,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 ,elecate should be ,elacate4 ,,lives ,,of ,,the ,,most ,,eminent ,,painters ,,sculptors ,,architects ,,by ,,giorgio ,,vasari3 ,,volume ,v4 ,,andrea ,,da ,,fiesole ,,to ,,lorenzo ,,lotto #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 ,v ,,page ,,andrea ,,da ,,fiesole ,,andrea ,,ferrucci1 ,,and ,,others #a ,,vincenzio ,,da ,,san ,,gimignano ,,vincenzio ,,tamagni1 ,,and ,,timoteo ,,da ,,urbino ,,timoteo ,,della ,,vite #i ,,andrea ,,dal ,,monte ,,sansovino ,,andrea ,,contucci #ai ,,benedetto ,,da ,,rovezzano #cc ,,baccio ,,da ,,montelupo1 ,,and ,,raffaello ,,his ,,son #ci ,,lorenzo ,,di ,,credi #dg ,,lorenzetto ,,and ,,boccaccino #ec ,,baldassarre ,,peruzzi #fa ,,giovan ,,francesco ,,penni ,,called ,,il ,,fattore1 ,,and ,,pellegrino ,,da ,,modena #ge ,,andrea ,,del ,,sarto #hc ,,madonna ,,properzia ,,de' ,,rossi #aba ,,alfonso ,,lombardi1 ,,michelagnolo ,,da ,,siena1 ,,girolamo ,,santa ,,croce1 ,,and ,,dosso ,,and ,,battista ,,dossi #abi ,,giovanni ,,antonio ,,licinio ,,of ,,pordenone1 ,,and ,,others #adc ,,giovanni ,,antonio ,,sogliani #aeg ,,girolamo ,,da ,,treviso #afg ,,polidoro ,,da ,,caravaggio ,,and ,,maturino #agc ,,il ,,rosso #ahg ,,bartolommeo ,,da ,,bagnacavallo1 ,,and ,,others #bje ,,franciabigio ,,francia #bae ,,morto ,,da ,,feltro ,,and ,,andrea ,,di ,,cosimo ,,feltrini #bbe ,,marco ,,calavrese #bce ,,francesco ,,mazzuoli ,,parmigiano #bda ,,jacopo ,,palma ,,palma ,,vecchio ,,and ,,lorenzo ,,lotto #beg ,,index ,,of ,,names #bfg ,,illustrations ,,to ,,volume ,v ,,plates ,,in ,,colour ,,facing ,,page ,,timoteo ,,da ,,urbino 7,,timoteo ,,della ,,vite7 ,a ,muse ,florence3 ,corsini ,gallery #aj ,,lorenzo ,,di ,,credi ,venus ,florence3 ,uffizi1 #cdeb #dh ,,bernardino ,,del ,,lupino 7,,luini7 ,s4 ,catharine borne to her ,tomb by ,angels ,milan3 ,brera1 #bhh #ed ,,andrea ,,del ,,sarto ,madonna dell' ,arpie ,florence3 ,uffizi1 #aaab #id ,,dosso ,,dossi ,a ,nymph with a ,satyr ,florence3 ,pitti1 #adg #adj ,,franciabigio 7,,francia7 ,portrait of a ,man ,vienna3 ,prince ,liechtenstein #bbb ,,lorenzo ,,lotto ,the ,triumph of ,chastity ,rome3 ,rospigliosi ,gallery #beh ,,jacopo ,,palma 7,,palma ,,vecchio7 ,s4 ,barbara ,venice3 ,s4 ,maria ,formosa #bfj ,,rondinello 7,,niccol ,,rondinelli7 ,madonna and ,child ,paris3 ,louvre1 #aaei #bfd ,,plates ,,in ,,monochrome ,,andrea ,,da ,,fiesole 7,,andrea ,,ferrucci7 ,font ,pistoia3 ,duomo #f ,,silvio ,,cosini 7,,silvio ,,da ,,fiesole7 ,tomb of ,raffaele ,maffei ,volterra3 ,s4 ,lino #h ,,vincenzio ,,da ,,san ,,gimignano 7,,vincenzio ,,tamagni7 ,the ,birth of the ,virgin ,san ,gimignano3 ,s4 ,agostino1 ,cappella del ,s4 ,sacramento #ab ,,timoteo ,,da ,,urbino 7,,timoteo ,,della ,,vite7 ,madonna and ,saints1 with a ,child ,angel ,milan3 ,brera1 #ejh #ab ,,timoteo ,,da ,,urbino 7,,timoteo ,,della ,,vite7 ,the ,magdalene ,bologna3 ,accademia1 #bjd #af ,,andrea ,,dal ,,monte ,,sansovino 7,,andrea ,,contucci7 ,altar-piece ,florence3 ,s4 ,spirito #bb ,,andrea ,,dal ,,monte ,,sansovino 7,,andrea ,,contucci7 ,tomb of ,cardinal ,ascanio ,sforza ,rome3 ,s4 ,maria del ,popolo #bd ,,andrea ,,dal ,,monte ,,sansovino 7,,andrea ,,contucci7 ,the ,madonna and ,child1 with ,s4 ,anne ,rome3 ,s4 ,agostino #bf ,,benedetto ,,da ,,rovezzano ,tomb of ,piero ,soderini ,florence3 ,s4 ,maria del ,carmine #ch ,,baccio ,,da ,,montelupo ,s4 ,john the ,evangelist ,florence3 ,or ,san ,michele #db ,,agostino ,,busti 7,,il ,,bambaja7 ,detail from the ,tomb3 ,head of ,gaston de ,foix ,milan3 ,brera #dd ,,raffaello ,,da ,,montelupo ,s4 ,damiano ,florence3 ,new ,sacristy of ,s4 ,lorenzo #dd ,,lorenzo ,,di ,,credi ,andrea ,verrocchio ,florence3 ,uffizi1 #aafc #ej ,,lorenzo ,,di ,,credi ,madonna and ,child1 with ,saints ,paris3 ,louvre1 #abfc #eb ,,lorenzo ,,di ,,credi ,the ,nativity ,florence3 ,accademia1 #ib #eb ,,lorenzetto ,elijah ,rome3 ,s4 ,maria del ,popolo1 ,chigi ,chapel #ef ,,lorenzetto ,s4 ,peter ,rome3 ,ponte ,s4 ,angelo #ef ,,boccaccino ,madonna and ,child1 with ,saints ,rome3 ,doria ,gallery1 #abe #eh ,,bernardino ,,del ,,lupino 7,,luini7 ,the ,marriage of the ,virgin ,saronno3 ,santuario della ,beata ,vergine #fj ,,baldassarre ,,peruzzi ,cupola of the ,ponzetti ,chapel ,rome3 ,s4 ,maria della ,pace #fd ,,baldassarre ,,peruzzi ,palazzo della ,farnesina ,rome #ff ,,baldassarre ,,peruzzi ,courtyard of ,palazzo ,massimi ,rome #gj ,,giovanni ,,francesco ,,penni 7,,il ,,fattore7 ,the ,baptism of ,constantine ,rome3 ,the ,vatican #gh ,,gaudenzio ,,milanese 7,,gaudenzio ,,ferrari7 ,the ,last ,supper ,milan3 ,s4 ,maria della ,passione #hj ,,andrea ,,del ,,sarto ,noli ,me ,tangere ,florence3 ,uffizi1 #ic #hf ,,andrea ,,del ,,sarto ,the ,last ,supper ,florence3 ,s4 ,salvi #hh ,,andrea ,,del ,,sarto ,the ,arrival of the ,magi ,florence3 ,,ss4 ,annunziata #ij ,,andrea ,,del ,,sarto ,charity ,paris3 ,louvre1 #aead #ih ,,andrea ,,del ,,sarto ,csar receiving the ,tribute of ,egypt ,florence3 ,poggio a ,caiano #ajd ,,andrea ,,del ,,sarto ,portrait of the ,artist ,florence3 ,uffizi1 #bhj #aab ,,madonna ,,properzia ,,de' ,,rossi ,two ,angels 7with ,the ,assumption of the ,virgin1 after ,,tribolo7 ,bologna3 ,s4 ,petronio #abf ,,alfonso ,,lombardi ,the ,death of the ,virgin ,bologna3 ,s4 ,maria della ,vita #acd ,,michelagnolo ,,da ,,siena ,tomb of ,adrian ,,vi ,rome3 ,s4 ,maria dell' ,anima #acf ,,girolamo ,,santa ,,croce ,madonna and ,child1 with ,,ss4 ,peter and ,john ,naples3 ,monte ,oliveto #ach ,,dosso ,,dossi ,madonna and ,child1 with ,,ss4 ,george and ,michael ,modena3 ,pinacoteca1 #dcg #adj ,,giovanni ,,antonio ,,licinio ,,of ,,pordenone ,the ,disputation of ,s4 ,catharine ,piacenza3 ,s4 ,maria di ,campagna #aej ,,giovanni ,,antonio ,,licinio ,,of ,,pordenone ,the ,adoration of the ,magi ,treviso3 ,duomo #aeb ,,giovanni ,,antonio ,,sogliani ,the ,legend of ,s4 ,dominic ,florence3 ,s4 ,marco #afb ,,il ,,rosso ,madonna and ,child1 with ,saints ,florence3 ,uffizi1 #dg #aij ,,il ,,rosso ,the ,transfiguration ,citt di ,castello3 ,duomo #aih ,,bartolommeo ,,da ,,bagnacavallo ,the ,holy ,family1 with ,saints ,bologna3 ,accademia1 #acc #bjh ,,amico ,,of ,,bologna 7,,amico ,,aspertini7 ,the ,adoration ,bologna3 ,pinacoteca1 #big #baj ,,innocenzio ,,da ,,imola ,the ,marriage of ,s4 ,catharine ,bologna3 ,s4 ,giacomo ,maggiore #bad ,,franciabigio 7,,francia7 ,the ,marriage of the ,virgin ,florence3 ,,ss4 ,annunziata #bah ,,francesco ,,mazzuoli 7,,parmigiano7 ,the ,marriage of ,s4 ,catharine ,parma3 ,gallery1 #aib #bdf ,,francesco ,,mazzuoli 7,,parmigiano7 ,madonna and ,child1 with ,saints ,bologna3 ,accademia1 #aaf #bej ,,jacopo ,,palma 7,,palma ,,vecchio7 ,s4 ,sebastian ,venice3 ,s4 ,maria ,formosa #bfj ,,lorenzo ,,lotto ,the ,glorification of ,s4 ,nicholas ,venice3 ,s4 ,maria del ,carmine #bfb ,,lorenzo ,,lotto ,andrea ,odoni ,hampton ,court ,palace #bfb ,,rondinello 7,,niccol ,,rondinelli7 ,madonna and ,child1 with ,saints ,ravenna3 ,accademia #bfd ,,francesco ,,da ,,cotignola ,the ,adoration of the ,shepherds ,ravenna3 ,accademia #bff ,,corrigendum ,p4 #aea1 l4 #ac1 ,vicenza is an error of the ,italian text for ,piacenza1 the church referred to being in the latter town ,,andrea ,,da ,,fiesole ,,lives ,,of ,,andrea ,,da ,,fiesole ,,andrea ,,ferrucci ,,sculptor ,,and ,,of ,,other ,,craftsmen ,,of ,,fiesole ,seeing that it is no less necessary for sculptors to have mastery over their carving-tools than it is for him who practises painting to be able to handle colours1 it therefore happens that many who work very well in clay prove to be unable to carry their labours to any sort of perfection in marble2 and some1 on the contrary1 work very well in marble1 without having any more knowledge of design than a certain instinct for a good manner1 ,i know not what1 that they have in their minds1 derived from the imitation of certain things which please their judgment1 and which their imagination absorbs and proceeds to use for its own purposes4 ,and it is almost a marvel to see the manner in which some sculptors1 without in any way knowing how to draw on paper1 nevertheless bring their works to a fine and praiseworthy completion with their chisels4 ,this was seen in ,andrea1 a sculptor of ,fiesole1 the son of ,piero di ,marco ,ferrucci1 who learnt the rudiments of sculpture in his earliest boyhood from ,francesco di ,simone ,ferrucci1 another sculptor of ,fiesole4 ,and although at the beginning he learnt only to carve foliage1 yet little by little he became so well practised in his work that it was not long before he set himself to making figures2 insomuch that1 having a swift and resolute hand1 he executed his works in marble rather with a certain judgment and skill derived from nature than with any knowledge of design4 ,nevertheless1 he afterwards gave a little more attention to art1 when1 in the flower of his youth1 he followed ,michele ,maini1 likewise a sculptor of ,fiesole2 which ,michele made the ,s4 ,sebastian of marble in the ,minerva at ,rome1 which was so much praised in those days4 ,andrea1 then1 having been summoned to work at ,imola1 built a chapel of grey-stone1 which was much extolled1 in the ,innocenti in that city4 ,after that work1 he went to ,naples at the invitation of ,antonio di ,giorgio of ,settignano1 a very eminent engineer1 and architect to ,king ,ferrante1 with whom ,antonio was in such credit1 that he had charge not only of all the buildings in that kingdom1 but also of all the most important affairs of ,state4 ,on arriving in ,naples1 ,andrea was set to work1 and he executed many things for that ,king in the ,castello di ,san ,martino and in other parts of that city4 ,now ,antonio died2 and after the ,king had caused him to be buried with obsequies suited rather to a royal person than to an architect1 and with twenty pairs of mourners following him to the grave1 ,andrea1 recognizing that this was no country for him1 departed from ,naples and made his way back to ,rome1 where he stayed for some time1 attending to the studies of his art1 and also to some work4 ,afterwards1 having returned to ,tuscany1 he built the marble chapel containing the baptismal font in the ,church of ,s4 ,jacopo at ,pistoia1 and with much diligence executed the basin of that font1 with all its ornamentation4 ,and on the main wall of the chapel he made two lifesize figures in half-relief--namely1 ,s4 ,john baptizing ,christ1 a work executed very well and with a beautiful manner4 ,at the same time he made some other little works1 of which there is no need to make mention4 ,i must say1 indeed1 that although these things were wrought by ,andrea rather with the skill of his hand than with art1 yet there may be perceived in them a boldness and an excellence of taste worthy of great praise4 ,and1 in truth1 if such craftsmen had a thorough knowledge of design united to their practised skill and judgment1 they would vanquish in excellence those who1 drawing perfectly1 only hack the marble when they set themselves to work it1 and toil at it painfully with a sorry result1 through not having practice and not knowing how to handle the tools with the skill that is necessary4 ,after these works1 ,andrea executed a marble panel that was placed exactly between the two flights of steps that ascend to the upper choir in the ,church of the ,vescovado at ,fiesole2 in which panel he made three figures in the round and some scenes in low-relief4 ,and for ,s4 ,girolamo1 at ,fiesole1 he made the little marble panel that is built into the middle of the church4 ,having come into repute by reason of the fame of these works1 ,andrea was commissioned by the ,wardens of ,works of ,s4 ,maria del ,fiore1 at the time when ,cardinal ,giulio de' ,medici was governing ,florence1 to make a statue of an ,apostle four braccia in height2 at that time1 ,i mean1 when four other similar statues were allotted at one and the same moment to four other masters--one to ,benedetto da ,maiano1 another to ,jacopo ,sansovino1 a third to ,baccio ,bandinelli1 and the fourth to ,michelagnolo ,buonarroti2 which statues were eventually to be twelve in number1 and were to be placed in that part of that magnificent temple where there are the ,apostles painted by the hand of ,lorenzo di ,bicci4 ,andrea1 then1 executed his rather with fine skill and judgment than with design2 and he acquired thereby1 if not as much praise as the others1 at least the name of a good and practised master4 ,wherefore he was almost continually employed ever afterwards by the ,wardens of ,works of that church2 and he made the head of ,marsilius ,ficinus that is to be seen therein1 within the door that leads to the chapter-house4 ,he made1 also1 a marble fountain that was sent to the ,king of ,hungary1 which brought him great honour2 and by his hand was a marble tomb that was sent1 likewise1 to ,strigonia1 a city of ,hungary4 ,in this tomb was a ,madonna1 very well executed1 with other figures2 and in it was afterwards laid to rest the body of the ,cardinal of ,strigonia4 ,to ,volterra ,andrea sent two ,angels of marble in the round2 and for ,marco del ,nero1 a ,florentine1 he made a lifesize ,crucifix of wood1 which is now in the ,church of ,s4 ,felicita at ,florence4 ,he made a smaller one for the ,company of the ,assumption in ,fiesole4 ,andrea also delighted in architecture1 and he was the master of ,mangone1 the stonecutter and architect1 who afterwards erected many palaces and other buildings in ,rome in a passing good manner4 ,in the end1 having grown old1 ,andrea gave his attention only to mason's work1 like one who1 being a modest and worthy person1 loved a quiet life more than anything else4 ,he received from ,madonna ,antonia ,vespucci the commission for a tomb for her husband1 ,messer ,antonio ,strozzi2 but since he could not work much himself1 the two ,angels were made for him by ,maso ,boscoli of ,fiesole1 his disciple1 who afterwards executed many works in ,rome and elsewhere1 and the ,madonna was made by ,silvio ,cosini of ,fiesole1 although it was not set into place immediately after it was finished1 which was in the year #aebb1 because ,andrea died1 and was buried by the ,company of the ,scalzo in the ,church of the ,servi4 ,illustration3 ,,font 7,after ,andrea da ,fiesole ,andrea ,ferrucci4 ,pistoia3 ,duomo7 ,brogi ,silvio1 when the said ,madonna was set into place and the tomb of the ,strozzi completely finished1 pursued the art of sculpture with extraordinary zeal2 wherefore he afterwards executed many works in a graceful and beautiful manner1 and surpassed a host of other masters1 above all in the bizarre fancy of his grotesques1 as may be seen in the sacristy of ,michelagnolo ,buonarroti1 from some carved marble capitals over the pilasters of the tombs1 with some little masks so well hollowed out that there is nothing better to be seen4 ,in the same place he made some friezes with very beautiful masks in the act of crying out2 wherefore ,buonarroti1 seeing the genius and skill of ,silvio1 caused him to begin certain trophies to complete those tombs1 but they remained unfinished1 with other things1 by reason of the siege of ,florence4 ,silvio executed a tomb for the ,minerbetti in their chapel in the tramezzo#a of the ,church of ,s4 ,maria ,novella1 as well as any man could1 since1 in addition to the beautiful shape of the sarcophagus1 there are carved upon it various shields1 helmet-crests1 and other fanciful things1 and all with as much design as could be desired in such a work4 ,being at ,pisa in the year #aebh1 ,silvio made there an ,angel that was wanting over a column on the high-altar of the ,duomo1 to face the one by ,tribolo2 and he made it so like the other that it could not be more like even if it were by the same hand4 ,in the ,church of ,monte ,nero1 near ,livorno1 he made a little panel of marble with two figures1 for the ,frati ,ingesuati2 and at ,volterra he made a tomb for ,messer ,raffaello da ,volterra1 a man of great learning1 wherein he portrayed him from nature on a sarcophagus of marble1 with some ornaments and figures4 ,afterwards1 while the siege of ,florence was going on1 ,niccol ,capponi1 a most honourable citizen1 died at ,castel ,nuovo della ,garfagnana on his return from ,genoa1 where he had been as ,ambassador from his ,republic to the ,emperor2 and ,silvio was sent in great haste to make a cast of his head1 to the end that he might afterwards make one in marble1 having already executed a very beautiful one in wax4 ,now ,silvio lived for some time with all his family in ,pisa2 and since he belonged to the ,company of the ,misericordia1 which in that city accompanies those condemned to death to the place of execution1 there once came into his head1 being sacristan at that time1 the strangest caprice in the world4 ,one night he took out of the grave the body of one who had been hanged the day before2 and1 after having dissected it for the purposes of his art1 being a whimsical fellow1 and perhaps a wizard1 and ready to believe in enchantments and suchlike follies1 he flayed it completely1 and with the skin1 prepared after a method that he had been taught1 he made a jerkin1 which he wore for some time over his shirt1 believing that it had some great virtue1 without anyone ever knowing of it4 ,but having once been upbraided by a good ,father to whom he had confessed the matter1 he pulled off the jerkin and laid it to rest in a grave1 as the monk had urged him to do4 ,many other similar stories could be told of this man1 but1 since they have nothing to do with our history1 ,i will pass them over in silence4 ,after the death of his first wife in ,pisa1 ,silvio went off to ,carrara4 ,there he remained to execute some works1 and took another wife1 with whom1 no long time after1 he went to ,genoa1 where1 entering the service of ,prince ,doria1 he made a most beautiful escutcheon of marble over the door of his palace1 and many ornaments in stucco all over that palace1 after the directions given to him by the painter ,perino del ,vaga4 ,he made1 also1 a very beautiful portrait in marble of the ,emperor ,charles ,v4 ,but since it was ,silvio's habit never to stay long in one place--for he was a wayward person--he grew weary of his prosperity in ,genoa1 and set out to make his way to ,france4 ,he departed1 therefore1 but before arriving at ,monsanese he turned back1 and1 stopping at ,milan1 he executed in the ,duomo some scenes and figures and many ornaments1 with much credit for himself4 ,and there1 finally1 he died at the age of forty-five4 ,he was a man of fine genius1 capricious1 very dexterous in any kind of work1 and a person who could execute with great diligence anything to which he turned his hand4 ,he delighted in composing sonnets and improvising songs1 and in his early youth he gave his attention to arms4 ,if he had concentrated his mind on sculpture and design1 he would have had no equal2 and1 even as he surpassed his master ,andrea ,ferrucci1 so1 had he lived1 he would have surpassed many others who have enjoyed the name of excellent masters4 ,there flourished at the same time as ,andrea and ,silvio another sculptor of ,fiesole1 called ,il ,cicilia1 who was a person of much skill2 and a work by his hand may be seen in the ,church of ,s4 ,jacopo1 in the ,campo ,corbolini at ,florence--namely1 the tomb of the ,chevalier ,messer ,luigi ,tornabuoni1 which is much extolled1 particularly because he made therein the escutcheon of that ,chevalier1 in the form of a horse's head1 as if to show1 according to the ancient belief1 that the shape of shields was originally taken from the head of a horse4 ,about the same time1 also1 ,antonio da ,carrara1 a very rare sculptor1 made three statues in ,palermo for the ,duke of ,monteleone1 a ,neapolitan of the house of ,pignatella1 and ,viceroy of ,sicily--namely1 three figures of ,our ,lady in different attitudes and manners1 which were placed over three altars in the ,duomo of ,monteleone in ,calabria4 ,for the same patron he made some scenes in marble1 which are in ,palermo4 ,he left behind him a son who is also a sculptor at the present day1 and no less excellent than was his father4 ,illustration3 ,,tomb ,,of ,,raffaele ,,maffei 7,after ,silvio ,cosini ,silvio da ,fiesole4 ,volterra3 ,s4 ,lino7 ,alinari ,,footnote3 #a ,see note on p4 #eg1 ,vol4 ,i4 ,,vincenzio ,,da ,,san ,,gimignano ,,and ,,timoteo ,,da ,,urbino ,illustration3 ,,timoteo ,,da ,,urbino 7,,timoteo ,,viti73 ,a ,,muse 7,florence3 ,corsini ,gallery4 ,panel7 ,,lives ,,of ,,vincenzio ,,da ,,san ,,gimignano ,,and ,,timoteo ,,da ,,urbino ,,timoteo ,,della ,,vite ,,painters ,having now to write1 after the ,life of the sculptor ,andrea da ,fiesole1 the ,lives of two excellent painters1 ,vincenzio da ,san ,gimignano of ,tuscany1 and ,timoteo da ,urbino1 ,i propose to speak first of ,vincenzio1 as the man whose portrait is above1#b and immediately afterwards of ,timoteo1 since they lived almost at one and the same time1 and were both disciples and friends of ,raffaello4 ,vincenzio1 then1 working in company with many others in the ,papal ,loggie for the gracious ,raffaello da ,urbino1 acquitted himself in such a manner that he was much extolled by ,raffaello and by all the others4 ,having therefore been set to work in the ,borgo1 opposite to the ,palace of ,messer ,giovanni ,battista dall' ,aquila1 with great credit to himself he painted on a faade a frieze in terretta1 in which he depicted the ,nine ,muses1 with ,apollo in the centre1 and above them some lions1 the device of the ,pope1 which are held to be very beautiful4 ,vincenzio showed great diligence in his manner and softness in his colouring1 and his figures were very pleasing in aspect2 in short1 he always strove to imitate the manner of ,raffaello da ,urbino1 as may also be seen in the same ,borgo1 opposite to the ,palace of the ,cardinal of ,ancona1 from the faade of a house that was built by ,messer ,giovanni ,antonio ,battiferro of ,urbino1 who1 in consequence of the strait friendship that he had with ,raffaello1 received from him the design for that faade1 and also1 through his good offices1 many benefits and rich revenues at the ,court4 ,in this design1 then1 which was afterwards carried into execution by ,vincenzio1 ,raffaello drew1 in allusion to the name of the ,battiferri1 the ,cyclopes forging thunderbolts for ,jove1 and in another part ,vulcan making arrows for ,cupid1 with some most beautiful nudes and other very lovely scenes and statues4 ,the same ,vincenzio painted a great number of scenes on a faade in the ,piazza di ,s4 ,luigi de' ,francesi at ,rome1 such as the ,death of ,csar1 a ,triumph of ,justice1 and a battle of horsemen in a frieze1 executed with spirit and much diligence2 and in this work1 close to the roof1 between the windows1 he painted some ,virtues that are very well wrought4 ,in like manner1 on the faade of the ,epifani1 behind the ,curia di ,pompeo1 and near the ,campo di ,fiore1 he painted the ,magi following the ,star2 with an endless number of other works throughout that city1 the air and position of which seem to be in great measure the reason that men are inspired to produce marvellous works there4 ,experience teaches us1 indeed1 that very often the same man has not the same manner and does not produce work of equal excellence in every place1 but makes it better or worse according to the nature of the place4 ,illustration3 ,,the ,,birth ,,of ,,the ,,virgin 7,after the fresco by ,vincenzio da ,san ,gimignano ,vincenzio ,tamagni4 ,san ,gimignano3 ,s4 ,agostino7 ,brogi ,vincenzio being in very good repute in ,rome1 there took place in the year #aebg the ruin and sack of that unhappy city1 which had been the mistress of the nations4 ,whereupon1 grieved beyond measure1 he returned to his native city of ,san ,gimignano2 and there1 by reason of the sufferings that he had undergone1 and the weakening of his love for art1 now that he was away from the air which nourishes men of fine genius and makes them bring forth works of the rarest merit1 he painted some things that ,i will pass over in silence1 in order not to veil with them the renown and the great name that he had honourably acquired in ,rome4 ,it is enough to point out clearly that violence turns the most lofty intellects roughly aside from their chief goal1 and makes them direct their steps into the opposite path2 which may also be seen in a companion of ,vincenzio1 called ,schizzone1 who executed some works in the ,borgo that were highly extolled1 and also in the ,campo ,santo of ,rome and in ,s4 ,stefano degl' ,indiani1 and who was likewise caused by the senseless soldiery to turn aside from art and in a short time to lose his life4 ,vincenzio died in his native city of ,san ,gimignano1 having had but little gladness in his life after his departure from ,rome4 ,illustration3 ,,madonna ,,and ,,saints1 ,,with ,a ,,child ,,angel 7,after the painting by ,timoteo da ,urbino ,timoteo della ,vite4 ,milan3 ,brera1 #ejh7 ,brogi ,timoteo1 a painter of ,urbino1 was the son of ,bartolommeo della ,vite1 a citizen of good position1 and ,calliope1 the daughter of ,maestro ,antonio ,alberto of ,ferrara1 a passing good painter in his day1 as is shown by his works at ,urbino and elsewhere4 ,while ,timoteo was still a child1 his father dying1 he was left to the care of his mother ,calliope1 with good and happy augury1 from the circumstance that ,calliope is one of the ,nine ,muses1 and the conformity that exists between poetry and painting4 ,then1 after he had been brought discreetly through his boyhood by his wise mother1 and initiated by her into the studies of the simpler arts and likewise of drawing1 the young man came into his first knowledge of the world at the very time when the divine ,raffaello ,sanzio was flourishing4 ,applying himself in his earliest years to the goldsmith's art1 he was summoned by ,messer ,pier ,antonio1 his elder brother1 who was then studying at ,bologna1 to that most noble city1 to the end that he might follow that art1 to which he seemed to be inclined by nature1 under the discipline of some good master4 ,while living1 then1 in ,bologna1 in which city he stayed no little time1 and was much honoured and received by the noble and magnificent ,messer ,francesco ,gombruti into his house with every sort of courtesy1 ,timoteo associated continually with men of culture and lofty intellect4 ,wherefore1 having become known in a few months as a young man of judgment1 and inclined much more to the painter's than to the goldsmith's art1 of which he had given proofs in some very well-executed portraits of his friends and of others1 it seemed good to his brother1 wishing to encourage the young man's natural genius1 and also persuaded to this by his friends1 to take him away from his files and chisels1 and to make him devote himself entirely to the study of drawing4 ,at which he was very content1 and applied himself straightway to drawing and to the labours of art1 copying and drawing all the best works in that city2 and establishing a close intimacy with painters1 he set out to such purpose on his new road1 that it was a marvel to see the progress that he made from one day to another1 and all the more because he learnt with facility the most difficult things without any particular teaching from any appointed master4 ,and so1 becoming enamoured of his profession1 and learning many secrets of painting merely by sometimes seeing certain painters of no account making their mixtures and using their brushes1 and guided by himself and by the hand of nature1 he set himself boldly to colouring1 and acquired a very pleasing manner1 very similar to that of the new ,apelles1 his compatriot1 although he had seen nothing by his hand save a few works at ,bologna4 ,thereupon1 after executing some works on panel and on walls with very good results1 guided by his own good intellect and judgment1 and believing that in comparison with other painters he had succeeded very well in everything1 he pursued the studies of painting with great ardour1 and to such purpose1 that in course of time he found that he had gained a firm footing in his art1 and was held in good repute and vast expectation by all the world4 ,having then returned to his own country1 now a man twenty-six years of age1 he stayed there for some months1 giving excellent proofs of his knowledge4 ,thus he executed1 to begin with1 the altar-piece of the ,madonna for the altar of ,s4 ,croce in the ,duomo1 containing1 besides the ,virgin1 ,s4 ,crescenzio and ,s4 ,vitale2 and there is a little ,angel seated on the ground1 playing on a viola with a grace truly angelic and a childlike simplicity expressed with art and judgment4 ,afterwards he painted another altar-piece for the high-altar of the ,church of the ,trinit1 together with a ,s4 ,apollonia on the left hand of that altar4 ,by means of these works and certain others1 of which there is no need to make mention1 the name and fame of ,timoteo spread abroad1 and he was invited with great insistence by ,raffaello to ,rome2 whither having gone with the greatest willingness1 he was received with that loving kindness that was as peculiar to ,raffaello as was his excellence in art4 ,working1 then1 with ,raffaello1 in little more than a year he made a great advance1 not only in art1 but also in prosperity1 for in that time he sent home a good sum of money4 ,while working with his master in the ,church of ,s4 ,maria della ,pace1 he made with his own hand and invention the ,sibyls that are in the lunettes on the right hand1 so much esteemed by all painters4 ,that they are his is maintained by some who still remember having seen them painted2 and we have also testimony in the cartoons which are still to be found in the possession of his successors4 ,on his own account1 likewise1 he afterwards painted the bier and the dead body contained therein1 with the other things1 so highly extolled1 that are around it1 in the ,scuola of ,s4 ,caterina da ,siena2 and although certain men of ,siena1 carried away by love of their own country1 attribute these works to others1 it may easily be recognized that they are the handiwork of ,timoteo1 both from the grace and sweetness of the colouring1 and from other memorials of himself that he left in that most noble school of excellent painters4 ,now1 although ,timoteo was well and honourably placed in ,rome1 yet1 not being able to endure1 as many do1 the separation from his own country1 and also being invited and urged every moment to come home by the counsels of his friends and by the prayers of his mother1 now an old woman1 he returned to ,urbino1 much to the displeasure of ,raffaello1 who loved him dearly for his good qualities4 ,and not long after1 having taken a wife in ,urbino at the suggestion of his family1 and having become enamoured of his country1 in which he saw that he was highly honoured1 besides the circumstance1 even more important1 that he had begun to have children1 ,timoteo made up his mind firmly never again to consent to go abroad1 notwithstanding1 as may still be seen from some letters1 that he was invited back to ,rome by ,raffaello4 ,but he did not therefore cease to work1 and he made many works in ,urbino and in the neighbouring cities4 ,at ,forl he painted a chapel in company with ,girolamo ,genga1 his friend and compatriot2 and afterwards he painted entirely with his own hand a panel that was sent to ,citt di ,castello1 and likewise another for the people of ,cagli4 ,at ,castel ,durante1 also1 he executed some works in fresco1 which are truly worthy of praise1 as are all the other works by his hand1 which bear witness that he was a graceful painter in figures1 landscapes1 and every other field of painting4 ,in ,urbino1 at the instance of ,bishop ,arrivabene of ,mantua1 he painted the ,chapel of ,s4 ,martino in the ,duomo1 in company with the same ,genga2 but the altar-panel and the middle of the chapel are entirely by the hand of ,timoteo4 ,for the same church1 also1 he painted a ,magdalene standing1 clothed in a short mantle1 and covered below this by her own tresses1 which reach to the ground and are so beautiful and natural1 that the wind appears to move them2 not to mention the divine beauty of the expression of her countenance1 which reveals clearly the love that she bore to her ,master4 ,in ,s4 ,agata there is another panel by the hand of the same man1 with some very good figures4 ,and for ,s4 ,bernardino1 without that city1 he made that work so greatly renowned that is at the right hand upon the altar of the ,buonaventuri1 gentlemen of ,urbino2 wherein the ,virgin is represented with most beautiful grace as having received the ,annunciation1 standing with her hands clasped and her face and eyes uplifted to ,heaven4 ,above1 in the sky1 in the centre of a great circle of light1 stands a little ,child1 with ,his foot on the ,holy ,spirit in the form of a ,dove1 and holding in ,his left hand a globe symbolizing the dominion of the world1 while1 with the other hand raised1 ,he gives the benediction2 and on the right of the ,child is an angel1 who is pointing ,him out with his finger to the ,madonna4 ,below--that is1 on the level of the ,madonna1 to her right--is the ,baptist1 clothed in a camel's skin1 which is torn on purpose that the nude figure may be seen2 and on her left is a ,s4 ,sebastian1 wholly naked1 and bound in a beautiful attitude to a tree1 and wrought with such diligence that the figure could not have stronger relief nor be in any part more beautiful4 ,at the ,court of the most illustrious ,dukes of ,urbino1 in a little private study1 may be seen an ,apollo and two half-nude ,muses by his hand1 beautiful to a marvel4 ,for the same patrons he executed many pictures1 and made some decorations for apartments1 which are very beautiful4 ,and afterwards1 in company with ,genga1 he painted some caparisons for horses1 which were sent to the ,king of ,france1 with such beautiful figures of various animals that they appeared to all who beheld them to have life and movement4 ,he made1 also1 some triumphal arches similar to those of the ancients1 on the occasion of the marriage of the most illustrious ,duchess ,leonora to the ,lord ,duke ,francesco ,maria1 to whom they gave vast satisfaction1 as they did to the whole ,court2 on which account he was received for many years into the household of that ,duke1 with an honourable salary4 ,illustration3 ,,the ,,magdalene 7,after the panel by ,timoteo da ,urbino ,timoteo della ,vite4 ,bologna3 ,accademia1 #bjd7 ,anderson ,timoteo was a bold draughtsman1 and even more notable for the sweetness and charm of his colouring1 insomuch that his works could not have been executed with more delicacy or greater diligence4 ,he was a merry fellow1 gay and festive by nature1 and most acute and witty in his sayings and discourses4 ,he delighted in playing every sort of instrument1 and particularly the lyre1 to which he sang1 improvising upon it with extraordinary grace4 ,he died in the year of our salvation #aebd1 the fifty-fourth of his life1 leaving his native country as much enriched by his name and his fine qualities as it was grieved by his loss4 ,he left in ,urbino some unfinished works1 which were finished afterwards by others and show by comparison how great were the worth and ability of ,timoteo4 ,in our book are some drawings by his hand1 very beautiful and truly worthy of praise1 which ,i received from the most excellent and gentle ,messer ,giovanni ,maria1 his son--namely1 a pen-sketch for the portrait of the ,magnificent ,giuliano de' ,medici1 which ,timoteo made when ,giuliano was frequenting the ,court of ,urbino and that most famous academy1 a ,noli me tangere1 and a ,s4 ,john the ,evangelist sleeping while ,christ is praying in the ,garden1 all very beautiful4 ,,footnote3 #b ,in the original edition of #aefh4 ,,andrea ,,dal ,,monte ,,sansovino ,,life ,,of ,,andrea ,,dal ,,monte ,,sansovino ,,andrea ,,contucci ,,sculptor ,,and ,,architect ,although ,andrea1 the son of ,domenico ,contucci of ,monte ,sansovino1 was born from a poor father1 a tiller of the earth1 and rose from the condition of shepherd1 nevertheless his conceptions were so lofty1 his genius so rare1 and his mind so ready1 both in his works and in his discourses on the difficulties of architecture and perspective1 that there was not in his day a better1 rarer1 or more subtle intellect than his1 nor one that was more able than he was to render the greatest doubts clear and lucid2 wherefore he well deserved to be held in his own times1 by all who were qualified to judge1 to be supreme in those professions4 ,andrea was born1 so it is said1 in the year #adfj2 and in his childhood1 while looking after his flocks1 he would draw on the sand the livelong day1 as is also told of ,giotto1 and copy in clay some of the animals that he was guarding4 ,so one day it happened that a ,florentine citizen1 who is said to have been ,simone ,vespucci1 at that time ,podest of the ,monte1 passing by the place where ,andrea was looking after his little charges1 saw the boy standing all intent on drawing or modelling in clay4 ,whereupon he called to him1 and1 having seen what was the boy's bent1 and heard whose son he was1 he asked for him from ,domenico ,contucci1 who graciously granted his request2 and ,simone promised to place him in the way of learning design1 in order to see what virtue there might be in that inclination of nature1 if assisted by continual study4 ,having returned to ,florence1 then1 ,simone placed him to learn art with ,antonio del ,pollaiuolo1 under whom ,andrea made such proficience1 that in a few years he became a very good master4 ,in the house of that ,simone1 on the ,ponte ,vecchio1 there may still be seen a cartoon executed by him at that time1 of ,christ being scourged at the ,column1 drawn with much diligence2 and1 in addition1 two marvellous heads in terra-cotta1 copied from ancient medals1 one of the ,emperor ,nero1 and the other of the ,emperor ,galba1 which heads served to adorn a chimney-piece2 but the ,galba is now at ,arezzo1 in the house of ,giorgio ,vasari4 ,afterwards1 while still living in ,florence1 he made an altar-piece in terra-cotta for the ,church of ,s4 ,agata at ,monte ,sansovino1 with a ,s4 ,laurence and some other saints1 and little scenes most beautifully executed4 ,and no long time after this he made another like it1 containing a very beautiful ,assumption of ,our ,lady1 ,s4 ,agata1 ,s4 ,lucia1 and ,s4 ,romualdo2 which altar-piece was afterwards glazed by the ,della ,robbia family4 ,illustration3 ,,altar-,,piece 7,after ,andrea dal ,monte ,sansovino ,andrea ,contucci4 ,florence3 ,s4 ,spirito7 ,alinari ,then1 pursuing the art of sculpture1 he made in his youth for ,simone del ,pollaiuolo1 otherwise called ,il ,cronaca1 two capitals for pilasters in the ,sacristy of ,s4 ,spirito1 which brought him very great fame1 and led to his receiving a commission to execute the antechamber that is between the said sacristy and the church2 and since the space was very small1 ,andrea was forced to use great ingenuity4 ,he made1 therefore1 a structure of grey-stone in the ,corinthian ,order1 with twelve round columns1 six on either side2 and having laid architrave1 frieze1 and cornice over these columns1 he then raised a barrel-shaped vault1 all of the same stone1 with a coffer-work surface full of carvings1 which was something novel1 rich and varied1 and much extolled4 ,it is true1 indeed1 that if the mouldings of that coffer-work ceiling1 which serve to divide the square and round panels by which it is adorned1 had been contrived so as to fall in a straight line with the columns1 with truer proportion and harmony1 this work would be wholly perfect in every part2 and it would have been an easy thing to do this4 ,but1 according to what ,i once heard from certain old friends of ,andrea1 he used to defend himself by saying that he had adhered in his vault to the method of the coffering in the ,ritonda at ,rome1 wherein the ribs that radiate from the round window in the centre above1 from which that temple gets its light1 serve to enclose the square sunk panels containing the rosettes1 which diminish little by little1 as likewise do the ribs2 and for that reason they do not fall in a straight line with the columns4 ,andrea used to add that if he who built the ,temple of the ,ritonda1 which is the best designed and proportioned that there is1 and made with more harmony than any other1 paid no attention to this in a vault of such size and importance1 much less should he do so in a coffered ceiling with far smaller panels4 ,nevertheless many craftsmen1 and ,michelagnolo in particular1 have been of the opinion that the ,ritonda was built by three architects1 of whom the first carried it as far as the cornice that is above the columns1 and the second from the cornice upwards1 the part1 namely1 that contains those windows of more graceful workmanship1 for in truth this second part is very different in manner from the part below1 since the vaulting was carried out without any relation between the coffering and the straight lines of what is below4 ,the third is believed to have made the portico1 which was a very rare work4 ,and for these reasons the masters who practise this art at the present day should not fall into such an error and then make excuses1 as did ,andrea4 ,after that work1 having received from the family of the ,corbinelli the commission for the ,chapel of the ,sacrament in the same church1 he carried it out with much diligence1 imitating in the low-reliefs ,donato and other excellent craftsmen1 and sparing no labour in his desire to do himself credit1 as1 indeed1 he did4 ,in two niches1 one on either side of a very beautiful tabernacle1 he placed two saints somewhat more than one braccio in height1 ,s4 ,james and ,s4 ,matthew1 executed with such spirit and excellence1 that every sort of merit is revealed in them and not one fault4 ,equally good1 also1 are two ,angels in the round that are the crowning glory of this work1 with the most beautiful draperies--for they are in the act of flying--that are anywhere to be seen2 and in the centre is a little naked ,christ full of grace4 ,there are also some scenes with little figures in the predella and over the tabernacle1 all so well executed that the point of a brush could scarcely do what ,andrea did with his chisel4 ,but whosoever wishes to be amazed by the diligence of this extraordinary man should look at the architecture of this work as a whole1 for it is so well executed and joined together in its small proportions that it appears to have been chiselled out of one single stone4 ,much extolled1 also1 is a large ,piet of marble that he made in half-relief on the front of the altar1 with the ,madonna and ,s4 ,john weeping4 ,nor could one imagine any more beautiful pieces of casting than are the bronze gratings that enclose that chapel1 with their ornaments of marble1 and with stags1 the device1 or rather the arms1 of the ,corbinelli1 which serve as adornments for the bronze candelabra4 ,in short1 this work was executed without any sparing of labour1 and with all the best considerations that could possibly be imagined4 ,by these and by other works the name of ,andrea spread far and wide1 and he was sought for from the elder ,lorenzo de' ,medici1 the ,magnificent1 in whose garden1 as has been related1 he had pursued the studies of design1 by the ,king of ,portugal2 and1 being therefore sent to him by ,lorenzo1 he executed for that ,king many works of sculpture and of architecture1 and in particular a very beautiful palace with four towers1 and many other buildings4 ,part of the palace was painted after designs and cartoons by the hand of ,andrea1 who drew very well1 as may be seen from some drawings by his own hand in our book1 finished with a charcoal-point1 and some other architectural drawings1 showing excellent design4 ,he also made for that ,king a carved altar of wood1 containing some ,prophets2 and likewise a very beautiful battle-piece in clay1 to be afterwards carved in marble1 representing the wars that the ,king waged with the ,moors1 who were vanquished by him2 and no work by the hand of ,andrea was ever seen that was more spirited or more terrible than this1 what with the movements and various attitudes of the horses1 the heaps of dead1 and the vehement fury of the soldiers in combat4 ,and he made a figure of ,s4 ,mark in marble1 which was a very rare work4 ,while in the service of that ,king1 ,andrea also gave his attention to some difficult and fantastic architectural works1 according to the custom of that country1 in order to please the ,king2 of which things ,i once saw a book at ,monte ,sansovino in the possession of his heirs1 which is now in the hands of ,maestro ,girolamo ,lombardo1 who was his disciple1 and to whom it fell1 as will be related1 to finish some works begun by ,andrea4 ,illustration3 ,,tomb ,,of ,,cardinal ,,ascanio ,,sforza 7,after ,andrea dal ,monte ,sansovino ,andrea ,contucci4 ,rome3 ,s4 ,maria del ,popolo7 ,alinari ,having been nine years in ,portugal1 and growing weary of that service1 and desirous of seeing his relatives and friends in ,tuscany again1 ,andrea determined1 now that he had put together a good sum of money1 to obtain leave from the ,king and return home4 ,and so1 having been granted permission1 although not willingly1 he returned to ,florence1 leaving behind him one who should complete such of his works as remained unfinished4 ,after arriving in ,florence1 he began in the year #aejj a marble group of ,s4 ,john baptizing ,christ1 which was to be placed over that door of the ,temple of ,s4 ,giovanni that faces the ,misericordia2 but he did not finish it1 because he was almost forced to go to ,genoa1 where he made two figures of marble1 ,christ1 or rather ,s4 ,john1 and a ,madonna1 which are truly worthy of the highest praise4 ,and those at ,florence remained unfinished1 and are still to be found at the present day in the ,office of ,works of the said ,s4 ,giovanni4 ,he was then summoned to ,rome by ,pope ,julius ,,ii1 and received the commission for two tombs of marble1 which were erected in ,s4 ,maria del ,popolo--one for ,cardinal ,ascanio ,sforza1 and the other for the ,cardinal of ,recanati1 a very near relative of the ,pope--and these works were wrought so perfectly by ,andrea that nothing more could be desired1 since they were so well executed and finished1 and with such purity1 beauty1 and grace1 that they reveal the true consideration and proportion of art4 ,there may be seen there1 also1 a ,temperance with an hourglass in her hand1 which is held to be a thing divine2 and1 indeed1 it does not appear to be a modern work1 but ancient and wholly perfect4 ,and although there are other figures there similar to it1 yet on account of its attitude and grace it is much the best2 not to mention that nothing could be more pleasing and beautiful than the veil that she has around her1 which is executed with such delicacy that it is a miracle to behold4 ,in ,s4 ,agostino at ,rome1 on a pilaster in the middle of the church1 he made in marble a ,s4 ,anne embracing a ,madonna with the ,child1 a little less than lifesize4 ,this work may be counted as one of the best of modern times1 since1 even as a lively and wholly natural gladness is seen in the old woman1 and a divine beauty in the ,madonna1 so the figure of the ,infant ,christ is so well wrought1 that no other was ever executed with such delicacy and perfection4 ,wherefore it well deserved that for many years a succession of sonnets and various other learned compositions should be attached to it1 of which the friars of that place have a book full1 which ,i myself have seen1 to my no little marvel4 ,and in truth the world was right in doing this1 for the reason that the work can never be praised enough4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,s4 ,,anne 7,after ,andrea dal ,monte ,sansovino ,andrea ,contucci4 ,rome3 ,s4 ,agostino7 ,alinari ,the fame of ,andrea having thereby grown greater1 ,leo ,x1 who had resolved that the adornment with wrought marble of the ,chamber of the ,madonna in ,s4 ,maria at ,loreto should be carried out1 according to the beginning made by ,bramante1 ordained that ,andrea should bring that work to completion4 ,the ornamentation of that ,chamber1 which ,bramante had begun1 had at the corners four double projections1 which1 adorned by pillars with bases and carved capitals1 rested on a socle rich with carvings1 and two braccia and a half in height2 over which socle1 between the two aforesaid pillars1 he had made a large niche to contain seated figures1 and1 above each of these niches1 a smaller one1 which1 reaching to the collarino of the capitals of those pillars1 left a frieze of the same height as the capitals4 ,above these were afterwards laid architrave1 frieze1 and richly carved cornice1 which1 going right round all the four walls1 project over the four corners2 and in the middle of each of the larger walls--for the ,chamber is greater in length than in breadth--were left two spaces1 since there was the same projection in the centre of those walls as there was at the corners2 whence the larger niche below1 with the smaller one above it1 came to be enclosed by a space of five braccia on either side4 ,in this space were two doors1 one on either side1 through which one entered into the chapel2 and above the doors was a space of five braccia between one niche and another1 wherein were to be carved scenes in marble4 ,the front wall was the same1 but without niches in the centre1 and the height of the socle1 with the projection1 formed an altar1 which was set off by the pillars and the niches at the corners4 ,in the same front wall1 in the centre1 was a space of the same breadth as the spaces at the sides1 to contain some scenes in the upper part1 while below1 the same in height as the spaces of the sides1 but beginning immediately above the altar1 was a bronze grating opposite to the inner altar1 through which it was possible to hear the ,mass and to see the inside of the ,chamber and the aforesaid altar of the ,madonna4 ,altogether1 then1 the spaces and compartments for the scenes were seven3 one in front1 above the grating1 two on each of the longer sides1 and two on the upper part--that is to say1 behind the altar of the ,madonna2 and1 in addition1 there were eight large and eight small niches1 with other smaller spaces for the arms and devices of the ,pope and of the ,church4 ,andrea1 then1 having found the work in this condition1 distributed over these spaces1 with a rich and beautiful arrangement1 scenes from the life of the ,madonna4 ,in one of the two side-walls1 he began in one part the ,nativity of the ,madonna1 and executed half of it2 and it was completely finished afterwards by ,baccio ,bandinelli4 ,in the other part he began the ,marriage of the ,virgin1 but this also remained unfinished1 and after the death of ,andrea it was completed as we see it by ,raffaello da ,montelupo4 ,on the front wall he arranged that there should be made1 in two small squares which are on either side of the bronze grating1 in one the ,visitation and in the other the scene of the ,virgin and ,joseph going to have themselves enrolled for taxes2 which scenes were afterwards executed by ,francesco da ,san ,gallo1 then a young man4 ,then1 in that part where the greatest space is1 ,andrea made the ,angel ,gabriel bringing the ,annunciation to the ,virgin--which happened in that very chamber which these marbles enclose--with such grace and beauty that there is nothing better to be seen1 for he made the ,virgin wholly intent on that ,salutation1 and the ,angel1 kneeling1 appears to be not of marble1 but truly celestial1 with ,ave ,maria issuing from his mouth4 ,in company with ,gabriel are two other ,angels1 in full-relief and detached from the marble1 one of whom is walking after him and the other appears to be flying4 ,behind a building stand two other ,angels1 carved out by the chisel in such a way that they seem to be alive4 ,in the air1 on a cloud much undercut--nay1 almost entirely detached from the marble--are many little boys upholding a ,god the ,father1 who is sending down the ,holy ,spirit by means of a ray of marble1 which1 descending from ,him completely detached1 appears quite real2 as1 likewise1 is the ,dove upon it1 which represents the ,holy ,spirit4 ,nor can one describe how great is the beauty and how delicate the carving of a vase filled with flowers1 which was made in this work by the gracious hand of ,andrea1 who lavished so much excellence on the plumes of the ,angels1 the hair1 the grace of their features and draperies1 and1 in short1 on every other thing1 that this divine work cannot be extolled enough4 ,and1 in truth1 that most holy place1 which was the very house and habitation of the ,mother of the ,son of ,god1 could not obtain from the resources of the world a greater1 richer1 or more beautiful adornment than that which it received from the architecture of ,bramante and the sculpture of ,andrea ,sansovino2 although1 even if it were entirely of the most precious gems of the ,east1 it would be little more than nothing in comparison with such merits4 ,andrea spent an almost incredible amount of time over this work1 and therefore had no time to finish the others that he had begun2 for1 in addition to those mentioned above1 he began in a space on one of the side-walls the ,nativity of ,jesus ,christ1 with the ,shepherds and four ,angels singing2 and all these he finished so well that they seem to be wholly alive4 ,but the story of the ,magi1 which he began above that one1 was afterwards finished by ,girolamo ,lombardo1 his disciple1 and by others4 ,on the back wall he arranged that two large scenes should be made1 one above the other2 in one1 the ,death of ,our ,lady1 with the ,apostles bearing her to her burial1 four ,angels in the air1 and many ,jews seeking to steal that most holy corpse2 and this was finished after ,andrea's lifetime by the sculptor ,bologna4 ,below this one1 then1 he arranged that there should be made a scene of the ,miracle of ,loreto1 showing in what manner that chapel1 which was the ,chamber of ,our ,lady1 wherein she was born1 brought up1 and saluted by the ,angel1 and in which she reared her ,son up to the age of twelve and lived ever after ,his ,death1 was finally carried by the ,angels1 first into ,sclavonia1 afterwards to a forest in the territory of ,recanati1 and in the end to the place where it is now held in such veneration and continually visited in solemn throng by all the ,christian people4 ,this scene1 ,i say1 was executed in marble on that wall1 according to the arrangement made by ,andrea1 by the ,florentine sculptor ,tribolo1 as will be related in due place4 ,andrea likewise blocked out the ,prophets for the niches1 but did not finish them completely1 save one alone1 and the others were afterwards finished by the aforesaid ,girolamo ,lombardo and by other sculptors1 as will be seen in the ,lives that are to follow4 ,but with regard to all the works wrought by ,andrea in this undertaking1 they are the most beautiful and best executed works of sculpture that had ever been made up to that time4 ,in like manner1 the ,palace of the ,canons of the same church was also carried on by ,andrea1 after the arrangements made by ,bramante at the commission of ,pope ,leo4 ,but this1 also1 remained unfinished after the death of ,andrea1 and the building was continued under ,clement ,,vii by ,antonio da ,san ,gallo1 and then by the architect ,giovanni ,boccalino1 under the patronage of the very reverend ,cardinal da ,carpi1 up to the year #aefc4 ,while ,andrea was at work on the aforesaid ,chapel of the ,virgin1 there were built the fortifications of ,loreto and other works1 which were highly extolled by the all-conquering ,signor ,giovanni de' ,medici1 with whom ,andrea had a very strait friendship1 having become first acquainted with him in ,rome4 ,having four months of holiday in the year for repose while he was working at ,loreto1 he used to spend that time in agriculture at his native place of ,monte ,sansovino1 enjoying meanwhile a most tranquil rest with his relatives and friends4 ,living thus at the ,monte during the summer1 he built there a commodious house for himself and bought much property2 and for the ,friars of ,s4 ,agostino in that place he had a cloister made1 which1 although small1 is very well designed1 but also out of the square1 since those ,fathers insisted on having it built over the old walls4 ,andrea1 however1 made the interior rectangular by increasing the thickness of the pilasters at the corners1 in order to change it from an ill-proportioned structure into one with good and true measurements4 ,he designed1 also1 for a ,company that had its seat in that cloister1 under the title of ,s4 ,antonio1 a very beautiful door of the ,doric ,order2 and likewise the tramezzo#c and pulpit of the ,church of ,s4 ,agostino4 ,he also caused a little chapel to be built for the friars half-way down the hill on the descent to the fountain1 without the door that leads to the old ,pieve1 although they had no wish for it4 ,he made the design for the house of ,messer ,pietro1 a most skilful astrologer1 at ,arezzo2 and a large figure of terra-cotta for ,montepulciano1 of ,king ,porsena1 which was a rare work1 although ,i have never seen it again since the first time1 so that ,i fear that it may have come to an evil end4 ,and for a ,german priest1 who was his friend1 he made a lifesize ,s4 ,rocco of terra-cotta1 very beautiful2 which priest had it placed in the ,church of ,battifolle1 in the district of ,arezzo4 ,this was the last piece of sculpture that ,andrea executed4 ,he gave the design1 also1 for the steps ascending to the ,vescovado of ,arezzo2 and for the ,madonna delle ,lagrime1 in the same city1 he made the design of a very beautiful ornament that was to be executed in marble1 with four figures1 each four braccia high2 but this work was carried no farther1 on account of the death of our ,andrea4 ,for he1 having reached the age of sixty-eight1 and being a man who would never stay idle1 set to work to move some stakes from one place to another at his villa1 whereby he caught a chill2 and in a few days1 worn out by a continuous fever1 he died1 in the year #aebi4 ,the death of ,andrea grieved his native place by reason of the honour that he had brought it1 and his sons and the women of his household1 who lost both their dearest one and their support4 ,and not long ago ,muzio ,camillo1 one of the three aforesaid sons1 who was displaying a most beautiful intellect in the studies of learning and letters1 followed him1 to the great loss of his family and displeasure of his friends4 ,andrea1 in addition to his profession of art1 was truly a person of much distinction1 for he was wise in his discourse1 and reasoned most beautifully on every subject4 ,he was prudent and regular in his every action1 much the friend of learned men1 and a philosopher of great natural gifts4 ,he gave much attention to the study of cosmography1 and left to his family a number of drawings and writings on the subject of distances and measurements4 ,he was somewhat small in stature1 but robust and beautifully made4 ,his hair was soft and long1 his eyes light in colour1 his nose aquiline1 and his skin pink and white2 but he had a slight impediment in his speech4 ,his disciples were the aforesaid ,girolamo ,lombardo1 the ,florentine ,simone ,cioli1 ,domenico dal ,monte ,sansovino 7who died soon after him71 and the ,florentine ,leonardo del ,tasso1 who made the ,s4 ,sebastian of wood over his own tomb in ,s4 ,ambrogio at ,florence1 and the marble panel of the ,nuns of ,s4 ,chiara4 ,a disciple of ,andrea1 likewise1 was the ,florentine ,jacopo ,sansovino--so called after his master--of whom there will be a long account in the proper place4 ,architecture and sculpture1 then1 are much indebted to ,andrea1 in that he enriched the one with many rules of measurement and devices for drawing weights1 and with a degree of diligence that had not been employed before1 and in the other he brought his marble to perfection with marvellous judgment1 care1 and mastery4 ,,footnote3 #c ,see note on p4 #eg1 ,vol4 ,i4 ,,benedetto ,,da ,,rovezzano ,,life ,,of ,,benedetto ,,da ,,rovezzano ,,sculptor ,great1 ,i think1 must be the displeasure of those who1 having executed some work of genius1 yet1 when they hope to enjoy the fruits of this in their old age1 and to see the beautiful results achieved by other intellects in works similar to their own1 and to be able to perceive what perfection there may be in that field of art that they themselves have practised1 find themselves robbed by adverse fortune1 by time1 by a bad habit of body1 or by some other cause1 of the sight of their eyes2 whence they are not able1 as they were before1 to perceive either the deficiencies or the perfection of men whom they hear of as living and practising their own professions4 ,and even more are they grieved to hear the praises of the new masters1 not through envy1 but because they are not able to judge1 like others1 whether that fame be well-deserved or not4 ,this misfortune happened to ,benedetto da ,rovezzano1 a sculptor of ,florence1 of whom we are now about to write the ,life1 to the end that the world may know how able and practised a sculptor he was1 and with what diligence he carved marble in strong relief against its ground in the marvellous works that he made4 ,among the first of many labours that this master executed in ,florence1 may be numbered a chimney-piece of grey-stone that is in the house of ,pier ,francesco ,borgherini1 wherein are capitals1 friezes1 and many other ornaments1 carved by his hand in open-work with great diligence4 ,in the house of ,messer ,bindo ,altoviti1 likewise1 is a chimney-piece by the same hand1 with a lavatory of marble1 and some other things executed with much delicacy2 but everything in these that has to do with architecture was designed by ,jacopo ,sansovino1 then a young man4 ,next1 in the year #aeab1 ,benedetto received the commission for a tomb of marble1 with rich ornaments1 in the principal chapel of the ,carmine in ,florence1 for ,piero ,soderini1 who had been ,gonfalonier in that city2 and that work was executed by him with incredible diligence1 seeing that1 besides foliage1 carved emblems of death1 and figures1 he made therein with basanite1 in low-relief1 a canopy in imitation of black cloth1 with so much grace and such beautiful finish and lustre1 that the stone appears to be exquisite black satin rather than basanite4 ,and1 to put it in a few words1 for all that the hand of ,benedetto did in this work there is no praise that would not seem too little4 ,and since he also gave his attention to architecture1 there was restored from the design of ,benedetto a house near ,s4 ,apostolo in ,florence1 belonging to ,messer ,oddo ,altoviti1 ,patron and ,prior of that church4 ,there ,benedetto made the principal door in marble1 and1 over the door of the house1 the arms of the ,altoviti in grey-stone1 with the wolf1 lean1 excoriated1 and carved in such strong relief1 that it seems to be almost separate from the shield2 and some pendant ornaments carved in open-work with such delicacy1 that they appear to be not of stone1 but of the finest paper4 ,in the same church1 above the two chapels of ,messer ,bindo ,altoviti1 for which ,giorgio ,vasari of ,arezzo painted the panel-picture of the ,conception in oils1 ,benedetto made a marble tomb for the said ,messer ,oddo1 surrounded by an ornament full of most masterly foliage1 with a sarcophagus1 likewise very beautiful4 ,benedetto also executed1 in competition with ,jacopo ,sansovino and ,baccio ,bandinelli1 as has been related1 one of the ,apostles1 four and a half braccia in height1 for ,s4 ,maria del ,fiore--namely1 a ,s4 ,john the ,evangelist1 which is a passing good figure1 wrought with fine design and skill4 ,this figure is in the ,office of ,works1 in company with the others4 ,next1 in the year #aeae1 the chiefs and heads of the ,order of ,vallombrosa1 wishing to transfer the body of ,s4 ,giovanni ,gualberto from the ,abbey of ,passignano to the ,church of ,s4 ,trinit1 an abbey of the same ,order1 in ,florence1 commissioned ,benedetto to make a design1 upon which he was to set to work1 for a chapel and tomb combined1 with a vast number of lifesize figures in the round1 which were to be suitably distributed over that work in some niches separated by pilasters filled with ornaments and friezes and with delicately carved grotesques4 ,and below this whole work there was to be a base one braccio and a half in height1 wherein were to be scenes from the life of the said ,s4 ,giovanni ,gualberto2 while endless numbers of other ornaments were to be round the sarcophagus1 and as a crown to the work4 ,on this tomb1 then1 ,benedetto1 assisted by many carvers1 laboured continually for ten years1 with vast expense to that ,congregation2 and he brought the work to completion in their house of ,guarlondo1 a place near ,san ,salvi1 without the ,porta alla ,croce1 where the ,general of the ,order that was having the work executed almost always lived4 ,benedetto1 then1 carried out the making of that chapel and tomb in such a manner as amazed ,florence2 but1 as ,fate would have it--for even marbles and the finest works of men of excellence are subject to the whims of fortune--after much discord among those monks1 their government was changed1 and the work remained unfinished in the same place until the year #aecj4 ,at which time1 war raging round ,florence1 all those labours were ruined by soldiers1 the heads wrought with such diligence were impiously struck off from the little figures1 and the whole work was so completely destroyed and broken to pieces1 that the monks afterwards sold what was left for a mere song4 ,if any one wishes to see a part of it1 let him go to the ,office of ,works of ,s4 ,maria del ,fiore1 where there are a few pieces1 bought as broken marble not many years ago by the officials of that place4 ,and1 in truth1 even as everything is brought to fine completion in those monasteries and other places where peace and concord reign1 so1 on the contrary1 nothing ever reaches perfection or an end worthy of praise in places where there is naught save rivalry and discord1 because what takes a good and wise man a hundred years to build up can be destroyed by an ignorant and crazy boor in one day4 ,and it seems as if fortune wishes that those who know the least and delight in nothing that is excellent1 should always be the men who govern and command1 or rather1 ruin1 everything3 as was also said of secular ,princes1 with no less learning than truth1 by ,ariosto1 at the beginning of his seventeenth canto4 ,but returning to ,benedetto3 it was a sad pity that all his labours and all the money spent by that ,order should have come to such a miserable end4 ,by the same architect were designed the door and vestibule of the ,badia of ,florence1 and likewise some chapels1 among them that of ,s4 ,stefano1 erected by the family of the ,pandolfini4 ,finally1 ,benedetto was summoned to ,england into the service of the ,king1 for whom he executed many works in marble and in bronze1 and1 in particular1 his tomb2 from which works1 through the liberality of that ,king1 he gained enough to be able to live in comfort for the rest of his life4 ,thereupon he returned to ,florence2 but1 after he had finished some little things1 a sort of giddiness1 which even in ,england had begun to affect his eyes1 and other troubles caused1 so it was said1 by standing too long over the fire in the founding of metals1 or by some other reasons1 in a short time robbed him completely of the sight of his eyes2 wherefore he ceased to work about the year #aeej1 and to live a few years after that4 ,benedetto endured that blindness during the last years of his life with the patience of a good ,christian1 thanking ,god that ,he had first enabled him1 by means of his labours1 to live an honourable life4 ,benedetto was a courteous gentleman1 and he always delighted in the society of men of culture4 ,his portrait was copied from one made1 when he was a young man1 by ,agnolo di ,donnino4 ,this original is in our book of drawings1 wherein there are also some drawings very well executed by the hand of ,benedetto1 who deserves1 on account of all those works1 to be numbered among our most excellent craftsmen4 ,illustration3 ,,tomb ,,of ,,pietro ,,soderini 7,after ,benedetto da ,rovezzano4 ,florence3 ,s4 ,maria del ,carmine7 ,alinari ,,baccio ,,da ,,montelupo ,,and ,,raffaello1 ,,his ,,son ,,lives ,,of ,,baccio ,,da ,,montelupo ,,sculptor ,,and ,,of ,,raffaello1 ,,his ,,son ,so strong is the belief of mankind that those who are negligent in the arts which they profess to practise can never arrive at any perfection in them1 that it was in the face of the judgment of many that ,baccio da ,montelupo learnt the art of sculpture2 and this happened to him because in his youth1 led astray by pleasures1 he would scarcely ever study1 and1 although he was exhorted and upbraided by many1 he thought little or nothing of art4 ,but having come to years of discretion1 which bring sense with them1 he was forced straightway to learn how far he was from the good way4 ,whereupon1 seeing with shame that others were going ahead of him in that art1 he resolved with a stout heart to follow and practise with all possible zeal that which in his idleness he had hitherto shunned4 ,this resolution was the reason that he produced in sculpture such fruits as the opinions of many no longer expected from him4 ,having thus devoted himself with all his powers to his art1 and practising it continually1 he became a rare and excellent master4 ,and of this he gave a proof in a work in hard-stone1 wrought with the chisel1 on the corner of the garden attached to the ,palace of the ,pucci in ,florence2 which was the escutcheon of ,pope ,leo ,x1 with two children supporting it1 executed in a beautiful and masterly manner4 ,he made a ,hercules for ,pier ,francesco de' ,medici2 and from the ,guild of ,porta ,santa ,maria he received the commission for a statue of ,s4 ,john the ,evangelist1 to be executed in bronze1 in securing which he had many difficulties1 since a number of masters made models in competition with him4 ,this figure was afterwards placed on the corner of ,s4 ,michele in ,orto1 opposite to the ,ufficio2 and the work was finished by him with supreme diligence4 ,it is said that when he had made the figure in clay1 all who saw the arrangement of the armatures1 and the moulds laid upon them1 held it to be a beautiful piece of work1 recognizing the rare ingenuity of ,baccio in such an enterprise2 and when they had seen it cast with the utmost facility1 they gave ,baccio credit for having shown supreme mastery1 and having made a solid and beautiful casting4 ,these labours endured in that profession1 brought him the name of a good and even excellent master2 and that figure is esteemed more than ever at the present day by all craftsmen1 who hold it to be most beautiful4 ,setting himself also to work in wood1 he carved lifesize ,crucifixes1 of which he made an endless number for all parts of ,italy1 and among them one that is over the door of the choir of the ,monks of ,s4 ,marco at ,florence4 ,these are all excellent and full of grace1 but there are some that are much more perfect than the rest1 such as the one of the ,murate in ,florence1 and another1 no less famous than the first1 in ,s4 ,pietro ,maggiore2 and for the ,monks of ,,ss4 ,fiora e ,lucilla he made a similar one1 which they placed over the high-altar of their abbey at ,arezzo1 and which is held to be much the most beautiful of them all4 ,for the visit of ,pope ,leo ,x to ,florence1 ,baccio erected between the ,palace of the ,podest and the ,badia a very beautiful triumphal arch of wood and clay2 with many little works1 which have either disappeared or been dispersed among the houses of citizens4 ,having grown weary1 however1 of living in ,florence1 he went off to ,lucca1 where he executed some works in sculpture1 and even more in architecture1 in the service of that city1 and1 in particular1 the beautiful and well-designed ,temple of ,s4 ,paulino1 the ,patron ,saint of the people of ,lucca1 built with proofs of a fine and well-trained intelligence both within and without1 and richly adorned4 ,living in that city1 then1 up to the eighty-eighth year of his life1 he ended his days there1 and received honourable burial in the aforesaid ,s4 ,paulino from those whom he had honoured when alive4 ,illustration3 ,s4 ,,john ,,the ,,evangelist 7,after ,baccio da ,montelupo4 ,florence3 ,or ,san ,michele7 ,alinari ,a contemporary of ,baccio was ,agostino1 a very famous sculptor and carver of ,milan1 who began in ,s4 ,maria1 at ,milan1 the tomb of ,monsignore de ,foix1 which remains unfinished even now2 and in it may still be seen many large figures1 some finished1 some half completed1 and others only blocked out1 with a number of scenes in half-relief1 in pieces and not built in1 and a great quantity of foliage and trophies4 ,for the ,biraghi1 also1 he made another tomb1 which is finished and erected in ,s4 ,francesco1 with six large figures1 the base wrought with scenes1 and other very beautiful ornaments1 which bear witness to the masterly skill of that valiant craftsman4 ,baccio left at his death1 among other sons1 ,raffaello1 who applied himself to sculpture1 and not merely equalled his father1 but surpassed him by a great measure4 ,this ,raffaello1 beginning in his youth to work in clay1 in wax1 and in bronze1 acquired the name of an excellent sculptor1 and was therefore taken by ,antonio da ,san ,gallo to ,loreto1 together with many others1 in order to finish the ornamentation of that ,chamber1 according to the directions left by ,andrea ,sansovino2 where ,raffaello completely finished the ,marriage of ,our ,lady1 begun by the said ,sansovino1 executing many things in a beautiful and perfect manner1 partly over the beginnings of ,andrea1 and partly from his own invention4 ,wherefore he was deservedly esteemed to be one of the best craftsmen who worked there in his time4 ,he had finished this work1 when ,michelagnolo1 by order of ,pope ,clement ,,vii1 proceeded to finish the new sacristy and the library of ,s4 ,lorenzo in ,florence2 and that master1 having recognized the talent of ,raffaello1 made use of him in that work1 and caused him to execute1 among other things1 after the model that he himself had made1 the ,s4 ,damiano of marble which is now in that sacristy--a very beautiful statue1 very highly extolled by all men4 ,after the death of ,clement1 ,raffaello attached himself to ,duke ,alessandro de' ,medici1 who was then having the fortress of ,prato built2 and he made for him in grey-stone1 on one of the extremities of the chief bastion of that fortress--namely1 on the outer side--the escutcheon of the ,emperor ,charles ,v1 upheld by two nude and lifesize ,victories1 which were much extolled1 as they still are4 ,and for the extremity of another bastion1 in the direction of the city1 on the southern side1 he made the arms of ,duke ,alessandro in the same kind of stone1 with two figures4 ,not long after1 he executed a large ,crucifix of wood for the ,nuns of ,s4 ,apollonia2 and for ,alessandro ,antinori1 a very rich and noble merchant of ,florence at that time1 he prepared a most magnificent festival for the marriage of his daughter1 with statues1 scenes1 and many other most beautiful ornaments4 ,having then gone to ,rome1 he received from ,buonarroti a commission to make two figures of marble1 each five braccia high1 for the tomb of ,julius ,,ii1 which was finished and erected at that time by ,michelagnolo in ,s4 ,pietro in ,vincula4 ,but ,raffaello1 falling ill while he was executing this work1 was not able to put into it his usual zeal and diligence1 on which account he lost credit thereby1 and gave little satisfaction to ,michelagnolo4 ,at the visit of the ,emperor ,charles ,v to ,rome1 for which ,pope ,paul ,,iii prepared a festival worthy of that all-conquering ,prince1 ,raffaello made with clay and stucco1 on the ,ponte ,s4 ,angelo1 fourteen statues so beautiful1 that they were judged to be the best that had been made for that festival4 ,and1 what is more1 he executed them with such rapidity that he was in time to come to ,florence1 where the ,emperor was likewise expected1 to make within the space of five days and no more1 on the abutment of the ,ponte a ,s4 ,trinit two ,rivers of clay1 each five braccia high1 the ,rhine to stand for ,germany and the ,danube for ,hungary4 ,after this1 having been summoned to ,orvieto1 he made in marble1 in a chapel wherein the excellent sculptor ,mosca had previously executed many most beautiful ornaments1 the story of the ,magi in half-relief1 which proved to be a very fine work1 on account of the great variety of figures and the good manner with which he executed them4 ,illustration3 ,,head ,,of ,,gaston ,,de ,,foix1 ,,from ,,the ,,tomb 7,after ,agostino ,busti ,il ,bambaja4 ,milan3 ,brera7 ,alinari ,then1 having returned to ,rome1 he was appointed by ,tiberio ,crispo1 at that time ,castellan of the ,castello di ,s4 ,angelo1 as architect of that great structure2 whereupon he set in order many rooms there1 adorning them with carvings in many kinds of stone and various sorts of variegated marbles on the chimney-pieces1 windows1 and doors4 ,in addition to this1 he made a marble statue1 five braccia high1 of the ,angel of that ,castle1 which is on the summit of the great square tower in the centre1 where the standard flies1 after the likeness of that ,angel that appeared to ,s4 ,gregory1 who1 having prayed that the people should be delivered from a most grievous pestilence1 saw him sheathing his sword in the scabbard4 ,later1 when the said ,crispo had been made a ,cardinal1 he sent ,raffaello several times to ,bolsena1 where he was building a palace4 ,nor was it long before the very reverend ,cardinal ,salviati and ,messer ,baldassarre ,turini da ,pescia commissioned ,raffaello1 who had already left the service of the ,castle and of ,cardinal ,crispo1 to make the statue of ,pope ,leo that is now over his tomb in the ,minerva at ,rome4 ,that work finished1 ,raffaello made a tomb for the same ,messer ,baldassarre in the ,church of ,pescia1 where that gentleman had built a chapel of marble4 ,and for a chapel in the ,consolazione1 at ,rome1 he made three figures of marble in half-relief4 ,but afterwards1 having given himself up to the sort of life fit rather for a philosopher than for a sculptor1 and wishing to live in peace1 he retired to ,orvieto1 where he undertook the charge of the building of ,s4 ,maria1 in which he made many improvements2 and with this he occupied himself for many years1 growing old before his time4 ,illustration3 ,s4 ,,damiano 7,after ,raffaello da ,montelupo4 ,florence3 ,new ,sacristy of ,s4 ,lorenzo7 ,alinari ,i believe that ,raffaello1 if he had undertaken great works1 as he might have done1 would have executed more things in art1 and better1 than he did4 ,but he was too kindly and considerate1 avoiding all conflict1 and contenting himself with that wherewith fortune had provided him2 and thus he neglected many opportunities of making works of distinction4 ,raffaello was a very masterly draughtsman1 and he had a much better knowledge of all matters of art than had been shown by his father ,baccio4 ,in our book are some drawings by the hand both of the one and of the other2 but those of ,raffaello are much the finer and more graceful1 and executed with better art4 ,in his architectural decorations ,raffaello followed in great measure the manner of ,michelagnolo1 as is proved by the chimney-pieces1 doors1 and windows that he made in the aforesaid ,castello di ,s4 ,angelo1 and by some chapels built under his direction1 in a rare and beautiful manner1 at ,orvieto4 ,but returning to ,baccio3 his death was a great grief to the people of ,lucca1 who had known him as a good and upright man1 courteous to all1 and very loving4 ,baccio's works date about the year of our ,lord #aecc4 ,his dearest friend1 who learnt many things from him1 was ,zaccaria da ,volterra1 who executed many works in terra-cotta at ,bologna1 some of which are in the ,church of ,s4 ,giuseppe4 ,,lorenzo ,,di ,,credi ,illustration3 ,,lorenzo ,,di ,,credi3 ,,venus 7,florence3 ,uffizi1 #cdeb4 ,panel7 ,,life ,,of ,,lorenzo ,,di ,,credi ,,painter ,,of ,,florence ,the while that ,maestro ,credi1 an excellent goldsmith in his day1 was working in ,florence with very good credit and repute1 ,andrea ,sciarpelloni placed with him1 to the end that he might learn that craft1 his son ,lorenzo1 a young man of beautiful intellect and excellent character4 ,and since the ability and willingness of the master to teach were not greater than the zeal and readiness with which the disciple absorbed whatever was shown to him1 no long time passed before ,lorenzo became not only a good and diligent designer1 but also so able and finished a goldsmith1 that no young man of that time was his equal2 and this brought such honour to ,credi1 that from that day onward ,lorenzo was always called by everyone1 not ,lorenzo ,sciarpelloni1 but ,lorenzo di ,credi4 ,growing in courage1 then1 ,lorenzo attached himself to ,andrea ,verrocchio1 who at that time had taken it into his head to devote himself to painting2 and under him1 having ,pietro ,perugino and ,leonardo da ,vinci as his companions and friends1 although they were rivals1 he set himself with all diligence to learn to paint4 ,and since ,lorenzo took an extraordinary pleasure in the manner of ,leonardo1 he contrived to imitate it so well that there was no one who came nearer to it than he did in the high finish and thorough perfection of his works1 as may be seen from many drawings that are in our book1 executed with the style1 with the pen1 or in water-colours1 among which are some drawings made from models of clay covered with waxed linen cloths and with liquid clay1 imitated with such diligence1 and finished with such patience1 as it is scarcely possible to conceive1 much less to equal4 ,for these reasons1 then1 ,lorenzo was so beloved by his master1 that1 when ,andrea went to ,venice to cast in bronze the horse and the statue of ,bartolommeo da ,bergamo1 he left to ,lorenzo the whole management and administration of his revenues and affairs1 and likewise all his drawings1 reliefs1 statues1 and art materials4 ,and ,lorenzo1 on his part1 loved his master ,andrea so dearly1 that1 besides occupying himself with incredible zeal with his interests in ,florence1 he also went more than once to ,venice to see him and to render him an account of his good administration1 which was so much to the satisfaction of his master1 that1 if ,lorenzo had consented1 ,andrea would have made him his heir4 ,nor did ,lorenzo prove in any way ungrateful for this good-will1 for1 after the death of ,andrea1 he went to ,venice and brought his body to ,florence2 and then he handed over to his heirs everything that was found to belong to ,andrea1 except his drawings1 pictures1 sculptures1 and all other things connected with art4 ,the first paintings of ,lorenzo were a round picture of ,our ,lady1 which was sent to the ,king of ,spain 7the design of which picture he copied from one by his master ,andrea71 and a picture1 much better than the other1 which was likewise copied by ,lorenzo from one by ,leonardo da ,vinci1 and also sent to ,spain2 and so similar was it to that by ,leonardo1 that no difference could be seen between the one and the other4 ,by the hand of ,lorenzo is a ,madonna in a very well executed panel1 which is beside the great ,church of ,s4 ,jacopo at ,pistoia2 and another1 also1 which is in the ,hospital of the ,ceppo1 and is one of the best pictures in that city4 ,lorenzo painted many portraits1 and when he was a young man he made that one of himself which is now in the possession of his disciple1 ,gian ,jacopo1 a painter in ,florence1 together with many other things left to him by ,lorenzo1 among which are the portrait of ,pietro ,perugino and that of ,lorenzo's master1 ,andrea ,verrocchio4 ,he also made a portrait of ,girolamo ,benivieni1 a man of great learning1 and much his friend4 ,illustration3 ,,andrea ,,verrocchio 7,after the panel by ,lorenzo di ,credi4 ,florence3 ,uffizi1 #aafc7 ,anderson ,for the ,company of ,s4 ,sebastiano1 behind the ,church of the ,servi in ,florence1 he executed a panel-picture of ,our ,lady1 ,s4 ,sebastian1 and other saints2 and for the altar of ,s4 ,giuseppe1 in ,s4 ,maria del ,fiore1 he painted the first-named saint4 ,to ,montepulciano he sent a panel that is now in the ,church of ,s4 ,agostino1 containing a ,crucifix1 ,our ,lady1 and ,s4 ,john1 painted with much diligence4 ,but the best work that ,lorenzo ever executed1 and that to which he devoted the greatest care and zeal1 in order to surpass himself1 was the one that is in a chapel at ,cestello1 a panel containing ,our ,lady1 ,s4 ,julian1 and ,s4 ,nicholas2 and whoever wishes to know how necessary it is for a painter to work with a high finish in oils if he desires that his pictures should remain fresh1 must look at this panel1 which is painted with such a finish as could not be excelled4 ,while still a young man1 ,lorenzo painted a ,s4 ,bartholomew on a pilaster in ,orsanmichele1 and for the ,nuns of ,s4 ,chiara1 in ,florence1 a panel-picture of the ,nativity of ,christ1 with some shepherds and angels2 in which picture1 besides other things1 he took great pains with the imitation of some herbage1 painting it so well that it appears to be real4 ,for the same place he made a picture of ,s4 ,mary ,magdalene in ,penitence2 and in a round picture that is in the house of ,messer ,ottaviano de' ,medici he painted a ,madonna4 ,for ,s4 ,friano he painted a panel2 and he executed some figures in ,s4 ,matteo at the ,hospital of ,lelmo4 ,for ,s4 ,reparata he painted a picture with the ,angel ,michael1 and for the ,company of the ,scalzo he made a panel-picture1 executed with much diligence4 ,and1 in addition to these works1 he made many pictures of ,our ,lady and others1 which are dispersed among the houses of citizens in ,florence4 ,having thus got together a certain sum of money by means of these labours1 and being a man who loved quiet more than riches1 ,lorenzo retired to ,s4 ,maria ,nuova in ,florence1 where he lived and had a comfortable lodging until his death4 ,lorenzo was much inclined to the sect of ,fra ,girolamo of ,ferrara1 and always lived like an upright and orderly man1 showing a friendly courtesy whenever the occasion arose4 ,finally1 having come to the seventy-eighth year of his life1 he died of old age1 and was buried in ,s4 ,pietro ,maggiore1 in the year #aecj4 ,he showed such a perfection of finish in his works1 that any other painting1 in comparison with his1 must always seem merely sketched and dirty4 ,he left many disciples1 and among them ,giovanni ,antonio ,sogliani and ,tommaso di ,stefano4 ,of ,sogliani there will be an account in another place2 and as for ,tommaso1 he imitated his master closely in his high finish1 and made many works in ,florence and abroad1 including a panel-picture for ,marco del ,nero at his villa of ,arcetri1 of the ,nativity of ,christ1 executed with great perfection of finish4 ,but ultimately it became ,tommaso's principal profession to paint on cloth1 insomuch that he painted church-hangings better than any other man4 ,now ,stefano1 the father of ,tommaso1 had been an illuminator1 and had also done something in architecture2 and ,tommaso1 after his father's death1 in order to follow in his steps1 rebuilt the bridge of ,sieve1 which had been destroyed by a flood about that time1 at a distance of ten miles from ,florence1 and likewise that of ,s4 ,piero a ,ponte on the ,river ,bisenzio1 which is a beautiful work2 and afterwards he erected many buildings for monasteries and other places4 ,then1 being architect to the ,guild of ,wool1 he made the model for the new buildings which were constructed by that ,guild behind the ,nunziata2 and1 finally1 having reached the age of seventy or more1 he died in the year #aefd1 and was buried in ,s4 ,marco1 to which he was followed by an honourable train of the ,academy of ,design4 ,but returning to ,lorenzo3 he left many works unfinished at his death1 and1 in particular1 a very beautiful picture of the ,passion of ,christ1 which came into the hands of ,antonio da ,ricasoli1 and a panel painted for ,m4 ,francesco da ,castiglioni1 ,canon of ,s4 ,maria del ,fiore1 who sent it to ,castiglioni4 ,lorenzo had no wish to make many large works1 because he took great pains in executing his pictures1 and devoted an incredible amount of labour to them1 for the reason1 above all1 that the colours which he used were ground too fine2 besides which1 he was always purifying and distilling his nut-oils1 and he made mixtures of colours on his palette in such numbers1 that from the first of the light tints to the last of the darks there was a gradual succession involving an over-careful and truly excessive elaboration1 so that at times he had twenty-five or thirty of them on his palette4 ,for each tint he kept a separate brush2 and where he was working he would never allow any movement that might raise dust4 ,such excessive care is perhaps no more worthy of praise than the other extreme of negligence1 for in all things one should observe a certain mean and avoid extremes1 which are generally harmful4 ,illustration3 ,,madonna ,,and ,,child ,,with ,,saints 7,after the panel by ,lorenzo di ,credi4 ,paris3 ,louvre1 #abfc7 ,alinari ,illustration3 ,,the ,,nativity 7,after the panel by ,lorenzo di ,credi4 ,florence3 ,accademia1 #ib7 ,anderson ,,lorenzetto ,,and ,,boccaccino ,illustration3 ,,bernardino ,,del ,,lupino 7,,luini73 ,s4 ,,catharine ,,borne ,,to ,,her ,,tomb ,,by ,,angels 7,milan3 ,brera1 #bhh4 ,fresco7 ,,lives ,,of ,,lorenzetto ,,sculptor ,,and ,,architect ,,of ,,florence ,,and ,,of ,,boccaccino ,,painter ,,of ,,cremona ,it happens at times1 after ,fortune has kept the talent of some fine intellect subjected for a period by poverty1 that she thinks better of it1 and at an unexpected moment provides all sorts of benefits for one who has hitherto been the object of her hatred1 so as to atone in one year for the affronts and discomforts of many4 ,this was seen in ,lorenzo1 the son of ,lodovico the bell-founder1 a ,florentine1 who was engaged in the work both of architecture and of sculpture1 and was loved so dearly by ,raffaello da ,urbino1 that he not only was assisted by him and employed in many enterprises1 but also received from the same master a wife in the person of a sister of ,giulio ,romano1 a disciple of ,raffaello4 ,lorenzetto#d--;for thus he was always called--finished in his youth the tomb of ,cardinal ,forteguerra1 formerly begun by ,andrea ,verrocchio1 which was erected in ,s4 ,jacopo at ,pistoia2 and there1 among other things1 is a ,charity by the hand of ,lorenzetto1 which is not otherwise than passing good4 ,and a little afterwards he made a figure for ,giovanni ,bartolini1 to adorn his garden2 which finished1 he went to ,rome1 where in his first years he executed many works1 of which there is no need to make any further record4 ,then1 receiving from ,agostino ,chigi1 at the instance of ,raffaello da ,urbino1 the commission to make a tomb for him in ,s4 ,maria del ,popolo1 where ,agostino had built a chapel1 ,lorenzo set himself to work on this with all the zeal1 diligence1 and labour in his power1 in order to come out of it with credit and to give satisfaction to ,raffaello1 from whom he had reason to expect much favour and assistance1 and also in the hope of being richly rewarded by the liberality of ,agostino1 a man of great wealth4 ,nor were these labours expended without an excellent result1 for1 assisted by ,raffaello1 he executed the figures to perfection3 a nude ,jonah delivered from the belly of the whale1 as a symbol of the resurrection from the dead1 and an ,elijah1 living by grace1 with his cruse of water and his bread baked in the ashes1 under the juniper-tree4 ,these statues1 then1 were brought to the most beautiful completion by ,lorenzetto with all the art and diligence at his command1 but he did not by any means obtain for them that reward which his great labours and the needs of his family called for1 since1 death having closed the eyes of ,agostino1 and almost at the same time those of ,raffaello1 the heirs of ,agostino1 with scant respect1 allowed these figures to remain in ,lorenzetto's workshop1 where they stood for many years4 ,in our own day1 indeed1 they have been set into place on that tomb in the aforesaid ,church of ,s4 ,maria del ,popolo2 but ,lorenzo1 robbed for those reasons of all hope1 found for the present that he had thrown away his time and labour4 ,illustration3 ,,elijah 7,after ,lorenzetto4 ,rome3 ,s4 ,maria del ,popolo1 ,chigi ,chapel7 ,anderson ,next1 by way of executing the testament of ,raffaello1 ,lorenzo was commissioned to make a marble statue of ,our ,lady1 four braccia high1 for the tomb of ,raffaello in the ,temple of ,s4 ,maria ,ritonda1 where the tabernacle was restored by order of that master4 ,the same ,lorenzo made a tomb with two children in half-relief1 for a merchant of the ,perini family1 in the ,trinit at ,rome4 ,and in architecture he made the designs for many houses2 in particular1 that of the ,palace of ,messer ,bernardino ,caffarelli1 and in the ,valle1 for ,cardinal ,andrea della ,valle1 the inner faade1 and also the design of the stables and of the upper garden4 ,in the composition of that work he included ancient columns1 bases1 and capitals1 and around the whole1 to serve as base1 he distributed ancient sarcophagi covered with carved scenes4 ,higher up1 below some large niches1 he made another frieze with fragments of ancient works1 and above this1 in those niches1 he placed some statues1 likewise ancient and of marble1 which1 although they were not entire--some being without the head1 some without arms1 others without legs1 and every one1 in short1 with something missing--nevertheless he arranged to the best advantage1 having caused all that was lacking to be restored by good sculptors4 ,this was the reason that other lords have since done the same thing and have restored many ancient works2 as1 for example1 ,cardinals ,cesis1 ,ferrara1 and ,farnese1 and1 in a word1 all ,rome4 ,and1 in truth1 antiquities restored in this way have more grace than those mutilated trunks1 members without heads1 or figures in any other way maimed and defective4 ,but to return to the aforesaid garden3 over the niches was placed the frieze that is still seen there1 of supremely beautiful ancient scenes in half-relief2 and this invention of ,lorenzo's stood him in very good stead1 since1 after the troubles of ,pope ,clement had abated1 he was employed by him with much honour and profit to himself4 ,for the ,pope had seen1 when the fight for the ,castello di ,s4 ,angelo was raging1 that two little chapels of marble1 which were at the head of the bridge1 had been a source of mischief1 in that some harquebusiers1 standing in them1 shot down all who exposed themselves at the walls1 and1 themselves in safety1 inflicted great losses and baulked the defence2 and his ,holiness resolved to remove those chapels and to set up in place of them two marble statues on pedestals4 ,and so1 after the ,s4 ,paul of ,paolo ,romano1 of which there has been an account in another ,life1 had been set in place1 the commission for the other1 a ,s4 ,peter1 was given to ,lorenzetto1 who acquitted himself passing well1 but did not surpass the work of ,paolo ,romano4 ,these two statues were set up1 and are to be seen at the present day at the head of the bridge4 ,illustration3 ,s4 ,,peter 7,after ,lorenzetto4 ,rome3 ,ponte ,s4 ,angelo7 ,anderson ,after ,pope ,clement was dead1 ,baccio ,bandinelli was given the commissions for the tombs of that ,pope and of ,leo ,x1 and ,lorenzo was entrusted with the marble masonry that was to be executed for them2 whereupon the latter spent no little time over that work4 ,finally1 at the election of ,paul ,,iii as ,pontiff1 when ,lorenzo was in sorry straits and almost worn out1 having nothing but a house which he had built for himself in the ,macello de' ,corbi1 and being weighed down by his five children and by other expenses1 ,fortune changed and began to raise him and to set him back on a better path2 for ,pope ,paul wishing to have the building of ,s4 ,pietro continued1 and neither ,baldassarre of ,siena nor any of the others who had been employed in that work being now alive1 ,antonio da ,san ,gallo appointed ,lorenzo as architect for that structure1 wherein the walls were being built at a fixed price of so much for every four braccia4 ,thereupon ,lorenzo1 without exerting himself1 in a few years became more famous and prosperous than he had been after many years of endless labour1 through having found ,god1 mankind1 and ,fortune all propitious at that one moment4 ,and if he had lived longer1 he would have done even more towards wiping out those injuries that a cruel fate had unjustly brought upon him during his best period of work4 ,but after reaching the age of forty-seven1 he died of fever in the year #aeda4 ,the death of this master caused great grief to his many friends1 who had always known him as a loving and reasonable man4 ,and since he had always lived like an upright and orderly citizen1 the ,deputati of ,s4 ,pietro gave him honourable burial in a tomb1 on which they placed the following epitaph3 ,,sculptori ,,laurentio ,,florentino ,,roma ,,mihi ,,tribuit ,,tumulum1 ,,florentia ,,vitam3 ,,nemo ,,alio ,,vellet ,,nasci ,,et ,,obire ,,loco4 ,,mdxli ,,vix4 ,,ann4 ,,xlvii1 ,,men4 ,,ii1 ,d4 ,,xv4 ,illustration3 ,,madonna ,,and ,,child ,,with ,,saints 7,after the panel by ,boccaccino4 ,rome3 ,doria ,gallery1 #abe7 ,anderson ,boccaccino of ,cremona1 who lived about the same time1 had acquired the name of a rare and excellent painter in his native place and throughout all ,lombardy1 and his works were very highly extolled1 when he went to ,rome to see the works1 so much renowned1 of ,michelagnolo2 but no sooner had he seen them than he sought to the best of his power to disparage and revile them1 believing that he could exalt himself almost exactly in proportion as he vilified a man who truly was in the matters of design1 and indeed in all others without exception1 supremely excellent4 ,this master1 then1 was commissioned to paint the ,chapel of ,s4 ,maria ,traspontina2 but when he had finished it and thrown it open to view1 it was a revelation to all those who thought that he would soar above the heavens1 for they saw that he could not reach even to the level of the lowest floor of a house4 ,and so the painters of ,rome1 on seeing the ,coronation of ,our ,lady that he had painted in that work1 with some children flying around her1 changed from marvel to laughter4 ,from this it may be seen that when people begin to exalt with their praise men who are more excellent in name than in deeds1 it is a difficult thing to contrive to bring such men down to their true level with words1 however reasonable1 before their own works1 wholly contrary to their reputation1 reveal what the masters so celebrated really are4 ,and it is a very certain fact that the worst harm that one man can do to another is the giving of praise too early to any intellect engaged in work1 since such praise1 swelling him with premature pride1 prevents him from going any farther1 and a man so greatly extolled1 on finding that his works have not that excellence which was expected1 takes the censure too much to heart1 and despairs completely of ever being able to do good work4 ,wise men1 therefore1 should fear praise much more than censure1 for the first flatters and deceives1 and the second1 revealing the truth1 gives instruction4 ,boccaccino1 then1 departing from ,rome1 where he felt himself wounded and torn to pieces1 returned to ,cremona1 and there continued to practise painting to the best of his power and knowledge4 ,in the ,duomo1 over the arches in the middle1 he painted all the stories of the ,madonna2 and this work is much esteemed in that city4 ,he also made other works throughout that city and in the neighbourhood1 of which there is no need to make mention4 ,he taught his art to a son of his own1 called ,camillo1 who1 applying himself to the art with more study1 strove to make amends for the shortcomings of the boastful ,boccaccino4 ,by the hand of this ,camillo are some works in ,s4 ,gismondo1 which is a mile distant from ,cremona2 and these are esteemed by the people of ,cremona as the best paintings that they have4 ,he also painted the faade of a house on their ,piazza1 all the compartments of the vaulting and some panels in ,s4 ,agata1 and the faade of ,s4 ,antonio1 together with other works1 which made him known as a practised master4 ,if death had not snatched him from the world before his time1 he would have achieved a most honourable success1 for he was advancing on the good way2 and even for those works that he has left to us1 he deserves to have record made of him4 ,but returning to ,boccaccino2 without having ever made any improvement in his art1 he passed from this life at the age of fifty-eight4 ,in his time there lived in ,milan a passing good illuminator1 called ,girolamo1 whose works may be seen in good numbers both in that city and throughout all ,lombardy4 ,a ,milanese1 likewise1 living about the same time1 was ,bernardino del ,lupino1#e a very delicate and pleasing painter1 as may be seen from many works by his hand that are in that city1 and from a ,marriage of ,our ,lady at ,sarone1 a place twelve miles distant from ,milan1 and other scenes that are in the ,church of ,s4 ,maria1 executed most perfectly in fresco4 ,he also worked with a very high finish in oils1 and he was a courteous person1 and very liberal with his possessions2 wherefore he deserves all the praise that is due to any craftsman who makes the works and ways of his daily life shine by the adornment of courtesy no less than do his works of art on account of their excellence4 ,illustration3 ,,the ,,marriage ,,of ,,the ,,virgin 7,after the fresco by ,bernardino del ,lupino ,luini4 ,saronno3 ,santuario della ,beata ,vergine7 ,anderson ,,footnote3 #d ,diminutive of ,lorenzo4 #e ,luini4 ,,baldassarre ,,peruzzi ,,life ,,of ,,baldassarre ,,peruzzi ,,painter ,,and ,,architect ,,of ,,siena ,among all the gifts that ,heaven distributes to mortals1 none1 in truth1 can or should be held in more account than talent1 with calmness and peace of soul1 for the first makes us for ever immortal1 and the second blessed4 ,he1 then1 who is endowed with these gifts1 in addition to the deep gratitude that he should feel towards ,god1 must make himself known among other men almost as a light amid darkness4 ,and even so1 in our own times1 did ,baldassarre ,peruzzi1 a painter and architect of ,siena1 of whom we can say with certainty that the modesty and goodness which were revealed in him were no mean offshoots of that supreme serenity for which the minds of all who are born in this world are ever sighing1 and that the works which he left to us are most honourable fruits of that true excellence which was infused in him by ,heaven4 ,now1 although ,i have called him above1 ,baldassarre of ,siena1 because he was always known as a ,sienese1 ,i will not withhold that even as seven cities contended for ,homer1 each claiming that he was her citizen1 so three most noble cities of ,tuscany--,florence1 ,volterra1 and ,siena--have each held that ,baldassarre was her son4 ,but1 to tell the truth1 each of them has a share in him1 seeing that ,antonio ,peruzzi1 a noble citizen of ,florence1 that city being harassed by civil war1 went off1 in the hope of a quieter life1 to ,volterra2 and after living some time there1 in the year #adhb he took a wife in that city1 and in a few years had two children1 one a boy1 called ,baldassarre1 and the other a girl1 who received the name of ,virginia4 ,now it happened that war pursued this man who sought nothing but peace and quiet1 and that no long time afterwards ,volterra was sacked2 whence ,antonio was forced to fly to ,siena1 and to live there in great poverty1 having lost almost all that he had4 ,meanwhile ,baldassarre1 having grown up1 was for ever associating with persons of ability1 and particularly with goldsmiths and draughtsmen2 and thus1 beginning to take pleasure in the arts1 he devoted himself heart and soul to drawing4 ,and not long after1 his father being now dead1 he applied himself to painting with such zeal1 that in a very short time he made marvellous progress therein1 imitating living and natural things as well as the works of the best masters4 ,in this way1 executing what work he could find1 he was able to maintain himself1 his mother1 and his sister with his art1 and to pursue the studies of painting4 ,illustration3 ,,cupola ,,of ,,the ,,ponzetti ,,chapel 7,after the fresco by ,baldassarre ,peruzzi4 ,rome3 ,s4 ,maria della ,pace7 ,anderson ,his first work--apart from some things at ,siena1 not worthy of mention--was in a little chapel near the ,porta ,fiorentina at ,volterra1 wherein he executed some figures with such grace1 that they led to his forming a friendship with a painter of ,volterra1 called ,piero1 who lived most of his time in ,rome1 and going off with that master to that city1 where he was doing some work in the ,palace for ,alexander ,,vi4 ,but after the death of ,alexander1 ,maestro ,piero working no more in that place1 ,baldassarre entered the workshop of the father of ,maturino1 a painter of no great excellence1 who at that time had always plenty of work to do in the form of commonplace commissions4 ,that painter1 then1 placing a panel primed with gesso before ,baldassarre1 but giving him no scrap of drawing or cartoon1 told him to make a ,madonna upon it4 ,baldassarre took a piece of charcoal1 and in a moment1 with great mastery1 he had drawn what he wished to paint in the picture2 and then1 setting his hand to the colouring1 in a few days he painted a picture so beautiful and so well finished1 that it amazed not only the master of the workshop1 but also many painters who saw it2 and they1 recognizing his ability1 contrived to obtain for him the commission to paint the ,chapel of the ,high-,altar in the ,church of ,s4 ,onofrio1 which he executed in fresco with much grace and in a very beautiful manner4 ,after this1 he painted two other little chapels in fresco in the ,church of ,s4 ,rocco a ,ripa4 ,having thus begun to be in good repute1 he was summoned to ,ostia1 where he painted most beautiful scenes in chiaroscuro in some apartments of the great tower of the fortress2 in particular1 a hand-to-hand battle after the manner in which the ancient ,romans used to fight1 and beside this a company of soldiers delivering an assault on a fortress1 wherein the attackers1 covered by their shields1 are seen making a beautiful and spirited onslaught and planting their ladders against the walls1 while the men within are hurling them back with the utmost fury4 ,in this scene1 also1 he painted many antique instruments of war1 and likewise various kinds of arms2 with many other scenes in another hall1 which are held to be among the best works that he ever made1 although it is true that he was assisted in this work by ,cesare da ,milano4 ,after these labours1 having returned to ,rome1 ,baldassarre formed a very strait friendship with ,agostino ,chigi of ,siena1 both because ,agostino had a natural love for every man of talent1 and because ,baldassarre called himself a ,sienese4 ,and thus1 with the help of so great a man1 he was able to maintain himself while studying the antiquities of ,rome1 and particularly those in architecture1 wherein1 out of rivalry with ,bramante1 in a short time he made marvellous proficience1 which afterwards brought him1 as will be related1 very great honour and profit4 ,he also gave attention to perspective1 and became such a master of that science1 that we have seen few in our own times who have worked in it as well as he4 ,pope ,julius ,,ii having meanwhile built a corridor in his ,palace1 with an aviary near the roof1 ,baldassarre painted there1 in chiaroscuro1 all the months of the year and the pursuits that are practised in each of them4 ,in this work may be seen an endless number of buildings1 theatres1 amphitheatres1 palaces1 and other edifices1 all distributed with beautiful invention in that place4 ,he then painted1 in company with other painters1 some apartments in the ,palace of ,s4 ,giorgio for ,cardinal ,raffaello ,riario1 ,bishop of ,ostia2 and he painted a faade opposite to the house of ,messer ,ulisse da ,fano1 and also that of the same ,messer ,ulisse1 wherein he executed stories of ,ulysses that brought him very great renown and fame4 ,even greater was the fame that came to him from the model of the ,palace of ,agostino ,chigi1 executed with such beautiful grace that it seems not to have been built1 but rather to have sprung into life2 and with his own hand he decorated the exterior with most beautiful scenes in terretta4 ,the hall1 likewise1 is adorned with rows of columns executed in perspective1 which1 with the depth of the intercolumniation1 cause it to appear much larger4 ,but what is the greatest marvel of all is a loggia that may be seen over the garden1 painted by ,baldassarre with scenes of the ,medusa turning men into stone1 such that nothing more beautiful can be imagined2 and then there is ,perseus cutting off her head1 with many other scenes in the spandrels of that vaulting1 while the ornamentation1 drawn in perspective with colours1 in imitation of stucco1 is so natural and lifelike1 that even to excellent craftsmen it appears to be in relief4 ,and ,i remember that when ,i took the ,chevalier ,tiziano1 a most excellent and honoured painter1 to see that work1 he would by no means believe that it was painted1 until he had changed his point of view1 when he was struck with amazement4 ,in that place are some works executed by ,fra ,sebastiano ,viniziano1 in his first manner2 and by the hand of the divine ,raffaello1 as has been related1 there is a ,galatea being carried off by sea-gods4 ,illustration3 ,,palazzo ,,della ,,farnesina 7,after ,baldassarre ,peruzzi4 ,rome7 ,alinari ,baldassarre also painted1 beyond the ,campo di ,fiore1 on the way to the ,piazza ,giudea1 a most beautiful faade in terretta with marvellous perspectives1 for which he received the commission from a ,groom of the ,chamber to the ,pope2 and it is now in the possession of ,jacopo ,strozzi1 the ,florentine4 ,in like manner1 he wrought for ,messer ,ferrando ,ponzetti1 who afterwards became a ,cardinal1 a chapel at the entrance of the ,church of the ,pace1 on the left hand1 with little scenes from the ,old ,testament1 and also with some figures of considerable size2 and for a work in fresco this is executed with much diligence4 ,but even more did he prove his worth in painting and perspective near the high-altar of the same church1 where he painted a scene for ,messer ,filippo da ,siena1 ,clerk of the ,chamber1 of ,our ,lady going into the ,temple1 ascending the steps1 with many figures worthy of praise1 such as a gentleman in antique dress1 who1 having dismounted from his horse1 with his servants waiting1 is giving alms to a beggar1 quite naked and very wretched1 who may be seen asking him for it with pitiful humility4 ,in this place1 also1 are various buildings and most beautiful ornaments2 and right round the whole work1 executed likewise in fresco1 are counterfeited decorations of stucco1 which have the appearance of being attached to the wall with large rings1 as if it were a panel painted in oils4 ,and in the magnificent festival that the ,roman people prepared on the ,campidoglio when the baton of ,holy ,church was given to ,duke ,giuliano de' ,medici1 out of six painted scenes which were executed by six different painters of eminence1 that by the hand of ,baldassarre1 twenty-eight braccia high and fourteen broad1 showing the betrayal of the ,romans by ,julia ,tarpeia1 was judged to be without a doubt better than any of the others4 ,but what amazed everyone most was the perspective-view or scenery for a play1 which was so beautiful that it would be impossible to imagine anything finer1 seeing that the variety and beautiful manner of the buildings1 the various loggie1 the extravagance of the doors and windows1 and the other architectural details that were seen in it1 were so well conceived and so extraordinary in invention1 that one is not able to describe the thousandth part4 ,for the house of ,messer ,francesco di ,norcia1 on the ,piazza de' ,farnesi1 he made a very graceful door of the ,doric ,order2 and for ,messer ,francesco ,buzio he executed1 near the ,piazza degl' ,altieri1 a very beautiful faade1 in the frieze of which he painted portraits from life of all the ,roman ,cardinals who were then alive1 while on the wall itself he depicted the scenes of ,csar receiving tribute from all the world1 and above he painted the twelve ,emperors1 who are standing upon certain corbels1 being foreshortened with a view to being seen from below1 and wrought with extraordinary art4 ,for this whole work he rightly obtained vast commendation4 ,in the ,banchi he executed the escutcheon of ,pope ,leo1 with three children1 that seemed to be alive1 so tender was their flesh4 ,for ,fra ,mariano ,fetti1 ,friar of the ,piombo1 he made a very beautiful ,s4 ,bernard in terretta in his garden at ,montecavallo4 ,and for the ,company of ,s4 ,catherine of ,siena1 on the ,strada ,giulia1 in addition to a bier for carrying the dead to burial1 he executed many other things1 all worthy of praise4 ,in ,siena1 also1 he gave the design for the organ of the ,carmine2 and he made some other works in that city1 but none of much importance4 ,later1 having been summoned to ,bologna by the ,wardens of ,works of ,s4 ,petronio1 to the end that he might make the model for the faade of that church1 he made for this two large ground-plans and two elevations1 one in the modern manner and the other in the ,german2 and the latter is still preserved in the ,sacristy of the same ,s4 ,petronio1 as a truly extraordinary work1 since he drew that building in such sharply-detailed perspective that it appears to be in relief4 ,in the house of ,count ,giovan ,battista ,bentivogli1 in the same city1 he made several drawings for the aforesaid structure1 which were so beautiful1 that it is not possible to praise enough the wonderful expedients sought out by this man in order not to destroy the old masonry1 but to join it in beautiful proportion with the new4 ,for the ,count ,giovan ,battista mentioned above he made the design of a ,nativity with the ,magi1 in chiaroscuro1 wherein it is a marvellous thing to see the horses1 the equipage1 and the courts of the three ,kings1 executed with supreme beauty and grace1 as are also the walls of the temples and some buildings round the hut4 ,this work was afterwards given to be coloured by the ,count to ,girolamo ,trevigi1 who brought it to fine completion4 ,baldassarre also made the design for the door of the ,church of ,s4 ,michele in ,bosco1 a most beautiful monastery of the ,monks of ,monte ,oliveto1 without ,bologna2 and the design and model of the ,duomo of ,carpi1 which was very beautiful1 and was built under his direction according to the rules of ,vitruvius4 ,and in the same place he made a beginning with the ,church of ,s4 ,niccola1 but it was not finished at that time1 because ,baldassarre was almost forced to return to ,siena in order to make designs for the fortifications of that city1 which were afterwards carried into execution under his supervision4 ,he then returned to ,rome1 where1 after building the house that is opposite to the ,farnese ,palace1 with some others within that city1 he was employed in many works by ,pope ,leo ,x4 ,that ,pontiff wished to finish the building of ,s4 ,pietro1 begun by ,julius ,,ii after the design of ,bramante1 but it appeared to him that the edifice was too large and lacking in cohesion2 and ,baldassarre made a new model1 magnificent and truly ingenious1 and revealing such good judgment1 that some parts of it have since been used by other architects4 ,so diligent1 indeed1 was this craftsman1 so rare and so beautiful his judgment1 and such the method with which his buildings were always designed1 that he has never had an equal in works of architecture1 seeing that1 in addition to his other gifts1 he combined that profession with a good and beautiful manner of painting4 ,he made the design of the tomb of ,adrian ,,vi1 and all that is painted round it is by his hand2 and ,michelagnolo1 a sculptor of ,siena1 executed that tomb in marble1 with the help of our ,baldassarre4 ,when the ,calandra1 a play by ,cardinal ,bibbiena1 was performed before the same ,pope ,leo1 ,baldassarre made the scenic setting1 which was no less beautiful--much more so1 indeed--than that which he had made on another occasion1 as has been related above4 ,in such works he deserved all the greater praise1 because dramatic performances1 and consequently the scenery for them1 had been out of fashion for a long time1 festivals and sacred representations taking their place4 ,and either before or after 7it matters little which7 the performance of the aforesaid ,calandra1 which was one of the first plays in the vulgar tongue to be seen or performed1 in the time of ,leo ,x1 ,baldassarre made two such scenes1 which were marvellous1 and opened the way to those who have since made them in our own day4 ,nor is it possible to imagine how he found room1 in a space so limited1 for so many streets1 so many palaces1 and so many bizarre temples1 loggie1 and various kinds of cornices1 all so well executed that it seemed that they were not counterfeited1 but absolutely real1 and that the piazza was not a little thing1 and merely painted1 but real and very large4 ,he designed1 also1 the chandeliers and the lights within that illuminated the scene1 and all the other things that were necessary1 with much judgment1 although1 as has been related1 the drama had fallen almost completely out of fashion4 ,this kind of spectacle1 in my belief1 when it has all its accessories1 surpasses any other kind1 however sumptuous and magnificent4 ,afterwards1 at the election of ,pope ,clement ,,vii in the year #aebd1 he prepared the festivities for his coronation4 ,he finished with peperino-stone the front of the principal chapel1 formerly begun by ,bramante1 in ,s4 ,pietro2 and in the chapel wherein is the bronze tomb of ,pope ,sixtus1 he painted in chiaroscuro the ,apostles that are in the niches behind the altar1 besides making the design of the ,tabernacle of the ,sacrament1 which is very graceful4 ,then in the year #aebg1 when the cruel sack of ,rome took place1 our poor ,baldassarre was taken prisoner by the ,spaniards1 and not only lost all his possessions1 but was also much maltreated and outraged1 because he was grave1 noble1 and gracious of aspect1 and they believed him to be some great prelate in disguise1 or some other man able to pay a fat ransom4 ,finally1 however1 those impious barbarians having found that he was a painter1 one of them1 who had borne a great affection to ,bourbon1 caused him to make a portrait of that most rascally captain1 the enemy of ,god and man1 either letting ,baldassarre see him as he lay dead1 or giving him his likeness in some other way1 with drawings or with words4 ,after this1 having slipped from their hands1 ,baldassarre took ship to go to ,porto ,ercole1 and thence to ,siena2 but on the way he was robbed of everything and stripped to such purpose1 that he went to ,siena in his shirt4 ,however1 he was received with honour and reclothed by his friends1 and a little time afterwards he was given a provision and a salary by the ,commonwealth1 to the end that he might give his attention to the fortification of that city4 ,living there1 he had two children2 and1 besides what he did for the public service1 he made many designs of houses for his fellow-citizens1 and the design for the ornament of the organ1 which is very beautiful1 in the ,church of the ,carmine4 ,illustration3 ,,courtyard ,,of ,,palazzo ,,massimi 7,after ,baldassarre ,peruzzi4 ,rome7 ,anderson ,meanwhile1 the armies of the ,emperor and the ,pope had advanced to the siege of ,florence1 and his ,holiness sent ,baldassarre to the camp to ,baccio ,valori1 the ,military ,commissary1 to the end that ,baccio might avail himself of his services for the purposes of his operations and for the capture of the city4 ,but ,baldassarre1 loving the liberty of his former country more than the favour of the ,pope1 and in no way fearing the indignation of so great a ,pontiff1 would never lend his aid in any matter of importance4 ,the ,pope1 hearing of this1 for a short time bore him no little ill-will2 but when the war was finished1 ,baldassarre desiring to return to ,rome1 ,cardinals ,salviati1 ,trivulzi1 and ,cesarino1 to all of whom he had given faithful service in many works1 restored him to the favour of the ,pope and to his former appointments4 ,he was thus able to return without hindrance to ,rome1 where1 not many days after1 he made for the ,signori ,orsini the designs of two very beautiful palaces1 which were built on the way to ,viterbo1 and of some other edifices for ,apuglia4 ,but meanwhile he did not neglect the studies of astrology1 nor those of mathematics and the others in which he much delighted1 and he began a book on the antiquities of ,rome1 with a commentary on ,vitruvius1 making little by little illustrative drawings beside the writings of that author1 some of which are still to be seen in the possession of ,francesco da ,siena1 who was his disciple1 and among them some papers with drawings of ancient edifices and of the modern manner of building4 ,while living in ,rome1 also1 he made the design for the house of the ,massimi1 drawn in an oval form1 with a new and beautiful manner of building2 and for the faade he made a vestibule of ,doric columns showing great art and good proportion1 with a beautiful distribution of detail in the court and in the disposition of the stairs2 but he was not able to see this work finished1 for he was overtaken by death4 ,and yet1 although the talents and labours of this noble craftsman were so great1 they brought much more benefit to others than to himself2 for1 while he was employed by ,popes1 ,cardinals1 and other great and rich persons1 not one of them ever gave him any remarkable reward4 ,that this should have happened is not surprising1 not so much through want of liberality in such patrons1 although for the most part they are least liberal where they should be the very opposite1 as through the timidity and excessive modesty1 or rather1 to be more exact in this case1 the lack of shrewdness of ,baldassarre4 ,to tell the truth1 in proportion as one should be discreet with magnanimous and liberal ,princes1 so should one always be pressing and importunate with such as are miserly1 unthankful1 and discourteous1 for the reason that1 even as in the case of the generous importunate asking would always be a vice1 so with the miserly it is a virtue1 and with such men it is discretion that would be the vice4 ,in the last years of his life1 then1 ,baldassarre found himself poor and weighed down by his family4 ,finally1 having always lived a life without reproach1 he fell grievously ill1 and took to his bed2 and ,pope ,paul ,,iii1 hearing this1 and recognizing too late the harm that he was like to suffer in the loss of so great a man1 sent ,jacopo ,melighi1 the accountant of ,s4 ,pietro1 to give him a present of one hundred crowns1 and to make him most friendly offers4 ,however1 his sickness increased1 either because it was so ordained1 or1 as many believe1 because his death was hastened with poison by some rival who desired his place1 from which he drew two hundred and fifty crowns of salary2 and1 the physicians discovering this too late1 he died1 very unwilling to give up his life1 more on account of his poor family than for his own sake1 as he thought in what sore straits he was leaving them4 ,he was much lamented by his children and his friends1 and he received honourable burial1 next to ,raffaello da ,urbino1 in the ,ritonda1 whither he was followed by all the painters1 sculptors1 and architects of ,rome1 doing him honour and bewailing him2 with the following epitaph3 ,,balthasari ,,perutio ,,senensi1 ,,viro ,,et ,,pictura ,,et ,,architectura ,,aliisque ,,ingeniorum ,,artibus ,,adeo ,,excellenti1 ,,ut ,,si ,,priscorum ,,occubuisset ,,temporibus1 ,,nostra ,,illum ,,felicius ,,legerent4 ,,vix4 ,,ann4 ,,lv1 ,,mens4 ,,xi1 ,,dies ,,xx4 ,,lucretia ,,et ,,jo4 ,,salustius ,,optimo ,,conjugi ,,et ,,parenti1 ,,non ,,sine ,,lacrimis ,,simonis1 ,,honorii1 ,,claudii1 ,,mili1 ,,ac ,,sulpiti1 ,,minorum ,,filiorum1 ,,dolentes ,,posuerunt1 ,,die ,,iiii ,,januarii1 ,,mdxxxvi4 ,the name and fame of ,baldassarre became greater after his death than they had been during his lifetime2 and then1 above all1 was his talent missed1 when ,pope ,paul ,,iii resolved to have ,s4 ,pietro finished1 because men recognized how great a help he would have been to ,antonio da ,san ,gallo4 ,for1 although ,antonio had to his credit all that is to be seen executed by him1 yet it is believed that in company with ,baldassarre he would have done more towards solving some of the difficulties of that work4 ,the heir to many of the possessions of ,baldassarre was ,sebastiano ,serlio of ,bologna1 who wrote the third book on architecture and the fourth on the antiquities of ,rome with their measurements2 in which works the above-mentioned labours of ,baldassarre were partly inserted in the margins1 and partly turned to great advantage by the author4 ,most of these writings of ,baldassarre came into the hands of ,jacomo ,melighino of ,ferrara1 who was afterwards chosen by ,pope ,paul as architect for his buildings1 and of the aforesaid ,francesco da ,siena1 his former assistant and disciple1 by whose hand is the highly renowned escutcheon of ,cardinal ,trani in ,piazza ,navona1 with some other works4 ,from this ,francesco we received the portrait of ,baldassarre1 and information about some matters which ,i was not able to ascertain when this book was published for the first time4 ,another disciple of ,baldassarre was ,virgilio ,romano1 who executed a faade with some prisoners in sgraffito-work in the centre of the ,borgo ,nuovo in his native city1 and many other beautiful works4 ,from the same master1 also1 ,antonio del ,rozzo1 a citizen of ,siena and a very excellent engineer1 learnt the first principles of architecture2 and ,baldassarre was followed1 in like manner1 by ,riccio1 a painter of ,siena1 who1 however1 afterwards imitated to no small extent the manner of ,giovanni ,antonio ,sodoma of ,vercelli4 ,and another of his pupils was ,giovan ,battista ,peloro1 an architect of ,siena1 who gave much attention to mathematics and cosmography1 and made with his own hand mariner's compasses1 quadrants1 many irons and instruments for measuring1 and likewise the ground-plans of many fortifications1 most of which are in the possession of ,maestro ,giuliano1 a goldsmith of ,siena1 who was very much his friend4 ,this ,giovan ,battista made for ,duke ,cosimo de' ,medici a plan of ,siena1 all in relief and altogether marvellous1 with the valleys and the surroundings for a mile and a half round--the walls1 the streets1 the forts1 and1 in a word1 a most beautiful model of the whole place4 ,but1 since he was unstable by nature1 he left ,duke ,cosimo1 although he had a good allowance from that ,prince2 and1 thinking to do better1 he made his way into ,france1 where he followed the ,court without any success for a long time1 and finally died at ,avignon4 ,and although he was an able and well-practised architect1 yet in no place are there to be seen any buildings erected by him or after his design1 for he always stayed such a short time in any one place1 that he could never bring anything to completion2 wherefore he consumed all his time with designs1 measurements1 models1 and caprices4 ,nevertheless1 as a follower of our arts1 he has deserved to have record made of him4 ,baldassarre drew very well in every manner1 with great judgment and diligence1 but more with the pen1 in water-colours1 and in chiaroscuro1 than in any other way1 as may be seen from many drawings by his hand that belong to different craftsmen4 ,our book1 in particular1 contains various drawings2 and in one of these is a scene full of invention and caprice1 showing a piazza filled with arches1 colossal figures1 theatres1 obelisks1 pyramids1 temples of various kinds1 porticoes1 and other things1 all after the antique1 while on a pedestal stands a ,mercury1 round whom are all sorts of alchemists with bellows large and small1 retorts1 and other instruments for distilling1 hurrying about and giving him a clyster in order to purge his body--an invention as ludicrous as it is beautiful and bizarre4 ,friends and intimate companions of ,baldassarre1 who was always courteous1 modest1 and gentle with every man1 were ,domenico ,beccafumi of ,siena1 an excellent painter1 and ,il ,capanna1 who1 in addition to many other works that he painted in ,siena1 executed the faade of the house of the ,turchi and another that is on the ,piazza4 ,,giovan ,,francesco ,,penni ,,of ,,florence ,,and ,,pellegrino ,,da ,,modena ,,lives ,,of ,,giovan ,,francesco ,,penni ,,of ,,florence ,,called ,,il ,,fattore ,,and ,,of ,,pellegrino ,,da ,,modena ,,painters ,giovan ,francesco ,penni1 called ,il ,fattore1 a painter of ,florence1 was no less indebted to ,fortune than he was to the goodness of his own nature1 in that his ways of life1 his inclination for painting1 and his other qualities brought it about that ,raffaello da ,urbino took him into his house and educated him together with ,giulio ,romano1 looking on both of them ever afterwards as his children1 and proving at his death how much he thought both of the one and of the other by leaving them heirs to his art and to his property alike4 ,now ,giovan ,francesco1 who began from his boyhood1 when he first entered the house of ,raffaello1 to be called ,il ,fattore1 and always retained that name1 imitated in his drawings the manner of ,raffaello1 and never ceased to follow it1 as may be perceived from some drawings by his hand that are in our book4 ,and it is nothing wonderful that there should be many of these to be seen1 all finished with great diligence1 because he delighted much more in drawing than in colouring4 ,the first works of ,giovan ,francesco were executed by him in the ,papal ,loggie at ,rome1 in company with ,giovanni da ,udine1 ,perino del ,vaga1 and other excellent masters2 and in these may be seen a marvellous grace1 worthy of a master striving at perfection of workmanship4 ,he was very versatile1 and he delighted much in making landscapes and buildings4 ,he was a good colourist in oils1 in fresco1 and in distemper1 and made excellent portraits from life2 and he was much assisted in every respect by nature1 so that he gained great mastery over all the secrets of art without much study4 ,he was a great help to ,raffaello1 therefore1 in painting a large part of the cartoons for the tapestries of the ,pope's ,chapel and of the ,consistory1 and particularly the ornamental borders4 ,he also executed many other things from the cartoons and directions of ,raffaello1 such as the ceiling for ,agostino ,chigi in the ,trastevere1 with many pictures1 panels1 and various other works1 in which he acquitted himself so well1 that every day he won greater affection from ,raffaello4 ,on the ,monte ,giordano1 in ,rome1 he painted a faade in chiaroscuro1 and in ,s4 ,maria de ,anima1 by the side-door that leads to the ,pace1 a ,s4 ,christopher in fresco1 eight braccia high1 which is a very good figure2 and in this work is a hermit with a lantern in his hand1 in a grotto1 executed with good draughtsmanship1 harmony1 and grace4 ,giovan ,francesco then came to ,florence1 and painted for ,lodovico ,capponi at ,montughi1 a place without the ,porta a ,san ,gallo1 a shrine with a ,madonna1 which is much extolled4 ,raffaello having meanwhile been overtaken by death1 ,giulio ,romano and ,giovan ,francesco1 who had been his disciples1 remained together for a long time1 and finished in company such of ,raffaello's works as had been left unfinished1 and in particular those that he had begun in the ,vigna of the ,pope1 and likewise those of the ,great ,hall in the ,palace1 wherein are painted by the hands of these two masters the stories of ,constantine1 with excellent figures1 executed in an able and beautiful manner1 although the invention and the sketches of these stories came in part from ,raffaello4 ,while these works were in progress1 ,perino del ,vaga1 a very excellent painter1 took to wife a sister of ,giovan ,francesco2 on which account they executed many works in company4 ,and afterwards ,giulio and ,giovan ,francesco1 continuing to work together1 painted a panel in two parts1 containing the ,assumption of ,our ,lady1 which went to ,monteluci1 near ,perugia2 and also other works and pictures for various places4 ,illustration3 ,,the ,,baptism ,,of ,,constantine 7,after the fresco by ,giovanni ,francesco ,penni ,il ,fattore4 ,rome3 ,the ,vatican7 ,anderson ,then1 receiving a commission from ,pope ,clement to paint a panel-picture like the one by ,raffaello 7which is in ,s4 ,pietro a ,montorio71 which was to be sent to ,france1 whither ,raffaello had meant to send the first1 they began it2 but soon afterwards1 having fallen out with each other1 they divided their inheritance of drawings and everything else left to them by ,raffaello1 and ,giulio went off to ,mantua1 where he executed an endless number of works for the ,marquis4 ,thither1 not long afterwards1 ,giovan ,francesco also made his way1 drawn either by love of ,giulio or by the hope of finding work2 but he received so cold a welcome from ,giulio that he soon departed1 and1 after travelling round ,lombardy1 he returned to ,rome4 ,and from ,rome he went to ,naples by ship in the train of the ,marchese del ,vasto1 taking with him the now finished copy of the panel-picture of ,s4 ,pietro a ,montorio1 with other works1 which he left in ,ischia1 an island belonging to the ,marquis1 while the panel was placed where it is at the present day1 in the ,church of ,s4 ,spirito degli ,incurabili at ,naples4 ,having thus settled in ,naples1 where he occupied himself with drawing and painting1 ,giovan ,francesco was entertained and treated with great kindness by ,tommaso ,cambi1 a ,florentine merchant1 who managed the affairs of that nobleman4 ,but he did not live there long1 because1 being of a sickly habit of body1 he fell ill and died1 to the great grief of the noble ,marquis and of all who knew him4 ,he had a brother called ,luca1 likewise a painter1 who worked in ,genoa with his brother-in-law ,perino1 as well as at ,lucca and many other places in ,italy4 ,in the end he went to ,england1 where1 after executing certain works for the ,king and for some merchants1 he finally devoted himself to making designs for copper-plates for sending abroad1 which he had engraved by ,flemings4 ,of such he sent abroad a great number1 which are known by his name as well as by the manner2 and by his hand1 among others1 is a print wherein are some women in a bath1 the original of which1 by the hand of ,luca himself1 is in our book4 ,a disciple of ,giovan ,francesco was ,leonardo1 called ,il ,pistoia because he came from that city1 who executed some works at ,lucca1 and made many portraits from life in ,rome4 ,at ,naples1 for ,diomede ,caraffa1 ,bishop of ,ariano1 and now a ,cardinal1 he painted a panel-picture of the ,stoning of ,s4 ,stephen for his chapel in ,s4 ,domenico4 ,and for ,monte ,oliveto he painted another1 which was placed on the high-altar1 although it was afterwards removed to make room for a new one1 similar in subject1 by the hand of ,giorgio ,vasari of ,arezzo4 ,leonardo earned large sums from these ,neapolitan nobles1 but he accumulated little1 for he squandered it all as it came to his hand2 and finally he died in ,naples1 leaving behind him the reputation of having been a good colourist1 but not of having shown much excellence in draughtsmanship4 ,giovan ,francesco lived forty years1 and his works date about #aebh4 ,a friend of ,giovan ,francesco1 and likewise a disciple of ,raffaello1 was ,pellegrino da ,modena1 who1 having acquired in his native city the name of a man of fine genius for painting1 and having heard of the marvels of ,raffaello da ,urbino1 determined1 in order to justify by means of labour the hopes already conceived of him1 to go to ,rome4 ,arriving there1 he placed himself under ,raffaello1 who never refused anything to men of ability4 ,there were then in ,rome very many young men who were working at painting and seeking in mutual rivalry to surpass one another in draughtsmanship1 in order to win the favour of ,raffaello and to gain a name among men2 and thus ,pellegrino1 giving unceasing attention to his studies1 became not only a good draughtsman1 but also a well-practised master of the whole of his art4 ,and when ,leo ,x commissioned ,raffaello to paint the ,loggie1 ,pellegrino also worked there1 in company with the other young men2 and so well did he succeed1 that ,raffaello afterwards made use of him in many other things4 ,he executed three figures in fresco in ,s4 ,eustachio at ,rome1 over an altar near the entrance into the church2 and in the ,church of the ,portuguese1 near the ,scrofa1 he painted in fresco the ,chapel of the ,high-,altar1 as well as the altar-piece4 ,afterwards1 ,cardinal ,alborense having caused a chapel richly adorned with marbles to be erected in ,s4 ,jacopo1 the ,church of the ,spanish people1 with a ,s4 ,james of marble by ,jacopo ,sansovino1 four braccia and a half in height1 and much extolled1 ,pellegrino painted there in fresco the stories of that ,apostle1 giving an air of great sweetness to his figures in imitation of his master ,raffaello1 and designing the whole composition so well1 that the work made him known as an able man with a fine and beautiful genius for painting4 ,this work finished1 he made many others in ,rome1 both by himself and in company with others4 ,illustration3 ,,the ,,last ,,supper 7,after the fresco by ,gaudenzio ,milanese ,gaudenzio ,ferrari4 ,milan3 ,s4 ,maria della ,passione7 ,anderson ,but finally1 when death had come upon ,raffaello1 ,pellegrino returned to ,modena1 where he executed many works2 among others1 he painted for a ,confraternity of ,flagellants a panel-picture in oils of ,s4 ,john baptizing ,christ1 and another panel for the ,church of the ,servi1 containing ,s4 ,cosimo and ,s4 ,damiano1 with other figures4 ,afterwards1 having taken a wife1 he had a son1 who was the cause of his death4 ,for this son1 having come to words with some companions1 young men of ,modena1 killed one of them2 the news of which being carried to ,pellegrino1 he1 in order to help his son from falling into the hands of justice1 set out to smuggle him away4 ,but he had not gone far from his house1 when he stumbled against the relatives of the dead youth1 who were going about searching for the murderer2 and they1 confronting ,pellegrino1 who had no time to escape1 and full of fury because they had not been able to catch his son1 gave him so many wounds that they left him dead on the ground4 ,this event was a great grief to the people of ,modena1 who knew that by the death of ,pellegrino they had been robbed of a spirit truly excellent and rare4 ,a contemporary of this craftsman was the ,milanese ,gaudenzio1 a resolute1 well-practised1 and excellent painter1 who made many works in fresco at ,milan2 and in particular1 for the ,frati della ,passione1 a most beautiful ,last ,supper1 which remained unfinished by reason of his death4 ,he also painted very well in oils1 and there are many highly-esteemed works by his hand at ,vercelli and ,veralla4 ,,andrea ,,del ,,sarto ,,life ,,of ,,andrea ,,del ,,sarto ,a ,,most ,,excellent ,,painter ,,of ,,florence ,at length1 after the ,lives of many craftsmen who have been excellent1 some in colouring1 some in drawing1 and others in invention1 we have come to the most excellent ,andrea del ,sarto1 in whose single person nature and art demonstrated all that painting can achieve by means of draughtsmanship1 colouring1 and invention1 insomuch that1 if ,andrea had possessed a little more fire and boldness of spirit1 to correspond to his profound genius and judgment in his art1 without a doubt he would have had no equal4 ,but a certain timidity of spirit and a sort of humility and simplicity in his nature made it impossible that there should be seen in him that glowing ardour and that boldness which1 added to his other qualities1 would have made him truly divine in painting2 for which reason he lacked those adornments and that grandeur and abundance of manners which have been seen in many other painters4 ,his figures1 however1 for all their simplicity and purity1 are well conceived1 free from errors1 and absolutely perfect in every respect4 ,the expressions of his heads1 both in children and in women1 are gracious and natural1 and those of men1 both young and old1 admirable in their vivacity and animation2 his draperies are beautiful to a marvel1 and his nudes very well conceived4 ,and although his drawing is simple1 all that he coloured is rare and truly divine4 ,andrea was born in ,florence1 in the year #adgh1 to a father who was all his life a tailor2 whence he was always called ,andrea del ,sarto by everyone4 ,having come to the age of seven1 he was taken away from his reading and writing school and apprenticed to the goldsmith's craft4 ,but in this he was always much more willing to practise his hand in drawing1 to which he was drawn by a natural inclination1 than in using the tools for working in silver or gold2 whence it came to pass that ,gian ,barile1 a painter of ,florence1 but one of gross and vulgar taste1 having seen the boy's good manner of drawing1 took him under his protection1 and1 making him abandon his work as goldsmith1 directed him to the art of painting4 ,andrea1 beginning with much delight to practise it1 recognized that nature had created him for that profession2 and in a very short space of time1 therefore1 he was doing such things with colours as filled ,gian ,barile and the other craftsmen in the city with marvel4 ,now after three years1 through continual study1 he had acquired an excellent mastery over his work1 and ,gian ,barile saw that by persisting in his studies the boy was likely to achieve an extraordinary success4 ,having therefore spoken of him to ,piero di ,cosimo1 who was held at that time to be one of the best painters in ,florence1 he placed ,andrea with ,piero4 ,and ,andrea1 as one full of desire to learn1 laboured and studied without ceasing2 while nature1 which had created him to be a painter1 so wrought in him1 that he handled and managed his colours with as much grace as if he had been working for fifty years4 ,wherefore ,piero conceived an extraordinary love for him1 feeling marvellous pleasure in hearing that when ,andrea had any time to himself1 particularly on feast-days1 he would spend the whole day in company with other young men1 drawing in the ,sala del ,papa1 wherein were the cartoons of ,michelagnolo and ,leonardo da ,vinci1 and that1 young as he was1 he surpassed all the other draughtsmen1 both native and foreign1 who were always competing there with one another4 ,illustration3 ,,noli ,,me ,,tangere 7,after the panel by ,andrea del ,sarto4 ,florence3 ,uffizi1 #ic7 ,alinari ,among these young men1 there was one who pleased ,andrea more than any other with his nature and conversation1 namely1 the painter ,franciabigio2 and ,franciabigio1 likewise1 was attracted by ,andrea4 ,having become friends1 therefore1 ,andrea said to ,franciabigio that he could no longer endure the caprices of ,piero1 who was now old1 and that for this reason he wished to take a room for himself4 ,hearing this1 ,franciabigio1 who was obliged to do the same thing because his master ,mariotto ,albertinelli had abandoned the art of painting1 said to his companion ,andrea that he also was in need of a room1 and that it would be to the advantage of both of them if they were to join forces4 ,having therefore taken a room on the ,piazza del ,grano1 they executed many works in company2 among others1 the curtains that cover the panel-pictures on the high-altar of the ,servi2 for which they received the commission from a sacristan very closely related to ,franciabigio4 ,on one of those curtains1 that which faces the choir1 they painted the ,annunciation of the ,virgin2 and on the other1 which is in front1 a ,deposition of ,christ from the ,cross1 like that of the panel-picture which was there1 painted by ,filippo and ,pietro ,perugino4 ,the men of that company in ,florence which is called the ,company of the ,scalzo used to assemble at the head of the ,via ,larga1 above the houses of the ,magnificent ,ottaviano de' ,medici1 and opposite to the garden of ,s4 ,marco1 in a building dedicated to ,s4 ,john the ,baptist1 which had been built in those days by a number of ,florentine craftsmen1 who had made there1 among other things1 an entrance-court of masonry with a loggia which rested on some columns of no great size4 ,and some of them1 perceiving that ,andrea was on the way to becoming known as an excellent painter1 and being richer in spirit than in pocket1 determined that he should paint round that cloister twelve pictures in chiaroscuro--that is to say1 in fresco with terretta--containing twelve scenes from the life of ,s4 ,john the ,baptist4 ,whereupon1 setting his hand to this1 he painted in the first the scene of ,s4 ,john baptizing ,christ1 with much diligence and great excellence of manner1 whereby he gained credit1 honour1 and fame to such an extent1 that many persons turned to him with commissions for works1 as to one whom they thought to be destined in time to reach that honourable goal which was foreshadowed by his extraordinary beginnings in his profession4 ,among other works that he made in that first manner1 he painted a picture which is now in the house of ,filippo ,spini1 held in great veneration in memory of so able a craftsman4 ,and not long after this he was commissioned to paint for a chapel in ,s4 ,gallo1 the ,church of the ,eremite ,observantines of the ,order of ,s4 ,augustine1 without the ,porta a ,s4 ,gallo1 a panel-picture of ,christ appearing in the garden to ,mary ,magdalene in the form of a gardener2 which work1 what with the colouring and a certain quality of softness and harmony1 is sweetness itself1 and so well executed1 that it led to his painting two others not long afterwards for the same church1 as will be related below4 ,this panel is now in ,s4 ,jacopo tra ,fossi1 on the ,canto degli ,alberti1 together with the two others4 ,after these works1 ,andrea and ,franciabigio1 leaving the ,piazza del ,grano1 took new rooms in the ,sapienza1 near the ,convent of the ,nunziata2 whence it came about that ,andrea and ,jacopo ,sansovino1 who was then a young man and was working at sculpture in the same place under his master ,andrea ,contucci1 formed so warm and so strait a friendship together1 that neither by day nor by night were they ever separated one from another4 ,their discussions were for the most part on the difficulties of art1 so that it is no marvel that both of them should have afterwards become most excellent1 as is now being shown of ,andrea and as will be related in the proper place of ,jacopo4 ,illustration3 ,,the ,,last ,,supper 7,after the fresco by ,andrea del ,sarto4 ,florence3 ,s4 ,salvi7 ,anderson ,there was at this same time in the ,convent of the ,servi1 selling the candles at the counter1 a friar called ,fra ,mariano dal ,canto alla ,macine1 who was also sacristan2 and he heard everyone extolling ,andrea mightily and saying that he was by way of making marvellous proficience in painting4 ,whereupon he planned to fulfil a desire of his own without much expense2 and so1 approaching ,andrea1 who was a mild and guileless fellow1 on the side of his honour1 he began to persuade him under the cloak of friendship that he wished to help him in a matter which would bring him honour and profit and would make him known in such a manner1 that he would never be poor any more4 ,now many years before1 as has been related above1 ,alesso ,baldovinetti had painted a ,nativity of ,christ in the first cloister of the ,servi1 on the wall that has the ,annunciation behind it2 and in the same cloister1 on the other side1 ,cosimo ,rosselli had begun a scene of ,s4 ,filippo1 the founder of that ,servite ,order1 assuming the habit4 ,but ,cosimo had not carried that scene to completion1 because death came upon him at the very moment when he was working at it4 ,the friar1 then1 being very eager to see the rest finished1 thought of serving his own ends by making ,andrea and ,franciabigio1 who1 from being friends1 had become rivals in art1 compete with one another1 each doing part of the work4 ,this1 besides effecting his purpose very well1 would make the expense less and their efforts greater4 ,thereupon1 revealing his mind to ,andrea1 he persuaded him to undertake that enterprise1 by pointing out to him that since it was a public and much frequented place1 he would become known on account of such a work no less by foreigners than by the ,florentines2 that he should not look for any payment in return1 or even for an invitation to undertake it1 but should rather pray to be allowed to do it2 and that if he were not willing to set to work1 there was ,franciabigio1 who1 in order to make himself known1 had offered to accept it and to leave the matter of payment to him4 ,these incitements did much to make ,andrea resolve to undertake the work1 and the rather as he was a man of little spirit2 and the last reference to ,franciabigio induced him to make up his mind completely and to come to an agreement1 in the form of a written contract1 with regard to the whole work1 on the terms that no one else should have a hand in it4 ,the friar1 then1 having thus pledged him and given him money1 demanded that he should begin by continuing the life of ,s4 ,filippo1 without receiving more than ten ducats from him in payment of each scene2 and he told ,andrea that he was giving him even that out of his own pocket1 and was doing it more for the benefit and advantage of the painter than through any want or need of the convent4 ,andrea1 therefore1 pursuing that work with the utmost diligence1 like one who thought more of honour than of profit1 after no long time completely finished the first three scenes and unveiled them4 ,one was the scene of ,s4 ,filippo1 now a friar1 clothing the naked4 ,in another he is shown rebuking certain gamesters1 who blasphemed ,god and laughed at ,s4 ,filippo1 mocking at his admonition1 when suddenly there comes a lightning-flash from ,heaven1 which1 striking a tree under the shade of which they were sheltering1 kills two of them and throws the rest into an incredible panic4 ,some1 with their hands to their heads1 cast themselves forward in dismay2 others1 crying aloud in their terror1 turn to flight2 a woman1 beside herself with fear at the sound of the thunder1 is running away so naturally that she appears to be truly alive2 and a horse1 breaking loose amid this uproar and confusion1 reveals with his leaps and fearsome movements what fear and terror are caused by things so sudden and so unexpected4 ,in all this one can see how carefully ,andrea looked to variety of incident in the representation of such events1 with a forethought truly beautiful and most necessary for one who practises painting4 ,in the third he painted the scene of ,s4 ,filippo delivering a woman from evil spirits1 with all the most characteristic considerations that could be imagined in such an action4 ,all these scenes brought extraordinary fame and honour to ,andrea2 and thus encouraged1 he went on to paint two other scenes in the same cloister4 ,on one wall is ,s4 ,filippo lying dead1 with his friars about him making lamentation2 and in addition there is a dead child1 who1 touching the bier on which ,s4 ,filippo lies1 comes to life again1 so that he is first seen dead1 and then revived and restored to life1 and all with a very beautiful1 natural1 and appropriate effect4 ,in the last picture on that side he represented the friars placing the garments of ,s4 ,filippo on the heads of certain children2 and there he made a portrait of ,andrea della ,robbia1 the sculptor1 in an old man clothed in red1 who comes forward1 stooping1 with a staff in his hand4 ,there1 too1 he portrayed ,luca1 his son2 even as in the other scene mentioned above1 in which ,s4 ,filippo lies dead1 he made a portrait of another son of ,andrea1 named ,girolamo1 a sculptor and very much his friend1 who died not long since in ,france4 ,having thus finished that side of the cloister1 and considering that if the honour was great1 the payment was small1 ,andrea resolved to give up the rest of the work1 however much the friar might complain4 ,but the latter would not release him from his bond without ,andrea first promising that he would paint two other scenes1 at his own leisure and convenience1 however1 and with an increase of payment2 and thus they came to terms4 ,illustration3 ,,the ,,arrival ,,of ,,the ,,magi 7,after the fresco by ,andrea del ,sarto4 ,florence3 ,,ss4 ,annunziata7 ,alinari ,having come into greater repute by reason of these works1 ,andrea received commissions for many pictures and works of importance2 among others1 one from the ,general of the ,monks of ,vallombrosa1 for painting an arch of the vaulting1 with a ,last ,supper on the front wall1 in the ,refectory of the ,monastery of ,s4 ,salvi1 without the ,porta alla ,croce4 ,in four medallions on that vault he painted four figures1 ,s4 ,benedict1 ,s4 ,giovanni ,gualberto1 ,s4 ,salvi the ,bishop1 and ,s4 ,bernardo degli ,uberti of ,florence1 a friar of that ,order and a ,cardinal2 and in the centre he made a medallion containing three faces1 which are one and the same1 to represent the ,trinity4 ,all this was very well executed for a work in fresco1 and ,andrea1 therefore1 came to be valued at his true worth in the art of painting4 ,whereupon he was commissioned at the instance of ,baccio d' ,agnolo to paint in fresco1 in a close on the steep path of ,orsanmichele1 which leads to the ,mercato ,nuovo1 the ,annunciation still to be seen there1 executed on a minute scale1 which brought him but little praise2 and this may have been because ,andrea1 who worked well without over-exerting himself or forcing his powers1 is believed to have tried in this work to force himself and to paint with too much care4 ,as for the many pictures that he executed after this for ,florence1 it would take too long to try to speak of them all2 and ,i will only say that among the most distinguished may be numbered the one that is now in the apartment of ,baccio ,barbadori1 containing a full-length ,madonna with a ,child in her arms1 ,s4 ,anne1 and ,s4 ,joseph1 all painted in a beautiful manner and held very dear by ,baccio4 ,he made one1 likewise well worthy of praise1 which is now in the possession of ,lorenzo di ,domenico ,borghini1 and another of ,our ,lady for ,leonardo del ,giocondo1 which at the present day is in the hands of ,piero1 the son of ,leonardo4 ,for ,carlo ,ginori he painted two of no great size1 which were bought afterwards by the ,magnificent ,ottaviano de' ,medici2 and one of these is now in his most beautiful villa of ,campi1 while the other1 together with many other modern pictures executed by the most excellent masters1 is in the apartment of the worthy son of so great a father1 ,signor ,bernardetto1 who not only esteems and honours the works of famous craftsmen1 but is also in his every action a truly generous and magnificent nobleman4 ,meanwhile the ,servite friar had allotted to ,franciabigio one of the scenes in the above-mentioned cloister2 but that master had not yet finished making the screen1 when ,andrea1 becoming apprehensive1 since it seemed to him that ,franciabigio was an abler and more dexterous master than himself in the handling of colours in fresco1 executed1 as it were out of rivalry1 the cartoons for his two scenes1 which he intended to paint on the angle between the side-door of ,s4 ,bastiano and the smaller door that leads from the cloister into the ,nunziata4 ,having made the cartoons1 he set to work in fresco2 and in the first scene he painted the ,nativity of ,our ,lady1 a composition of figures beautifully proportioned and grouped with great grace in a room1 wherein some women who are friends and relatives of the newly delivered mother1 having come to visit her1 are standing about her1 all clothed in such garments as were customary at that time1 and other women of lower degree1 gathered around the fire1 are washing the newborn babe1 while others are preparing the swathing-bands and doing other similar services4 ,among them is a little boy1 full of life1 who is warming himself at the fire1 with an old man resting in a very natural attitude on a couch1 and likewise some women carrying food to the mother who is in bed1 with movements truly lifelike and appropriate4 ,and all these figures1 together with some little boys who are hovering in the air and scattering flowers1 are most carefully considered in their expressions1 their draperies1 and every other respect1 and so soft in colour1 that the figures appear to be of flesh and everything else rather real than painted4 ,in the other scene ,andrea painted the three ,magi from the ,east1 who1 guided by the ,star1 went to adore the ,infant ,jesus ,christ4 ,he represented them dismounted1 as though they were near their destination2 and that because there was only the space embracing the two doors to separate them from the ,nativity of ,christ which may be seen there1 by the hand of ,alesso ,baldovinetti4 ,in this scene ,andrea painted the ,court of those three ,kings coming behind them1 with baggage1 much equipment1 and many people following in their train1 among whom1 in a corner1 are three persons portrayed from life and wearing the ,florentine dress1 one being ,jacopo ,sansovino1 a full-length figure looking straight at the spectator1 while another1 with an arm in foreshortening1 who is leaning against him and making a sign1 is ,andrea1 the master of the work1 and a third head1 seen in profile behind ,jacopo1 is that of ,ajolle1 the musician4 ,there are1 in addition1 some little boys who are climbing on the walls1 in order to be able to see the magnificent procession and the fantastic animals that those three ,kings have brought with them4 ,this scene is quite equal in excellence to that mentioned above2 nay1 in both the one and the other he surpassed himself1 not to speak of ,franciabigio1 who also finished his4 ,at this same time ,andrea painted for the ,abbey of ,s4 ,godenzo1 a benefice belonging to the same friars1 a panel which was held to be very well executed4 ,and for the ,friars of ,s4 ,gallo he made a panel-picture of ,our ,lady receiving the ,annunciation from the ,angel1 wherein may be seen a very pleasing harmony of colouring1 while the heads of some ,angels accompanying ,gabriel show a sweet gradation of tints and a perfectly executed beauty of expression in their features2 and the predella below this picture was painted by ,jacopo da ,pontormo1 who was a disciple of ,andrea at that time1 and gave proofs at that early age that he was destined to produce afterwards those beautiful works which he actually did execute in ,florence with his own hand1 although in the end he became one might say another painter1 as will be related in his ,life4 ,andrea then painted for ,zanobi ,girolami a picture with figures of no great size1 wherein was a story of ,joseph1 the son of ,jacob1 which was finished by him with unremitting diligence1 and therefore held to be a very beautiful painting4 ,not long after this1 he undertook to execute for the men of the ,company of ,s4 ,maria della ,neve1 situated behind the ,nunnery of ,s4 ,ambrogio1 a little panel with three figures--,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,ambrogio2 which work1 when finished1 was placed in due time on the altar of that ,company4 ,meanwhile1 thanks to his talent1 ,andrea had become intimate with ,giovanni ,gaddi1 afterwards appointed ,clerk of the ,chamber1 who1 always delighting in the arts of design1 was then keeping ,jacopo ,sansovino continually at work4 ,being pleased1 therefore1 with the manner of ,andrea1 he caused him to paint a picture of ,our ,lady for himself1 which was very beautiful1 for ,andrea painted various patterns and other ingenious devices round it1 so that it was considered to be the most beautiful work that he had executed up to that time4 ,after this he made for ,giovanni di ,paolo1 the mercer1 another picture of ,our ,lady1 which1 being truly lovely1 gave infinite pleasure to all who saw it4 ,and for ,andrea ,santini he executed another1 containing ,our ,lady1 ,christ1 ,s4 ,john1 and ,s4 ,joseph1 all wrought with such diligence that the painting has always been esteemed in ,florence as worthy of great praise4 ,all these works acquired such a name for ,andrea in his city1 that among the many1 both young and old1 who were painting at that time1 he was considered one of the most excellent who were handling brushes and colours4 ,wherefore he found himself not only honoured1 but even1 although he exacted the most paltry prices for his labours1 in a condition to do something to help and support his family1 and also to shelter himself from the annoyances and anxieties which afflict those of us who live in poverty4 ,but he became enamoured of a young woman1 and a little time afterwards1 when she had been left a widow1 he took her for his wife2 and then he had more than enough to do for the rest of his life1 and much more trouble than he had suffered in the past1 for the reason that1 in addition to the labours and annoyances that such entanglements generally involve1 he undertook others into the bargain1 such as that of letting himself be harassed now by jealousy1 now by one thing1 and now by another4 ,illustration3 ,,andrea ,,del ,,sarto3 ,,madonna ,,dell' ,,arpie 7,florence3 ,uffizi1 #aaab4 ,panel7 ,but to return to the works of his hand1 which were as rare as they were numerous3 after those of which mention has been made above1 he painted for a friar of ,s4 ,croce1 of the ,order of ,minorites1 who was then ,governor of the ,nunnery of ,s4 ,francesco in ,via ,pentolini1 and delighted much in paintings1 a panel-picture destined for the ,church of those ,nuns1 of ,our ,lady standing on high upon an octagonal pedestal1 at the corners of which are seated some ,harpies1 as it were in adoration of the ,virgin2 and she1 using one hand to uphold her ,son1 who is clasping her most tenderly round the neck with ,his arms1 in a very beautiful attitude1 is holding a closed book in the other hand and gazing on two little naked boys1 who1 while helping her to stand upright1 serve as ornaments about her person4 ,this ,madonna has on her right a beautifully painted ,s4 ,francis1 in whose face may be seen the goodness and simplicity that truly belonged to that saintly man2 besides which1 the feet are marvellous1 and so are the draperies1 because ,andrea always rounded off his figures with a very rich flow of folds and with certain most delicate curves1 in such a way as to reveal the nude below4 ,on her left hand she has a ,s4 ,john the ,evangelist1 represented as a young man and in the act of writing his ,gospel1 in a very beautiful manner4 ,in this work1 moreover1 over the building and the figures1 is a film of transparent clouds1 which appear to be really moving4 ,this picture1 among all ,andrea's works1 is held at the present day to be one of singular and truly rare beauty4 ,for the joiner ,nizza1 also1 he made a picture of ,our ,lady1 which was considered to be no less beautiful than any of his other works4 ,after this1 the ,guild of ,merchants determined to have some triumphal chariots made of wood after the manner of those of the ancient ,romans1 to the end that these might be drawn in procession on the morning of ,s4 ,john's day1 in place of certain altar-cloths and wax tapers which the cities and townships carry in token of tribute1 passing before the ,duke and the chief magistrates2 and out of ten that were made at that time1 ,andrea painted some with scenes in oils and in chiaroscuro1 which were much extolled4 ,but although it was proposed that some should be made every year1 until such time as every city and district had one of its own1 which would have produced a show of extraordinary magnificence1 nevertheless this custom was abandoned in the year #aebg4 ,now1 while ,andrea was adorning his city with these and other works1 and his name was growing greater every day1 the men of the ,company of the ,scalzo resolved that he should finish the work in their cloister1 which he had formerly begun by painting the scene of the ,baptism of ,christ4 ,having resumed that work1 therefore1 more willingly1 he executed two scenes there1 with two very beautiful figures of ,charity and ,justice to adorn the door that leads into the building of the ,company4 ,in one of these scenes he represented ,s4 ,john preaching to the multitude in a spirited attitude1 lean in person1 as befitted the life that he was leading1 and with an expression of countenance filled with inspiration and thoughtfulness4 ,marvellous1 likewise1 are the variety and the vivacity of his hearers1 some being shown in admiration1 and all in astonishment1 at hearing that new message and a doctrine so singular and never heard before4 ,even more did ,andrea exert his genius in painting the same ,john baptizing with water a vast number of people1 some of whom are stripping off their clothes1 some receiving the baptism1 and others1 naked1 waiting for him to finish baptizing those who are before them4 ,in all of them ,andrea showed a vivid emotion1 with a burning desire in the gestures of those who are eager to be purified of their sins2 not to mention that all the figures are so well executed in that chiaroscuro1 that the whole has the appearance of a real and most lifelike scene in marble4 ,i will not refrain from saying that while ,andrea was employed on these and other pictures1 there appeared certain copper engravings by ,albrecht ,drer1 and ,andrea made use of them1 taking some of the figures and transforming them into his manner4 ,and this has caused some people1 while not saying that it is a bad thing for a man to make adroit use of the good work of others1 to believe that ,andrea had not much invention4 ,at that time there came to ,baccio ,bandinelli1 then a draughtsman of great repute1 a desire to learn to paint in oils4 ,whereupon1 knowing that no man in ,florence knew how to do that better than our ,andrea1 he commissioned him to paint his portrait1 which was a good likeness of him at that age1 as may be seen even yet2 and thus1 by watching him paint that work and others1 he saw his method of colouring1 although afterwards1 either by reason of the difficulty or from lack of inclination1 he did not pursue the use of colours1 finding more satisfaction in sculpture4 ,andrea executed for ,alessandro ,corsini a picture of a ,madonna seated on the ground with a ,child in her arms1 surrounded by many little boys1 which was finished with beautiful art and with very pleasing colour2 and for a mercer1 much his friend1 who kept a shop in ,rome1 he made a most beautiful head4 ,giovan ,battista ,puccini of ,florence1 likewise1 taking extraordinary pleasure in the manner of ,andrea1 commissioned him to paint a picture of ,our ,lady for sending into ,france2 but it proved to be so fine that he kept it for himself1 and would by no means send it4 ,however1 having been asked1 while transacting the affairs of his business in ,france1 to undertake to send choice paintings to that country1 he caused ,andrea to paint a picture of a ,dead ,christ surrounded by some ,angels1 who were supporting ,him and contemplating with gestures of sorrow and compassion their ,maker sunk to such a pass through the sins of the world4 ,this work1 when finished1 gave such universal satisfaction1 that ,andrea1 urged by many entreaties1 had it engraved in ,rome by the ,venetian ,agostino2 but it did not succeed very well1 and he would never again give any of his works to be engraved4 ,but to return to the picture3 it gave no less satisfaction in ,france1 whither it was sent1 than it had done in ,florence1 insomuch that the ,king1 kindled with even greater desire to have works by ,andrea1 gave orders that he should execute others2 which was the reason that ,andrea1 encouraged by his friends1 resolved to go in a short time to ,france4 ,but meanwhile the ,florentines1 hearing in the year #aeae that ,pope ,leo ,x wished to grace his native city with his presence1 ordained for his reception extraordinary festivities and a sumptuous and magnificent spectacle1 with so many arches1 faades1 temples1 colossal figures1 and other statues and ornaments1 that there had never been seen up to that time anything richer1 more gorgeous1 or more beautiful2 for there was then flourishing in that city a greater abundance of fine and exalted intellects than had ever been known at any other period4 ,at the entrance of the ,porta di ,s4 ,piero ,gattolini1 ,jacopo di ,sandro1 in company with ,baccio da ,montelupo1 made an arch covered with historical scenes4 ,giuliano del ,tasso made another at ,s4 ,felice in ,piazza1 with some statues and the obelisk of ,romulus at ,s4 ,trinit1 and ,trajan's ,column in the ,mercato ,nuovo4 ,in the ,piazza de' ,signori1 ,antonio1 the brother of ,giuliano da ,san ,gallo1 erected an octagonal temple1 and ,baccio ,bandinelli made a ,giant for the ,loggia4 ,between the ,badia and the ,palace of the ,podest there was an arch erected by ,granaccio and ,aristotele da ,san ,gallo1 and ,il ,rosso made another on the ,canto de' ,bischeri with a very beautiful design and a variety of figures4 ,but what was admired more than everything else was the faade of ,s4 ,maria del ,fiore1 made of wood1 and so well decorated with various scenes in chiaroscuro by our ,andrea1 that nothing more could have been desired4 ,the architecture of this work was by ,jacopo ,sansovino1 as were some scenes in low-relief and many figures carved in the round2 and it was declared by the ,pope that this structure--which was designed by ,lorenzo de' ,medici1 father of that ,pontiff1 when he was alive--could not have been more beautiful1 even if it had been of marble4 ,the same ,jacopo made a horse similar to the one in ,rome1 which was held to be a miracle of beauty1 on the ,piazza di ,s4 ,maria ,novella4 ,an endless number of ornaments1 also1 were executed for the ,sala del ,papa in the ,via della ,scala1 and that street was half filled with most beautiful scenes wrought by the hands of many craftsmen1 but designed for the most part by ,baccio ,bandinelli4 ,wherefore1 when ,leo entered ,florence1 on the third day of ,september in the same year1 this spectacle was pronounced to be the grandest that had ever been devised1 and the most beautiful4 ,but to return now to ,andrea3 being again requested to make another picture for the ,king of ,france1 in a short time he finished one wherein he painted a very beautiful ,madonna1 which was sent off immediately1 the merchants receiving for it four times as much as they had paid4 ,now at that very time ,pier ,francesco ,borgherini had caused to be made by ,baccio d' ,agnolo some panelling1 chests1 chairs1 and a bed1 all carved in walnut-wood1 for the furnishing of an apartment2 wherefore1 to the end that the paintings therein might be equal in excellence to the rest of the work1 he commissioned ,andrea to paint part of the scenes on these with figures of no great size1 representing the acts of ,joseph the son of ,jacob1 in competition with some of great beauty that had been executed by ,granaccio and ,jacopo da ,pontormo4 ,andrea1 then1 devoting an extraordinary amount of time and diligence to the work1 strove to bring it about that they should prove to be more perfect than those of the others mentioned above2 in which he succeeded to a marvel1 for in the variety of events happening in the stories he showed how great was his worth in the art of painting4 ,so excellent were those scenes1 that an attempt was made by ,giovan ,battista della ,palla1 on account of the siege of ,florence1 to remove them from the places where they were fixed1 in order to send them to the ,king of ,france2 but1 since they were fixed in such a way that it would have meant spoiling the whole work1 they were left where they were1 together with a picture of ,our ,lady1 which is held to be a very choice work4 ,illustration3 ,,charity 7,after the painting by ,andrea del ,sarto4 ,paris3 ,louvre1 #aead7 ,neurdein ,after this ,andrea executed a head of ,christ1 now kept by the ,servite ,friars on the altar of the ,nunziata1 of such beauty1 that ,i for my part do not know whether any more beautiful image of the head of ,christ could be conceived by the intellect of man4 ,for the chapels in the ,church of ,s4 ,gallo1 without the ,porta ,s4 ,gallo1 there had been painted1 in addition to the two panel-pictures by ,andrea1 a number of others1 which were not equal to his2 wherefore1 since there was a commission to be given for another1 those friars contrived to persuade the owner of the chapel to give it to ,andrea2 and he1 beginning it immediately1 made therein four figures standing1 engaged in a disputation about the ,trinity4 ,one of these is ,s4 ,augustine1 who1 robed as a ,bishop and truly ,african in aspect1 is moving impetuously towards ,s4 ,peter ,martyr1 who is holding up an open book in a proud and sublime attitude3 and the head and figure of the latter are much extolled4 ,beside him is a ,s4 ,francis holding a book in one hand and pressing the other against his breast2 and he appears to be expressing with his lips a glowing ardour that makes him almost melt away in the heat of the discussion4 ,there is also a ,s4 ,laurence1 who1 being young1 is listening1 and seems to be yielding to the authority of the others4 ,below them are two figures kneeling1 one a ,magdalene with most beautiful draperies1 whose countenance is a portrait of ,andrea's wife2 for in no place did he paint a woman's features without copying them from her1 and if perchance it happened at times that he took them from other women1 yet1 from his being used to see her continually1 and from the circumstance that he had drawn her so often1 and1 what is more1 had her impressed on his mind1 it came about that almost all the heads of women that he made resembled her4 ,the other kneeling figure is a ,s4 ,sebastian1 who1 being naked1 shows his back1 which appears to all who see it to be not painted1 but of living flesh4 ,and indeed1 among so many works in oils1 this was held by craftsmen to be the best1 for the reason that there may be seen in it signs of careful consideration in the proportions of the figures1 and much order in the method1 with a sense of fitness in the expressions of the faces1 the heads of the young showing sweetness of expression1 those of the old hardness1 and those of middle age a kind of blend that inclines both to the first and to the second4 ,in a word1 this panel is most beautiful in all its parts2 and it is now to be found in ,s4 ,jacopo tra ,fossi on the ,canto degli ,alberti1 together with others by the hand of the same master4 ,while ,andrea was living poorly enough in ,florence1 engaged in these works1 but without bettering himself a whit1 the two pictures that he had sent to ,france had been duly considered in that country by ,king ,francis ,i2 and among many others which had been sent from ,rome1 from ,venice1 and from ,lombardy1 they had been judged to be by far the best4 ,the ,king therefore praising them mightily1 it was remarked to him that it would be an easy matter to persuade ,andrea to come to ,france to serve his ,majesty2 which news was so agreeable to the ,king1 that he gave orders that all that was necessary should be done1 and that money for the journey should be paid to ,andrea in ,florence4 ,andrea then set out for ,france with a glad heart1 taking with him his assistant ,andrea ,sguazzella2 and1 having arrived at last at the ,court1 they were received by the ,king with great kindness and rejoicing4 ,before the very day of his arrival had passed by1 ,andrea proved for himself how great were the courtesy and the liberality of that magnanimous ,king1 receiving presents of money and rich and honourable garments4 ,beginning to work soon afterwards1 he became so dear to the ,king and to all the ,court1 that he was treated lovingly by everyone1 and it appeared to him that his departure from his country had brought him from one extreme of wretchedness to the other extreme of bliss4 ,among his first works was a portrait from life of the ,dauphin1 the son of the ,king1 born only a few months before1 and still in swaddling-clothes2 and when he took this to the ,king1 he received a present of three hundred gold crowns4 ,then1 continuing to work1 he painted for the ,king a figure of ,charity1 which was considered a very rare work and was held by that ,sovereign in the estimation that it deserved4 ,after that1 his ,majesty granted him a liberal allowance and did all that he could to induce ,andrea to stay willingly with him1 promising him that he should never want for anything2 and this because he liked ,andrea's resoluteness in his work1 and also the character of the man1 who was contented with everything4 ,moreover1 giving great satisfaction to the whole ,court1 he executed many pictures and various other works2 and if he had kept in mind the condition from which he had escaped and the place to which fortune had brought him1 there is no doubt that he would have risen--to say nothing of riches--to a most honourable rank4 ,but one day1 when he was at work on a ,s4 ,jerome in ,penitence for the mother of the ,king1 there came to him some letters from ,florence1 written by his wife2 and he began1 whatever may have been the reason1 to think of departing4 ,he sought leave1 therefore1 from the ,king1 saying that he wished to go to ,florence1 but would return without fail to his ,majesty after settling some affairs2 and he would bring his wife with him1 in order to live more at his ease in ,france1 and would come back laden with pictures and sculptures of value4 ,the ,king1 trusting in him1 gave him money for that purpose2 and ,andrea swore on the ,testament to return to him in a few months4 ,thus1 then1 he arrived in ,florence1 and for several months blissfully took his joy of his fair lady1 his friends1 and the city4 ,and finally1 the time at which he was to return having passed by1 he found in the end that what with building1 taking his pleasure1 and doing no work1 he had squandered all his money and likewise that of the ,king4 ,even so he wished to return1 but he was more influenced by the sighs and prayers of his wife than by his own necessities and the pledge given to the ,king1 so that1 in order to please his wife1 he did not go back2 at which the ,king fell into such disdain1 that for a long time he would never again look with a favourable eye on any painter from ,florence1 and he swore that if ,andrea ever came into his hands he would give him a very different kind of welcome1 with no regard whatever for his abilities4 ,and thus ,andrea1 remaining in ,florence1 and sinking from the highest rung of the ladder to the very lowest1 lived and passed the time as best he could4 ,after ,andrea's departure to ,france1 the men of the ,scalzo1 thinking that he would never return1 had entrusted all the rest of the work in their cloister to ,franciabigio1 who had already executed two scenes there1 when1 seeing ,andrea back in ,florence1 they persuaded him to set his hand to the work once more2 and he1 continuing it1 painted four scenes1 one beside another4 ,in the first is ,s4 ,john taken before ,herod4 ,in the second are the ,feast and the ,dance of ,herodias1 with figures very well grouped and appropriate4 ,in the third is the ,beheading of ,s4 ,john1 wherein the minister of justice1 a half-nude figure1 is beautifully drawn1 as are all the others4 ,in the fourth ,herodias is presenting the head2 and here there are figures expressing their astonishment1 which are wrought with most beautiful thought and care4 ,these scenes have been for some time the study and school of many young men who are now excellent in our arts4 ,in a shrine without the ,porta a ,pinti1 at a corner where the road turns towards the ,ingesuati1 he painted in fresco a ,madonna seated with a ,child in her arms1 and a little ,s4 ,john who is smiling1 a figure wrought with extraordinary art and with such perfect execution1 that it is much extolled for its beauty and vivacity2 and the head of the ,madonna is a portrait of his wife from nature4 ,this shrine1 on account of the incredible beauty of the painting1 which is truly marvellous1 was left standing in #aecj1 when1 because of the siege of ,florence1 the aforesaid ,convent of the ,ingesuati was pulled down1 together with many other very beautiful buildings4 ,about the same time the elder ,bartolommeo ,panciatichi1 who was carrying on a great mercantile business in ,france1 desiring to leave a memorial of himself in ,lyons1 ordered ,baccio d' ,agnolo to have a panel painted for him by ,andrea1 and to send it to him there2 saying that he wanted the subject to be the ,assumption of ,our ,lady1 with the ,apostles about the tomb4 ,this work1 then1 ,andrea carried almost to completion2 but since the wood of the panel split apart several times1 he would sometimes work at it1 and sometimes leave it alone1 so that at his death it remained not quite finished4 ,afterwards it was placed by the younger ,bartolommeo ,panciatichi in his house1 as a work truly worthy of praise on account of the beautiful figures of the ,apostles2 not to speak of the ,madonna1 who is surrounded by a choir of little boys standing1 while certain others are supporting her and bearing her upwards with extraordinary grace4 ,and in the foreground of the panel1 among the ,apostles1 is a portrait of ,andrea1 so natural that it seems to be alive4 ,it is now at the villa of the ,baroncelli1 a little distance from ,florence1 in a small church built by ,piero ,salviati near his villa to do honour to the picture4 ,at the head of the garden of the ,servi1 in two angles1 ,andrea painted two scenes of ,christ's ,vineyard1 one showing the planting1 staking1 and binding of the vines1 and then the husbandman summoning to the labour those who were standing idle1 among whom is one who1 being asked whether he wishes to join the work1 sits rubbing his hands and pondering whether he will go among the other labourers1 exactly as those idle fellows do who have but little mind to work4 ,even more beautiful is the other scene1 wherein the same husbandman is causing them to be paid1 while they murmur and complain1 and one among them1 who is counting over his money by himself1 wholly intent on examining his share1 seems absolutely alive1 as also does the steward who is paying out the wages4 ,these scenes are in chiaroscuro1 and executed with extraordinary mastery in fresco4 ,after them he painted a ,piet1 coloured in fresco1 which is very beautiful1 in a niche at the head of a staircase in the noviciate of the same convent4 ,he also painted another ,piet in a little picture in oils1 in addition to a ,nativity1 for the room in that convent wherein the ,general1 ,angelo ,aretino1 once lived4 ,the same master painted for ,zanobi ,bracci1 who much desired to have some work by his hand1 for one of his apartments1 a picture of ,our ,lady1 in which she is on her knees1 leaning against a rock1 and contemplating ,christ1 who lies on a heap of drapery and looks up at her1 smiling2 while a ,s4 ,john1 who stands there1 is making a sign to the ,madonna1 as if to say that her ,child is the true ,son of ,god4 ,behind these figures is a ,s4 ,joseph with his head resting on his hands1 which are lying on a rock2 and he appears to be filled with joy at seeing the human race become divine through that ,birth4 ,cardinal ,giulio de' ,medici having been commissioned by ,pope ,leo to see to the adorning with stucco and paintings of the ceiling in the ,great ,hall of ,poggio a ,caiano1 a palatial villa of the ,medici family1 situated between ,pistoia and ,florence1 the charge of arranging for that work and of paying out the money was given to the ,magnificent ,ottaviano de' ,medici1 as to a person who1 not falling short of the standard of his ancestors1 was well informed in such matters and a loving friend to all the masters of our arts1 and delighted more than any other man to have his dwellings adorned with the works of the most excellent4 ,ottaviano ordained1 therefore1 although the commission for the whole work had already been given to ,franciabigio1 that he should have only a third1 ,andrea another1 and ,jacopo da ,pontormo the last4 ,but it was found impossible1 for all the efforts that the ,magnificent ,ottaviano made to urge them on1 and for all the money that he offered and even paid to them1 to get the work brought to completion2 and ,andrea alone finished with great diligence a scene on one wall1 representing ,csar being presented with tribute of all kinds of animals4 ,the drawing for this work is in our book1 with many others by his hand2 it is in chiaroscuro1 and is the most finished that he ever made4 ,in this picture ,andrea1 in order to surpass ,franciabigio and ,jacopo1 subjected himself to unexampled labour1 drawing in it a magnificent perspective-view and a very masterly flight of steps1 which formed the ascent to the throne of ,csar4 ,and these steps he adorned with very well-designed statues1 not being content with having proved the beauty of his genius in the variety of figures that are carrying on their backs all those different animals1 such as the figure of an ,indian who is wearing a yellow coat1 and carrying on his shoulders a cage drawn in perspective with some parrots both within it and without1 the whole being rarely beautiful2 and such1 also1 as some who are leading ,indian goats1 lions1 giraffes1 panthers1 lynxes1 and apes1 with ,moors and other lovely things of fancy1 all grouped in a beautiful manner and executed divinely well in fresco4 ,on these steps1 also1 he made a dwarf seated and holding a box containing a chameleon1 which is so well executed in all the deformity of its fantastic shape1 that it is impossible to imagine more beautiful proportions than those that he gave it4 ,but1 as has been said1 this work remained unfinished1 on account of the death of ,pope ,leo2 and although ,duke ,alessandro de' ,medici had a great desire that ,jacopo da ,pontormo should finish it1 he was not able to prevail on him to put his hand to it4 ,and in truth it suffered a very grievous wrong in the failure to complete it1 seeing that the hall1 for one in a villa1 is the most beautiful in the world4 ,after returning to ,florence1 ,andrea painted a picture with a nude half-length figure of ,s4 ,john the ,baptist1 a very beautiful thing1 which he executed at the commission of ,giovan ,maria ,benintendi1 who presented it afterwards to the ,lord ,duke ,cosimo4 ,illustration3 ,c,,sar ,,receiving ,,the ,,tribute ,,of ,,egypt 7,after the fresco by ,andrea del ,sarto4 ,florence3 ,poggio a ,caiano7 ,alinari ,while affairs were proceeding in this manner1 ,andrea1 remembering sometimes his connection with ,france1 sighed from his heart3 and if he had hoped to find pardon for the fault he had committed1 there is no doubt that he would have gone back4 ,indeed1 to try his fortune1 he sought to see whether his talents might be helpful to him in the matter4 ,thus he painted a picture of a half-naked ,s4 ,john the ,baptist1 meaning to send it to the ,grand ,master of ,france1 to the end that he might occupy himself with restoring the painter to the favour of the ,king4 ,however1 whatever may have been the reason1 he never sent it after all1 but sold it to the ,magnificent ,ottaviano de' ,medici1 who always valued it much as long as he lived1 even as he did two pictures of ,our ,lady executed for him by ,andrea in one and the same manner1 which are in his house at the present day4 ,not long afterwards he was commissioned by ,zanobi ,bracci to paint a picture for ,monsignore di ,san ,biause1#f which he executed with all possible diligence1 hoping that it might enable him to regain the favour of ,king ,francis1 to whose service he desired to return4 ,he also executed for ,lorenzo ,jacopi a picture of much greater size than was usual1 containing a ,madonna seated with the ,child in her arms1 accompanied by two other figures that are seated on some steps2 and the whole1 both in drawing and in colouring1 is similar to his other works4 ,he painted for ,giovanni d' ,agostino ,dini1 likewise1 a picture of ,our ,lady1 which is now much esteemed for its beauty2 and he made so good a portrait from life of ,cosimo ,lapi1 that it seems absolutely alive4 ,afterwards1 in the year #aebc1 the plague came to ,florence and also to some places in the surrounding country2 and ,andrea1 in order to avoid that pestilence and also to do some work1 went at the instance of ,antonio ,brancacci to the ,mugello to paint a panel for the ,nuns of ,s4 ,piero a ,luco1 of the ,order of ,camaldoli1 taking with him his wife and a stepdaughter1 together with his wife's sister and an assistant4 ,living quietly there1 then1 he set his hand to the work4 ,and since those venerable ladies showed more and more kindness and courtesy every day to his wife1 to himself1 and to the whole party1 he applied himself with the greatest possible willingness to executing that panel1 in which he painted a ,dead ,christ mourned by ,our ,lady1 ,s4 ,john the ,evangelist1 and the ,magdalene1 figures so lifelike1 that they appear truly to have spirit and breath4 ,in ,s4 ,john may be seen the loving tenderness of that ,apostle1 with affection in the tears of the ,magdalene1 and bitter sorrow in the face and whole attitude of the ,madonna1 whose aspect1 as she gazes on ,christ1 who seems to be truly a real corpse and in relief1 is so pitiful1 that she fills with helpless awe and bewilderment the minds of ,s4 ,peter and ,s4 ,paul1 who are contemplating the ,dead ,saviour of the ,world in the lap of ,his mother4 ,from these marvellous conceptions it is clear how much ,andrea delighted in finish and perfection of art2 and to tell the truth1 this panel has given more fame to that convent than all the buildings and all the other costly works1 however magnificent and extraordinary1 that have been executed there4 ,this picture finished1 ,andrea1 seeing that the danger of the plague was not yet past1 stayed some weeks more in the same place1 where he was so well received and treated with such kindness4 ,during that time1 in order not to be idle1 he painted not only a ,visitation of ,our ,lady to ,s4 ,elizabeth1 which is in the church1 on the right hand above the ,manger1 serving as a crown to a little ancient panel1 but also1 on a canvas of no great size1 a most beautiful head of ,christ1 somewhat similar to that on the altar of the ,nunziata1 but not so finished4 ,this head1 which may in truth be numbered among the better works that issued from the hands of ,andrea1 is now in the ,monastery of the ,monks of the ,angeli at ,florence1 in the possession of that very reverend father1 ,don ,antonio da ,pisa1 who loves not only the men of excellence in our arts1 but every man of talent without exception4 ,from this picture several copies have been taken1 for ,don ,silvano ,razzi entrusted it to the painter ,zanobi ,poggini1 to the end that he might make a copy for ,bartolommeo ,gondi1 who had asked him for one1 and some others were made1 which are held in vast veneration in ,florence4 ,in this manner1 then1 ,andrea passed without danger the time of the plague1 and those nuns received from the genius of that great man such a work as can bear comparison with the most excellent pictures that have been painted in our day2 wherefore it is no marvel that ,ramazzotto1 the captain of mercenaries of ,scaricalasino1 sought to obtain it on several occasions during the siege of ,florence1 in order to send it to his chapel in ,s4 ,michele in ,bosco at ,bologna4 ,on his return to ,florence1 ,andrea executed for ,beccuccio da ,gambassi1 the glass-blower1 who was very much his friend1 a panel-picture of ,our ,lady in the sky with the ,child in her arms1 and four figures below1 ,s4 ,john the ,baptist1 ,s4 ,mary ,magdalene1 ,s4 ,sebastian1 and ,s4 ,rocco2 and in the predella he made portraits from nature1 which are most lifelike1 of ,beccuccio and his wife4 ,this panel is now at ,gambassi1 a township in ,valdelsa1 between ,volterra and ,florence4 ,for a chapel in the villa of ,zanobi ,bracci at ,rovezzano1 he painted a most beautiful picture of ,our ,lady suckling a ,child1 with a ,joseph1 all executed with such diligence that they stand out from the panel1 so strong is the relief2 and this picture is now in the house of ,m4 ,antonio ,bracci1 the son of that ,zanobi4 ,about the same time1 also1 and in the above-mentioned cloister of the ,scalzo1 ,andrea painted two other scenes1 in one of which he depicted ,zacharias offering sacrifice and being made dumb by the ,angel appearing to him1 while in the other is the ,visitation of ,our ,lady1 beautiful to a marvel4 ,now ,federigo ,,ii1 ,duke of ,mantua1 in passing through ,florence on his way to make obeisance to ,clement ,,vii1 saw over a door in the house of the ,medici that portrait of ,pope ,leo between ,cardinal ,giulio de' ,medici and ,cardinal de' ,rossi1 which the most excellent ,raffaello da ,urbino had formerly painted2 and being extraordinarily pleased with it1 he resolved1 being a man who delighted in pictures of such beauty1 to make it his own4 ,and so1 when he was in ,rome and the moment seemed to him to have come1 he asked for it as a present from ,pope ,clement1 who courteously granted his request4 ,thereupon orders were sent to ,florence to ,ottaviano de' ,medici1 under whose care and government were ,ippolito and ,alessandro1 that he should have it packed up and taken to ,mantua4 ,this matter was very displeasing to the ,magnificent ,ottaviano1 who would never have consented to deprive ,florence of such a picture1 and he marvelled that the ,pope should have given it up so readily4 ,however1 he answered that he would not fail to satisfy the ,duke2 but that1 since the frame was bad1 he was having a new one made1 and when it had been gilt he would send the picture with every possible precaution to ,mantua4 ,this done1 ,messer ,ottaviano1 in order to save both the goat and the cabbage1 as the saying goes1 sent privately for ,andrea and told him how the matter stood1 and how there was no way out of it but to make an exact copy of the picture with the greatest care and send it to the ,duke1 secretly retaining the one by the hand of ,raffaello4 ,andrea1 then1 having promised to do all in his power and knowledge1 caused a panel to be made similar in size and in every respect1 and painted it secretly in the house of ,messer ,ottaviano4 ,and to such purpose did he labour1 that when it was finished even ,messer ,ottaviano1 for all his understanding in matters of art1 could not tell the one from the other1 nor distinguish the real and true picture from the copy2 especially as ,andrea had counterfeited even the spots of dirt1 exactly as they were in the original4 ,and so1 after they had hidden the picture of ,raffaello1 they sent the one by the hand of ,andrea1 in a similar frame1 to ,mantua2 at which the ,duke was completely satisfied1 and above all because the painter ,giulio ,romano1 a disciple of ,raffaello1 had praised it1 failing to detect the trick4 ,this ,giulio would always have been of the same opinion1 and would have believed it to be by the hand of ,raffaello1 but for the arrival in ,mantua of ,giorgio ,vasari1 who1 having been as it were the adoptive child of ,messer ,ottaviano1 and having seen ,andrea at work on that picture1 revealed the truth4 ,for ,giulio making much of ,vasari1 and showing him1 after many antiquities and paintings1 that picture of ,raffaello's1 as the best work that was there1 ,giorgio said to him1 ,a beautiful work it is1 but in no way by the hand of ,raffaello4 ,what8 answered ,giulio4 ,should ,i not know it1 when ,i recognize the very strokes that ,i made with my own brush8 ,you have forgotten them1 said ,giorgio1 for this picture is by the hand of ,andrea del ,sarto2 and to prove it1 there is a sign 7to which he pointed7 that was made in ,florence1 because when the two were together they could not be distinguished4 ,hearing this1 ,giulio had the picture turned round1 and saw the mark2 at which he shrugged his shoulders and said these words1 ,i value it no less than if it were by the hand of ,raffaello--nay1 even more1 for it is something out of the course of nature that a man of excellence should imitate the manner of another so well1 and should make a copy so like4 ,it is enough that it should be known that ,andrea's genius was as valiant in double harness as in single4 ,thus1 then1 by the wise judgment of ,messer ,ottaviano1 satisfaction was given to the ,duke without depriving ,florence of so choice a work1 which1 having been presented to him afterwards by ,duke ,alessandro1 he kept in his possession for many years2 and finally he gave it to ,duke ,cosimo1 who has it in his guardaroba together with many other famous pictures4 ,while ,andrea was making this copy1 he also painted for the same ,messer ,ottaviano a picture with only the head of ,cardinal ,giulio de' ,medici1 who afterwards became ,pope ,clement2 and this head1 which was similar to that by ,raffaello1 and very beautiful1 was presented eventually by ,messer ,ottaviano to old ,bishop de' ,marzi4 ,not long after1 ,messer ,baldo ,magini of ,prato desiring to have a most beautiful panel-picture painted for the ,madonna delle ,carcere in his native city1 for which he had already caused a very handsome ornament of marble to be made1 one of the many painters proposed to him was ,andrea4 ,wherefore ,messer ,baldo1 having more inclination for him than for any of the others1 although he had no great understanding in such a matter1 had almost given him to believe that he and no other should do the work1 when a certain ,niccol ,soggi of ,sansovino1 who had some interest at ,prato1 was suggested to ,messer ,baldo for the undertaking1 and assisted to such purpose by the assertion that there was not a better master to be found1 that the work was given to him4 ,meanwhile1 ,andrea's supporters sending for him1 he1 holding it as settled that the work was to be his1 went off to ,prato with ,domenico ,puligo and other painters who were his friends4 ,arriving there1 he found that ,niccol not only had persuaded ,messer ,baldo to change his mind1 but also was bold and shameless enough to say to him in the presence of ,messer ,baldo that he would compete with ,andrea for a bet of any sum of money in painting something1 the winner to take the whole4 ,andrea1 who knew what ,niccol was worth1 answered1 although he was generally a man of little spirit1 ,here is my assistant1 who has not been long in our art4 ,if you will bet with him1 ,i will put down the money for him2 but with me you shall have no bet for any money in the world1 seeing that1 if ,i were to beat you1 it would do me no honour1 and if ,i were to lose1 it would be the greatest possible disgrace4 ,and1 saying to ,messer ,baldo that he should give the work to ,niccol1 because he would execute it in such a manner as would please the folk that went to market1 he returned to ,florence4 ,there he was commissioned to paint a panel for ,pisa1 divided into five pictures1 which were afterwards placed round the ,madonna of ,s4 ,agnese1 beside the walls of that city1 between the old ,citadel and the ,duomo4 ,making one figure1 then1 in each picture1 he painted in two of them ,s4 ,john the ,baptist and ,s4 ,peter1 one on either side of the ,madonna that works miracles2 and in the others are ,s4 ,catharine the ,martyr1 ,s4 ,agnese1 and ,s4 ,margaret1 each a figure by itself1 and all so beautiful as to fill with marvel anyone who beholds them1 and considered to be the most gracious and lovely women that he ever painted4 ,m4 ,jacopo1 a ,servite friar1 in releasing and absolving a woman from a vow1 had told her that she must have a figure of ,our ,lady painted over the outer side of that lateral door of the ,nunziata which leads into the cloister2 and therefore1 finding ,andrea1 he said to him that he had this money to spend1 and that although it was not much it seemed to him right1 since the other works executed by ,andrea in that place had brought him such fame1 that he and no other should paint this one as well4 ,andrea1 who was nothing if not an amiable man1 moved by the persuasions of the friar and by his own desire for profit and glory1 answered that he would do it willingly2 and shortly afterwards1 putting his hand to the work1 he painted in fresco a most beautiful ,madonna seated with her ,son in her arms1 and ,s4 ,joseph leaning on a sack1 with his eyes fixed upon an open book4 ,and of such a kind was this work1 in draughtsmanship1 grace1 and beauty of colouring1 as well as in vivacity and relief1 that it proved that he outstripped and surpassed by a great measure all the painters who had worked up to that time4 ,such1 indeed1 is this picture1 that by its own merit and without praise from any other quarter it makes itself clearly known as amazing and most rare4 ,there was wanting only one scene in the cloister of the ,scalzo for it to be completely finished2 wherefore ,andrea1 who had added grandeur to his manner after having seen the figures that ,michelagnolo had begun and partly finished for the ,sacristy of ,s4 ,lorenzo1 set his hand to executing this last scene4 ,in this1 giving the final proof of his improvement1 he painted the ,birth of ,s4 ,john the ,baptist1 with figures that were very beautiful and much better and stronger in relief than the others made by him before in the same place4 ,most beautiful1 among others in this work1 are a woman who is carrying the newborn babe to the bed on which lies ,s4 ,elizabeth1 who is likewise a most lovely figure1 and ,zacharias1 who is writing on a paper that he has placed on his knee1 holding it with one hand and with the other writing the name of his son1 and all with such vivacity1 that he lacks nothing save the breath of life4 ,most beautiful1 also1 is an old woman who is seated on a stool1 smiling with gladness at the delivery of the other aged woman1 and revealing in her attitude and expression all that would be seen in a living person after such an event4 ,having finished that work1 which is certainly well worthy of all praise1 he painted for the ,general of ,vallombrosa a panel-picture with four very lovely figures1 ,s4 ,john the ,baptist1 ,s4 ,giovanni ,gualberto1 founder of that ,order1 ,s4 ,michelagnolo1 and ,s4 ,bernardo1 a ,cardinal and a monk of the ,order1 with some little boys in the centre that could not be more vivacious or more beautiful4 ,this panel is at ,vallombrosa1 on the summit of a rocky height1 where certain monks live in some rooms called the cells1 separated from the others1 and leading as it were the lives of hermits4 ,after this he was commissioned by ,giuliano ,scala to paint a panel-picture1 which was to be sent to ,serrazzana1 of a ,madonna seated with the ,child in her arms1 and two half-length figures from the knees upwards1 ,s4 ,celso and ,s4 ,julia1 with ,s4 ,onofrio1 ,s4 ,catharine1 ,s4 ,benedict1 ,s4 ,anthony of ,padua1 ,s4 ,peter1 and ,s4 ,mark2 which panel was held to be equal to the other works of ,andrea4 ,and in the hands of ,giuliano ,scala1 in place of the balance due to him of a sum of money that he had paid for the owners of that work1 there remained a lunette containing an ,annunciation1 which was to go above the panel1 to complete it2 and it is now in his chapel in the great tribune round the choir of the ,church of the ,servi4 ,the ,monks of ,s4 ,salvi had let many years pass by without thinking of having a beginning made with their ,last ,supper1 which they had commissioned ,andrea to execute at the time when he painted the arch with the four figures2 but finally an ,abbot1 who was a man of judgment and breeding1 determined that he should finish that work4 ,thereupon ,andrea1 who had already pledged himself to it on a previous occasion1 far from making any demur1 put his hand to the task1 and1 working at it one piece at a time when he felt so inclined1 finished it in a few months1 and that in such a manner1 that the work was held to be1 as it certainly is1 the most spontaneous and the most vivacious in colouring and drawing that he ever made1 or that ever could be made4 ,for1 among other things1 he gave infinite grandeur1 majesty1 and grace to all the figures1 insomuch that ,i know not what to say of this ,last ,supper that would not be too little1 it being such that whoever sees it is struck with amazement4 ,wherefore it is no marvel that on account of its excellence it was left standing amid the havoc of the siege of ,florence1 in the year #aebi1 at which time the soldiers and destroyers1 by command of those in authority1 pulled down all the suburbs without the city1 and all the monasteries1 hospitals1 and other buildings4 ,these men1 ,i say1 having destroyed the ,church and ,campanile of ,s4 ,salvi1 and beginning to throw down part of the convent1 had come to the refectory where this ,last ,supper is1 when their leader1 seeing so marvellous a painting1 of which he may have heard speak1 abandoned the undertaking and would not let any more of that place be destroyed1 reserving the task until such time as there should be no alternative4 ,illustration3 ,,portrait ,,of ,,the ,,artist 7,after the painting on a tile by ,andrea del ,sarto4 ,florence3 ,uffizi1 #bhj7 ,alinari ,andrea then painted for the ,company of ,s4 ,jacopo1 called the ,nicchio1 on a banner for carrying in processions1 a ,s4 ,james fondling a little boy dressed as a ,flagellant by stroking him under the chin1 with another boy who has a book in his hand1 executed with beautiful grace and naturalness4 ,he made a portrait from life of a steward of the ,monks of ,vallombrosa1 who lived almost always in the country on the affairs of his monastery2 and this portrait was placed under a sort of bower1 in which he had made pergole and contrivances of his own in various fanciful designs1 so that it was buffeted by wind and rain1 according to the pleasure of that steward1 who was the friend of ,andrea4 ,and because1 when the work was finished1 there were some colours and lime left over1 ,andrea1 taking a tile1 called to his wife ,lucrezia and said to her3 ,come here1 for these colours are left over1 and ,i wish to make your portrait1 so that all may see how well you have preserved your beauty even at your time of life1 and yet may know how your appearance has changed1 which will make this one different from your early portraits4 ,but the woman1 who may have had something else in her mind1 would not stand still2 and ,andrea1 as it were from a feeling that he was near his end1 took a mirror and made a portrait of himself on that tile1 of such perfection1 that it seems alive and as real as nature2 and that portrait is in the possession of the same ,madonna ,lucrezia1 who is still living4 ,he also portrayed a ,canon of ,pisa1 very much his friend2 and the portrait1 which is lifelike and very beautiful1 is still in ,pisa4 ,he then began for the ,signoria the cartoons for the paintings to be executed on the balustrades of the ,ringhiera in the ,piazza1 with many beautiful things of fancy to represent the quarters of the city1 and with the banners of the ,consuls of the chief ,guilds supported by some little boys1 and also ornaments in the form of images of all the virtues1 and likewise the most famous mountains and rivers of the dominion of ,florence4 ,but this work1 thus begun1 remained unfinished on account of ,andrea's death1 as was also the case with a panel--although it was all but finished--which he painted for the ,abbey of the ,monks of ,vallombrosa at ,poppi in the ,casentino4 ,in that panel he painted an ,assumption of ,our ,lady1 who is surrounded by many little boys1 with ,s4 ,giovanni ,gualberto1 ,s4 ,bernardo the ,cardinal 7a monk of their ,order1 as has been related71 ,s4 ,catharine1 and ,s4 ,fedele2 and1 unfinished as it is1 the picture is now in that ,abbey of ,poppi4 ,the same happened to a panel of no great size1 which1 when finished1 was to have gone to ,pisa4 ,but he left completely finished a very beautiful picture which is now in the house of ,filippo ,salviati1 and some others4 ,about the same time ,giovan ,battista della ,palla1 having bought all the sculptures and pictures of note that he could obtain1 and causing copies to be made of those that he could not buy1 had despoiled ,florence of a vast number of choice works1 without the least scruple1 in order to furnish a suite of rooms for the ,king of ,france1 which was to be richer in suchlike ornaments than any other in the world4 ,and this man1 desiring that ,andrea should return to the service and favour of the ,king1 commissioned him to paint two pictures4 ,in one of these ,andrea painted ,abraham in the act of trying to sacrifice his son2 and that with such diligence1 that it was judged that up to that time he had never done anything better4 ,beautifully expressed in the figure of the patriarch was seen that living and steadfast faith which made him ready without a moment of dismay or hesitation to slay his own son4 ,the same ,abraham1 likewise1 could be seen turning his head towards a very beautiful little angel1 who appeared to be bidding him stay his hand4 ,i will not describe the attitude1 the dress1 the foot-wear1 and other details in the painting of that old man1 because it is not possible to say enough of them2 but this ,i must say1 that the boy ,isaac1 tender and most beautiful1 was to be seen all naked1 trembling with the fear of death1 and almost dead without having been struck4 ,the same boy had only the neck browned by the heat of the sun1 and white as snow those parts that his draperies had covered during the three days' journey4 ,in like manner1 the ram among the thorns seemed to be alive1 and ,isaac's draperies on the ground rather real and natural than painted4 ,and in addition there were some naked servants guarding an ass that was browsing1 and a landscape so well represented that the real scene of the event could not have been more beautiful or in any way different4 ,this picture1 having been bought by ,filippo ,strozzi after the death of ,andrea and the capture of ,battista1 was presented by him to ,signor ,alfonso ,davalos1 ,marchese del ,vasto1 who had it carried to the island of ,ischia1 near ,naples1 and placed in one of his apartments in company with other most noble paintings4 ,in the other picture ,andrea painted a very beautiful ,charity1 with three little boys2 and this was afterwards bought from the wife of ,andrea1 after his death1 by the painter ,domenico ,conti1 who sold it later to ,niccol ,antinori1 who treasures it as a rare work1 as indeed it is4 ,during this time there came to the ,magnificent ,ottaviano de' ,medici1 seeing from that last picture how much ,andrea had improved his manner1 a desire to have a picture by his hand4 ,whereupon ,andrea1 who was eager to serve that lord1 to whom he was much indebted1 because he had always shown favour to men of lofty intellect1 and particularly to painters1 executed for him a picture of ,our ,lady seated on the ground with the ,child riding astride on her knees1 while ,he turns ,his head towards a little ,s4 ,john supported by an old ,s4 ,elizabeth1 a figure so natural and so well painted that she appears to be alive1 even as every other thing is wrought with incredible diligence1 draughtsmanship1 and art4 ,having finished this picture1 ,andrea carried it to ,messer ,ottaviano2 but since that lord had something else to think about1 ,florence being then besieged1 he told ,andrea1 while thanking him profoundly and making his excuses1 to dispose of it as he thought best4 ,to which ,andrea made no reply but this3 ,the labour was endured for you1 and yours the work shall always be4 ,sell it1 answered ,messer ,ottaviano1 and use the money1 for ,i know what ,i am talking about4 ,andrea then departed and returned to his house1 nor would he ever give the picture to anyone1 for all the offers that were made to him2 but when the siege was raised and the ,medici back in ,florence1 he took it once more to ,messer ,ottaviano1 who accepted it right willingly1 thanking him and paying him double4 ,the work is now in the apartment of his wife1 ,madonna ,francesca1 sister to the very reverend ,salviati1 who holds the beautiful pictures left to her by her magnificent consort in no less account than she does the duty of retaining and honouring his friends4 ,for ,giovanni ,borgherini ,andrea painted another picture almost exactly like the one of ,charity mentioned above1 containing a ,madonna1 a little ,s4 ,john offering to ,christ a globe that represents the world1 and a very beautiful head of ,s4 ,joseph4 ,there came to ,paolo da ,terrarossa1 a friend to the whole body of painters1 who had seen the sketch for the aforesaid ,abraham1 a wish to have some work by the hand of ,andrea4 ,having therefore asked him for a copy of that ,abraham1 ,andrea willingly obliged him and made a copy of such a kind1 that in its minuteness it was by no means inferior to the large original4 ,wherefore ,paolo1 well satisfied with it and wishing to pay him1 asked him the price1 thinking that it would cost him what it was certainly worth2 but ,andrea asked a mere song1 and ,paolo1 almost ashamed1 shrugged his shoulders and gave him all that he claimed4 ,the picture was afterwards sent by him to ,naples 444#g and it is the most beautiful and the most highly honoured painting in that place4 ,during the siege of ,florence some captains had fled the city with the pay-chests2 on which account ,andrea was asked to paint on the faade of the ,palace of the ,podest and in the ,piazza not only those captains1 but also some citizens who had fled and had been proclaimed outlaws4 ,he said that he would do it2 but in order not to acquire1 like ,andrea dal ,castagno1 the name of ,andrea degl' ,impiccati1 he gave it out that he was entrusting the work to one of his assistants1 called ,bernardo del ,buda4 ,however1 having made a great enclosure1 which he himself entered and left by night1 he executed those figures in such a manner that they appeared to be the men themselves1 real and alive4 ,the soldiers1 who were painted on the faade of the old ,mercatanzia in the ,piazza1 near the ,condotta1 were covered with whitewash many years ago1 that they might be seen no longer2 and the citizens1 whom he painted entirely with his own hand on the ,palace of the ,podest1 were destroyed in like manner4 ,after this1 being very intimate in these last years of his life with certain men who governed the ,company of ,s4 ,sebastiano1 which is behind the ,servite ,convent1 ,andrea made for them with his own hand a ,s4 ,sebastian from the navel upwards1 so beautiful that it might well have seemed that these were the last strokes of the brush which he was to make4 ,the siege being finished1 ,andrea was waiting for matters to mend1 although with little hope that his ,french project would succeed1 since ,giovan ,battista della ,palla had been taken prisoner1 when ,florence became filled with soldiers and stores from the camp4 ,among those soldiers were some lansquenets sick of the plague1 who brought no little terror into the city and shortly afterwards left it infected4 ,thereupon1 either through this apprehension or through some imprudence in eating after having suffered much privation in the siege1 one day ,andrea fell grievously ill and took to his bed with death on his brow2 and finding no remedy for his illness1 and being without much attention--for his wife1 from fear of the plague1 kept as far away from him as she could--he died1 so it is said1 almost without a soul being aware of it2 and he was buried by the men of the ,scalzo with scant ceremony in the ,church of the ,servi1 near his own house1 in the place where the members of that ,company are always buried4 ,the death of ,andrea was a very great loss to the city and to art1 because up to the age of forty-two1 which he attained1 he went on always improving from one work to another in such wise that1 if he had lived longer1 he would have continued to confer benefits on art2 for the reason that it is better to go on making progress little by little1 advancing with a firm and steady foot through the difficulties of art1 than to seek to force one's intellect and nature in a single effort4 ,nor is there any doubt that if ,andrea had stayed in ,rome when he went there to see the works of ,raffaello and ,michelagnolo1 and also the statues and ruins of that city1 he would have enriched his manner greatly in the composition of scenes1 and would one day have given more delicacy and greater force to his figures2 which has never been thoroughly achieved save by one who has been some time in ,rome1 to study those works in detail and grow familiar with them4 ,having then from nature a sweet and gracious manner of drawing and great facility and vivacity of colouring1 both in fresco-work and in oils1 it is believed without a doubt that if he had stayed in ,rome1 he would have surpassed all the craftsmen of his time4 ,but some believe that he was deterred from this by the abundance of works of sculpture and painting1 both ancient and modern1 that he saw in that city1 and by observing the many young men1 disciples of ,raffaello and of others1 resolute in draughtsmanship and working confidently and without effort1 whom1 like the timid fellow that he was1 he did not feel it in him to excel4 ,and so1 not trusting himself1 he resolved1 as the best course for him1 to return to ,florence2 where1 reflecting little by little on what he had seen1 he made such proficience that his works have been admired and held in price1 and1 what is more1 imitated more often after his death than during his lifetime4 ,whoever has some holds them dear1 and whoever has consented to sell them has received three times as much as was paid to him1 for the reason that he never received anything but small prices for his works1 both because he was timid by nature1 as has been related1 and also because certain master-joiners1 who were executing the best works at that time in the houses of citizens1 would never allow any commission to be given to ,andrea 7so as to oblige their friends71 save when they knew that he was in great straits1 for at such times he would accept any price4 ,but this does not prevent his works from being most rare1 or from being held in very great account1 and that rightly1 since he was one of the best and greatest masters who have lived even to our own day4 ,in our book are many drawings by his hand1 all good2 but in particular there is one that is altogether beautiful1 of the scene that he painted at ,poggio1 showing the tribute of all the animals from the ,east being presented to ,csar4 ,this drawing1 which is executed in chiaroscuro1 is a rare thing1 and the most finished that ,andrea ever made2 for when he drew natural objects for reproduction in his works1 he made mere sketches dashed off on the spot1 contenting himself with marking the character of the reality2 and afterwards1 when reproducing them in his works1 he brought them to perfection4 ,his drawings1 therefore1 served him rather as memoranda of what he had seen than as models from which to make exact copies in his pictures4 ,the disciples of ,andrea were innumerable1 but they did not all pursue the same course of study under his discipline1 for some stayed with him a long time1 and some but little2 which was the fault1 not of ,andrea1 but of his wife1 who1 tyrannizing arrogantly over them all1 and showing no respect to a single one of them1 made all their lives a burden4 ,among his disciples1 then1 were ,jacopo da ,pontormo2 ,andrea ,sguazzella1 who adhered to the manner of ,andrea and decorated a palace1 a work which is much extolled1 without the city of ,paris in ,france2 ,solosmeo2 ,pier ,francesco di ,jacopo di ,sandro1 who has painted three panels that are in ,s4 ,spirito2 ,francesco ,salviati2 ,giorgio ,vasari of ,arezzo1 who was the companion of the aforesaid ,salviati1 although he did not stay long with ,andrea2 ,jacopo del ,conte of ,florence2 and ,nannoccio1 who is now in ,france with ,cardinal de ,tournon1 in the highest credit4 ,in like manner1 ,jacopo1 called ,jacone1 was a disciple of ,andrea and much his friend1 and an imitator of his manner4 ,this ,jacone1 while ,andrea was alive1 received no little help from him1 as is evident in all his works1 and particularly in the faade executed for the ,chevalier ,buondelmonti on the ,piazza di ,s4 ,trinita4 ,the heir to ,andrea's drawings and other art-possessions1 after his death1 was ,domenico ,conti1 who made little proficience in painting2 but one night he was robbed--by some men of the same profession1 so it is thought--of all the drawings1 cartoons1 and other things that he had from ,andrea1 nor was it ever discovered who these men were4 ,now ,domenico1 as one not ungrateful for the benefits received from his master1 and desiring to render to him after his death the honours that he deserved1 prevailed upon ,raffaello da ,montelupo to make for him out of courtesy a very handsome tablet of marble1 which was built into a pilaster in the ,church of the ,servi1 with the following epitaph1 written for him by the most learned ,messer ,piero ,vettori1 then a young man3 ,,andre ,,sartio ,,admirabilis ,,ingenii ,,pictori1 ,,ac ,,veteribus ,,illis ,,omnium ,,judicio ,,comparando1 ,,dominicus ,,contes ,,discipulus1 ,,pro ,,laboribus ,,in ,,se ,,instituendo ,,susceptis1 ,,grato ,,animo ,,posuit4 ,,vixit ,,ann4 ,,xlii1 ,,ob4 ,,ann4 ,,mdxxx4 ,after no long time1 certain citizens1 ,wardens of ,works of that church1 rather ignorant than hostile to honoured memories1 so went to work out of anger that the tablet should have been set up in that place without their leave1 that they had it removed2 nor has it yet been re-erected in any other place4 ,thus1 perchance1 ,fortune sought to show that the power of the ,fates prevails not only during our lives1 but also over our memorials after death4 ,in spite of them1 however1 the works and the name of ,andrea are likely to live a long time1 as are these my writings1 ,i hope1 to preserve their memory for many ages4 ,we must conclude1 then1 that if ,andrea showed poor spirit in the actions of his life1 contenting himself with little1 this does not mean that in art he was otherwise than exalted in genius1 most resolute1 and masterly in every sort of labour2 and with his works1 in addition to the adornment that they confer on the places where they are1 he rendered a most valuable service to his fellow-craftsmen with regard to manner1 drawing1 and colouring1 and that with fewer errors than any other painter of ,florence1 for the reason that1 as has been said above1 he understood very well the management of light and shade and how to make things recede in the darks1 and painted his pictures with a sweetness full of vivacity2 not to mention that he showed us the method of working in fresco with perfect unity and without doing much retouching on the dry1 which makes his every work appear to have been painted in a single day4 ,wherefore he should serve in every place as an example to ,tuscan craftsmen1 and receive supreme praise and a palm of honour among the number of their most celebrated champions4 ,,footnote3 #f ,jacques de ,beaune4 #g ,there is here a gap in the text4 ,,madonna ,,properzia ,,de' ,,rossi ,,life ,,of ,,madonna ,,properzia ,,de' ,,rossi ,,sculptor#h ,,of ,,bologna ,it is an extraordinary thing that in all those arts and all those exercises wherein at any time women have thought fit to play a part in real earnest1 they have always become most excellent and famous in no common way1 as one might easily demonstrate by an endless number of examples4 ,everyone1 indeed1 knows what they are all1 without exception1 worth in household matters2 besides which1 in connection with war1 likewise1 it is known who were ,camilla1 ,harpalice1 ,valasca1 ,tomyris1 ,penthesilea1 ,molpadia1 ,orizia1 ,antiope1 ,hippolyta1 ,semiramis1 ,zenobia1 and1 finally1 ,mark ,antony's ,fulvia1 who so often took up arms1 as the historian ,dion tells us1 to defend her husband and herself4 ,but in poetry1 also1 they have been truly marvellous1 as ,pausanias relates4 ,corinna was very celebrated as a writer of verse1 and ,eustathius makes mention in his ,catalogue of the ,ships of ,homer--as does ,eusebius in his book of ,chronicles--of ,sappho1 a young woman of great renown1 who1 in truth1 although she was a woman1 was yet such that she surpassed by a great measure all the eminent writers of that age4 ,and ,varro1 on his part1 gives extraordinary but well-deserved praise to ,erinna1 who1 with her three hundred verses1 challenged the fame of the brightest light of ,greece1 and counterbalanced with her one small volume1 called the ,elecate1 the ponderous ,iliad of the great ,homer4 ,aristophanes celebrates ,carissena1 a votary of the same profession1 as a woman of great excellence and learning2 and the same may be said for ,teano1 ,merone1 ,polla1 ,elpe1 ,cornificia1 and ,telesilla1 to the last of whom1 in honour of her marvellous talents1 a most beautiful statue was set up in the ,temple of ,venus4 ,passing by the numberless other writers of verse1 do we not read that ,arete was the teacher of the learned ,aristippus in the difficulties of philosophy1 and that ,lastheneia and ,assiotea were disciples of the divine ,plato8 ,in the art of oratory1 ,sempronia and ,hortensia1 women of ,rome1 were very famous4 ,in grammar1 so ,athenus relates1 ,agallis was without an equal4 ,and as for the prediction of the future1 whether we class this with astrology or with magic1 it is enough to say that ,themis1 ,cassandra1 and ,manto had an extraordinary renown in their times2 as did ,isis and ,ceres in matters of agriculture1 and the ,thespiades in the whole field of the sciences4 ,but in no other age1 for certain1 has it been possible to see this better than in our own1 wherein women have won the highest fame not only in the study of letters--as has been done by ,signora ,vittoria del ,vasto1 ,signora ,veronica ,gambara1 ,signora ,caterina ,anguisciuola1 ,schioppa1 ,nugarola1 ,madonna ,laura ,battiferri1 and a hundred others1 all most learned as well in the vulgar tongue as in the ,latin and the ,greek--but also in every other faculty4 ,nor have they been too proud to set themselves with their little hands1 so tender and so white1 as if to wrest from us the palm of supremacy1 to manual labours1 braving the roughness of marble and the unkindly chisels1 in order to attain to their desire and thereby win fame2 as did1 in our own day1 ,properzia de' ,rossi of ,bologna1 a young woman excellent not only in household matters1 like the rest of them1 but also in sciences without number1 so that all the men1 to say nothing of the women1 were envious of her4 ,this ,properzia was very beautiful in person1 and played and sang in her day better than any other woman of her city4 ,and because she had an intellect both capricious and very ready1 she set herself to carve peach-stones1 which she executed so well and with such patience1 that they were singular and marvellous to behold1 not only for the subtlety of the work1 but also for the grace of the little figures that she made in them and the delicacy with which they were distributed4 ,and it was certainly a miracle to see on so small a thing as a peach-stone the whole ,passion of ,christ1 wrought in most beautiful carving1 with a vast number of figures in addition to the ,apostles and the ministers of the ,crucifixion4 ,this encouraged her1 since there were decorations to be made for the three doors of the first faade of ,s4 ,petronio all in figures of marble1 to ask the ,wardens of ,works1 by means of her husband1 for a part of that work2 at which they were quite content1 on the condition that she should let them see some work in marble executed by her own hand4 ,whereupon she straightway made for ,count ,alessandro de' ,peppoli a portrait from life in the finest marble1 representing his father1 ,count ,guido1 which gave infinite pleasure not only to them1 but also to the whole city2 and the ,wardens of ,works1 therefore1 did not fail to allot a part of the work to her4 ,in this1 to the vast delight of all ,bologna1 she made an exquisite scene1 wherein--because at that time the poor woman was madly enamoured of a handsome young man1 who seemed to care but little for her--she represented the wife of ,pharaoh's ,chamberlain1 who1 burning with love for ,joseph1 and almost in despair after so much persuasion1 finally strips his garment from him with a womanly grace that defies description4 ,this work was esteemed by all to be most beautiful1 and it was a great satisfaction to herself1 thinking that with this illustration from the ,old ,testament she had partly quenched the raging fire of her own passion4 ,nor would she ever do any more work in connection with that building1 although there was no person who did not beseech her that she should go on with it1 save only ,maestro ,amico1 who out of envy always dissuaded her and went so far with his malignity1 ever speaking ill of her to the ,wardens1 that she was paid a most beggarly price for her work4 ,she also made two angels in very strong relief and beautiful proportions1 which may now be seen1 although against her wish1 in the same building4 ,in the end she devoted herself to copper-plate engraving1 which she did without reproach1 gaining the highest praise4 ,and so the poor love-stricken young woman came to succeed most perfectly in everything1 save in her unhappy passion4 ,the fame of an intellect so noble and so exalted spread throughout all ,italy1 and finally came to the ears of ,pope ,clement ,,vii1 who1 immediately after he had crowned the ,emperor in ,bologna1 made inquiries after her2 but he found that the poor woman had died that very week1 and had been buried in the ,della ,morte ,hospital1 as she had directed in her last testament4 ,at which the ,pope1 who was eager to see her1 felt much sorrow at her death2 but more bitter even was it for her fellow-citizens1 who regarded her during her lifetime as one of the greatest miracles produced by nature in our days4 ,in our book are some very good drawings by the hand of this ,properzia1 done with the pen and copied from the works of ,raffaello da ,urbino2 and her portrait was given to me by certain painters who were very much her friends4 ,illustration3 ,,two ,,angels1 after ,madonna ,properzia de' ,rossi 7,,the ,,assumption ,,of ,,the ,,virgin1 after ,tribolo7 7,bologna3 ,s4 ,petronio7 ,alinari ,but1 although ,properzia drew very well1 there have not been wanting women not only to equal her in drawing1 but also to do as good work in painting as she did in sculpture4 ,of these the first is ,sister ,plautilla1 a nun and now ,prioress in the ,convent of ,s4 ,caterina da ,siena1 on the ,piazza di ,s4 ,marco in ,florence4 ,she1 beginning little by little to draw and to imitate in colours pictures and paintings by excellent masters1 has executed some works with such diligence1 that she has caused the craftsmen to marvel4 ,by her hand are two panels in the ,church of that ,convent of ,s4 ,caterina1 of which the one with the ,magi adoring ,jesus is much extolled4 ,in the choir of the ,convent of ,s4 ,lucia1 at ,pistoia1 there is a large panel1 containing ,our ,lady with the ,child in her arms1 ,s4 ,thomas1 ,s4 ,augustine1 ,s4 ,mary ,magdalene1 ,s4 ,catherine of ,siena1 ,s4 ,agnese1 ,s4 ,catherine the ,martyr1 and ,s4 ,lucia2 and another large panel by the same hand was sent abroad by the ,director of the ,hospital of ,lelmo4 ,in the refectory of the aforesaid ,convent of ,s4 ,caterina there is a great ,last ,supper1 with a panel in the work-room1 both by the hand of the same nun4 ,and in the houses of gentlemen throughout ,florence there are so many pictures1 that it would be tedious to attempt to speak of them all4 ,a large picture of the ,annunciation belongs to the wife of the ,spaniard1 ,signor ,mondragone1 and ,madonna ,marietta de' ,fedini has another like it4 ,there is a little picture of ,our ,lady in ,s4 ,giovannino1 at ,florence2 and an altar-predella in ,s4 ,maria del ,fiore1 containing very beautiful scenes from the life of ,s4 ,zanobi4 ,and because this venerable and talented sister1 before executing panels and works of importance1 gave attention to painting in miniature1 there are in the possession of various people many wonderfully beautiful little pictures by her hand1 of which there is no need to make mention4 ,the best works from her hand are those that she has copied from others1 wherein she shows that she would have done marvellous things if she had enjoyed1 as men do1 advantages for studying1 devoting herself to drawing1 and copying living and natural objects4 ,and that this is true is seen clearly from a picture of the ,nativity of ,christ1 copied from one which ,bronzino once painted for ,filippo ,salviati4 ,in like manner1 the truth of such an opinion is proved by this1 that in her works the faces and features of women1 whom she has been able to see as much as she pleased1 are no little better than the heads of the men1 and much nearer to the reality4 ,in the faces of women in some of her works she has portrayed ,madonna ,costanza de' ,doni1 who has been in our time an unexampled pattern of beauty and dignity2 painting her so well1 that it is impossible to expect more from a woman who1 for the reasons mentioned above1 has had no great practice in her art4 ,with much credit to herself1 likewise1 has ,madonna ,lucrezia1 the daughter of ,messer ,alfonso ,quistelli della ,mirandola1 and now the wife of ,count ,clemente ,pietra1 occupied herself with drawing and painting1 as she still does1 after having been taught by ,alessandro ,allori1 the pupil of ,bronzino2 as may be seen from many pictures and portraits executed by her hand1 which are worthy to be praised by all4 ,but ,sofonisba of ,cremona1 the daughter of ,messer ,amilcaro ,anguisciuola1 has laboured at the difficulties of design with greater study and better grace than any other woman of our time1 and she has not only succeeded in drawing1 colouring1 and copying from nature1 and in making excellent copies of works by other hands1 but has also executed by herself alone some very choice and beautiful works of painting4 ,wherefore she well deserved that ,king ,philip of ,spain1 having heard of her merits and abilities from the ,lord ,duke of ,alba1 should have sent for her and caused her to be escorted in great honour to ,spain1 where he keeps her with a rich allowance about the person of the ,queen1 to the admiration of all that ,court1 which reveres the excellence of ,sofonisba as a miracle4 ,and it is no long time since ,messer ,tommaso ,cavalieri1 a ,roman gentleman1 sent to the ,lord ,duke ,cosimo 7in addition to a drawing by the hand of the divine ,michelagnolo1 wherein is a ,cleopatra7 another drawing by the hand of ,sofonisba1 containing a little girl laughing at a boy who is weeping because one of the cray-fish out of a basket full of them1 which she has placed in front of him1 is biting his finger2 and there is nothing more graceful to be seen than that drawing1 or more true to nature4 ,wherefore1 in memory of the talent of ,sofonisba1 who lives in ,spain1 so that ,italy has no abundance of her works1 ,i have placed it in my book of drawings4 ,we may truly say1 then1 with the divine ,ariosto1 that-- ,le donne son venute in eccellenza ,di ciascun' arte ov' hanno posto cura4 ,and let this be the end of the ,life of ,properzia1 sculptor of ,bologna4 ,,footnote3 #h ,the translator is unwilling to use the somewhat ugly word sculptress4 ,,alfonso ,,lombardi ,,of ,,ferrara1 ,,michelagnolo ,,da ,,siena1 ,,girolamo ,,santa ,,croce ,,of ,,naples1 ,,dosso ,,and ,,battista ,,dossi ,,lives ,,of ,,alfonso ,,lombardi ,,of ,,ferrara1 ,,michelagnolo ,,da ,,siena1 ,,and ,,girolamo ,,santa ,,croce ,,of ,,naples ,,sculptors ,,and ,,dosso ,,and ,,battista ,,dossi ,,painters ,,of ,,ferrara ,alfonso of ,ferrara1 working in his early youth with stucco and wax1 made an endless number of portraits from life on little medallions for many nobles and gentlemen of his own country4 ,some of these are still to be seen1 white in colour and made of wax or stucco1 and bear witness to the fine intellect and judgment that he possessed2 such as those of ,prince ,doria1 of ,duke ,alfonso of ,ferrara1 of ,clement ,,vii1 of the ,emperor ,charles ,v1 of ,cardinal ,ippolito de' ,medici1 of ,bembo1 of ,ariosto1 and of other suchlike personages4 ,finding himself in ,bologna at the coronation of ,charles ,v1 he executed the decorations of the door of ,s4 ,petronio as a part of the preparations for that festival2 and he had come into such repute through being the first to introduce the good method of making portraits from life in the form of medals1 as has been related1 that there was not a single man of distinction in those ,courts for whom he did not execute some work1 to his own great profit and honour4 ,but1 not being content with the gain and the glory that came to him from making works in clay1 in wax1 and in stucco1 he set himself to work in marble2 and such was the proficience that he showed in some things that he made1 although these were of little importance1 that he was commissioned to execute the tomb of ,ramazzotto1 which brought him very great fame and honour1 in ,s4 ,michele in ,bosco1 without ,bologna4 ,after that work he made some little scenes of marble in half-relief on the predella of the altar at the tomb of ,s4 ,dominic1 in the same city4 ,and for the door of ,s4 ,petronio1 also1 on the left hand of the entrance into the church1 he executed some little scenes in marble1 containing a very beautiful ,resurrection of ,christ4 ,but what pleased the people of ,bologna most of all was the ,death of ,our ,lady1 wrought with a very hard mixture of clay and stucco1 with figures in full-relief1 in an upper room of the ,della ,vita ,hospital2 and marvellous1 among other things in that work1 is the ,jew who leaves his hands fixed to the bier of the ,madonna4 ,with the same mixture1 also1 he made a large ,hercules with the dead ,hydra under his feet1 for the upper room of the ,governor in the ,palazzo ,pubblico of that city2 which statue was executed in competition with ,zaccaria da ,volterra1 who was greatly surpassed by the ability and excellence of ,alfonso4 ,for the ,madonna del ,baracane the same master made two ,angels in stucco1 who are upholding a canopy in half-relief2 and in some medallions in the middle aisle of ,s4 ,giuseppe1 between one arch and another1 he made the twelve ,apostles from the waist upwards1 of terra-cotta and in full-relief4 ,in terra-cotta1 likewise1 for the corners of the vaulting of the ,madonna del ,popolo in the same city1 he executed four figures larger than life2 namely1 ,s4 ,petronio1 ,s4 ,procolo1 ,s4 ,francis1 and ,s4 ,dominic1 figures which are all very beautiful and grand in manner4 ,and by the hand of the same man are some works in stucco at ,castel ,bolognese1 and some others in the ,company of ,s4 ,giovanni at ,cesena4 ,let no one marvel that hitherto our account of this master has dealt with scarcely any work save in clay1 wax1 and stucco1 and very little in marble1 because--besides the fact that ,alfonso was always inclined to that sort of work--after passing a certain age1 being very handsome in person and youthful in appearance1 he practised art more for pleasure and to satisfy his own vanity than with any desire to set himself to chisel stone4 ,he used always to wear on his arms1 on his neck1 and in his clothing1 ornaments of gold and suchlike fripperies1 which showed him to be rather a courtier1 vain and wanton1 than a craftsman desirous of glory4 ,of a truth1 just as such ornaments enhance the splendour of those to whom1 on account of their wealth1 high estate1 and noble blood1 they are becoming1 so are they worthy of reproach in craftsmen and others1 who should not measure themselves1 some for one reason and some for another1 with the rich1 seeing that such persons1 in place of being praised1 are held in less esteem by men of judgment1 and often laughed to scorn4 ,now ,alfonso1 charmed with himself and indulging in expressions and wanton excesses little worthy of a good craftsman1 on one occasion robbed himself through this behaviour of all the glory that he had won by labouring at his profession4 ,for one evening1 chancing to be at a wedding in the house of a ,count in ,bologna1 and having made love for some time to a lady of quality1 he had the luck to be invited by her to dance the torch-dance2 whereupon1 whirling round with her1 and overcome by the frenzy of his passion1 he said with a trembling voice1 sighing deeply1 and gazing at his lady with eyes full of tenderness3 ,s'amor non 1 che dunque quel ch' io sento8#i ,hearing this1 the lady1 who had a shrewd wit1 answered1 in order to show him his error3 ,a louse1 perhaps4 ,which answer was heard by many1 so that the saying ran through all ,bologna1 and he was held to scorn ever afterwards4 ,truly1 if ,alfonso had given his attention not to the vanities of the world1 but to the labours of art1 without a doubt he would have produced marvellous works2 for if he achieved this in part without exerting himself much1 what would he have done if he had faced the dust and heat8 ,the aforesaid ,emperor ,charles ,v being in ,bologna1 and the most excellent ,tiziano da ,cadore having come to make a portrait of his ,majesty1 ,alfonso likewise was seized with a desire to execute a portrait of that ,sovereign4 ,and having no other means of contriving to do that1 he besought ,tiziano1 without revealing to him what he had in mind1 that he should do him the favour of introducing him1 in the place of one of those who used to carry his colours1 into the presence of his ,majesty4 ,wherefore ,tiziano1 who loved him much1 like the truly courteous man that he has always been1 took ,alfonso with him into the apartments of the ,emperor4 ,alfonso1 as soon as ,tiziano had settled down to work1 took up a position behind him1 in such a way that he could not be seen by the other1 who was wholly intent on his portrait2 and1 taking up a little box in the shape of a medallion1 he made therein a portrait of the ,emperor in stucco1 and had it finished at the very moment when ,tiziano had likewise brought his picture to completion4 ,the ,emperor then rising1 ,alfonso closed the box and had already hidden it in his sleeve1 to the end that ,tiziano might not see it1 when his ,majesty said to him3 ,show me what you have done4 ,he was thus forced to give his portrait humbly into the hand of the ,emperor1 who1 having examined it and praised it highly1 said to him3 ,would you have the courage to do it in marble8 ,yes1 your sacred ,majesty1 answered ,alfonso4 ,do it1 then1 added the ,emperor1 and bring it to me in ,genoa4 ,how unusual this proceeding must have seemed to ,tiziano every man may imagine for himself4 ,for my part1 ,i believe that it must have appeared to him that he had compromised his credit4 ,but what must have seemed to him most strange was this1 that when his ,majesty sent a present of a thousand crowns to ,tiziano1 he bade him give the half1 or five hundred crowns1 to ,alfonso1 keeping the other five hundred for himself1 at which it is likely enough that ,tiziano felt aggrieved4 ,alfonso1 then1 setting to work with the greatest zeal in his power1 brought the marble head to completion with such diligence1 that it was pronounced to be a very fine thing3 which was the reason that1 when he had taken it to the ,emperor1 his ,majesty ordered that three hundred crowns more should be given to him4 ,illustration3 ,,the ,,death ,,of ,,the ,,virgin 7,after the terra-cotta by ,alfonso ,lombardi4 ,bologna3 ,s4 ,maria della ,vita7 ,poppi ,alfonso having come into great repute through the gifts and praises bestowed on him by the ,emperor1 ,cardinal ,ippolito de' ,medici took him to ,rome1 where he kept many sculptors and painters about his person1 in addition to a vast number of other men of ability2 and he commissioned him to make a copy in marble of a very famous antique head of the ,emperor ,vitellius4 ,in that work ,alfonso justified the opinion held of him by the ,cardinal and by all ,rome1 and he was charged by the same patron to make a portrait-bust in marble of ,pope ,clement ,,vii1 after the life1 and shortly afterwards one of ,giuliano de' ,medici1 father of the ,cardinal2 but the latter was left not quite finished4 ,these heads were afterwards sold in ,rome1 and bought by me at the request of the ,magnificent ,ottaviano de' ,medici1 together with some pictures2 and in our own day they have been placed by the ,lord ,duke ,cosimo de' ,medici in that hall of the new apartments of his palace wherein ,i have painted1 on the ceiling and the walls1 all the stories of ,pope ,leo ,x2 they have been placed1 ,i say1 in that hall1 over the doors made of that red veined marble which is found near ,florence1 in company with the heads of other illustrious men of the house of ,medici4 ,but returning to ,alfonso2 he then went on to execute many works in sculpture for the same ,cardinal1 but these1 being small things1 have disappeared4 ,after the death of ,clement1 when a tomb had to be made for him and also for ,leo1 the work was allotted by ,cardinal de' ,medici to ,alfonso2 whereupon he made a model with figures of wax1 which was held to be very beautiful1 after some sketches by ,michelagnolo ,buonarroti1 and went off to ,carrara with money to have the marble quarried4 ,but not long afterwards the ,cardinal1 having departed from ,rome on his way to ,africa1 died at ,itri1 and the work slipped out of the hands of ,alfonso1 because he was dismissed by its executors1 ,cardinals ,salviati1 ,ridolfi1 ,pucci1 ,cibo1 and ,gaddi1 and it was entrusted by the favour of ,madonna ,lucrezia ,salviati1 daughter of the great ,lorenzo de' ,medici1 the elder1 and sister of ,leo1 to ,baccio ,bandinelli1 a sculptor of ,florence1 who had made models for it during the lifetime of ,clement4 ,for this reason ,alfonso1 thus knocked off his high horse and almost beside himself1 determined to return to ,bologna2 and1 having arrived in ,florence1 he presented to ,duke ,alessandro a most beautiful head in marble of the ,emperor ,charles ,v1 which is now in ,carrara1 whither it was sent by ,cardinal ,cibo1 who removed it after the death of ,duke ,alessandro from the guardaroba of that ,prince4 ,the ,duke1 when ,alfonso arrived in ,florence1 was in the humour to have his portrait taken2 for it had already been done on medals by ,domenico di ,polo1 a gem-engraver1 and by ,francesco di ,girolamo dal ,prato1 for the coinage by ,benvenuto ,cellini1 and in painting by ,giorgio ,vasari of ,arezzo and ,jacopo da ,pontormo1 and he wished that ,alfonso should likewise portray him4 ,wherefore he made a very beautiful portrait of him in relief1 much better than the one executed by ,danese da ,carrara1 and then1 since he was wholly set on going to ,bologna1 he was given the means to make one there in marble1 after the model4 ,and so1 having received many gifts and favours from ,duke ,alessandro1 ,alfonso returned to ,bologna1 where1 being still far from content on account of the death of the ,cardinal1 and sorely vexed by the loss of the tombs1 there came upon him a pestilent and incurable disease of the skin1 which wasted him away little by little1 until1 having reached the age of forty-nine1 he passed to a better life1 never ceasing to rail at ,fortune1 which had robbed him of a patron to whom he might have looked for all the blessings which could make him happy in this life1 and saying that she should have closed his own eyes1 since she had reduced him to such misery1 rather than those of ,cardinal ,ippolito de' ,medici4 ,alfonso died in the year #aecf4 ,illustration3 ,,tomb ,,of ,,adrian ,,vi 7,after ,michelagnolo da ,siena4 ,rome3 ,s4 ,maria dell' ,anima7 ,anderson ,michelagnolo1 a sculptor of ,siena1 after he had spent the best years of his life in ,sclavonia with other excellent sculptors1 made his way to ,rome on the following occasion4 ,after the death of ,pope ,adrian1 ,cardinal ,hincfort1 who had been the friend and favourite of that ,pontiff1 determined1 as one not ungrateful for the benefits received from him1 to erect to him a tomb of marble2 and he gave the charge of this to ,baldassarre ,peruzzi1 the painter of ,siena4 ,and that master1 having made the model1 desired that the sculptor ,michelagnolo1 his friend and compatriot1 should undertake the work on his own account4 ,michelagnolo1 therefore1 made on that tomb a lifesize figure of ,pope ,adrian1 lying upon the sarcophagus and portrayed from nature1 with a scene1 also in marble1 below him1 showing his arrival in ,rome and the ,roman people going to meet him and to do him homage4 ,around the tomb1 moreover1 in four niches1 are four ,virtues in marble1 ,justice1 ,fortitude1 ,peace1 and ,prudence1 all executed with much diligence by the hand of ,michelagnolo after the counsel of ,baldassarre4 ,it is true1 indeed1 that some of the things that are in this work were wrought by the ,florentine sculptor1 ,tribolo1 then a very young man1 and these were considered the best of all2 but ,michelagnolo executed the minor details of the work with supreme diligence and subtlety1 and the little figures that are in it deserve to be extolled more than all the rest4 ,among other things1 there are some variegated marbles wrought with a high finish1 and put together so well that nothing more could be desired4 ,for these labours ,michelagnolo received a just and honourable reward from the aforesaid ,cardinal1 and was treated with much favour by him for the rest of his life2 and1 in truth1 with right good reason1 seeing that this tomb and the ,cardinal's gratitude have done as much to bring fame to him as did the work to give a name to ,michelagnolo in his lifetime and renown after his death4 ,this work finished1 no long time elapsed before ,michelagnolo passed from this life to the next1 at about the age of fifty4 ,girolamo ,santa ,croce of ,naples1 although he was snatched from us by death in the very prime of life1 at a time when greater things were looked for from him1 yet showed in the works of sculpture that he made at ,naples during his few years1 what he would have done if he had lived longer2 for the works that he executed in sculpture at ,naples were wrought and finished with all the lovingness that could be desired in a young man who wishes to surpass by a great measure those who for many years before his day have held the sovereignty in some noble profession4 ,in ,s4 ,giovanni ,carbonaro at ,naples he built the ,chapel of the ,marchese di ,vico1 which is a round temple1 partitioned by columns and niches1 with some tombs carved with much diligence4 ,and because the altar-piece of this chapel1 made of marble in half-relief and representing the ,magi bringing their offerings to ,christ1 is by the hand of a ,spaniard1 ,girolamo executed in emulation of this work a ,s4 ,john in a niche1 so beautifully wrought in full-relief1 that it showed that he was not inferior to the ,spaniard either in courage or in judgment2 on which account he won such a name1 that1 although ,giovanni da ,nola was held in ,naples to be a marvellous sculptor and better than any other1 nevertheless ,girolamo worked in competition with him as long as he lived1 notwithstanding that his rival was now old and had executed a vast number of works in that city1 where it is much the custom to make chapels and altar-pieces of marble4 ,competing with ,giovanni1 then1 ,girolamo undertook to execute a chapel in ,monte ,oliveto at ,naples1 just within the door of the church1 on the left hand1 while ,giovanni executed another opposite to his1 on the other side1 in the same style4 ,in his chapel ,girolamo made a lifesize ,madonna in the round1 which is held to be a very beautiful figure2 and since he took infinite pains in executing the draperies and the hands1 and in giving bold relief to the marble by undercutting1 he brought it to such perfection that it was the general opinion that he had surpassed all those who had handled tools for working marble at ,naples in his time4 ,this ,madonna he placed between a ,s4 ,john and a ,s4 ,peter1 figures very well conceived and executed1 and finished in a beautiful manner1 as are also some children which are placed above them4 ,in addition to these1 he made two large and most beautiful statues in full-relief for the ,church of ,capella1 a seat of the ,monks of ,monte ,oliveto4 ,he then began a statue of the ,emperor ,charles ,v1 at the time of his return from ,tunis2 but after he had blocked it and carved it with the pointed chisel1 and even in some places with the broad-toothed chisel1 it remained unfinished1 because fortune and death1 envying the world such excellence1 snatched him from us at the age of thirty-five4 ,it was confidently expected that ,girolamo1 if he had lived1 even as he had outstripped all his compatriots in his profession1 would also have surpassed all the craftsmen of his time4 ,wherefore his death was a grievous blow to the ,neapolitans1 and all the more because he had been endowed by nature not only with a most beautiful genius1 but also with as much modesty1 sweetness1 and gentleness as could be looked for in mortal man2 so that it is no marvel if all those who knew him are not able to restrain their tears when they speak of him4 ,his last sculptures were executed in #aecg1 in which year he was buried at ,naples with most honourable obsequies4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,ss4 ,,peter ,,and ,,john 7,after the altar-piece by ,girolamo ,santa ,croce4 ,naples3 ,monte ,oliveto7 ,alinari ,old as he was1 ,giovanni da ,nola1 who was a well-practised sculptor1 as may be seen from many works made by him at ,naples with good skill of hand1 but not with much design1 still remained alive4 ,him ,don ,pedro di ,toledo1 ,marquis of ,villafranca1 and at that time ,viceroy of ,naples1 commissioned to execute a tomb of marble for himself and his wife2 and therein ,giovanni made a great number of scenes of the victories obtained by that lord over the ,turks1 with many statues for the same work1 which stands quite by itself1 and was executed with much diligence4 ,this tomb was to have been taken to ,spain2 but1 since that nobleman did not do this while he was alive1 it remained in ,naples4 ,giovanni died at the age of seventy1 and was buried in ,naples1 in the year #aeeh4 ,about the same time that ,heaven presented to ,ferrara1 or rather1 to the world1 the divine ,lodovico ,ariosto1 there was born in the same city the painter ,dosso1 who1 although he was not as rare among painters as ,ariosto among poets1 nevertheless acquitted himself in his art in such a manner1 that1 besides the great esteem wherein his works were held in ,ferrara1 his merits caused the learned poet1 his intimate friend1 to honour his memory by mentioning him in his most celebrated writings2 so that the pen of ,messer ,lodovico has given more renown to the name of ,dosso than did all the brushes and colours that he used in the whole of his life4 ,wherefore ,i1 for my part1 declare that there could be no greater good-fortune than that of those who are celebrated by such great men1 since the might of the pen forces most of mankind to accept their fame1 even though they may not wholly deserve it4 ,dosso was much beloved by ,duke ,alfonso of ,ferrara3 first for his good abilities in the art of painting1 and then because he was a very pleasant and amiable person--a manner of man in whom the ,duke greatly delighted4 ,dosso had the reputation in ,lombardy of executing landscapes better than any other painter engaged in that branch of the profession1 whether in mural painting1 in oils1 or in gouache2 and all the more after the ,german manner became known4 ,in ,ferrara1 for the ,cathedral ,church1 he executed a panel-picture with figures in oils1 which was held to be passing beautiful2 and in the ,duke's ,palace he painted many rooms1 in company with a brother of his1 called ,battista4 ,these two were always enemies1 one against the other1 although they worked together by the wish of the ,duke4 ,in the court of the said palace they executed stories of ,hercules in chiaroscuro1 with an endless number of nudes on those walls2 and in like manner they painted many works on panel and in fresco throughout all ,ferrara4 ,by their hands is a panel in the ,duomo of ,modena2 and they painted many things in the ,cardinal's ,palace at ,trento1 in company with other painters4 ,at this same time the painter and architect1 ,girolamo ,genga1 was executing various decorations in the ,imperiale ,palace1 above ,pesaro1 as will be related in the proper place1 for ,duke ,francesco ,maria of ,urbino2 and among the number of painters who were summoned to that work by order of the same ,signor ,francesco ,maria1 invitations were sent to ,dosso and ,battista of ,ferrara1 principally for the painting of landscapes2 many paintings having been executed long before in that palace by ,francesco di ,mirozzo#aj of ,forl1 ,raffaello dal ,colle of ,borgo a ,san ,sepolcro1 and many others4 ,now1 having arrived at the ,imperiale1 ,dosso and ,battista1 according to the custom of men of their kidney1 found fault with most of the paintings that they saw1 and promised the ,duke that they would do much better work2 and ,genga1 who was a shrewd person1 seeing how the matter was likely to end1 gave them an apartment to paint by themselves4 ,thereupon1 setting to work1 they strove with all labour and diligence to display their worth2 but1 whatever may have been the reason1 never in all the course of their lives did they do any work less worthy of praise1 or rather1 worse1 than that one4 ,it seems often to happen1 indeed1 that in their greatest emergencies1 when most is expected of them1 men become blinded and bewildered in judgment1 and do worse work than at any other time2 which may result1 perchance1 from their own malign and evil disposition to be always finding fault with the works of others1 or from their seeking to force their genius overmuch1 seeing that to proceed step by step according to the ruling of nature1 yet without neglecting diligence and study1 appears to be a better method than seeking to wrest from the brain1 as it were by force1 things that are not there2 and it is a fact that in the other arts as well1 but above all in that of writing1 lack of spontaneity is only too easily recognized1 and also1 so to speak1 over-elaboration in everything4 ,illustration3 ,,dosso ,,dossi3 ,a ,,nymph ,,with ,a ,,satyr 7,florence3 ,pitti1 #adg4 ,canvas7 ,now1 when the work of the ,dossi was unveiled1 it proved to be so ridiculous that they left the service of the ,duke in disgrace2 and he was forced to throw to the ground all that they had executed1 and to have it repainted by others after the designs of ,genga4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,ss4 ,,george ,,and ,,michael 7,after the painting by ,dosso ,dossi4 ,modena3 ,pinacoteca1 #dcg7 ,anderson ,finally1 they painted a very beautiful panel-picture in the ,duomo of ,faenza for the ,chevalier1 ,m4 ,giovan ,battista de' ,buosi1 of ,christ disputing in the ,temple2 in which work they surpassed themselves1 by reason of the new manner that they used1 and particularly in the portraits of that ,chevalier and of others4 ,that picture was set up in that place in the year #aecf4 ,ultimately ,dosso1 having grown old1 spent his last years without working1 being pensioned until the close of his life by ,duke ,alfonso4 ,and in the end ,battista survived him1 executing many works by himself1 and maintaining himself in a good condition4 ,dosso was buried in his native city of ,ferrara4 ,there lived in the same times the ,milanese ,bernazzano1 a very excellent painter of landscapes1 herbage1 animals1 and other things of earth1 air1 and water4 ,and since1 as one who knew himself to have little aptitude for figures1 he did not give much attention to them1 he associated himself with ,cesare da ,sesto1 who painted them very well and in a beautiful manner4 ,it is said that ,bernazzano executed in a courtyard some very beautiful landscapes in fresco1 in which he painted a strawberry-bed full of strawberries1 ripe1 green1 and in blossom1 and so well imitated1 that some peacocks1 deceived by their natural appearance1 were so persistent in picking at them as to make holes in the plaster4 ,,footnote3 #i ,what is it that ,i feel1 if it is not love8 #aj ,this seems to be an error for ,melozzo4 ,,giovanni ,,antonio ,,licinio ,,of ,,pordenone1 ,,and ,,other ,,painters ,,of ,,friuli ,,lives ,,of ,,giovanni ,,antonio ,,licinio ,,of ,,pordenone1 ,,and ,,of ,,other ,,painters ,,of ,,friuli ,it would seem1 as has been remarked already in the same connection1 that ,nature1 the kindly mother of the universe1 sometimes presents the rarest things to certain places that never had any knowledge of such gifts1 and that at times she creates in some country men so much inclined to design and to painting1 that1 without masters1 but only by imitating living and natural objects1 they become most excellent4 ,and it also happens very often that when one man has begun1 many set themselves to work in competition with him1 and labour to such purpose1 without seeing ,rome1 ,florence1 or any other place full of notable pictures1 but merely through rivalry one with another1 that marvellous works are seen to issue from their hands4 ,all this may be seen to have happened more particularly in ,friuli1 where1 in our own day1 in consequence of such a beginning1 there has been a vast number of excellent painters--a thing which had not occurred in those parts for many centuries4 ,while ,giovanni ,bellini was working in ,venice and teaching his art to many1 as has been related1 he had two disciples who were rivals one with another--,pellegrino da ,udine1 who1 as will be told1 was afterwards called ,da ,san ,daniele1 and ,giovanni ,martini of ,udine4 ,let us begin1 then1 by speaking of ,giovanni4 ,he always imitated the manner of ,bellini1 which was somewhat crude1 hard1 and dry2 nor was he ever able to give it sweetness or softness1 although he was a diligent and finished painter4 ,this may have happened because he was always making trial of certain reflections1 half-lights1 and shadows1 with which1 cutting the relief in the middle1 he contrived to define light and shade very abruptly1 in such a way that the colouring of all his works was always crude and unpleasant1 although he strove laboriously with his art to imitate ,nature4 ,by the hand of this master are numerous works in many places in ,friuli1 particularly in the city of ,udine1 in the ,duomo of which there is a panel-picture executed in oils1 of ,s4 ,mark seated with many figures round him1 which is held to be the best of all that he ever painted4 ,there is another on the altar of ,s4 ,ursula in the ,church of the ,friars of ,s4 ,pietro ,martire1 wherein the first-mentioned ,saint is standing with some of her virgins round her1 all painted with much grace and beautiful expressions of countenance4 ,this ,giovanni1 besides being a passing good painter1 was endowed by ,nature with beauty and grace of features and an excellent character1 and1 what is most desirable1 with such foresight and power of management1 that1 after his death1 in default of heirs male1 he left an inheritance of much property to his wife4 ,and she1 being1 so ,i have heard1 a lady as shrewd as she was beautiful1 knew so well how to manage her life after the death of her husband1 that she married two very beautiful daughters into the richest and most noble houses of ,udine4 ,pellegrino da ,san ,daniele1 who was a rival of ,giovanni1 as has been related1 and a man of greater excellence in painting1 received at baptism the name of ,martino4 ,but ,giovanni ,bellini1 judging that he was destined to become1 as he afterwards did1 a truly rare master of art1 changed his name from ,martino to ,pellegrino4#aa ,and even as his name was changed1 so he may be said by chance to have changed his country1 since1 living by preference at ,san ,daniele1 a township ten miles distant from ,udine1 and spending most of his time in that place1 where he had taken a wife1 he was called ever afterwards not ,martino da ,udine1 but ,pellegrino da ,san ,daniele4 ,he painted many pictures in ,udine1 and some may still be seen on the doors of the old organ1 on the outer side of which is painted a sunken arch in perspective1 containing a ,s4 ,peter seated among a multitude of figures and handing a pastoral staff to ,s4 ,ermacora the ,bishop4 ,on the inner side of the same doors1 likewise1 in some niches1 he painted the four ,doctors of the ,church in the act of studying4 ,for the ,chapel of ,s4 ,giuseppe he executed a panel-picture in oils1 drawn and coloured with much diligence1 in the middle of which is ,s4 ,joseph standing in a beautiful attitude1 with an air of dignity1 and beside him is ,our ,lord as a little ,child1 while ,s4 ,john the ,baptist is below in the garb of a little shepherd-boy1 gazing intently on his ,master4 ,and since this picture is much extolled1 we may believe what is said of it--namely1 that he painted it in competition with the aforesaid ,giovanni1 and that he put forward every effort to make it1 as it proved to be1 more beautiful than that which ,giovanni painted of ,s4 ,mark1 as has been related above4 ,pellegrino also painted at ,udine1 for the house of ,messer ,pre ,giovanni1 intendant to the illustrious ,signori della ,torre1 a picture of ,judith from the waist upwards1 with the head of ,holofernes in one hand1 which is a very beautiful work4 ,by the hand of the same man is a large panel in oils1 divided into several pictures1 which may be seen on the high-altar of the ,church of ,s4 ,maria in the town of ,civitale1 at a distance of eight miles from ,udine2 and in it are some heads of virgins and other figures with great beauty of expression4 ,and in his township of ,san ,daniele1 in a chapel of ,s4 ,antonio1 he painted in fresco scenes of the ,passion of ,jesus ,christ1 and that so finely that he well deserved to be paid more than a thousand crowns for the work4 ,he was much beloved for his talents by the ,dukes of ,ferrara1 and1 in addition to other favours and many gifts1 he obtained through their good offices two ,canonicates in the ,duomo of ,udine for two of his relatives4 ,among his pupils1 of whom he had many1 making much use of them and rewarding them liberally1 was one of ,greek nationality1 a man of no little ability1 who had a very beautiful manner and imitated ,pellegrino closely4 ,but ,luca ,monverde of ,udine1 who was much beloved by ,pellegrino1 would have been superior to the ,greek1 if he had not been snatched from the world prematurely when still a mere lad2 although one work by his hand was left on the high-altar of ,s4 ,maria delle ,grazie in ,udine1 a panel-picture in oils1 his first and last1 in which1 in a recess in perspective1 there is a ,madonna seated on high with the ,child in her arms1 painted by him with a soft gradation of shadow1 while on the level surface below there are two figures on either side1 so beautiful that they show that if he had lived longer he would have become truly excellent4 ,another disciple of the same ,pellegrino was ,bastianello ,florigorio1 who painted a panel-picture that is over the high-altar of ,s4 ,giorgio in ,udine1 of a ,madonna in the sky surrounded by an endless number of little angels in various attitudes1 all adoring the ,child that she holds in her arms2 while below there is a very well executed landscape4 ,there is also a very beautiful ,s4 ,john1 and a ,s4 ,george in armour and on horseback1 who1 foreshortened in a spirited attitude1 is slaying the ,dragon with his lance2 while the ,maiden1 who is there on one side1 appears to be thanking ,god and the glorious ,virgin for the succour sent to her4 ,in the head of the ,s4 ,george ,bastianello is said to have made his own portrait4 ,he also painted two pictures in fresco in the ,refectory of the ,friars of ,s4 ,pietro ,martire3 in one is ,christ seated at table with the two disciples at ,emmaus1 and breaking the bread with a benediction1 and in the other is the death of ,s4 ,peter ,martyr4 ,the same master painted in fresco in a niche on a corner of the ,palace of ,m4 ,marguando1 an excellent physician1 a nude man in foreshortening1 representing a ,s4 ,john1 which is held to be a good painting4 ,finally1 he was forced through some dispute to depart from ,udine1 for the sake of peace1 and to live like an exile in ,civitale4 ,bastianello had a crude and hard manner1 because he much delighted in drawing works in relief and objects of ,nature by candle-light4 ,he had much beauty of invention1 and he took great pleasure in executing portraits from life1 making them truly beautiful and very like2 and at ,udine1 among others1 he made one of ,messer ,raffaello ,belgrado1 and one of the father of ,m4 ,giovan ,battista ,grassi1 an excellent painter and architect1 from whose loving courtesy we have received much particular information touching our present subject of ,friuli4 ,bastianello lived about forty years4 ,another disciple of ,pellegrino was ,francesco ,floriani of ,udine1 who is still alive and is a very good painter and architect1 like his younger brother1 ,antonio ,floriani1 who1 thanks to his rare abilities in his profession1 is now in the service of his glorious ,majesty the ,emperor ,maximilian4 ,some of the pictures of that same ,francesco were to be seen two years ago in the possession of the ,emperor1 who was then a ,king2 one of these being a ,judith who has cut off the head of ,holofernes1 painted with admirable judgment and diligence4 ,and in the collection of that monarch there is a book of pen-drawings by the same master1 full of lovely inventions1 buildings1 theatres1 arches1 porticoes1 bridges1 palaces1 and many other works of architecture1 all useful and very beautiful4 ,gensio ,liberale was also a disciple of ,pellegrino1 and in his pictures1 among other things1 he imitated every sort of fish excellently well4 ,this master is now in the service of the ,archduke ,ferdinand of ,austria1 a splendid position1 which he deserves1 for he is a very good painter4 ,but among the most illustrious and renowned painters of the territory of ,friuli1 the rarest and most famous in our day--since he has surpassed those mentioned above by a great measure in the invention of scenes1 in draughtsmanship1 in boldness1 in mastery over colour1 in fresco work1 in swiftness of execution1 in strength of relief1 and in every other department of our arts--is ,giovanni ,antonio ,licinio1 called by some ,cuticello4 ,this master was born at ,pordenone1 a township in ,friuli1 twenty-five miles from ,udine2 and since he was endowed by nature with a beautiful genius and an inclination for painting1 he devoted himself without any teacher to the study of natural objects1 imitating the style of ,giorgione da ,castelfranco1 because that manner1 seen by him many times in ,venice1 had pleased him much4 ,now1 having learnt the rudiments of art1 he was forced1 in order to save his life from a pestilence that had fallen upon his native place1 to take to flight2 and thus1 passing many months in the surrounding country1 he executed various works in fresco for a number of peasants1 gaining at their expense experience of using colour on plaster4 ,wherefore1 since the surest and best method of learning is practice and a sufficiency of work1 it came to pass that he became a well-practised and judicious master of that kind of painting1 and learned to make colours produce the desired effect when used in a fluid state1 which is done on account of the white1 which dries the plaster and produces a brightness that ruins all softness4 ,and so1 having mastered the nature of colours1 and having learnt by long practice to work very well in fresco1 he returned to ,udine1 where he painted for the altar of the ,nunziata1 in the ,convent of ,s4 ,pietro ,martire1 a panel-picture in oils containing the ,madonna at the moment of receiving the ,salutation from the ,angel ,gabriel2 and in the sky he made a ,god the ,father surrounded by many little boys1 who is sending down the ,holy ,spirit4 ,this work1 which is executed with good drawing1 grace1 vivacity1 and relief1 is held by all craftsmen of judgment to be the best that he ever painted4 ,in the ,duomo of the same city1 on the balustrade of the organ1 below the doors already painted by ,pellegrino1 he painted a story of ,s4 ,ermacora and ,fortunatus1 also in oils1 graceful and well designed4 ,in the same city1 in order to gain the friendship of the ,signori ,tinghi1 he painted in fresco the faade of their palace2 in which work1 wishing to make himself known and to prove what a master he was of architectural invention and of working in fresco1 he made a series of compartments and groups of varied ornaments full of figures in niches2 and in three great spaces in the centre of the work he painted scenes with figures in colours1 two spaces1 high and narrow1 being on either side1 and one square in shape in the middle2 and in the latter he painted a ,corinthian column planted with its base in the sea1 with a ,siren on the right hand1 holding the column upright1 and a nude ,neptune on the left supporting it on the other side2 while above the capital of the column there is a ,cardinal's hat1 the device1 so it is said1 of ,pompeo ,colonna1 who was much the friend of the owners of that palace4 ,in one of the two other spaces are the ,giants being slain with thunderbolts by ,jove1 with some dead bodies on the ground very well painted and most beautifully foreshortened4 ,on the other side is a ,heaven full of ,gods1 and on the earth two ,giants who1 club in hand1 are in the act of striking at ,diana1 who1 defending herself in a bold and spirited attitude1 is brandishing a blazing torch as if to burn the arms of one of them4 ,illustration3 ,,the ,,disputation ,,of ,s4 ,,catharine 7,after the fresco by ,giovanni ,antonio ,licinio of ,pordenone4 ,piacenza3 ,s4 ,maria di ,campagna7 ,alinari ,at ,spelimbergo1 a large place fifteen miles above ,udine1 the balustrade and the doors of the organ in the great church are painted by the hand of the same master2 on the outer side of one door is the ,assumption of ,our ,lady1 and on the inner side ,s4 ,peter and ,s4 ,paul before ,nero1 gazing at ,simon ,magus in the air above2 while on the other door there is the ,conversion of ,s4 ,paul1 and on the balustrade the ,nativity of ,christ4 ,through this work1 which is very beautiful1 and many others1 ,pordenone came into repute and fame1 and was summoned to ,vicenza1 whence1 after having executed some works there1 he made his way to ,mantua1 where he coloured a faade in fresco with marvellous grace for ,m4 ,paris1 a gentleman of that city4 ,among other beautiful inventions which are in that work1 much praise is due to a frieze of antique letters1 one braccio and a half in height1 at the top1 below the cornice1 among which1 passing in and out of them1 are many little children in various attitudes1 all most beautiful4 ,that work finished1 he returned in great credit to ,vicenza1 and there1 besides many other works1 he painted the whole of the tribune of ,s4 ,maria di ,campagna1 although by reason of his departure a part remained unfinished1 which was afterwards finished with great diligence by ,maestro ,bernardo da ,vercelli4 ,in the same church he painted two chapels in fresco3 one with stories of ,s4 ,catherine1 and the other with the ,nativity of ,christ and the ,adoration of the ,magi1 both being worthy of the highest praise4 ,he then painted some poetical pictures in the beautiful garden of ,m4 ,barnaba dal ,pozzo1 a doctor2 and1 in the said ,church of ,s4 ,maria di ,campagna1 the picture of ,s4 ,augustine1 which is on the left hand as one enters the church4 ,all these most beautiful works brought it about that the gentlemen of that city persuaded him to take a wife there1 and always held him in vast veneration4 ,going afterwards to ,venice1 where he had formerly executed some works1 he painted a wall of ,s4 ,geremia1 on the ,grand ,canal1 and a panel-picture in oils for the ,madonna del ,orto1 with many figures1 making a particular effort to prove his worth in the ,s4 ,john the ,baptist4 ,he also painted many scenes in fresco on the faade of the house of ,martin d',anna on the same ,grand ,canal2 in particular1 a ,curtius on horseback in foreshortening1 which has the appearance of being wholly in the round1 like the ,mercury flying freely through the air1 not to speak of many other things that all prove his ability4 ,that work pleased the whole city of ,venice beyond measure1 and ,pordenone was therefore extolled more highly than any other man who had ever worked in the city up to that time4 ,among other reasons that caused him to give an incredible amount of effort to all his works1 was his rivalry with the most excellent ,tiziano2 since1 setting himself to compete with him1 he hoped by means of continual study and by a bold and resolute method of working in fresco to wrest from the hands of ,tiziano that sovereignty which he had gained with so many beautiful works2 employing1 also1 unusual methods outside the field of art1 such as that of being obliging and courteous and associating continually and of set purpose with great persons1 making his interests universal1 and taking a hand in everything4 ,and1 in truth1 this rivalry was a great assistance to him1 for it caused him to devote the greatest zeal and diligence in his power to all his works1 so that they proved worthy of eternal praise4 ,for these reasons1 then1 he was commissioned by the ,wardens of ,s4 ,rocco to paint in fresco the chapel of that church1 with all the tribune4 ,setting his hand1 therefore1 to this work1 he painted a ,god the ,father in the tribune1 with a vast number of children in various beautiful attitudes1 radiating from ,him4 ,in the frieze of the same tribune he painted eight figures from the ,old ,testament1 with the four ,evangelists in the angles1 and the ,transfiguration of ,christ over the high-altar2 and in the two lunettes at the sides are the four ,doctors of the ,church4 ,by the hand of the same master are two large pictures in the middle of the church3 in one is ,christ healing an endless number of the sick1 all very well painted1 and in the other is ,s4 ,christopher carrying ,jesus ,christ on his shoulders4 ,on the wooden tabernacle of the same church1 wherein the vessels of silver are kept1 he painted a ,s4 ,martin on horseback1 with many beggars who are bringing votive offerings1 in a building in perspective4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,magi 7,after the fresco by ,giovanni ,antonio ,licinio of ,pordenone4 ,treviso3 ,duomo7 ,alinari ,this work1 which was much extolled and brought him honour and profit1 was the reason that ,m4 ,jacopo ,soranzo1 having become his intimate friend1 caused him to be commissioned to paint the ,sala de' ,pregai in competition with ,tiziano2 and there he executed many pictures with figures seen foreshortened from below1 which are very beautiful1 together with a frieze of marine monsters painted in oils round that hall4 ,these works made him so dear to the ,senate1 that as long as he lived he always received an honourable salary from them4 ,and since1 out of rivalry1 he always sought to do work in places where ,tiziano had also worked1 he painted for ,s4 ,giovanni di ,rialto a ,s4 ,john1 as ,almoner1 giving alms to beggars1 and also placed on an altar a picture of ,s4 ,sebastian1 ,s4 ,rocco1 and other saints1 which was very beautiful1 but yet not equal to the work of ,tiziano1 although many1 more out of malignity than out of a love for the truth1 exalted that of ,giovanni ,antonio4 ,the same master painted in the cloister of ,s4 ,stefano many scenes in fresco from the ,old ,testament1 and one from the ,new1 divided one from another by various ,virtues2 and in these figures he displayed amazing foreshortenings1 in which method of painting he always delighted1 seeking to introduce them into his every composition with no fear of difficulties1 and making them more ornate than any other painter4 ,prince ,doria had built a palace on the seashore in ,genoa1 and had commissioned ,perino del ,vaga1 a very celebrated painter1 to paint halls1 apartments1 and ante-chambers both in oils and in fresco1 which are quite marvellous for the richness and beauty of the paintings4 ,but seeing that ,perino was not then giving much attention to the work1 and wishing to make him do by the spur of emulation what he was not doing by himself1 he sent for ,pordenone1 who began with an open terrace1 wherein1 following his usual manner1 he executed a frieze of children1 who are hurrying about in very beautiful attitudes and unloading a barque full of merchandise4 ,he also painted a large scene of ,jason asking leave from his uncle to go in search of the ,golden ,fleece4 ,but the ,prince1 seeing the difference that there was between the work of ,perino and that of ,pordenone1 dismissed the latter1 and summoned in his place ,domenico ,beccafumi of ,siena1 an excellent painter and a rarer master than ,pordenone4 ,and he1 glad to serve so great a ,prince1 did not scruple to leave his native city of ,siena1 where there are so many marvellous works by his hand2 but he did not paint more than one single scene in that palace1 because ,perino brought everything to completion by himself4 ,giovanni ,antonio then returned to ,venice1 where he was given to understand that ,ercole1 ,duke of ,ferrara1 had brought a great number of masters from ,germany1 and had caused them to begin to make fabrics in silk1 gold1 floss-silk1 and wool1 for his own use and pleasure1 but that he had no good designers of figures in ,ferrara1 since ,girolamo da ,ferrara had more ability for portraits and separate things than for difficult and complicated scenes1 which called for great power of art and design2 and that he should enter the service of that ,prince4 ,whereupon1 desiring to gain fame no less than riches1 he departed from ,venice1 and on reaching ,ferrara was received with great warmth by the ,duke4 ,but a little time after his arrival1 being attacked by a most grievous affliction of the chest1 he took to his bed with the doom of death upon him1 and1 growing continually worse and finding no remedy1 within three days or little more he finished the course of his life1 at the age of fifty-six4 ,this seemed a strange thing to the ,duke1 and also to ,pordenone's friends2 and there were not wanting men who for many months believed that he had died of poison4 ,the body of ,giovanni ,antonio was buried with honour1 and his death was a grief to many1 particularly in ,venice1 for the reason that he was ready of speech and the friend and companion of many1 and delighted in music2 and his readiness and grace of speech came from his having given attention to the study of ,latin4 ,he always made his figures grand1 and was very rich in invention1 and so versatile that he could imitate everything very well2 but he was1 above all1 resolute and most facile in works in fresco4 ,a disciple of ,pordenone was ,pomponio ,amalteo of ,san ,vito1 who won by his good qualities the honour of becoming the son-in-law of his master4 ,this ,pomponio1 always following that master in matters of art1 has acquitted himself very well in all his works1 as may be seen at ,udine from the doors of the new organ1 painted in oils1 on the outer side of which is ,christ driving the traders from the ,temple1 and on the inner side the story of the ,pool of ,bethesda and the ,resurrection of ,lazarus4 ,in the ,church of ,s4 ,francesco1 in the same city1 there is a panel-picture in oils by the hand of the same man1 of ,s4 ,francis receiving the ,stigmata1 with some very beautiful landscapes1 and with a sunrise from which1 in the midst of some rays of the greatest splendour1 there radiates the celestial light1 which pierces the hands1 feet1 and side of ,s4 ,francis1 who1 kneeling devoutly and full of love1 receives it1 while his companion lies on the ground1 in foreshortening1 all overcome with amazement4 ,pomponio also painted in fresco for the ,friars of ,la ,vigna1 at the end of their refectory1 ,jesus ,christ between the two disciples at ,emmaus4 ,in the township of ,san ,vito1 his native place1 twenty miles distant from ,udine1 he painted in fresco the ,chapel of the ,madonna in the ,church of ,s4 ,maria1 in so beautiful a manner1 and so much to the satisfaction of all1 that he has won from the most reverend ,cardinal ,maria ,grimani1 ,patriarch of ,aquileia and ,lord of ,san ,vito1 the honour of being enrolled among the nobles of that place4 ,i have thought it right in this ,life of ,pordenone to make mention of these excellent craftsmen of ,friuli1 both because it appears to me that their talents deserve it1 and to the end that it may be recognized in the account to be given later how much more excellent are those who1 after such a beginning1 have lived since that day1 as will be related in the ,life of ,giovanni ,ricamatori of ,udine1 to whom our age owes a very great obligation for his works in stucco and his grotesques4 ,but returning to ,pordenone2 after the works mentioned above as having been executed by him at ,venice in the time of the most illustrious ,gritti1 he died1 as has been related1 in the year #aedj4 ,and because he was one of the most able men that our age has possessed1 and for the reason1 above all1 that his figures seem to be in the round and detached from their walls1 and almost in relief1 he can be numbered among those who have rendered assistance to art and benefit to the world4 ,,footnote3 #aa ,i4e41 singular or rare4 ,,giovanni ,,antonio ,,sogliani ,,life ,,of ,,giovanni ,,antonio ,,sogliani ,,painter ,,of ,,florence ,very often do we see in the sciences of learning and in the more liberal of the manual arts1 that those men who are melancholy are the most assiduous in their studies and show the greatest patience in supporting the burden of their labours2 so that there are few of that disposition who do not become excellent in such professions4 ,even so did ,giovanni ,antonio ,sogliani1 a painter of ,florence1 whose cast of countenance was so cold and woeful that he looked like the image of melancholy2 and such was the power of this humour over him that he gave little thought to anything but matters of art1 with the exception of his household cares1 through which he endured most grievous anxieties1 although he had enough to live in comfort4 ,he worked at the art of painting under ,lorenzo di ,credi for four-and-twenty years1 living with him1 honouring him always1 and rendering him every sort of service4 ,having become during that time a very good painter1 he showed afterwards in all his works that he was a most faithful disciple of his master and a close imitator of his manner4 ,this was seen from his first paintings1 in the ,church of the ,osservanza on the hill of ,san ,miniato without ,florence1 for which he painted a panel-picture copied from the one that ,lorenzo had executed for the ,nuns of ,s4 ,chiara1 containing the ,nativity of ,christ1 and no less excellent than the one of ,lorenzo4 ,afterwards1 having left his master1 he painted for the ,church of ,s4 ,michele in ,orto1 at the commission of the ,guild of ,vintners1 a ,s4 ,martin in oils1 robed as a ,bishop1 which gave him the name of a very good master4 ,and since ,giovanni ,antonio had a vast veneration for the works and the manner of ,fra ,bartolommeo di ,san ,marco1 and made great efforts to approach that manner in his colouring1 it may be seen from a panel which he began but did not finish1 not being satisfied with it1 how much he imitated that painter4 ,this panel remained in his house during his lifetime as worthless3 but after his death it was sold as a piece of old rubbish to ,sinibaldo ,gaddi1 and he had it finished by ,santi ,titi dal ,borgo1 then a mere boy1 and placed it in a chapel of his own in ,s4 ,domenico da ,fiesole4 ,in this work are the ,magi adoring ,jesus ,christ1 who is in the lap of ,his ,mother1 and in one corner is his own portrait from life1 which is a passing good likeness4 ,he then painted for ,madonna ,alfonsina1 the wife of ,piero de' ,medici1 a panel-picture that was placed as a votive offering over the altar of the ,chapel of the ,martyrs in the ,camaldolite ,church at ,florence3 in which picture he painted the ,crucifixion of ,s4 ,arcadio and other martyrs with their crosses in their arms1 and two figures1 half covered with draperies and half naked1 kneeling with their crosses on the ground1 while in the sky are some little angels with palms in their hands4 ,this work1 which was painted with much diligence1 and executed with good judgment in the colouring and in the heads1 which are very lifelike1 was placed in the above-mentioned ,camaldolite ,church2 but that monastery was taken on account of the siege of ,florence from those ,eremite ,fathers1 who used devoutly to celebrate the ,divine offices in the church1 and was afterwards given to the ,nuns of ,s4 ,giovannino1 of the ,order of the ,knights of ,jerusalem1 and finally destroyed2 and the picture1 being one which may be numbered among the best works that ,sogliani painted1 was placed by order of the ,lord ,duke ,cosimo in one of the chapels of the ,medici family in ,s4 ,lorenzo4 ,the same master executed for the ,nuns of the ,crocetta a ,last ,supper coloured in oils1 which was much extolled at that time4 ,and in a shrine in the ,via de' ,ginori1 he painted in fresco for ,taddeo ,taddei a ,crucifix with ,our ,lady and ,s4 ,john at the foot1 and in the sky some angels lamenting ,christ1 very lifelike--a picture truly worthy of praise1 and a well-executed example of work in fresco4 ,by the hand of ,sogliani1 also1 is a ,crucifix in the ,refectory of the ,abbey of the ,black ,friars in ,florence1 with angels flying about and weeping with much grace2 and at the foot the ,madonna1 ,s4 ,john1 ,s4 ,benedict1 ,s4 ,scholastica1 and other figures4 ,for the ,nuns of the ,spirito ,santo1 on the hill of ,san ,giorgio1 he painted two pictures that are in their church1 one of ,s4 ,francis1 and the other of ,s4 ,elizabeth1 ,queen of ,hungary and a sister of that ,order4 ,for the ,company of the ,ceppo he painted the banner for carrying in processions1 which is very beautiful1 representing on the front of it the ,visitation of ,our ,lady1 and on the other side ,s4 ,niccol the ,bishop1 with two children dressed as ,flagellants1 one of whom holds his book and the other the three balls of gold4 ,on a panel in ,s4 ,jacopo sopra ,arno he painted the ,trinity1 with an endless number of little boys1 ,s4 ,mary ,magdalene kneeling1 ,s4 ,catherine1 ,s4 ,james1 and two figures in fresco standing at the sides1 ,s4 ,jerome in ,penitence and ,s4 ,john2 and in the predella he made his assistant1 ,sandrino del ,calzolaio1 execute three scenes1 which won no little praise4 ,on the end wall of the ,oratory of a ,company in the township of ,anghiari1 he executed on panel a ,last ,supper in oils1 with figures of the size of life2 and on one of the two adjoining walls 7namely1 the sides7 he painted ,christ washing the feet of the ,apostles1 and on the other a servant bringing two vessels of water4 ,the work is held in great veneration in that place1 for it is indeed a rare thing1 and one that brought him both honour and profit4 ,a picture that he executed of a ,judith who had cut off the head of ,holofernes1 being a very beautiful work1 was sent to ,hungary4 ,and likewise another1 in which was the ,beheading of ,s4 ,john the ,baptist1 with a building in perspective for which he had copied the exterior of the ,chapter-house of the ,pazzi1 which is in the first cloister of ,s4 ,croce1 was sent as a most beautiful work to ,naples by ,paolo da ,terrarossa1 who had given the commission for it4 ,for one of the ,bernardi1 also1 ,sogliani executed two other pictures1 which were placed in a chapel in the ,church of the ,osservanza at ,san ,miniato1 containing two lifesize figures in oils--,s4 ,john the ,baptist and ,s4 ,anthony of ,padua4 ,but as for the panel that was to stand between them1 ,giovanni ,antonio1 being dilatory by nature and leisurely over his work1 lingered over it so long that he who had given the commission died3 wherefore that panel1 which was to contain a ,christ lying dead in the lap of ,his ,mother1 remained unfinished4 ,illustration3 ,,the ,,legend ,,of ,s4 ,,dominic 7,after the fresco by ,giovanni ,antonio ,sogliani4 ,florence3 ,s4 ,marco7 ,anderson ,after these things1 when ,perino del ,vaga1 having departed from ,genoa on account of his resentment against ,prince ,doria1 was working at ,pisa1 where the sculptor ,stagio da ,pietrasanta had begun the execution of the new chapels in marble at the end of the nave of the ,duomo1 together with that space behind the high-altar1 which serves as a sacristy1 it was ordained that the said ,perino1 as will be related in his ,life1 with other masters1 should begin to fill up those adornments of marble with pictures4 ,but ,perino being recalled to ,genoa1 ,giovanni ,antonio was commissioned to set his hand to the pictures that were to adorn the aforesaid recess behind the high-altar1 and to deal in his works with the sacrifices of the ,old ,testament1 as symbols of the ,sacrifice of the ,most ,holy ,sacrament1 which was there over the centre of the high-altar4 ,sogliani1 then1 painted in the first picture the sacrifice that ,noah and his sons offered when they had gone forth from the ,ark1 and afterwards those of ,cain and of ,abel2 which were all highly extolled1 but above all that of ,noah1 because some of the heads and parts of the figures in it were very beautiful4 ,the picture of ,abel is charming for its landscapes1 which are very well executed1 and the head of ,abel himself1 which is the very presentment of goodness2 but quite the opposite is that of ,cain1 which has the mien of a truly sorry villain4 ,and if ,sogliani had pursued the work with energy instead of being dilatory1 he would have been charged by the ,warden1 who had given him his commission and was much pleased with his manner and character1 to execute all the work in that ,duomo1 whereas at that time1 in addition to the pictures already mentioned1 he painted no more than one panel1 which was destined for the chapel wherein ,perino had begun to work2 and this he finished in ,florence1 but in such wise that it pleased the ,pisans well enough and was held to be very beautiful4 ,in it are the ,madonna1 ,s4 ,john the ,baptist1 ,s4 ,george1 ,s4 ,mary ,magdalene1 ,s4 ,margaret1 and other saints4 ,his picture1 then1 having given satisfaction1 ,sogliani received from the ,warden a commission for three other panels1 to which he set his hand1 but did not finish them in the lifetime of that ,warden1 in whose place ,bastiano della ,seta was elected2 and he1 perceiving that the business was moving but slowly1 allotted four pictures for the aforesaid sacristy behind the high-altar to ,domenico ,beccafumi of ,siena1 an excellent painter1 who dispatched them very quickly1 as will be told in the proper place1 and also painted a panel there1 and other painters executed the rest4 ,giovanni ,antonio1 then1 working at his leisure1 finished two other panels with much diligence1 painting in each a ,madonna surrounded by many saints4 ,and finally1 having made his way to ,pisa1 he there painted the fourth and last1 in which he acquitted himself worse than in any other1 either through old age1 or because he was competing with ,beccafumi1 or for some other reason4 ,but the ,warden ,bastiano1 perceiving the slowness of the man1 and wishing to bring the work to an end1 allotted the three other panels to ,giorgio ,vasari of ,arezzo1 who finished two of them1 those that are beside the door of the faade4 ,in the one nearer the ,campo ,santo is ,our ,lady with the ,child in her arms1 with ,s4 ,martha caressing ,him4 ,there1 also1 on their knees1 are ,s4 ,cecilia1 ,s4 ,augustine1 ,s4 ,joseph1 and ,s4 ,guido the ,hermit1 and in the foreground a nude ,s4 ,jerome1 with ,s4 ,luke the ,evangelist1 and some little boys uplifting a piece of drapery1 and others holding flowers4 ,in the other1 by the wish of the ,warden1 he painted another ,madonna with her ,son in her arms1 ,s4 ,james the ,martyr1 ,s4 ,matthew1 ,s4 ,sylvester the ,pope1 and ,s4 ,turp the ,chevalier4 ,having to paint the ,madonna1 and not wishing to repeat the same composition 7although he had varied it much in other respects71 he made her with ,christ dead in her arms1 and those saints as it were round a ,deposition from the ,cross2 and on the crosses1 planted on high and made of tree-trunks1 are fixed two naked ,thieves1 surrounded by horses and ministers of the crucifixion1 with ,joseph1 ,nicodemus1 and the ,maries2 all for the satisfaction of the ,warden1 who wished that in those new pictures there should be included all the saints that there had been in the past in the various dismantled chapels1 in order to renew their memory in the new works4 ,one picture was still wanting to complete the whole1 and this was executed by ,bronzino1 who painted a nude ,christ and eight saints4 ,and in this manner were those chapels brought to completion1 all of which ,giovanni ,antonio could have done with his own hand if he had not been so slow4 ,and since ,sogliani had won much favour with the ,pisans1 after the death of ,andrea del ,sarto he was commissioned to finish a panel for the ,company of ,s4 ,francesco1 which the said ,andrea left only sketched2 which panel is now in the building of that ,company on the ,piazza di ,s4 ,francesco at ,pisa4 ,the same master executed some rows of cloth-hangings for the ,wardens of ,works of the aforesaid ,duomo1 and many others in ,florence1 because he took pleasure in doing that sort of work1 and above all in company with his friend ,tommaso di ,stefano1 a painter of ,florence4 ,being summoned by the ,friars of ,s4 ,marco in ,florence to paint a work in fresco at the head of their refectory1 at the expense of one of their number1 a lay-brother of the ,molletti family1 who had possessed a rich patrimony when in the world1 ,giovanni ,antonio wished to paint there the scene of ,jesus ,christ feeding five thousand persons with five loaves and two fishes1 in order to make the most of his powers2 and he had already made the design for it1 with many women and children and a great multitude of other people1 when the friars refused to have that story1 saying that they wanted something definite1 simple1 and familiar4 ,whereupon1 to please them1 he painted the scene when ,s4 ,dominic1 being in the refectory with his friars and having no bread1 made a prayer to ,god1 when the table was miraculously covered with bread1 brought by two angels in human form4 ,in this work he made portraits of many friars who were then in the convent1 which have the appearance of life1 and particularly that of the lay-brother of the ,molletti family1 who is serving at table4 ,then1 in the lunette above the table1 he painted ,s4 ,dominic at the foot of a ,crucifix1 with ,our ,lady and ,s4 ,john the ,evangelist1 who are weeping1 and at the sides ,s4 ,catherine of ,siena and ,s4 ,antonino1 ,archbishop of ,florence1 a brother of their ,order4 ,all this1 for a work in fresco1 was executed with much diligence and a high finish2 but ,sogliani would have been much more successful if he had executed what he had designed1 because painters express the conceptions of their own minds better than those of others4 ,on the other hand1 it is only right that he who pays the piper should call the tune4 ,the design for the ,miracle of the ,loaves and ,fishes is in the hands of ,bartolommeo ,gondi1 who1 in addition to a large picture that he has by the hand of ,sogliani1 also possesses many drawings and heads painted from life on tinted paper1 which he received from the wife of the painter1 who had been very much his friend1 after his death4 ,and we1 also1 have in our book some drawings by the same hand1 which are beautiful to a marvel4 ,sogliani began for ,giovanni ,serristori a large panel-picture which was to be placed in ,s4 ,francesco dell' ,osservanza1 without the ,porta a ,s4 ,miniato1 with a vast number of figures1 among which are some marvellous heads1 the best that he ever made2 but it was left unfinished at the death of the said ,giovanni ,serristori4 ,nevertheless1 since ,giovanni ,antonio had received full payment1 he finished it afterwards little by little1 and gave it to ,messer ,alamanno di ,jacopo ,salviati1 the son-in-law and heir of ,giovanni ,serristori2 and he presented it1 frame and all1 to the ,nuns of ,s4 ,luca1 who have it over their high-altar in the ,via di ,s4 ,gallo4 ,giovanni ,antonio executed many other works in ,florence1 some of which are in the houses of citizens1 and some were sent to various countries2 but of these there is no need to make mention1 for we have spoken of the most important4 ,sogliani was an upright person1 very religious1 always occupied with his own business1 and never interfering with his fellow-craftsmen4 ,one of his disciples was ,sandrino del ,calzolaio1 who painted the shrine that is on the ,canto delle ,murate1 and1 in the ,hospital of the ,temple1 a ,s4 ,john the ,baptist who is assigning shelter to the poor2 and he would have done more work1 and good work1 if he had not died as young as he did4 ,another of his disciples was ,michele1 who afterwards went to work with ,ridolfo ,ghirlandajo1 whose name he took2 and likewise ,benedetto1 who went with ,antonio ,mini1 a disciple of ,michelagnolo ,buonarroti1 to ,france1 where he has executed many beautiful works4 ,and another1 finally1 was ,zanobi di ,poggino1 who has painted many works throughout the city4 ,in the end1 being weary and broken in health after having been long tormented by the stone1 ,giovanni ,antonio rendered up his soul to ,god at the age of fifty-two4 ,his death was much lamented1 for he had been an excellent man1 and his manner had been much in favour1 since he gave an air of piety to his figures1 in such a fashion as pleases those who1 delighting little in the highest and most difficult flights of art1 love things that are seemly1 simple1 gracious1 and sweet4 ,his body was opened after his death1 and in it were found three stones1 each as big as an egg2 but as long as he lived he would never consent to have them extracted1 or to hear a word about them4 ,,girolamo ,,da ,,treviso ,,life ,,of ,,girolamo ,,da ,,treviso ,,painter ,rarely does it happen that those who persist in working in the country in which they were born1 are exalted by ,fortune to that height of prosperity which their talents deserve2 whereas1 if a man tries many1 he must in the end find one wherein sooner or later he succeeds in being recognized4 ,and it often comes to pass that one who attains to the reward of his labours late in life1 is prevented by the venom of death from enjoying it for long1 even as we shall see in the case of ,girolamo da ,treviso4 ,this painter was held to be a very good master2 and although he was no great draughtsman1 he was a pleasing colourist both in oils and in fresco1 and a close imitator of the methods of ,raffaello da ,urbino4 ,he worked much in his native city of ,treviso2 and he also executed many works in ,venice1 such as1 in particular1 the faade of the house of ,andrea ,udoni1 which he painted in fresco1 with some friezes of children in the courtyard1 and one of the upper apartments3 all of which he executed in colour1 and not in chiaroscuro1 because the ,venetians like colour better than anything else4 ,in a large scene in the middle of this faade is a ,juno1 seen from the thighs upwards1 flying on some clouds with the moon on her head1 over which are raised her arms1 one holding a vase and the other a bowl4 ,he also painted there a ,bacchus1 fat and ruddy1 with a vessel that he is upsetting1 and holding with one arm a ,ceres who has many ears of corn in her hands4 ,there1 too1 are the ,graces1 with five little boys who are flying below and welcoming them1 in order1 so they signify1 to make the house of the ,udoni abound with their gifts2 and to show that the same house was a friendly haven for men of talent1 he painted ,apollo on one side and ,pallas on the other4 ,this work was executed with great freshness1 so that ,girolamo gained from it both honour and profit4 ,the same master painted a picture for the ,chapel of the ,madonna in ,s4 ,petronio1 in competition with certain painters of ,bologna1 as will be related in the proper place4 ,and continuing to live in ,bologna1 he executed many pictures there2 and in ,s4 ,petronio1 in the ,chapel of ,s4 ,antonio da ,padova1 he depicted in oils1 in imitation of marble1 all the stories of the life of the latter ,saint1 in which1 without a doubt1 there may be perceived grace1 judgment1 excellence1 and a great delicacy of finish4 ,he painted a panel-picture for ,s4 ,salvatore1 of the ,madonna ascending the steps of the ,temple1 with some saints2 and another of the ,madonna in the sky1 with some children1 and ,s4 ,jerome and ,s4 ,catherine beneath1 which is certainly the weakest work by his hand that is to be seen in ,bologna4 ,over a great portal1 also1 in ,bologna1 he painted in fresco a ,crucifix with ,our ,lady and ,s4 ,john1 all worthy of the highest praise4 ,for ,s4 ,domenico1 at ,bologna1 he executed a panel-picture in oils of ,our ,lady with some saints1 which is the best of his works2 it is near the choir1 as one ascends to the tomb of ,s4 ,dominic1 and in it is the portrait of the patron who had it painted4 ,in like manner1 he painted a picture for ,count ,giovanni ,battista ,bentivogli1 who had the cartoon by the hand of ,baldassarre of ,siena1 representing the story of the ,magi3 a work which he carried to a very fine completion1 although it contained more than a hundred figures4 ,there are also many other works by the hand of ,girolamo in ,bologna1 both in private houses and in the churches4 ,in ,galiera he painted in chiaroscuro the faade of the ,palace of the ,teofamini1 with another faade behind the house of the ,dolfi1 which is considered in the judgment of many craftsmen to be the best work that he ever executed in that city4 ,he went to ,trento1 and1 in company with other painters1 painted the palace of the old ,cardinal1 from which he gained very great fame4 ,then1 returning to ,bologna1 he gave his attention to the works that he had begun4 ,now it happened that there was much talk throughout ,bologna about having a panel-picture painted for the ,della ,morte ,hospital1 for which various designs were made by way of competition1 some in drawing and some in colour4 ,and since many thought that they had the first claim1 some through interest and others because they held themselves to be most worthy of such a commission1 ,girolamo was left in the lurch2 and considering that he had been wronged1 not long afterwards he departed from ,bologna4 ,and thus the envy of others raised him to such a height of prosperity as he had never thought of2 since1 if he had been chosen for the work1 it would have impeded the blessings that his good fortune had prepared for him4 ,for1 having made his way to ,england1 he was recommended by some friends1 who favoured him1 to ,king ,henry2 and presenting himself before him1 he entered into his service1 although not as painter1 but as engineer4 ,then1 making trial of his skill in various edifices1 copied from some in ,tuscany and other parts of ,italy1 that ,king pronounced them marvellous1 rewarded him with a succession of presents1 and decreed him a provision of four hundred crowns a year2 and he was given the means to build an honourable abode for himself at the expense of the ,king4 ,thereupon ,girolamo1 raised from one extreme of distress to the other extreme of grandeur1 lived a most happy and contented life1 thanking ,god and ,fortune for having turned his steps to a country where men were so favourable to his talents4 ,but this unwonted happiness was not destined to last long1 for the war between the ,french and the ,english being continued1 and ,girolamo being charged with superintending all the work of the bastions and fortifications1 the artillery1 and the defences of the camp1 it happened one day1 when the city of ,boulogne in ,picardy was being bombarded1 that a ball from a demi-cannon came with horrid violence and cut him in half on his horse's back4 ,and thus1 ,girolamo being at the age of thirty-six1 his life1 his earthly honours1 and all his greatness were extinguished at one and the same moment1 in the year #aedd4 ,,polidoro ,,da ,,caravaggio ,,and ,,maturino ,,lives ,,of ,,polidoro ,,da ,,caravaggio ,,and ,,the ,,florentine ,,maturino ,,painters ,in the last age of gold1 as the happy age of ,leo ,x might have been called for all noble craftsmen and men of talent1 an honoured place was held among the most exalted spirits by ,polidoro da ,caravaggio1 a ,lombard1 who had not become a painter after long study1 but had been created and produced as such by ,nature4 ,this master1 having come to ,rome at the time when the ,loggie of the ,papal ,palace were being built for ,leo under the direction of ,raffaello da ,urbino1 carried the pail1 or we should rather say the hod1 full of lime1 for the masons who were doing the work1 until he had reached the age of eighteen4 ,but1 when ,giovanni da ,udine had begun to paint there1 the building and the painting proceeding together1 ,polidoro1 whose will and inclination were much drawn to painting1 could not rest content until he had become intimate with all the most able of the young men1 in order to study their methods and manners of art1 and to set himself to draw4 ,and out of their number he chose as his companion the ,florentine ,maturino1 who was then working in the ,papal ,chapel1 and was held to be an excellent draughtsman of antiquities4 ,associating with him1 ,polidoro became so enamoured of that art1 that in a few months1 having made trial of his powers1 he executed works that astonished every person who had known him in his former condition4 ,on which account1 the work of the ,loggie proceeding1 he exercised his hand to such purpose in company with those young painters1 who were well-practised and experienced in painting1 and learned the art so divinely well1 that he did not leave that work without carrying away the true glory of being considered the most noble and most beautiful intellect that was to be found among all their number4 ,thereupon the love of ,maturino for ,polidoro1 and of ,polidoro for ,maturino1 so increased1 that they determined like brothers and true companions to live and die together2 and1 uniting their ambitions1 their purses1 and their labours1 they set themselves to work together in the closest harmony and concord4 ,but since there were in ,rome many who had great fame and reputation1 well justified by their works1 for making their paintings more lively and vivacious in colour and more worthy of praise and favour1 there began to enter into their minds the idea of imitating the methods of ,baldassarre of ,siena1 who had executed several faades of houses in chiaroscuro1 and of giving their attention thenceforward to that sort of work1 which by that time had come into fashion4 ,they began one1 therefore1 on ,montecavallo1 opposite to ,s4 ,silvestro1 in company with ,pellegrino da ,modena1 which encouraged them to make further efforts to see whether this should be their profession2 and they went on to execute another opposite to the side-door of ,s4 ,salvatore del ,lauro1 and likewise painted a scene by the side-door of the ,minerva1 with another1 which is a frieze of marine monsters1 above ,s4 ,rocco a ,ripetta4 ,and during this first period they painted a vast number of them throughout all ,rome1 but not so good as the others2 and there is no need to mention them here1 since they afterwards did better work of that sort4 ,gaining courage1 therefore1 from this1 they began to study the antiquities of ,rome1 counterfeiting the ancient works of marble in their works in chiaroscuro1 so that there remained no vase1 statue1 sarcophagus1 scene1 or any single thing1 whether broken or entire1 which they did not draw and make use of4 ,and with such constancy and resolution did they give their minds to this pursuit1 that they both acquired the ancient manner1 the work of the one being so like that of the other1 that1 even as their minds were guided by one and the same will1 so their hands expressed one and the same knowledge4 ,and although ,maturino was not as well assisted by ,nature as ,polidoro1 so potent was the faithful imitation of one style by the two in company1 that1 wherever either of them placed his hand1 the work of both one and the other1 whether in composition1 expression1 or manner1 appeared to be the same4 ,in the ,piazza di ,capranica1 on the way to the ,piazza ,colonna1 they painted a faade with the ,theological ,virtues1 and a frieze of very beautiful invention beneath the windows1 including a draped figure of ,rome representing the ,faith1 and holding the ,chalice and the ,host in her hands1 who has taken captive all the nations of the earth2 and all mankind is flocking up to bring her tribute1 while the ,turks1 overcome at the last1 are shooting arrows at the tomb of ,mahomet2 all ending in the words of ,scripture1 ,there shall be one fold and one ,shepherd4 ,and1 indeed1 they had no equals in invention2 of which we have witness in all their works1 abounding in personal ornaments1 vestments1 foot-wear1 and things bizarre and strange1 and executed with an incredible beauty4 ,and another proof is that their works are continually being drawn by all the foreign painters2 wherefore they conferred greater benefits on the art of painting with the beautiful manner that they displayed and with their marvellous facility1 than have all the others together who have lived from ,cimabue downwards4 ,it has been seen continually1 therefore1 in ,rome1 and is still seen1 that all the draughtsmen are inclined more to the works of ,polidoro and ,maturino than to all the rest of our modern pictures4 ,in the ,borgo ,nuovo they executed a faade in sgraffito1 and on the ,canto della ,pace another likewise in sgraffito2 with a faade of the house of the ,spinoli1 not far from that last-mentioned1 on the way to the ,parione1 containing athletic contests according to the custom of the ancients1 and their sacrifices1 and the death of ,tarpeia4 ,near the ,torre di ,nona1 on the side towards the ,ponte ,s4 ,angelo1 may be seen a little faade with the ,triumph of ,camillus and an ancient sacrifice4 ,in the road that leads to the ,imagine di ,ponte1 there is a most beautiful faade with the story of ,perillus1 showing him being placed in the bronze bull that he had made2 wherein great effort may be seen in those who are thrusting him into that bull1 and terror in those who are waiting to behold a death so unexampled1 besides which there is the seated figure of ,phalaris 7so ,i believe71 ordaining with an imperious air of great beauty the punishment of the inhuman spirit that had invented a device so novel and so cruel in order to put men to death with greater suffering4 ,in this work1 also1 may be perceived a very beautiful frieze of children1 painted to look like bronze1 and other figures4 ,higher up than this they painted the faade of the house where there is the image which is called the ,imagine di ,ponte1 wherein are seen several stories illustrated by them1 with the ,senatorial ,order dressed in the garb of ancient ,rome4 ,and in the ,piazza della ,dogana1 beside ,s4 ,eustachio1 there is a faade of battle-pieces2 and within that church1 on the right as one enters1 may be perceived a little chapel with figures painted by ,polidoro4 ,they also executed another above the ,farnese ,palace for the ,cepperelli1 and a faade behind the ,minerva in the street that leads to the ,maddaleni2 and in the latter1 which contains scenes from ,roman history1 may be seen1 among other beautiful things1 a frieze of children in triumph1 painted to look like bronze1 and executed with supreme grace and extraordinary beauty4 ,on the faade of the ,buoni ,auguri1 near the ,minerva1 are some very beautiful stories of ,romulus1 showing him when he is marking out the site of his city with the plough1 and when the vultures are flying over him2 wherein the vestments1 features1 and persons of the ancients are so well imitated1 that it truly appears as if these were the very men themselves4 ,certain it is that in that field of art no man ever had such power of design1 such practised mastery1 a more beautiful manner1 or greater facility4 ,and every craftsman is so struck with wonder every time that he sees these works1 that he cannot but be amazed at the manner in which ,nature has been able in this age to present her marvels to us by means of these men4 ,below the ,corte ,savella1 also1 on the house bought by ,signora ,costanza1 they painted the ,rape of the ,sabines1 a scene which reveals the raging desire of the captors no less clearly than the terror and panic of the wretched women thus carried off by various soldiers1 some on horseback and others in other ways4 ,and not only in this one scene are there such conceptions1 but also 7and even more7 in the stories of ,mucius and ,horatius1 and in the ,flight of ,porsena1 ,king of ,tuscany4 ,in the garden of ,m4 ,stefano dal ,bufalo1 near the ,fountain of ,trevi1 they executed some most beautiful scenes of the ,fount of ,parnassus1 in which they made grotesques and little figures1 painted very well in colour4 ,on the house of ,baldassini1 also1 near ,s4 ,agostino1 they executed scenes and sgraffiti1 with some heads of ,emperors over the windows in the court4 ,on ,montecavallo1 near ,s4 ,agata1 they painted a faade with a vast number of different stories1 such as the ,vestal ,tuccia bringing water from the ,tiber to the ,temple in a sieve1 and ,claudia drawing the ship with her girdle2 and also the rout effected by ,camillus while ,brennus is weighing the gold4 ,on another wall1 round the corner1 are ,romulus and his brother being suckled by the wolf1 and the terrible combat of ,horatius1 who is defending the head of the bridge1 alone against a thousand swords1 while behind him are many very beautiful figures in various attitudes1 working with might and main to hew away the bridge with pickaxes4 ,there1 also1 is ,mucius ,scvola1 who1 before the eyes of ,porsena1 is burning his own hand1 which had erred in slaying the ,king's minister in place of the ,king2 and in the ,king's face may be seen disdain and a desire for vengeance4 ,and within that house they executed a number of landscapes4 ,they decorated the faade of ,s4 ,pietro in ,vincula1 painting therein stories of ,s4 ,peter1 with some large figures of ,prophets4 ,and so widespread was the fame of these masters by reason of the abundance of their work1 that the pictures painted by them with such beauty in public places enabled them to win extraordinary praise in their lifetime1 with glory infinite and eternal through the number of their imitators after death4 ,on a faade1 also1 in the square where stands the ,palace of the ,medici1 behind the ,piazza ,navona1 they painted the ,triumphs of ,paulus ,emilius1 with a vast number of other ,roman stories4 ,and at ,s4 ,silvestro di ,montecavallo they executed some little things for ,fra ,mariano1 both in the house and in the garden2 and in the church they painted his chapel1 with two scenes in colour from the life of ,s4 ,mary ,magdalene1 in which the disposition of the landscapes is executed with supreme grace and judgment4 ,for ,polidoro1 in truth1 executed landscapes and groups of trees and rocks better than any other painter1 and it is to him that art owes that facility which our modern craftsmen show in their works4 ,they also painted many apartments and friezes in various houses at ,rome1 executing them with colours in fresco and in distemper2 but these works were attempted by them as trials1 because they were never able to achieve with colours that beauty which they always displayed in their works in chiaroscuro1 in their imitations of bronze1 or in terretta4 ,this may still be seen in the house of ,torre ,sanguigna1 which once belonged to the ,cardinal of ,volterra1 on the faade of which they painted a most beautiful decoration in chiaroscuro1 and in the interior some figures in colour1 the painting of which is so badly executed1 that in it they diverted from its true excellence the good design which they always had4 ,and this appeared all the more strange because of there being beside them an escutcheon of ,pope ,leo1 with nude figures1 by the hand of ,giovan ,francesco ,vetraio1 who would have done extraordinary things if death had not taken him from our midst4 ,however1 not cured by this of their insane confidence1 they also painted some children in colour for the altar of the ,martelli in ,s4 ,agostino at ,rome1 a work which ,jacopo ,sansovino completed by making a ,madonna of marble2 and these children appear to be by the hands1 not of illustrious masters1 but of simpletons just beginning to learn4 ,whereas1 on the side where the altar-cloth covers the altar1 ,polidoro painted a little scene of a ,dead ,christ with the ,maries1 which is a most beautiful work1 showing that in truth that sort of work was more their profession than the use of colours4 ,returning1 therefore1 to their usual work1 they painted two very beautiful faades in the ,campo ,marzio2 one with the stories of ,ancus ,martius1 and the other with the ,festivals of the ,saturnalia1 formerly celebrated in that place1 with all the two-horse and four-horse chariots circling round the obelisks1 which are held to be most beautiful1 because they are so well executed both in design and in nobility of manner1 that they reproduce most vividly those very spectacles as representations of which they were painted4 ,on the ,canto della ,chiavica1 on the way to the ,corte ,savella1 they painted a faade which is a divine thing1 and is held to be the most beautiful of all the beautiful works that they executed2 for1 in addition to the story of the maidens passing over the ,tiber1 there is at the foot1 near the door1 a ,sacrifice painted with marvellous industry and art1 wherein may be seen duly represented all the instruments and all those ancient customs that used to have a place in sacrifices of that kind4 ,near the ,piazza del ,popolo1 below ,s4 ,jacopo degli ,incurabili1 they painted a faade with stories of ,alexander the ,great1 which is held to be very fine2 and there they depicted the ancient statues of the ,nile and the ,tiber from the ,belvedere4 ,near ,s4 ,simeone they painted the faade of the ,gaddi ,palace1 which is truly a cause of marvel and amazement1 when one observes the lovely vestments in it1 so many and so various1 and the vast number of ancient helmets1 girdles1 buskins1 and barques1 adorned with all the delicacy and abundance of detail that an inventive imagination could conceive4 ,there1 with a multitude of beautiful things which overload the memory1 are represented all the ways of the ancients1 the statues of sages1 and most lovely women3 and there are all the sorts of ancient sacrifices with their ritual1 and an army in the various stages between embarking and fighting with an extraordinary variety of arms and implements1 all executed with such grace and finished with such masterly skill1 that the eye is dazzled by the vast abundance of beautiful inventions4 ,opposite to this is a smaller faade1 which could not be improved in beauty and variety2 and there1 in the frieze1 is the story of ,niobe causing herself to be worshipped1 with the people bringing tribute1 vases1 and various kinds of gifts2 which story was depicted by them with such novelty1 grace1 art1 force of relief and genius in every part1 that it would certainly take too long to describe the whole4 ,next1 there follows the wrath of ,latona1 and her terrible vengeance on the children of the over-proud ,niobe1 whose seven sons are slain by ,phoebus and the seven daughters by ,diana2 with an endless number of figures in imitation of bronze1 which appear to be not painted but truly of metal4 ,above these are executed other scenes1 with some vases in imitation of gold1 innumerable things of fancy so strange that mortal eye could not picture anything more novel or more beautiful1 and certain ,etruscan helmets2 but one is left confused by the variety and abundance of the conceptions1 so beautiful and so fanciful1 which issued from their minds4 ,these works have been imitated by a vast number of those who labour at that branch of art4 ,they also painted the courtyard of that house1 and likewise the loggia1 which they decorated with little grotesques in colour that are held to be divine4 ,in short1 all that they touched they brought to perfection with infinite grace and beauty2 and if ,i were to name all their works1 ,i should fill a whole book with the performances of these two masters alone1 since there is no apartment1 palace1 garden1 or villa in ,rome that does not contain some work by ,polidoro and ,maturino4 ,now1 while ,rome was rejoicing and clothing herself in beauty with their labours1 and they were awaiting the reward of all their toil1 the envy of ,fortune1 in the year #aebg1 sent ,bourbon to ,rome2 and he gave that city over to sack4 ,whereupon was divided the companionship not only of ,polidoro and ,maturino1 but of all the thousands of friends and relatives who had broken bread together for so many years in ,rome4 ,maturino took to flight1 and no long time passed before he died1 so it is believed in ,rome1 of plague1 in consequence of the hardships that he had suffered in the sack1 and was buried in ,s4 ,eustachio4 ,polidoro turned his steps to ,naples2 but on his arrival1 the noblemen of that city taking but little interest in fine works of painting1 he was like to die of hunger4 ,working1 therefore1 at the commission of certain painters1 he executed a ,s4 ,peter in the principal chapel of ,s4 ,maria della ,grazia2 and in this way he assisted those painters in many things1 more to save his life than for any other reason4 ,however1 the fame of his talents having spread abroad1 he executed for ,count 444 a vault painted in distemper1 together with some walls1 all of which is held to be very beautiful work4 ,in like manner1 he executed a courtyard in chiaroscuro for ,signor 4441 with some loggie1 which are very beautiful1 rich in ornaments1 and well painted4 ,he also painted for ,s4 ,angelo1 beside the ,pescheria at ,naples1 a little panel in oils1 containing a ,madonna and some naked figures of souls in torment1 which is held to be most beautiful1 but more for the drawing than for the colouring2 and likewise some pictures for the ,chapel of the ,high-,altar1 each with a single full-length figure1 and all executed in the same manner4 ,it came to pass that ,polidoro1 living in ,naples and seeing his talents held in little esteem1 determined to take his leave of men who thought more of a horse that could jump than of a master whose hands could give to painted figures the appearance of life4 ,going on board ship1 therefore1 he made his way to ,messina1 where1 finding more consideration and more honour1 he set himself to work2 and thus1 working continually1 he acquired good skill and mastery in the use of colour4 ,thereupon he executed many works1 which are dispersed in various places2 and turning his attention to architecture1 he gave proof of his worth in many buildings that he erected4 ,after a time1 ,charles ,v passing through ,messina on his return from victory in ,tunis1 ,polidoro made in his honour most beautiful triumphal arches1 from which he gained vast credit and rewards4 ,and then this master1 who was always burning with desire to revisit ,rome1 which afflicts with an unceasing yearning those who have lived there many years1 when making trial of other countries1 painted as his last work in ,messina a panel-picture of ,christ bearing the ,cross1 executed in oils with much excellence and very pleasing colour4 ,in it he made a number of figures accompanying ,christ to ,his ,death--soldiers1 pharisees1 horses1 women1 children1 and the ,thieves in front2 and he kept firmly before his mind the consideration of how such an execution must have been marshalled1 insomuch that his nature seemed to have striven to show its highest powers in this work1 which is indeed most excellent4 ,after this he sought many times to shake himself free of that country1 although he was looked upon with favour there2 but he had a reason for delay in a woman1 beloved by him for many years1 who detained him with her sweet words and cajoleries4 ,however1 so mightily did his desire to revisit ,rome and his friends work in him1 that he took from his bank a good sum of money that he possessed1 and1 wholly determined1 prepared to depart4 ,polidoro had employed as his assistant for a long time a lad of the country1 who bore greater love to his master's money than to his master2 but1 the money being kept1 as has been said1 in the bank1 he was never able to lay his hands upon it and carry it off4 ,wherefore1 an evil and cruel thought entering his head1 he resolved to put his master to death with the help of some accomplices1 on the following night1 while he was sleeping1 and then to divide the money with them4 ,and so1 assisted by his friends1 he set upon ,polidoro in his first sleep1 while he was slumbering deeply1 and strangled him with a cloth4 ,then1 giving him several wounds1 they made sure of his death2 and in order to prove that it was not they who had done it1 they carried him to the door of the woman whom he had loved1 making it appear that her relatives or other persons of the house had killed him4 ,the assistant gave a good part of the money to the villains who had committed so hideous an outrage1 and bade them be off4 ,in the morning he went in tears to the house of a certain ,count1 a friend of his dead master1 and related the event to him2 but for all the diligence that was used for many days in seeking for the perpetrator of the crime1 nothing came to light4 ,by the will of ,god1 however1 nature and virtue1 in disdain at being wounded by the hand of fortune1 so worked in one who had no interest in the matter1 that he declared it to be impossible that any other but the assistant himself could have committed the murder4 ,whereupon the ,count had him seized and put to the torture1 and without the application of any further torment he confessed the crime and was condemned by the law to the gallows2 but first he was torn with red-hot pincers on the way to execution1 and finally quartered4 ,for all this1 however1 life was not restored to ,polidoro1 nor was there given back to the art of painting a genius so resolute and so extraordinary1 such as had not been seen in the world for many an age4 ,if1 indeed1 at the time when he died1 invention1 grace1 and boldness in the painting of figures could have laid down their lives1 they would have died with him4 ,happy was the union of nature and art which embodied a spirit so noble in human form2 and cruel was the envy and hatred of his fate and fortune1 which robbed him of life with so strange a death1 but shall never through all the ages rob him of his name4 ,his obsequies were performed with full solemnity1 and he was given burial in the ,cathedral ,church1 lamented bitterly by all ,messina1 in the year #aedc4 ,great1 indeed1 is the obligation owed by craftsmen to ,polidoro1 in that he enriched art with a great abundance of vestments1 all different and most strange1 and of varied ornaments1 and gave grace and adornment to all his works1 and likewise made figures of every sort1 animals1 buildings1 grotesques1 and landscapes1 all so beautiful1 that since his day whosoever has aimed at catholicity has imitated him4 ,it is a marvellous thing and a fearsome to see from the example of this master the instability of ,fortune and what she can bring to pass1 causing men to become excellent in some profession from whom something quite different might have been expected1 to the no small vexation of those who have laboured in vain for many years at the same art4 ,it is a marvellous thing1 ,i repeat1 to see those same men1 after much travailing and striving1 brought by that same ,fortune to a miserable and most unhappy end at the very moment when they were hoping to enjoy the fruits of their labours2 and that with calamities so monstrous and terrible1 that pity herself takes to flight1 art is outraged1 and benefits are repaid with an extraordinary and incredible ingratitude4 ,wherefore1 even as painting may rejoice in the fruitful life of ,polidoro1 so could he complain of ,fortune1 which at one time showed herself friendly to him1 only to bring him afterwards1 when it was least expected1 to a dreadful death4 ,,il ,,rosso ,,life ,,of ,,il ,,rosso ,,painter ,,of ,,florence ,men of account who apply themselves to the arts and pursue them with all their powers are sometimes exalted and honoured beyond measure1 at a moment when it was least expected1 before the eyes of all the world1 as may be seen clearly from the labours that ,il ,rosso1 a painter of ,florence1 devoted to the art of painting2 for if these were not acknowledged in ,rome and ,florence by those who could reward them1 yet in ,france he found one to recompense him for them1 and that in such sort1 that his glory might have sufficed to quench the thirst of the most overweening ambition that could possess the heart of any craftsman1 be he who he may4 ,nor could he have obtained in this life greater dignities1 honour1 or rank1 seeing that he was regarded with favour and much esteemed beyond any other man of his profession by a ,king so great as is the ,king of ,france4 ,and1 indeed1 his merits were such1 that1 if ,fortune had secured less for him1 she would have done him a very great wrong1 for the reason that ,rosso1 in addition to his painting1 was endowed with a most beautiful presence2 his manner of speech was gracious and grave2 he was an excellent musician1 and had a fine knowledge of philosophy2 and what was of greater import than all his other splendid qualities was this1 that he always showed the invention of a poet in the grouping of his figures1 besides being bold and well-grounded in draughtsmanship1 graceful in manner1 sublime in the highest flights of imagination1 and a master of beautiful composition of scenes4 ,in architecture he showed an extraordinary excellence2 and he was always1 however poor in circumstances1 rich in the grandeur of his spirit4 ,for this reason1 whosoever shall follow in the labours of painting the walk pursued by ,rosso1 must be celebrated without ceasing1 as are that master's works1 which have no equals in boldness and are executed without effort and strain1 since he kept them free of that dry and painful elaboration to which so many subject themselves in order to veil the worthlessness of their works with the cloak of importance4 ,in his youth1 ,rosso drew from the cartoon of ,michelagnolo1 and would study art with but few masters1 having a certain opinion of his own that conflicted with their manners2 as may be seen from a shrine executed in fresco for ,piero ,bartoli at ,marignolle1 without the ,porta a ,s4 ,piero ,gattolini in ,florence1 containing a ,dead ,christ1 wherein he began to show how great was his desire for a manner bold and grand1 graceful and marvellous beyond that of all others4 ,while still a beardless boy1 at the time when ,lorenzo ,pucci was made a ,cardinal by ,pope ,leo1 he executed over the door of ,s4 ,sebastiano de' ,servi the arms of the ,pucci1 with two figures1 which made the craftsmen of that day marvel1 for no one expected for him such a result as he achieved4 ,wherefore he so grew in courage1 that1 after having painted a picture with a half-length figure of ,our ,lady and a head of ,s4 ,john the ,evangelist for ,maestro ,jacopo1 a ,servite friar1 who was something of a poet1 at his persuasion he painted the ,assumption of the ,madonna in the cloister of the ,servites1 beside the scene of the ,visitation1 which was executed by ,jacopo da ,pontormo4 ,in this he made a ,heaven full of angels1 all in the form of little naked children dancing in a circle round the ,madonna1 foreshortened with a most beautiful flow of outlines and with great grace of manner1 as they wheel through the sky3 insomuch that1 if the colouring had been executed by him with that mature mastery of art which he afterwards came to achieve1 he would have surpassed the other scenes by a great measure1 even as he actually did equal them in grandeur and excellence of design4 ,he made the ,apostles much burdened with draperies1 and1 indeed1 overloaded with their abundance2 but the attitudes and some of the heads are more than beautiful4 ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,saints 7,after the panel by ,il ,rosso4 ,florence3 ,uffizi1 #dg7 ,alinari ,the ,director of the ,hospital of ,s4 ,maria ,nuova commissioned him to paint a panel3 but when he saw it sketched1 having little knowledge of that art1 the ,saints appeared to him like devils2 for it was ,rosso's custom in his oil-sketches to give a sort of savage and desperate air to the faces1 after which1 in finishing them1 he would sweeten the expressions and bring them to a proper form4 ,at this the patron fled from his house and would not have the picture1 saying that the painter had cheated him4 ,in like manner1 over another door that leads into the cloister of the ,convent of the ,servites1 ,rosso painted the escutcheon of ,pope ,leo1 with two children2 but it is now ruined4 ,and in the houses of citizens may be seen several of his pictures and many portraits4 ,for the visit of ,pope ,leo to ,florence he executed a very beautiful arch on the ,canto de' ,bischeri4 ,afterwards he painted a most beautiful picture of the ,dead ,christ for ,signor di ,piombino1 and also decorated a little chapel for him4 ,at ,volterra1 likewise1 he painted a most lovely ,deposition from the ,cross4 ,having therefore grown in credit and fame1 he executed for ,s4 ,spirito1 in ,florence1 the panel-picture of the ,dei family1 which they had formerly entrusted to ,raffaello da ,urbino1 who abandoned it because of the cares of the work that he had undertaken in ,rome4 ,this picture ,rosso painted with marvellous grace1 draughtsmanship1 and vivacity of colouring4 ,let no one imagine that any work can display greater force or show more beautifully from a distance than this one1 which1 on account of the boldness of the figures and the extravagance of the attitudes1 no longer employed by any of the other painters1 was held to be an extraordinary work4 ,and although it did not bring him much credit at that time1 the world has since come little by little to recognize its excellence and has given it abundant praise2 for with regard to the blending of colour it would be impossible to excel it1 seeing that the lights which are in the brightest parts unite with the lower lights little by little as they merge into the darks1 with such sweetness and harmony1 and with such masterly skill in the projection of the shadows1 that the figures stand out from one another and bring each other into relief by means of the lights and shades4 ,such vigour1 indeed1 has this work1 that it may be said to have been conceived and executed with more judgment and mastery than any that has ever been painted by any other master1 however superior his judgment4 ,for ,s4 ,lorenzo1 at the commission of ,carlo ,ginori1 he painted a panel-picture of the ,marriage of ,our ,lady1 which is held to be a most beautiful work4 ,and1 in truth1 with regard to his facility of method1 there has never been anyone who has been able to surpass him in masterly skill and dexterity1 or even to approach within any distance of him2 and he was so sweet in colouring1 and varied his draperies with such grace1 and took such delight in his art1 that he was always held to be marvellous and worthy of the highest praise4 ,whosoever shall observe this work must recognize that all that ,i have written is most true1 above all as he studies the nudes1 which are very well conceived1 with all the requirements of anatomy4 ,his women are full of grace1 and the draperies that adorn them fanciful and bizarre4 ,he showed1 also1 the sense of fitness that is necessary in the heads of the old1 with their harshness of features1 and in those of women and children1 with expressions sweet and pleasing4 ,he was so rich in invention1 that he never had any space left over in his pictures1 and he executed all his work with such facility and grace1 that it was a marvel4 ,for ,giovanni ,bandini1 also1 he painted a picture with some very beautiful nudes1 representing the scene of ,moses slaying the ,egyptian1 wherein were things worthy of the highest praise2 and this was sent1 ,i believe1 into ,france4 ,and for ,giovanni ,cavalcanti1 likewise1 he executed another1 which went to ,england1 of ,jacob receiving water from the women at the well2 this was held to be a divine work1 seeing that it contained nudes and women wrought with supreme grace4 ,for women1 indeed1 he always delighted to paint transparent pieces of drapery1 head-dresses with intertwined tresses1 and ornaments for their persons4 ,while ,rosso was engaged on this work1 he was living in the ,borgo de' ,tintori1 the rooms of which look out on the gardens of the ,friars of ,s4 ,croce2 and he took much pleasure in a great ape1 which had the intelligence rather of a man than of a beast4 ,for this reason he held it very dear1 and loved it like his own self2 and since it had a marvellous understanding1 he made use of it for many kinds of service4 ,it happened that this beast took a fancy to one of his assistants1 by name ,battistino1 who was a young man of great beauty2 and from the signs that his ,battistino made to him he understood all that he wished to say4 ,now against the wall of the rooms at the back1 which looked out upon the garden of the friars1 was a pergola belonging to the ,guardian1 loaded with great ,sancolombane grapes2 and the young men used to let the ape down with a rope to the pergola1 which was some distance from their window1 and pull the beast up again with his hands full of grapes4 ,the ,guardian1 finding his pergola stripped1 but not knowing the culprit1 suspected that it must be mice1 and lay in hiding2 and seeing ,rosso's ape descending1 he flew into a rage1 seized a long pole1 and rushed at him with hands uplifted in order to beat him4 ,the ape1 seeing that whether he went up or stayed where he was1 the ,guardian could reach him1 began to spring about and destroy the pergola1 and then1 making as though to throw himself on the friar's back1 seized with both his hands the outermost crossbeams which enclosed the pergola4 ,meanwhile the friar made play with his pole1 and the ape1 in his terror1 shook the pergola to such purpose1 and with such force1 that he tore the stakes and rods out of their places1 so that both pergola and ape fell headlong on the back of the friar1 who shrieked for mercy4 ,the rope was pulled up by ,battistino and the others1 who brought the ape back into the room safe and sound4 ,thereupon the ,guardian1 drawing off and planting himself on a terrace that he had there1 said things not to be found in the ,mass2 and full of anger and resentment he went to the ,council of ,eight1 a tribunal much feared in ,florence4 ,there he laid his complaint2 and1 ,rosso having been summoned1 the ape was condemned in jest to carry a weight fastened to his tail1 to prevent him from jumping on pergole1 as he did before4 ,and so ,rosso made a wooden cylinder swinging on a chain1 and kept it on the ape1 in such a way that he could go about the house but no longer jump about over other people's property4 ,the ape1 seeing himself condemned to such a punishment1 seemed to guess that the friar was responsible4 ,every day1 therefore1 he exercised himself in hopping step by step with his legs1 holding the weight with his hands2 and thus1 resting often1 he succeeded in his design4 ,for1 being one day loose about the house1 he hopped step by step from roof to roof1 during the hour when the ,guardian was away chanting ,vespers1 and came to the roof over his chamber4 ,there1 letting go the weight1 he kept up for half an hour such a lovely dance1 that not a single tile of any kind remained unbroken4 ,then he went back home2 and within three days1 when rain came1 were heard the ,guardian's lamentations4 ,rosso1 having finished his works1 took the road to ,rome with ,battistino and the ape2 in which city his works were sought for with extraordinary eagerness1 great expectations having been awakened about them by the sight of some drawings executed by him1 which were held to be marvellous1 for ,rosso drew divinely well and with the highest finish4 ,there1 in the ,pace1 over the pictures of ,raffaello1 he executed a work which is the worst that he ever painted in all his days4 ,nor can ,i imagine how this came to pass1 save from a reason which has been seen not only in his case1 but also in that of many others1 and which appears to be an extraordinary thing1 and one of the secrets of nature2 and it is this1 that he who changes his country or place of habitation seems to change his nature1 talents1 character1 and personal habits1 insomuch that sometimes he seems to be not the same man but another1 and all dazed and stupefied4 ,this may have happened to ,rosso in the air of ,rome1 and on account of the stupendous works of architecture and sculpture that he saw there1 and the paintings and statues of ,michelagnolo1 which may have thrown him off his balance2 which works also drove ,fra ,bartolommeo di ,san ,marco and ,andrea del ,sarto to flight1 and prevented them from executing anything in ,rome4 ,certain it is1 be the cause what it may1 that ,rosso never did worse2 and1 what is more1 this work has to bear comparison with those of ,raffaello da ,urbino4 ,at this time he painted for ,bishop ,tornabuoni1 who was his friend1 a picture of a ,dead ,christ supported by two angels1 which was a most beautiful piece of work1 and is now in the possession of the heirs of ,monsignor della ,casa4 ,for ,baviera he made drawings of all the ,gods1 for copper-plates1 which were afterwards engraved by ,jacopo ,caraglio2 one of them being ,saturn changing himself into a horse1 and the most noteworthy that of ,pluto carrying off ,proserpine4 ,he executed a sketch for the ,beheading of ,s4 ,john the ,baptist1 which is now in a little church on the ,piazza de' ,salviati in ,rome4 ,meanwhile the sack of the city took place1 and poor ,rosso was taken prisoner by the ,germans and used very ill1 for1 besides stripping him of his clothes1 they made him carry weights on his back barefooted and with nothing on his head1 and remove almost the whole stock from a cheesemonger's shop4 ,thus ill-treated by them1 he escaped with difficulty to ,perugia1 where he was warmly welcomed and reclothed by the painter ,domenico di ,paris1 for whom he drew the cartoon for a panel-picture of the ,magi1 a very beautiful work1 which is to be seen in the house of ,domenico4 ,but he did not stay long in that place1 for1 hearing that ,bishop ,tornabuoni1 who was very much his friend1 and had also fled from the sack1 had gone to ,borgo a ,san ,sepolcro1 he made his way thither4 ,there was living at that time in ,borgo a ,san ,sepolcro a pupil of ,giulio ,romano1 the painter ,raffaello dal ,colle2 and this master1 having undertaken for a small price to paint a panel for ,s4 ,croce1 the seat of a ,company of ,flagellants1 in his native city1 lovingly resigned the commission and gave it to ,rosso1 to the end that he might leave some example of his handiwork in that place4 ,at this the ,company showed resentment1 but the ,bishop gave him every facility2 and when the picture1 which brought him credit1 was finished1 it was set up in ,s4 ,croce4 ,the ,deposition from the ,cross that it contains is something very rare and beautiful1 because he rendered in the colours a certain effect of darkness to signify the eclipse that took place at ,christ's death1 and because it was executed with very great diligence4 ,afterwards1 at ,citt di ,castello1 he received the commission for a panel-picture1 on which he was about to set to work1 when1 as it was being primed with gesso1 a roof fell upon it and broke it to pieces2 while upon him there came a fever so violent1 that he was like to die of it1 on which account he had himself carried from ,castello to ,borgo a ,san ,sepolcro4 ,this malady being followed by a quartan fever1 he then went on to the ,pieve a ,san ,stefano for a change of air1 and finally to ,arezzo1 where he was entertained in the house of ,benedetto ,spadari1 who so went to work with the help of ,giovanni ,antonio ,lappoli of ,arezzo and the many friends and relatives that they had1 that ,rosso was commissioned to paint in fresco a vault previously allotted to the painter ,niccol ,soggi1 in the ,madonna delle ,lagrime4 ,and so eager were they that he should leave such a memorial of himself in that city1 that he was given a payment of three hundred crowns of gold4 ,whereupon ,rosso began his cartoons in a room that they had allotted to him in a place called ,murello2 and there he finished four of them4 ,in one he depicted our ,first ,parents1 bound to the ,tree of the ,fall1 with ,our ,lady drawing from their mouths the ,sin in the form of the ,apple1 and beneath her feet the ,serpent2 and in the air--wishing to signify that she was clothed with the sun and moon--he made nude figures of ,phoebus and ,diana4 ,in the second is ,moses bearing the ,ark of the ,covenant1 represented by ,our ,lady surrounded by five ,virtues4 ,in another is the ,throne of ,solomon1 also represented by the ,madonna1 to whom votive offerings are being brought1 to signify those who have recourse to her for benefits3 together with other bizarre fancies1 which were conceived by the fruitful brain of ,m4 ,giovanni ,pollastra1 the friend of ,rosso and a ,canon of ,arezzo1 in compliment to whom ,rosso made a most beautiful model of the whole work1 which is now in my house at ,arezzo4 ,he also drew for that work a study of nude figures1 which is a very choice thing2 and it is a pity that it was never finished1 for1 if he had put it into execution and painted it in oils1 instead of having to do it in fresco1 it would indeed have been a miracle4 ,but he was ever averse to working in fresco1 and therefore went on delaying the execution of the cartoons1 meaning to have the work carried out by ,raffaello dal ,borgo and others1 so that in the end it was never done4 ,at that same time1 being a courteous person1 he made many designs for pictures and buildings in ,arezzo and its neighbourhood2 among others1 one for the ,rectors of the ,fraternity1 of the chapel which is at the foot of the ,piazza1 wherein there is now the ,volto ,santo4 ,for the same patrons he drew the design for a panel-picture to be painted by his hand1 containing a ,madonna with a multitude under her cloak1 which was to be set up in the same place2 and this design1 which was not put into execution1 is in our book1 together with many other most beautiful drawings by the hand of the same master4 ,but to return to the work that he was to execute in the ,madonna delle ,lagrime3 there came forward as his security for this work ,giovanni ,antonio ,lappoli of ,arezzo1 his most faithful friend1 who gave him proofs of loving kindness with every sort of service4 ,but in the year #aecj1 when ,florence was being besieged1 the ,aretines1 having been restored to liberty by the small judgment of ,papo ,altoviti1 attacked the citadel and razed it to the ground4 ,and because that people looked with little favour on ,florentines1 ,rosso would not trust himself to them1 and went off to ,borgo a ,san ,sepolcro1 leaving the cartoons and designs for his work hidden away in the citadel4 ,now those who had given him the commission for the panel at ,castello1 wished him to finish it2 but he1 on account of the illness that he had suffered at ,castello1 would not return to that city4 ,he finished their panel1 therefore1 at ,borgo a ,san ,sepolcro2 nor would he ever give them the pleasure of a glance at it4 ,in it he depicted a multitude1 with ,christ in the sky being adored by four figures1 and he painted ,moors1 ,gypsies1 and the strangest things in the world2 but1 with the exception of the figures1 which are perfect in their excellence1 the composition is concerned with anything rather than the wishes of those who ordered the picture of him4 ,at the same time that he was engaged on that work1 he disinterred dead bodies in the ,vescovado1 where he was living1 and made a most beautiful anatomical model4 ,rosso was1 in truth1 an ardent student of all things relating to art1 and few days passed without his drawing some nude from life4 ,he had always had the idea of finishing his life in ,france1 and of thus delivering himself from that misery and poverty which are the lot of men who work in ,tuscany1 or in the country where they were born2 and he resolved to depart4 ,and with a view to appearing more competent in all matters1 and to being ignorant of none1 he had just learned the ,latin tongue2 when there came upon him a reason for further hastening his departure4 ,for one ,holy ,thursday1 on which day matins are chanted in the evening1 one of his disciples1 a young ,aretine1 being in church1 made a blaze of sparks and flames with a lighted candle-end and some resin1 at the moment when the darkness1 as they call it1 was in progress2 and the boy was reproved by some priests1 and even struck4 ,seeing this1 ,rosso1 who had the boy seated at his side1 sprang up full of anger against the priests4 ,thereupon an uproar began1 without anyone knowing what it was all about1 and swords were drawn against poor ,rosso1 who was busy with the priests4 ,taking to flight1 therefore1 he contrived to regain his own rooms without having been struck or overtaken by anyone4 ,but he held himself to have been affronted2 and having finished the panel for ,castello1 without troubling about his work at ,arezzo or the wrong that he was doing to ,giovanni ,antonio1 his security 7for he had received more than a hundred and fifty crowns71 he set off by night4 ,taking the road by ,pesaro1 he made his way to ,venice1 where1 being entertained by ,messer ,pietro ,aretino1 he made for him a drawing1 which was afterwards engraved1 of ,mars sleeping with ,venus1 with the ,loves and ,graces despoiling him and carrying off his cuirass4 ,departing from ,venice1 he found his way into ,france1 where he was received by the ,florentine colony with much affection4 ,there he painted some pictures1 which were afterwards placed in the ,gallery at ,fontainebleau2 and these he then presented to ,king ,francis1 who took infinite pleasure in them1 but much more in the presence1 speech1 and manner of ,rosso1 who was imposing in person1 with red hair in accordance with his name1 and serious1 deliberate1 and most judicious in his every action4 ,the ,king1 then1 after straightway granting him an allowance of four hundred crowns1 and giving him a house in ,paris1 which he occupied but seldom1 because he lived most of the time at ,fontainebleau1 where he had rooms and lived like a nobleman1 appointed him superintendent over all the buildings1 pictures1 and other ornaments of that place4 ,illustration3 ,,the ,,transfiguration 7,after the panel by ,il ,rosso4 ,citt da ,castello3 ,duomo7 ,alinari ,there1 in the first place1 ,rosso made a beginning with a gallery over the lower court1 which he completed not with a vault1 but with a ceiling1 or rather1 soffit1 of woodwork1 partitioned most beautifully into compartments4 ,the side-walls he decorated all over with stucco-work1 fantastic and bizarre in its distribution1 and with carved cornices of many kinds2 and on the piers were lifesize figures4 ,everything below the cornices1 between one pier and another1 he adorned with festoons of stucco1 vastly rich1 and others painted1 and all composed of most beautiful fruits and every sort of foliage4 ,and then1 in a large space1 he caused to be painted after his own designs1 if what ,i have heard is true1 about twenty-four scenes in fresco1 representing1 ,i believe1 the deeds of ,alexander the ,great2 for which1 as ,i have said1 he made all the designs1 executing them in chiaroscuro with water-colours4 ,at the two ends of this gallery are two panel-pictures in oils by his hand1 designed and painted with such perfection1 that there is little better to be seen in the art of painting4 ,in one of these are a ,bacchus and a ,venus1 executed with marvellous art and judgment4 ,the ,bacchus is a naked boy1 so tender1 soft1 and delicate1 that he seems to be truly of flesh1 yielding to the touch1 and rather alive than painted2 and about him are some vases painted in imitation of gold1 silver1 crystal1 and various precious stones1 so fantastic1 and surrounded by devices so many and so bizarre1 that whoever beholds this work1 with its vast variety of invention1 stands in amazement before it4 ,among other details1 also1 is a ,satyr raising part of a pavilion1 whose head1 in its strange1 goatlike aspect1 is a marvel of beauty1 and all the more because he seems to be smiling and full of joy at the sight of so beautiful a boy4 ,there is also a little boy riding on a wonderful bear1 with many other ornaments full of grace and beauty4 ,in the other picture are ,cupid and ,venus1 with other lovely figures2 but the figure to which ,rosso gave the greatest attention was the ,cupid1 whom he represented as a boy of twelve1 although well grown1 riper in features than is expected at that age1 and most beautiful in every part4 ,the ,king1 seeing these works1 and liking them vastly1 conceived an extraordinary affection for ,rosso2 wherefore no long time passed before he gave him a ,canonicate in the ,sainte ,chapelle of the ,madonna at ,paris1 with so many other revenues and benefits1 that ,rosso lived like a nobleman1 with a goodly number of servants and horses1 giving banquets and showing all manner of courtesies to all his friends and acquaintances1 especially to the ,italian strangers who arrived in those parts4 ,after this1 he executed another hall1 which is called the ,pavilion1 because it is in the form of a ,pavilion1 being above the rooms on the first floor1 and thus situated above any of the others4 ,this apartment he decorated from the level of the floor to the roof with a great variety of beautiful ornaments in stucco1 figures in the round distributed at equal intervals1 and children1 festoons1 and various kinds of animals4 ,in the compartments on the walls are seated figures in fresco1 one in each2 and such is their number1 that there may be seen among them images of all the ,heathen ,gods and ,goddesses of the ancients4 ,last of all1 above the windows1 is a frieze all adorned with stucco1 and very rich1 but without pictures4 ,he then executed a vast number of works in many chambers1 bathrooms1 and other apartments1 both in stucco and in painting1 of some of which drawings may be seen1 executed in engraving and published abroad1 which are full of grace and beauty2 as are also the numberless designs that ,rosso made for salt-cellars1 vases1 bowls1 and other things of fancy1 all of which the ,king afterwards caused to be executed in silver2 but these were so numerous that it would take too long to mention them all4 ,let it be enough to say that he made designs for all the vessels of a sideboard for the ,king1 and for all the details of the trappings of horses1 triumphal masquerades1 and everything else that it is possible to imagine1 showing in these such fantastic and bizarre conceptions1 that no one could do better4 ,in the year #aedj1 when the ,emperor ,charles ,v went to ,france under the safeguard of ,king ,francis1 and visited ,fontainebleau1 having with him not more than twelve men1 ,rosso executed one half of the decorations that the ,king ordained in order to honour that great ,emperor1 and the other half was executed by ,francesco ,primaticcio of ,bologna4 ,the works that ,rosso made1 such as arches1 colossal figures1 and other things of that kind1 were1 so it was said at the time1 the most astounding that had ever been made by any man up to that age4 ,but a great part of the rooms finished by ,rosso at the aforesaid ,palace of ,fontainebleau were destroyed after his death by the same ,francesco ,primaticcio1 who has made a new and larger structure in the same place4 ,among those who worked with ,rosso on the aforesaid decorations in stucco and relief1 and beloved by him beyond all the others1 were the ,florentine ,lorenzo ,naldino1 ,maestro ,francesco of ,orleans1 ,maestro ,simone of ,paris1 ,maestro ,claudio1 likewise a ,parisian1 ,maestro ,lorenzo of ,picardy1 and many others4 ,but the best of them all was ,domenico del ,barbieri1 who is an excellent painter and master of stucco1 and a marvellous draughtsman1 as is proved by his engraved works1 which may be numbered among the best in common circulation4 ,the painters1 likewise1 whom he employed in those works at ,fontainebleau1 were ,luca ,penni1 brother of ,giovan ,francesco ,penni1 called ,il ,fattore1 who was a disciple of ,raffaello da ,urbino2 the ,fleming ,leonardo1 a very able painter1 who executed the designs of ,rosso to perfection in colours2 ,bartolommeo ,miniati1 a ,florentine2 with ,francesco ,caccianimici1 and ,giovan ,battista da ,bagnacavallo4 ,these last entered his service when ,francesco ,primaticcio went by order of the ,king to ,rome1 to make moulds of the ,laocoon1 the ,apollo1 and many other choice antiquities1 for the purpose of casting them afterwards in bronze4 ,i say nothing of the carvers1 the master-joiners1 and innumerable others of whom ,rosso availed himself in those works1 because there is no need to speak of them all1 although many of them executed works worthy of much praise4 ,in addition to the things mentioned above1 ,rosso executed with his own hand a ,s4 ,michael1 which is a rare work4 ,for the ,constable he painted a panel-picture of the ,dead ,christ1 a choice thing1 which is at a seat of that noble1 called ,ecouen2 and he also executed some exquisite miniatures for the ,king4 ,he then drew a book of anatomical studies1 intending to have it printed in ,france2 of which there are some sheets by his own hand in our book of drawings4 ,among his possessions1 also1 after he was dead1 were found two very beautiful cartoons1 in one of which is a ,leda of singular beauty1 and in the other the ,tiburtine ,sibyl showing to the ,emperor ,octavian the ,glorious ,virgin with the ,infant ,christ in her arms4 ,in the latter he drew the ,king1 the ,queen1 their ,guard1 and the people1 with such a number of figures1 and all so well drawn1 that it may be said with truth that this was one of the most beautiful things that ,rosso ever did4 ,by reason of these works and many others1 of which nothing is known1 he became so dear to the ,king1 that a little before his death he found himself in possession of more than a thousand crowns of income1 without counting the allowances for his work1 which were enormous2 insomuch that1 living no longer as a painter1 but rather as a prince1 he kept a number of servants and horses to ride1 and had his house filled with tapestries1 silver1 and other valuable articles of furniture4 ,but ,fortune1 who never1 or very seldom1 maintains for long in high estate one who puts his trust too much in her1 brought him headlong down in the strangest manner ever known4 ,for while ,francesco di ,pellegrino1 a ,florentine1 who delighted in painting and was very much his friend1 was associating with him in the closest intimacy1 ,rosso was robbed of some hundreds of ducats2 whereupon the latter1 suspecting that no one but the same ,francesco could have done this1 had him arrested by the hands of justice1 rigorously examined1 and grievously tortured4 ,but he1 knowing himself innocent1 and declaring nothing but the truth1 was finally released2 and1 moved by just anger1 he was forced to show his resentment against ,rosso for the shameful charge that he had falsely laid upon him4 ,having therefore issued a writ for libel against him1 he pressed him so closely1 that ,rosso1 not being able to clear himself or make any defence1 felt himself to be in a sorry plight1 perceiving that he had not only accused his friend falsely1 but had also stained his own honour2 and to eat his words1 or to adopt any other shameful method1 would likewise proclaim him a false and worthless man4 ,resolving1 therefore1 to kill himself by his own hand rather than be punished by others1 he took the following course4 ,one day that the ,king happened to be at ,fontainebleau1 he sent a peasant to ,paris for a certain most poisonous essence1 pretending that he wished to use it for making colours or varnishes1 but intending to poison himself1 as he did4 ,the peasant1 then1 returned with it2 and such was the malignity of the poison1 that1 merely through holding his thumb over the mouth of the phial1 carefully stopped as it was with wax1 he came very near losing that member1 which was consumed and almost eaten away by the deadly potency of the poison4 ,and shortly afterwards it slew ,rosso1 although he was in perfect health1 he having drunk it to the end that it might take his life1 as it did in a few hours4 ,this news1 being brought to the ,king1 grieved him beyond measure1 since it seemed to him that by the death of ,rosso he had lost the most excellent craftsman of his day4 ,however1 to the end that the work might not suffer1 he had it carried on by ,francesco ,primaticcio of ,bologna1 who1 as has been related1 had already done much work for him2 giving him a good ,abbey1 even as he had presented a ,canonicate to ,rosso4 ,rosso died in the year #aeda1 leaving great regrets behind him among his friends and brother-craftsmen1 who have learned by his example what benefits may accrue from a prince to one who is eminent in every field of art1 and well-mannered and gentle in all his actions1 as was that master1 who for many reasons deserved1 and still deserves1 to be admired as one truly most excellent4 ,,bartolommeo ,,da ,,bagnacavallo ,,and ,,others ,,lives ,,of ,,bartolommeo ,,da ,,bagnacavallo1 ,,and ,,other ,,painters ,,of ,,romagna ,it is certain that the result of emulation in the arts1 caused by a desire for glory1 proves for the most part to be one worthy of praise2 but when it happens that the aspirant1 through presumption and arrogance1 comes to hold an inflated opinion of himself1 in course of time the name for excellence that he seeks may be seen to dissolve into mist and smoke1 for the reason that there is no advance to perfection possible for him who knows not his own failings and has no fear of the work of others4 ,more readily does hope mount towards proficience for those modest and studious spirits who1 leading an upright life1 honour the works of rare masters and imitate them with all diligence1 than for those who have their heads full of smoky pride1 as had ,bartolommeo da ,bagnacavallo1 ,amico of ,bologna1 ,girolamo da ,cotignola1 and ,innocenzio da ,imola1 painters all1 who1 living in ,bologna at one and the same time1 felt the greatest jealousy of one another that could possibly be imagined4 ,and1 what is more1 their pride and vainglory1 not being based on the foundation of ability1 led them astray from the true path1 which brings to immortality those who strive more from love of good work than from rivalry4 ,this circumstance1 then1 was the reason that they did not crown the good beginnings that they had made with that final excellence which they expected2 for their presuming to the name of masters turned them too far aside from the good way4 ,bartolommeo da ,bagnacavallo had come to ,rome in the time of ,raffaello1 in order to attain with his works to that perfection which he believed himself to be already grasping with his intellect4 ,and being a young man who had some fame at ,bologna and had awakened expectations1 he was set to execute a work in the ,church of the ,pace at ,rome1 in the first chapel on the right hand as one enters the church1 above the chapel of ,baldassarre ,peruzzi of ,siena4 ,but1 thinking that he had not achieved the success that he had promised himself1 he returned to ,bologna4 ,there he and the others mentioned above1 in competition one with another1 executed each a scene from the ,lives of ,christ and ,his ,mother in the ,chapel of the ,madonna in ,s4 ,petronio1 near the door of the faade1 on the right hand as one enters the church2 among which little difference in merit is to be seen between one and another4 ,but ,bartolommeo acquired from this work the reputation of having a manner both softer and stronger than the others2 and although there is a vast number of strange things in the scene of ,maestro ,amico1 in which he depicted the ,resurrection of ,christ with armed men in crouching and distorted attitudes1 and many soldiers crushed flat by the stone of the ,sepulchre1 which has fallen upon them1 nevertheless that of ,bartolommeo1 as having more unity of design and colouring1 was more extolled by other craftsmen4 ,on account of this ,bartolommeo associated himself with ,biagio ,bolognese1 a person with much more practice than excellence in art2 and they executed in company at ,s4 ,salvatore1 for the ,frati ,scopetini1 a refectory which they painted partly in fresco and partly a secco1 containing the scene of ,christ satisfying five thousand people with five loaves and two fishes4 ,they painted1 also1 on a wall of the library1 the ,disputation of ,s4 ,augustine1 wherein they made a passing good view in perspective4 ,these masters1 thanks to having seen the works of ,raffaello and associated with him1 had a certain quality which1 upon the whole1 gave promise of excellence1 but in truth they did not attend as they should have done to the more subtle refinements of art4 ,yet1 since there were no painters in ,bologna at that time who knew more than they did1 they were held by those who then governed the city1 as well as by all the people1 to be the best masters in ,italy4 ,illustration3 ,,the ,,holy ,,family ,,with ,,saints 7,after the panel by ,bartolommeo da ,bagnacavallo4 ,bologna3 ,accademia1 #acc7 ,anderson ,by the hand of ,bartolommeo are some round pictures in fresco under the vaulting of the ,palace of the ,podest1 and a scene of the ,visitation of ,s4 ,elizabeth in ,s4 ,vitale1 opposite to the ,palace of the ,fantucci4 ,in the ,convent of the ,servites at ,bologna1 round a panel-picture of the ,annunciation painted in oils1 are some saints executed in fresco by ,innocenzio da ,imola4 ,in ,s4 ,michele in ,bosco ,bartolommeo painted in fresco the ,chapel of ,ramazzotto1 a faction-leader in ,romagna4 ,in a chapel in ,s4 ,stefano the same master painted two saints in fresco1 with some little angels of considerable beauty in the sky2 and in ,s4 ,jacopo1 for ,messer ,annibale del ,corello1 a chapel in which he represented the ,circumcision of ,our ,lord1 with a number of figures1 above which1 in a lunette1 he painted ,abraham sacrificing his son to ,god4 ,this work1 in truth1 was executed in a good and able manner4 ,for the ,misericordia1 without ,bologna1 he painted a little panel-picture in distemper of ,our ,lady and some saints2 with many pictures and other works1 which are in the hands of various persons in that city4 ,this master1 in truth1 was above mediocrity both in the uprightness of his life and in his works1 and he was superior to the others in drawing and invention1 as may be seen from a drawing in our book1 wherein is ,jesus ,christ1 as a boy1 disputing with the ,doctors in the ,temple1 with a building executed with good mastery and judgment4 ,in the end1 he finished his life at the age of fifty-eight4 ,he had always been much envied by ,amico of ,bologna1 an eccentric man of extravagant brain1 whose figures1 executed by him throughout all ,italy1 but particularly in ,bologna1 where he spent most of his time1 are equally eccentric and even mad1 if one may say so4 ,if1 indeed1 the vast labour which ,amico devoted to drawing had been pursued with a settled object1 and not by caprice1 he might perchance have surpassed many whom we regard as rare and able men4 ,and even so1 such is the value of persistent labour1 that it is not possible that out of a mass of work there should not be found some that is good and worthy of praise2 and such1 among the vast number of works that this master executed1 is a faade in chiaroscuro on the ,piazza de' ,marsigli1 wherein are many historical pictures1 with a frieze of animals fighting together1 very spirited and well executed1 which is almost the best work that he ever painted4 ,he painted another faade at the ,porta di ,s4 ,mammolo1 and a frieze round the principal chapel of ,s4 ,salvatore1 so extravagant and so full of absurdities that it would provoke laughter in one who was on the verge of tears4 ,in a word1 there is no church or street in ,bologna which has not some daub by the hand of this master4 ,in ,rome1 also1 he painted not a little2 and in ,s4 ,friano1 at ,lucca1 he filled a chapel with inventions fantastic and bizarre1 among which are some things worthy of praise1 such as the stories of the ,cross and some of ,s4 ,augustine4 ,in these are innumerable portraits of distinguished persons of that city2 and1 to tell the truth1 this was one of the best works that ,maestro ,amico ever executed with colours in fresco4 ,in ,s4 ,jacopo1 at ,bologna1 he painted at the altar of ,s4 ,niccola some stories of the latter ,saint1 and below these a frieze with views in perspective1 which deserve to be extolled4 ,when the ,emperor ,charles ,v visited ,bologna1 ,amico made a triumphal arch1 for which ,alfonso ,lombardi executed statues in relief1 at the gate of the ,palace4 ,and it is no marvel that the work of ,amico revealed skill of hand rather than any other quality1 for it is said that1 like the eccentric and extraordinary person that he was1 he went through all ,italy drawing and copying every work of painting or relief1 whether good or bad1 on which account he became something of an adept in invention2 and when he found anything likely to be useful to him1 he laid his hands upon it eagerly1 and then destroyed it1 so that no one else might make use of it4 ,the result of all this striving was that he acquired the strange1 mad manner that we know4 ,finally1 having reached the age of seventy1 what with his art and the eccentricity of his life1 he became raving mad1 at which ,messer ,francesco ,guicciardini1 a noble ,florentine1 and a most trustworthy writer of the history of his own times1 who was then ,governor of ,bologna1 found no small amusement1 as did the whole city4 ,some people1 however1 believe that there was some method mixed with this madness of his1 because1 having sold some property for a small price while he was mad and in very great straits1 he asked for it back again when he regained his sanity1 and recovered it under certain conditions1 since he had sold it1 so he said1 when he was mad4 ,i do not swear1 indeed1 that this is true1 for it may have been otherwise2 but ,i do say that ,i have often heard the story told4 ,illustration3 ,,the ,,adoration 7,after the panel by ,amico of ,bologna ,amico ,aspertini4 ,bologna3 ,pinacoteca1 #big7 ,alinari ,amico also gave his attention to sculpture1 and executed to the best of his ability1 in marble1 a ,dead ,christ with ,nicodemus supporting ,him4 ,this work1 which he treated in the manner seen in his pictures1 is on the right within the entrance of the ,church of ,s4 ,petronio4 ,he used to paint with both hands at the same time1 holding in one the brush with the bright colour1 and in the other that with the dark4 ,but the best joke of all was that he had his leather belt hung all round with little pots full of tempered colours1 so that he looked like the ,devil of ,s4 ,macario with all those flasks of his2 and when he worked with his spectacles on his nose1 he would have made the very stones laugh1 and particularly when he began to chatter1 for then he babbled enough for twenty1 saying the strangest things in the world1 and his whole demeanour was a comedy4 ,certain it is that he never used to speak well of any person1 however able or good1 and however well dowered he saw him to be by ,nature or ,fortune4 ,and1 as has been said1 he so loved to chatter and tell stories1 that one evening1 at the hour of the ,ave ,maria1 when a painter of ,bologna1 after buying cabbages in the ,piazza1 came upon ,amico1 the latter kept him under the ,loggia del ,podest with his talk and his amusing stories1 without the poor man being able to break away from him1 almost till daylight1 when ,amico said3 ,now go and boil your cabbages1 for the time is getting on4 ,he was the author of a vast number of other jokes and follies1 of which ,i shall not make mention1 because it is now time to say something of ,girolamo da ,cotignola4 ,this master painted many pictures and portraits from life in ,bologna1 and among them are two in the house of the ,vinacci1 which are very beautiful4 ,he made a portrait after death of ,monsignore de ,foix1 who died in the rout of ,ravenna1 and not long after he executed a portrait of ,massimiliano ,sforza4 ,for ,s4 ,giuseppe he painted a panel-picture which brought him much praise1 and1 for ,s4 ,michele in ,bosco1 the panel-picture in oils which is in the ,chapel of ,s4 ,benedetto4 ,the latter work led to his executing1 in company with ,biagio ,bolognese1 all the scenes which are round that church1 laid on in fresco and executed a secco1 wherein are seen proofs of no little mastery1 as has been said in speaking of the manner of ,biagio4 ,the same ,girolamo painted a large altar-piece for ,s4 ,colomba at ,rimini1 in competition with ,benedetto da ,ferrara and ,lattanzio1 in which work he made a ,s4 ,lucia rather wanton than beautiful4 ,and in the great tribune of that church he executed a ,coronation of ,our ,lady1 with the twelve ,apostles and the four ,evangelists1 with heads so gross and hideous that they are an outrage to the eye4 ,he then returned to ,bologna1 but had not been there long when he went to ,rome1 where he made portraits from life of many men of rank1 and in particular that of ,pope ,paul ,,iii4 ,but1 perceiving that it was no place for him1 and that he was not likely to acquire honour1 profit1 or fame among so many noble craftsmen1 he went off to ,naples1 where he found some friends who showed him favour1 and above all ,m4 ,tommaso ,cambi1 a ,florentine merchant1 and a devoted lover of pictures and antiquities in marble1 by whom he was supplied with everything of which he was in need4 ,thereupon1 setting to work1 he executed a panel-picture of the ,magi1 in oils1 for the chapel of one ,m4 ,antonello1 ,bishop of ,i know not what place1 in ,monte ,oliveto1 and another panel-picture in oils for ,s4 ,aniello1 containing the ,madonna1 ,s4 ,paul1 and ,s4 ,john the ,baptist1 with portraits from life for many noblemen4 ,being now well advanced in years1 he lived like a miser1 and was always trying to save money2 and after no long time1 having little more to do in ,naples1 he returned to ,rome4 ,there some friends of his1 having heard that he had saved a few crowns1 persuaded him that he ought to get married and live a properly-regulated life4 ,and so1 thinking that he was doing well for himself1 he let those friends deceive him so completely that they imposed upon him for a wife1 to suit their own convenience1 a prostitute whom they had been keeping4 ,then1 after he had married her and come to a knowledge of her1 the truth was revealed1 at which the poor old man was so grieved that he died in a few weeks at the age of sixty-nine4 ,and now to say something of ,innocenzio da ,imola4 ,this master was for many years in ,florence with ,mariotto ,albertinelli2 and then1 having returned to ,imola1 he executed many works in that place4 ,but finally1 at the persuasion of ,count ,giovan ,battista ,bentivogli1 he went to live in ,bologna1 where one of his first works was a copy of a picture formerly executed by ,raffaello da ,urbino for ,signor ,leonello da ,carpi4 ,and for the ,monks of ,s4 ,michele in ,bosco he painted in fresco1 in their chapter-house1 the ,death of ,our ,lady and the ,resurrection of ,christ1 works which were executed with truly supreme diligence and finish4 ,for the church of the same monks1 also1 he painted the panel of the high-altar1 the upper part of which is done in a good manner4 ,for the ,servites of ,bologna he executed an ,annunciation on panel1 and for ,s4 ,salvatore a ,crucifixion1 with many pictures of various kinds throughout the whole city4 ,at the ,viola1 for the ,cardinal of ,ivrea1 he painted three loggie in fresco1 each containing two scenes1 executed in colour from designs by other painters1 and yet finished with much diligence4 ,he painted in fresco a chapel in ,s4 ,jacopo1 and for ,madonna ,benozza a panel-picture in oils1 which was not otherwise than passing good4 ,he made a portrait1 also1 besides many others1 of ,cardinal ,francesco ,alidosio1 which ,i have seen at ,imola1 together with the portrait of ,cardinal ,bernardino ,carvajal1 and both are works of no little beauty4 ,innocenzio was a very good and modest person1 and therefore always avoided any dealings or intercourse with the painters of ,bologna1 who were quite the opposite in nature1 and he was always exerting himself beyond the limits of his strength2 wherefore1 when he fell sick of a putrid fever at the age of fifty-six1 it found him so weak and exhausted that it killed him in a few days4 ,he left unfinished1 or rather1 scarcely begun1 a work that he had undertaken without ,bologna1 and this was completed to perfection1 according to the arrangement made by ,innocenzio before his death1 by ,prospero ,fontana1 a painter of ,bologna4 ,the works of all the above-named painters date from #aejf to #aedb1 and there are drawings by the hands of them all in our book4 ,illustration3 ,,the ,,marriage ,,of ,s4 ,,catharine 7,after the painting by ,innocenzio da ,imola4 ,bologna3 ,s4 ,giacomo ,maggiore7 ,alinari ,,franciabigio ,,life ,,of ,,franciabigio ,,francia ,,painter ,,of ,,florence ,the fatigues that a man endures in this life in order to raise himself from the ground and protect himself from poverty1 succouring not only himself but also his nearest and dearest1 have such virtue1 that the sweat and the hardships become full of sweetness1 and bring comfort and nourishment to the minds of others1 insomuch that ,heaven1 in its bounty1 perceiving one drawn to a good life and to upright conduct1 and also filled with zeal and inclination for the studies of the sciences1 is forced to be benign and favourably disposed towards him beyond its wont2 as it was1 in truth1 towards the ,florentine painter ,francia4 ,this master1 having applied himself to the art of painting for a just and excellent reason1 laboured therein not so much out of a desire for fame as from a wish to bring assistance to his needy relatives2 and having been born in a family of humble artisans1 people of low degree1 he sought to raise himself from that position4 ,in this effort he was much spurred by his rivalry with ,andrea del ,sarto1 then his companion1 with whom for a long time he shared both work-room and the painter's life2 on account of which life they made great proficience1 one through the other1 in the art of painting4 ,francia learned the first principles of art in his youth by living for some months with ,mariotto ,albertinelli4 ,and being much inclined to the study of perspective1 at which he was always working out of pure delight1 while still quite young he gained a reputation for great ability in ,florence4 ,the first works painted by him were a ,s4 ,bernard executed in fresco in ,s4 ,pancrazio1 a church opposite to his own house1 and a ,s4 ,catharine of ,siena1 executed likewise in fresco1 on a pilaster in the ,chapel of the ,rucellai2 whereby1 exerting himself in that art1 he gave proofs of his fine qualities4 ,much more1 even1 was he established in repute by a picture which is in a little chapel in ,s4 ,pietro ,maggiore1 containing ,our ,lady with the ,child in her arms1 and a little ,s4 ,john caressing ,jesus ,christ4 ,he also gave proof of his excellence in a shrine executed in fresco1 in which he painted the ,visitation of ,our ,lady1 on a corner of the ,church of ,s4 ,giobbe1 behind the ,servite ,convent in ,florence4 ,in the figure of that ,madonna may be seen a goodness truly appropriate1 with profound reverence in that of the older woman2 and the ,s4 ,job he painted poor and leprous1 and also rich and restored to health4 ,this work so revealed his powers that he came into credit and fame2 whereupon the men who were the rulers of that church and brotherhood gave him the commission for the panel-picture of their high-altar1 in which ,francia acquitted himself even better2 and in that work he painted a ,madonna1 and ,s4 ,job in poverty1 and made a portrait of himself in the face of ,s4 ,john the ,baptist4 ,there was built at that time1 in ,s4 ,spirito at ,florence1 the ,chapel of ,s4 ,niccola1 in which was placed a figure of that ,saint in the round1 carved in wood from the model by ,jacopo ,sansovino2 and ,francia painted two little angels in two square pictures in oils1 one on either side of that figure1 which were much extolled1 and also depicted the ,annunciation in two round pictures2 and the predella he adorned with little figures representing the miracles of ,s4 ,nicholas1 executed with such diligence that he deserves much praise for them4 ,in ,s4 ,pietro ,maggiore1 by the door1 and on the right hand as one enters the church1 is an ,annunciation by his hand1 wherein he made the ,angel still flying through the sky1 and the ,madonna receiving the ,salutation on her knees1 in a most graceful attitude2 and he drew there a building in perspective1 which was a masterly thing1 and was much extolled4 ,and1 in truth1 although ,francia had a somewhat dainty manner1 because he was very laborious and constrained in his work1 nevertheless he showed great care and diligence in giving the true proportions of art to his figures4 ,illustration3 ,,the ,,marriage ,,of ,,the ,,virgin 7,after the fresco by ,franciabigio ,francia4 ,florence3 ,,ss4 ,annunziata7 ,anderson ,he was commissioned to execute a scene in the cloister in front of the ,church of the ,servites1 in competition with ,andrea del ,sarto2 and there he painted the ,marriage of ,our ,lady1 wherein may be clearly recognized the supreme faith of ,joseph1 who shows in his face as much awe as joy at his marriage with her4 ,besides this1 ,francia painted there one who is giving him some blows1 as is the custom in our own day1 in memory of the wedding2 and in a nude figure he expressed very happily the rage and disappointment that drive him to break his rod1 which had not blossomed1 the drawing of which1 with many others1 is in our book4 ,in the company of ,our ,lady1 also1 he painted some women with most beautiful expressions and head-dresses1 things in which he always delighted4 ,and in all this scene he did not paint a single thing that was not very well considered2 as is1 for example1 a woman with a child in her arms1 who1 turning to go home1 has cuffed another child1 who has sat down in tears and refuses to go1 pressing one hand against his face in a very graceful manner4 ,certain it is that he executed every detail in this scene1 whether large or small1 with much diligence and love1 on account of the burning desire that he had to show therein to craftsmen and to all other good judges how great was his respect for the difficulties of art1 and how successfully he could solve them by faithful imitation4 ,not long after this1 on the occasion of a festival1 the friars wished that the scenes of ,andrea1 and likewise that of ,francia1 should be uncovered2 and the night after ,francia had finished his with the exception of the base1 they were so rash and presumptuous as to uncover them1 not thinking1 in their ignorance of art1 that ,francia would want to retouch or otherwise change his figures4 ,in the morning1 both the painting of ,francia and those of ,andrea were open to view1 and the news was brought to ,francia that ,andrea's works and his own had been uncovered2 at which he felt such resentment1 that he was like to die of it4 ,seized with anger against the friars on account of their presumption and the little respect that they had shown to him1 he set off at his best speed and came up to the work2 and then1 climbing on to the staging1 which had not yet been taken to pieces1 although the painting had been uncovered1 and seizing a mason's hammer that was there1 he beat some of the women's heads to fragments1 and destroyed that of the ,madonna1 and also tore almost completely away from the wall1 plaster and all1 a nude figure that is breaking a rod4 ,hearing the noise1 the friars ran up1 and1 with the help of some laymen1 seized his hands1 to prevent him from destroying it completely4 ,but1 although in time they offered to give him double payment1 he1 on account of the hatred that he had conceived for them1 would never restore it4 ,by reason of the reverence felt by other painters both for him and for the work1 they have refused to finish it2 and so it remains1 even in our own day1 as a memorial of that event4 ,this fresco is executed with such diligence and so much love1 and it is so beautiful in its freshness1 that ,francia may be said to have worked better in fresco than any man of his time1 and to have blended and harmonized his paintings in fresco better than any other1 without needing to retouch the colours2 wherefore he deserves to be much extolled both for this and for his other works4 ,at ,rovezzano1 without the ,porta alla ,croce1 near ,florence1 he painted a shrine with a ,christ on the ,cross and some saints2 and in ,s4 ,giovannino1 at the ,porta a ,s4 ,piero ,gattolini1 he executed a ,last ,supper of the ,apostles in fresco4 ,no long time after1 on the departure for ,france of the painter ,andrea del ,sarto1 who had begun to paint the stories of ,s4 ,john the ,baptist in chiaroscuro in a cloister of the ,company of the ,scalzo at ,florence1 the men of that ,company1 desiring to have that work finished1 engaged ,francia1 to the end that he1 being an imitator of the manner of ,andrea1 might complete the paintings begun by the other4 ,thereupon ,francia executed the decorations right round one part of that cloister1 and finished two of the scenes1 which he painted with great diligence4 ,these are1 first ,s4 ,john the ,baptist obtaining leave from his father ,zacharias to go into the desert1 and then the meeting of ,christ and ,s4 ,john on the way1 with ,joseph and ,mary standing there and beholding them embrace one another4 ,but more than this he did not do1 on account of the return of ,andrea1 who then went on to finish the rest of the work4 ,with ,ridolfo ,ghirlandajo he prepared a most beautiful festival for the marriage of ,duke ,lorenzo1 with two sets of scenery for the dramas that were performed1 executing them with much method1 masterly judgment1 and grace2 on account of which he acquired credit and favour with that ,prince4 ,this service was the reason that he received the commission for gilding the ceiling of the ,hall of ,poggio a ,caiano1 in company with ,andrea di ,cosimo4 ,and afterwards1 in competition with ,andrea del ,sarto and ,jacopo da ,pontormo1 he began1 on a wall in that hall1 the scene of ,cicero being carried in triumph by the citizens of ,rome4 ,this work had been undertaken by the liberality of ,pope ,leo1 in memory of his father ,lorenzo1 who had caused the edifice to be built1 and had ordained that it should be painted with scenes from ancient history and other ornaments according to his pleasure4 ,and these had been entrusted by the learned historian1 ,m4 ,paolo ,giovio1 ,bishop of ,nocera1 who was then chief in authority near the person of ,cardinal ,giulio de' ,medici1 to ,andrea del ,sarto1 ,jacopo da ,pontormo1 and ,franciabigio1 that they might demonstrate the power and perfection of their art in the work1 each receiving thirty crowns every month from the magnificent ,ottaviano de' ,medici4 ,thereupon ,francia executed on his part1 to say nothing of the beauty of the scene1 some buildings in perspective1 very well proportioned4 ,but the work remained unfinished on account of the death of ,leo2 and afterwards1 in the year #aecb1 it was begun again by ,jacopo da ,pontormo at the commission of ,duke ,alessandro de' ,medici1 but he lingered over it so long1 that the ,duke died and it was once more left unfinished4 ,but to return to ,francia2 so ardent was his love for the matters of art1 that there was no summer day on which he did not draw some study of a nude figure from the life in his work-room1 and to that end he always kept men in his pay4 ,for ,s4 ,maria ,nuova1 at the request of ,maestro ,andrea ,pasquali1 an excellent physician of ,florence1 he executed an anatomical figure1 in consequence of which he made a great advance in the art of painting1 and pursued it ever afterwards with more zeal4 ,he then painted in the ,convent of ,s4 ,maria ,novella1 in the lunette over the door of the library1 a ,s4 ,thomas confuting the heretics with his learning1 a work which is executed with diligence and a good manner4 ,there1 among other details1 are two children who serve to uphold an escutcheon in the ornamental border2 and these are very fine1 full of the greatest beauty and grace1 and painted in a most lovely manner4 ,he also executed a picture with little figures for ,giovanni ,maria ,benintendi1 in competition with ,jacopo da ,pontormo1 who painted another of the same size for that patron1 containing the story of the ,magi2 and two others were painted by ,francesco d' ,albertino4#ab ,in his work ,francia represented the scene of ,david seeing ,bathsheba in her bath2 and there he painted some women in a manner too smooth and dainty1 and drew a building in perspective1 wherein is ,david giving letters to the messengers1 who are to carry them to the camp to the end that ,uriah the ,hittite may meet his death2 and under a loggia he painted a royal banquet of great beauty4 ,this work contributed greatly to the fame and honour of ,francia1 who1 if he had much ability for large figures1 had much more for little figures4 ,francia also made many most beautiful portraits from life2 one1 in particular1 for ,matteo ,sofferroni1 who was very much his friend1 and another for a countryman1 the steward of ,pier ,francesco de' ,medici at the ,palace of ,s4 ,girolamo da ,fiesole1 which seems absolutely alive1 with many others4 ,and since he undertook any kind of work without being ashamed1 so long as he was pursuing his art1 he set his hand to whatever commission was given to him2 wherefore1 in addition to many works of the meanest kind1 he painted a most beautiful ,noli me tangere for the cloth-weaver ,arcangelo1 at the top of a tower that serves as a terrace1 in ,porta ,rossa2 with an endless number of other trivial works1 executed by ,francia because he was a person of sweet and kindly nature and very obliging1 of which there is no need to say more4 ,illustration3 ,,franciabigio3 ,,portrait ,,of ,a ,,man 7,vienna3 ,collection of ,prince ,liechtenstein4 ,canvas7 ,this master loved to live in peace1 and for that reason would never take a wife2 and he was always repeating the trite proverb1 ,the fruits of a wife are cares and strife4 ,he would never leave ,florence1 because1 having seen some works by ,raffaello da ,urbino1 and feeling that he was not equal to that great man and to many others of supreme renown1 he did not wish to compete with craftsmen of such rare excellence4 ,in truth1 the greatest wisdom and prudence that a man can possess is to know himself1 and to refrain from exalting himself beyond his true worth4 ,and1 finally1 having acquired much by constant work1 for one who was not endowed by nature with much boldness of invention or with any powers but those that he had gained by long study1 he died in the year #aebd at the age of forty-two4 ,one of ,francia's disciples was his brother ,agnolo1 who died after having painted a frieze that is in the cloister of ,s4 ,pancrazio1 and a few other works4 ,the same ,agnolo painted for the perfumer ,ciano1 an eccentric man1 but respected after his kind1 a sign for his shop1 containing a gipsy woman telling the fortune of a lady in a very graceful manner1 which was the idea of ,ciano1 and not without mystic meaning4 ,another who learnt to paint from the same master was ,antonio di ,donnino ,mazzieri1 who was a bold draughtsman1 and showed much invention in making horses and landscapes4 ,he painted in chiaroscuro the cloister of ,s4 ,agostino at ,monte ,sansovino1 executing therein scenes from the ,old ,testament1 which were much extolled4 ,in the ,vescovado of ,arezzo he painted the ,chapel of ,s4 ,matteo1 with a scene1 among other things1 showing that ,saint baptizing a ,king1 in which he made a portrait of a ,german1 so good that it seems to be alive4 ,for ,francesco del ,giocondo he executed the story of the ,martyrs in a chapel behind the choir of the ,servite ,church in ,florence2 but in this he acquitted himself so badly1 that he lost all his credit and was reduced to undertaking any sort of work4 ,francia taught his art also to a young man named ,visino1 who1 to judge from what we see of him1 would have become an excellent painter1 if he had not died young1 as he did2 and to many others1 of whom ,i shall make no further mention4 ,he was buried by the ,company of ,s4 ,giobbe in ,s4 ,pancrazio1 opposite to his own house1 in the year #aebe2 and his death was truly a great grief to all good craftsmen1 seeing that he had been a talented and skilful master1 and very modest in his every action4 ,,footnote3 #ab ,francesco ,ubertini1 called ,il ,bacchiacca4 ,,morto ,,da ,,feltro ,,and ,,andrea ,,di ,,cosimo ,,feltrini ,,lives ,,of ,,morto ,,da ,,feltro ,,and ,,of ,,andrea ,,di ,,cosimo ,,feltrini ,,painters ,the painter ,morto da ,feltro1 who was as original in his life as he was in his brain and in the new fashion of grotesques that he made1 which caused him to be held in great estimation1 found his way as a young man to ,rome at the time when ,pinturicchio was painting the ,papal apartments for ,alexander ,,vi1 with the loggie and lower rooms in the ,great ,tower of the ,castello di ,s4 ,angelo1 and some of the upper apartments4 ,he was a melancholy person1 and was constantly studying the antiquities2 and seeing among them sections of vaults and ranges of walls adorned with grotesques1 he liked these so much that he never ceased from examining them4 ,and so well did he grasp the methods of drawing foliage in the ancient manner1 that he was second to no man of his time in that profession4 ,he was never tired1 indeed1 of examining all that he could find below the ground in ,rome in the way of ancient grottoes1 with vaults innumerable4 ,he spent many months in ,hadrian's ,villa at ,tivoli1 drawing all the pavements and grottoes that are there1 both above ground and below4 ,and hearing that at ,pozzuolo1 in the ,kingdom of ,naples1 ten miles from the city1 there were many walls covered with ancient grotesques1 both executed in relief with stucco and painted1 and said to be very beautiful1 he devoted several months to studying them on the spot4 ,nor was he content until he had drawn every least thing in the ,campana1 an ancient road in that place1 full of antique sepulchres2 and he also drew many of the temples and grottoes1 both above and below the ground1 at ,trullo1 near the seashore4 ,he went to ,baia and ,mercato di ,sabbato1 both places full of ruined buildings covered with scenes1 searching out everything in such a manner that by means of his long and loving labour he grew vastly in power and knowledge of his art4 ,having then returned to ,rome1 he worked there many months1 giving his attention to figures1 since he considered that in that part of his profession he was not the master that he was held to be in the execution of grotesques4 ,and after he had conceived this desire1 hearing the renown that ,leonardo and ,michelagnolo had in that art on account of the cartoons executed by them in ,florence1 he set out straightway to go to that city4 ,but1 after he had seen those works1 he did not think himself able to make the same improvement that he had made in his first profession1 and he went back1 therefore1 to work at his grotesques4 ,there was then living in ,florence one ,andrea di ,cosimo ,feltrini1 a painter of that city1 and a young man of much diligence1 who received ,morto into his house and entertained him with most affectionate attentions4 ,finding pleasure in the nature of ,morto's art1 ,andrea also gave his mind to that vocation1 and became an able master1 being in time even more excellent than ,morto1 and much esteemed in ,florence1 as will be told later4 ,and it was through ,andrea that ,morto came to paint for ,piero ,soderini1 who was then ,gonfalonier1 decorations of grotesques in an apartment of the ,palace1 which were held to be very beautiful2 but in our own day these have been destroyed in rearranging the apartments of ,duke ,cosimo1 and repainted4 ,for ,maestro ,valerio1 a ,servite friar1 ,morto decorated the empty space on a chair-back1 which was a most beautiful work2 and for ,agnolo ,doni1 likewise1 in a chamber1 he executed many pictures with a variety of bizarre grotesques4 ,and since he also delighted in figures1 he painted ,our ,lady in some round pictures1 in order to see whether he could become as famous for them as he was 7for his grotesques74 ,then1 having grown weary of staying in ,florence1 he betook himself to ,venice2 and attaching himself to ,giorgione da ,castelfranco1 who was then painting the ,fondaco de' ,tedeschi1 he set himself to assist him and executed the ornamentation of that work4 ,and in this way he remained many months in that city1 attracted by the sensuous pleasures and delights that he found there4 ,he then went to execute works in ,friuli1 but he had not been there long when1 finding that the rulers of ,venice were enlisting soldiers1 he entered their service2 and before he had had much experience of that calling he was made ,captain of two hundred men4 ,the army of the ,venetians had advanced by that time to ,zara in ,sclavonia2 and one day1 when a brisk skirmish took place1 ,morto1 desiring to win a greater name in that profession than he had gained in the art of painting1 went bravely forward1 and1 after fighting in the mle1 was left dead on the field1 even as he had always been in name1#ac at the age of forty-five4 ,but in fame he will never be dead1 because those who exercise their hands in the arts and produce everlasting works1 leaving memorials of themselves after death1 are destined never to suffer the death of their labours1 for writers1 in their gratitude1 bear witness to their talents4 ,eagerly1 therefore1 should our craftsmen spur themselves on with incessant study to such a goal as will ensure them an undying name both through their own works and through the writings of others1 since1 by so doing1 they will gain eternal life both for themselves and for the works that they leave behind them after death4 ,morto restored the painting of grotesques in a manner more like the ancient than was achieved by any other painter1 and for this he deserves infinite praise1 in that it is after his example that they have been brought in our own day1 by the hands of ,giovanni da ,udine and other craftsmen1 to the great beauty and excellence that we see4 ,for1 although the said ,giovanni and others have carried them to absolute perfection1 it is none the less true that the chief praise is due to ,morto1 who was the first to bring them to light and to devote his whole attention to paintings of that kind1 which are called grotesques because they were found for the most part in the grottoes of the ruins of ,rome2 besides which1 every man knows that it is easy to make additions to anything once it has been discovered4 ,the painting of grotesques was continued in ,florence by ,andrea ,feltrini1 called ,di ,cosimo1 because he was a disciple of ,cosimo ,rosselli in the study of figures 7which he executed passing well71 as he was afterwards of ,morto in that of grotesques1 of which we have spoken4 ,in this kind of painting ,andrea had from nature such power of invention and such grace that he was the first to make ornaments of greater grandeur1 abundance1 and richness than the ancient1 and quite different in manner2 and he gave them better order and cohesion1 and enriched them with figures1 such as are not seen in ,rome or in any other place but ,florence1 where he executed a great number4 ,in this respect there has never been any man who has surpassed him in excellence1 as may be seen from the ornament and the predella painted with little grotesques in colour round the ,piet that ,pietro ,perugino executed for the altar of the ,serristori in ,s4 ,croce at ,florence4 ,these are heightened with various colours on a ground of red and black mixed together1 and are wrought with much facility and with extraordinary boldness and grace4 ,andrea introduced the practice of covering the faades of houses and palaces with an intonaco of lime mixed with the black of ground charcoal1 or rather1 burnt straw1 on which intonaco1 when still fresh1 he spread a layer of white plaster4 ,then1 having drawn the grotesques1 with such divisions as he desired1 on some cartoons1 he dusted them over the intonaco1 and proceeded to scratch it with an iron tool1 in such a way that his designs were traced over the whole faade by that tool2 after which1 scraping away the white from the grounds of the grotesques1 he went on to shade them or to hatch a good design upon them with the same iron tool4 ,finally1 he went over the whole work1 shading it with a liquid water-colour like water tinted with black4 ,all this produces a very pleasing1 rich1 and beautiful effect2 and there was an account of the method in the twenty-sixth chapter1 dealing with sgraffiti1 in the ,treatise on ,technique4 ,the first faades that ,andrea executed in this manner were that of the ,gondi1 which is full of delicacy and grace1 in ,borg' ,ognissanti1 and that of ,lanfredino ,lanfredini1 which is very ornate and rich in the variety of its compartments1 on the ,lungarno between the ,ponte ,s4 ,trinita and the ,ponte della ,carraja1 near ,s4 ,spirito4 ,he also decorated in sgraffito the house of ,andrea and ,tommaso ,sertini1 near ,s4 ,michele in ,piazza ,padella1 making it more varied and grander in manner than the two others4 ,he painted in chiaroscuro the faade of the ,church of the ,servite ,friars1 for which work he caused the painter ,tommaso di ,stefano to paint in two niches the ,angel bringing the ,annunciation to the ,virgin2 and in the court1 where there are the stories of ,s4 ,filippo and of ,our ,lady painted by ,andrea del ,sarto1 he executed between the two doors a very beautiful escutcheon of ,pope ,leo ,x4 ,and on the occasion of the visit of that ,pontiff to ,florence he executed many beautiful ornaments in the form of grotesques on the faade of ,s4 ,maria del ,fiore1 for ,jacopo ,sansovino1 who gave him his sister for wife4 ,he executed the baldachin under which the ,pope walked1 covering the upper part with most beautiful grotesques1 and the hangings round it with the arms of that ,pope and other devices of the ,church2 and this baldachin was afterwards presented to the ,church of ,s4 ,lorenzo in ,florence1 where it is still to be seen4 ,he also decorated many standards and banners for the visit of ,leo1 and in honour of many who were made ,chevaliers by that ,pontiff and by other ,princes1 of which there are some hung up in various churches in that city4 ,andrea1 working constantly in the service of the house of ,medici1 assisted at the preparations for the wedding of ,duke ,giuliano and that of ,duke ,lorenzo1 executing an abundance of various ornaments in the form of grotesques2 and so1 also1 in the obsequies of those ,princes4 ,in all this he was largely employed by ,franciabigio1 ,andrea del ,sarto1 ,pontormo1 and ,ridolfo ,ghirlandajo1 and by ,granaccio for triumphal processions and other festivals1 since nothing good could be done without him4 ,he was the best man that ever touched a brush1 and1 being timid by nature1 he would never undertake any work on his own account1 because he was afraid of exacting the money for his labours4 ,he delighted to work the whole day long1 and disliked annoyances of any kind2 for which reason he associated himself with the gilder ,mariotto di ,francesco1 one of the most able and skilful men at his work that ever existed in the world of art1 very adroit in obtaining commissions1 and most dexterous in exacting payments and doing business4 ,this ,mariotto also brought the gilder ,raffaello di ,biagio into the partnership1 and the three worked together1 sharing equally all the earnings of the commissions that they executed2 and this association lasted until death parted them1 ,mariotto being the last to die4 ,to return to the works of ,andrea2 he decorated for ,giovanni ,maria ,benintendi all the ceilings of his house1 and executed the ornamentation of the ante-chambers1 wherein are the scenes painted by ,franciabigio and ,jacopo da ,pontormo4 ,he went with ,franciabigio to ,poggio1 and executed in terretta the ornaments for all the scenes there in such a way that there is nothing better to be seen4 ,for the ,chevalier ,guidotti he decorated in sgraffito the faade of his house in the ,via ,larga1 and he also executed another of great beauty for ,bartolommeo ,panciatichi1 on the house 7now belonging to ,ruberto de' ,ricci7 which he built on the ,piazza degli ,agli4 ,nor am ,i able to describe all the friezes1 coffers1 and strong-boxes1 or the vast quantity of ceilings1 which ,andrea decorated with his own hand1 for the whole city is full of these1 and ,i must refrain from speaking of them4 ,but ,i must mention the round escutcheons of various kinds that he made1 for they were such that no wedding could take place without his having his workshop besieged by one citizen or another2 nor could any kind of brocade1 linen1 or cloth of gold1 with flowered patterns1 ever be woven1 without his making the designs for them1 and that with so much variety1 grace1 and beauty1 that he breathed spirit and life into all such things4 ,if ,andrea1 indeed1 had known his own value1 he would have made a vast fortune2 but it sufficed him to live in love with his art4 ,i must not omit to tell that in my youth1 while in the service of ,duke ,alessandro de' ,medici1 ,i was commissioned1 when ,charles ,v came to ,florence1 to make the banners for the ,castle1 or rather1 as it is called at the present day1 the ,citadel2 and among these was a standard of crimson cloth1 eighteen braccia wide at the staff and forty in length1 and surrounded by borders of gold containing the devices of the ,emperor ,charles ,v and of the house of ,medici1 with the arms of his ,majesty in the centre4 ,for this work1 in which were used forty-five thousand leaves of gold1 ,i summoned to my assistance ,andrea for the borders and ,mariotto for the gilding2 and many things did ,i learn from that good ,andrea1 so full of love and kindness for those who were studying art4 ,and so great did the skill of ,andrea then prove to be1 that1 besides availing myself of him for many details of the arches that were erected for the entry of his ,majesty1 ,i chose him as my companion1 together with ,tribolo1 when ,madama ,margherita1 daughter of ,charles ,v1 came to be married to ,duke ,alessandro1 in making the festive preparations that ,i executed in the house of the ,magnificent ,ottaviano de' ,medici on the ,piazza di ,s4 ,marco1 which was adorned with grotesques by his hand1 with statues by the hand of ,tribolo1 and with figures and scenes by my hand4 ,at the last he was much employed for the obsequies of ,duke ,alessandro1 and even more for the marriage of ,duke ,cosimo1 when all the devices in the courtyard1 described by ,m4 ,francesco ,giambullari1 who wrote an account of the festivities of that wedding1 were painted by ,andrea with ornaments of great variety4 ,and then ,andrea--who1 by reason of a melancholy humour which often oppressed him1 was on many occasions on the point of taking his own life1 but was observed so closely and guarded so well by his companion ,mariotto that he lived to be an old man--finished the course of his life at the age of sixty-four1 leaving behind him the name of a good and even rarely excellent master of grotesque-painting in our own times1 wherein every succeeding craftsman has always imitated his manner1 not only in ,florence1 but also in other places4 ,,footnote3 #ac ,from the word ,morto1 which means dead4 ,,marco ,,calavrese ,,life ,,of ,,marco ,,calavrese ,,painter ,when the world possesses some great light in any science1 every least part is illuminated by its rays1 some with greater brightness and some with less2 and the miracles that result are also greater or less according to differences of air and place4 ,constantly1 in truth1 do we see a particular country producing a particular kind of intellect fitted for a particular kind of work1 for which others are not fitted1 nor can they ever attain1 whatever labours they may endure1 to the goal of supreme excellence4 ,and if we marvel when we see growing in some province a fruit that has not been wont to grow there1 much more can we rejoice in a man of fine intellect when we find him in a country where men of the same bent are not usually born4 ,thus it was with the painter ,marco ,calavrese1 who1 leaving his own country1 chose for his habitation the sweet and pleasant city of ,naples4 ,he had been minded1 indeed1 on setting out1 to make his way to ,rome1 and there to achieve the end that rewards the student of painting2 but the song of the ,siren was so sweet to him1 and all the more because he delighted to play on the lute1 and the soft waters of ,sebeto so melted his heart1 that he remained a prisoner in body of that land until he rendered up his spirit to ,heaven and his mortal flesh to earth4 ,marco executed innumerable works in oils and in fresco1 and he proved himself more able than any other man who was practising the same art in that country in his day4 ,of this we have proof in the work that he executed at ,aversa1 ten miles distant from ,naples2 and1 above all1 in a panel-picture in oils on the high-altar of the ,church of ,s4 ,agostino1 with a large ornamental frame1 and various pictures painted with scenes and figures1 in which he represented ,s4 ,augustine disputing with the heretics1 with stories of ,christ and ,saints in various attitudes both above and at the sides4 ,in this work1 which shows a manner full of harmony and drawing towards the good manner of our modern works1 may also be seen great beauty and facility of colouring2 and it was one of the many labours that he executed in that city and for various places in the kingdom4 ,marco always lived a gay life1 enjoying every minute to the full1 for the reason that1 having no rivalry to contend with in painting from other craftsmen1 he was always adored by the ,neapolitan nobles1 and contrived to have himself rewarded for his works by ample payments4 ,and so1 having come to the age of fifty-six1 he ended his life after an ordinary illness4 ,he left a disciple in ,giovan ,filippo ,crescione1 a painter of ,naples1 who executed many pictures in company with his brother-in-law1 ,leonardo ,castellani1 as he still does2 but of these men1 since they are alive and in constant practice of their art1 there is no need to make mention4 ,the pictures of ,maestro ,marco were executed by him between #aejh and #aedb4 ,he had a companion in another ,calabrian 7whose name ,i do not know71 who worked for a long time in ,rome with ,giovanni da ,udine and executed many works by himself in that city1 particularly faades in chiaroscuro4 ,the same ,calabrian also painted in fresco the ,chapel of the ,conception in the ,church of the ,trinit1 with much skill and diligence4 ,at this same time lived ,niccola1 commonly called by everyone ,maestro ,cola dalla ,matrice1 who executed many works in ,calabria1 at ,ascoli1 and at ,norcia1 which are very well known1 and which gained for him the name of a rare master--the best1 indeed1 that there had ever been in these parts4 ,and since he also gave his attention to architecture1 all the buildings that were erected in his day at ,ascoli and throughout all that province had him as architect4 ,cola1 without caring to see ,rome or to change his country1 remained always at ,ascoli1 living happily for some time with his wife1 a woman of good and honourable family1 and endowed with extraordinary nobility of spirit1 as was proved when the strife of parties arose at ,ascoli1 in the time of ,pope ,paul ,,iii4 ,for then1 while she was flying with her husband1 with many soldiers in pursuit1 more on her account 7for she was a very beautiful young woman7 than for any other reason1 she resolved1 not seeing any other way in which she could save her own honour and the life of her husband1 to throw herself from a high cliff to the depth below4 ,at which all the soldiers believed that she was not only mortally injured1 but dashed to pieces1 as indeed she was2 wherefore they left the husband without doing him any harm1 and returned to ,ascoli4 ,after the death of this extraordinary woman1 worthy of eternal praise1 ,maestro ,cola passed the rest of his life with little happiness4 ,a short time afterwards1 ,signor ,alessandro ,vitelli1 who had become ,lord of ,matrice1#ad took ,maestro ,cola1 now an old man1 to ,citt di ,castello1 where he caused him to paint in his palace many works in fresco and many other pictures2 which works finished1 ,maestro ,cola returned to finish his life at ,matrice4 ,this master would have acquitted himself not otherwise than passing well1 if he had practised his art in places where rivalry and emulation might have made him attend with more study to painting1 and exercise the beautiful intellect with which it is evident that he was endowed by nature4 ,,footnote3 #ad ,amatrice4 ,,francesco ,,mazzuoli ,,life ,,of ,,francesco ,,mazzuoli ,,parmigiano ,,painter ,,of ,,parma ,among the many natives of ,lombardy who have been endowed with the gracious gift of design1 with a lively spirit of invention1 and with a particular manner of making beautiful landscapes in their pictures1 we should rate as second to none1 and even place before all the rest1 ,francesco ,mazzuoli of ,parma1 who was bountifully endowed by ,heaven with all those parts that are necessary to make a supreme painter1 insomuch that he gave to his figures1 in addition to what has been said of many others1 a certain nobility1 sweetness1 and grace in the attitudes which belonged to him alone4 ,to his heads1 likewise1 it is evident that he gave all the consideration that is needful2 and his manner has therefore been studied and imitated by innumerable painters1 because he shed on art a light of grace so pleasing1 that his works will always be held in great price1 and himself honoured by all students of design4 ,would to ,god that he had always pursued the studies of painting1 and had not sought to pry into the secrets of congealing mercury in order to become richer than ,nature and ,heaven had made him2 for then he would have been without an equal1 and truly unique in the art of painting1 whereas1 by searching for that which he could never find1 he wasted his time1 wronged his art1 and did harm to his own life and fame4 ,francesco was born at ,parma in the year #aejd1 and because he lost his father when he was still a child of tender age1 he was left to the care of two uncles1 brothers of his father1 and both painters1 who brought him up with the greatest lovingness1 teaching him all those praiseworthy ways that befit a ,christian man and a good citizen4 ,then1 having made some little growth1 he had no sooner taken pen in hand in order to learn to write1 than he began1 spurred by ,nature1 who had consecrated him at his birth to design1 to draw most marvellous things2 and the master who was teaching him to write1 noticing this and perceiving to what heights the genius of the boy might in time attain1 persuaded his uncles to let him give his attention to design and painting4 ,whereupon1 being men of good judgment in matters of art1 although they were old and painters of no great fame1 and recognizing that ,god and ,nature had been the boy's first masters1 they did not fail to take the greatest pains to make him learn to draw under the discipline of the best masters1 to the end that he might acquire a good manner4 ,and coming by degrees to believe that he had been born1 so to speak1 with brushes in his fingers1 on the one hand they urged him on1 and on the other1 fearing lest overmuch study might perchance spoil his health1 they would sometimes hold him back4 ,finally1 having come to the age of sixteen1 and having already done miracles of drawing1 he painted a ,s4 ,john baptizing ,christ1 of his own invention1 on a panel1 which he executed in such a manner that even now whoever sees it stands marvelling that such a work should have been painted so well by a boy4 ,this picture was placed in the ,nunziata1 the seat of the ,frati de' ,zoccoli at ,parma4 ,not content with this1 however1 ,francesco resolved to try his hand at working in fresco1 and therefore painted a chapel in ,s4 ,giovanni ,evangelista1 a house of ,black ,friars of ,s4 ,benedict2 and since he succeeded in that kind of work1 he painted as many as seven4 ,but about that time ,pope ,leo ,x sent ,signor ,prospero ,colonna with an army to ,parma1 and the uncles of ,francesco1 fearing that he might perchance lose time or be distracted1 sent him in company with his cousin1 ,girolamo ,mazzuoli1 another boy-painter1 to ,viadana1 a place belonging to the ,duke of ,mantua1 where they lived all the time that the war lasted2 and there ,francesco painted two panels in distemper4 ,one of these1 in which are ,s4 ,francis receiving the ,stigmata1 and ,s4 ,chiara1 was placed in the ,church of the ,frati de' ,zoccoli2 and the other1 which contains a ,marriage of ,s4 ,catharine1 with many figures1 was placed in ,s4 ,piero4 ,and let no one believe that these are works of a young beginner1 for they seem to be rather by the hand of a full-grown master4 ,the war finished1 ,francesco1 having returned with his cousin to ,parma1 first completed some pictures that he had left unfinished at his departure1 which are in the hands of various people4 ,after this he painted a panel-picture in oils of ,our ,lady with the ,child in her arms1 with ,s4 ,jerome on one side and the ,blessed ,bernardino da ,feltro on the other1 and in the head of one of these figures he made a portrait of the patron of the picture1 which is so wonderful that it lacks nothing save the breath of life4 ,all these works he executed before he had reached the age of nineteen4 ,then1 having conceived a desire to see ,rome1 like one who was on the path of progress and heard much praise given to the works of good masters1 and particularly to those of ,raffaello and ,michelagnolo1 he spoke out his mind and desire to his old uncles1 who1 thinking that such a wish was not otherwise than worthy of praise1 said that they were content that he should go1 but that it would be well for him to take with him some work by his own hand1 which might serve to introduce him to the noblemen of that city and to the craftsmen of his profession4 ,this advice was not displeasing to ,francesco1 and he painted three pictures1 two small and one of some size1 representing in the last the ,child in the arms of the ,madonna1 taking some fruits from the lap of an ,angel1 and an old man with his arms covered with hair1 executed with art and judgment1 and pleasing in colour4 ,besides this1 in order to investigate the subtleties of art1 he set himself one day to make his own portrait1 looking at himself in a convex barber's mirror4 ,and in doing this1 perceiving the bizarre effects produced by the roundness of the mirror1 which twists the beams of a ceiling into strange curves1 and makes the doors and other parts of buildings recede in an extraordinary manner1 the idea came to him to amuse himself by counterfeiting everything4 ,thereupon he had a ball of wood made by a turner1 and1 dividing it in half so as to make it the same in size and shape as the mirror1 set to work to counterfeit on it with supreme art all that he saw in the glass1 and particularly his own self1 which he did with such lifelike reality as could not be imagined or believed4 ,now everything that is near the mirror is magnified1 and all that is at a distance is diminished1 and thus he made the hand engaged in drawing somewhat large1 as the mirror showed it1 and so marvellous that it seemed to be his very own4 ,and since ,francesco had an air of great beauty1 with a face and aspect full of grace1 in the likeness rather of an angel than of a man1 his image on that ball had the appearance of a thing divine4 ,so happily1 indeed1 did he succeed in the whole of this work1 that the painting was no less real than the reality1 and in it were seen the lustre of the glass1 the reflection of every detail1 and the lights and shadows1 all so true and natural1 that nothing more could have been looked for from the brain of man4 ,illustration3 ,,the ,,marriage ,,of ,s4 ,,catharine 7,after the painting by ,francesco ,mazzuoli ,parmigiano4 ,parma3 ,gallery1 #aib7 ,anderson ,having finished these works1 which were held by his old uncles to be out of the ordinary1 and even considered by many other good judges of art to be miracles of beauty1 and having packed up both pictures and portrait1 he made his way to ,rome1 accompanied by one of the uncles4 ,there1 after the ,datary had seen the pictures and appraised them at their true worth1 the young man and his uncle were straightway introduced to ,pope ,clement1 who1 seeing the works and the youthfulness of ,francesco1 was struck with astonishment1 and with him all his ,court4 ,and afterwards his ,holiness1 having first shown him much favour1 said that he wished to commission him to paint the ,hall of the ,popes1 in which ,giovanni da ,udine had already decorated all the ceiling with stucco-work and painting4 ,and so1 after presenting his pictures to the ,pope1 and receiving various gifts and marks of favour in addition to his promises1 ,francesco1 spurred by the praise and glory that he heard bestowed upon him1 and by the hope of the profit that he might expect from so great a ,pontiff1 painted a most beautiful picture of the ,circumcision1 which was held to be extraordinary in invention on account of three most fanciful lights that shone in the work2 for the first figures were illuminated by the radiance of the countenance of ,christ1 the second received their light from others who were walking up some steps with burning torches in their hands1 bringing offerings for the sacrifice1 and the last were revealed and illuminated by the light of the dawn1 which played upon a most lovely landscape with a vast number of buildings4 ,this picture finished1 he presented it to the ,pope1 who did not do with it what he had done with the others2 for he had given the picture of ,our ,lady to ,cardinal ,ippolito de' ,medici1 his nephew1 and the mirror-portrait to ,messer ,pietro ,aretino1 the poet1 who was in his service1 but the picture of the ,circumcision he kept for himself2 and it is believed that it came in time into the possession of the ,emperor4 ,the mirror-portrait ,i remember to have seen1 when quite a young man1 in the house of the same ,messer ,pietro ,aretino at ,arezzo1 where it was sought out as a choice work by the strangers passing through that city4 ,afterwards it fell1 ,i know not how1 into the hands of ,valerio ,vicentino1 the crystal-engraver1 and it is now in the possession of ,alessandro ,vittoria1 a sculptor in ,venice1 the disciple of ,jacopo ,sansovino4 ,but to return to ,francesco2 while studying in ,rome1 he set himself to examine all the ancient and modern works1 both of sculpture and of painting1 that were in that city1 but held those of ,michelagnolo ,buonarroti and ,raffaello da ,urbino in supreme veneration beyond all the others2 and it was said afterwards that the spirit of that ,raffaello had passed into the body of ,francesco1 when men saw how excellent the young man was in art1 and how gentle and gracious in his ways1 as was ,raffaello1 and above all when it became known how much ,francesco strove to imitate him in everything1 and particularly in painting4 ,nor was this study in vain1 for many little pictures that he painted in ,rome1 the greater part of which afterwards came into the hands of ,cardinal ,ippolito de' ,medici1 were truly marvellous2 and even such is a round picture with a very beautiful ,annunciation1 executed by him for ,messer ,agnolo ,cesis1 which is now treasured as a rare work in the house of that family4 ,he painted a picture1 likewise1 of the ,madonna with ,christ1 some ,angels1 and a ,s4 ,joseph1 which are beautiful to a marvel on account of the expressions of the heads1 the colouring1 and the grace and diligence with which they are seen to have been executed4 ,this work was formerly in the possession of ,luigi ,gaddi1 and it must now be in the hands of his heirs4 ,hearing the fame of this master1 ,signor ,lorenzo ,cibo1 ,captain of the ,papal ,guard1 and a very handsome man1 had a portrait of himself painted by ,francesco1 who may be said to have made1 not a portrait1 but a living figure of flesh and blood4 ,having then been commissioned to paint for ,madonna ,maria ,bufolini of ,citt di ,castello a panel-picture which was to be placed in ,s4 ,salvatore del ,lauro1 in a chapel near the door1 ,francesco painted in it a ,madonna in the sky1 who is reading and has the ,child between her knees1 and on the earth he made a figure of ,s4 ,john1 kneeling on one knee in an attitude of extraordinary beauty1 turning his body1 and pointing to the ,infant ,christ2 and lying asleep on the ground1 in foreshortening1 is a ,s4 ,jerome in ,penitence4 ,but he was prevented from bringing this work to completion by the ruin and sack of ,rome in #aebg1 which was the reason not only that the arts were banished for a time1 but also that many craftsmen lost their lives4 ,and ,francesco1 also1 came within a hair's breadth of losing his1 seeing that at the beginning of the sack he was so intent on his work1 that1 when the soldiers were entering the houses1 and some ,germans were already in his1 he did not move from his painting for all the uproar that they were making2 but when they came upon him and saw him working1 they were so struck with astonishment at the work1 that1 like the gentlemen that they must have been1 they let him go on4 ,and thus1 while the impious cruelty of those barbarous hordes was ruining the unhappy city and all its treasures1 both sacred and profane1 without showing respect to either ,god or man1 ,francesco was provided for and greatly honoured by those ,germans1 and protected from all injury4 ,all the hardship that he suffered at that time was this1 that he was forced1 one of them being a great lover of painting1 to make a vast number of drawings in water-colours and with the pen1 which formed the payment of his ransom4 ,but afterwards1 when these soldiers changed their quarters1 ,francesco nearly came to an evil end1 because1 going to look for some friends1 he was made prisoner by other soldiers and compelled to pay as ransom some few crowns that he possessed4 ,wherefore his uncle1 grieved by that and by the fact that this disaster had robbed ,francesco of his hopes of acquiring knowledge1 honour1 and profit1 and seeing ,rome almost wholly in ruins and the ,pope the prisoner of the ,spaniards1 determined to take him back to ,parma4 ,and so he set ,francesco on his way to his native city1 but himself remained for some days in ,rome1 where he deposited the panel-picture painted for ,madonna ,maria ,bufolini with the ,friars of the ,pace1 in whose refectory it remained for many years1 until finally it was taken by ,messer ,giulio ,bufolini to the church of his family in ,citt di ,castello4 ,having arrived in ,bologna1 and finding entertainment with many friends1 and particularly in the house of his most intimate friend1 a saddler of ,parma1 ,francesco stayed some months in that city1 where the life pleased him1 during which time he had some works engraved and printed in chiaroscuro1 among others the ,beheading of ,s4 ,peter and ,s4 ,paul1 and a large figure of ,diogenes4 ,he also prepared many others1 in order to have them engraved on copper and printed1 having with him for this purpose one ,maestro ,antonio da ,trento2 but he did not carry this intention into effect at the time1 because he was forced to set his hand to executing many pictures and other works for gentlemen of ,bologna4 ,the first picture by his hand that was seen at ,bologna was a ,s4 ,rocco of great size in the ,chapel of the ,monsignori in ,s4 ,petronio2 to which ,saint he gave a marvellous aspect1 making him very beautiful in every part1 and conceiving him as somewhat relieved from the pain that the plague-sore in the thigh gave him1 which he shows by looking with uplifted head towards ,heaven in the act of thanking ,god1 as good men do in spite of the adversities that fall upon them4 ,this work he executed for one ,fabrizio da ,milano1 of whom he painted a portrait from the waist upwards in the picture1 with the hands clasped1 which seems to be alive2 and equally real1 also1 seems a dog that is there1 with some landscapes which are very beautiful1 ,francesco being particularly excellent in this respect4 ,he then painted for ,albio1 a physician of ,parma1 a ,conversion of ,s4 ,paul1 with many figures and a landscape1 which was a very choice work4 ,and for his friend the saddler he executed another picture of extraordinary beauty1 containing a ,madonna turned to one side in a lovely attitude1 and several other figures4 ,he also painted a picture for ,count ,giorgio ,manzuoli1 and two canvases in gouache1 with some little figures1 all graceful and well executed1 for ,maestro ,luca dai ,leuti4 ,one morning about this time1 while ,francesco was still in bed1 the aforesaid ,antonio da ,trento1 who was living with him as his engraver1 opened a strong-box and robbed him of all the copper-plate engravings1 woodcuts1 and drawings that he possessed2 and he must have gone off to the ,devil1 for all the news that was ever heard of him4 ,the engravings and woodcuts1 indeed1 ,francesco recovered1 for ,antonio had left them with a friend in ,bologna1 perchance with the intention of reclaiming them at his convenience2 but the drawings he was never able to get back4 ,driven almost out of his mind by this1 he returned to his painting1 and made a portrait1 for the sake of money1 of ,i know not what ,count of ,bologna4 ,after that he painted a picture of ,our ,lady1 with a ,christ who is holding a globe of the world4 ,the ,madonna has a most beautiful expression1 and the ,child is also very natural2 for he always gave to the faces of children a vivacious and truly childlike air1 which yet reveals that subtle and mischievous spirit that children often have4 ,and he attired the ,madonna in a very unusual fashion1 clothing her in a garment that had sleeves of yellowish gauze1 striped1 as it were1 with gold1 which gave a truly beautiful and graceful effect1 revealing the flesh in a natural and delicate manner2 besides which1 the hair is painted so well that there is none better to be seen4 ,this picture was painted for ,messer ,pietro ,aretino1 but ,francesco gave it to ,pope ,clement1 who came to ,bologna at that time2 then1 in some way of which ,i know nothing1 it fell into the hands of ,messer ,dionigi ,gianni1 and it now belongs to his son1 ,messer ,bartolommeo1 who has been so accommodating with it that it has been copied fifty times1 so much is it prized4 ,illustration3 ,,madonna ,,and ,,child ,,with ,,saints 7,after the panel by ,francesco ,mazzuoli ,parmigiano4 ,bologna3 ,accademia1 #aaf7 ,brogi ,the same master painted for the ,nuns of ,s4 ,margherita1 in ,bologna1 a panel-picture containing a ,madonna1 ,s4 ,margaret1 ,s4 ,petronio1 ,s4 ,jerome1 and ,s4 ,michael1 which is held in vast veneration1 as it deserves1 since in the expressions of the heads and in every other part it is as fine as all the other works of this painter4 ,he made many drawings1 likewise1 and in particular some for ,girolamo del ,lino1 and some for ,girolamo ,fagiuoli1 a goldsmith and engraver1 who desired them for engraving on copper2 and these drawings are held to be full of grace4 ,for ,bonifazio ,gozzadino he painted his portrait from life1 with one of his wife1 which remained unfinished4 ,he also began a picture of ,our ,lady1 which was afterwards sold in ,bologna to ,giorgio ,vasari of ,arezzo1 who has it in the new house built by himself at ,arezzo1 together with many other noble pictures1 works of sculpture1 and ancient marbles4 ,when the ,emperor ,charles ,v was at ,bologna to be crowned by ,clement ,,vii1 ,francesco1 who went several times to see him at table1 but without drawing his portrait1 made a likeness of that ,emperor in a very large picture in oils1 wherein he painted ,fame crowning him with laurel1 and a boy in the form of a little ,hercules offering him a globe of the world1 giving him1 as it were1 the dominion over it4 ,this work1 when finished1 he showed to ,pope ,clement1 who was so pleased with it that he sent it and ,francesco together1 accompanied by the ,bishop of ,vasona1 then ,datary1 to the ,emperor2 at which his ,majesty1 to whom it gave much satisfaction1 hinted that it should be left with him4 ,but ,francesco1 being ill advised by an insincere or injudicious friend1 refused to leave it1 saying that it was not finished2 and so his ,majesty did not have it1 and ,francesco was not rewarded for it1 as he certainly would have been4 ,this picture1 having afterwards fallen into the hands of ,cardinal ,ippolito de' ,medici1 was presented by him to the ,cardinal of ,mantua2 and it is now in the guardaroba of the ,duke of that city1 with many other most noble and beautiful pictures4 ,after having been so many years out of his native place1 as we have related1 during which he had gained much experience in art1 without accumulating any store of riches1 but only of friends1 ,francesco1 in order to satisfy his many friends and relatives1 finally returned to ,parma4 ,arriving there1 he was straightway commissioned to paint in fresco a vault of some size in the ,church of ,s4 ,maria della ,steccata2 but since in front of that vault there was a flat arch which followed the curve of the vaulting1 making a sort of faade1 he set to work first on the arch1 as being the easier1 and painted therein six very beautiful figures1 two in colour and four in chiaroscuro4 ,between one figure and another he made some most beautiful ornaments1 surrounding certain rosettes in relief1 which he took it into his head to execute by himself in copper1 taking extraordinary pains over them4 ,at this same time he painted for the ,chevalier ,baiardo1 a gentleman of ,parma and his intimate friend1 a picture of a ,cupid1 who is fashioning a bow with his own hand1 and at his feet are seated two little boys1 one of whom catches the other by the arm and laughingly urges him to touch ,cupid with his finger1 but he will not touch him1 and shows by his tears that he is afraid of burning himself at the fire of ,love4 ,this picture1 which is charming in colour1 ingenious in invention1 and executed in that graceful manner of ,francesco's that has been much studied and imitated1 as it still is1 by craftsmen and by all who delight in art1 is now in the study of ,signor ,marc' ,antonio ,cavalca1 heir to the ,chevalier ,baiardo1 together with many drawings of every kind by the hand of the same master1 all most beautiful and highly finished1 which he has collected4 ,even such are the many drawings1 also by the hand of ,francesco1 that are in our book2 and particularly that of the ,beheading of ,s4 ,peter and ,s4 ,paul1 of which1 as has been related1 he published copper-plate engravings and woodcuts1 while living in ,bologna4 ,for the ,church of ,s4 ,maria de' ,servi he painted a panel-picture of ,our ,lady with the ,child asleep in her arms1 and on one side some ,angels1 one of whom has in his arms an urn of crystal1 wherein there glitters a ,cross1 at which the ,madonna gazes in contemplation4 ,this work remained unfinished1 because he was not well contented with it2 and yet it is much extolled1 and a good example of his manner1 so full of grace and beauty4 ,meanwhile ,francesco began to abandon the work of the ,steccata1 or at least to carry it on so slowly that it was evident that he was not in earnest4 ,and this happened because he had begun to study the problems of alchemy1 and had quite deserted his profession of painting1 thinking that he would become rich quicker by congealing mercury4 ,wherefore1 wearing out his brain1 but not in imagining beautiful inventions and executing them with brushes and colour-mixtures1 he wasted his whole time in handling charcoal1 wood1 glass vessels1 and other suchlike trumperies1 which made him spend more in one day than he earned by a week's work at the ,chapel of the ,steccata4 ,having no other means of livelihood1 and being yet compelled to live1 he was wasting himself away little by little with those furnaces2 and what was worse1 the men of the ,company of the ,steccata1 perceiving that he had completely abandoned the work1 and having perchance paid him more than his due1 as is often done1 brought a suit against him4 ,thereupon1 thinking it better to withdraw1 he fled by night with some friends to ,casal ,maggiore4 ,and there1 having dispersed a little of the alchemy out of his head1 he painted a panel-picture for the ,church of ,s4 ,stefano1 of ,our ,lady in the sky1 with ,s4 ,john the ,baptist and ,s4 ,stephen below4 ,afterwards he executed a picture1 the last that he ever painted1 of the ,roman ,lucretia1 which was a thing divine and one of the best that were ever seen by his hand2 but it has disappeared1 however that may have happened1 so that no one knows where it is4 ,by his hand1 also1 is a picture of some nymphs1 which is now in the house of ,messer ,niccol ,bufolini at ,citt di ,castello1 and a child's cradle1 which was painted for ,signora ,angiola de' ,rossi of ,parma1 wife of ,signor ,alessandro ,vitelli1 and is likewise at ,citt di ,castello4 ,in the end1 having his mind still set on his alchemy1 like every other man who has once grown crazed over it1 and changing from a dainty and gentle person into an almost savage man with long and unkempt beard and locks1 a creature quite different from his other self1 ,francesco went from bad to worse1 became melancholy and eccentric1 and was assailed by a grievous fever and a cruel flux1 which in a few days caused him to pass to a better life4 ,and in this way he found an end to the troubles of this world1 which was never known to him save as a place full of annoyances and cares4 ,he wished to be laid to rest in the ,church of the ,servite ,friars1 called ,la ,fontana1 one mile distant from ,casal ,maggiore2 and he was buried naked1 as he had directed1 with a cross of cypress upright on his breast4 ,he finished the course of his life on the #bdth of ,august1 in the year #aedj1 to the great loss of art on account of the singular grace that his hands gave to the pictures that he painted4 ,francesco delighted to play on the lute1 and had a hand and a genius so well suited to it that he was no less excellent in this than in painting4 ,it is certain that if he had not worked by caprice1 and had laid aside the follies of the alchemists1 he would have been without a doubt one of the rarest and most excellent painters of our age4 ,i do not deny that working at moments of fever-heat1 and when one feels inclined1 may be the best plan4 ,but ,i do blame a man for working little or not at all1 and for wasting all his time over cogitations1 seeing that the wish to arrive by trickery at a goal to which one cannot attain1 often brings it about that one loses what one knows in seeking after that which it is not given to us to know4 ,if ,francesco1 who had from nature a spirit of great vivacity1 with a beautiful and graceful manner1 had persisted in working every day1 little by little he would have made such proficience in art1 that1 even as he gave a beautiful1 gracious1 and most charming expression to his heads1 so he would have surpassed his own self and the others in the solidity and perfect excellence of his drawing4 ,he left behind him his cousin ,girolamo ,mazzuoli1 who1 with great credit to himself1 always imitated his manner1 as is proved by the works by his hand that are in ,parma4 ,at ,viadana1 also1 whither he fled with ,francesco on account of the war1 he painted1 young as he was1 a very beautiful ,annunciation on a little panel for ,s4 ,francesco1 a seat of the ,frati de' ,zoccoli2 and he painted another for ,s4 ,maria ne' ,borghi4 ,for the ,conventual ,friars of ,s4 ,francis at ,parma he executed the panel-picture of their high-altar1 containing ,joachim being driven from the ,temple1 with many figures4 ,and for ,s4 ,alessandro1 a convent of nuns in that city1 he painted a panel with the ,madonna in ,heaven1 the ,infant ,christ presenting a palm to ,s4 ,giustina1 and some ,angels drawing back a piece of drapery1 with ,s4 ,alexander the ,pope and ,s4 ,benedict4 ,for the ,church of the ,carmelite ,friars he painted the panel-picture of their high-altar1 which is very beautiful1 and for ,s4 ,sepolcro another panel-picture of some size4 ,in ,s4 ,giovanni ,evangelista1 a church of nuns in the same city1 are two panel-pictures by the hand of ,girolamo1 of no little beauty1 but not equal to the doors of the organ or to the picture of the high-altar1 in which is a most beautiful ,transfiguration1 executed with much diligence4 ,the same master has painted a perspective-view in fresco in the refectory of those nuns1 with a picture in oils of the ,last ,supper of ,christ with the ,apostles1 and fresco-paintings in the ,chapel of the ,high-,altar in the ,duomo4 ,and for ,madama ,margherita of ,austria1 ,duchess of ,parma1 he has made a portrait of the ,prince ,don ,alessandro1 her son1 in full armour1 with his sword over a globe of the world1 and an armed figure of ,parma kneeling before him4 ,in a chapel of the ,steccata1 at ,parma1 he has painted in fresco the ,apostles receiving the ,holy ,spirit1 and on an arch similar to that which his cousin ,francesco painted he has executed six ,sibyls1 two in colour and four in chiaroscuro2 while in a niche opposite to that arch he has painted the ,nativity of ,christ1 with the ,shepherds adoring ,him1 which is a very beautiful picture1 although it was left not quite finished4 ,for the high-altar of the ,certosa1 without ,parma1 he has painted a panel-picture with the three ,magi2 a panel for ,s4 ,piero1 an abbey of ,monks of ,s4 ,bernard1 at ,pavia2 another for the ,duomo of ,mantua1 at the commission of the ,cardinal2 and yet another panel for ,s4 ,giovanni in the same city1 containing a ,christ in a glory of light1 surrounded by the ,apostles1 with ,s4 ,john1 of whom ,he appears to be saying1 ,sic eum volo manere1 etc42 while round this panel1 in six large pictures1 are the miracles of the same ,s4 ,john the ,evangelist4 ,in the ,church of the ,frati ,zoccolanti1 on the left hand1 there is a large panel-picture of the ,conversion of ,s4 ,paul1 a very beautiful work1 by the hand of the same man4 ,and for the high-altar of ,s4 ,benedetto in ,pollirone1 a place twelve miles distant from ,mantua1 he has executed a panel-picture of ,christ in the ,manger being adored by the ,shepherds1 with ,angels singing4 ,he has also painted--but ,i do not know exactly at what time--a most beautiful picture of five ,loves1 one of whom is sleeping1 and the others are despoiling him1 one taking away his bow1 another his arrows1 and the others his torch1 which picture belongs to the ,lord ,duke ,ottavio1 who holds it in great account by reason of the excellence of ,girolamo4 ,this master has in no way fallen short of the standard of his cousin ,francesco1 being a fine painter1 gentle and courteous beyond belief2 and since he is still alive1 there are seen issuing from his brush other works of rare beauty1 which he has constantly in hand4 ,a close friend of the aforesaid ,francesco ,mazzuoli was ,messer ,vincenzio ,caccianimici1 a gentleman of ,bologna1 who painted and strove to the best of his power to imitate the manner of ,francesco4 ,this ,vincenzio was a very good colourist1 so that the works which he executed for his own pleasure1 or to present to his friends and various noblemen1 are truly well worthy of praise2 and such1 in particular1 is a panel-picture in oils1 containing the ,beheading of ,s4 ,john the ,baptist1 which is in the chapel of his family in ,s4 ,petronio4 ,this talented gentleman1 by whose hand are some very beautiful drawings in our book1 died in the year #aedb4 ,,jacopo ,,palma ,,and ,,lorenzo ,,lotto ,illustration3 ,,lorenzo ,,lotto3 ,,the ,,triumph ,,of ,,chastity 7,rome3 ,rospigliosi ,gallery4 ,panel7 ,,lives ,,of ,,jacopo ,,palma ,,palma ,,vecchio ,,and ,,lorenzo ,,lotto ,,painters ,,of ,,venice ,so potent are mastery and excellence1 even when seen in only one or two works executed to perfection by a man in the art that he practises1 that1 no matter how small these may be1 craftsmen and judges of art are forced to extol them1 and writers are compelled to celebrate them and to give praise to the craftsman who has made them2 even as we are now about to do for the ,venetian ,palma4 ,this master1 although not very eminent1 nor remarkable for perfection of painting1 was nevertheless so careful and diligent1 and subjected himself so zealously to the labours of art1 that a certain proportion of his works1 if not all1 have something good in them1 in that they are close imitations of life and of the natural appearance of men4 ,illustration3 ,,jacopo ,,palma 7,,palma ,,vecchio73 ,s4 ,,barbara 7,venice3 ,s4 ,maria ,formosa4 ,panel7 ,palma was much more remarkable for his patience in harmonizing and blending colours than for boldness of design1 and he handled colour with extraordinary grace and finish4 ,this may be seen in ,venice from many pictures and portraits that he executed for various gentlemen2 but of these ,i shall say nothing more1 since ,i propose to content myself with making mention of some altar-pieces and of a head that ,i hold to be marvellous1 or rather1 divine4 ,one of the altar-pieces he painted for ,s4 ,antonio1 near ,castello1 at ,venice1 and another for ,s4 ,elena1 near the ,lido1 where the ,monks of ,monte ,oliveto have their monastery4 ,in the latter1 which is on the high-altar of that church1 he painted the ,magi presenting their offerings to ,christ1 with a good number of figures1 among which are some heads truly worthy of praise1 as also are the draperies1 executed with a beautiful flow of folds1 which cover the figures4 ,palma also painted a lifesize ,s4 ,barbara for the altar of the ,bombardieri in the ,church of ,s4 ,maria ,formosa1 with two smaller figures at the sides1 ,s4 ,sebastian and ,s4 ,anthony2 and the ,s4 ,barbara is one of the best figures that this painter ever executed4 ,the same master also executed another altar-piece1 in which is a ,madonna in the sky1 with ,s4 ,john below1 for the ,church of ,s4 ,mois1 near the ,piazza di ,s4 ,marco4 ,in addition to this1 ,palma painted a most beautiful scene for the hall wherein the men of the ,scuola of ,s4 ,marco assemble1 on the ,piazza di ,,ss4 ,giovanni e ,paolo1 in emulation of those already executed by ,giovanni ,bellini1 ,giovanni ,mansueti1 and other painters4 ,in this scene is depicted a ship which is bringing the body of ,s4 ,mark to ,venice2 and there may be seen counterfeited by ,palma a terrible tempest on the sea1 and some barques tossed and shaken by the fury of the winds1 all executed with much judgment and thoughtful care4 ,the same may be said of a group of figures in the air1 and of the demons in various forms who are blowing1 after the manner of winds1 against the barques1 which1 driven by oars1 and striving in various ways to break through the dangers of the towering waves1 are like to sink4 ,in short1 to tell the truth1 this work is of such a kind1 and so beautiful in invention and in other respects1 that it seems almost impossible that brushes and colours1 employed by human hands1 however excellent1 should be able to depict anything more true to reality or more natural2 for in it may be seen the fury of the winds1 the strength and dexterity of the men1 the movements of the waves1 the lightning-flashes of the heavens1 the water broken by the oars1 and the oars bent by the waves and by the efforts of the rowers4 ,why say more8 ,i1 for my part1 do not remember to have ever seen a more terrible painting than this1 which is executed in such a manner1 and with such care in the invention1 the drawing1 and the colouring1 that the picture seems to quiver1 as if all that is painted therein were real4 ,for this work ,jacopo ,palma deserves the greatest praise1 and the honour of being numbered among those who are masters of art and who are able to express with facility in their pictures their most sublime conceptions4 ,for many painters1 in difficult subjects of that kind1 achieve in the first sketch of their work1 as though guided by a sort of fire of inspiration1 something of the good and a certain measure of boldness2 but afterwards1 in finishing it1 the boldness vanishes1 and nothing is left of the good that the first fire produced4 ,and this happens because very often1 in finishing1 they consider the parts and not the whole of what they are executing1 and thus1 growing cold in spirit1 they come to lose their vein of boldness2 whereas ,jacopo stood ever firm in the same intention and brought to perfection his first conception1 for which he received vast praise at that time1 as he always will4 ,illustration3 ,s4 ,,sebastian 7,after the panel by ,jacopo ,palma ,palma ,vecchio4 ,venice3 ,s4 ,maria ,formosa7 ,anderson ,but without a doubt1 although the works of this master were many1 and all much esteemed1 that one is better than all the others and truly extraordinary in which he made his own portrait from life by looking at himself in a mirror1 with some camel-skins about him1 and certain tufts of hair1 and all so lifelike that nothing better could be imagined4 ,for so much did the genius of ,palma effect in this particular work1 that he made it quite miraculous and beautiful beyond belief1 as all men declare1 the picture being seen almost every year at the ,festival of the ,ascension4 ,and1 in truth1 it well deserves to be celebrated1 in point of draughtsmanship1 colouring1 and mastery of art--in a word1 on account of its absolute perfection--beyond any other work whatsoever that had been executed by any ,venetian painter up to that time1 since1 besides other things1 there may be seen in the eyes a roundness so perfect1 that ,leonardo da ,vinci and ,michelagnolo ,buonarroti would not have done it in any other way4 ,but it is better to say nothing of the grace1 the dignity1 and the other qualities that are to be seen in this portrait1 because it is not possible to say as much of its perfection as would exhaust its merits4 ,if ,fate had decreed that ,palma should die after this work1 he would have carried off with him the glory of having surpassed all those whom we celebrate as our rarest and most divine intellects2 but the duration of his life1 keeping him at work1 brought it about that1 not maintaining the high beginning that he had made1 he came to deteriorate as much as most men had thought him destined to improve4 ,finally1 content that one or two supreme works should have cleared him of some of the censure that the others had brought upon him1 he died in ,venice at the age of forty-eight4 ,a friend and companion of ,palma was ,lorenzo ,lotto1 a painter of ,venice1 who1 after imitating for some time the manner of the ,bellini1 attached himself to that of ,giorgione1 as is shown by many pictures and portraits which are in the houses of gentlemen in ,venice4 ,in the house of ,andrea ,odoni there is a portrait of him1 which is very beautiful1 by the hand of ,lorenzo4 ,and in the house of ,tommaso da ,empoli1 a ,florentine1 there is a picture of the ,nativity of ,christ1 painted as an effect of night1 which is one of great beauty1 particularly because the splendour of ,christ is seen to illuminate the picture in a marvellous manner2 and there is the ,madonna kneeling1 with a portrait of ,messer ,marco ,loredano in a full-length figure that is adoring ,christ4 ,for the ,carmelite ,friars the same master painted an altar-piece showing ,s4 ,nicholas in his episcopal robes1 poised in the air1 with three ,angels2 below him are ,s4 ,lucia and ,s4 ,john1 on high some clouds1 and beneath these a most beautiful landscape1 with many little figures and animals in various places4 ,on one side is ,s4 ,george on horseback1 slaying the ,dragon1 and at a little distance the ,maiden1 with a city not far away1 and an arm of the sea4 ,for the ,chapel of ,s4 ,antonino1 ,archbishop of ,florence1 in ,,ss4 ,giovanni e ,paolo1 ,lorenzo executed an altar-piece containing the first-named ,saint seated with two priests in attendance1 and many people below4 ,illustration3 ,,the ,,glorification ,,of ,s4 ,,nicholas 7,after the painting by ,lorenzo ,lotto4 ,venice3 ,s4 ,maria del ,carmine7 ,anderson ,while this painter was still young1 imitating partly the manner of the ,bellini and partly that of ,giorgione1 he painted an altar-piece1 divided into six pictures1 for the high-altar of ,s4 ,domenico at ,recanati4 ,in the central picture is the ,madonna with the ,child in her arms1 giving the habit1 by the hands of an ,angel1 to ,s4 ,dominic1 who is kneeling before the ,virgin2 and in this picture are also two little boys1 one playing on a lute and the other on a rebeck4 ,in the second picture are the ,popes ,s4 ,gregory and ,s4 ,urban2 and in the third is ,s4 ,thomas ,aquinas1 with another saint1 who was ,bishop of ,recanati4 ,above these are the three other pictures2 and in the centre1 above the ,madonna1 is a ,dead ,christ1 supported by an ,angel1 with ,his ,mother kissing ,his arm1 and ,s4 ,magdalene4 ,over the picture of ,s4 ,gregory are ,s4 ,mary ,magdalene and ,s4 ,vincent2 and in the third--namely1 above the ,s4 ,thomas ,aquinas--are ,s4 ,gismondo and ,s4 ,catharine of ,siena4 ,in the predella1 which is a rare work painted with little figures1 there is in the centre the scene of ,s4 ,maria di ,loreto being carried by the ,angels from the regions of ,sclavonia to the place where it now stands4 ,of the two scenes that are on either side of this1 one shows ,s4 ,dominic preaching1 the little figures being the most graceful in the world1 and the other ,pope ,honorius confirming the ,rule of ,s4 ,dominic4 ,in the middle of this church is a figure of ,s4 ,vincent1 the ,friar1 executed in fresco by the hand of the same master4 ,and in the ,church of ,s4 ,maria di ,castelnuovo there is an altar-piece in oils of the ,transfiguration of ,christ1 with three scenes painted with little figures in the predella--,christ leading the ,apostles to ,mount ,tabor1 ,his ,prayer in the ,garden1 and ,his ,ascension into ,heaven4 ,illustration3 ,,andrea ,,odoni 7,after the painting by ,lorenzo ,lotto4 ,hampton ,court ,palace7 ,mansell ,after these works ,lorenzo went to ,ancona1 at the very time when ,mariano da ,perugia had finished a panel-picture1 with a large ornamental frame1 for the high-altar of ,s4 ,agostino4 ,this did not give much satisfaction2 and ,lorenzo was commissioned to paint a picture1 which is placed in the middle of the same church1 of ,our ,lady with the ,child in her lap1 and two figures of ,angels in the air1 in foreshortening1 crowning the ,virgin4 ,finally1 being now old1 and having almost lost his voice1 ,lorenzo made his way1 after executing some other works of no great importance at ,ancona1 to the ,madonna of ,loreto1 where he had already painted an altar-piece in oils1 which is in a chapel at the right hand of the entrance into the church4 ,there1 having resolved to finish his life in the service of the ,madonna1 and to make that holy house his habitation1 he set his hand to executing scenes with figures one braccio or less in height round the choir1 over the seats of the priests4 ,in one scene he painted the ,birth of ,jesus ,christ1 and in another the ,magi adoring ,him4 ,next came the ,presentation to ,simeon1 and after that the ,baptism of ,christ by ,john in the ,jordan4 ,there was also the ,woman taken in ,adultery being led before ,christ1 and all these were executed with much grace4 ,two other scenes1 likewise1 did he paint there1 with an abundance of figures2 one of ,david causing a sacrifice to be offered1 and in the other was the ,archangel ,michael in combat with ,lucifer1 after having driven him out of ,heaven4 ,these works finished1 no long time had passed when1 even as he had lived like a good citizen and a true ,christian1 so he died1 rendering up his soul to ,god his ,master4 ,these last years of his life he found full of happiness and serenity of mind1 and1 what is more1 we cannot but believe that they gave him the earnest of the blessings of eternal life2 which might not have happened to him if at the end of his life he had been wrapped up too closely in the things of this world1 which1 pressing too heavily on those who put their whole trust in them1 prevent them from ever raising their minds to the true riches and the supreme blessedness and felicity of the other life4 ,illustration3 ,,rondinello 7,,niccol ,,rondinelli73 ,,madonna ,,and ,,child 7,paris3 ,louvre1 #aaei4 ,panel7 ,there also flourished in ,romagna at this time the excellent painter ,rondinello1 of whom we made some slight mention in the ,life of ,giovanni ,bellini1 whose disciple he was1 assisting him much in his works4 ,this ,rondinello1 after leaving ,giovanni ,bellini1 laboured at his art to such purpose1 that1 being very diligent1 he executed many works worthy of praise2 of which we have witness in the panel-picture of the high-altar in the ,duomo at ,forl1 showing ,christ giving the ,communion to the ,apostles1 which he painted there with his own hand1 executing it very well4 ,in the lunette above this picture he painted a ,dead ,christ1 and in the predella some scenes with little figures1 finished with great diligence1 representing the actions of ,s4 ,helena1 the mother of the ,emperor ,constantine1 in the finding of the ,cross4 ,he also painted a single figure of ,s4 ,sebastian1 which is very beautiful1 in a picture in the same church4 ,for the altar of ,s4 ,maria ,maddalena1 in the ,duomo of ,ravenna1 he painted a panel-picture in oils containing the single figure of that ,saint2 and below this1 in a predella1 he executed three scenes with very graceful little figures4 ,in one is ,christ appearing to ,mary ,magdalene in the form of a gardener1 in another ,s4 ,peter leaving the ship and walking over the water towards ,christ1 and between them the ,baptism of ,jesus ,christ2 and all are very beautiful4 ,for ,s4 ,giovanni ,evangelista1 in the same city1 he painted two panel-pictures1 one with that ,saint consecrating the church1 and in the other three martyrs1 ,s4 ,cantius1 ,s4 ,cantianus1 and ,s4 ,cantianilla1 figures of great beauty4 ,in ,s4 ,apollinare1 also in that city1 are two pictures1 highly extolled1 each with a single figure1 ,s4 ,john the ,baptist and ,s4 ,sebastian4 ,and in the ,church of the ,spirito ,santo there is a panel1 likewise by his hand1 containing the ,madonna placed between the ,virgin ,martyr ,s4 ,catharine and ,s4 ,jerome4 ,for ,s4 ,francesco1 likewise1 he painted two panel-pictures1 one of ,s4 ,catharine and ,s4 ,francis1 and in the other ,our ,lady with ,s4 ,james the ,apostle1 ,s4 ,francis1 and many figures4 ,for ,s4 ,domenico1 in like manner1 he executed two other panels1 one of which1 containing the ,madonna and many figures1 is on the left hand of the high-altar1 and the other1 a work of no little beauty1 is on a wall of the church4 ,and for the ,church of ,s4 ,niccol1 a convent of ,friars of ,s4 ,augustine1 he painted another panel with ,s4 ,laurence and ,s4 ,francis4 ,so much was he commended for all these works1 that during his lifetime he was held in great account1 not only in ,ravenna but throughout all ,romagna4 ,rondinello lived to the age of sixty1 and was buried in ,s4 ,francesco at ,ravenna4 ,illustration3 ,,madonna ,,and ,,child ,,with ,,saints 7,after the painting by ,rondinello ,niccol ,rondinelli4 ,ravenna3 ,accademia7 ,alinari ,this master left behind him ,francesco da ,cotignola1 a painter likewise held in estimation in that city1 who painted many works2 in particular1 for the high-altar of the ,church of the ,abbey of ,classi in ,ravenna1 a panel-picture of some size representing the ,raising of ,lazarus1 with many figures4 ,there1 opposite to that work1 in the year #aedh1 ,giorgio ,vasari executed for ,don ,romualdo da ,verona1 ,abbot of that place1 another panel-picture containing the ,deposition of ,christ from the ,cross1 with a large number of figures4 ,francesco also painted a panel-picture of the ,nativity of ,christ1 which is of great size1 for ,s4 ,niccol1 and likewise two panels1 with various figures1 for ,s4 ,sebastiano4 ,for the ,hospital of ,s4 ,catarina he painted a panel-picture with ,our ,lady1 ,s4 ,catharine1 and many other figures2 and for ,s4 ,agata he painted a panel with ,christ ,crucified1 the ,madonna at the foot of the ,cross1 and a good number of other figures1 for which he won praise4 ,and for ,s4 ,apollinare1 in the same city1 he executed three panel-pictures2 one for the high-altar1 containing the ,madonna1 ,s4 ,john the ,baptist1 and ,s4 ,apollinare1 with ,s4 ,jerome and other saints2 another likewise of the ,madonna1 with ,s4 ,peter and ,s4 ,catharine2 and in the third and last ,jesus ,christ bearing ,his ,cross1 but this he was not able to finish1 being overtaken by death4 ,francesco was a very pleasing colourist1 but not so good a draughtsman as ,rondinello2 yet he was held in no small estimation by the people of ,ravenna4 ,he chose to be buried after his death in ,s4 ,apollinare1 for which he had painted the said figures1 being content that his remains1 when he was dead1 should lie at rest in the place for which he had laboured when alive4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,shepherds 7,after the panel by ,francesco da ,cotignola4 ,ravenna3 ,accademia7 ,alinari ,,index ,,of ,,names ,,of ,,the ,,craftsmen ,,mentioned ,,in ,,volume ,v ,agnolo1 ,andrea d' 7,andrea del ,sarto71 ,life1 #he-abj4 #afd1 #aid1 #bag-bba1 #bca ,agnolo1 ,baccio d' 7,baccio ,baglioni71 #ia1 #ih1 #ajb ,agnolo ,bronzino1 #abg1 #afc ,agnolo di ,cristofano1 #bbc ,agnolo di ,donnino1 #ch ,agostino ,busto 7,il ,bambaja71 #db1 #dc ,agostino ,viniziano1 #ig ,aimo1 ,domenico 7,bologna71 #bh ,albertinelli1 ,mariotto1 #hf1 #bab1 #bag ,albertino1 ,francesco d' 7,francesco ,ubertini1 or ,il ,bacchiacca71 #bbb ,alberto1 ,antonio1 #ac ,albrecht ,drer1 #if ,alessandro ,allori1 #abg ,alessandro ,vittoria1 #bdg ,alesso ,baldovinetti1 #hh1 #ib ,alfonso ,lombardi1 ,life1 #aca-acf4 #baj ,allori1 ,alessandro1 #abg ,amalteo1 ,pomponio1 #aed1 #aee ,amico ,aspertini1 ,life1 #bji-baa4 #abe1 #bjg-baa ,andrea ,contucci 7,andrea ,sansovino1 or ,andrea dal ,monte ,sansovino71 ,life1 #ba-ca4 #dc1 #hh ,andrea d' ,agnolo 7,andrea del ,sarto71 ,life1 #he-abj4 #afd1 #aid1 #bag-bba1 #bca ,andrea da ,fiesole 7,andrea ,ferrucci71 ,life1 #c-h4 #aa ,andrea dal ,castagno 7,andrea degli ,impiccati71 #aaf ,andrea dal ,monte ,sansovino 7,andrea ,sansovino1 or ,andrea ,contucci71 ,life1 #ba-ca4 #dc1 #hh ,andrea degli ,impiccati 7,andrea dal ,castagno71 #aaf ,andrea del ,sarto 7,andrea d' ,agnolo71 ,life1 #he-abj4 #afd1 #aid1 #bag-bba1 #bca ,andrea della ,robbia1 #ij ,andrea di ,cosimo ,feltrini1 ,life1 #bbi-bcc4 #bba1 #bbh ,andrea ,ferrucci 7,andrea da ,fiesole71 ,life1 #c-h4 #aa ,andrea ,sansovino 7,andrea ,contucci1 or ,andrea dal ,monte ,sansovino71 ,life1 #ba-ca4 #dc1 #hh ,andrea ,sguazzella1 #ajj1 #aah ,andrea ,verrocchio1 #di1 #ej1 #ee ,anguisciuola1 ,sofonisba1 #abg1 #abh ,antonio ,alberto1 #ac ,antonio da ,carrara1 #h ,antonio da ,san ,gallo 7the elder71 #ig ,antonio da ,san ,gallo 7the younger71 #bi1 #dc1 #eh1 #gb ,antonio da ,trento 7,antonio ,fantuzzi71 #bdi1 #bej ,antonio del ,rozzo 7,antonio del ,tozzo71 #gc ,antonio di ,donnino ,mazzieri1 #bbc ,antonio di ,giorgio ,marchissi1 #d ,antonio di ,giovanni 7,solosmeo71 #aah ,antonio ,fantuzzi 7,antonio da ,trento71 #bdi1 #bej ,antonio ,floriani1 #adh1 #adi ,antonio ,mini1 #afe ,antonio ,pollaiuolo1 #ba ,apelles1 #ad ,aretusi1 ,pellegrino degli 7,pellegrino da ,modena1 or ,pellegrino de' ,munari71 ,life1 #hj-ha4 #agf ,aristotele 7,sebastiano7 da ,san ,gallo1 #ig ,aspertini1 ,amico1 ,life1 #bji-baa4 #abe1 #bjg-baa ,bacchiacca1 ,il 7,francesco ,ubertini1 or ,francesco d' ,albertino71 #bbb ,baccio ,baglioni 7,baccio d' ,agnolo71 #ia1 #ih1 #ajb ,baccio ,bandinelli1 #e1 #bg1 #cf1 #eg1 #if-ih1 #ace ,baccio d' ,agnolo 7,baccio ,baglioni71 #ia1 #ih1 #ajb ,baccio da ,montelupo1 ,life1 #da-de4 #ig ,baccio della ,porta 7,fra ,bartolommeo di ,san ,marco71 #aei1 #afj1 #aid ,baglioni1 ,baccio 7,baccio d' ,agnolo71 #ia1 #ih1 #ajb ,bagnacavallo1 ,bartolommeo da 7,bartolommeo ,ramenghi71 ,life1 #bjg-bji ,bagnacavallo1 ,giovan ,battista da1 #bja ,baldassarre ,peruzzi1 ,life1 #fc-gd4 #eg1 #fc-gd1 #acf1 #agj1 #agf1 #bjh ,baldovinetti1 ,alesso1 #hh1 #ib ,bambaja1 ,il 7,agostino ,busto71 #db1 #dc ,bandinelli1 ,baccio1 #e1 #bg1 #cf1 #eg1 #if-ih1 #ace ,barbieri1 ,domenico del1 #bja ,barile1 ,gian 7of ,florence71 #hf ,bartolommeo da ,bagnacavallo 7,bartolommeo ,ramenghi71 ,life1 #bjg-bji ,bartolommeo di ,san ,marco1 ,fra 7,baccio della ,porta71 #aei1 #afj1 #aid ,bartolommeo ,miniati1 #bja ,bartolommeo ,neroni 7,riccio71 #gc ,bartolommeo ,ramenghi 7,bartolommeo da ,bagnacavallo71 ,life1 #bjg-bji ,bastianello ,florigorio 7,sebastiano ,florigerio71 #adh ,battista1 ,martino di 7,pellegrino da ,san ,daniele1 or ,martino da ,udine71 #ade-aej ,battista ,dossi1 ,life1 #aci-ada ,battistino1 #aic1 #aid ,baviera1 #aid ,bazzi1 ,giovanni ,antonio 7,sodoma71 #gc ,beccafumi1 ,domenico 7,domenico di ,pace71 #gd1 #aec1 #afc ,belli1 ,valerio de' 7,valerio ,vicentino71 #bdg ,bellini family1 #bfb ,bellini1 ,giovanni1 #ade1 #adf1 #bfj1 #bfd ,bembo1 ,giovan ,francesco 7,giovan ,francesco ,vetraio71 #ahj ,benedetto1 #afe ,benedetto da ,ferrara 7,benedetto ,coda71 #baa1 #bab ,benedetto da ,maiano1 #e ,benedetto da ,rovezzano1 ,life1 #ce-ch ,benedetto ,spadari1 #aie1 #aif ,benvenuto ,cellini1 #ace ,bernardino del ,lupino 7,bernardino ,luini71 #fj ,bernardino ,pinturicchio1 #bbg ,bernardo da ,vercelli1 #aea ,bernardo del ,buda 7,bernardo ,rosselli71 #aaf ,bernazzano1 ,cesare1 #ada ,biagio1 ,raffaello di1 #bca1 #bcb ,biagio ,bolognese 7,biagio ,pupini71 #bjh1 #baa ,bicci1 ,lorenzo di1 #e ,boccaccino1 ,boccaccio1 ,life1 #eh-fj ,boccaccino1 ,camillo1 #ei1 #fj ,boccalino1 ,giovanni 7,giovanni ,ribaldi71 #bi ,bologna 7,domenico ,aimo71 #bh ,bolognese1 ,biagio 7,biagio ,pupini71 #bjh1 #baa ,borgo1 ,raffaello dal 7,raffaello dal ,colle71 #adj1 #aie1 #aif ,borgo1 ,santi ,titi dal1 #afj ,boscoli1 ,maso1 #f ,bramante da ,urbino1 #bf1 #bh1 #bi1 #fe1 #fh1 #fi ,bronzino1 ,agnolo1 #abg1 #afc ,buda1 ,bernardo del 7,bernardo ,rosselli71 #aaf ,buonaccorsi1 ,perino 7,perino del ,vaga71 #g1 #gg-gi1 #aec1 #afb ,buonarroti1 ,michelagnolo1 #e1 #f1 #bc1 #dc-de1 #eh1 #hf1 #aaa1 #aag1 #abh1 #ace1 #afe1 #aij1 #aid1 #bbh1 #bde1 #bdg1 #bfa ,busto1 ,agostino 7,il ,bambaja71 #db1 #dc ,caccianimici1 ,francesco1 #bja ,caccianimici1 ,vincenzio1 #bee1 #bef ,cadore1 ,tiziano da 7,tiziano ,vecelli71 #ff1 #acc1 #acd1 #aeb1 #aec ,calavrese1 ,marco 7,marco ,cardisco71 ,life1 #bcg-bci ,caldara1 ,polidoro 7,polidoro da ,caravaggio71 ,life1 #age-ahe ,calzolaio1 ,sandrino del1 #afa1 #afe ,camillo ,boccaccino1 #ei1 #fj ,capanna 7of ,siena71 #gd ,caraglio1 ,giovanni ,jacopo1 #aid ,caravaggio1 ,polidoro da 7,polidoro ,caldara71 ,life1 #age-ahe ,cardisco1 ,marco 7,marco ,calavrese71 ,life1 #bcg-bci ,carpi1 ,girolamo da 7,girolamo da ,ferrara71 #aed ,carrara1 ,antonio da1 #h ,carrara1 ,danese da 7,danese ,cattaneo71 #ace ,carrucci1 ,jacopo 7,jacopo da ,pontormo71 #ic1 #ih1 #ajd1 #aah1 #ace1 #aij1 #bba1 #bbb1 #bca1 #bcb ,castagno1 ,andrea dal 7,andrea degli ,impiccati71 #aaf ,castelfranco1 ,giorgione da1 #adi1 #bbh1 #bfb ,castellani1 ,leonardo1 #bch ,castrocaro1 ,gian ,jacopo da1 #ej ,cattaneo1 ,danese 7,danese da ,carrara71 #ace ,cellini1 ,benvenuto1 #ace ,cesare ,bernazzano1 #ada ,cesare da ,sesto 7,cesare da ,milano71 #fe1 #ada ,cicilia1 ,il1 #h ,cimabue1 ,giovanni1 #agg ,cioli1 ,simone1 #cj ,claudio of ,paris1 #bja ,coda1 ,benedetto 7,benedetto da ,ferrara71 #baa1 #bab ,cola dalla ,matrice 7,niccola ,filotesio71 #bch1 #bci ,colle1 ,raffaello dal 7,raffaello dal ,borgo71 #adj1 #aie1 #aif ,conte1 ,jacopo del1 #aai ,conti1 ,domenico1 #aae1 #aai ,contucci1 ,andrea 7,andrea ,sansovino1 or ,andrea dal ,monte ,sansovino71 ,life1 #ba-ca4 #dc1 #hh ,cosimo1 ,piero di1 #hf ,cosimo ,rosselli1 #hh1 #bbi ,cosimo1 ,silvio1 #f-h ,cotignola1 ,francesco da 7,francesco de' ,zaganelli71 ,life1 #bfe-bff ,cotignola1 ,girolamo da 7,girolamo ,marchesi71 ,life1 #baa-bab4 #bjg ,credi1 ,lorenzo di1 ,life1 #di-eb4 #aei ,credi1 ,maestro1 #di ,crescione1 ,giovan ,filippo1 #bch ,cristofano1 ,agnolo di1 #bbc ,cronaca1 ,il 7,simone del ,pollaiuolo71 #bb ,cuticello 7,giovanni ,antonio ,licinio1 or ,pordenone71 ,life1 #ade-aee ,danese da ,carrara 7,danese ,cattaneo71 #ace ,della ,robbia family1 #bb ,domenico ,aimo 7,bologna71 #bh ,domenico ,beccafumi 7,domenico di ,pace71 #gd1 #aec1 #afc ,domenico ,conti1 #aae1 #aai ,domenico dal ,monte ,sansovino1 #cj ,domenico del ,barbieri1 #bja ,domenico di ,pace 7,domenico ,beccafumi71 #gd1 #aec1 #afc ,domenico di ,paris1 #aie ,domenico di ,polo1 #ace ,domenico ,puligo1 #aji ,donato 7,donatello71 #bc ,donnino1 ,agnolo di1 #ch ,dossi1 ,battista1 ,life1 #aci-ada ,dossi1 ,dosso1 ,life1 #aci-ada ,drer1 ,albrecht1 #if ,fagiuoli1 ,girolamo1 #bej ,fantuzzi1 ,antonio 7,antonio da ,trento71 #bdi1 #bej ,fattore1 ,il 7,giovan ,francesco ,penni71 ,life1 #gg-hj4 #bja ,feltrini1 ,andrea di ,cosimo1 ,life1 #bbi-bcc4 #bba1 #bbh ,feltro1 ,morto da1 ,life1 #bbg-bbi4 #bcj ,ferrara1 ,benedetto da 7,benedetto ,coda71 #baa1 #bab ,ferrara1 ,girolamo da 7,girolamo da ,carpi71 #aed ,ferrari1 ,gaudenzio1 #ha ,ferrucci1 ,andrea 7,andrea da ,fiesole71 ,life1 #c-h4 #aa ,ferrucci1 ,francesco di ,simone1 #c ,fiesole1 ,andrea da 7,andrea ,ferrucci71 ,life1 #c-h4 #aa ,filippo ,lippi 7,filippino71 #hg ,filotesio1 ,niccola 7,cola dalla ,matrice71 #bch1 #bci ,floriani1 ,antonio1 #adh1 #adi ,floriani1 ,francesco1 #adh1 #adi ,florigorio1 ,bastianello 7,sebastiano ,florigerio71 #adh ,fontana1 ,prospero1 #bac ,fra ,bartolommeo di ,san ,marco 7,baccio della ,porta71 #aei1 #afj1 #aid ,fra ,sebastiano ,viniziano del ,piombo1 #ff ,francesco1 ,mariotto di1 #bca-bcc ,francesco ,caccianimici1 #bja ,francesco d' ,albertino 7,francesco ,ubertini1 or ,il ,bacchiacca71 #bbb ,francesco da ,cotignola 7,francesco de' ,zaganelli71 ,life1 #bfe-bff ,francesco da ,san ,gallo1 #bg ,francesco da ,siena1 #ga1 #gc ,francesco de' ,rossi 7,francesco ,salviati71 #aai ,francesco de' ,zaganelli 7,francesco da ,cotignola71 ,life1 #bfe-bff ,francesco di ,girolamo dal ,prato1 #ace ,francesco di ,mirozzo 7,melozzo71 #adj ,francesco di ,simone ,ferrucci1 #c ,francesco ,floriani1 #adh1 #adi ,francesco ,granacci 7,il ,granaccio71 #ig1 #ih1 #bca ,francesco ,mazzuoli 7,parmigiano71 ,life1 #bdc-bef ,francesco of ,orleans1 #bja ,francesco ,primaticcio1 #bjj1 #bja1 #bjc ,francesco ,salviati 7,francesco de' ,rossi71 #aai ,francesco ,ubertini 7,francesco d' ,albertino1 or ,il ,bacchiacca71 #bbb ,franciabigio 7,francia71 ,life1 #bag-bbc4 #hf-hi1 #ia1 #ic1 #aja1 #ajc1 #ajd1 #bag-bbc1 #bca1 #bcb ,francucci1 ,innocenzio 7,innocenzio da ,imola71 ,life1 #bab-bac4 #bjg1 #bji ,gaudenzio ,ferrari1 #ha ,genga1 ,girolamo1 #ae1 #af1 #adj ,gensio ,liberale1 #adi ,ghirlandajo1 ,michele di ,ridolfo1 #afe ,ghirlandajo1 ,ridolfo1 #bbj1 #bca ,gian ,barile 7of ,florence71 #hf ,gian ,jacopo da ,castrocaro1 #ej ,giannuzzi1 ,giulio ,pippi de' 7,giulio ,romano71 #ee1 #gg-gi1 #ajh1 #aji1 #aie ,giorgio ,vasari4 ,see ,vasari 7,giorgio7 ,giorgione da ,castelfranco1 #adi1 #bbh1 #bfb ,giotto1 #ba ,giovan ,battista da ,bagnacavallo1 #bja ,giovan ,battista de' ,rossi 7,il ,rosso71 ,life1 #ahi-bjc4 #ig ,giovan ,battista ,grassi1 #adh ,giovan ,battista ,peloro1 #gc ,giovan 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