1 that his name1 passing from lip to lip1 in a short time waxes great1 and his qualities become very highly prized and honoured4 ,and it happens often to a great number of men1 who have left their country far behind them1 that they chance upon nations that are lovers of ability and of foreigners1 where1 by reason of their upright walk of life1 they find themselves recognized and cherished in such a manner1 that they forget the country of their birth and choose a new one for their last resting-place4 ,even so was ,arezzo chosen as a final home by ,guglielmo1 who1 as a youth in ,france1 applied himself to the art of design1 and together with that gave attention to glass windows1 in which he made figures no less harmonious in colouring than if they had been painted with the greatest beauty and harmony in oils4 ,while in his own country1 persuaded by the entreaties of certain of his friends1 he was present at the slaying of one who was their enemy3 on which account he was forced to assume the habit of a monk in the ,order of ,s4 ,dominic in ,france1 in order to escape the courts and the hand of justice4 ,but although he remained in that ,order1 yet he never abandoned the study of art2 nay1 continuing it1 he arrived at the highest perfection4 ,now1 by order of ,pope ,julius ,,ii1 a commission was given to ,bramante da ,urbino to have a number of glass windows made for the ,palace2 whereupon he1 making inquiries about the most excellent craftsmen1 received information of many who were working at that craft1 and among them of some who were executing marvellous works in ,france2 and of these he saw a specimen through the ,french ,ambassador who was then at the ,court of his ,holiness1 and who had in the frame of a window in his study a figure executed on a piece of white glass with a vast number of colours1 fixed on the glass by the action of fire4 ,wherefore1 by order of ,bramante1 a letter was written to ,france1 inviting them to come to ,rome1 and offering them good payments4 ,thereupon ,maestro ,claudio1 a ,frenchman1 the head of that art1 having received the intelligence1 and knowing the excellence of ,guglielmo1 so went to work with money and fair promises1 that it was no difficult matter to draw him out of the convent1 particularly because ,guglielmo1 on account of the discourtesy shown to him and the jealousies that there always are among monks1 was even more eager to leave it than was ,maestro ,claudio to get him out4 ,they went1 therefore1 to ,rome1 where the habit of ,s4 ,dominic was changed for that of ,s4 ,peter4 ,bramante at that time had caused two windows of travertine to be made in the ,palace of the ,pope1 which were in the hall in front of the chapel1 now embellished by a vaulted ceiling by ,antonio da ,san ,gallo1 and by marvellous stucco-work from the hand of ,perino del ,vaga of ,florence4 ,these windows were executed by ,maestro ,claudio and ,guglielmo1 although afterwards1 during the sack of ,rome1 they were broken to pieces1 in order to extract the lead to make harquebus-balls2 and they were truly marvellous4 ,in addition to these1 they made an endless number of them for the apartments of the ,pope1 which met with the same fate as the other two4 ,and even now there is one to be seen in the room containing ,raffaello's ,burning of the ,borgo1 in the ,borgia ,tower2 in which are angels who are holding the escutcheon of ,leo ,x4 ,they also made two windows for the chapel behind the ,madonna in ,s4 ,maria del ,popolo1 with the stories of her life1 which were highly praiseworthy examples of that craft4 ,these works brought them no less fame and renown than comfort in life4 ,but ,maestro ,claudio1 being very intemperate in eating and drinking1 according to the custom of his race1 which is a deadly thing in the air of ,rome1 fell sick of so violent a fever1 that in six days he passed to the other life4 ,whereupon ,guglielmo1 left alone1 and almost like one lost without his companion1 painted by himself a window1 likewise of glass1 in ,s4 ,maria de ,anima1 the church of the ,germans in ,rome2 which was the reason that ,cardinal ,silvio of ,cortona made him an offer1 and made a contract with him that he should execute some windows and other works in his native city of ,cortona4 ,wherefore the ,cardinal took him in his company to take up his abode in ,cortona2 and the first work that he executed was the faade of the ,cardinal's house on the side towards the ,piazza1 which he painted in chiaroscuro1 depicting therein ,croton and the other original founders of that city4 ,thereupon the ,cardinal1 who saw that ,guglielmo was no less upright as a man than excellent as a master of that art1 caused him to execute1 for the ,pieve of ,cortona1 the window of the principal chapel1 in which he made the ,nativity of ,christ and the ,magi adoring ,him4 ,guglielmo was a man of fine spirit and intelligence1 and of very great mastery in handling glass1 and particularly in so distributing the colours that the brightest should come in the foremost figures1 those in the other figures being darker in proportion as they receded2 in which point he was a rare and truly excellent master4 ,moreover1 he showed very good judgment in the painting of his figures2 whereby he executed them with such unity1 that they fell back into the distance little by little1 in such a way that they did not cling either to the buildings or to the landscapes1 and had the appearance of being painted on panel1 or rather in relief4 ,he showed invention and variety in the composition of scenes1 making them rich and well grouped2 and he rendered easy the process of making such pictures as are put together out of pieces of glass1 which was held to be very difficult1 as indeed it is for one who has not his skill and dexterity4 ,he designed the pictures for his windows with such good method and order1 that the mountings of lead and iron1 which cross them in certain places1 were so well fitted into the joinings of the figures and the folds of the draperies1 that they cannot be seen--nay1 they gave the whole such grace1 that the brush could not have done more--and thus he was able to make a virtue of necessity4 ,guglielmo used only two kinds of colour for the shading of such glass as he proposed to subject to the action of fire2 one was scale of iron1 and the other scale of copper4 ,that of iron1 which is dark1 served to shade draperies1 hair1 and buildings2 and the other1 that of copper1 which produces a tawny tint1 served for flesh colours4 ,he also made much use of a hard stone that comes from ,flanders and ,france1 called at the present day hematite1 which is red in colour and is much employed for burnishing gold4 ,this1 having first been pounded in a bronze mortar1 and then ground with an iron brazing instrument on a plate of copper or yellow brass1 and tempered with gum1 works divinely well on glass4 ,when ,guglielmo first arrived in ,rome1 he was no great draughtsman1 although he was well practised in every other respect4 ,but having recognized the need of this1 he applied himself to the study of drawing1 in spite of his being well advanced in years2 and thus little by little he achieved the improvement that is evident in the windows that he afterwards made for the ,palace of the said ,cardinal at ,cortona1 and for the other without the city1 in a round window that is in the aforesaid ,pieve1 over the faade1 on the right hand as one enters the church1 wherein are the arms of ,pope ,leo ,x1 and likewise in two little windows that are in the ,company of ,ges1 in one of which is a ,christ1 and in the other a ,s4 ,onofrio4 ,these are no little different from his early works1 and much better4 ,now while ,guglielmo1 as has been related1 was living in ,cortona1 there died at ,arezzo one ,fabiano di ,stagio ,sassoli1 an ,aretine1 who had been a very good master of the making of large windows4 ,thereupon the ,wardens of ,works for the ,vescovado gave the commission for three windows in the principal chapel1 each twenty braccia in height1 to ,stagio1 the son of the said ,fabiano1 and to the painter ,domenico ,pecori2 but when these were finished and fixed in their places1 they gave no great satisfaction to the ,aretines1 although they were passing good and rather worthy of praise than otherwise4 ,it happened at this time that ,messer ,lodovico ,belichini1 an excellent physician1 and one of the first men in the government of the city of ,arezzo1 went to ,cortona to cure the mother of the aforesaid ,cardinal2 and there he became well acquainted with our ,guglielmo1 with whom1 when he had time1 he was very willing to converse4 ,and ,guglielmo1 who was then called the ,prior1 from his having received about that time the benefice of a priory1 likewise conceived an affection for that physician1 who asked him one day whether1 with the good will of the ,cardinal1 he would go to ,arezzo to execute some windows2 at which ,guglielmo promised that he would1 and with the permission and good will of the ,cardinal he made his way to that city4 ,now ,stagio1 of whom we have spoken above1 having parted from the company of ,domenico1 received ,guglielmo into his house2 and the latter1 for his first work1 executed for a window of the ,chapel of ,s4 ,lucia1 belonging to the ,albergotti1 in the ,vescovado of ,arezzo1 that ,saint and a ,s4 ,sylvester1 in so good a manner that the work may truly be said to be made with living figures1 and not of coloured and transparent glass1 or at least to be a picture worthy of praise and marvellous4 ,for besides the mastery shown in the flesh-colours1 the glasses are flashed2 that is1 in some places the first skin has been removed1 and the glass then coloured with another tint2 by which is meant1 for example1 the placing of yellow over red flashed glass1 or the application of white and green over blue2 which is a difficult and even miraculous thing in this craft4 ,the first or true colour1 then1 such as red1 blue1 or green1 covers the whole of one side2 and the other part1 which is as thick as the blade of a knife1 or a little more1 is white4 ,many1 being afraid that they might break the glasses1 on account of their lack of skill in handling them1 do not employ a pointed iron for removing that layer1 but in place of this1 for greater safety1 set about grinding the glasses with a copper wheel fixed on the end of an iron instrument2 and thus1 little by little1 by the use of emery1 they contrive to leave only a layer of white glass1 which turns out very clear4 ,then1 if a yellow colour has to be applied to the piece of glass thus left white1 at the moment when it is to be placed into the furnace for firing1 it is painted by means of a brush with calcined silver1 which is a colour similar to bole1 but somewhat thick2 and in the fire this melts over the glass1 fuses1 and takes a firm hold1 penetrating into the glass and making a very beautiful yellow4 ,these methods of working no one used better1 or with more ingenuity and art1 than ,prior ,guglielmo2 and it is in these things that the difficulty consists1 for painting the glass with oil-colours or in any other manner is little or nothing1 and that it should be diaphanous or transparent is not a matter of much importance1 whereas firing it in the furnace and making it such that it will withstand the action of water and remain fresh for ever1 is a difficult work and well worthy of praise4 ,wherefore this excellent master deserves the highest praise1 since there is not a man of his profession who has done as much1 whether in design1 or invention1 or colouring1 or general excellence4 ,he then made the great round-window of the same church1 containing the ,descent of the ,holy ,spirit1 and likewise the ,baptism of ,christ by ,s4 ,john1 wherein he represented ,christ in the ,jordan1 awaiting ,s4 ,john1 who has taken a cup of water in order to baptize ,him1 while a nude old man is taking off his shoes1 and some angels are preparing ,christ's raiment1 and on high is the ,father1 sending down the ,holy ,spirit upon ,his ,son4 ,this window is over the baptismal font of that ,duomo1 for which he also executed the window containing the ,resurrection of ,lazarus on the fourth day after death2 wherein it seems impossible that he could have included in so small a space such a number of figures1 in which may be recognized the terror and amazement of the people1 with the stench from the body of ,lazarus1 whose resurrection causes his two sisters to rejoice amid their tears4 ,in this work are innumerable colours1 flashed one over the other in the glass1 and every least thing truly appears most natural in its own kind4 ,and whoever wishes to learn how much the hand of the ,prior was able to effect in this art1 should study the window of ,s4 ,matthew over the ,chapel of that ,apostle1 and observe the marvellous invention of that scene1 wherein he can see a living figure of ,christ calling ,matthew from his tables1 while ,matthew1 following ,him and stretching out his arms to receive ,him1 abandons the riches and treasures that he has acquired4 ,and at the same time an ,apostle may be seen in a very spirited attitude1 awaking another who has fallen asleep on some steps2 and in like manner there may also be perceived a ,s4 ,peter speaking with ,s4 ,john1 both being so beautiful that they seem truly divine4 ,in this same window are temples in perspective1 staircases1 and figures so well grouped1 and landscapes so natural1 that one would never think it was glass1 but rather a thing rained down from ,heaven for the consolation of mankind4 ,in the same place he made the window of ,s4 ,anthony and that of ,s4 ,nicholas1 both most beautiful1 with two others1 one containing the scene of ,christ driving the traders from the ,temple1 and the other that of the woman taken in adultery2 all these works being held to be truly excellent and marvellous4 ,so fully were the labours and abilities of the ,prior recognized by the ,aretines1 what with praises1 favours1 and rewards1 and so satisfied and contented was he by this result1 that he resolved to adopt that city as his home1 and to change himself from a ,frenchman into an ,aretine4 ,afterwards1 reflecting in his own mind that the art of glass-painting1 on account of the destruction that takes place every moment in such works1 was no lasting one1 there came to him a desire to devote himself to painting1 and he therefore undertook to execute for the ,wardens of ,works of the ,vescovado in that city three very large vaults in fresco1 thinking thus to leave a memorial of himself behind him4 ,the ,aretines1 in return for this1 presented to him a farm that belonged to the ,confraternity of ,s4 ,maria della ,misericordia1 near their city1 with some excellent houses1 for his enjoyment during his lifetime4 ,and they ordained that when the work was finished1 its value should be estimated by some distinguished craftsman1 and that the ,wardens should make this good to him in full4 ,whereupon he made up his mind to show his worth in this undertaking1 and he made his figures very large on account of the height1 after the manner of the works in ,michelagnolo's chapel4 ,and so mightily did his wish to become excellent in such an art avail in him1 that although he was fifty years of age1 he improved little by little in such a manner1 that he showed that his knowledge and comprehension of the beautiful were not less than his delight in imitating the good in the execution of his work4 ,he went on to represent the earlier events of the ,new ,testament1 even as in the three large works he had depicted the beginning of the ,old4 ,for this reason1 therefore1 ,i am inclined to believe that any man of genius who has the desire to attain to perfection1 is able1 if he will but take the pains1 to make naught of the limits of any science4 ,at the beginning of those works1 indeed1 he was alarmed by their size1 and because he had never executed any before2 which was the reason that he sent to ,rome for ,maestro ,giovanni1 a ,french miniaturist1 who1 coming to ,arezzo1 painted over ,s4 ,antonio an arch with a ,christ in fresco1 and for that ,company the banner that is carried in processions1 which he executed with great diligence1 having received the commission for them from the ,prior4 ,at the same time ,guglielmo made the round window for the faade of the ,church of ,s4 ,francesco1 a great work1 in which he represented the ,pope in ,consistory1 with the ,conclave of ,cardinals1 and ,s4 ,francis going to ,rome for the confirmation of his ,rule and bearing the roses of ,january4 ,in this work he proved what a master of composition he was1 so that it may be said with truth that he was born for that profession2 nor may any craftsman ever think to equal him in beauty1 in abundance of figures1 or in grace4 ,there are innumerable windows executed by him throughout that city1 all most beautiful1 such as the great round window in the ,madonna delle ,lacrime1 containing the ,assumption of ,our ,lady and the ,apostles1 and a very beautiful window with an ,annunciation2 a round window with the ,marriage of the ,virgin1 and another containing a ,s4 ,jerome executed for the ,spadari1 and likewise three other windows below1 in various parts of the church2 with a most beautiful round window with the ,nativity of ,christ in the ,church of ,s4 ,girolamo1 and another in ,s4 ,rocco4 ,he sent some1 also1 to various places1 such as ,castiglione del ,lago1 and one to ,florence for ,lodovico ,capponi1 to be set up in ,s4 ,felicita1 where there is the panel by ,jacopo da ,pontormo1 a most excellent painter1 and the chapel adorned by him with mural paintings in oils and in fresco and with panel-pictures2 which window came into the hands of the ,frati ,ingesuati in ,florence1 who worked at that craft1 and they took it all to pieces in order to learn how it was made1 removing many pieces as specimens and replacing them with new ones1 so that in the end they made quite a different window4 ,he also conceived the wish to paint in oils1 and for the ,chapel of the ,conception in ,s4 ,francesco at ,arezzo he executed a panel-picture wherein are some vestments very well painted1 and many heads most lifelike1 and so beautiful that he was honoured thereby ever afterwards1 seeing that this was the first work that he had ever done in oils4 ,the ,prior was a very honourable person1 and delighted in agriculture and in making alterations in buildings2 wherefore1 having bought a most beautiful house1 he made in it a vast number of improvements4 ,as a man of religion1 he was always most upright in his ways2 and the remorse of conscience1 on account of his departure from his convent1 kept him sorely afflicted4 ,for which reason he made a very beautiful window for the ,chapel of the ,high-altar in ,s4 ,domenico1 a convent of his ,order at ,arezzo2 wherein he depicted a vine that issues from the body of ,s4 ,dominic and embraces a great number of sanctified friars1 who constitute the tree of the ,order2 and at the highest point is ,our ,lady1 with ,christ1 who is marrying ,s4 ,catherine of ,siena--a work much extolled and of great mastery1 for which he would accept no payment1 believing himself to be much indebted to that ,order4 ,he sent a very beautiful window to ,s4 ,lorenzo in ,perugia1 and an endless number of others to many places round ,arezzo4 ,and because he took much pleasure in matters of architecture1 he made for the citizens of that country a number of designs of buildings and adornments for their city1 such as the two doors of ,s4 ,rocco in stone1 and the ornament of grey-stone that was added to the panel-picture of ,maestro ,luca in ,s4 ,girolamo2 and he designed an ornament in the ,abbey of ,cipriano d' ,anghiari1 and another for the ,company of the ,trinit in the ,chapel of the ,crocifisso1 and a very rich lavatory for the sacristy2 which were all executed with great perfection by the stone-cutter ,santi4 ,finally1 ever delighting in labour1 and continually working both winter and summer at his mural painting1 which breaks down the healthiest of men1 he became so afflicted by the damp and so swollen with dropsy1 that his physicians had to tap him1 and in a few days he rendered up his soul to ,him who had given it4 ,first1 like a good ,christian1 he partook of the ,sacraments of the ,church1 and made his will4 ,then1 having a particular devotion for the ,hermits of ,camaldoli1 who have their seat on the summit of the ,apennines1 twenty miles distant from ,arezzo1 he bequeathed to them his property and his body1 and to ,pastorino da ,siena1 his assistant1 who had been with him many years1 he left his glasses1 his working-instruments1 and his designs1 of which there is one in our book1 a scene of the ,submersion of ,pharaoh in the ,red ,sea4 ,this ,pastorino afterwards applied himself to many other fields of art1 and also to glass windows1 although the works that he produced in that craft were but few4 ,guglielmo was much imitated1 also1 by one ,maso ,porro of ,cortona1 who was more able in firing and putting together the glass than in painting it4 ,one of the pupils of ,guglielmo was ,battista ,borro of ,arezzo1 who continues to imitate him greatly in the making of windows2 and he also taught the first rudiments to ,benedetto ,spadari and to ,giorgio ,vasari of ,arezzo4 ,the ,prior lived sixty-two years1 and died in the year #aecg4 ,he deserves infinite praise1 in that by him there was brought into ,tuscany the art of working in glass with the greatest mastery and delicacy that could be desired4 ,wherefore1 since he conferred such great benefits upon us1 we also will pay him honour1 exalting him continually with loving and unceasing praise both for his life and for his works4 ,,simone ,,life ,,of ,,simone1 ,,called ,,il ,,cronaca ,,simone ,,del ,,pollaiuolo ,,architect ,,of ,,florence ,many intellects are lost that would make rare and worthy works1 if1 on coming into the world1 they were to hit upon persons able and willing to set them to work on those labours for which they are fitted4 ,but it often happens that he who has the means is neither capable nor willing2 and if1 indeed1 there chances to be one willing to erect some worthy building1 he often takes no manner of care to seek out an architect of real merit or of any loftiness of spirit4 ,nay1 he puts his honour and glory into the keeping of certain thievish creatures1 who generally disgrace the name and fame of such memorials2 and in order to thrust forward into greatness those who depend entirely upon him 7so great is the power of ambition71 he often rejects the good designs that are offered to him1 and puts into execution the very worst2 wherefore his own fame is left besmirched by the clumsiness of the work1 since it is considered by all men of judgment that the craftsman and the patron who employs him1 in that they are conjoined in their works1 are of one and the same mind4 ,and on the other hand1 how many ,princes of little understanding have there been1 who1 through having chanced upon persons of excellence and judgment1 have obtained after death no less fame from the memory of their buildings than they enjoyed when alive from their sovereignty over their people4 ,truly fortunate1 however1 in his day1 was ,cronaca1 in that he not only had the knowledge1 but also found those who kept him continually employed1 and that always on great and magnificent works4 ,of him it is related that while ,antonio ,pollaiuolo was in ,rome1 working at the tombs of bronze that are in ,s4 ,pietro1 there came to his house a young lad1 his relative1 whose proper name was ,simone1 and who had fled from ,florence on account of some brawl4 ,this ,simone1 having worked with a master in woodwork1 and being much inclined to the art of architecture1 began to observe the beautiful antiquities of that city1 and1 delighting in them1 went about measuring them with the greatest diligence4 ,and1 going on with this1 he had not been long in ,rome before he showed that he had made much proficience1 both in taking measurements and in carrying one or two things into execution4 ,thereupon he conceived the idea of returning to ,florence1 and departed from ,rome2 and on arriving in his native city1 having become a passing good master of words1 he described the marvels of ,rome and of other places with such accuracy1 that from that time onwards he was called ,il ,cronaca1 every man thinking that he was truly a chronicle of information in his discourse4 ,now he had become such that he was held to be the most excellent of the modern architects in the city of ,florence1 seeing that he had good judgment in choosing sites1 and showed that he had an intellect more lofty than that of many others who were engaged in that profession2 for it was evident from his works how good an imitator he was of antiquities1 and how closely he had observed the rules of ,vitruvius and the works of ,filippo di ,ser ,brunellesco4 ,illustration3 ,,detail ,,of ,,cornice 7,after ,simone ,il ,cronaca1 ,florence3 ,palazzo ,strozzi7 ,alinari ,there was then in ,florence that ,filippo ,strozzi who is now called the elder1 to distinguish him from his son2 and he1 being very rich1 wished to leave to his native city and to his children1 among other memorials of himself1 one in the form of a beautiful palace4 ,wherefore ,benedetto da ,maiano1 having been called upon by him for this purpose1 made him a model entirely isolated1 which was afterwards put into execution1 although not in all its extent1 as will be related below1 for some of his neighbours would not give up their houses to accommodate him4 ,benedetto began the palace1 therefore1 in the best way that he could1 and brought the outer shell almost to completion before the death of ,filippo3 which outer shell is in the ,rustic ,order1 with varying degrees of rustication1 as may be seen1 since the boss-covered part from the first range of windows downwards1 together with the doors1 is very much ,rustic1 and the part from the first range of windows to the second is much less ,rustic4 ,now it happened that at the very moment when ,benedetto was leaving ,florence1 ,cronaca returned from ,rome2 whereupon1 ,simone being presented to ,filippo1 the latter was so pleased with the model that he made for the courtyard and for the great cornice which goes round the outer side of the palace1 that1 having recognized the excellence of his intellect1 he decided that thenceforward the whole work should pass through his hands1 and availed himself of his services ever afterwards4 ,cronaca1 then1 in addition to the beautiful exterior in the ,tuscan ,order1 made at the top a very magnificent ,corinthian cornice1 which serves to complete the roof2 and half of it is seen finished at the present day1 with such extraordinary grace that nothing could be added to it1 nor could anything more beautiful be desired4 ,this cornice was taken by ,cronaca1 who copied it in ,rome with exact measurements1 from an ancient one that is to be found at ,spoglia ,cristo1 which is held to be the most beautiful among the many that are in that city2 although it is true that it was enlarged by ,cronaca to the proportions required by the palace1 to the end that it might make a suitable finish1 and might also complete the roof of that palace by means of its projection4 ,thus1 then1 the genius of ,cronaca was able to make use of the works of others and to transform them almost into his own2 which does not succeed with many1 since the difficulty lies not in merely having drawings and copies of beautiful things1 but in accommodating them to the purpose which they have to serve1 with grace1 true measurement1 proportion1 and fitness4 ,but just as much as this cornice of ,cronaca's was and always will be extolled1 so was that one censured which was made for the ,palace of the ,bartolini in the same city by ,baccio d' ,agnolo1 who1 seeking to imitate ,cronaca1 placed over a small faade1 delicate in detail1 a great ancient cornice copied with the exact measurements from the frontispiece of ,monte ,cavallo2 which resulted in such ugliness1 from his not having known how to adapt it with judgment1 that it could not look worse1 for it seems like an enormous cap on a small head4 ,it is not enough for craftsmen1 when they have executed their works1 to excuse themselves1 as many do1 by saying that they were taken with exact measurements from the antique and copied from good masters1 seeing that good judgment and the eye play a greater part in all such matters than measuring with compasses4 ,cronaca1 then1 executed half of the said cornice with great art right round that palace1 together with dentils and ovoli1 and finished it completely on two sides1 counterpoising the stones in such a way1 in order that they might turn out well bound and balanced1 that there is no better masonry to be seen1 nor any carried to perfection with more diligence4 ,in like manner1 all the other stones are so well put together1 and with so high a finish1 that the whole does not appear to be of masonry1 but rather all of one piece4 ,and to the end that everything might be in keeping1 he caused beautiful pieces of iron-work to be made for all parts of the palace1 as adornments for it1 and the lanterns that are at the corners1 which were all executed with supreme diligence by ,niccol ,grosso1 called ,il ,caparra1 a smith of ,florence4 ,in those marvellous lanterns may be seen cornices1 columns1 capitals1 and brackets of iron1 fixed together with wonderful craftsmanship2 nor has any modern ever executed in iron works so large and so difficult1 and with such knowledge and mastery4 ,illustration3 ,,iron ,,link-,,holder 7,after ,niccol ,grosso4 ,florence3 ,palazzo ,strozzi7 ,alinari ,niccol ,grosso was an eccentric and self-willed person1 claiming justice for himself and giving it to others1 and never covetous of what was not his own4 ,he would never give anyone credit in the payment of his works1 and always insisted on having his earnest-money4 ,for this reason ,lorenzo de' ,medici called him ,il ,caparra1#bh and he was known to many others by that name4 ,he had a sign fixed over his shop1 wherein were books burning2 wherefore1 when one asked for time to make his payment1 he would say1 ,i cannot give it1 for my books are burning1 and ,i can enter no more debtors in them4 ,he was commissioned by the honourable ,captains of the ,guelph party to make a pair of andirons1 which1 when he had finished them1 were sent for several times4 ,but he kept saying1 ,on this anvil do ,i sweat and labour1 and on it will ,i have my money paid down4 ,whereupon they sent to him once more for the work1 with a message that he should come for his money1 for he would straightway be paid2 but he1 still obstinate1 answered that they must first bring the money4 ,the provveditore1 therefore1 knowing that the ,captains wished to see the work1 fell into a rage1 and sent to him saying that he had received half the money1 and that when he had dispatched the andirons1 he would pay him the rest4 ,on which account ,caparra1 recognizing that this was true1 gave one of the andirons to the messenger1 saying3 ,take them this one1 for it is theirs2 and if it pleases them1 bring me the rest of the money1 and ,i will hand over the other2 but at present it is mine4 ,the officials1 seeing the marvellous work that he had put into it1 sent the money to his shop2 and he sent them the other andiron4 ,it is related1 also1 that ,lorenzo de' ,medici resolved to have some pieces of iron-work made1 to be sent abroad as presents1 in order that the excellence of ,caparra might be made known4 ,he went1 therefore1 to his shop1 and happened to find him working at some things for certain poor people1 from whom he had received part of the price as earnest-money4 ,on ,lorenzo making his request1 ,niccol would in no way promise to serve him before having satisfied the others1 saying that they had come to his shop before ,lorenzo1 and that he valued their money as much as his4 ,to the same master some young men of the city brought a design1 from which he was to make for them an iron instrument for breaking and forcing open other irons by means of a screw1 but he absolutely refused to serve them2 nay1 he upbraided them1 and said3 ,nothing will induce me to serve you in such a matter2 for these things are nothing but thieves' tools1 or instruments for abducting and dishonouring young girls4 ,such things are not for me1 ,i tell you1 nor for you1 who seem to me to be honest men4 ,and they1 perceiving that ,caparra would not do their will1 asked him who there was in ,florence who might serve them2 whereupon1 flying into a rage1 he drove them away with a torrent of abuse4 ,he would never work for ,jews1 and was wont1 indeed1 to say that their money was putrid and stinking4 ,he was a good man and a religious1 but whimsical in brain and obstinate3 and he would never leave ,florence1 for all the offers that were made to him1 but lived and died in that city4 ,of him ,i have thought it right to make this record1 because he was truly unique in his craft1 and has never had and never will have an equal1 as may be seen best from the iron-work and the beautiful lanterns of the ,palace of the ,strozzi4 ,illustration3 ,,iron ,,lantern 7,after ,niccol ,grosso4 ,florence3 ,palazzo ,strozzi7 ,alinari ,this palace was brought to completion by ,cronaca1 and adorned with a very rich courtyard in the ,corinthian and ,doric ,orders1 with ornaments in the form of columns1 capitals1 cornices1 windows1 and doors1 all most beautiful4 ,and if it should appear to anyone that the interior of this palace is not in keeping with the exterior1 he must know that the fault is not ,cronaca's1 for the reason that he was forced to adapt his interior to an outer shell begun by others1 and to follow in great measure what had been laid down by those before him2 and it was no small feat for him to have given it such beauty as it displays4 ,the same answer may be made to any who say that the ascent of the stairs is not easy1 nor correct in proportion1 but too steep and sudden2 and likewise1 also1 to such as say that the rooms and apartments of the interior in general are out of keeping1 as has been described1 with the grandeur and magnificence of the exterior4 ,nevertheless this palace will never be held as other than truly magnificent1 and equal to any private building whatsoever that has been erected in ,italy in our own times2 wherefore ,cronaca rightly obtained1 as he still does1 infinite commendation for this work4 ,the same master built the ,sacristy of ,s4 ,spirito in ,florence1 which is in the form of an octagonal temple1 beautiful in proportions1 and executed with a high finish2 and among other things to be seen in this work are some capitals fashioned by the happy hand of ,andrea dal ,monte ,sansovino1 which are wrought with supreme perfection2 and such1 likewise1 is the antechamber of that sacristy1 which is held to be very beautiful in invention1 although the coffered ceiling1 as will be described1 is not well distributed over the columns4 ,the same ,cronaca also erected the ,church of ,s4 ,francesco dell' ,osservanza on the hill of ,s4 ,miniato1 without ,florence2 and likewise the whole of the ,convent of the ,servite ,friars1 which is a highly extolled work4 ,illustration3 ,,interior ,,of ,,sacristy 7,after ,simone ,il ,cronaca4 ,florence3 ,s4 ,spirito7 ,alinari ,at this same time there was about to be built1 by the advice of ,fra ,girolamo ,savonarola1 a most famous preacher of that day1 the ,great ,council ,chamber of the ,palace of the ,signoria in ,florence2 and for this opinions were taken from ,leonardo da ,vinci1 ,michelagnolo ,buonarroti1 although he was a mere lad1 ,giuliano da ,san ,gallo1 ,baccio d' ,agnolo1 and ,simone del ,pollaiuolo1 called ,il ,cronaca1 who was the devoted friend and follower of ,savonarola4 ,these men1 after many disputes1 came to an agreement1 and decided that the ,hall should be made in that form which it retained down to our own times1 when1 as has been mentioned and will be related yet again in another place1 it was almost rebuilt4 ,the charge of the whole work was given to ,cronaca1 as a man of talent and also as the friend of the aforesaid ,fra ,girolamo2 and he executed it with great promptitude and diligence1 showing the beauty of his genius particularly in the making of the roof1 since the structure is of vast extent in every direction4 ,he made the tie-beams of the roof-truss1 which are thirty-eight braccia in length from wall to wall1 of a number of timbers well scarfed and fastened together1 since it was not possible to find beams of sufficient size for the purpose2 and whereas the tie-beams of other roof-trusses have only one king-post1 all those of this ,hall have three each1 a king-post in the middle1 and a queen-post on either side4 ,the rafters are long in proportion1 and so are the struts of each king-post and queen-post2 nor must ,i omit to say that the struts of the queen-posts1 on the side nearest the wall1 thrust against the rafters1 and1 towards the centre1 against the struts of the king-post4 ,i have thought it right to describe how this roof-truss is made1 because it was constructed with beautiful design1 and ,i have seen drawings made of it by many for sending to various places4 ,when these tie-beams1 thus contrived1 had been drawn up and placed at intervals of six braccia1 and the roof had been likewise laid down in a very short space of time1 ,cronaca attended to the fixing of the ceiling1 which was then made of plain wood and divided into panels1 each of which was four braccia square and surrounded by an ornamental cornice of few members2 and a flat moulding was made of the same width as the planks1 which enclosed the panels and the whole work1 with large bosses at the intersections and the corners of the whole ceiling4 ,and although the end walls of this ,hall1 one on either side1 were eight braccia out of the square1 they did not make up their minds1 as they might have done1 to thicken the walls so as to make it square1 but carried them up to the roof just as they were1 making three large windows on each of those end walls4 ,but when the whole was finished1 the ,hall1 on account of its extraordinary size1 turned out to be too dark1 and also stunted and wanting in height in relation to its great length and breadth2 in short1 almost wholly out of proportion4 ,they sought1 therefore1 but with little success1 to improve it by making two windows in the middle of the eastern side of the ,hall1 and four on the western side4 ,after this1 in order to give it its final completion1 they made on the level of the brick floor1 with great rapidity1 being much pressed by the citizens1 a wooden tribune right round the walls of the ,hall1 three braccia both in breadth and height1 with seats after the manner of a theatre1 and with a balustrade in front2 on which tribune all the magistrates of the city were to sit4 ,in the middle of the eastern side was a more elevated das1 on which the ,signori sat with the ,gonfalonier of ,justice2 and on either side of this more prominent place was a door1 one of them leading to the ,segreto#bi and the other to the ,specchio4#cj ,opposite to this1 on the west side1 was an altar at which ,mass was read1 with a panel by the hand of ,fra ,bartolommeo1 as has been mentioned2 and beside the altar was the pulpit for making speeches4 ,in the middle of the ,hall1 then1 were benches in rows laid crossways1 for the citizens2 while in the centre and at the corners of the tribune were some gangways with six steps1 providing a convenient ascent for the ushers in the collection of votes4 ,in this ,hall1 which was much extolled at that day for its many beautiful features and the rapidity with which it was erected1 time has since served to reveal such errors as that it is low1 dark1 gloomy1 and out of the square4 ,nevertheless ,cronaca and the others deserve to be excused1 both on account of the haste with which it was executed at the desire of the citizens1 who intended in time to have it adorned with pictures and the ceiling overlaid with gold1 and because up to that day there had been no greater hall built in ,italy2 although there are others very large1 such as that of the ,palace of ,s4 ,marco in ,rome1 that of the ,vatican1 erected by ,pius ,,ii and ,innocent ,,viii1 that of the ,castle of ,naples1 that of the ,palace of ,milan1 and those of ,urbino1 ,venice1 and ,padua4 ,after this1 to provide an ascent to this ,hall1 ,cronaca1 with the advice of the same masters1 made a great staircase six braccia wide and curving in two flights1 richly adorned with grey-stone1 and with ,corinthian pilasters and capitals1 double cornices1 and arches1 of the same stone2 and with barrel-shaped vaulting1 and windows with columns of variegated marble and carved marble capitals4 ,but although this work was much extolled1 it would have won even greater praise if the staircase had not turned out inconvenient and too steep2 for it is a sure fact that it could have been made more gentle1 as has been done in the time of ,duke ,cosimo1 within the same amount of space and no more1 in the new staircase made1 opposite to that of ,cronaca1 by ,giorgio ,vasari1 which is so gentle in ascent and so convenient1 that going up it is almost like walking on the level4 ,this has been the work of the aforesaid ,lord ,duke ,cosimo1 who1 being a man of most happy genius and most profound judgment both in the government of his people and in all other things1 grudges neither expense nor anything else in his desire to make all the fortifications and other buildings1 both public and private1 correspond to the greatness of his own mind1 and not less beautiful than useful or less useful than beautiful4 ,his ,excellency1 then1 reflecting that the body of this ,hall is the largest1 the most magnificent1 and the most beautiful in all ,europe1 has resolved to have it improved in such parts as are defective1 and to have it made in every other part more ornate than any other structure in ,italy1 by the design and hand of ,giorgio ,vasari of ,arezzo4 ,and thus1 the walls having been raised twelve braccia above their former height1 in such a manner that the height from the pavement to the ceiling is thirty-two braccia1 the roof-truss made by ,cronaca to support the roof has been restored and replaced on high after a new arrangement2 and the old ceiling1 which was simple and commonplace1 and by no means worthy of that ,hall1 has been remodelled with a system of compartments of great variety1 rich in mouldings1 full of carvings1 and all overlaid with gold1 together with thirty-nine painted panels1 square1 round1 and octagonal1 the greater number of which are each nine braccia in extent1 and some even more1 and all containing scenes painted in oils1 with the largest figures seven or eight braccia high4 ,in these stories1 commencing with the very beginning1 may be seen the rise1 the honours1 the victories1 and the glorious deeds of the city and state of ,florence1 and in particular the wars of ,pisa and ,siena1 together with an endless number of other things1 which it would take too long to describe4 ,and on each of the side walls there has been left a convenient space of sixty braccia1 in each of which are to be painted three scenes in keeping with the ceiling and embracing the space of seven pictures on either side1 which represent events from the wars of ,pisa and ,siena4 ,these compartments on the walls are so large1 that no greater spaces for the painting of historical pictures have ever been seen either by the ancients or by the moderns4 ,and the said compartments are adorned by some vast stone ornaments which meet at the ends of the ,hall1 at one side of which1 namely1 the northern side1 the ,lord ,duke has caused to be finished a work begun and carried nearly to completion by ,baccio ,bandinelli1 that is1 a faade filled with columns and pilasters and with niches containing statues of marble2 which space is to serve as a public audience chamber1 as will be related in the proper place4 ,on the other side1 opposite to this1 there is to be1 in a similar faade that is being made by the sculptor and architect ,ammanati1 a fountain to throw up water in the ,hall1 with a rich and most beautiful adornment of columns and statues of marble and bronze4 ,nor will ,i forbear to say that this ,hall1 in consequence of the roof having been raised twelve braccia1 has gained not only height1 but also an ample supply of windows1 since1 in addition to the others that are higher up1 in each of those end walls are to be made three large windows1 which will be over the level of a corridor that is to form a loggia within the ,hall and to extend on one side over the work of ,bandinelli1 whence there will be revealed a most beautiful view of the whole ,piazza4 ,but of this ,hall1 and of the other improvements that have been or are being made in the ,palace1 there will be a longer account in another place4 ,this only let me say at present1 that if ,cronaca and those other ingenious craftsmen who gave the design for the ,hall could return to life1 in my belief they would not recognize either the ,palace1 or the ,hall1 or any other thing that is there4 ,the ,hall1 namely1 that part which is rectangular1 without counting the works of ,bandinelli and ,ammanati1 is ninety braccia in length and thirty-eight braccia in breadth4 ,but returning to ,cronaca3 in the last years of his life there entered into his head such a frenzy for the cause of ,fra ,girolamo ,savonarola1 that he would talk of nothing else but that4 ,living thus1 in the end he died after a passing long illness1 at the age of fifty-five1 and was buried honourably in the ,church of ,s4 ,ambrogio at ,florence1 in the year #aeji2 and after no long space of time the following epitaph was written for him by ,messer ,giovan ,battista ,strozzi3 ,,cronaca ,,vivo1 ,e ,,mille ,e ,,mille ,,anni ,e ,,mille ,,ancora1 ,,merc ,,de' ,,vivi ,,miei ,,palazzi ,e ,,tempi1 ,,bella ,,roma1 ,,vivr ,l' ,,alma ,,mia ,,flora4 ,cronaca had a brother called ,matteo1 who gave himself to sculpture and worked under the sculptor ,antonio ,rossellino2 but although he was a man of good and beautiful intelligence1 a fine draughtsman1 and well practised in working marble1 he left no finished work1 because1 being snatched from the world by death at the age of nineteen1 he was not able to accomplish that which was expected from him by all who knew him4 ,,footnote3 #bh ,earnest-money4 #bi ,room in which the beans used in voting for the election of magistrates were counted4 #cj ,office of those who had charge of the ,specchio1 the book in which were inscribed the names of such citizens as were in arrears with their taxes4 ,,domenico ,,puligo ,,life ,,of ,,domenico ,,puligo ,,painter ,,of ,,florence ,it is a marvellous and almost incredible thing1 that many followers of the art of painting1 through continual practice and handling of colours1 either by an instinct of nature or by the trick of a good manner1 acquired without any draughtsmanship or grounding1 carry their works to such thorough completion1 and very often contrive to make them so good1 that1 although the craftsmen themselves may be none of the rarest1 their pictures force the world to extol them and to hold them in supreme veneration4 ,and it has been perceived in the past from many examples1 and in many of our painters1 that the most vivacious and perfect works are produced by those who have a beautiful manner from nature1 although they must exercise it with continual study and labour2 while this gift of nature has such power1 that even if they neglect or abandon the studies of art1 and pay attention to nothing save the mere practice of painting and of handling colours with a grace infused in them by nature1 at the first glance their works have the appearance of displaying all the excellent and marvellous qualities that are wont to appear after a close inspection in the works of those masters whom we hold to be the best4 ,and that this is true1 is demonstrated to us in our own day by experience1 from the works of ,domenico ,puligo1 a painter of ,florence2 wherein what has been said above may be clearly recognized by one who has knowledge of the matters of art4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,saints 7,after the panel by ,domenico ,puligo 7874 ,florence3 ,s4 ,maria ,maddalena de' ,pazzi7 ,alinari ,while ,ridolfo1 the son of ,domenico ,ghirlandajo1 was executing a number of works in painting at ,florence1 as will be related1 he followed his father's habit of always keeping many young men painting in his workshop3 which was the reason that not a few of them1 through competing one with another1 became very good masters1 some at making portraits from life1 some at working in fresco1 others in distemper1 and others at painting readily on cloth4 ,making these lads execute pictures1 panels1 and canvases1 in the course of a few years ,ridolfo1 with great profit for himself1 sent an endless number of these to ,england1 to ,germany1 and to ,spain4 ,baccio ,gotti and ,toto del ,nunziata1 disciples of ,ridolfo1 were summoned1 one to ,france by ,king ,francis1 and the other to ,england by the ,king of that country1 each of whom invited them after having seen some of their work4 ,two other disciples of the same master remained with him1 working under him for many years1 because1 although they had many invitations into ,spain and ,hungary from merchants and others1 they were never induced either by promises or by money to tear themselves away from the delights of their country1 in which they had more work to do than they were able to execute4 ,one of these two was ,antonio del ,ceraiuolo1 a ,florentine1 who1 having been many years with ,lorenzo di ,credi1 had learnt from him1 above all1 to draw so well from nature1 that with supreme facility he gave his portraits an extraordinary likeness to the life1 although otherwise he was no great draughtsman4 ,and ,i have seen some heads portrayed from life by his hand1 which1 although they have1 for example1 the nose crooked1 one lip small and the other large1 and other suchlike deformities1 nevertheless resemble the life1 through his having well caught the expression of the subject2 whereas1 on the other hand1 many excellent masters have made pictures and portraits of absolute perfection with regard to art1 but with no resemblance whatever to those that they are supposed to represent4 ,and to tell the truth1 he who executes portraits must contrive1 without thinking of what is looked for in a perfect figure1 to make them like those for whom they are intended4 ,when portraits are like and also beautiful1 then may they be called rare works1 and their authors truly excellent craftsmen4 ,this ,antonio1 then1 besides many portraits1 executed a number of panel-pictures in ,florence2 but for the sake of brevity ,i will make mention only of two4 ,one of these1 wherein he painted a ,crucifixion1 with ,s4 ,mary ,magdalene and ,s4 ,francis1 is in ,s4 ,jacopo tra ,fossi1 on the ,canto degli ,alberti2 and in the other1 which is in the ,nunziata1 is a ,s4 ,michael who is weighing souls4 ,the other of the two aforesaid disciples was ,domenico ,puligo1 who was more excellent in draughtsmanship and more pleasing and gracious in colouring than any of the others mentioned above4 ,he1 considering that his method of painting with softness1 without overloading his works with colour or making them hard1 but causing the distances to recede little by little as though veiled with a kind of mist1 gave his pictures both relief and grace1 and that although the outlines of the figures that he made were lost in such a way that his errors were concealed and hidden from view in the dark grounds into which the figures merged1 nevertheless his colouring and the beautiful expressions of his heads made his works pleasing1 always kept to the same method of working and to the same manner1 which caused him to be held in esteem as long as he lived4 ,but omitting to give an account of the pictures and portraits that he made while in the workshop of ,ridolfo1 some of which were sent abroad and some remained in the city1 ,i shall speak only of those which he painted when he was rather the friend and rival of ,ridolfo than his disciple1 and of those that he executed when he was so much the friend of ,andrea del ,sarto1 that nothing was more dear to him than to see that master in his workshop1 in order to learn from him1 showing him his works and asking his opinion of them1 so as to avoid such errors and defects as those men often fall into who do not show their work to any other craftsman1 but trust so much in their own judgment that they would rather incur the censure of all the world when those works are finished1 than correct them by means of the suggestions of loving friends4 ,one of the first things that ,domenico executed was a very beautiful picture of ,our ,lady for ,messer ,agnolo della ,stufa1 who has it in his ,abbey of ,capalona in the district of ,arezzo1 and holds it very dear for the great diligence of its execution and the beauty of its colouring4 ,he painted another picture of ,our ,lady1 no less beautiful than that one1 for ,messer ,agnolo ,niccolini1 now ,archbishop of ,pisa and a ,cardinal1 who keeps it in his house on the ,canto de' ,pazzi in ,florence2 and likewise another1 of equal size and excellence1 which is now in the possession of ,filippo dell' ,antella1 at ,florence4 ,in another1 which is about three braccia in height1 ,domenico made a full-length ,madonna with the ,child between her knees1 a little ,s4 ,john1 and another head2 and this picture1 which is held to be one of the best works that he executed1 since there is no sweeter colouring to be seen1 is at the present day in the possession of ,messer ,filippo ,spini1 ,treasurer to the most ,illustrious ,prince of ,florence1 and a gentleman of magnificent spirit1 who takes much delight in works of painting4 ,among other portraits that ,domenico made from the life1 which are all beautiful and also good likenesses1 the most beautiful is the one which he painted of ,monsignore ,messer ,piero ,carnesecchi1 at that time a marvellously handsome youth1 for whom he also made some other pictures1 all very beautiful and executed with much diligence4 ,in like manner1 he portrayed in a picture the ,florentine ,barbara1 a famous and most lovely courtesan of that day1 much beloved by many no less for her fine culture than for her beauty1 and particularly because she was an excellent musician and sang divinely4 ,but the best work that ,domenico ever executed was a large picture wherein he made a life-size ,madonna1 with some angels and little boys1 and a ,s4 ,bernard who is writing2 which picture is now in the hands of ,giovanni ,gualberto del ,giocondo1 and of his brother ,messer ,niccol1 a ,canon of ,s4 ,lorenzo in ,florence4 ,the same master made many other pictures1 which are dispersed among the houses of citizens1 and in particular some wherein may be seen a half-length figure of ,cleopatra1 causing an asp to bite her on the breast1 and others wherein is the ,roman ,lucretia killing herself with a dagger4 ,there are also some very beautiful portraits from life and pictures by the same hand at the ,porta a ,pinti1 in the house of ,giulio ,scali1 a man whose judgment is as fine in the matters of our arts as it is in those of every other most noble and most honourable profession4 ,domenico executed for ,francesco del ,giocondo1 in a panel for his chapel in the great tribune of the ,church of the ,servi at ,florence1 a ,s4 ,francis who is receiving the ,stigmata2 which work is very sweet and soft in colouring1 and wrought with much diligence4 ,in the ,church of ,cestello1 round the ,tabernacle of the ,sacrament1 he painted two angels in fresco1 and on the panel of a chapel in the same church he made a ,madonna with her ,son in her arms1 ,s4 ,john the ,baptist1 ,s4 ,bernard1 and other saints4 ,and since it appeared to the monks of that place that he had acquitted himself very well in those works1 they caused him to paint in a cloister of their ,abbey of ,settimo1 without ,florence1 the ,visions of ,count ,ugo1 who built seven abbeys4 ,and no long time after1 ,puligo painted1 in a shrine at the corner of the ,via ,mozza da ,s4 ,catarina1 a ,madonna standing1 with her ,son in her arms marrying ,s4 ,catherine1 and a figure of ,s4 ,peter ,martyr4 ,for a ,company in the township of ,anghiari he executed a ,deposition from the ,cross1 which may be numbered among his best works4 ,but since it was his profession to attend rather to pictures of ,our ,lady1 portraits1 and other heads1 than to great works1 he gave up almost all his time to such things4 ,now if he had devoted himself not so much to the pleasures of the world1 as he did1 and more to the labours of art1 there is no doubt that he would have made great proficience in painting1 and especially as ,andrea del ,sarto1 who was much his friend1 assisted him on many occasions both with advice and with drawings2 for which reason many of his works reveal a draughtsmanship as fine as the good and beautiful manner of the colouring4 ,but the circumstance that ,domenico was unwilling to endure much fatigue1 and accustomed to labour rather in order to get through work and make money than for the sake of fame1 prevented him from reaching a greater height4 ,and thus1 associating with gay spirits and lovers of good cheer1 and with musicians and women1 he died at the age of fifty-two1 in the year #aebg1 in the pursuit of a love-affair1 having caught the plague at the house of his mistress4 ,colour was handled by him in so good and harmonious a manner1 that it is for that reason1 rather than for any other1 that he deserves praise4 ,among his disciples was ,domenico ,beceri of ,florence1 who1 giving a high finish to his colouring1 executed his works in an excellent manner4 ,,index ,,index ,,of ,,names ,,of ,,the ,,craftsmen ,,mentioned ,,in ,,volume ,,iv ,abbot of ,s4 ,clemente 7,don ,bartolommeo della ,gatta71 #da1 #hb1 #baf1 #bag ,agnolo1 ,baccio d'1 #aja1 #bjd1 #bfg1 #bgj ,agnolo ,gaddi1 #eb1 #ed ,agostino ,busto1 #fj ,albertinelli1 ,biagio di ,bindo1 #afe ,albertinelli1 ,mariotto1 ,life1 #afe-aga4 #aea1 #aed ,albrecht ,drer1 #bcb ,aldigieri 7,altichiero7 da ,zevio1 #ea1 #ed1 #ee ,alessandro ,filipepi 7,sandro ,botticelli1 or ,sandro di ,botticello71 #c1 #d1 #hb ,alessandro ,moretto1 #fj ,alesso ,baldovinetti1 #hb ,alonzo ,berughetta1 #h ,alunno1 ,niccol1 #ah1 #ai ,ammanati1 #bgd ,andrea ,contucci 7,andrea ,sansovino1 or ,andrea dal ,monte ,sansovino71 #e1 #add1 #ahf1 #bbc1 #bgj ,andrea dal ,castagno 7,andrea degl' ,impiccati71 #hb ,andrea dal ,monte ,sansovino 7,andrea ,sansovino1 or ,andrea ,contucci71 #e1 #add1 #ahf1 #bbc1 #bgj ,andrea degl' ,impiccati 7,andrea dal ,castagno71 #hb ,andrea del ,gobbo1 #abb ,andrea del ,sarto1 #hc1 #abi1 #acd1 #bha1 #bhc ,andrea di ,cosimo1 #abi ,andrea ,luigi 7,l',ingegno71 #dg ,andrea ,mantegna1 #bd1 #ee1 #hb ,andrea ,sansovino 7,andrea ,contucci1 or ,andrea dal ,monte ,sansovino71 #e1 #add1 #ahf1 #bbc1 #bgj ,andrea ,verrocchio1 #ce1 #ci1 #ha1 #ij1 #ib1 #aab ,angelico1 ,fra 7,fra ,giovanni da ,fiesole71 #gc1 #aed1 #ahe ,angelo1 ,battista d'1 #fa ,antonio 7,antoniasso71 #f1 #g ,antonio da ,correggio1 ,life1 #aag-abb4 #hc1 #abe ,antonio da ,san ,gallo1 ,life1 #aia-bje4 #ade1 #bed ,antonio del ,ceraiuolo1 #bhj ,antonio di ,giorgio1 #cf ,antonio ,filarete1 #ef ,antonio ,montecavallo1 #adj ,antonio ,pollaiuolo1 #d1 #ha1 #bfe ,antonio ,rossellino1 #bge ,apelles1 #hb1 #hc1 #aje ,arezzo1 ,niccol d'1 #ee ,aristotile da ,san ,gallo1 #bab ,avanzi1 ,jacopo 7,jacopo ,davanzo71 #ea1 #ee ,bacchiaccha1 ,il 7,francesco71 #df ,baccio ,bandinelli1 #bjd1 #bgd ,baccio d' ,agnolo1 #aja1 #bjd1 #bfg1 #bgj ,baccio da ,montelupo1 #ahf ,baccio della ,porta 7,fra ,bartolommeo di ,san ,marco71 ,life1 #aea-afb4 #hb1 #aea-afb1 #afe-afg1 #bae1 #bdd1 #bgb ,baccio ,gotti1 #bhj ,baccio ,ubertino1 #df ,baldassarre ,peruzzi1 #ade1 #adf1 #bjj ,baldovinetti1 ,alesso1 #hb ,bandinelli1 ,baccio1 #bjd1 #bgd ,barile1 ,gian1 #bch ,bartolommeo1 ,fra 7,fra ,carnovale da ,urbino71 #ach ,bartolommeo ,clemente of ,reggio1 #fj ,bartolommeo della ,gatta1 ,don 7,abbot of ,s4 ,clemente71 #da1 #hb1 #baf1 #bag ,bartolommeo di ,san ,marco1 ,fra 7,baccio della ,porta71 ,life1 #aea-afb4 #hb1 #aea-afb1 #afe-afg1 #bae1 #bdd1 #bgb ,bartolommeo ,montagna1 #eb1 #fj ,bartolommeo ,vivarini1 #eb1 #ei ,basaiti1 ,marco 7,il ,bassiti1 or ,marco ,basarini71 #eb1 #eh ,bastiani1 ,lazzaro 7,sebastiano ,scarpaccia1 or ,lazzaro ,scarpaccia71 #eb1 #eg1 #eh ,bastiano da ,monte ,carlo1 #agi ,battista ,borro1 #bfb ,battista d' ,angelo1 #fa ,baviera1 #bcb1 #bcc ,bazzi1 ,giovanni ,antonio 7,sodoma71 #gb1 #bah ,beceri1 ,domenico1 #bhc ,bellini1 ,gentile1 #eg1 #ei1 #aji ,bellini1 ,giovanni1 #eg1 #eh1 #hb1 #aji ,bellini1 ,vittore 7,belliniano71 #eb1 #ei1 #fj ,benedetto ,buglioni1 #aee ,benedetto ,buonfiglio1 #ag1 #ah ,benedetto 7,giovan ,battista7 ,caporali1 #dh1 #ge1 #gf ,benedetto ,cianfanini1 #afb ,benedetto da ,maiano1 #cf1 #aea1 #bff1 #bfg ,benedetto da ,rovezzano1 #aee ,benedetto ,diana1 #eb1 #fj ,benedetto ,spadari1 #bfb ,bernardino da ,trevio1 #ach ,bernardino ,pinturicchio1 ,life1 #ac-ai4 #df1 #fe1 #baa1 #bab ,bertoldo1 #ahe ,berughetta1 ,alonzo1 #h ,biagio di ,bindo ,albertinelli1 #afe ,bianco1 ,simon1 #fj ,bologna1 ,il1 #bcg ,bolognese1 ,marc' ,antonio1 #bcb1 #bcc ,boltraffio1 ,giovanni ,antonio1 #aje ,bonsignori1 ,francesco1 #fj ,borgo a ,san ,sepolcro1 ,piero dal 7,piero della ,francesca71 #ga1 #hb1 #baf ,borro1 ,battista1 #bfb ,botticelli1 ,sandro 7,alessandro ,filipepi1 or ,sandro di ,botticello71 #c1 #d1 #hb ,bramante da ,urbino1 ,life1 #acg-adh4 #aii-bjb1 #baf1 #bag1 #bbc1 #bcb1 #bcg1 #bed ,bramantino1 #bag ,bresciano1 ,vincenzio 7,vincenzio ,zoppa or ,foppa71 #ea1 #eb1 #ef ,bronzino1 #agi ,brunelleschi1 ,filippo 7,filippo di ,ser ,brunellesco71 #acg1 #ahe1 #bff ,bugiardini1 ,giuliano1 #aed1 #afa1 #agj1 #ahf ,buglioni1 ,benedetto1 #aee ,buonarroti1 ,michelagnolo1 #da1 #dc1 #dh1 #fe1 #ff1 #gd1 #hd1 #he1 #aja1 #ajd1 #ade1 #aeg1 #ahf1 #ahg1 #aii1 #bja1 #bjd1 #bji1 #bab1 #bae1 #bbc1 #bbd1 #bdb-bde1 #bei1 #bgj ,buonconsigli1 ,giovanni1 #eb1 #fj ,buonfiglio1 ,benedetto1 #ag1 #ah ,busto1 ,agostino1 #fj ,cadore1 ,tiziano da1 #aad ,campagnola1 ,girolamo1 #ea1 #ee1 #ef ,campagnola1 ,giulio1 #ea1 #ef1 #eg ,caparra1 ,il 7,niccol ,grosso71 #bfh1 #bfi ,caporali1 ,benedetto 7,giovan ,battista71 #dh1 #ge1 #gf ,caporali1 ,giulio1 #dh ,caradosso1 #bc1 #add ,caravaggio1 ,polidoro da1 #hc1 #bcg ,carnovale da ,urbino1 ,fra 7,fra ,bartolommeo71 #ach ,caroto1 ,francesco1 #fj ,carpaccio 7,scarpaccia71 ,vittore1 ,life1 #ea-fa ,carpi1 ,ugo da1 #bcc ,cartoni1 ,niccol 7,niccol ,zoccolo71 #i1 #aj ,castagno1 ,andrea dal 7,andrea degl' ,impiccati71 #hb ,castel ,bolognese1 ,giovanni da1 #aaa ,castel della ,pieve1 ,pietro da 7,pietro ,vannucci1 or ,pietro ,perugino71 ,life1 #cc-dh4 #ac1 #ae1 #ah1 #cc-dh1 #hb1 #aei1 #afi1 #baj-bab1 #bcf1 #bdb1 #bdc ,castelfranco1 ,giorgione da1 ,life1 #aji-aad4 #hb1 #abe ,catena1 ,vincenzio1 #eb1 #eh ,cecchino del ,frate1 #afb ,ceraiuolo1 ,antonio del1 #bhj ,cesare ,cesariano1 #ach ,cianfanini1 ,benedetto1 #afb ,cimabue1 ,giovanni1 #gg ,claudio1 ,maestro1 #bed1 #bee ,conigliano1 ,giovan ,battista da1 #eb1 #eh ,contucci1 ,andrea 7,andrea ,sansovino1 or ,andrea dal ,monte ,sansovino71 #e1 #add1 #ahf1 #bbc1 #bgj ,cordegliaghi1 ,giovanetto1 #eb1 #eh1 #ei ,correggio1 ,antonio 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,sebastiano del ,piombo1 #hd1 #aad1 #bdj ,francesca1 ,piero della 7,piero dal ,borgo a ,san ,sepolcro71 #ga1 #hb1 #baf ,francesco 7,il ,bacchiaccha71 #df ,francesco 7,l',indaco71 #ff1 #fg ,francesco1 ,maestro1 #adb ,francesco ,bonsignori1 #fj ,francesco ,caroto1 #fj ,francesco da ,melzo1 #ii ,francesco da ,san ,gallo1 #acd1 #bjc1 #bjd ,francesco ,francia1 ,life1 #bc-bi4 #hb ,francesco ,giamberti1 #acd1 #aia ,francesco ,granacci 7,il ,granaccio71 #d1 #afi1 #ahf ,francesco ,masini1 ,messer1 #bbg ,francesco ,mazzuoli 7,parmigiano71 #hc ,francesco ,turbido 7,il ,moro71 #fa ,francia1 ,francesco1 ,life1 #bc-bi4 #hb ,franciabigio1 #agj ,francione1 #aia1 #aib ,frate1 ,cecchino del1 #afb ,gabriele ,rustici1 #afb ,gaddi1 ,agnolo1 #eb1 #ed ,galasso ,ferrarese 7,galasso ,galassi71 #ee ,galieno1 #agi ,garbo1 ,raffaellino del1 ,life1 #age-agi4 #f1 #i ,gasparo ,misceroni1 #fj ,gatta1 ,don ,bartolommeo della 7,abbot of ,s4 ,clemente71 #da1 #hb1 #baf1 #bag ,gentile ,bellini1 #eg1 #ei1 #aji ,gerino 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