,transcriber's note3 ,bold text is marked with 4 ,obvious printer's errors have been corrected1 all other inconsistencies are as in the original4 ,the author's spelling has been maintained4 ,,lives ,,of ,,the ,,most ,,eminent ,,painters ,,sculptors ,,architects ,,by ,,giorgio ,,vasari3 ,,volume ,,vi4 ,,fra ,,giocondo ,,to ,,niccol ,,soggi #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 ,,vi ,,page ,,fra ,,giocondo1 ,,liberale1 ,,and ,,others #a ,,francesco ,,granacci ,,il ,,granaccio #ee ,,baccio ,d' ,,agnolo #fc ,,valerio ,,vicentino ,,valerio ,,belli1 ,,giovanni ,,da ,,castel ,,bolognese ,,giovanni ,,bernardi1 ,,matteo ,,dal ,,nassaro1 ,,and ,,others #gc ,,marc' ,,antonio ,,bolognese1 ,,and ,,others #hi ,,antonio ,,da ,,san ,,gallo #aba ,,giulio ,,romano #adc ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo #aga ,,perino ,,del ,,vaga #ahg ,,giorgio ,,vasari1 ,,to ,,the ,,craftsmen ,,in ,,design #bbg ,,domenico ,,beccafumi #bcc ,,giovanni ,,antonio ,,lappoli #bec ,,niccol ,,soggi #bfg ,,index ,,of ,,names #bha ,,illustrations ,,to ,,volume ,,vi ,,plates ,,in ,,colour ,,facing ,,page ,,giovan ,,francesco ,,caroto ,elisabetta ,gonzaga1 ,duchess of ,mantua ,florence3 ,uffizi1 #aaba #af ,,francesco ,,monsignori 7,,bonsignori7 ,portrait of a ,gentleman ,london3 ,n4,g41 #gcf #bh ,,francesco ,,morone ,madonna and ,child ,london3 ,n4,g41 #bhe #cb ,,girolamo ,,dai ,,libri ,madonna and ,child1 with ,s4 ,anne ,london3 ,n4,g41 #gdh #dh ,,francesco ,,granacci 7,,il ,,granaccio7 ,the ,holy ,family ,florence3 ,pitti1 #aii #eh ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo ,portrait of a ,lady ,florence3 ,uffizi1 #aabc #agd ,,domenico ,,beccafumi ,s4 ,catharine before the ,crucifix ,siena3 ,pinacoteca1 #dbj #bch ,,plates ,,in ,,monochrome ,,liberale ,,of ,,verona ,s4 ,mary ,magdalene with ,saints ,verona3 ,s4 ,anastasia #aj ,,liberale ,,of ,,verona ,miniature ,siena3 ,duomo ,library #ad ,,giovan ,,francesco ,,caroto ,madonna and ,child1 with ,s4 ,anne and ,saints ,verona3 ,s4 ,fermo ,maggiore #ah ,,francesco ,,turbido 7,,il ,,moro7 ,portrait of a ,man ,munich3 ,pinacothek1 #aabe #bd ,,francesco ,,monsignori 7,,bonsignori7 ,s4 ,sebastian ,berlin3 ,kaiser ,friedrich ,museum1 #df;c #cj ,,francesco ,,morone ,the ,crucifixion ,verona3 ,s4 ,bernardino #cd ,,paolo ,,cavazzuola ,the ,deposition ,verona3 ,museo ,civico1 #cib #dj ,,giovan ,,maria 7,,falconetto7 ,palazzo del ,capitanio ,padua #df ,,girolamo ,,dai ,,libri ,madonna and ,child1 with ,saints ,verona3 ,museo ,civico1 #bij #ej ,,francesco ,,granacci 7,,il ,,granaccio7 ,the ,madonna giving the ,girdle to ,s4 ,thomas ,florence3 ,uffizi1 #abhj #fb ,,giovanni ,,da ,,castel ,,bolognese 7,,giovanni ,,bernardi7 ,cassetta ,farnese ,naples3 ,museo ,nazionale #gh ,,valerio ,,vicentino 7,,valerio ,,belli7 ,casket of ,rock ,crystal ,florence3 ,uffizi #hb ,,alessandro ,,cesati ,,benvenuto ,,cellini ,medals ,london3 ,british ,museum #hd ,,pastorino ,,of ,,siena ,,domenico ,,poggini ,medals ,london3 ,british ,museum #hd ,,martin ,,schongauer ,christ and the ,virgin ,enthroned ,london3 ,british ,museum1 ,b4 #ga #ib ,,albrecht ,d,,rer ,hercules ,london3 ,british ,museum1 ,b4 #gc #ib ,,albrecht ,d,,rer ,christ taking leave of ,his ,mother ,london3 ,british ,museum1 ,b4 #ib #id ,,albrecht ,d,,rer ,s4 ,jerome in his ,study ,london3 ,british ,museum1 ,b4 #fj #if ,,lucas ,,van ,,leyden ,ecce ,homo of #aeaj ,london3 ,british ,museum #ih ,,marc' ,,antonio ,,bolognese ,the ,death of ,lucretia ,london3 ,british ,museum1 ,b4 #aib #ajb ,,marc' ,,antonio ,,bolognese 7,,after ,,bandinelli7 ,the ,martyrdom of ,s4 ,lawrence 7engraving7 ,london3 ,british ,museum #ajd ,,antonio ,,da ,,san ,,gallo 7,,the ,,younger7 7,,with ,,michelagnolo ,,buonarroti7 ,palazzo ,farnese ,rome #ach ,,giulio ,,romano ,detail3 ,the ,battle of ,constantine ,rome3 ,the ,vatican #adf ,,giulio ,,romano ,the ,marriage ,banquet of ,cupid and ,psyche ,mantua3 ,palazzo del ,t #aed ,,giulio ,,romano ,the ,destruction of the ,giants by the ,thunderbolts of ,jove ,mantua3 ,palazzo del ,t1 ,sala dei ,giganti #afj ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo ,the ,flagellation ,rome3 ,s4 ,pietro in ,montorio #agf ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo ,andrea ,doria ,rome3 ,palazzo ,doria #ahb ,,perino ,,del ,,vaga ,the ,passage of the ,red ,sea ,rome3 ,the ,vatican1 ,loggia #aib ,,fra ,,giocondo1 ,,liberale1 ,,and ,,other ,,craftsmen ,,of ,,verona ,,lives ,,of ,,fra ,,giocondo1 ,,liberale1 ,,and ,,other ,,craftsmen ,,of ,,verona ,if writers of history were to live a few years longer than the number commonly granted as the span of human life1 ,i1 for my part1 have no manner of doubt that they would have something to add to the accounts of the past previously written by them1 for the reason that1 even as it is not possible for a single man1 be he ever so diligent1 to learn the exact truth in a flash1 or to discover all the details of his subject in the little time at his command1 so it is as clear as the light of day that ,time1 who is said to be the father of truth1 is always revealing new things every day to the seeker after knowledge4 ,if1 many years ago1 when ,i first wrote and also published these ,lives of the ,painters and other ,craftsmen1 ,i had possessed that full information which ,i have since received concerning ,fra ,giocondo of ,verona1 a man of rare parts and a master of all the most noble faculties1 ,i would without a doubt have made that honourable record of him which ,i am now about to make for the benefit of craftsmen1 or rather1 of the world2 and not of him only1 but also of many other masters of ,verona1 who have been truly excellent4 ,and let no one marvel that ,i place them all under the image of one only1 because1 not having been able to obtain portraits of them all1 ,i am forced to do this2 but1 so far as in me lies1 not one of them shall thereby have his excellence defrauded of its due4 ,now1 since the order of time and merit so demands1 ,i shall speak first of ,fra ,giocondo4 ,this man1 when he assumed the habit of ,s4 ,dominic1 was called not simply ,fra ,giocondo1 but ,fra ,giovanni ,giocondo4 ,how the name ,giovanni dropped from him ,i know not1 but ,i do know that he was always called ,fra ,giocondo by everyone4 ,and although his chief profession was that of letters1 and he was not only a very good philosopher and theologian1 but also an excellent ,greek scholar 7which was a rare thing at that time1 when learning and letters were just beginning to revive in ,italy71 nevertheless he was also a very fine architect1 being a man who always took supreme delight in that art1 as ,scaliger relates in his epistle against ,cardan1 and the learned ,bud in his book ,de ,asse1 and in the observations that he wrote on the ,pandects4 ,fra ,giocondo1 then1 who was a fine scholar1 a capable architect1 and an excellent master of perspective1 spent many years near the person of the ,emperor ,maximilian1 and was master in the ,greek and ,latin tongues to the learned ,scaliger1 who writes that he heard him dispute with profound learning on matters of the greatest subtlety before the same ,maximilian4 ,it is related by persons still living1 who remember the facts very clearly1 that at the time when ,verona was under the power of that ,emperor the bridge which is called the ,ponte della ,pietra1 in that city1 was being restored1 and it was seen to be necessary to refound the central pier1 which had been destroyed many times in the past1 and ,fra ,giocondo gave the design for refounding it1 and also for safeguarding it in such a manner that it might never be destroyed again4 ,his method of safeguarding it was as follows3 he gave orders that the pier should be kept always bound together with long double piles fixed below the water on every side1 to the end that these might so protect it that the river should not be able to undermine it2 for the place where it is built is in the main current of the river1 the bed of which is so soft that no solid ground can be found on which to lay its foundations4 ,and excellent1 in truth1 as is evident from the result1 was the advice of ,fra ,giocondo1 for the reason that the pier has stood firm from that time to our own1 as it still does1 without ever showing a crack2 and there is hope that1 by the observation of the suggestions given by that good monk1 it will stand for ever4 ,in his youth ,fra ,giocondo spent many years in ,rome1 giving his attention to the study of antiquities1 and not of buildings only1 but also of the ancient inscriptions that are in the tombs1 and the other relics of antiquity1 both in ,rome itself and its neighbourhood1 and in every part of ,italy2 and he collected all these inscriptions and memorials into a most beautiful book1 which he sent as a present1 according to the account of the citizens of ,verona mentioned above1 to the elder ,lorenzo de' ,medici1 the ,magnificent1 to whom1 by reason of the great friendliness and favour that he showed to all men of talent1 both ,fra ,giocondo and ,domizio ,calderino1 his companion and compatriot1 were always most deeply devoted4 ,of this book ,poliziano makes mention in his ,mugellane1 in which he uses various parts of it as authorities1 calling ,fra ,giocondo a profound master in antiquities4 ,the same ,giocondo wrote some observations1 which are in print1 on the ,commentaries of ,csar2 and he was the first who made a drawing of the bridge built by ,csar over the ,river ,rhone1 and described by him in those same ,commentaries1 but misunderstood in the time of ,fra ,giocondo4 ,him the aforesaid ,bud confesses to have had as his master in the study of architecture1 thanking ,god that he had been taught his ,vitruvius by a teacher so learned and so diligent as was that monk1 who corrected in that author a vast number of errors not recognized up to that time2 and this he was able to do with ease1 because he was a master of every kind of learning1 and had a good knowledge of both the ,greek tongue and the ,latin4 ,this and other things declares ,bud1 extolling ,fra ,giocondo as an excellent architect1 and adding that by the researches of the same monk there were discovered in an old library in ,paris the greater part of the ,epistles of ,pliny1 which1 after having been so long out of the hands of mankind1 were printed by ,aldus ,manutius1 as may be read in a ,latin letter written by him and printed with the same4 ,when living in ,paris in the service of ,king ,louis ,,xii1 ,fra ,giocondo built two superb bridges over the ,seine1 covered with shops--works truly worthy of that magnanimous ,king and of the marvellous intellect of ,fra ,giocondo4 ,wherefore that master1 in addition to the inscription in his praise that may still be seen on those works1 won the honour of being celebrated by ,sannazzaro1 a rare poet1 in this most beautiful distich3 ,jocundus geminum imposuit tibi1 ,sequana1 pontem2 ,hunc tu jure potes dicere pontificem4 ,besides this1 he executed a vast number of other works for that ,king throughout all his kingdom2 but of these1 after having made mention of those above1 as being the greatest1 ,i shall say no more4 ,then1 happening to be in ,rome at the death of ,bramante1 he was placed1 in company with ,raffaello da ,urbino and ,giuliano da ,san ,gallo1 in charge of the ,church of ,s4 ,pietro1 to the end that the structure begun by ,bramante might be carried forward4 ,now1 from the circumstance that it had been erected in haste1 and for other reasons given in another place1 it was threatening to fall in many parts1 and by the advice of ,fra ,giocondo1 ,raffaello1 and ,giuliano1 the foundations were in great measure renewed2 in which work persons who were present and are still living declare that those masters adopted the following method4 ,they excavated below the foundations many large pits after the manner of wells1 but square1 at a proper distance one from another1 which they filled with masonry2 and between every two of these piers1 or rather pits filled with masonry1 they threw very strong arches across the space below1 insomuch that the whole building came to be placed on new foundations without suffering any shock1 and was secured for ever from the danger of showing any more cracks4 ,but the work for which it seems to me that ,fra ,giocondo deserves the greatest praise is one on account of which an everlasting gratitude is due to him not only from the ,venetians1 but from the whole world as well4 ,for he reflected that the life of the ,republic of ,venice depended in great measure on the preservation of its impregnable position on the lagoons on which that city1 as it were by a miracle1 is built2 and that1 whenever those lagoons silted up with earth1 the air would become infected and pestilential1 and the city consequently uninhabitable1 or at the least exposed to all the dangers that threaten cities on the mainland4 ,he set himself1 therefore1 to think in what way it might be possible to provide for the preservation of the lagoons and of the site on which the city had been built in the beginning4 ,and having found a way1 ,fra ,giocondo told the ,signori that1 if they did not quickly come to some resolution about preventing such an evil1 in a few years1 to judge by that which could be seen to have happened in part1 they would become aware of their error1 without being in time to be able to retrieve it4 ,roused by this warning1 and hearing the powerful arguments of ,fra ,giocondo1 the ,signori summoned an assembly of the best engineers and architects that there were in ,italy1 at which many opinions were given and many designs made2 but that of ,fra ,giocondo was held to be the best1 and was put into execution4 ,they made a beginning1 therefore1 with excavating a great canal1 which was to divert two-thirds or at least one-half of the water brought down by the ,river ,brenta1 and to conduct that water by a long dtour so as to debouch into the lagoons of ,chioggia2 and thus that river1 no longer flowing into the lagoons at ,venice1 has not been able to fill them up by bringing down earth1 as it has done at ,chioggia1 where it has filled and banked up the lagoons in such a manner that1 where there was formerly water1 many tracts of land and villas have sprung up1 to the great benefit of the city of ,venice4 ,wherefore it is the opinion of many persons1 and in particular of the ,magnificent ,messer ,luigi ,cornaro1 a ,venetian gentleman of ripe wisdom gained both by learning and by long experience1 that1 if it had not been for the warning of ,fra ,giocondo1 all the silting up that took place in the lagoons of ,chioggia would have happened1 and perhaps on a greater scale1 in those of ,venice1 inflicting incredible damage and almost ruin on that city4 ,the same ,messer ,luigi1 who was very much the friend of ,fra ,giocondo1 as he is and always has been of all men of talent1 declares that his native city of ,venice owes an eternal debt of gratitude for this to the memory of ,fra ,giocondo1 who on this account1 he says1 might reasonably be called the second founder of ,venice2 and that he almost deserves more praise for having preserved by that expedient the grandeur and nobility of that marvellous and puissant city1 than do those who built it at the beginning in such a weak and ill-considered fashion1 seeing that the benefit received from him will be to all eternity1 as it has been hitherto1 of incalculable utility and advantage to ,venice4 ,not many years after ,fra ,giocondo had executed this divine work1 the ,venetians suffered a great loss in the burning of the ,rialto1 the place in which are the magazines of their most precious merchandise--the treasure1 as it were1 of that city4 ,this happened at the very time when that ,republic had been reduced by long-continued wars and by the loss of the greater part1 or rather almost the whole1 of her dominions on the mainland to a desperate condition2 and the ,signori then governing were full of doubt and hesitation as to what they should do4 ,however1 the rebuilding of that place being a matter of the greatest importance1 they resolved that it should be reconstructed at all costs4 ,and wishing to give it all possible grandeur1 in keeping with the greatness and magnificence of that ,republic1 and having already recognized the talent of ,fra ,giocondo and his great ability in architecture1 they gave him the commission to make a design for that structure2 whereupon he drew one in the following manner4 ,he proposed to occupy all the space that lies between the ,canale delle ,beccherie1#a in the ,rialto1 and the ,rio del ,fondaco delle ,farine1#b taking as much ground between one canal and the other as would make a perfect square--that is1 the length of the sides of this fabric was to be as great as the space which one covers at the present day in walking from the debouchure of one of those canals into the ,grand ,canal to that of the other4 ,he intended1 also1 that the same two canals should debouch on the other side into a common canal1 which was to run from the one to the other1 so that the fabric might be left entirely surrounded by water1 having the ,grand ,canal on one side1 the two smaller canals on two other sides1 and on the last the new canal that was to be made4 ,then he desired that between the water and the buildings1 right round the square1 there should be made1 or rather should be left1 a beach or quay of some breadth1 which might serve as a piazza for the selling in duly appointed places of the vegetables1 fruits1 fish1 and other things1 that come from many parts to the city4 ,it was also his opinion that right round the outer side of the buildings there should be erected shops looking out upon those same quays1 and that these shops should serve only for the sale of eatables of every kind4 ,and in these four sides the design of ,fra ,giocondo had four principal gates--namely1 one to each side1 placed in the centre1 one directly opposite to another4 ,but before going into the central piazza1 by whichever side one entered1 one would have found both on the right hand and on the left a street which ran round the block of buildings and had shops on either side1 with handsome workshops above them and magazines for the use of those shops1 which were all to be devoted to the sale of woven fabrics--that is1 fine woollen cloth and silk1 which are the two chief products of that city4 ,this street1 in short1 was to contain all the shops that are called the ,tuscan's and the silk-merchant's4 ,from this double range of shops there was to be access by way of the four gates into the centre of the whole block--that is to say1 into a vast piazza surrounded on every side by spacious and beautiful loggie for the accommodation of the merchants and for the use of the great number of people who flock together for the purposes of their trade and commerce to that city1 which is the custom-house of all ,italy1 or rather of ,europe4 ,under those loggie1 on every side1 were to be the shops of the bankers1 goldsmiths1 and jewellers2 and in the centre was to be built a most beautiful temple dedicated to ,s4 ,matthew1 in which the people of quality might be able to hear the divine offices in the morning4 ,with regard to this temple1 however1 some persons declare that ,fra ,giocondo changed his mind1 and wished to build two under the loggie1 so as not to obstruct the piazza4 ,and1 in addition1 this superb structure was to have so many other conveniences1 embellishments1 and adornments1 all in their proper places1 that whoever sees at the present day the beautiful design that ,fra ,giocondo made for the whole1 declares that nothing more lovely1 more magnificent1 or planned with better order1 could be imagined or conceived by the most excellent of craftsmen1 be his genius never so happy4 ,it was proposed1 also1 with the advice of the same master1 and as a completion to this work1 to build the ,bridge of the ,rialto of stone1 covered with shops1 which would have been a marvellous thing4 ,but this enterprise was not carried into effect1 for two reasons3 first1 because the ,republic1 on account of the extraordinary expenses incurred in the last war1 happened to be drained dry of money2 and1 secondly1 because a gentleman of great position and much authority at that time 7of the family1 so it is said1 of ,valereso71 being a man of little judgment in such matters1 and perchance influenced by some private interest1 chose to favour one ,maestro ,zanfragnino1#c who1 so ,i am informed1 is still alive1 and who had worked for him on buildings of his own4 ,this ,zanfragnino--a fit and proper name for a master of his calibre--made the design for that medley of marble which was afterwards carried into execution1 and which is still to be seen2 and many who are still alive1 and remember the circumstances very well1 are even yet not done with lamenting that foolish choice4 ,fra ,giocondo1 having seen that shapeless design preferred to his beautiful one1 and having perceived how much more virtue there often is in favour than in merit with nobles and great persons1 felt such disdain that he departed from ,venice1 nor would he ever return1 although he was much entreated to do it4 ,and the design1 with others by the same monk1 remained in the house of the ,bragadini1 opposite to ,s4 ,marina1 in the possession of ,frate ,angelo1 a member of that family and a friar of ,s4 ,dominic1 who1 by reason of his many merits1 afterwards became ,bishop of ,vicenza4 ,fra ,giocondo was very versatile1 and delighted1 in addition to the pursuits already mentioned1 in simples and in agriculture4 ,thus ,messer ,donato ,giannotti1 the ,florentine1 who was very much his friend for many years in ,france1 relates that once1 when living in that country1 the monk reared a peach-tree in an earthen pot1 and that this little tree1 when he saw it1 was so laden with fruit that it was a marvellous sight4 ,on one occasion1 by the advice of some friends1 he had set it in a place where the ,king was to pass and would be able to see it1 when certain courtiers1 who passed by first1 plucked all the peaches off that little tree1 as suchlike people were sure to do1 and1 playing about with one another1 scattered what they could not eat along the whole length of the street1 to the great displeasure of ,fra ,giocondo4 ,the matter coming to the ears of the ,king1 he first laughed over the jest with the courtiers1 and then1 after thanking the monk for what he had done to please him1 gave him a present of such a kind that he was consoled4 ,illustration3 ,,the ,,magdalene ,,with ,,saints 7,after the painting by ,liberale da ,verona4 ,verona3 ,s4 ,anastasia7 ,anderson ,fra ,giocondo was a man of saintly and most upright life1 much beloved by all the great men of letters of his age1 and in particular by ,domizio ,calderino1 ,matteo ,bosso1 and ,paolo ,emilio1 the writer of the ,history of ,france1 all three his compatriots4 ,very much his friends1 likewise1 were ,sannazzaro1 ,bud1 and ,aldus ,manutius1 with all the ,academy of ,rome2 and he had a disciple in ,julius ,csar ,scaliger1 one of the most learned men of our times4 ,finally1 being very old1 he died1 but precisely at what time and in what place this happened1 and consequently where he was buried1 is not known4 ,even as it is true that the city of ,verona is very similar to ,florence in situation1 manners1 and other respects1 so it is also true that in the first as well as in the second there have always flourished men of the finest genius in all the noblest and most honourable professions4 ,saying nothing of the learned1 for with them ,i have nothing to do here1 and continuing to speak of the men of our arts1 who have always had an honourable abode in that most noble city1 ,i come to ,liberale of ,verona1 a disciple of ,vincenzio di ,stefano1 a native of the same city1 already mentioned in another place1 who executed for the ,church of ,ognissanti1 belonging to the ,monks of ,s4 ,benedict1 at ,mantua1 in the year #adfc1 a ,madonna that was a very praiseworthy example of the work of those times4 ,liberale imitated the manner of ,jacopo ,bellini1 for when a young man1 while the said ,jacopo was painting the ,chapel of ,s4 ,niccol at ,verona1 he gave his attention under ,bellini to the studies of design in such thorough fashion that1 forgetting all that he had learned from ,vincenzio di ,stefano1 he acquired the manner of ,bellini and retained it ever after4 ,the first paintings of ,liberale were in the ,chapel of the ,monte della ,piet in ,s4 ,bernardino1 in his native city2 and there1 in the principal picture1 he painted a ,deposition from the ,cross1 with certain ,angels1 some of whom have in their hands the ,mysteries 7for so they are called7 of the ,passion1 and all with their weeping faces show grief at the ,death of the ,saviour4 ,very natural1 in truth1 are these figures1 as are other works of the same kind by this master1 who strove to show in many places that he was able to paint weeping countenances4 ,this may also be seen in ,s4 ,anastasia1 a church of ,friars of ,s4 ,dominic1 likewise in ,verona1 where he painted a ,dead ,christ with the ,maries mourning for ,him on the pediment of the ,chapel of the ,buonaveri2 and he executed many pictures in the same manner of painting as the work mentioned above1 which are dispersed among the houses of various gentlemen in ,verona4 ,in the same chapel he painted a ,god the ,father surrounded by many ,angels who are playing instruments and singing1 with three figures on either side--,s4 ,peter1 ,s4 ,dominic1 and ,s4 ,thomas ,aquinas on one side1 and ,s4 ,lucia1 ,s4 ,agnese1 and another female ,saint on the other2 but the first three are much the finer1 being executed in a better manner and with more relief4 ,on the main wall of that chapel he painted ,our ,lady1 with the ,infant ,christ marrying ,s4 ,catharine1 the ,virgin-,martyr2 and in this work he made a portrait of ,messer ,piero ,buonaveri1 the owner of the chapel4 ,around this group are some ,angels presenting flowers1 with some heads that are smiling1 executed with such grace in their gladness1 that they prove that he was able to paint a smiling face as well as he had painted tears in other figures4 ,in the altar-piece of the same chapel he painted ,s4 ,mary ,magdalene in the air1 supported by some ,angels1 with ,s4 ,catharine below--a work which was held to be very beautiful4 ,on the altar of the ,madonna in the ,church of ,s4 ,maria della ,scala1 belonging to the ,servite ,friars1 he executed the story of the ,magi on two folding-doors that enclose that ,madonna1 which is held in vast veneration in that city2 but the work did not long remain there1 for it was removed because it was being spoilt by the smoke of the candles1 and placed in the sacristy1 where it is much admired by the painters of ,verona4 ,in the tramezzo#d of the ,church of ,s4 ,bernardino1 above the ,chapel of the ,company of the ,magdalene1 he painted in fresco the story of the ,purification1 wherein is a figure of ,simeon that is much extolled1 as also is that of the ,infant ,christ1 who with great affection is kissing that old man1 who is holding ,him in his arms2 and very beautiful1 likewise1 is a priest standing there on one side1 who1 with his arms extended and his face uplifted towards ,heaven1 appears to be thanking ,god for the salvation of the world4 ,beside this chapel is a picture of the story of the ,magi by the hand of the same ,liberale2 and in the pediment of the picture there is the ,death of the ,madonna1 executed with little figures1 which are highly extolled4 ,great1 indeed1 was his delight in painting works with little figures1 with which he always took such pains that they seem to be the work rather of an illuminator than of a painter1 as may be seen in the ,duomo of the same city1 where there is a picture by his hand of the story of the ,magi1 with a vast number of little figures1 horses1 dogs1 and various other animals1 and near them a group of rosy-coloured ,cherubim1 who serve as a support to the ,mother of ,jesus4 ,in this picture the heads are so finished1 and everything is executed with such diligence1 that1 as ,i have said1 it appears to be the work of an illuminator4 ,he also painted stories of ,our ,lady on a small predella1 likewise after the manner of miniatures1 for the ,chapel of the ,madonna in the ,duomo4 ,but this was afterwards removed from that chapel by order of ,monsignor ,messer ,giovan ,matteo ,giberti1 ,bishop of ,verona1 and placed in the ,palace of the ,vescovado1 which is the residence of the ,bishops1 in that chapel wherein they hear ,mass every morning4 ,and there that predella stands in company with a most beautiful ,crucifix in relief1 executed by ,giovanni ,battista ,veronese1 a sculptor1 who now lives in ,mantua4 ,liberale also painted a panel-picture for the ,chapel of the ,allegni in ,s4 ,vitale1 containing a figure of ,s4 ,mestro1 the ,confessor1 a ,veronese and a man of great sanctity1 whom he placed between a ,s4 ,francis and a ,s4 ,dominic4 ,for the ,chapel of ,s4 ,girolamo in the ,vittoria1 a church and convent of certain ,eremite ,friars1 he executed at the commission of the ,scaltritegli family an altar-piece of ,s4 ,jerome in the habit of a ,cardinal1 with a ,s4 ,francis and a ,s4 ,paul1 all much extolled4 ,and in the tramezzo#e of the ,church of ,s4 ,giovanni in ,monte he painted the ,circumcision of ,christ and other works1 which were destroyed not long since1 because it was considered that the tramezzo impaired the beauty of the church4 ,being then summoned to ,siena by the ,general of the ,monks of ,monte ,oliveto1 ,liberale illuminated many books for that ,order2 and in these he succeeded so well1 that he was commissioned in consequence to illuminate some that had been left unfinished--that is to say1 only written--in the library of the ,piccolomini4 ,he also illuminated some books of plain-song for the ,duomo of that city1 where he would have remained longer1 executing many works that he had in hand2 but1 being driven away by envy and persecution1 he set off to return to ,verona1 with eight hundred crowns that he had earned1 which he lent afterwards to the ,monks of ,monte ,oliveto at ,s4 ,maria in ,organo1 from whom he drew interest to support him from day to day4 ,having thus returned to ,verona1 he gave his attention for the rest of his life more to illumination than to any other kind of work4 ,at ,bardolino1 a place on the ,lake of ,garda1 he painted a panel-picture which is now in the ,pieve2 and another for the ,church of ,s4 ,tommaso ,apostolo4 ,for the ,chapel of ,s4 ,bernardo1 likewise1 in the ,church of ,s4 ,fermo1 a convent of ,friars of ,s4 ,francis1 he painted a panel-picture of the first-named ,saint1 with some scenes from his life in the predella4 ,in the same place1 also1 and in others1 he executed many nuptial pictures1 one of which1 containing the ,madonna with the ,child in her arms marrying ,s4 ,catharine1 is in the house of ,messer ,vincenzio de' ,medici at ,verona4 ,on the corner of the house of the ,cartai1 on the way from the ,ponte ,nuovo to ,s4 ,maria in ,organo1 in ,verona1 he painted a ,madonna and ,s4 ,joseph in fresco1 a work which was much extolled4 ,liberale would have liked to paint the ,chapel of the ,riva family1 which had been built in order to honour the memory of ,giovanni ,riva1 a captain of men-at-arms at the battle of the ,taro1 in the ,church of ,s4 ,eufemia2 but he did not receive the commission1 which was given to some strangers1 and he was told that he was too old and that his sight was failing him4 ,when this chapel was opened1 a vast number of faults were perceived in it1 and ,liberale said that he who had given the commission had been much more blind than himself4 ,illustration3 ,,miniature 7,after ,liberale da ,verona4 ,siena3 ,duomo ,library7 ,anderson ,finally1 being eighty-four years of age1 or even more1 ,liberale allowed himself to be ruled by his relatives1 and particularly by a married daughter1 who1 like the rest1 treated him very badly4 ,at which1 having grown angry both with her and with his other relatives1 and happening to have under his charge one ,francesco ,turbido1 called ,il ,moro1 then a young man1 who was a diligent painter and much affected towards him1 he appointed him as heir to the house and garden that he had at ,s4 ,giovanni in ,valle1 a very pleasant part of the city2 and with him he took up his quarters1 saying that he would rather give the enjoyment of his property to one who loved virtue than to those who ill-treated their nearest of kin4 ,but no long time passed before he died1 which was on the day of ,s4 ,chiara in the year #aecf1 at the age of eighty-five2 and he was buried in ,s4 ,giovanni in ,valle4 ,his disciples were ,giovan ,francesco ,caroto and ,giovanni ,caroto1 ,francesco ,turbido1 called ,il ,moro1 and ,paolo ,cavazzuola1 of whom1 since they were truly excellent masters1 ,i shall make mention in their due order4 ,giovan ,francesco ,caroto was born at ,verona in the year #adgj1 and after having learned the first rudiments of letters1 being drawn to painting1 he abandoned the studies of grammar and placed himself to learn painting under the ,veronese ,liberale1 undertaking to recompense him for his pains4 ,young as he was1 then1 ,giovan ,francesco devoted himself with such love and diligence to design1 that even in his earliest years he was a great assistance to ,liberale both in that and in colouring4 ,no long time after1 when his judgment had increased with his years1 he saw the works of ,andrea ,mantegna in ,verona2 and thinking1 as indeed was the truth1 that these were of another manner and better than those of his master1 he so wrought upon his father that he was given leave1 with the gracious consent of ,liberale1 to apprentice himself to ,mantegna4 ,having gone to ,mantua1 therefore1 and having placed himself under ,mantegna1 in a short time he made such proficience that ,andrea sent out works by ,caroto as works by his own hand4 ,in short1 before many years had passed by1 he had become an able master4 ,the first works that he executed after leaving the discipline of ,mantegna were on the altar of the three ,magi in the ,church of the ,hospital of ,s4 ,cosimo at ,verona1 where he painted on the folding-doors that enclose that altar the ,circumcision of ,christ and the ,flight into ,egypt1 with other figures4 ,in the ,church of the ,frati ,ingiesuati1 called ,s4 ,girolamo1 in two angles of a chapel1 he painted the ,madonna and the ,angel of the ,annunciation4 ,and for the ,prior of the ,friars of ,s4 ,giorgio he executed a little panel-picture of the ,manger1 in which he may be seen to have greatly improved his manner1 since the heads of the shepherds and of all the other figures have expressions so sweet and so beautiful1 that this work was much extolled1 and that rightly2 and if it were not that the priming of gesso is peeling off through having been badly prepared1 so that the picture is gradually perishing1 it would be enough by itself to keep him alive for ever in the memory of his fellow-citizens4 ,next1 having been commissioned by the men who governed the ,company of the ,angel ,raphael to paint their chapel in the ,church of ,s4 ,eufemia1 he executed therein two stories of the ,angel ,raphael in fresco1 and in the altar-piece1 in oils1 three large ,angels1 ,raphael in the centre1 and ,gabriel and ,michael on either side1 and all with good draughtsmanship and colouring4 ,he was reproached1 indeed1 for having made the legs of those ,angels too slender and wanting in softness2 to which he made a pleasant and gracious answer1 saying that even as ,angels were represented with wings and with bodies1 so to speak1 celestial and ethereal1 as if they were birds1 so it was only right to make their legs lean and slender1 to the end that they might fly and soar upwards with greater ease4 ,for that altar of the ,church of ,s4 ,giorgio where there is a ,christ bearing ,his ,cross1 he painted ,s4 ,rocco and ,s4 ,sebastian1 with some scenes in the predella executed with very beautiful little figures4 ,and by order of the ,company of the ,madonna he painted on the predella of the altar of that ,company1 in ,s4 ,bernardino1 the ,nativity of the ,madonna and the ,massacre of the ,innocents1 with a great variety of attitudes in the murderers and in the groups of children whom their mothers are defending with all their might4 ,this work is held in great veneration1 and is kept covered1 the better to preserve it2 and it was the reason that the men of the ,fraternity of ,s4 ,stefano commissioned him to paint three pictures with similar figures for their altar in the old ,duomo of ,verona1 containing three little scenes from the life of ,our ,lady--her ,marriage1 the ,nativity of ,christ1 and the story of the ,magi4 ,illustration3 ,,giovan ,,francesco ,,caroto3 ,,elisabetta ,,gonzaga1 ,,duchess ,,of ,,mantua 7,florence3 ,uffizi1 #aaba4 ,panel7 ,after these works1 thinking that he had gained enough credit in ,verona1 ,giovan ,francesco was minded to depart and make trial of other places2 but his friends and relatives1 pressing him much1 persuaded him to take to wife a young woman of noble birth1 the daughter of ,messer ,braliassarti ,grandoni1 whom he married in #aeje4 ,in a short time1 however1 after he had had a son by her1 she died in child-birth2 and ,giovan ,francesco1 thus left free1 departed from ,verona and went off to ,milan1 where ,signor ,anton ,maria ,visconti received him into his house and caused him to execute many works for its adornment4 ,meanwhile there was brought to ,milan by a ,fleming a head of a young man1 taken from life and painted in oils1 which was admired by everyone in that city2 but ,giovan ,francesco1 seeing it1 laughed and said3 ,i am confident that ,i can do a better4 ,at which the ,fleming mocked him1 but after many words the matter came to this1 that ,giovan ,francesco was to try his hand1 losing his own picture and twenty-five crowns if he lost1 and winning the ,fleming's head and likewise twenty-five crowns if he won4 ,setting to work1 therefore1 with all his powers1 ,giovan ,francesco made a portrait of an aged gentleman with shaven face1 with a falcon on his wrist2 but1 although this was a good likeness1 the head of the ,fleming was judged to be the better4 ,giovan ,francesco did not make a good choice in executing his portrait1 for he took a head that could not do him honour2 whereas1 if he had chosen a handsome young man1 and had made as good a likeness of him as he did of the old man1 he would at least have equalled his adversary's picture1 even if he had not surpassed it4 ,but for all this the head of ,giovan ,francesco did not fail to win praise1 and the ,fleming showed him courtesy1 for he contented himself with the head of the shaven old man1 and1 being a noble and courteous person1 would by no means accept the five-and-twenty crowns4 ,this picture came after some time into the possession of ,madonna ,isabella d',este1 ,marchioness of ,mantua1 who paid a very good price for it to the ,fleming and placed it as a choice work in her study1 in which she had a vast number of very beautiful coins1 pictures1 works in marble1 and castings4 ,after completing his work for ,visconti1 ,giovan ,francesco1 being invited by ,guglielmo1 ,marquis of ,montferrat1 went willingly to serve him1 as ,visconti straitly besought him to do4 ,on his arrival1 a fine provision was assigned to him2 and1 setting to work1 he painted for that noble at ,casale1 in a chapel where he heard ,mass1 as many pictures as were necessary to fill it and adorn it on every side1 with subjects from the ,old ,testament and the ,new1 which were executed by him with supreme diligence1 as was also the chief altar-piece4 ,he then executed many works throughout the apartments of that ,castle1 which brought him very great fame4 ,and in ,s4 ,domenico1 by order of that ,marquis1 he painted the whole of the principal chapel for the adornment of the tomb wherein he was to be laid to rest2 in which work ,giovan ,francesco acquitted himself so well1 that he was rightly rewarded with honourable gifts by the liberality of his patron1 who also favoured him by making him one of his own chamberlains1 as may be seen from an instrument that is in the possession of his heirs at ,verona4 ,he made portraits of that lord and of his wife1 with many pictures that they sent to ,france1 and also the portrait of ,guglielmo1 their eldest child1 who was then a boy1 and likewise portraits of their daughters and of all the ladies who were in the service of the ,marchioness4 ,on the death of the ,marquis ,guglielmo1 ,giovan ,francesco departed from ,casale1 after first selling all the property that he had in those parts1 and made his way to ,verona1 where he so arranged his affairs and those of his son1 to whom he gave a wife1 that in a short time he found himself in possession of more than seven thousand ducats4 ,but he did not therefore abandon his painting2 indeed1 having a quiet mind1 and not being obliged to rack his brain for a livelihood1 he gave more attention to it than ever4 ,it is true that either from envy or for some other reason he was accused of being a painter who could do nothing but little figures2 wherefore1 in executing the altar-piece of the ,chapel of the ,madonna in ,s4 ,fermo1 a convent of ,friars of ,s4 ,francis1 wishing to show that the accusation was a calumny1 he painted the figures larger than life1 and so well1 that they were the best that he had ever done4 ,in the air is ,our ,lady seated in the lap of ,s4 ,anne1 with some ,angels standing upon clouds1 and beneath are ,s4 ,peter1 ,s4 ,john the ,baptist1 ,s4 ,rocco1 and ,s4 ,sebastian2 and not far away1 in a most beautiful landscape1 is ,s4 ,francis receiving the ,stigmata4 ,this work1 indeed1 is held by craftsmen to be not otherwise than good4 ,illustration3 ,,madonna ,,and ,,child ,,with ,s4 ,,anne ,,and ,,saints 7,after the painting by ,giovan ,francesco ,caroto4 ,verona3 ,s4 ,fermo ,maggiore7 ,alinari ,for the ,chapel of the ,cross in ,s4 ,bernardino1 a seat of the ,frati ,zoccolanti1 he painted ,christ kneeling on one knee and taking leave of ,his ,mother4 ,in this work1 stirred to emulation by the many notable pictures by the hands of other masters that are in that place1 he strove to surpass them all2 wherefore1 in truth1 he acquitted himself very well1 and was praised by all who saw it1 save only by the ,guardian of that convent1 who1 like the boorish and solemn fool that he was1 reproved ,giovan ,francesco with biting words1 saying that he had made ,christ show such little reverence to ,his ,mother as to kneel only upon one knee4 ,to which ,giovan ,francesco answered by saying3 ,father1 first do me the favour of kneeling down and rising up again1 and ,i will then tell you for what reason ,i have painted ,christ so4 ,the ,guardian1 after much persuasion1 knelt down1 placing on the ground first his right knee and then his left2 and in rising up he raised first the left and then the right4 ,which done1 ,giovan ,francesco said3 ,did you observe1 ,father ,guardian1 that you neither knelt down nor rose up with both knees together8 ,i tell you1 therefore1 that this ,christ of mine is right1 because one might say that ,he is either coming to ,his knees before ,his ,mother1 or beginning1 after having knelt a while1 to raise one leg in order to rise4 ,at which the ,guardian had to appear a little appeased1 although he went off muttering under his breath4 ,giovan ,francesco was very sharp in his answers2 and it is also related of him that once1 being told by a priest that his figures were too seductive for altar-pieces1 he replied3 ,a lusty fellow you must be1 if painted figures so move you4 ,think how much you are to be trusted in places where there are living people for you to touch4 ,at ,isola1 a place on the ,lake of ,garda1 he painted two panel-pictures for the ,church of the ,zoccolanti2 and at ,malsessino1 a township above that same lake1 he painted a very beautiful ,madonna over the door of a church1 and some ,saints within the church1 at the request of ,fracastoro1 a very famous poet1 who was much his friend4 ,for ,count ,giovan ,francesco ,giusti1 executing a subject conceived by that nobleman1 he painted a young man wholly naked except for the parts of shame1 and in an attitude of indecision as to whether he shall rise up or not2 and on one side he had a most beautiful young woman representing ,minerva1 who with one hand was pointing out to him a figure of ,fame on high1 and with the other was urging him to follow her2 but ,sloth and ,idleness1 who were behind the young man1 were striving to detain him4 ,below these was a figure with an uncouth face1 rather that of a slave and a plebeian than of one of noble blood1 who had two great snails clinging to his elbows and was seated on a crab1 and near him was another figure with the hands full of poppies4 ,this invention1 in which are other beautiful details and fancies1 was executed by ,giovan ,francesco with supreme diligence and love2 and it serves as the head-board of a bedstead at that nobleman's lovely place near ,verona1 which is called ,s4 ,maria in ,stella4 ,the same master painted the whole of a little chamber with various scenes in little figures1 for ,count ,raimondo della ,torre4 ,and since he delighted to work in relief1 he executed not only models for his own purposes and for the arrangement of draperies1 but also other things of his own fancy1 of which there are some to be seen in the house of his heirs1 and in particular a scene in half-relief1 which is not otherwise than passing good4 ,he also executed portraits on medallions1 and some are still to be seen1 such as that of ,guglielmo1 ,marquis of ,montferrat1 which has on the reverse a ,hercules slaying 4441 with a motto that runs3 ,monstra domat4 ,he painted portraits of ,count ,raimondo della ,torre1 ,messer ,giulio his brother1 and ,messer ,girolamo ,fracastoro4 ,but when ,giovan ,francesco became old1 he began gradually to lose his mastery over art1 as may be seen from the organ-doors in ,s4 ,maria della ,scala1 from the panel-picture of the ,movi family1 wherein is a ,deposition from the ,cross1 and from the ,chapel of ,s4 ,martino in ,s4 ,anastasia4 ,giovan ,francesco had always a great opinion of himself1 and not for anything in the world would he have ever copied another man's work in his own4 ,now ,bishop ,giovan ,matteo ,giberti wished him to paint some stories of the ,madonna in the great chapel of the ,duomo1 and had the designs for these drawn in ,rome by ,giulio ,romano1 who was very much his friend 7for ,giberti was ,datary to ,pope ,clement ,,vii74 ,but1 when the ,bishop had returned to ,verona1 ,giovan ,francesco would never consent to execute these designs2 at which the ,bishop1 in disdain1 caused them to be put into execution by ,francesco1 called ,il ,moro4 ,giovan ,francesco held an opinion1 in which he was not far from the truth1 that varnishing pictures spoiled them1 and made them become old sooner than they otherwise would2 and for this reason he used varnish in the darks while painting1 together with certain purified oils4 ,he was also the first who executed landscapes well in ,verona2 wherefore there are some by his hand to be seen in that city1 which are very beautiful4 ,finally1 when seventy-six years of age1 ,giovan ,francesco died the death of a good ,christian1 leaving his grandchildren and his brother1 ,giovanni ,caroto1 passing well provided4 ,this ,giovanni1 after first applying himself to art under his brother1 and then spending some time in ,venice1 had just returned to ,verona when ,giovan ,francesco passed to the other life2 and thus he took a hand with the grandchildren in inspecting the things of art that had been left to them4 ,among these they found a portrait of an old man in armour1 very beautiful both in drawing and in colour1 which was the best work by the hand of ,giovan ,francesco that was ever seen2 and likewise a little picture containing a ,deposition from the ,cross1 which was presented to ,signor ,spitech1 a man of great authority with the ,king of ,poland1 who had come at that time to some baths that are in the territory of ,verona4 ,giovan ,francesco was buried in the ,madonna dell' ,organo1 in the ,chapel of ,s4 ,niccol1 which he himself had adorned with his paintings4 ,giovanni ,caroto1 brother of ,giovan ,francesco1 although he followed the manner of the latter1 yet gained less reputation in the practice of painting4 ,this master painted the altar-piece in the above-mentioned ,chapel of ,s4 ,niccol1 wherein is the ,madonna enthroned on clouds2 and below this he placed a portrait of himself1 taken from life1 and that of his wife ,placida4 ,he also painted some little figures of female ,saints for the altar of the ,schioppi in the ,church of ,s4 ,bartolommeo1 together with a portrait of ,madonna ,laura degli ,schioppi1 who had caused that chapel to be built1 and who was much celebrated by the writers of those times no less for her virtues than for her beauty4 ,giovanni likewise painted a ,s4 ,martin in a little altar-piece for ,s4 ,giovanni in ,fonte1 near the ,duomo2 and he made a portrait of ,messer ,marc' ,antonio della ,torre 7who afterwards became a man of learning and gave public lectures at ,padua and ,pavia7 as a young man1 and also one of ,messer ,giulio2 which heads are in the possession of their heirs at ,verona4 ,for the ,prior of ,s4 ,giorgio he painted a picture of ,our ,lady1 which1 as a good painting1 has been kept ever since1 as it still is1 in the chamber of the ,priors4 ,and he painted another picture1 representing the transformation of ,acton into a stag1 for the organist ,brunetto1 who afterwards presented it to ,girolamo ,cicogna1 an excellent embroiderer1 and engineer to ,bishop ,giberti2 and it now belongs to ,messer ,vincenzio ,cicogna1 his son4 ,giovanni took ground-plans of all the ancient buildings of ,verona1 with the triumphal arches and the ,colosseum4 ,these were revised by the ,veronese architect ,falconetto1 and they were meant for the adornment of the book of the ,antiquities of ,verona1 which had been written after his own original research by ,messer ,torello ,saraina1 who afterwards had the book printed4 ,this book was sent to me by ,giovanni ,caroto when ,i was in ,bologna 7where ,i was executing the work of the ,refectory of ,s4 ,michele in ,bosco71 together with the portrait of the reverend ,father1 ,don ,cipriano da ,verona1 who was twice ,general of the ,monks of ,monte ,oliveto2 and the portrait1 which was sent to me by ,giovanni to the end that ,i might make use of it1 as ,i did1 for one of those pictures1 is now in my house at ,florence1 with other paintings by the hands of various masters4 ,finally1 having lived without children and without ambition1 but with good means1 ,giovanni died at about the age of sixty1 full of gladness because he saw some of his disciples1 particularly ,anselmo ,canneri and ,paolo ,veronese1 already in good repute4 ,paolo is now working in ,venice1 and is held to be a good master2 and ,anselmo has executed many works both in oils and in fresco1 and in particular at the ,villa ,soranza on the ,tesino1 and in the ,palace of the ,soranzi at ,castelfranco1 and also in many other places1 but more at ,vicenza than anywhere else4 ,but to return to ,giovanni2 he was buried in ,s4 ,maria dell' ,organo1 where he had painted a chapel with his own hand4 ,francesco ,turbido1 called ,il ,moro1 a painter of ,verona1 learned the first rudiments of art1 when still quite young1 from ,giorgione da ,castelfranco1 whom he imitated ever afterwards in colouring and in softness of painting4 ,but just when ,il ,moro was making progress1 he came to words with ,i know not whom1 and handled him so roughly1 that he was forced to leave ,venice and return to ,verona4 ,there1 abandoning his painting1 since he was somewhat ready with his hands and associated with the young noblemen1 being a person of very good breeding1 he lived for a time without doing any work4 ,and associating in this way1 in particular1 with the ,counts ,sanbonifazi and the ,counts ,giusti1 two illustrious families of ,verona1 he became so intimate with them that he lived in their houses as if he had been born in them2 and1 what is more1 no long time passed before ,count ,zenovello ,giusti gave him a natural daughter of his own for a wife1 and granted him a commodious apartment in his own house for himself1 his wife1 and the children that were born to them4 ,it is said that ,francesco1 while living in the service of those noblemen1 always carried a pencil in his pouch2 and wherever he went1 if only he had time1 he would draw a head or something else on the walls4 ,wherefore the same ,count ,zenovello1 seeing him to be so much inclined to painting1 relieved him of his other duties1 like the generous nobleman that he was1 and made him give his whole attention to art2 and since ,francesco had all but forgotten everything1 he placed himself1 through the good offices of that patron1 under ,liberale1 a famous painter and illuminator of that time4 ,and thus1 practising under that master without ever ceasing1 he went on making such progress from one day to another1 that not only did all that he had forgotten awaken in his memory1 but he also acquired in a short time as much more knowledge as sufficed to make him an able craftsman4 ,it is true1 however1 that1 although he always held to the manner of ,liberale1 he yet imitated the softness and well-blended colouring of ,giorgione1 his first instructor1 believing that the works of ,liberale1 while good in other respects1 suffered from a certain dryness4 ,now ,liberale1 having recognized the beauty of ,francesco's spirit1 conceived such an affection for him1 that he loved him ever afterwards as a son1 and1 when death came upon him1 left him heir to all his possessions4 ,and thus1 after the death of ,liberale1 ,francesco followed in his steps and executed many works1 which are dispersed among various private houses4 ,of those in ,verona which deserve to be extolled above all others1 the first is the great chapel of the ,duomo1 on the vaulting of which are four large pictures painted in fresco1 wherein are the ,nativity of the ,madonna and the ,presentation in the ,temple1 and1 in the picture in the centre1 which appears to recede inwards1 three ,angels in the air1 who are seen foreshortened from below1 and are holding a crown of stars wherewith to crown the ,madonna1 who is in the recess1 in the act of ascending into ,heaven1 accompanied by many ,angels1 while the ,apostles are gazing upwards in attitudes of great variety2 and these ,apostles are figures twice the size of life4 ,all these pictures were executed by ,il ,moro after the designs of ,giulio ,romano1 according to the wish of ,bishop ,giovan ,matteo ,giberti1 who gave the commission for the work1 and who1 as has been said1 was very much the friend of that same ,giulio4 ,after this ,il ,moro painted the faade of the house of the ,manuelli1 which stands on the abutment of the ,ponte ,nuovo1 and a faade for ,torello ,saraina1 the doctor1 who wrote the above-mentioned book of the ,antiquities of ,verona4 ,in ,friuli1 likewise1 he painted in fresco the principal chapel of the ,abbey of ,rosazzo1 for ,bishop ,giovan ,matteo1 who held it in commendam1 and1 being a noble and truly religious dignitary1 rebuilt it2 for it had been allowed to fall completely into ruin1 as such buildings are generally found to be1 by those who had held it in commendam before him1 attending only to the drawing of the revenues and spending not a farthing in the service of ,god and of the ,church4 ,illustration3 ,,portrait ,,of ,a ,,man 7,after the painting by ,francesco ,turbido ,il ,moro4 ,munich3 ,pinacoteca1 #aabe7 ,bruckmann ,il ,moro afterwards painted many works in oils at ,verona and in ,venice4 ,on the outer wall 7of a chapel7 in ,s4 ,maria in ,organo he executed in fresco the figures that are still there1 with the exception of the ,angel ,michael and the ,angel ,raphael1 which are by the hand of ,paolo ,cavazzuola4 ,for the same chapel he painted an altar-piece in oils1 wherein he made a portrait of ,messer ,jacopo ,fontani1 who gave the commission for the work1 in a figure of ,s4 ,james1 in addition to the ,madonna and other very beautiful figures4 ,and in a large semicircle above that altar-piece1 occupying the whole width of the chapel1 he painted the ,transfiguration of ,our ,lord1 and the ,apostles beneath1 which were held to be among the best figures that he ever executed4 ,for the ,chapel of the ,bombardieri1 in ,s4 ,eufemia1 he painted an altar-piece with ,s4 ,barbara in the heavens1 in the centre1 and a ,s4 ,anthony below1 with his hand on his beard1 which is a most beautiful head1 and on the other side a ,s4 ,rocco1 which is also held to be a very good figure2 whence this work is rightly looked upon as one executed with supreme diligence and unity of colouring4 ,in a picture on the altar of the ,santificazione1 in the ,madonna della ,scala1 he painted a ,s4 ,sebastian1 in competition with ,paolo ,cavazzuola1 who executed a ,s4 ,rocco in another picture2 and he afterwards painted an altar-piece that was taken to ,bagolino1 a place in the mountains of ,brescia4 ,il ,moro executed many portraits1 and his heads are in truth beautiful to a marvel1 and very good likenesses of those whom they were meant to represent4 ,at ,verona he executed a portrait of ,count ,francesco ,sanbonifazio1 who1 on account of the length of his body1 was called the ,long ,count2 with that of one of the ,franchi1 which was an amazing head4 ,he also painted the portrait of ,messer ,girolamo ,verit1 which remained unfinished1 because ,il ,moro was inclined to be dilatory in his work2 and this1 still unfinished1 is in the possession of the sons of that good nobleman4 ,among many other portraits1 likewise1 he executed one of the ,venetian1 ,monsignor de' ,martini1 a knight of ,rhodes1 and to the same man he sold a head of marvellous beauty and excellence1 which he had painted many years before as the portrait of a ,venetian gentleman1 the son of one who was then ,captain in ,verona4 ,this head1 through the avarice of the ,venetian1 who never paid him1 was left in the hands of ,francesco1 and he disposed of it to ,monsignor de' ,martini1 who had the ,venetian dress changed into that of a shepherd or herdsman4 ,it is as rare a portrait as ever issued from the hand of any craftsman1 and it is now in the house of the heirs of the same ,monsignor de' ,martini1 where it is rightly held in vast veneration4 ,in ,venice he painted a portrait of ,messer ,alessandro ,contarini1 ,procurator of ,s4 ,mark and ,proveditor of the forces1 and one of ,messer ,michele ,san ,michele for one of ,messer ,michele's dearest friends1 who took the portrait to ,orvieto2 and it is said that he executed another of the same architect1 ,messer ,michele1 which is now in the possession of ,messer ,paolo ,ramusio1 the son of ,messer ,giovan ,battista4 ,he also painted a portrait of ,fracastoro1 a very famous poet1 at the instance of ,monsignor ,giberti1 by whom it was sent to ,giovio1 who placed it in his museum4 ,il ,moro executed many other works1 of which there is no need to make mention1 although they are all well worthy of remembrance1 because he was as diligent a colourist as any master that lived in his day1 and because he bestowed much time and labour on his work4 ,so great1 indeed1 was his diligence1 that it brought upon him more blame than praise1 as may also be seen at times to happen to others1 for the reason that he accepted any commission and took the earnest-money from every patron1 and trusted to the will of ,god to finish the work2 and if he did this in his youth1 everyone may imagine what he must have done in his last years1 when to his natural slowness there was added that which old age brings in its train4 ,by this method of procedure he brought upon himself more entanglements and annoyances than he cared for2 and ,messer ,michele ,san ,michele1 therefore1 moved by compassion for him1 took him into his house in ,venice and treated him like a friend and man of talent4 ,finally1 having been invited back to ,verona by his former patrons1 the ,counts ,giusti1 ,il ,moro died among them in their beautiful ,palace of ,s4 ,maria in ,stella1 and was buried in the church of that villa1 being accompanied to his tomb by all those loving noblemen1 and even laid to rest with extraordinary affection by their own hands2 for they loved him as a father1 since they had all been born and brought up while he was living in their house4 ,in his youth ,il ,moro was very courageous and agile in body1 and handled all kinds of arms with great skill4 ,he was most faithful to his friends and patrons1 and he showed spirit in all his actions4 ,his most intimate friends were the architect1 ,messer ,michele ,san ,michele1 ,danese da ,carrara1 an excellent sculptor1 and the very reverend and most learned ,fra ,marco de' ,medici1 who often went after his studies to sit with him1 watching him at work1 and discoursing lovingly with him1 in order to refresh his mind when he was weary with labour4 ,a disciple and son-in-law of ,il ,moro1 who had two daughters1 was ,battista d' ,agnolo1 who was afterwards called ,battista del ,moro4 ,this master1 although he had his hands full for a time with the complications of the inheritance that ,il ,moro bequeathed to him1 has yet executed many works which are not otherwise than passing good4 ,in ,verona he has painted a ,s4 ,john the ,baptist in the ,church of the ,nuns of ,s4 ,giuseppe1 and in the tramezzo#f of ,s4 ,eufemia1 above the altar of ,s4 ,paolo1 a scene in fresco showing the latter ,saint presenting himself to ,ananias after being converted by ,christ2 which work1 although he executed it when still a lad1 is much extolled4 ,for the noble ,counts ,canossi he painted two apartments1 and in a hall two friezes with battle-pieces1 which are very beautiful and praised by everyone4 ,in ,venice he painted the faade of a house near the ,carmine1 a work of no great size1 but much extolled1 in which he executed a figure of ,venice crowned and seated upon a lion1 the device of that ,republic4 ,for ,camillo ,trevisano he painted the faade of his house at ,murano1 and in company with his son ,marco he decorated the inner court with very beautiful scenes in chiaroscuro4 ,and in competition with ,paolo ,veronese he painted a large chamber in the same house1 which proved to be so beautiful that it brought him much honour and profit4 ,the same master has also executed many works in miniature1 of which the most recent is a very beautiful drawing of ,s4 ,eustachio adoring ,christ1 who has appeared to him between the horns of a deer1 with two dogs near him1 which could not be more excellent1 and a landscape full of trees1 receding and fading away little by little into the distance1 which is an exquisite thing4 ,this drawing has been very highly praised by the many persons who have seen it1 and particularly by ,danese da ,carrara1 who saw it when he was in ,verona1 carrying out the work of the ,chapel of the ,signori ,fregosi1 which is one of rare distinction among all the number that there are in ,italy at the present day4 ,danese1 ,i say1 having seen this drawing1 was lost in astonishment at its beauty1 and exhorted the above-mentioned ,fra ,marco de' ,medici1 his old and particular friend1 not for anything in the world to let it slip through his hands1 but to contrive to place it among the other choice examples of all the arts in his possession4 ,whereupon ,battista1 having heard that ,fra ,marco desired it1 and knowing of his friendship with his father-in-law1 gave it to him1 almost forcing him to accept it1 in the presence of ,danese2 nor was that good ,father ungrateful to him for so much courtesy4 ,however1 since that same ,battista and his son ,marco are alive and still at work1 ,i shall say nothing more of them for the present4 ,il ,moro had another disciple1 called ,orlando ,fiacco1 who has become a good master and a very able painter of portraits1 as may be seen from the many that he has painted1 all very beautiful and most lifelike4 ,he made a portrait of ,cardinal ,caraffa when he was returning from ,germany1 which he took secretly by torch-light while the ,cardinal was at supper in the ,vescovado of ,verona2 and this was such a faithful likeness that it could not have been improved4 ,he also painted a very lifelike portrait of the ,cardinal of ,lorraine1 when1 coming from the ,council of ,trent1 he passed through ,verona on his return to ,rome2 and likewise portraits of the two ,bishops ,lippomani of ,verona1 ,luigi the uncle and ,agostino the nephew1 which ,count ,giovan ,battista della ,torre now has in a little apartment4 ,other portraits that he painted were those of ,messer ,adamo ,fumani1 a ,canon and a very learned gentleman of ,verona1 of ,messer ,vincenzio de' ,medici of ,verona1 and of his consort1 ,madonna ,isotta1 in the guise of ,s4 ,helen1 and of their grandson1 ,messer ,niccol4 ,he has likewise executed portraits of ,count ,antonio della ,torre1 of ,count ,girolamo ,canossi1 and his brothers1 ,count ,lodovico and ,count ,paolo1 of ,signor ,astorre ,baglioni1 ,captain-,general of all the light cavalry of ,venice and ,governor of ,verona1 the latter clad in white armour and most beautiful in aspect1 and of his consort1 ,signora ,ginevra ,salviati4 ,in like manner1 he has portrayed the eminent architect ,palladio and many others2 and he still continues at work1 wishing to become in the art of painting as true an ,orlando as once was that great ,paladin of ,france4 ,illustration3 ,,bonsignori 7,,monsignori73 ,,portrait ,,of ,a ,,gentleman 7,london3 ,national ,gallery1 #gcf4 ,tempera ,panel7 ,in ,verona1 where an extraordinary degree of attention has been given to design ever since the death of ,fra ,giocondo1 there have flourished at all times men excellent in painting and architecture1 as will now be seen1 in addition to what has been observed hitherto1 in the ,lives of ,francesco ,monsignori1 of ,domenico ,morone and his son ,francesco1 of ,paolo ,cavazzuola1 of the architect ,falconetto1 and1 lastly1 of the miniaturists ,francesco and ,girolamo4 ,francesco ,monsignori1 the son of ,alberto1 was born at ,verona in the year #adee2 and when he was well grown he was advised by his father1 who had always delighted in painting1 although he had not practised it save for his own pleasure1 to give his attention to design4 ,having1 therefore1 gone to ,mantua to seek out ,mantegna1 who was then working in that city1 he exerted himself in such a manner1 being fired by the fame of his instructor1 that no long time passed before ,francesco ,,ii1 ,marquis of ,mantua1 who found an extraordinary delight in painting1 took him into his own service2 and in the year #adhg he gave him a house for his habitation in ,mantua1 and assigned him an honourable provision4 ,for these benefits ,francesco was not ungrateful1 for he always served that lord with supreme fidelity and lovingness2 whence the ,marquis came to love and favour him more and more every day1 insomuch that he could not leave the city without having ,francesco in his train1 and was once heard to say that ,francesco was as dear to him as the ,state itself4 ,francesco painted many works for that lord in his ,palace of ,s4 ,sebastiano at ,mantua1 and also in the ,castello di ,gonzaga and in the beautiful ,palace of ,marmirolo without the city4 ,in the latter ,francesco had finished painting in the year #adii1 after a vast number of other pictures1 some triumphs and many portraits of gentlemen of the ,court2 and on ,christmas ,eve1 on which day he had finished those works1 the ,marquis presented to him an estate of a hundred fields in the territory of ,mantua1 at a place called ,la ,marzotta1 with a mansion1 garden1 meadows1 and other things of great beauty and convenience4 ,he was most excellent at taking portraits from life1 and the ,marquis caused him to paint many portraits1 of himself1 of his sons1 and of many other lords of the house of ,gonzaga1 which were sent to ,france and ,germany as presents for various ,princes4 ,and many of these portraits are still in ,mantua1 such as those of the ,emperor ,frederick ,barbarossa2 of ,doge ,barbarigo of ,venice2 of ,francesco ,sforza1 ,duke of ,milan2 of ,massimiliano1 also ,duke of ,milan1 who died in ,france2 of the ,emperor ,maximilian2 of ,signor ,ercole ,gonzaga1 who afterwards became a ,cardinal2 of his brother1 ,duke ,federigo 7then a young man72 of ,signor ,giovan ,francesco ,gonzaga2 of ,messer ,andrea ,mantegna1 the painter2 and of many others2 of all which ,francesco preserved copies drawn on paper in chiaroscuro1 which are now in the possession of his heirs at ,mantua4 ,above the pulpit of ,s4 ,francesco de' ,zoccolanti1 in the same city1 is a picture that he painted of ,s4 ,louis and ,s4 ,bernardino holding a large circle that contains the name of ,jesus2 and in the refectory of those friars there is a picture on canvas as large as the whole of the head-wall1 of the ,saviour in the midst of the twelve ,apostles1 painted in perspective and all very beautiful1 and executed with many proofs of consideration4 ,among them is the traitor ,judas1 with a face wholly different from those of the others1 and in a strange attitude2 and the others are all gazing intently at ,jesus1 who is speaking to them1 being near ,his ,passion4 ,on the right hand of this work is a ,s4 ,francis of the size of life1 a very beautiful figure1 the countenance of which is the very presentment of that sanctity which was peculiar to that most saintly man2 and he is presenting to ,christ the ,marquis ,francesco1 who is kneeling at his feet1 portrayed from life in a long coat pleated and worked with a curly pattern1 according to the fashion of those times1 and embroidered with white crosses1 perchance because he may have been at that time ,captain of the ,venetians4 ,and in front of the ,marquis is a portrait1 with the hands clasped1 of his eldest son1 who was then a very beautiful boy1 and afterwards became ,duke ,federigo4 ,on the other side is painted a ,s4 ,bernardino1 equal in excellence to the figure of ,s4 ,francis1 and likewise presenting to ,christ the brother of the ,marquis1 ,cardinal ,sigismondo ,gonzaga1 a very beautiful kneeling figure1 robed in the habit of a ,cardinal1 with the rochet1 which is also a portrait from life2 and in front of that ,cardinal is a portrait of ,signora ,leonora1 the daughter of the same ,marquis1 who was then a girl1 and afterwards became ,duchess of ,urbino4 ,this whole work is held by the most excellent painters to be a marvellous thing4 ,illustration3 ,s4 ,,sebastian 7,after the painting by ,francesco ,monsignori ,bonsignori4 ,berlin3 ,kaiser ,friedrich ,museum1 #df c7 ,hanfstaengl ,the same master painted a picture of ,s4 ,sebastian1 which was afterwards placed in the ,madonna delle ,grazie1 without the city of ,mantua2 and to this he devoted extraordinary pains1 copying many things in it from the life4 ,it is related that the ,marquis1 going one day1 while ,francesco was executing this picture1 to see him at work1 as he used often to do1 said to him3 ,francesco1 you must take some fine figure as your model in painting this ,saint4 ,to which ,francesco answered3 ,i am using as my model a porter with a very handsome figure1 whom ,i bind in a fashion of my own in order to make the work natural4 ,but the limbs of this ,saint of yours1 rejoined the ,marquis1 are not true to life1 for they have not the appearance of being strained by force or by that fear which one would expect in a man bound and shot with arrows2 and by your leave ,i will undertake to show you what you ought to do in order to make this figure perfect4 ,nay1 but ,i beg you to do it1 my lord1 said ,francesco2 and the ,marquis added3 ,when you have your porter bound here1 send for me1 and ,i will show you what you must do4 ,the next day1 therefore1 when ,francesco had the porter bound in the manner that he wished1 he sent a secret summons to the ,marquis1 but without knowing what he intended to do4 ,and the ,marquis1 bursting out of a neighbouring room in a great fury1 with a loaded cross-bow in his hand1 rushed towards the porter1 crying out at the top of his voice1 ,traitor1 prepare to die6 ,at last ,i have caught thee as ,i would have thee1 and other suchlike words2 which hearing1 the wretched porter1 thinking himself as good as dead1 struggled in a frenzy of terror with the ropes wherewith he was bound1 and made frantic efforts to break them1 thus truly representing one about to be shot with arrows1 and revealing fear in his face and the horror of death in his strained and distorted limbs1 as he sought to escape from his peril4 ,this done1 the ,marquis said to ,francesco1 ,there he is in the state that he ought to be3 the rest is for you to do2 which the painter having well considered1 made his figure as perfect as could be imagined4 ,francesco painted in the ,gonzaga ,palace1 besides many other things1 the ,election of the first ,lords of ,mantua1 with the jousts that were held on the ,piazza di ,s4 ,piero1 which is seen there in perspective4 ,when the ,grand ,turk sent one of his men with a most beautiful dog1 a bow1 and a quiver1 as presents for the ,marquis1 the latter caused the dog1 the ,turk who had brought it1 and the other things1 to be painted in the same ,gonzaga ,palace2 and1 this done1 wishing to see whether the painted dog were truly lifelike1 he had one of his own dogs1 of a breed very hostile to the ,turkish dog1 brought to the place where the other one stood on a pedestal painted in imitation of stone4 ,the living dog1 then1 arriving there1 had no sooner seen the painted one than1 precisely as if it had been a living animal and the very one for whom he had a mortal hatred1 he broke loose from his keeper and rushed at it with such vehemence1 in order to bite it1 that he struck his head full against the wall and dashed it all to pieces4 ,illustration3 ,,giovan ,,francesco ,,morone3 ,,madonna ,,and ,,child 7,london3 ,national ,gallery1 #bhe4 ,panel7 ,another story is told by persons who were present at the scene1 of a little picture by the hand of ,francesco1 little more than two span in height1 and belonging to his nephew ,benedetto ,baroni1 in which is a ,madonna painted in oils1 from the breast upwards1 and almost life-size1 and1 lower down1 in the corner of the picture1 the ,child1 seen from the shoulders upwards1 with one arm uplifted and in the act of caressing ,his ,mother4 ,it is related1 ,i say1 that1 when the ,emperor was master of ,verona1 ,don ,alfonso of ,castille and ,alarcon1 a very famous ,captain1 happened to be in that city on behalf of ,his ,majesty and the ,catholic ,king2 and that these lords1 being in the house of the ,veronese ,count ,lodovico da ,sesso1 said that they had a great desire to see that picture4 ,whereupon it was sent for2 and one evening they were standing contemplating it in a good light1 and admiring its masterly workmanship1 when ,signora ,caterina1 the wife of the ,count1 entered into the room where those noblemen were1 together with one of her sons1 who had on his wrist one of those green birds--called in ,verona terrazzani1#g because they make their nests on the ground--which learn to perch on the wrist1 like hawks4 ,it happened1 then1 that1 while she stood with the others contemplating the picture1 the bird1 seeing the extended arm and wrist of the painted ,child1 flew to perch upon it2 but1 not having been able to find a hold on the surface of the painting1 and having therefore fallen to the ground1 it twice returned to settle on the wrist of that painted ,child1 precisely as if it had been one of those living children who were always holding it on their wrists4 ,at which those noblemen1 being amazed1 offered to pay a great price to ,benedetto for the picture1 if only he would give it to them2 but it was not possible by any means to wrest it from him4 ,not long afterwards the same persons planned to have it stolen from him on the day of the festival of ,s4 ,biagio in ,s4 ,nazzaro2 but the owner was informed of this1 and their design did not succeed4 ,for ,s4 ,paolo1 in ,verona1 ,francesco painted a panel-picture in gouache1 which is very beautiful1 and another1 also most beautiful1 for the ,chapel of the ,bandi in ,s4 ,bernardino4 ,in ,mantua he executed for ,verona a picture with two most lovely nudes1 a ,madonna in the sky1 with the ,child in her arms1 and some ,angels1 all marvellous figures1 which is in the chapel where ,s4 ,biagio is buried1 in the ,black ,friars ,church of ,s4 ,nazzaro4 ,francesco was a man of saintly life1 and the enemy of every vice1 insomuch that he would never on any account paint licentious works1 although he was very often entreated to do so by the ,marquis2 and equal to him in goodness were his brothers1 as will be related in the proper place4 ,finally1 being old1 and suffering in the bladder1 ,francesco1 with the leave of the ,marquis and by the advice of the physicians1 went with his wife and many servants to the ,baths of ,caldero1 in the territory of ,verona1 to take the waters4 ,there1 one day1 after he had drunk the water1 he allowed himself to be overcome by drowsiness1 and slept a little1 being indulged in this by his wife out of compassion2 whereupon1 a violent fever having come upon him in consequence of his sleeping1 which is a deadly thing for one who has just taken that water1 he finished the course of his life on the second day of ,july1 #aeai2 which having been reported to the ,marquis1 he straightway sent orders by a courier that the body of ,francesco should be brought to ,mantua4 ,this was done1 although it gave little pleasure to the people of ,verona2 and he was laid to rest with great honour in the burial-place of the ,compagnia ,segreta in ,s4 ,francesco at ,mantua4 ,francesco lived to the age of sixty-four1 and the portrait of him which belongs to ,messer ,fermo was executed when he was fifty4 ,many compositions were written in his praise1 and he was mourned by all who knew him as a virtuous and saintly man1 which he was4 ,he had for wife ,madonna ,francesca ,gioacchini of ,verona1 but he had no children4 ,the eldest of his three brothers was called ,monsignore2 and he1 being a person of culture and learning1 received offices with good salaries in ,mantua from the ,marquis1 on account of that nobleman's love of ,francesco4 ,he lived to the age of eighty1 and left children1 who keep the family of the ,monsignori alive in ,mantua4 ,another brother of ,francesco had the name of ,girolamo when in the world1 and of ,fra ,cherubino among the ,frati ,zoccolanti di ,san ,francesco2 and he was a very beautiful calligrapher and illuminator4 ,the third1 who was a ,friar of ,s4 ,dominic and an ,observantine1 and was called ,fra ,girolamo1 chose out of humility to become a lay-brother4 ,he was not only a man of good and holy life1 but also a passing good painter1 as may be seen in the ,convent of ,s4 ,domenico in ,mantua1 where1 besides other works1 he executed a most beautiful ,last ,supper in the refectory1 with a ,passion of ,christ1 which remained unfinished on account of his death4 ,the same friar painted the beautiful ,last ,supper that is in the refectory of the very rich abbey which the ,monks of ,s4 ,benedict possess in the territory of ,mantua4 ,in ,s4 ,domenico he painted the altar of the ,rosary2 and in the ,convent of ,s4 ,anastasia1 in ,verona1 he painted in fresco the ,madonna1 ,s4 ,remigio the ,bishop1 and ,s4 ,anastasia2 with a ,madonna1 ,s4 ,dominic1 and ,s4 ,thomas ,aquinas1 all executed with mastery1 on a little arch over the second door of entrance in the second cloister4 ,illustration3 ,,the ,,crucifixion 7,after the painting by ,giovan ,francesco ,morone4 ,verona3 ,s4 ,bernardino7 ,alinari ,fra ,girolamo was a person of great simplicity1 wholly indifferent to the things of the world4 ,he lived in the country1 at a farm belonging to his convent1 in order to avoid all noise and disturbance1 and the money sent to him in return for his works1 which he used for buying colours and suchlike things1 he kept in a box without a cover1 hung from the ceiling in the middle of his chamber1 so that all who wished could take some2 and in order not to have the trouble of thinking every day what he was to eat1 he used to cook a pot of beans every ,monday to last him the whole week4 ,when the plague came to ,mantua and the sick were abandoned by all1 as happens in such cases1 ,fra ,girolamo1 with no other motive but the purest love1 would never desert the poor plague-stricken monks1 and even tended them all day long with his own hands4 ,and thus1 careless of his life for the love of ,god1 he became infected with that malady and died at the age of sixty1 to the great grief of all who knew him4 ,but to return to ,francesco ,monsignori3 he painted a life-size portrait1 which ,i forgot to mention above1 of ,count ,ercole ,giusti of ,verona1 in a robe of cloth of gold1 such as he was wont to wear2 and this is a very beautiful likeness1 as may be seen in the house of his son1 ,count ,giusto4 ,domenico ,morone1 who was born at ,verona about the year #adcj1 learned the art of painting from some masters who were disciples of ,stefano1 and from works by the same ,stefano1 by ,jacopo ,bellini1 by ,pisano1 and by others1 which he saw and copied4 ,saying nothing of the many pictures that he executed after the manner of those times1 which are now in monasteries and private houses1 ,i begin by recording that he painted in chiaroscuro1 with terretta verde1 the faade of a house belonging to the city of ,verona1 on the square called the ,piazza de' ,signori2 and in this may be seen many ornamental friezes and scenes from ancient history1 with a very beautiful arrangement of figures and costumes of bygone days4 ,but the best work to be seen by the hand of this master is the ,leading of ,christ to the ,cross1 with a multitude of figures and horses1 which is in ,s4 ,bernardino1 on the wall above the ,chapel of the ,monte di ,piet1 for which ,liberale painted the picture of the ,deposition with the weeping ,angels4 ,the same ,domenico received a commission to paint the chapel that is next to that one1 both within and without1 at great expense and with a lavish use of gold1 from the ,chevalier1 ,messer ,niccol de' ,medici1 who was considered to be the richest man of his day in ,verona1 and who spent great sums of money on other pious works1 being a man who was inclined to this by nature4 ,this gentleman1 after he had built many monasteries and churches1 and had left scarcely any place in that city where he had not executed some noble and costly work to the honour of ,god1 chose as his burial-place the chapel mentioned above1 for the ornamentation of which he availed himself of ,domenico1 at that time more famous than any other painter in that city1 ,liberale being in ,siena4 ,domenico1 then1 painted in the interior of this chapel the ,miracles of ,s4 ,anthony of ,padua1 to whom it is dedicated1 and portrayed the ,chevalier in an old man with shaven face and white hair1 without any cap1 and wearing a long gown of cloth of gold1 such as ,chevaliers used to wear in those times4 ,all this1 for a work in fresco1 is very well designed and executed4 ,then1 in certain medallions in the outer vaulting1 which is all overlaid with gold1 he painted the four ,evangelists2 and on the pilasters both within and without he executed figures of ,saints1 among which are ,s4 ,elizabeth of the ,third ,order of ,s4 ,francis1 ,s4 ,helen1 and ,s4 ,catharine1 which are very beautiful figures1 and much extolled for the draughtsmanship1 colouring1 and grace4 ,this work1 then1 can bear witness to the talent of ,domenico and to the magnificent liberality of that ,chevalier4 ,domenico died very old1 and was buried in ,s4 ,bernardino1 wherein are the works by his hand described above1 leaving his son1 ,francesco ,morone1 heir to his property and his talents4 ,this ,francesco1 who learned the first principles of art from his father1 afterwards exerted himself in such a manner that in a short time he became a much better master than his father had been1 as the works that he executed in emulation of those of his father clearly demonstrate4 ,below his father's work on the altar of the ,monte1 in the aforesaid ,church of ,s4 ,bernardino1 ,francesco painted in oils the folding-doors that enclose the altar-piece of ,liberale2 on the inner side of which he depicted in one the ,virgin1 and in the other ,s4 ,john the ,evangelist1 both life-size figures1 with great beauty in the faces1 which are weeping1 in the draperies1 and in every other part4 ,in the same chapel1 at the foot of the face of that wall which serves as head-wall to the tramezzo1#h he painted the ,miracle that ,our ,lord performed with the five loaves and two fishes1 which satisfied the multitude2 and in this are many beautiful figures and many portraits from life1 but most of all is praise given to a ,s4 ,john the ,evangelist1 who is very slender1 and has his back partly turned towards the spectator4 ,he then executed in the same place1 beside the altar-piece1 in the vacant spaces on the wall against which it rests1 a ,s4 ,louis1 ,bishop and ,friar of ,s4 ,francis1 and another figure2 with some heads in foreshortening in a sunk medallion on the vaulting4 ,all these works are much extolled by the painters of ,verona4 ,and for the altar of the ,cross1 on which are so many painted pictures1 between that chapel and the ,chapel of the ,medici1 in the same church1 he executed a picture which is in the centre above all the others1 containing ,christ on the ,cross1 the ,madonna1 and ,s4 ,john1 and very beautiful4 ,in another picture1 which is above that of ,caroto1 on the left-hand side of the same altar1 he painted ,our ,lord washing the feet of the ,apostles1 who are seen in various attitudes2 in which work1 so men say1 this painter made a portrait of himself in the figure of one who is serving ,christ by bringing water4 ,for the ,chapel of the ,emilii1 in the ,duomo1 ,francesco executed a ,s4 ,james and a ,s4 ,john1 one on either side of ,christ1 who is bearing ,his ,cross2 and the beauty and excellence of these two figures leave nothing to be desired4 ,the same master executed many works at ,lonico1 in an abbey of ,monks of ,monte ,oliveto1 whither great multitudes flock together to adore a figure of the ,madonna which performs many miracles in that place4 ,afterwards1 ,francesco being very much the friend1 and1 as it were1 the brother of ,girolamo dai ,libri1 the painter and illuminator1 they undertook to paint in company the organ-doors of ,s4 ,maria in ,organo1 a church of ,monks of ,monte ,oliveto4 ,in one of these1 on the outer side1 ,francesco painted a ,s4 ,benedict clothed in white1 and ,s4 ,john the ,evangelist1 and on the inner side the ,prophets ,daniel and ,isaiah1 with two little ,angels in the air1 and a ground all full of very beautiful landscapes4 ,and then he executed the great altar-piece of the altar of the ,muletta1 painting therein a ,s4 ,peter and a ,s4 ,john1 which are little more than one braccio in height1 but wrought so well and with such diligence1 that they have the appearance of miniatures4 ,the carvings of this work were executed by ,fra ,giovanni da ,verona1 a master of tarsia and carving4 ,in the same place1 on the wall of the choir1 ,francesco painted two scenes in fresco--one of ,our ,lord riding on an ass into ,jerusalem1 and the other of ,his ,prayer in the ,garden1 wherein1 on one side1 is the armed multitude coming to take ,him1 guided by ,judas4 ,but more beautiful than all the rest is the vaulted sacristy1 which is all painted by the same master1 excepting only the ,s4 ,anthony being scourged by ,demons1 which is said to be by the hand of his father1 ,domenico4 ,in this sacristy1 then1 besides the ,christ and some little ,angels that are seen in foreshortening on the vaulting1 he painted in the lunettes1 two in each niche1 and robed in their pontifical vestments1 the various ,popes who have been exalted to the ,pontificate from the ,order of ,s4 ,benedict4 ,round the sacristy1 below the lunettes of the vaulting1 is drawn a frieze four feet high1 and divided into compartments1 wherein are painted in the monastic habit various ,emperors1 ,kings1 ,dukes1 and other ,princes1 who have abandoned the ,states and ,principalities that they ruled1 and have become monks4 ,in these figures ,francesco made portraits from life of many of the monks who had their habitation or a temporary abode in that monastery1 the while that he was working there2 and among them are portraits of many novices and other monks of every kind1 which are heads of great beauty1 and executed with much diligence4 ,in truth1 by reason of these ornaments1 that was then the most beautiful sacristy that there was in all ,italy1 since1 in addition to the beauty of the room1 which is of considerable size and well proportioned1 and the pictures described above1 which are also very beautiful1 there is at the foot of the walls a range of panelled seats adorned with fine perspective-views1 so well executed in tarsia and carving1 that there is no work to be seen of those times1 and perchance even of our own1 that is much better4 ,for ,fra ,giovanni da ,verona1 who executed this work1 was most excellent in that art1 as was said in the ,life of ,raffaello da ,urbino1 and as is demonstrated not only by his many other works in houses of his ,order1 but also by those that are in the ,papal ,palace at ,rome1 in ,monte ,oliveto di ,chiusuri in the territory of ,siena1 and in other places4 ,but those of this sacristy are the best of all the works that ,fra ,giovanni ever executed1 for the reason that it may be said that in them he surpassed himself by as much as he excelled in the rest every other master4 ,among other things1 ,fra ,giovanni carved for this place a candelabrum more than fourteen feet in height to hold the ,paschal candle1 all made of walnut-wood1 and wrought with such extraordinary patience that ,i do not believe that there is a better work of the same kind to be seen4 ,but to return to ,francesco3 he painted for the same church the panel-picture which is in the ,chapel of the ,counts ,giusti1 in which he depicted the ,madonna1 with ,s4 ,augustine and ,s4 ,martin in pontifical robes4 ,and in the cloister he executed a ,deposition from the ,cross1 with the ,maries and other ,saints1 works in fresco which are much extolled in ,verona4 ,in the ,church of the ,vittoria he painted the ,chapel of the ,fumanelli1 which is below the wall that supports the choir which was built by the ,chevalier ,messer ,niccol de' ,medici2 and a ,madonna in fresco in the cloister4 ,and afterwards he painted a portrait from life of ,messer ,antonio ,fumanelli1 a physician very famous for the works written by him in connection with his profession4 ,he painted in fresco1 also1 on a house which is seen on the left hand as one crosses the ,ponte delle ,navi on the way to ,s4 ,paolo1 a ,madonna with many ,saints1 which is held to be a very beautiful work1 both in design and in colouring2 and on the house of the ,sparvieri1 in the ,br1 opposite to the garden of the ,friars of ,s4 ,fermo1 he painted another like it4 ,francesco painted a number of other works1 of which there is no need to make mention1 since the best have been described2 let it suffice to say that he gave grace1 unity1 and good design to his pictures1 with a colouring as vivid and pleasing as that of any other painter4 ,francesco lived fifty-five years1 and died on ,may #af1 #aebi4 ,he chose to be carried to his tomb in the habit of a ,friar of ,s4 ,francis1 and he was buried in ,s4 ,domenico1 beside his father4 ,he was so good a man1 so religious1 and so exemplary1 that there was never heard to issue from his mouth any word that was otherwise than seemly4 ,a disciple of ,francesco1 and much more able than his master1 was the ,veronese ,paolo ,cavazzuola1 who executed many works in ,verona2 ,i say in ,verona1 because it is not known that he ever worked in any other place4 ,in ,s4 ,nazzaro1 a seat of ,black ,friars at ,verona1 he painted many works in fresco near those of his master ,francesco2 but these were all thrown to the ground when that church was rebuilt by the pious munificence of the reverend ,father1 ,don ,mauro ,lonichi1 a nobleman of ,verona and ,abbot of that ,monastery4 ,on the old house of the ,fumanelli1 in the ,via del ,paradiso1 ,paolo painted1 likewise in fresco1 the ,sibyl showing to ,augustus ,our ,lord in the heavens1 in the arms of ,his ,mother2 which work is beautiful enough for one of the first that he executed4 ,on the outer side of the ,chapel of the ,fontani1 in ,s4 ,maria in ,organo1 he painted1 also in fresco1 two ,angels--namely1 ,s4 ,michael and ,s4 ,raphael4 ,in the street into which there opens the ,chapel of the ,angel ,raphael1 in ,s4 ,eufemia1 over a window that gives light to a recess in the staircase of that chapel1 he painted the ,angel ,raphael1 and with him ,tobias1 whom he guided on his journey2 which was a very beautiful little work4 ,and in ,s4 ,bernardino1 in a round picture over the door where there is the bell1 he painted a ,s4 ,bernardino in fresco1 and in another round picture on the same wall1 but lower down1 and above the entrance to a confessional1 a ,s4 ,francis1 which is beautiful and well executed1 as is also the ,s4 ,bernardino4 ,these are all the works that ,paolo is known to have painted in fresco4 ,illustration3 ,,the ,,deposition 7,after the panel by ,paolo ,cavazzuola4 ,verona3 ,museo ,civico1 #cib7 ,anderson ,as for his works in oils1 he painted a picture of ,s4 ,rocco for the altar of the ,santificazione in the ,church of the ,madonna della ,scala1 in emulation of the ,s4 ,sebastian which ,il ,moro painted for the other side of the same place2 which ,s4 ,rocco is a very beautiful figure4 ,but the best figures that this painter ever executed are in ,s4 ,bernardino1 where all the large pictures that are on the altar of the ,cross1 round the principal altar-piece1 are by his hand1 excepting that with the ,christ ,crucified1 the ,madonna1 and ,s4 ,john1 which is above all the others1 and is by the hand of his master ,francesco4 ,beside it1 in the upper part1 are two large pictures by the hand of ,paolo1 in one of which is ,christ being scourged at the ,column1 and in the other ,his ,coronation1 painted with many figures somewhat more than life-size4 ,in the principal picture1 which is lower down1 in the first range1 he painted a ,deposition from the ,cross1 with the ,madonna1 the ,magdalene1 ,s4 ,john1 ,nicodemus1 and ,joseph2 and he made a portrait of himself1 so good that it has the appearance of life1 in one of these figures1 a young man with a red beard1 who is near the ,tree of the ,cross1 with a coif on his head1 such as it was the custom to wear at that time4 ,on the right-hand side is a picture by ,paolo of ,our ,lord in the ,garden1 with the three ,disciples near ,him2 and on the left-hand side is another of ,christ with the ,cross on ,his shoulder1 being led to ,mount ,calvary4 ,the excellence of these works1 which stand out strongly in comparison with those by the hand of his master that are in the same place1 will always give ,paolo a place among the best craftsmen4 ,on the base he painted some ,saints from the breast upwards1 which are all portraits from life4 ,the first figure1 wearing the habit of ,s4 ,francis1 and representing a ,beato1 is a portrait of ,fra ,girolamo ,rechalchi1 a noble ,veronese2 the figure beside the first1 painted to represent ,s4 ,bonaventura1 is the portrait of ,fra ,bonaventura ,rechalchi1 brother of the aforesaid ,fra ,girolamo2 and the head of ,s4 ,joseph is the portrait of a steward of the ,marchesi ,malespini1 who had been charged at that time by the ,company of the ,cross to see to the execution of this work4 ,all these heads are very beautiful4 ,for the same church ,paolo painted the altar-piece of the ,chapel of ,s4 ,francesco1 in which work1 the last that he executed1 he surpassed himself4 ,there are in it six figures larger than life2 one being ,s4 ,elizabeth1 of the ,third ,order of ,s4 ,francis1 who is a most beautiful figure1 with a smiling air and a gracious countenance1 and with her lap full of roses2 and she seems to be rejoicing at the sight of the bread that she1 great lady as she was1 had been carrying to the poor1 turned by a miracle of ,god into roses1 in token that her humble charity in thus ministering to the poor with her own hands was acceptable to ,god4 ,this figure is a portrait of a widowed lady of the ,sacchi family4 ,among the other figures are ,s4 ,bonaventura the ,cardinal and ,s4 ,louis the ,bishop1 both ,friars of ,s4 ,francis4 ,near these are ,s4 ,louis1 ,king of ,france1 ,s4 ,eleazar in a grey habit1 and ,s4 ,ivo in the habit of a priest4 ,then there is the ,madonna on a cloud above them all1 with ,s4 ,francis and other figures round her2 but it is said that these are not by the hand of ,paolo1 but by that of a friend who helped him to execute the picture2 and it is evident1 indeed1 that these figures are not equal in excellence to those beneath4 ,and in this picture is a portrait from life of ,madonna ,caterina de' ,sacchi1 who gave the commission for the work4 ,now ,paolo1 having set his heart on becoming great and famous1 made to this end such immoderate exertions that he fell ill and died at the early age of thirty-one1 at the very moment when he was beginning to give proofs of what might be expected from him at a riper age4 ,it is certain that ,paolo1 if ,fortune had not crossed him at the height of his activity1 would without a doubt have attained to the highest1 best1 and greatest honours that could be desired by a painter4 ,his loss1 therefore1 grieved not only his friends1 but all men of talent and everyone who knew him1 and all the more because he had been a young man of excellent character1 untainted by a single vice4 ,he was buried in ,s4 ,paolo1 after making himself immortal by the beautiful works that he left behind him4 ,stefano ,veronese1 a very rare painter in his day1 as has been related1 had a brother-german1 called ,giovanni ,antonio1 who1 although he learned to paint from that same ,stefano1 nevertheless did not become anything more than a mediocre painter1 as may be seen from his works1 of which there is no need to make mention4 ,to this ,giovanni ,antonio was born a son1 called ,jacopo1 who likewise became a painter of commonplace works2 and to ,jacopo were born ,giovan ,maria1 called ,falconetto1 whose ,life we are about to write1 and ,giovanni ,antonio4 ,the latter1 devoting himself to painting1 executed many works at ,rovereto1 a very famous township in the ,trentino1 and many pictures at ,verona1 which are dispersed among the houses of private citizens4 ,he also painted many works in the valley of the ,adige1 above ,verona1 and a panel-picture of ,s4 ,nicholas1 with many animals1 at ,sacco1 opposite to ,rovereto1 with many others2 after which he finally died at ,rovereto1 where he had gone to live4 ,this master was particularly excellent in making animals and fruits1 of which many very beautiful drawings1 executed in miniature1 were taken to ,france by the ,veronese ,mondella2 and many of them were given by ,agnolo1 the son of ,giovanni ,antonio1 to ,messer ,girolamo ,lioni1 a ,venetian gentleman of noble spirit4 ,but to come at last to ,giovan ,maria1 the brother of ,giovanni ,antonio4 ,he learned the rudiments of painting from his father1 whose manner he rendered no little better and grander1 although even he was not a painter of much reputation1 as is evident from the ,chapels of the ,maffei and of the ,emilii in the ,duomo of ,verona1 from the upper part of the cupola of ,s4 ,nazzaro1 and from works in other places4 ,this master1 recognizing the little value of his work in painting1 and delighting beyond measure in architecture1 set himself with great diligence to study and draw all the antiquities in his native city of ,verona4 ,he then resolved to visit ,rome1 and to learn architecture from its marvellous remains1 which are the true masters2 and he made his way to that city1 and stayed there twelve whole years4 ,that time he spent1 for the most part1 in examining and drawing all those marvellous antiquities1 searching out in every place all the ground-plans that he could see and all the measurements that he could find4 ,nor did he leave anything in ,rome1 either buildings or their members1 such as cornices1 capitals1 and columns1 of whatsoever ,order1 that he did not draw with his own hand1 with all the measurements2 and he also drew all the sculptures which were discovered in those times1 insomuch that when he returned to his own country1 after those twelve years1 he was rich in all the treasures of his art4 ,and1 not content with the things in the city of ,rome itself1 he drew all that was good and beautiful in the whole of the ,roman ,campagna1 going even as far as the ,kingdom of ,naples1 the ,duchy of ,spoleto1 and other parts4 ,it is said that ,giovan ,maria1 being poor1 and therefore having little wherewith to live or to maintain himself in ,rome1 used to spend two or three days every week in assisting some painter with his work2 and with his earnings1 since at that time masters were well paid and living was cheap1 he was able to live the other days of the week1 pursuing the studies of architecture4 ,thus1 then1 he drew all those antiquities as if they were complete1 reconstructing them in his drawings from the parts and members that he saw1 from which he imagined all the other parts of the buildings in all their perfection and integrity1 and all with such true measurements and proportions1 that he could not make an error in a single detail4 ,having returned to ,verona1 and finding no opportunity of exercising himself in architecture1 since his native city was in the throes of a change of government1 ,giovan ,maria gave his attention for the time to painting1 and executed many works4 ,on the house of the ,della ,torre family he painted a large escutcheon crowned by some trophies2 and for two ,german noblemen1 counsellors of the ,emperor ,maximilian1 he executed in fresco some scenes from the ,scriptures on a wall of the little ,church of ,s4 ,giorgio1 and painted there life-size portraits of those two ,germans1 one kneeling on one side and one on the other4 ,he executed a number of works at ,mantua1 for ,signor ,luigi ,gonzaga2 and some others at ,osimo1 in the ,march of ,ancona4 ,and while the city of ,verona was under the ,emperor1 he painted the imperial arms on all the public buildings1 and received for this from the ,emperor a good salary and a patent of privilege1 from which it may be seen that many favours and exemptions were granted to him1 both on account of his good service in matters of art1 and because he was a man of great spirit1 brave and formidable in the use of arms1 with which he might likewise be expected to give valiant and faithful service3 and all the more because he drew after him1 on account of the great credit that he had with his neighbours1 the whole mass of the people who lived in the ,borgo di ,san ,zeno1 a very populous part of the city1 in which he had been born and had taken a wife from the family of the ,provali4 ,for these reasons1 then1 he had all the inhabitants of his district as his following1 and was called throughout the city by no other name but that of the ,red-head of ,san ,zeno4 ,now1 when the city again changed its government and returned to the rule of its ancient masters the ,venetians1 ,giovan ,maria1 being known as one who had served the party of the ,emperor1 was forced to seek safety in flight2 and he went1 therefore1 to ,trento1 where he passed some time painting certain pictures4 ,finally1 however1 when matters had mended1 he made his way to ,padua1 where he was first received in audience and then much favoured by the very reverend ,monsignor ,bembo1 who presented him not long afterwards to the illustrious ,messer ,luigi ,cornaro1 a ,venetian gentleman of lofty spirit and truly regal mind1 as is proved by his many magnificent enterprises4 ,this gentleman1 who1 in addition to his other truly noble qualities1 delighted in the study of architecture1 the knowledge of which is worthy of no matter how great a ,prince1 had therefore read the works of ,vitruvius1 ,leon ,batista ,alberti1 and others who have written on this subject1 and he wished to put what he had learned into practice4 ,and when he saw the designs of ,falconetto1 and perceived with what profound knowledge he spoke of these matters1 and rendered clear all the difficulties that can arise through the variety of the ,orders of architecture1 he conceived such a love for him that he took him into his own house and kept him there as an honoured guest for twenty-one years1 which was the whole of the rest of ,giovan ,maria's life4 ,during this time ,falconetto executed many works with the help of the same ,messer ,luigi4 ,the latter1 desiring to see the antiquities of ,rome on the spot1 even as he had seen them in the drawings of ,giovan ,maria1 went to ,rome1 taking him with him2 and there he devoted himself to examining everything minutely1 having him always in his company4 ,after they had returned to ,padua1 a beginning was made with building from the design and model of ,falconetto that most beautiful and ornate loggia which is in the house of the ,cornari1 near the ,santo2 and the palace was to be erected next1 after the model made by ,messer ,luigi himself4 ,in this loggia the name of ,giovan ,maria is carved on a pilaster4 ,the same architect built a very large and magnificent ,doric portal for the ,palace of the ,captain of that place2 and this portal is much praised by everyone as a work of great purity4 ,he also erected two very beautiful gates for the city1 one of which1 called the ,porta di ,s4 ,giovanni1 and leading to ,vicenza1 is very fine1 and commodious for the soldiers who guard it2 and the other1 which is very well designed1 was called the ,porta ,savonarola4 ,he made1 likewise1 for the ,friars of ,s4 ,dominic1 the design and model of the ,church of ,s4 ,maria delle ,grazie1 and laid the foundations2 and this work1 as may be seen from the model1 is so beautiful and well designed1 that one of equal size to rival it has perhaps never been seen up to our own day in any other place4 ,and by the same master was made the model of a most superb palace for ,signor ,girolamo ,savorgnano1 at his well fortified stronghold of ,usopo in ,friuli2 for which all the foundations were then laid1 and it had begun to rise above the ground1 when1 by reason of the death of that nobleman1 it was left in that condition without being carried further2 but if this building had been finished1 it would have been a marvel4 ,about the same time ,falconetto went to ,pola1 in ,istria1 for the sole purpose of seeing and drawing the theatre1 amphitheatre1 and arch that are in that most ancient city4 ,he was the first who made drawings of theatres and amphitheatres and traced their ground-plans1 and those that are to be seen1 particularly in the case of ,verona1 came from him1 and were printed at the instance of others after his designs4 ,giovan ,maria was a man of exalted mind1 and1 being one who had never done anything else but draw the great works of antiquity1 he desired nothing save that there should be presented to him opportunities of executing works similar to those in greatness4 ,he would sometimes make ground-plans and designs for them1 with the very same pains that he would have taken if he had been commissioned to put them into execution at once2 and in this he lost himself so much1 so to speak1 that he would not deign to make designs for the private houses of gentlemen1 either in the country or in the city1 although he was much besought to do so4 ,giovan ,maria was in ,rome on many occasions besides those described above2 whence that journey was so familiar to him1 that when he was young and vigorous he would undertake it on the slightest opportunity4 ,persons who are still alive relate that1 falling one day into a discussion with a foreign architect1 who happened to be in ,verona1 about the measurements of ,i know not what ancient cornice in ,rome1 after many words ,giovan ,maria said1 ,i will soon make myself certain in this matter1 and then went straight to his house and set out on his way to ,rome4 ,illustration3 ,,palazzo ,,del ,,capitanio 7,after ,falconetto4 ,padua7 ,anderson ,this master made for the ,cornaro family two very beautiful designs of tombs1 which were to be erected in ,s4 ,salvatore1 at ,venice--one for the ,queen of ,cyprus1 a lady of that family1 and the other for ,cardinal ,marco ,cornaro1 who was the first of that house to be honoured with that dignity4 ,and in order that these designs might be carried out1 a great quantity of marble was quarried at ,carrara and taken to ,venice1 where the rough blocks still are1 in the house of the same ,cornari4 ,giovan ,maria was the first who brought the true methods of building and of good architecture to ,verona1 ,venice1 and all those parts1 where before him there had not been one who knew how to make even a cornice or a capital1 or understood either the measurements or the proportions of a column or of any ,order of architecture1 as is evident from the buildings that were erected before his day4 ,this knowledge was afterwards much increased by ,fra ,giocondo1 who lived about the same time1 and it received its final perfection from ,messer ,michele ,san ,michele1 insomuch that those parts are therefore under an everlasting obligation to the people of ,verona1 in which city were born and lived at one and the same time these three most excellent architects4 ,to them there then succeeded ,sansovino1 who1 not resting content with architecture1 which he found already grounded and established by the three masters mentioned above1 also brought thither sculpture1 to the end that by its means their buildings might have all the adornments that were proper to them4 ,and for this a debt of gratitude--if one may use such a word--is due to the ruin of ,rome1 by reason of which the masters were dispersed over many places and the beauties of these arts communicated throughout all ,europe4 ,giovan ,maria caused some works in stucco to be carried out in ,venice1 and taught the method of executing them4 ,some declare that when he was a young man he had the vaulting of the ,chapel of the ,santo1 at ,padua1 decorated with stucco by ,tiziano da ,padova and many others1 and also had similar works executed in the house of the ,cornari1 which are very beautiful4 ,he taught his work to two of his sons1 ,ottaviano1 who was1 like himself1 also a painter1 and ,provolo4 ,alessandro1 his third son1 worked in his youth at making armour1 and afterwards adopted the calling of a soldier2 he was three times victor in the lists1 and finally1 when a captain of infantry1 died fighting valiantly before ,turin in ,piedmont1 having been wounded by a harquebus-ball4 ,giovan ,maria1 on his part1 after being crippled by gout1 finished the course of his life at ,padua1 in the house of the aforesaid ,messer ,luigi ,cornaro1 who always loved him like a brother1 or rather1 like his own self4 ,and to the end that there might be no separation in death between the bodies of those whose minds had been united together in the world by friendship and love of art1 ,messer ,luigi had intended that ,giovan ,maria should be laid to rest beside himself in the tomb that was to be erected for his own burial1 together with that most humorous poet1 ,ruzzante1 his very familiar friend1 who lived and died in his house2 but ,i do not know whether this design of the illustrious ,cornaro was ever carried into effect4 ,giovan ,maria was a fine talker1 pleasant and agreeable in conversation1 and very acute in repartee1 insomuch that ,cornaro used to declare that a whole book could have been made with his sayings4 ,and since1 although he was crippled by gout1 he lived cheerfully1 he preserved his life to the age of seventy-six1 dying in #aecd4 ,he had six daughters1 five of whom he gave in marriage himself1 and the sixth was married by her brothers1 after his death1 to ,bartolommeo ,ridolfi of ,verona1 who executed many works in stucco in company with them1 and was a much better master than they were4 ,this may be seen from his works in many places1 and in particular at ,verona1 in the house of ,fiorio della ,seta on the ,ponte ,nuovo1 in which he decorated some apartments in a very beautiful manner4 ,there are others in the house of the noble ,counts ,canossi1 which are amazing2 and such1 also1 are those that he executed in the house of the ,murati1 near ,s4 ,nazzaro2 and for ,signor ,giovan ,battista della ,torre1 for ,cosimo ,moneta1 the ,veronese banker1 at his beautiful villa1 and for many others in various places1 all works of great beauty4 ,palladio1 most excellent of architects1 declares that he knows no person more marvellous in invention or better able to adorn apartments with beautiful designs in stucco1 than this ,bartolommeo ,ridolfi4 ,not many years since1 ,spitech ,giordan1 a nobleman of great authority with the ,king of ,poland1 took ,bartolommeo with him to that ,king2 and there1 enjoying an honourable salary1 he has executed1 as he still does1 many works in stucco1 large portraits1 medallions1 and many designs for palaces and other buildings1 with the assistance of a son of his own1 who is in no way inferior to his father4 ,illustration3 ,,girolamo ,,dai ,,libri3 ,,madonna ,,and ,,child1 ,,with ,s4 ,,anne 7,london3 ,national ,gallery1 #gdh4 ,canvas7 ,the elder ,francesco dai ,libri of ,verona lived some time before ,liberale1 although it is not known exactly at what date he was born2 and he was called ,dai ,libri#i because he practised the art of illuminating books1 his life extending from the time when printing had not yet been invented to the very moment when it was beginning to come into use4 ,since1 therefore1 there came to him from every quarter books to illuminate--a work in which he was most excellent--he was known by no other surname than that of ,dai ,libri2 and he executed great numbers of them1 for the reason that whoever went to the expense of having them written1 which was very great1 wished also to have them adorned as much as was possible with illuminations4 ,this master illuminated many choral books1 all beautiful1 which are at ,verona1 in ,s4 ,giorgio1 in ,s4 ,maria in ,organo1 and in ,s4 ,nazzaro2 but the most beautiful is a little book1 or rather1 two little pictures that fold together after the manner of a book1 on one side of which is a ,s4 ,jerome1 a figure executed with much diligence and very minute workmanship1 and on the other a ,s4 ,john in the ,isle of ,patmos1 depicted in the act of beginning to write his ,book of the ,apocalypse4 ,this work1 which was bequeathed to ,count ,agostino ,giusti by his father1 is now in ,s4 ,leonardo1 a convent of ,canons ,regular1 of which ,don ,timoteo ,giusti1 the son of that ,count1 is a member4 ,finally1 after having executed innumerable works for various noblemen1 ,francesco died1 content and happy for the reason that1 in addition to the serenity of mind that his goodness brought him1 he left behind him a son1 called ,girolamo1 who was so excellent in art that before his death he saw him already a much greater master than himself4 ,this ,girolamo1 then1 was born at ,verona in the year #adgb1 and at the age of sixteen he painted for the ,chapel of the ,lischi1 in ,s4 ,maria in ,organo1 an altar-piece which caused such marvel to everyone when it was uncovered and set in its place1 that the whole city ran to embrace and congratulate his father ,francesco4 ,in this picture is a ,deposition from the ,cross1 with many figures1 and among the many beautiful weeping heads the best of all are a ,madonna and a ,s4 ,benedict1 which are much commended by all craftsmen2 and he also made therein a landscape1 with a part of the city of ,verona1 drawn passing well from the reality4 ,then1 encouraged by the praises that he heard given to his work1 ,girolamo painted the altar of the ,madonna in ,s4 ,paolo in a masterly manner1 and also the picture of the ,madonna with ,s4 ,anne1 which is placed between the ,s4 ,sebastian of ,il ,moro and the ,s4 ,rocco of ,cavazzuola in the ,church of the ,scala4 ,for the family of the ,zoccoli he painted the great altar-piece of the high-altar in the ,church of the ,vittoria1 and for the family of the ,cipolli the picture of ,s4 ,onofrio1 which is near the other1 and is held to be both in design and in colouring the best work that he ever executed4 ,for ,s4 ,leonardo nel ,monte1 also1 near ,verona1 he painted at the commission of the ,cartieri family the altar-piece of the high-altar1 which is a large work with many figures1 and much esteemed by everyone1 above all for its very beautiful landscape4 ,now a thing that has happened very often in our own day has caused this work to be held to be a marvel4 ,there is a tree painted by ,girolamo in the picture1 and against it seems to rest the great chair on which the ,madonna is seated4 ,this tree1 which has the appearance of a laurel1 projects considerably with its branches over the chair1 and between the branches1 which are not very thick1 may be seen a sky so clear and beautiful1 that the tree seems to be truly a living one1 graceful and most natural4 ,very often1 therefore1 birds that have entered the church by various openings have been seen to fly to this tree in order to perch upon it1 and particularly swallows1 which had their nests among the beams of the roof1 and likewise their little ones4 ,many persons well worthy of credence declare that they have seen this1 among them ,don ,giuseppe ,mangiuoli of ,verona1 a person of saintly life1 who has twice been ,general of his ,order and would not for anything in the world assert a thing that was not absolutely true1 and also ,don ,girolamo ,volpini1 likewise a ,veronese1 and many others4 ,illustration3 ,,madonna ,,and ,,child ,,with ,,saints 7,after the painting by ,girolamo dai ,libri4 ,verona3 ,museo ,civico1 #bij7 ,brogi ,in ,s4 ,maria in ,organo1 where was the first work executed by ,girolamo1 he also painted two ,saints on the outer side of one of the folding doors of the organ--the other being painted by ,francesco ,morone1 his companion--and on the inner side a ,manger4 ,and afterwards he painted the picture that is opposite to his first work1 containing the ,nativity of ,our ,lord1 with shepherds1 landscapes1 and very beautiful trees2 but most lifelike and natural of all are two rabbits1 which are executed with such diligence that each separate hair may actually be seen in them4 ,he painted another altar-piece for the ,chapel of the ,buonalivi1 with a ,madonna seated in the centre1 two other figures1 and some ,angels below1 who are singing4 ,then1 in the ornamental work made by ,fra ,giovanni da ,verona for the altar of the ,sacrament1 the same ,girolamo painted three little pictures after the manner of miniatures4 ,in the central picture is a ,deposition from the ,cross1 with two little ,angels1 and in those at the sides are painted six ,martyrs1 kneeling towards the ,sacrament1 three in each picture1 these being saints whose bodies are deposited in that very altar4 ,the first three are ,cantius1 ,cantianus1 and ,cantianilla1 who were nephews of the ,emperor ,diocletian1 and the others are ,protus1 ,chrysogonus1 and ,anastasius1 who suffered martyrdom at ,aqu ,gradat1 near ,aquileia2 and all these figures are in miniature1 and very beautiful1 for ,girolamo was more able in that field of art than any other master of his time in ,lombardy and in the ,state of ,venice4 ,girolamo illuminated many books for the ,monks of ,montescaglioso in the ,kingdom of ,naples1 some for ,s4 ,giustina at ,padua1 and many others for the ,abbey of ,praia in the territory of ,padua2 and also some at ,candiana1 a very rich monastery of the ,canons ,regular of ,s4 ,salvatore1 to which place he went in person to work1 although he would never go to any other place4 ,while he was living there1 ,don ,giulio ,clovio1 who was a friar in that place1 learned the first rudiments of illumination2 and he has since become the greatest master of that art that is now alive in ,italy4 ,girolamo illuminated at ,candiana a sheet with a ,kyrie1 which is an exquisite work1 and for the same monks the first leaf of a psalter for the choir2 with many things for ,s4 ,maria in ,organo and for the ,friars of ,s4 ,giorgio1 in ,verona4 ,he executed1 likewise1 some other very beautiful illuminations for the ,black ,friars of ,s4 ,nazzaro at ,verona4 ,but that which surpassed all the other works of this master1 which were all divine1 was a sheet on which was depicted in miniature the ,earthly ,paradise1 with ,adam and ,eve driven forth by the ,angel1 who is behind them with a sword in his hand4 ,one would not be able to express how great and how beautiful is the variety of the trees1 fruits1 flowers1 animals1 birds1 and all the other things that are in this amazing work1 which was executed at the commission of ,don ,giorgio ,cacciamale of ,bergamo1 then ,prior of ,s4 ,giorgio in ,verona1 who1 in addition to the many other courtesies that he showed to ,girolamo1 gave him sixty crowns of gold4 ,this work was afterwards presented by that ,father to a ,roman ,cardinal1 at that time ,protector of his ,order1 who showed it to many noblemen in ,rome1 and they all declared it to be the best example of illumination that had ever been seen up to that day4 ,girolamo painted flowers with such diligence1 and made them so true1 so beautiful1 and so natural1 that they appeared to all who beheld them to be real2 and he counterfeited little cameos and other engraved stones and jewels in such a manner1 that there was nothing more faithfully imitated or more diminutive to be seen4 ,among his little figures there are seen some1 as in his imitations of cameos and other stones1 that are no larger than little ants1 and yet all the limbs and all the muscles can be perceived so clearly that one who has not seen them could scarcely believe it4 ,girolamo used to say in his old age that he knew more in his art then than he had ever known1 and saw where every stroke ought to go1 but that when he came to handle the brushes1 they went the wrong way1 because neither his eye nor his hand would serve him any longer4 ,he died on the #bnd of ,july in the year #aeee1 at the age of eighty-three1 and was laid to rest in the burial-place of the ,company of ,s4 ,biagio in ,s4 ,nazzaro4 ,he was a good and upright man1 who never had a quarrel or dispute with anyone1 and his life was very pure4 ,he had1 besides other children1 a son called ,francesco1 who learned his art from him1 and executed miracles of illumination when still a mere lad1 so that ,girolamo declared that he had not known as much at that age as his son knew4 ,but this young man was led away from him by a brother of his mother1 who1 being passing rich1 and having no children1 took him with him to ,vicenza and placed him in charge of a glass-furnace that he was setting up4 ,when ,francesco had spent his best years in this1 his uncle's wife dying1 he fell from his high hopes1 and found that he had wasted his time1 for the uncle took another wife1 and had children by her1 and thus ,francesco did not become his uncle's heir1 as he had thought to be4 ,thereupon he returned to his art after an absence of six years1 and1 after acquiring some knowledge1 set himself to work4 ,among other things1 he made a large globe1 four feet in diameter1 hollow within1 and covered on the outer side1 which was of wood1 with a glue made of bullock's sinews1 which was of a very strong admixture1 so that there should be no danger of cracks or other damage in any part4 ,this sphere1 which was to serve as a terrestrial globe1 was then carefully measured and divided under the personal supervision of ,fracastoro and ,beroldi1 both eminent physicians1 cosmographers1 and astrologers2 and it was to be painted by ,francesco for ,messer ,andrea ,navagiero1 a ,venetian gentleman1 and a most learned poet and orator1 who wished to make a present of it to ,king ,francis of ,france1 to whom he was about to go as ,ambassador from his ,republic4 ,but ,navagiero had scarcely arrived in ,france after a hurried journey1 when he died1 and this work remained unfinished4 ,a truly rare work it would have been1 thus executed by ,francesco with the advice and guidance of two men of such distinction2 but it was left unfinished1 as we have said1 and1 what was worse1 in its incomplete condition it received some injury1 ,i know not what1 in the absence of ,francesco4 ,however1 spoiled as it was1 it was bought by ,messer ,bartolommeo ,lonichi1 who has never consented to give it up to anyone1 although he has been much besought and offered vast prices4 ,before this1 ,francesco had made two smaller globes1 one of which is in the possession of ,mazzanti1 ,archpriest of the ,duomo of ,verona1 and the other belonged to ,count ,raimondo della ,torre1 and is now in the hands of his son1 ,count ,giovan ,batista1 who holds it very dear1 because this one1 also1 was made with the measurements and personal assistance of ,fracastoro1 who was a very familiar friend of ,count ,raimondo4 ,finally1 growing weary of the extraordinary labour that miniatures demand1 ,francesco devoted himself to painting and to architecture1 in which he became very skilful1 executing many works in ,venice and in ,padua4 ,about that time the ,bishop of ,tournai1 a very rich and noble ,fleming1 had come to ,italy in order to study letters1 to see the country1 and to learn our manners and ways of living4 ,this man1 delighting much in architecture1 and happening to be in ,padua1 became so enamoured of the ,italian method of building that he resolved to take the modes of our architecture with him to his own country2 and in order to facilitate this purpose1 he drew ,francesco1 whose ability he had recognized1 into his service with an honourable salary1 meaning to take him to ,flanders1 where he intended to carry out many magnificent works4 ,but when the time came to depart1 poor ,francesco1 who had caused designs to be made of all the best and greatest and most famous buildings in ,italy1 was overtaken by death1 while still young and the object of the highest expectations1 leaving his patron much grieved by his loss4 ,francesco left an only brother1 in whom1 being a priest1 the ,dai ,libri family became extinct1 after producing in succession three men most excellent in their field of art4 ,nor have any disciples survived them to keep this art alive1 excepting the above-mentioned churchman1 ,don ,giulio1 who1 as we have related1 learned it from ,girolamo when he was working at ,candiana1 where the former was a friar2 and this ,don ,giulio has since raised it to a height of excellence which very few have reached and no one has ever surpassed4 ,i knew for myself some of the facts about the excellent and noble craftsmen mentioned above1 but ,i would never have been able to learn the whole of what ,i have related of them if the great goodness and diligence of the reverend and most learned ,fra ,marco de' ,medici of ,verona1 a man profoundly conversant with all the most noble arts and sciences1 and with him ,danese ,cattaneo of ,carrara1 a sculptor of great excellence1 both being very much my friends1 had not given me that complete and perfect information which ,i have just written down1 to the best of my ability1 for the convenience and advantage of all who may read these our ,lives1 in which the courtesy of many friends1 who have taken pains with the investigation of these matters in order to please me and to benefit the world1 has been1 as it still is1 of great assistance to me4 ,and let this be the end of the ,lives of these craftsmen of ,verona1 the portraits of each of whom ,i have not been able to obtain1 because this full notice did not reach my hands until ,i found myself almost at the close of my work4 ,,footnote3 #a ,canal of the slaughter-houses4 #b ,small canal of the corn-magazines4 #c ,scarpagnino4 #d ,see note on page #eg1 ,vol4 ,i4 #e ,see note on page #eg1 ,vol4 ,i4 #f ,see note on page #eg1 ,vol4 ,i4 #g ,from terra1 earth4 #h ,see note on page #eg1 ,vol4 ,i4 #i ,i4e41 of the books4 ,,francesco ,,granacci 7,,il ,,granaccio7 ,,life ,,of ,,francesco ,,granacci 7,,il ,,granaccio7 ,,painter ,,of ,,florence ,great1 indeed1 is the good fortune of those craftsmen who are brought into contact1 either by their birth or by the associations that are formed in childhood1 with those men whom ,heaven has chosen out to be distinguished and exalted above all others in our arts1 for the reason that a good and beautiful manner can be acquired with the greatest facility by seeing the methods and works of men of excellence1 not to mention that rivalry and emulation1 as we have said elsewhere1 have great power over our minds4 ,francesco ,granacci1 of whom we have already spoken1 was one of those who were placed by the ,magnificent ,lorenzo de' ,medici to learn in his garden2 whence it happened that1 recognizing1 boy as he was1 the great genius of ,michelagnolo1 and what extraordinary fruits he was likely to produce when full grown1 he could never tear himself away from his side1 and even strove with incredible attention and humility to be always following that great brain1 insomuch that ,michelagnolo was constrained to love him more than all his other friends1 and to confide so much in him1 that there was no one with whom he was more willing to confer touching his works or to share all that he knew of art at that time1 than with ,granacci4 ,then1 after they had been companions together in the workshop of ,domenico ,ghirlandajo1 it came to pass that ,granacci1 because he was held to be the best of ,ghirlandajo's young men1 the strongest draughtsman1 and the one who had most grace in painting in distemper1 assisted ,david and ,benedetto ,ghirlandajo1 the brothers of ,domenico1 to finish the altar-piece of the high-altar in ,s4 ,maria ,novella1 which had been left unfinished at the death of the same ,domenico4 ,by this work ,granacci gained much experience1 and afterwards he executed in the same manner as that altar-piece many pictures that are in the houses of citizens1 and others which were sent abroad4 ,and since he was very gracious1 and made himself very useful in certain ceremonies that were performed in the city during the festivals of the ,carnival1 he was constantly employed by the ,magnificent ,lorenzo de' ,medici in many similar works1 and in particular for the masquerade that represented the ,triumph of ,paulus ,emilius1 which was held in honour of the victory that he gained over certain foreign nations4 ,in this masquerade1 which was full of most beautiful inventions1 ,granacci acquitted himself so well1 although he was a mere lad1 that he won the highest praise4 ,and here ,i will not omit to tell that the same ,lorenzo de' ,medici1 as ,i have said in another place1 was the first inventor of those masquerades that represent some particular subject1 and are called in ,florence ,canti2#aj for it is not known that any were performed in earlier times4 ,in like manner ,granacci was employed in the sumptuous and magnificent preparations that were made in the year #aeac for the entry of ,pope ,leo ,x1 one of the ,medici1 by ,jacopo ,nardi1 a man of great learning and most beautiful intellect1 who1 having been commanded by the ,tribunal of ,eight to prepare a splendid masquerade1 executed a representation of the ,triumph of ,camillus4 ,this masquerade1 in so far as it lay in the province of the painter1 was so beautifully arranged and adorned by ,granacci that no man could imagine anything better2 and the words of the song1 which ,jacopo composed1 began thus3 ,contempla in quanta gloria sei salita1 ,felice alma ,fiorenza1 ,poich dal ,ciel discesa1 with what follows4 ,for the same spectacle ,granacci executed a great quantity of theatrical scenery1 as he did both before and afterwards4 ,and while working with ,ghirlandajo he painted standards for ships1 and also banners and devices for certain ,knights of the ,golden ,spur1 for their public entry into ,florence1 all at the expense of the ,captains of the ,guelph ,party1 as was the custom at that time1 and as has been done in our own day1 not long since4 ,illustration3 ,,francesco ,,granacci3 ,,the ,,holy ,,family 7,florence3 ,pitti1 #aii4 ,panel7 ,in like manner he made many beautiful embellishments and decorations of his own invention for the ,potenze#aa and their tournaments4 ,these festivals were of a kind which is peculiar to the ,florentines1 and very pleasing1 and in them were seen men standing almost upright on horseback1 with very short stirrups1 and breaking a lance with the same facility as do the warriors firmly seated on their saddles2 and all this was done for the above-mentioned visit of ,leo to ,florence4 ,granacci also made1 besides other things1 a most beautiful triumphal arch opposite to the door of the ,badia1 covered with scenes in chiaroscuro and very lovely things of fancy4 ,this arch was much extolled1 and particularly for the invention of the architecture1 and because he had made an imitation of that same door of the ,badia for the entrance of the ,via del ,palagio1 executed in perspective with the steps and every other thing1 so that the painted and supposititious door was in no way different from the real and true one4 ,to adorn the same arch he executed with his own hand some very beautiful figures of clay in relief1 and on the summit of the arch he placed a great inscription with these words3 ,,leoni ,x ,,pont4 ,,max4 ,,fidei ,,cultori4 ,but to come at length to some works by ,granacci that are in existence1 let me relate that1 having studied the cartoon of ,michelagnolo ,buonarroti while the latter was executing it for the ,great ,hall of the ,palace1 he found it so instructive and made such proficience1 that1 when ,michelagnolo was summoned to ,rome by ,pope ,julius ,,ii to the end that he might paint the vaulting of the ,chapel in his ,palace1 ,granacci was one of the first to be sent for by ,buonarroti to help him to paint that work in fresco after the cartoons that he himself had prepared4 ,it is true that ,michelagnolo1 being dissatisfied with the manner and method of every one of his assistants1 afterwards found means to make them all return to ,florence without dismissing them1 by closing the door on them all and not allowing himself to be seen4 ,in ,florence ,granacci painted for ,pier ,francesco ,borgherini a scene in oils on the head-board of a couch which stood in an apartment wherein ,jacopo da ,pontormo1 ,andrea del ,sarto1 and ,francesco ,ubertini had painted many stories from the life of ,joseph1 in ,pier ,francesco's house in ,borgo ,sant' ,apostolo2 and in this scene were little figures representing a story of the same ,joseph1 executed with extraordinary finish and with great charm and beauty of colouring1 and a building in perspective1 wherein he depicted ,joseph ministering to ,pharaoh1 which could not be more beautiful in any part4 ,for the same man1 also1 he painted a round picture1 likewise in oils1 of the ,trinity1 or rather1 ,god the ,father supporting a ,christ ,crucified4 ,and in the ,church of ,s4 ,piero ,maggiore there is a picture of the ,assumption by his hand1 with many ,angels and a ,s4 ,thomas1 to whom the ,madonna is giving the ,girdle4 ,the figure of ,s4 ,thomas is very graceful1 turning to one side in a beautiful attitude worthy of the hand of ,michelagnolo1 and such1 also1 is that of ,our ,lady4 ,the drawing for these two figures by the hand of ,granacci is in our book1 together with others likewise by him4 ,on either side of this picture are figures of ,s4 ,paul1 ,s4 ,laurence1 ,s4 ,james1 and ,s4 ,john1 which are all so beautiful that the work is held to be the best that ,francesco ever painted2 and in truth this work alone1 even if he had never executed another1 would ensure his being considered to be1 as indeed he was1 an excellent painter4 ,for the ,church of ,s4 ,gallo1 without the ,gate of the same name1 and formerly a seat of the ,eremite ,friars of ,s4 ,augustine1 he painted an altar-piece with the ,madonna and two children1 ,s4 ,zanobi1 ,bishop of ,florence1 and ,s4 ,francis4 ,this altar-piece1 which was in the ,chapel of the ,girolami1 to which family that ,s4 ,zanobi belonged1 is now in ,s4 ,jacopo tra ,fossi at ,florence4 ,michelagnolo ,buonarroti1 having a niece who was a nun in ,s4 ,apollonia at ,florence1 had therefore executed an ornament for the high-altar of that church1 and a design for the altar-piece2 and ,granacci painted there some scenes in oils with figures large and small1 which gave much satisfaction to the nuns at that time1 and also to the other painters4 ,for the same place he painted another altar-piece1 which stood lower down1 but this was burned one night1 together with some draperies of great value1 through some lights being inadvertently left on the altar2 which was certainly a great loss1 seeing that the work was much extolled by craftsmen4 ,and for the ,nuns of ,s4 ,giorgio in sulla ,costa he executed the altar-piece of their high-altar1 painting in it the ,madonna1 ,s4 ,catharine1 ,s4 ,giovanni ,gualberto1 ,s4 ,bernardo ,uberti the ,cardinal1 and ,s4 ,fedele4 ,granacci also executed many pictures1 both square and round1 which are dispersed among the houses of gentlemen in the city2 and he made many cartoons for glass-windows1 which were afterwards put into execution by the ,frati ,ingiesuati of ,florence4 ,he delighted much in painting on cloth1 either alone or in company with others2 wherefore1 in addition to the works mentioned above1 he painted many church-banners4 ,and since he practised art more to pass the time than from necessity1 he worked at his ease1 always consulting his own convenience1 and avoiding discomforts as much as he was able1 more than any other man2 and yet1 without being covetous of the goods of others1 he always preserved his own4 ,allowing but few cares to oppress him1 he was a merry fellow1 and took his pleasures with a glad heart4 ,he lived sixty-seven years1 at the end of which he finished the course of his life after an ordinary malady1 a kind of fever2 and he was buried in the ,church of ,s4 ,ambrogio at ,florence1 on the day of ,s4 ,andrew the ,apostle1 in #aedd4 ,illustration3 ,,the ,,madonna ,,giving ,,the ,,girdle ,,to ,s4 ,,thomas 7,after the panel by ,francesco ,granacci4 ,florence3 ,uffizi1 #abhj7 ,alinari ,,footnote3 #aj ,from the canti1 or songs1 that were sung in them4 #aa ,the ,potenze were merry companies composed of the men of the various quarters in costume4 ,each quarter had its own1 representing an ,emperor1 ,king1 or ,prince1 and his ,court4 ,,baccio ,d' ,,agnolo ,,life ,,of ,,baccio ,d' ,,agnolo ,,architect ,,of ,,florence ,great is the pleasure that ,i take in studying at times the beginnings of our craftsmen1 for one sees some rising from the lowest depth to the greatest height1 and especially in architecture1 a science which has not been practised for several years past save by carvers and cunning impostors who profess to understand perspective without knowing even its terms or its first principles4 ,the truth1 indeed1 is that architecture can never be practised to perfection save by those who have an excellent judgment and a good mastery of design1 or have laboured much in painting1 sculpture1 or works in wood1 for the reason that in it have to be executed with true measurements the dimensions of their figures1 which are columns1 cornices1 and bases1 and all the ornaments1 which are made for the adornment of the figures1 and for no other reason4 ,and thus the workers in wood1 by continually handling such things1 in course of time become architects2 and sculptors likewise1 by having to find positions for their statues and by making ornaments for tombs and other works in the round1 come in time to a knowledge of architecture2 and painters1 on account of their perspectives1 the variety of their inventions1 and the buildings that they draw1 are compelled to take the ground-plans of edifices1 seeing that they cannot plant houses or flights of steps on the planes where their figures stand1 without in the first place grasping the order of the architecture4 ,working in his youth excellently well at wood-inlaying1 ,baccio executed the backs of the stalls in the choir of ,s4 ,maria ,novella1 in the principal chapel1 wherein are most beautiful figures of ,s4 ,john the ,baptist and ,s4 ,laurence4 ,in carving1 he executed the ornaments of that same chapel1 those of the high-altar in the ,nunziata1 the decorations of the organ in ,s4 ,maria ,novella1 and a vast number of other works1 both public and private1 in his native city of ,florence4 ,departing from that city1 he went to ,rome1 where he applied himself with great zeal to the study of architecture2 and on his return he made triumphal arches of wood in various places for the visit of ,pope ,leo ,x4 ,but for all this he never gave up his workshop1 where there were often gathered round him1 in addition to many citizens1 the best and most eminent masters of our arts1 so that most beautiful conversations and discussions of importance took place there1 particularly in winter4 ,the first of these masters was ,raffaello da ,urbino1 then a young man1 and next came ,andrea ,sansovino1 ,filippino1 ,maiano1 ,cronaca1 ,antonio da ,san ,gallo and ,giuliano da ,san ,gallo1 ,granaccio1 and sometimes1 but not often1 ,michelagnolo1 with many young ,florentines and strangers4 ,having thus given his attention to architecture in so thorough a manner1 and having made some trial of his powers1 ,baccio began to be held in such credit in ,florence1 that the most magnificent buildings that were erected in his time were entrusted to him and were put under his direction4 ,when ,piero ,soderini was ,gonfalonier1 ,baccio took part1 with ,cronaca and others1 as has been related above1 in the deliberations that were held with regard to the great ,hall of the ,palace2 and with his own hand he executed in wood the ornament for the large panel-picture which was begun by ,fra ,bartolommeo1 after the design by ,filippino4 ,in company with the same masters he made the staircase that leads to that ,hall1 with a very beautiful ornamentation of stone1 and also the columns of variegated marble and the doors of marble in the hall that is now called the ,sala de' ,dugento4 ,he built a palace for ,giovanni ,bartolini1 which is very ornate within1 on the ,piazza di ,s4 ,trinit2 and he made many designs for the garden of the same man in ,gualfonda4 ,and since that palace was the first edifice that was built with ornaments in the form of square windows with pediments1 and a portal with columns supporting architrave1 frieze1 and cornice1 these things were much censured by the ,florentines with spoken words and sonnets1 and festoons of boughs were hung upon them1 as is done in churches for festivals1 men saying that the faade was more like that of a temple than of a palace2 so that ,baccio was like to go out of his mind4 ,however1 knowing that he had imitated good examples1 and that his work was sound1 he regained his peace of mind4 ,it is true that the cornice of the whole palace proved1 as has been said in another place1 to be too large2 but in every other respect the work has always been much extolled4 ,for ,lanfredino ,lanfredini he erected a house on the bank of the ,arno1 between the ,ponte a ,s4 ,trinit and the ,ponte alla ,carraja2 and on the ,piazza de' ,mozzi he began the house of the ,nasi1 which looks out upon the sandy shore of the ,arno1 but did not finish it4 ,for ,taddeo1 of the ,taddei family1 he built a house that was held to be very beautiful and commodious4 ,for ,pier ,francesco ,borgherini he made the designs of the house that he built in ,borgo ,s4 ,apostolo1 in which he caused ornaments for the doors and most beautiful chimney-pieces to be executed at great expense1 and made for the adornment of one chamber1 in particular1 coffers of walnut-wood covered with little boys carved with supreme diligence4 ,such a work it would now be impossible to execute with such perfection as he gave to it4 ,he also prepared the design for the villa that ,borgherini caused to be built on the hill of ,bellosguardo1 which was very beautiful and commodious1 and erected at vast expense4 ,for ,giovan ,maria ,benintendi he executed an antechamber1 with an ornamental frame for some scenes painted by excellent masters1 which was a rare thing4 ,the same ,baccio made the model of the ,church of ,s4 ,giuseppe near ,s4 ,nofri1 and directed the construction of the door1 which was his last work4 ,he also caused to be built of masonry the campanile of ,s4 ,spirito in ,florence1 which was left unfinished1 and is now being completed by order of ,duke ,cosimo after the original design of ,baccio2 and he likewise erected the campanile of ,s4 ,miniato sul ,monte1 which was battered by the artillery of the camp1 but never destroyed1 on which account it gained no less fame for the affront that it offered to the enemy than for the beauty and excellence with which ,baccio had caused it to be built and carried to completion4 ,next1 having been appointed on account of his abilities1 and because he was much beloved by the citizens1 as architect to ,s4 ,maria del ,fiore1 ,baccio gave the design for constructing the gallery that encircles the cupola4 ,this part of the work ,filippo ,brunelleschi1 being overtaken by death1 had not been able to execute2 and although he had made designs even for this1 they had been lost or destroyed through the negligence of those in charge of the building4 ,baccio1 then1 having made the design and model for this gallery1 carried into execution all the part that is to be seen facing the ,canto de' ,bischeri4 ,but ,michelagnolo ,buonarroti1 on his return from ,rome1 perceiving that in carrying out this work they were cutting away the toothings that ,filippo ,brunelleschi1 not without a purpose1 had left projecting1 made such a clamour that the work was stopped2 saying that it seemed to him that ,baccio had made a cage for crickets1 that a pile so vast required something grander and executed with more design1 art1 and grace than appeared to him to be displayed by ,baccio's design1 and that he himself would show how it should be done4 ,michelagnolo having therefore made a model1 the matter was disputed at great length before ,cardinal ,giulio de' ,medici by many craftsmen and competent citizens2 and in the end neither the one model nor the other was carried into execution4 ,baccio's design was censured in many respects1 not that it was not a well-proportioned work of its kind1 but because it was too insignificant in comparison with the size of the structure2 and for these reasons that gallery has never been brought to completion4 ,baccio afterwards gave his attention to executing the pavement of ,s4 ,maria del ,fiore1 and to his other buildings1 which were not a few1 for he had under his particular charge all the principal monasteries and convents of ,florence1 and many houses of citizens1 both within and without the city4 ,finally1 when near the age of eighty-three1 but still of good and sound judgment1 he passed to a better life in #aedc1 leaving three sons1 ,giuliano1 ,filippo1 and ,domenico1 who had him buried in ,s4 ,lorenzo4 ,of these sons1 who all gave their attention after the death of ,baccio to the art of carving and working in wood1 ,giuliano1 who was the second1 was the one who applied himself with the greatest zeal to architecture both during his father's lifetime and afterwards2 wherefore1 by favour of ,duke ,cosimo1 he succeeded to his father's place as architect to ,s4 ,maria del ,fiore1 and continued not only all that ,baccio had begun in that temple1 but also all the other buildings that had remained unfinished at his death4 ,at that time ,messer ,baldassarre ,turini da ,pescia was intending to place a panel-picture by the hand of ,raffaello da ,urbino in the principal church of ,pescia1 of which he was ,provost1 and to erect an ornament of stone1 or rather1 an entire chapel1 around it1 and also a tomb2 and ,giuliano executed all this after his own designs and models1 and also restored for the same patron his house at ,pescia1 making in it many beautiful and useful improvements4 ,for ,messer ,francesco ,campana1 formerly ,first ,secretary to ,duke ,alessandro1 and afterwards to ,duke ,cosimo de' ,medici1 the same ,giuliano built at ,montughi1 without ,florence1 beside the church1 a house which is small but very ornate1 and so well situated1 that it commands from its slight elevation a view of the whole city of ,florence and the surrounding plain4 ,and a most beautiful and commodious house was built at ,colle1 the native place of that same ,campana1 from the design of ,giuliano1 who shortly afterwards began for ,messer ,ugolino ,grifoni1 ,lord of ,altopascio1 a palace at ,san ,miniato al ,tedesco1 which was a magnificent work4 ,for ,ser ,giovanni ,conti1 one of the secretaries of the ,lord ,duke ,cosimo1 he made many useful and beautiful improvements in his house at ,florence2 although it is true that in the two ground-floor windows1 supported by knee-shaped brackets1 which open out upon the street1 ,giuliano departed from his usual method1 and so cut them up with projections1 little brackets1 and off-sets1 that they inclined rather to the ,german manner than to the true and good manner of ancient or modern times4 ,works of architecture1 without a doubt1 must first be massive1 solid1 and simple1 and then enriched by grace of design and by variety of subject in the composition1 without1 however1 disturbing by poverty or by excess of ornamentation the order of the architecture or the impression produced on a competent judge4 ,meanwhile ,baccio ,bandinelli1 having returned from ,rome1 where he had finished the tombs of ,leo and ,clement1 persuaded the ,lord ,duke ,cosimo1 then a young man1 to make at the head of the ,great ,hall of the ,ducal ,palace a faade full of columns and niches1 with a range of fine marble statues2 and this faade was to have windows of marble and grey-stone looking out upon the ,piazza4 ,the ,duke having resolved to have this done1 ,bandinelli set his hand to making the design2 but finding that the hall1 as has been related in the ,life of ,cronaca1 was out of square1 and having never given attention to architecture1 which he considered an art of little value1 marvelling and even laughing at those who gave their attention to it1 he was forced1 on recognizing the difficulty of this work1 to confer with ,giuliano with regard to his model1 and to beseech him that he1 as an architect1 should direct the work4 ,and so all the stone-cutters and carvers of ,s4 ,maria del ,fiore were set to work1 and a beginning was made with the structure4 ,bandinelli had resolved1 with the advice of ,giuliano1 to let the work remain out of square1 following in part the course of the wall4 ,it came to pass1 therefore1 that he was forced to make all the stones irregular in shape1 preparing them with great labour by means of the pifferello1 which is the instrument otherwise called the bevel-square2 and this made the work so clumsy1 that1 as will be related in the ,life of ,bandinelli1 it has been difficult to bring it to such a form as might be in harmony with the rest4 ,such a thing would not have happened if ,bandinelli had possessed as much knowledge in architecture as he did in sculpture2 not to mention that the great niches in the side-walls at each end proved to be squat1 and that the one in the centre was not without defect1 as will be told in the ,life of that same ,bandinelli4 ,this work1 after having been pursued for ten years1 was abandoned1 and so it remained for some time4 ,it is true that the profiled stones as well as the columns1 both of ,fossato stone and of marble1 were wrought with the greatest diligence by the stone-cutters and carvers under the care of ,giuliano1 and were afterwards so well built in that it would not be possible to find any masonry better put together1 all the stones being accurately measured4 ,in this respect ,giuliano may be celebrated as most excellent2 and the work1 as will be related in the proper place1 was finished in five months1 with an addition1 by ,giorgio ,vasari of ,arezzo4 ,giuliano1 meanwhile1 not neglecting his workshop1 was giving his attention1 together with his brothers1 to the execution of many carvings and works in wood1 and also to pressing on the making of the pavement of ,s4 ,maria del ,fiore2 and since he was superintendent and architect of that building1 he was requested by the same ,bandinelli to make designs and models of wood1 after some fantasies of figures and other ornaments of his own1 for the high-altar of that same ,s4 ,maria del ,fiore1 which was to be constructed of marble2 which ,giuliano did most willingly1 being a good and kindly person and one who delighted in architecture as much as ,bandinelli despised it1 and being also won over by the lavish promises of profit and honour that ,bandinelli made him4 ,setting to work1 therefore1 on that model1 ,giuliano made it much after the simple pattern formerly designed by ,brunelleschi1 save that he enriched it by doubling both the columns and the arch above4 ,and when he had brought it to completion1 and the model1 together with many designs1 had been carried by ,bandinelli to ,duke ,cosimo1 his most illustrious ,excellency resolved in his regal mind to execute not only the altar1 but also the ornament of marble that surrounds the choir1 following its original octagonal shape1 with all those rich adornments with which it has since been carried out1 in keeping with the grandeur and magnificence of that temple4 ,giuliano1 therefore1 with the assistance of ,bandinelli1 made a beginning with that choir1 without altering anything save the principal entrance1 which is opposite to the above-mentioned altar2 for which reason he wished that it should be exactly similar to that altar1 with the same arch and decorations4 ,he also made two other similar arches1 which unite with the entrance and the altar in forming a cross2 and these were for two pulpits1 which the old choir also had1 serving for music and other ceremonies of the choir and of the altar4 ,in this choir1 around the eight faces1 ,giuliano made an ornament of the ,ionic ,order1 and placed at every corner a pilaster bent in the middle1 and one on every face2 and since each pilaster so narrowed that the extension-lines of its side-faces met in the centre of the choir1 from inside it looked narrow and bent in1 and from outside broad and pointed4 ,this invention was not much extolled1 nor can it be commended as beautiful by any man of judgment2 and for a work of such cost1 in a place so celebrated1 ,bandinelli1 if he despised architecture1 or had no knowledge of it1 should have availed himself of someone living at that time with the knowledge and ability to do better4 ,giuliano deserves to be excused in the matter1 because he did all that he could1 which was not a little2 but it is very certain that one who has not strong powers of design and invention in himself1 will always be too poor in grace and judgment to bring to perfection great works of architecture4 ,giuliano made for ,filippo ,strozzi a couch of walnut-wood1 which is now at ,citt di ,castello1 in the house of the heirs of ,signor ,alessandro ,vitelli4 ,for an altar-piece which ,giorgio ,vasari painted for the high-altar of the ,abbey of ,camaldoli in the ,casentino1 he made a very rich and beautiful frame1 after the design of ,giorgio2 and he carved another ornamental frame for a large altar-piece that the same ,giorgio executed for the ,church of ,s4 ,agostino in ,monte ,sansovino4 ,the same ,giuliano made another beautiful frame for another altar-piece by the hand of ,vasari1 which is in the ,abbey of ,classi1 a seat of the ,monks of ,camaldoli1 at ,ravenna4 ,he also executed the frames for the pictures by the hand of the same ,giorgio of ,arezzo that are in the refectory of the ,monks of the ,abbey of ,s4 ,fiore at ,arezzo2 and in the ,vescovado in the same city1 behind the high-altar1 he made a most beautiful choir of walnut-wood1 after the design of ,giorgio1 which provided for the bringing forward of the altar4 ,and1 finally1 a short time before his death1 he made the rich and beautiful ,ciborium of the most ,holy ,sacrament for the high-altar of the ,nunziata1 with the two ,angels of wood1 in full-relief1 which are on either side of it4 ,this was the last work that he executed1 and he passed to a better life in the year #aeee4 ,nor was ,domenico1 the brother of that ,giuliano1 inferior to him in judgment1 seeing that1 besides carving much better in wood1 he was also very ingenious in matters of architecture1 as may be seen from the house that was built for ,bastiano da ,montaguto in the ,via de' ,servi after his design1 wherein there are also many works in wood by ,domenico's own hand4 ,the same master executed for ,agostino del ,nero1 in the ,piazza de' ,mozzi1 the buildings that form the street-corner and a very beautiful terrace for that house of the ,nasi formerly begun by his father ,baccio4 ,and it is the common belief that1 if he had not died so young1 he would have surpassed by a great measure both his father and his brother ,giuliano4 ,,valerio ,,vicentino1 ,,giovanni ,,da ,,castel ,,bolognese1 ,,matteo ,,dal ,,nassaro ,,of ,,verona1 ,,and ,,other ,,excellent ,,engravers ,,of ,,cameos ,,and ,,gems ,,lives ,,of ,,valerio ,,vicentino1 ,,giovanni ,,da ,,castel ,,bolognese1 ,,matteo ,,dal ,,nassaro ,,of ,,verona1 ,,and ,,other ,,excellent ,,engravers ,,of ,,cameos ,,and ,,gems ,since the ,greeks were such divine masters in the engraving of ,oriental stones and so perfect in the cutting of cameos1 it seems to me certain that ,i should commit no slight error were ,i to pass over in silence those of our own age who have imitated those marvellous intellects2 although among our moderns1 so it is said1 there have been none who in this present and happy age have surpassed the ancients in delicacy and design1 save perchance those of whom we are about to give an account4 ,but before making a beginning1 it is proper for me to discourse briefly on this art of engraving hard stones and gems1 which was lost1 together with the other arts of design1 after the ruin of ,greece and ,rome4 ,of this work1 whether engraved in intaglio or in relief1 we have seen examples discovered daily among the ruins of ,rome1 such as cameos1 cornelians1 sardonyxes1 and other most excellent intagli2 but for many and many a year the art remained lost1 there being no one who gave attention to it1 and even if any work was done1 it was not in such a manner as to be worthy to be taken into account4 ,so far as is known1 it is not found that anyone began to do good work or to attain to excellence until the time of ,pope ,martin ,v and ,pope ,paul ,,ii2 after which the art continued to grow little by little down to the time of ,lorenzo de' ,medici1 the ,magnificent1 who greatly delighted in the engraved cameos of the ancients4 ,lorenzo and his son ,piero collected a great quantity of these1 particularly chalcedonies1 cornelians1 and other kinds of the choicest engraved stones1 which contained various fanciful designs2 and in consequence of this1 wishing to establish the art in their own city1 they summoned thither masters from various countries1 who1 besides restoring those stones1 brought to them other works which were at that time rare4 ,by these masters1 at the instance of the ,magnificent ,lorenzo1 this art of engraving in intaglio was taught to a young ,florentine called ,giovanni delle ,corniole1#ab who received that surname because he engraved them excellently well1 of which we have testimony in the great numbers of them by his hand that are to be seen1 both great and small1 but particularly in a large one1 which was a very choice intaglio1 wherein he made the portrait of ,fra ,girolamo ,savonarola1 who was adored in ,florence in his day on account of his preaching4 ,a rival of ,giovanni was ,domenico de' ,cammei1#ac a ,milanese1 who1 living at the same time as ,duke ,lodovico1 ,il ,moro1 made a portrait of him in intaglio on a balas-ruby greater than a giulio1 which was an exquisite thing and one of the best works in intaglio that had been seen executed by a modern master4 ,this art afterwards rose to even greater excellence in the pontificate of ,pope ,leo ,x1 through the talents and labours of ,pier ,maria da ,pescia1 who was a most faithful imitator of the works of the ancients2 and he had a rival in ,michelino1 who was no less able than ,pier ,maria in works both great and small1 and was held to be a graceful master4 ,these men opened the way in this art1 which is so difficult1 for engraving in intaglio is truly working in the dark1 since the craftsman can use nothing but impressions of wax1 as spectacles1 as it were1 wherewith to see from time to time what he is doing4 ,and finally they brought it to such a condition that ,giovanni da ,castel ,bolognese1 ,valerio ,vicentino1 ,matteo dal ,nassaro1 and others1 were able to execute the many beautiful works of which we are about to make mention4 ,let me begin1 then1 by saying that ,giovanni ,bernardi of ,castel ,bolognese1 who worked in his youth in the service of ,duke ,alfonso of ,ferrara1 made for him1 in the three years of honourable service that he gave him1 many little works1 of which there is no need to give any description4 ,of his larger works the first was an intaglio on a piece of crystal1 in which he represented the whole of the action of ,bastia1 which was very beautiful2 and then he executed the portrait of that ,duke in a steel die for the purpose of making medals1 with the ,taking of ,jesus ,christ by the ,multitude on the reverse4 ,afterwards1 urged by ,giovio1 he went to ,rome1 and obtained by favour of ,cardinal ,ippolito de' ,medici and ,cardinal ,giovanni ,salviati the privilege of taking a portrait of ,clement ,,vii1 from which he made a die for medals1 which was very beautiful1 with ,joseph revealing himself to his brethren on the reverse2 and for this he was rewarded by ,his ,holiness with the gift of a ,mazza1 an office which he afterwards sold in the time of ,paul ,,iii1 receiving two hundred crowns for it4 ,for the same ,clement he executed figures of the four ,evangelists on four round crystals1 which were much extolled1 and gained for him the favour and friendship of many prelates1 and in particular the good-will of ,salviati and of the above-mentioned ,cardinal ,ippolito de' ,medici1 that sole refuge for men of talent1 whose portrait he made on steel medals1 besides executing for him on crystal the ,presentation of the ,daughter of ,darius to ,alexander the ,great4 ,after this1 when ,charles ,v went to ,bologna to be crowned1 ,giovanni made a portrait of him in steel1 from which he struck a medal of gold4 ,this he carried straightway to the ,emperor1 who gave him a hundred pistoles of gold1 and sent to inquire whether he would go with him to ,spain2 but ,giovanni refused1 saying that he could not leave the service of ,clement and of ,cardinal ,ippolito1 for whom he had begun some work that was still unfinished4 ,having returned to ,rome1 ,giovanni executed for the same ,cardinal de' ,medici a ,rape of the ,sabines1 which was very beautiful4 ,and the ,cardinal1 knowing himself to be much indebted to him for all these things1 rewarded him with a vast number of gifts and courtesies2 but the greatest of all was this1 that the ,cardinal1 when departing for ,france in the midst of a company of many lords and gentlemen1 turned to ,giovanni1 who was there among the rest1 and1 taking from his own neck a little chain to which was attached a cameo worth more than six hundred crowns1 he gave it to him1 telling him that he should keep it until his return1 and intending to bestow upon him afterwards such a recompense as he knew to be due to the talent of ,giovanni4 ,on the death of the ,cardinal1 that cameo fell into the hands of ,cardinal ,farnese1 for whom ,giovanni afterwards executed many works in crystal1 and in particular a ,christ ,crucified for a ,cross1 with a ,god the ,father above1 ,our ,lady and ,s4 ,john at the sides1 and the ,magdalene at the foot2 and in a triangle at the base of the ,cross he made three scenes of the ,passion of ,christ1 one in each angle4 ,for two candelabra of silver he engraved six round crystals4 ,in the first is the ,centurion praying ,christ that ,he should heal his son1 in the second the ,pool of ,bethesda1 in the third the ,transfiguration on ,mount ,tabor1 in the fourth the ,miracle of the five loaves and two fishes1 in the fifth the scene of ,christ driving the traders from the ,temple1 and in the last the ,raising of ,lazarus2 and all were exquisite4 ,the same ,cardinal ,farnese afterwards desired to have a very rich casket made of silver1 and had the work executed by ,manno1 a ,florentine goldsmith1 of whom there will be an account in another place2 but he entrusted all the compartments of crystal to ,giovanni1 who made them all full of scenes1 with marble in half-relief2 and he made figures of silver and ornaments in the round1 and all with such diligence1 that no other work of that kind was ever carried to such perfection4 ,on the body of this casket are the following scenes1 engraved in ovals with marvellous art by the hand of ,giovanni3 ,the ,chase of ,meleager after the ,calydonian ,boar1 the ,followers of ,bacchus1 a naval battle1 ,hercules in combat with the ,amazons1 and other most beautiful fantasies of the ,cardinal1 who caused finished designs of them to be executed by ,perino del ,vaga and other masters4 ,giovanni then executed on a crystal the triumph of the taking of ,goletta1 and the ,war of ,tunis on another4 ,for the same ,cardinal he engraved1 likewise on crystal1 the ,birth of ,christ and the scenes when ,he prays in the ,garden2 when ,he is taken by the ,jews2 when ,he is led before ,annas1 ,herod1 and ,pilate2 when ,he is scourged and then crowned with thorns2 when ,he carries the ,cross2 when ,he is nailed upon it and raised on high2 and1 finally1 ,his divine and glorious ,resurrection4 ,all these works were not only very beautiful1 but also executed with such rapidity1 that every man was struck with astonishment4 ,illustration3 ,,cassetta ,,farnese 7,after ,giovanni da ,castel ,bolognese 7,giovanni ,bernardi74 ,naples3 ,museo ,nazionale7 ,brogi ,michelagnolo had made for the above-mentioned ,cardinal de' ,medici a drawing1 which ,i forgot to mention before1 of a ,tityus whose heart was being devoured by a vulture2 and ,giovanni engraved this beautifully on crystal4 ,and he did the same with another drawing by ,buonarroti1 in which ,phaethon1 not being able to manage the chariot of the ,sun1 has fallen into the ,po1 and his weeping sisters are transformed into trees4 ,giovanni executed a portrait of ,madama ,margherita of ,austria1 daughter of the ,emperor ,charles ,v1 who had been the wife of ,duke ,alessandro de' ,medici1 and was then the consort of ,duke ,ottavio ,farnese2 and this he did in competition with ,valerio ,vicentino4 ,for these works executed for ,cardinal ,farnese1 he received from that lord a reward in the form of the office of ,giannizzero1 from which he drew a good sum of money2 and1 in addition1 he was so beloved by that ,cardinal that he obtained a great number of other favours from him1 nor did the ,cardinal ever pass through ,faenza1 where ,giovanni had built a most commodious house1 without going to take up his quarters with him4 ,having thus settled at ,faenza1 in order to rest after a life of much labour in the world1 ,giovanni remained there ever afterwards2 and his first wife1 by whom he had not had children1 being dead1 he took a second4 ,by her he had two sons and a daughter2 and with them he lived in contentment1 being well provided with landed property and other revenues1 which yielded him more than four hundred crowns1 until he came to the age of sixty1 when he rendered up his soul to ,god on the day of ,pentecost1 in the year #aeee4 ,matteo dal ,nassaro1 who was born in ,verona1 and was the son of ,jacopo dal ,nassaro1 a shoemaker1 gave much attention in his early childhood not only to design1 but also to music1 in which he became excellent1 having had as his masters in that study ,marco ,carr and ,il ,tromboncino1 both ,veronese1 who were then in the service of the ,marquis of ,mantua4 ,in matters of intaglio he was much assisted by two ,veronese of honourable family1 with whom he was continually associated4 ,one of these was ,niccol ,avanzi1 who1 working privately in ,rome1 executed cameos1 cornelians1 and other stones1 which were taken to various ,princes2 and there are persons who remember to have seen a lapis-lazuli by his hand1 three fingers in breadth1 containing the ,nativity of ,christ1 with many figures1 which was sold as a choice work to the ,duchess of ,urbino4 ,the other was ,galeazzo ,mondella1 who1 besides engraving gems1 drew very beautifully4 ,after ,matteo had learned from these two masters all that they knew1 it chanced that there fell into his hands a beautiful piece of green jasper1 marked with red spots1 as the good pieces are2 and he engraved in it a ,deposition from the ,cross with such diligence1 that he made the wounds come in those parts of the jasper that were spotted with the colour of blood1 which caused that work to be a very rare one1 and brought him much commendation4 ,that jasper was sold by ,matteo to the ,marchioness ,isabella d',este4 ,he then went to ,france1 taking with him many works by his own hand which might serve to introduce him to the ,court of ,king ,francis ,i2 and when he had been presented to that ,sovereign1 who always held in estimation every manner of man of talent1 the ,king1 after taking many of the stones engraved by him1 received him into his service and ordained him a good salary2 and he held ,matteo dear no less because he was an excellent musician and could play very well upon the lute1 than for his profession of engraving stones4 ,of a truth1 there is nothing that does more to kindle men's minds with love for the arts than to see them appreciated and rewarded by ,princes and noblemen1 as has always been done in the past1 and is done more than ever at the present day1 by the illustrious ,house of ,medici1 and as was also done by that truly magnanimous ,sovereign1 ,king ,francis4 ,matteo1 thus employed in the service of that ,king1 executed many rare works1 not only for ,his ,majesty1 but also for almost all the most noble lords and barons of the ,court1 of whom there was scarcely one who did not have some work by his hand1 since it was much the custom at that time to wear cameos and other suchlike gems on the neck and in the cap4 ,for the ,king he made an altar-piece for the altar of the chapel which ,his ,majesty always took with him on his journeys2 and this was full of figures of gold1 partly in the round and partly in half-relief1 with many engraved gems distributed over the limbs of those figures4 ,he also engraved many pieces of crystal in intaglio1 impressions of which in sulphur and gesso are to be seen in many places1 and particularly in ,verona1 where there are marvellous representations of all the planets1 and a ,venus with a ,cupid that has the back turned1 which could not be more beautiful4 ,in a very fine chalcedony1 found in a river1 ,matteo engraved divinely well the head of a ,deianira almost in full-relief1 wearing the lion's skin1 the surface being tawny in colour2 and he turned to such good advantage a vein of red that was in that stone1 representing with it the inner side of the lion's skin at its junction with the head1 that the skin had the appearance of one newly flayed4 ,another spot of colour he used for the hair1 and the white for the face and breast1 and all with admirable mastery4 ,this head came into the possession of ,king ,francis1 together with the other things2 and there is an impression of it at the present day in ,verona1 which belongs to the goldsmith ,zoppo1 who was ,matteo's disciple4 ,matteo was a man of great spirit and generosity1 insomuch that he would rather have given his works away than sold them for a paltry price4 ,wherefore when a baron1 for whom he had made a cameo of some value1 wished to pay him a wretched sum for it1 ,matteo besought him straitly that he should accept it as a present4 ,to this the other would not consent1 and yet wished to have it for the same miserable price2 whereupon ,matteo1 flying into a rage1 crushed it to powder with a hammer in his presence4 ,for the same ,king ,matteo executed many cartoons for tapestries1 and with these1 to please ,his ,majesty1 he was obliged to go to ,flanders1 and to stay there until they had been woven in silk and gold2 which being finished and taken to ,france1 they were held to be very beautiful4 ,finally1 ,matteo returned to his own country1 as almost all men do1 taking with him many rare things from those foreign parts1 and in particular some landscapes on canvas painted in ,flanders in oils and in gouache1 and executed by very able hands1 which are still preserved and treasured in ,verona1 in memory of him1 by ,signor ,luigi and ,signor ,girolamo ,stoppi4 ,having returned to ,verona1 ,matteo took up his abode in a cave hollowed out under a rocky cliff1 above which is the garden of the ,frati ,ingiesuati--a place which1 besides being very warm in winter and very cool in summer1 commands a most beautiful view4 ,but he was not able to enjoy that habitation1 thus contrived after his own fancy1 as long as he would have liked1 for ,king ,francis1 as soon as he had been released from his captivity1 sent a special messenger to recall ,matteo to ,france1 and to pay him his salary even for all the time that he had been in ,verona2 and when he had arrived there1 the ,king made him master of dies for the ,mint4 ,taking a wife in ,france1 therefore1 ,matteo settled down to live in those parts1 since such was the pleasure of the ,king his master4 ,by that wife he had some children1 but all so unlike himself that he had little satisfaction from them4 ,matteo was so gentle and courteous1 that he welcomed with extraordinary warmth anyone who arrived in ,france1 not only from his own city of ,verona1 but from every part of ,lombardy4 ,his dearest friend in those regions was ,paolo ,emilio of ,verona1 who wrote the history of ,france in the ,latin tongue4 ,matteo taught many disciples1 among them a fellow-,veronese1 the brother of ,domenico ,brusciasorzi1 two of his nephews1 who went to ,flanders1 and many other ,italians and ,frenchmen1 of whom there is no need to make mention4 ,and finally he died1 not long after the death of ,king ,francis of ,france4 ,but to come at length to the marvellous art of ,valerio ,vicentino1 of whom we have now to speak3 this master executed so many works1 both great and small1 either in intaglio or in relief1 and all with such a finish and such facility1 that it is a thing incredible4 ,if ,nature had made ,valerio a good master of design1 even as she made him most excellent in engraving1 in which he executed his works with extraordinary patience1 diligence1 and rapidity1 he would not merely have equalled the ancients1 as he did1 but would have surpassed them by a great measure2 and even so he had such judgment1 that he always availed himself in his works of the designs of others or of the intagli of the ancients4 ,illustration3 ,,casket ,,of ,,rock ,,crystal 7,after ,valerio ,vincentino 7,valerio ,belli74 ,florence2 ,uffizi1 ,cabinet of ,gems7 ,alinari ,valerio fashioned for ,pope ,clement ,,vii a casket entirely of crystal1 wrought with admirable mastery1 for which he received two thousand crowns of gold from that ,pontiff in return for his labour4 ,in those crystals ,valerio engraved the whole ,passion of ,jesus ,christ1 after the designs of others2 and that casket was afterwards presented by ,pope ,clement to ,king ,francis at ,nice1 at the time when his niece went to be married to the ,duke of ,orleans1 who afterwards became ,king ,henry4 ,for the same ,pope ,valerio made some most beautiful paxes1 and a divine cross of crystal1 and likewise dies for striking medals1 containing the portrait of ,pope ,clement1 with very beautiful reverses2 and through him that art produced in his day many masters1 both from ,milan and from other parts1 who had grown to such a number before the sack of ,rome1 that it was a marvel4 ,he made the medals of the twelve ,emperors1 with their reverses1 copying the most beautiful antiques1 with a great number of ,greek medals2 and he engraved so many other works in crystal1 that the shops of the goldsmiths1 or rather1 the whole world1 may be seen to be full of impressions taken in gesso1 sulphur1 or other compositions1 from the intagli in which he made scenes1 figures1 or heads4 ,he had1 indeed1 a skill of hand so extraordinary1 that there was never anyone in his profession who executed more works than ,valerio4 ,he also fashioned many vases of crystal for ,pope ,clement1 who presented some to various ,princes1 and others were placed in the ,church of ,s4 ,lorenzo at ,florence1 together with many vases that were formerly in the ,palace of the ,medici and had belonged to the elder ,lorenzo1 the ,magnificent1 and to other members of that most illustrious family1 that they might serve to contain the relics of many ,saints1 which that ,pontiff presented to that church in memory of himself4 ,it would not be possible to find anything more varied than the curves of those vases1 some of which are of sardonyx1 agate1 amethyst1 and lapis-lazuli1 and some of plasma1 heliotrope1 jasper1 crystal1 and cornelian1 so that in point of value or beauty nothing more could be desired4 ,for ,pope ,paul ,,iii he made a cross and two candelabra1 likewise of crystal1 engraved with scenes of the ,passion of ,jesus ,christ in various compartments2 with a vast number of stones1 both great and small1 of which it would take too long to make mention4 ,and in the collection of ,cardinal ,farnese may be seen many things by the hand of ,valerio1 who left no fewer finished works than did the above-named ,giovanni4 ,at the age of seventy-eight he performed miracles1 so sure were his eye and hand2 and he taught his art to a daughter of his own1 who works very well4 ,he so delighted to lay his hands on antiquities in marble1 impressions in gesso of works both ancient and modern1 and drawings and pictures by rare masters1 that he shrank from no expense2 wherefore his house at ,vicenza is adorned by such an abundance of various things1 that it is a marvel4 ,it is clearly evident that when a man bears love to art1 it never leaves him until he is in the grave2 whence he gains praise and his reward during his lifetime1 and makes himself immortal after death4 ,valerio was well remunerated for his labours1 and received offices and many benefits from those ,princes whom he served2 and thus those who survived him are able1 thanks to him1 to maintain an honourable state4 ,and in the year #aedf1 when1 by reason of the infirmities that old age brings in its train1 he could no longer attend to his art1 or even live1 he rendered up his soul to ,god4 ,at ,parma1 in times past1 lived ,marmita1 who gave his attention for a period to painting1 and then turned to intaglio1 in which he imitated the ancients very closely4 ,many most beautiful works by his hand are to be seen1 and he taught the art to a son of his own1 called ,lodovico1 who lived for a long time in ,rome with ,cardinal ,giovanni de' ,salviati4 ,lodovico executed for that ,cardinal four ovals of crystal engraved with figures of great excellence1 which were placed on a very beautiful casket of silver that was afterwards presented to the most illustrious ,signora ,leonora of ,toledo1 ,duchess of ,florence4 ,he made1 among many other works1 a cameo with a most beautiful head of ,socrates1 and he was a great master at counterfeiting ancient medals1 from which he gained extraordinary advantage4 ,there followed1 in ,florence1 ,domenico di ,polo1 a ,florentine and an excellent master of intaglio1 who was the disciple of ,giovanni delle ,corniole1 of whom we have spoken4 ,in our own day this ,domenico executed a divine portrait of ,duke ,alessandro de' ,medici1 from which he made dies in steel and most beautiful medals1 with a reverse containing a ,florence4 ,he also made a portrait of ,duke ,cosimo in the first year after his election to the government of ,florence1 with the sign of ,capricorn on the reverse2 and many other little works in intaglio1 of which there is no need to make record4 ,he died at the age of sixty-five4 ,illustration3 ,,medals 7,london3 ,british ,museum7 #a4 ,,pope ,,julius ,,iii 7,after ,alessandro ,cesati7 #b4 ,,pietro ,,bembo #c4 ,,pope ,,clement ,,vii 7,after ,benvenuto ,cellini7 ,illustration3 ,,medals 7,london3 ,british ,museum7 #a4 ,,ippolito ,d',,este #b4 ,,titian #c4 ,,margaret1 ,,duchess ,,of ,,mantua #d4 ,,lucrezia ,,de' ,,medici 7,after ,pastorino of ,siena7 #e4 ,,benedetto ,,varchi #f4 ,,cosimo ,,de' ,,medici 7,after ,domenico ,poggini7 ,domenico1 ,valerio1 ,marmita1 and ,giovanni da ,castel ,bolognese being dead1 there remained many who have surpassed them by a great measure2 one in ,venice1 for example1 being ,luigi ,anichini of ,ferrara1 who1 with the delicacy of his engraving and the sharpness of his finish1 has produced works that are marvellous4 ,but far beyond all others in grace1 excellence1 perfection1 and versatility1 has soared ,alessandro ,cesati1 surnamed ,il ,greco1 who has executed cameos in relief and gems in intaglio in so beautiful a manner1 as well as dies of steel in incavo1 and has used the burin with such supreme diligence and with such mastery over the most delicate refinements of his art1 that nothing better could be imagined4 ,whoever wishes to be amazed by his miraculous powers1 should study a medal that he made for ,pope ,paul ,,iii1 with his portrait on one side1 which has all the appearance of life1 and on the reverse ,alexander the ,great1 who has thrown himself at the feet of the ,high-,priest of ,jerusalem1 and is doing him homage--figures which are so marvellous that it would not be possible to do anything better4 ,and ,michelagnolo ,buonarroti himself1 looking at them in the presence of ,giorgio ,vasari1 said that the hour of death had come upon the art1 for nothing better could ever be seen4 ,this ,alessandro made the medal of ,pope ,julius ,,iii for the holy year of #aeej1 with a reverse showing the prisoners that were released in the days of the ancients at times of jubilee1 which was a rare and truly beautiful medal2 with many other dies and portraits for the ,mint of ,rome1 which he kept busily employed for many years4 ,he executed portraits of ,pier ,luigi ,farnese1 ,duke of ,castro1 and his son1 ,duke ,ottavio2 and he made a portrait of ,cardinal ,farnese in a medal1 a very choice work1 the head being of gold and the ground of silver4 ,the same master engraved for ,cardinal ,farnese in intaglio1 on a cornelian larger than a giulio1 a head of ,king ,henry of ,france1 which has been considered in point of design1 grace1 excellence1 and perfection of finish1 one of the best modern intagli that have ever been seen4 ,there may also be seen many other stones engraved by his hand1 in the form of cameos2 truly perfect is a nude woman wrought with great art1 and another in which is a lion1 and likewise one of a boy1 with many small ones1 of which there is no need to speak2 but that which surpassed all the others was the head of the ,athenian ,phocion1 which is marvellous1 and the most beautiful cameo that is to be seen4 ,a master who gives his attention to cameos at the present day is ,giovanni ,antonio de' ,rossi1 an excellent craftsman of ,milan1 who1 in addition to the various beautiful works that he has engraved in relief and in intaglio1 has executed for the most illustrious ,duke ,cosimo de' ,medici a very large cameo1 one-third of a braccio in height and the same in width1 in which he has cut two figures from the waist upwards--namely1 ,his ,excellency and the most illustrious ,duchess ,leonora1 his consort1 who are both holding with their hands a medallion containing a ,florence1 and beside them are portraits from life of the ,prince ,don ,francesco1 ,don ,giovanni the ,cardinal1 ,don ,garzia1 ,don ,ernando1 and ,don ,pietro1 together with ,donna ,isabella and ,donna ,lucrezia1 all their children4 ,it would not be possible to find a more amazing or a larger work in cameo than this2 and since it surpasses all the other cameos and smaller works that he has made1 ,i shall make no further mention of them1 for they are all to be seen4 ,cosimo da ,trezzo1 also1 has executed many works worthy of praise in this profession1 and has won much favour on account of his rare gifts from ,philip1 the great ,catholic ,king of ,spain1 who retains him about his person1 honouring and rewarding him in return for his ability in his vocation of engraving in intaglio and in relief4 ,he has no equal in making portraits from life2 and in other kinds of work1 as well as in that1 his talent is extraordinary4 ,of the ,milanese ,filippo ,negrolo1 who worked at chasing arms of iron with foliage and figures1 ,i shall say nothing1 since copper-engravings of his works1 which have given him very great fame1 may be seen about4 ,by ,gasparo and ,girolamo ,misuroni1 engravers of ,milan1 have been seen most beautiful vases and tazze of crystal4 ,for ,duke ,cosimo1 in particular1 they have executed two that are marvellous2 besides which1 they have made out of a piece of heliotrope a vase extraordinary in size and admirable for its engraving1 and also a large vase of lapis-lazuli1 which deserves infinite praise4 ,jacopo da ,trezzo practises the same profession in ,milan2 and these men1 in truth1 have brought great beauty and facility to this art4 ,many masters could ,i mention who1 in executing in incavo heads and reverses for medals1 have equalled and even surpassed the ancients2 as1 for example1 ,benvenuto ,cellini1 who1 during the time when he exercised the goldsmith's art in ,rome under ,pope ,clement1 made two medals with a head of ,pope ,clement that is a living likeness1 and on the reverse of one a figure of ,peace that has bound ,fury and is burning her arms1 and on the other ,moses striking the rock and causing water to flow to quench the thirst of his people3 beyond which it is not possible to go in that art4 ,and the same might be said of the coins and medals that ,benvenuto afterwards made for ,duke ,alessandro in ,florence4 ,of the ,chevalier1 ,leone ,aretino1 who has done equally well in the same art1 and of the works that he has made and still continues to make1 there will be an account in another place4 ,the ,roman ,pietro ,paolo ,galeotto1 also1 has executed for ,duke ,cosimo1 as he still does1 medals with portraits of that lord1 dies for coins1 and works in tarsia1 imitating the methods of ,maestro ,salvestro1 a most excellent master1 who produced marvellous works in that profession at ,rome4 ,pastorino da ,siena1 likewise1 has executed so many heads from life1 that he may be said to have made portraits of every kind of person in the whole world1 great nobles1 followers of the arts1 and many people of low degree4 ,he discovered a kind of hard stucco for making portraits1 wherewith he gave them the colouring of nature1 with the tints of the beard1 hair1 and flesh1 so that they had the appearance of life itself2 but he deserves much more praise for his work in steel1 in which he has made excellent dies for medals4 ,it would take too long if ,i were to speak of all those who execute portrait-medals of wax1 seeing that every goldsmith at the present day makes them1 and a number of gentlemen have given their attention to this1 and still do so2 such as ,giovan ,battista ,sozzini at ,siena1 ,rosso de' ,giugni at ,florence1 and very many others1 of whom ,i shall not now say more4 ,and1 to bring this account to conclusion1 ,i return to the steel-engravers1 of whom one is ,girolamo ,fagiuoli of ,bologna1 a master of chasing and of copper-engraving1 and another1 at ,florence1 is ,domenico ,poggini1 who has made1 as he still does1 dies for the ,mint1 with medals of ,duke ,cosimo1 and who also executes statues of marble1 imitating1 in so far as he is able1 the rarest and most excellent masters who have ever produced choice works in these professions4 ,,footnote3 #ab ,giovanni of the ,cornelians4 #ac ,domenico of the ,cameos4 ,,marc' ,,antonio ,,bolognese ,,and ,,other ,,engravers ,,of ,,prints ,,lives ,,of ,,marc' ,,antonio ,,bolognese ,,and ,,of ,,other ,,engravers ,,of ,,prints ,seeing that in the ,treatise on the ,technique of ,painting there was little said of copper-plate engraving1 since it was enough at that time to describe the method of engraving silver with the burin1 which is a square tool of iron1 cut on the slant1 with a sharp point1 ,i shall use the occasion of this ,life to say as much on that subject as ,i may consider to be sufficient4 ,the beginning of print-engraving1 then1 came from the ,florentine ,maso ,finiguerra1 about the year of our salvation #adfj2 for of all the works which that master engraved in silver with designs to be filled up with niello1 he took impressions in clay1 over which he poured melted sulphur1 which reproduced the lines of the design2 and these1 when filled with smoke-black mixed with oil1 produced the same effect as the silver4 ,he also did the same with damped paper and with the same tint1 going over the whole with a round and smooth roller1 which not only gave the designs the appearance of prints1 but they also came out as if drawn with the pen4 ,this master was followed by ,baccio ,baldini1 a goldsmith of ,florence1 who1 not having much power of design1 took all that he did from the invention and design of ,sandro ,botticelli4 ,and this method1 coming to the knowledge of ,andrea ,mantegna in ,rome1 was the reason that he made a beginning with engraving many of his works1 as was said in his ,life4 ,this invention having afterwards passed into ,flanders1 a certain ,martin1 who was held to be an excellent painter in ,antwerp at that time1 executed many works1 and sent to ,italy a great number of printed designs1 which were all signed in the following manner3 ,m4,c4 ,the first of these were the ,five ,foolish ,virgins with their lamps extinguished1 the ,five ,wise ,virgins with their lamps burning1 and a ,christ ,crucified1 with ,s4 ,john and the ,madonna at the foot of the ,cross1 which was so good an engraving1 that ,gherardo1 the ,florentine illuminator1 set himself to copy it with the burin1 and succeeded very well2 but he went no further with this1 for he did not live long4 ,martin then published four round engravings of the four ,evangelists1 and ,jesus ,christ with the twelve ,apostles1 in small sheets1 ,veronica with six ,saints1 of the same size1 and some coats of arms of ,german noblemen1 supported by men1 both naked and clothed1 and also by women4 ,he published1 likewise1 a ,s4 ,george slaying the ,dragon1 a ,christ standing before ,pilate1 who is washing his hands1 and a ,passing of ,our ,lady1 with all the ,apostles1 a work of some size1 which was one of the best designs that this master ever engraved4 ,in another he represented ,s4 ,anthony beaten by ,devils1 and carried through the air by a vast number of them in the most varied and bizarre forms that could possibly be imagined2 which sheet so pleased ,michelagnolo1 when he was a mere lad1 that he set himself to colour it4 ,illustration3 ,,christ ,,and ,,the ,,virgin ,,enthroned 7,after the engraving by ,martin ,schongauer4 ,london3 ,british ,museum1 ,b4 #ga7 ,m4,s4 ,after this ,martin1 ,albrecht ,drer began to give attention to prints of the same kind at ,antwerp1 but with more design and better judgment1 and with more beautiful invention1 seeking to imitate the life and to draw near to the ,italian manners1 which he always held in much account4 ,and thus1 while still quite young1 he executed many works which were considered as beautiful as those of ,martin2 and he engraved them with his own hand1 signing them with his name4 ,in the year #aejc he published a little ,madonna1 in which he surpassed both ,martin and his own self2 and afterwards many other sheets with horses1 two in each sheet1 taken from nature and very beautiful4 ,in another he depicted the ,prodigal ,son1 in the guise of a peasant1 kneeling with his hands clasped and gazing up to ,heaven1 while some swine are eating from a trough2 and in this work are some most beautiful huts after the manner of ,german cottages4 ,he engraved a little ,s4 ,sebastian1 bound1 with the arms upraised2 and a ,madonna seated with the ,child in her arms1 with the light from a window falling upon her1 a small work1 than which there is nothing better to be seen4 ,he also made a ,flemish woman on horseback1 with a groom at her feet2 and on a larger copper-plate he engraved a nymph being carried away by a sea-monster1 while some other nymphs are bathing4 ,on a plate of the same size he engraved with supreme delicacy of workmanship1 attaining to the final perfection of this art1 a ,diana beating a nymph1 who has fled for protection to the bosom of a satyr2 in which sheet ,albrecht sought to prove that he was able to make nudes4 ,illustration3 ,,hercules 7,after the engraving by ,albrecht ,drer4 ,london3 ,british ,museum1 ,b4 #gc7 ,m4,s4 ,but although those masters were extolled at that time in those countries1 in ours their works are commended only for the diligent execution of the engraving4 ,i am willing1 indeed1 to believe that ,albrecht was perhaps not able to do better because1 not having any better models1 he drew1 when he had to make nudes1 from one or other of his assistants1 who must have had bad figures1 as ,germans generally have when naked1 although one sees many from those parts who are fine men when in their clothes4 ,in various little printed sheets he executed figures of peasant men and women in different ,flemish costumes1 some playing on the bagpipes and dancing1 some selling fowls and suchlike things1 and others in many other attitudes4 ,he also drew a man sleeping in a bathroom who has ,venus near him1 leading him into temptation in a dream1 while ,love is diverting himself by mounting on stilts1 and the ,devil blows into his ears with a pair of bellows4 ,and he engraved two different figures of ,s4 ,christopher carrying the ,infant ,christ1 both very beautiful1 and executed with much diligence in the close detail of the hair and in every other respect4 ,illustration3 ,,christ ,,taking ,,leave ,,of ,,his ,,mother 7,after the woodcut by ,albrecht ,drer4 ,london3 ,british ,museum1 ,b4 #ib7 ,m4,s4 ,after these works1 perceiving how much time he consumed in engraving on copper1 and happening to have in his possession a great abundance of subjects drawn in various ways1 he set himself to making woodcuts1 a method of working in which those who have the greatest powers of design find the widest field wherein to display their ability in its perfection4 ,and in the year #aeaj he published two little prints in this manner1 in one of which is the ,beheading of ,s4 ,john1 and in the other the scene of the head of the same ,s4 ,john being presented in a charger to ,herod1 who is seated at table2 with other sheets of ,s4 ,christopher1 ,s4 ,sixtus the ,pope1 ,s4 ,stephen1 and ,s4 ,laurence4 ,then1 having seen that this method of working was much easier than engraving on copper1 he pursued it and executed a ,s4 ,gregory chanting the ,mass1 accompanied by the deacon and sub-deacon4 ,and1 growing in courage1 in the year #aeaj he represented on a sheet of royal folio part of the ,passion of ,christ--that is1 he executed four pieces1 with the intention of afterwards finishing the whole1 these four being the ,last ,supper1 the ,taking of ,christ by ,night in the ,garden1 ,his ,descent into the ,limbo of ,hell in order to deliver the ,holy ,fathers1 and ,his glorious ,resurrection4 ,that second piece he also painted in a very beautiful little picture in oils1 which is now at ,florence1 in the possession of ,signor ,bernardetto de' ,medici4 ,as for the eight other parts1 although they were afterwards executed and printed with the signature of ,albrecht1 to us it does not seem probable that they are the work of his hand1 seeing that they are poor stuff1 and bear no resemblance to his manner1 either in the heads1 or in the draperies1 or in any other respect4 ,wherefore it is believed that they were executed after his death1 for the sake of gain1 by other persons1 who did not scruple to father them on ,albrecht4 ,that this is true is also proved by the circumstance that in the year #aeaa he represented the whole life of ,our ,lady in twenty sheets of the same size1 executing it so well that it would not be possible1 whether in invention1 in the composition of the perspective-views1 in the buildings1 in the costumes1 or in the heads of old and young1 to do better4 ,of a truth1 if this man1 so able1 so diligent1 and so versatile1 had had ,tuscany instead of ,flanders for his country1 and had been able to study the treasures of ,rome1 as we ourselves have done1 he would have been the best painter of our land1 even as he was the rarest and most celebrated that has ever appeared among the ,flemings4 ,in the same year1 continuing to give expression to his fantasies1 ,albrecht resolved to execute fifteen woodcuts of the same size1 representing the terrible vision that ,s4 ,john the ,evangelist described in his ,apocalypse on the ,isle of ,patmos4 ,and so1 setting his hand to the work1 with his extravagant imagination1 so well suited to such a subject1 he depicted all those things both of heaven and of earth so beautifully1 that it was a marvel1 and with such a variety of forms in those animals and monsters1 that it was a great light to many of our craftsmen1 who have since availed themselves of the vast abundance of his beautiful fantasies and inventions4 ,by the hand of the same master1 also1 is a woodcut that is to be seen of a nude ,christ1 who has round ,him the ,mysteries of ,his ,passion1 and is weeping for our sins1 with ,his hands to ,his face2 and this1 for a small work1 is not otherwise than worthy of praise4 ,then1 having grown both in power and in courage1 as he saw that his works were prized1 ,albrecht executed some copper-plates that astonished the world4 ,he also set himself to make an engraving1 for printing on a sheet of half-folio1 of a figure of ,melancholy1 with all the instruments that reduce those who use them1 or rather1 all mankind1 to a melancholy humour2 and in this he succeeded so well1 that it would not be possible to do more delicate engraving with the burin4 ,he executed three small plates of ,our ,lady1 all different one from another1 and most subtle in engraving4 ,but it would take too long if ,i were to try to enumerate all the works that issued from ,albrecht's hand2 let it be enough for the present to tell that1 having drawn a ,passion of ,christ in thirty-six parts1 and having engraved these1 he made an agreement with ,marc' ,antonio ,bolognese that they should publish the sheets in company2 and thus1 arriving in ,venice1 this work was the reason that marvellous prints of the same kind were afterwards executed in ,italy1 as will be related below4 ,while ,francesco ,francia was working at his painting in ,bologna1 there was among his many disciples a young man called ,marc' ,antonio1 who1 being more gifted than the others1 was much brought forward by him1 and1 from having been many years with ,francia and greatly beloved by him1 acquired the surname of ,de' ,franci4 ,this ,marc' ,antonio1 who was more able in design than his master1 handled the burin with facility and grace1 and executed in niello girdles and many other things much in favour at that time1 which were very beautiful1 for the reason that he was indeed most excellent in that profession4 ,having then been seized1 as happens to many1 with a desire to go about the world and see new things and the methods of other craftsmen1 with the gracious leave of ,francia he went off to ,venice1 where he was well received by the craftsmen of that city4 ,about the same time there arrived in ,venice some ,flemings with many copper-plate engravings and woodcuts by ,albrecht ,drer1 which were seen by ,marc' ,antonio on the ,piazza di ,s4 ,marco2 and he was so amazed at the manner and method of the work of ,albrecht1 that he spent on those sheets almost all the money that he had brought from ,bologna4 ,among other things1 he bought the ,passion of ,jesus ,christ1 which had been engraved on thirty-six wood-blocks and printed not long before on sheets of quarter-folio by the same ,albrecht4 ,this work began with the ,sin of ,adam and the scene of the ,angel expelling him from ,paradise1 and continued down to the ,descent of the ,holy ,spirit4 ,marc' ,antonio1 having considered what honour and profit might be acquired by one who should apply himself to that art in ,italy1 formed the determination to give his attention to it with all possible assiduity and diligence4 ,he thus began to copy those engravings by ,albrecht ,drer1 studying the manner of each stroke and every other detail of the prints that he had bought1 which were held in such estimation on account of their novelty and their beauty1 that everyone sought to have some4 ,having then counterfeited on copper1 with engraving as strong as that of the woodcuts that ,albrecht had executed1 the whole of the said ,life and ,passion of ,christ in thirty-six parts1 he added to these the signature that ,albrecht used for all his works1 which was ,a4,d41 and they proved to be so similar in manner1 that1 no one knowing that they had been executed by ,marc' ,antonio1 they were ascribed to ,albrecht1 and were bought and sold as works by his hand4 ,news of this was sent in writing to ,albrecht1 who was in ,flanders1 together with one of the counterfeit ,passions executed by ,marc' ,antonio2 at which he flew into such a rage that he left ,flanders and went to ,venice1 where he appeared before the ,signoria and laid a complaint against ,marc' ,antonio4 ,but he could obtain no other satisfaction but this1 that ,marc' ,antonio should no longer use the name or the above-mentioned signature of ,albrecht on his works4 ,illustration3 ,s4 ,,jerome ,,in ,,his ,,study 7,after the engraving by ,albrecht ,drer4 ,london3 ,british ,museum1 ,b4 #fj7 ,m4,s4 ,after this affair1 ,marc' ,antonio went off to ,rome1 where he gave his whole attention to design2 and ,albrecht returned to ,flanders1 where he found that another rival had already begun to execute many most delicate engravings in competition with him4 ,this was ,lucas of ,holland1#ad who1 although he was not as fine a master of design as ,albrecht1 was yet in many respects his equal with the burin4 ,among the many large and beautiful works that ,lucas executed1 the first were two in #aeji1 round in shape1 in one of which is ,christ bearing the ,cross1 and in the other ,his ,crucifixion4 ,afterwards he published a ,samson1 a ,david on horseback1 and a ,s4 ,peter ,martyr1 with his tormentors2 and then he made a copper-plate engraving of ,saul seated with the young ,david playing in his presence4 ,and not long after1 having made a great advance1 he executed a very large plate with the most delicate engraving1 of ,virgil suspended from the window in the basket1 with some heads and figures so marvellous1 that they were the reason that ,albrecht1 growing more subtle in power through this competition1 produced some printed sheets of such excellence1 that nothing better could be done4 ,in these1 wishing to display his ability1 ,albrecht made an armed man on horseback1 representing ,human ,strength1 which is so well finished1 that one can see the lustre of the arms and of the black horse's coat1 which is a difficult thing to reproduce in design4 ,this stalwart horseman had ,death1 hour-glass in hand1 beside him1 and the ,devil behind4 ,there was also a long-haired dog1 executed with the most subtle delicacy that can possibly be achieved in engraving4 ,in the year #aeab there issued from the hand of the same master sixteen little scenes of the ,passion of ,jesus ,christ1 engraved so well on copper1 that there are no little figures to be seen that are more beautiful1 sweet1 and graceful1 nor any that are stronger in relief4 ,spurred likewise by rivalry1 the same ,lucas of ,holland executed twelve similar plates1 very beautiful1 and yet not so perfect in engraving and design2 and1 in addition to these1 a ,s4 ,george who is comforting the ,maiden1 who is weeping because she is destined to be devoured by the ,dragon2 and also a ,solomon1 who is worshipping idols2 the ,baptism of ,christ2 ,pyramus and ,thisbe2 and ,ahasuerus with ,queen ,esther kneeling before him4 ,albrecht1 on his part1 not wishing to be surpassed by ,lucas either in the number or in the excellence of his works1 engraved a nude figure on some clouds1 and a ,temperance with marvellous wings1 holding a cup of gold and a bridle1 with a most delicate little landscape2 and then a ,s4 ,eustachio kneeling before the stag1 which has the ,crucifix between its horns1 a sheet which is amazing1 and particularly for the beauty of some dogs in various attitudes1 which could not be more perfect4 ,among the many children of various kinds that he made for the decoration of arms and devices1 he engraved some who are holding a shield1 wherein is a ,death with a cock for crest1 the feathers of which are rendered in such detail1 that it would be impossible to execute anything more delicate with the burin4 ,finally1 he published the sheet with ,s4 ,jerome in the habit of a ,cardinal1 writing1 with the ,lion sleeping at his feet4 ,in this work ,albrecht represented a room with windows of glass1 through which stream the rays of the sun1 falling on the place where the ,saint sits writing1 with an effect so natural1 that it is a marvel2 besides which1 there are books1 timepieces1 writings1 and so many other things1 that nothing more and nothing better could be done in this field of art4 ,not long afterwards1 in the year #aebc1 he executed a ,christ with the twelve ,apostles1 in little figures1 which was almost the last of his works4 ,there may also be seen prints of many heads taken from life by him1 such as that of ,erasmus of ,rotterdam1 that of ,cardinal ,albrecht of ,brandenburg1 ,elector of the ,empire1 and also his own4 ,nor1 with all the engravings that he produced1 did he ever abandon painting2 nay1 he was always executing panels1 canvases1 and other paintings1 all excellent1 and1 what is more1 he left many writings on matters connected with engraving1 painting1 perspective1 and architecture4 ,illustration3 ,,the ,,ecce ,,homo ,,of #afaj 7,after the engraving by ,lucas van ,leyden4 ,london3 ,british ,museum7 ,m4,s4 ,but to return to the subject of engraving3 the works of ,albrecht ,drer induced ,lucas of ,holland to follow in his steps to the best of his power4 ,after the works already mentioned1 ,lucas engraved on copper four scenes from the life of ,joseph1 and also the four ,evangelists1 the three ,angels who appeared to ,abraham in the ,valley of ,mamre1 ,susannah in the ,bath1 ,david praying1 ,mordecai riding in ,triumph on ,horseback1 ,lot made drunk by his ,daughters1 the ,creation of ,adam and ,eve1 ,god commanding them that they shall not eat of the ,fruit from the ,tree that ,he points out to them1 and ,cain killing his brother ,abel2 all which sheets were published in the year #aebi4 ,but that which did more than anything else to bring renown and fame to ,lucas1 was a large sheet in which he represented the ,crucifixion of ,jesus ,christ2 with another wherein ,pilate is showing ,him to the people1 saying1 ,ecce ,homo6 ,these sheets1 which are large1 and contain a great number of figures1 are held to be excellent2 as are1 likewise1 one with a ,conversion of ,s4 ,paul1 and another showing him being led1 blind1 into ,damascus4 ,and let these works suffice to prove that ,lucas may be numbered among those who have handled the burin with ability4 ,the scenes of ,lucas are very happy in composition1 being executed with such clearness and so free from confusion1 that it seems certain that the action represented could not have taken place in any other way2 and they are arranged more in accordance with the rules of art than those of ,albrecht4 ,besides this1 it is evident that he used a wise discretion in the engraving of his works1 for the reason that all those parts which recede little by little into the distance are less strongly defined in proportion as they are lost to view1 even as natural objects become less clear to the eye when seen from afar4 ,indeed1 he executed them with such thoughtful care1 and made them so soft and well blended1 that they would not be better in colour2 and his judicious methods have opened the eyes of many painters4 ,the same master engraved many little plates3 various figures of ,our ,lady1 the twelve ,apostles with ,christ1 many ,saints1 both male and female2 arms and helmet-crests1 and other suchlike things4 ,very beautiful is a peasant who is having a tooth drawn1 and is feeling such pain1 that he does not notice that meanwhile a woman is robbing his purse4 ,all these works of ,albrecht and ,lucas have brought it about that many other ,flemings and ,germans after them have printed similar sheets of great beauty4 ,but returning to ,marc' ,antonio3 having arrived in ,rome1 he engraved on copper a most lovely drawing by ,raffaello da ,urbino1 wherein was the ,roman ,lucretia killing herself1 which he executed with such diligence and in so beautiful a manner1 that ,raffaello1 to whom it was straightway carried by some friends1 began to think of publishing in engravings some designs of works by his hand1 and then a drawing that he had formerly made of the ,judgment of ,paris1 wherein1 to please himself1 he had drawn the ,chariot of the ,sun1 the nymphs of the woods1 those of the fountains1 and those of the rivers1 with vases1 the helms of ships1 and other beautiful things of fancy all around2 and when he had made up his mind1 these were engraved by ,marc' ,antonio in such a manner as amazed all ,rome4 ,after them was engraved the drawing of the ,massacre of the ,innocents1 with most beautiful nudes1 women and children1 which was a rare work2 and then the ,neptune1 with little stories of neas around it1 the beautiful ,rape of ,helen1 also after a drawing by ,raffaello1 and another design in which may be seen the death of ,s4 ,felicita1 who is being boiled in oil1 while her sons are beheaded4 ,these works acquired such fame for ,marc' ,antonio1 that his engravings were held in much higher estimation1 on account of their good design1 than those of the ,flemings2 and the merchants made very large profits out of them4 ,raffaello had kept an assistant called ,baviera for many years to grind his colours2 and since this ,baviera had a certain ability1 ,raffaello ordained that he should attend to the printing of the engravings executed by ,marc' ,antonio1 to the end that all his compositions might thus be finished1 and then sold in gross and in detail to all who desired them4 ,and so1 having set to work1 they printed a vast number1 which brought very great profit to ,raffaello2 and all the plates were signed by ,marc' ,antonio with the following signatures1 ,r4,s4 for the name of ,raffaello ,sanzio of ,urbino1 and ,m4,f4 for that of ,marc' ,antonio4 ,among these works were a ,venus embraced by ,love1 after a drawing by ,raffaello1 and a scene in which ,god the ,father is blessing the seed of ,abraham1 with the handmaiden and two children4 ,next were engraved all the round pictures that ,raffaello had painted in the apartments of the ,papal ,palace1 such as the ,universal ,knowledge1 ,calliope with the musical instrument in her hand1 ,foresight1 and ,justice2 and then1 after a small drawing1 the scene which ,raffaello had painted in the same apartment1 of ,mount ,parnassus1 with ,apollo1 the ,muses1 and the ,poets2 and also that of neas carrying ,anchises on his back while ,troy is burning1 of which ,raffaello had made the drawing in order to paint a little picture4 ,after this they engraved and printed another work of ,raffaello1 ,galatea in a car drawn over the sea by ,dolphins1 with some ,tritons who are carrying off a ,nymph4 ,these works finished1 ,marc' ,antonio engraved many separate figures1 likewise on copper1 and after drawings by ,raffaello2 an ,apollo with a lyre in his hand2 a figure of ,peace1 to whom ,love is offering an olive-branch2 the three ,theological and the four ,moral ,virtues1 and a ,jesus ,christ with the twelve ,apostles1 of the same size2 a half-folio plate of the ,madonna that ,raffaello had painted in the altar-piece of the ,araceli1 and likewise one of that which went to ,s4 ,domenico in ,naples1 with ,our ,lady1 ,s4 ,jerome1 the ,angel ,raphael1 and ,tobias2 and a little plate of ,our ,lady seated on a chair and embracing the ,infant ,christ1 who is half clothed1 with many other figures of the ,madonna copied from the pictures which ,raffaello had painted for various persons4 ,after these he engraved a young ,s4 ,john the ,baptist1 seated in the desert1 and then the picture which ,raffaello executed for ,s4 ,giovanni in ,monte1 of ,s4 ,cecilia with other ,saints1 which was held to be a most beautiful sheet4 ,when ,raffaello had finished all the cartoons of the tapestries for the ,papal ,chapel1 which were afterwards woven in silk and gold1 with stories of ,s4 ,paul1 ,s4 ,peter1 and ,s4 ,stephen1 ,marc' ,antonio engraved the ,preaching of ,s4 ,paul1 the ,stoning of ,s4 ,stephen1 and the ,blind ,man receiving his ,sight2 which plates1 what with the invention of ,raffaello1 the grace of the design1 and the diligent engraving of ,marc' ,antonio1 were so beautiful1 that there was nothing better to be seen4 ,he then engraved1 after the invention of the same ,raffaello1 a most beautiful ,deposition from the ,cross1 with a ,madonna in a swoon1 who is marvellous2 and not long afterwards a plate1 which is very beautiful1 of that picture by ,raffaello which went to ,palermo1 of a ,christ who is bearing the ,cross1 and also one of a drawing that ,raffaello had executed of a ,christ in the air1 with ,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,catharine kneeling on the ground1 and ,s4 ,paul the ,apostle standing1 which was a large and very lovely engraving4 ,this and the others1 after becoming spoiled and almost worn out through being too much used1 were carried away by ,germans and others in the sack of ,rome4 ,the same ,marc' ,antonio engraved the portrait of ,pope ,clement ,,vii in profile1 with the face shaved1 in the form of a medallion2 one of the ,emperor ,charles ,v at the time when he was a young man1 and another of him at a riper age2 and also one of ,ferdinand1 ,king of the ,romans1 who afterwards succeeded ,charles ,v as ,emperor4 ,he also made in ,rome a portrait from life of ,messer ,pietro ,aretino1 a very famous poet1 which was the most beautiful that ,marc' ,antonio ever executed2 and1 not long afterwards1 portraits of the twelve ancient ,emperors in medallions4 ,of these sheets ,raffaello sent some into ,flanders to ,albrecht ,drer1 who praised ,marc' ,antonio highly1 and sent in return to ,raffaello1 in addition to many other sheets1 his own portrait1 which was held to be a miracle of beauty4 ,now1 the fame of ,marc' ,antonio having grown very great1 and the art of engraving having come into credit and repute1 many disciples had placed themselves under him in order to learn it4 ,and of their number1 two who made great proficience were ,marco da ,ravenna1 who signed his plates with the signature of ,raffaello1 ,r4,s41 and ,agostino ,viniziano1 who signed his works in the following manner3 ,a4,v4 ,these two engraved and printed many designs by ,raffaello1 such as one of ,our ,lady with ,christ lying dead at full length1 and at ,his feet ,s4 ,john1 the ,magdalene1 ,nicodemus1 and the other ,maries2 and they engraved another plate of greater size1 in which is a ,madonna1 with the arms outstretched and the eyes raised towards ,heaven1 in an attitude of supreme pity and sorrow1 with ,christ1 in like manner1 lying dead at full length4 ,agostino afterwards engraved a large plate of the ,nativity1 with the ,shepherds and ,angels about the hut1 and ,god the ,father above2 and he executed many vases1 both ancient and modern1 and also a censer1 or rather1 two women with a vase perforated at the top4 ,he engraved a plate with a man transformed into a wolf1 who is stealing towards a bed in order to kill one who is sleeping in it4 ,and he also executed one of ,alexander with ,roxana1 to whom that ,prince is presenting a royal crown1 while some ,loves are hovering about her and adorning her head1 and others are playing with the arms of ,alexander4 ,illustration3 ,,the ,,death ,,of ,,lucretia 7,after the engraving by ,marcantonio ,bolognese4 ,london3 ,british ,museum1 ,b4 #aib7 ,m4,s4 ,the same masters together engraved the ,last ,supper of ,christ with the twelve ,apostles1 on a plate of some size1 and an ,annunciation1 all after the designs of ,raffaello2 and then two stories of the ,marriage of ,psyche1 which had been painted by ,raffaello not long before4 ,in the end1 ,agostino and the above-mentioned ,marco between them engraved almost all the works that ,raffaello ever drew or painted1 and made prints of them2 and also many of the pictures painted by ,giulio ,romano1 after copies drawn for that purpose4 ,and to the end that there might remain scarcely a single work of ,raffaello that had not been engraved by them1 they finally made engravings of the scenes that ,giulio had painted in the ,loggie after the designs of ,raffaello4 ,there may still be seen some of the first plates1 with the signature ,m4,r4 for ,marco ,ravignano1 and others with the signature ,a4,v4 for ,agostino ,viniziano1 re-engraved by others after them1 such as the ,creation of the ,world1 and ,god forming the ,animals2 the ,sacrifices of ,cain and ,abel1 and the ,death of ,abel2 ,abraham sacrificing ,isaac2 ,noah's ,ark1 the ,deluge1 and the ,animals afterwards issuing from the ,ark2 the ,passage of the ,red ,sea2 the ,delivery of the ,laws from ,mount ,sinai through ,moses1 and the ,manna2 ,david slaying ,goliath1 already engraved by ,marc' ,antonio2 ,solomon building the ,temple2 the ,judgment of the same ,solomon between the two women1 and the ,visit of the ,queen of ,sheba2 and1 from the ,new ,testament1 the ,nativity and the ,resurrection of ,christ1 and the ,descent of the ,holy ,spirit4 ,all these were engraved and printed during the lifetime of ,raffaello4 ,after the death of ,raffaello1 ,marco and ,agostino separated1 and ,agostino was retained by ,baccio ,bandinelli1 the ,florentine sculptor1 who caused him to engrave after his design an anatomical figure that he had formed out of lean bodies and dead men's bones2 and then a ,cleopatra4 ,both these were held to be very good plates4 ,whereupon1 growing in courage1 ,baccio drew1 and caused ,agostino to engrave1 a large plate--one of the largest1 indeed1 that had ever been engraved up to that time--full of women clothed1 and of naked men who are slaughtering the little innocents by command of ,king ,herod4 ,marc' ,antonio1 meanwhile1 continuing to work at engraving1 executed some plates with small figures of the twelve ,apostles1 in various manners1 and many ,saints1 both male and female1 to the end that the poor painters who were weak in design might be able to avail themselves of these in their need4 ,he also engraved a nude young man1 who has a lion at his feet1 and is seeking to furl a large banner1 which is swollen out by the wind in a direction contrary to his purpose2 another who is carrying a pedestal on his back2 and a little ,s4 ,jerome who is meditating on death1 placing a finger in the hollow of a skull that he has in his hand1 the invention and design of which were by ,raffaello4 ,then he executed a figure of ,justice1 which he copied from the tapestries of the ,chapel2 and afterwards an ,aurora1 drawn by two horses1 on which the ,hours are placing bridles4 ,he also copied the ,three ,graces from the antique2 and he engraved a scene of ,our ,lady ascending the steps of the ,temple4 ,after these things1 ,giulio ,romano1 who in his modesty would never have any of his works engraved during the lifetime of his master ,raffaello1 lest he should seem to wish to compete with him1 caused ,marc' ,antonio1 after the death of ,raffaello1 to engrave two most beautiful battles of horsemen on plates of some size1 and all the stories of ,venus1 ,apollo1 and ,hyacinthus1 which he had painted in the bathroom that is at the villa of ,messer ,baldassarre ,turini da ,pescia4 ,and he did the same with the four stories of the ,magdalene and the four ,evangelists that are in the vaulting of the chapel of the ,trinit1 which were executed for a courtezan1 although the chapel now belongs to ,messer ,agnolo ,massimi4 ,by the same master was drawn and reproduced in engraving a very beautiful ancient sarcophagus containing a lion-hunt1 which was formerly at ,maiano1 and is now in the court of ,s4 ,pietro2 as well as one of the ancient scenes in marble that are under the ,arch of ,constantine2 and1 finally1 many scenes that ,raffaello had designed for the corridor and ,loggie of the ,palace1 which have since been engraved once more by ,tommaso ,barlacchi1 together with those of the tapestries that ,raffaello executed for the public ,consistory4 ,illustration3 ,,the ,,martyrdom ,,of ,s4 ,,lawrence 7,engraved after ,bandinelli by ,marcantonio ,bolognese4 ,london3 ,british ,museum7 ,m4,s4 ,after this1 ,giulio ,romano caused ,marc' ,antonio to engrave twenty plates showing all the various ways1 attitudes1 and positions in which licentious men have intercourse with women2 and1 what was worse1 for each plate ,messer ,pietro ,aretino wrote a most indecent sonnet1 insomuch that ,i know not which was the greater1 the offence to the eye from the drawings of ,giulio1 or the outrage to the ear from the words of ,aretino4 ,this work was much censured by ,pope ,clement2 and if1 when it was published1 ,giulio had not already left for ,mantua1 he would have been sharply punished for it by the anger of the ,pope4 ,and since some of these sheets were found in places where they were least expected1 not only were they prohibited1 but ,marc' ,antonio was taken and thrown into prison2 and he would have fared very badly if ,cardinal de' ,medici and ,baccio ,bandinelli1 who was then at ,rome in the service of the ,pope1 had not obtained his release4 ,of a truth1 the gifts of ,god should not be employed1 as they very often are1 in things wholly abominable1 which are an outrage to the world4 ,released from prison1 ,marc' ,antonio finished engraving for ,baccio ,bandinelli a large plate that he had previously begun1 with a great number of nude figures engaged in roasting ,s4 ,laurence on the gridiron1 which was held to be truly beautiful1 and was indeed engraved with incredible diligence1 although ,bandinelli1 complaining unjustly of ,marc' ,antonio to the ,pope while that master was executing it1 said that he was committing many errors4 ,but for this sort of gratitude ,bandinelli received the reward that his lack of courtesy deserved1 for ,marc' ,antonio1 having heard the whole story1 and having finished the plate1 went1 without ,baccio being aware of it1 to the ,pope1 who took infinite delight in the arts of design2 and he showed him first the original drawing by ,bandinelli1 and then the printed engraving1 from which the ,pope recognized that ,marc' ,antonio not only had committed no errors1 but had even corrected with great judgment many committed by ,bandinelli1 which were of no small importance1 and had shown more knowledge and craftsmanship in his engraving than had ,baccio in his drawing4 ,wherefore the ,pope commended him greatly and ever afterwards received him with favour2 and it is believed that he might have done much for him1 but the sack of ,rome supervening1 ,marc' ,antonio became little less than a beggar1 seeing that1 besides losing all his property1 he was forced to disburse a good ransom in order to escape from the hands of the ,spaniards4 ,which done1 he departed from ,rome1 never to return2 and there are few works to be seen which were executed by him after that time4 ,our arts are much indebted to ,marc' ,antonio1 in that he made a beginning with engraving in ,italy1 to the advantage and profit of art and to the convenience of her followers1 in consequence of which others have since executed the works that will be described hereafter4 ,now ,agostino ,viniziano1 of whom we have already spoken1 came to ,florence1 after the circumstances described above1 with the intention of attaching himself to ,andrea del ,sarto1 who was held to be about the best painter in ,italy after ,raffaello4 ,and so ,andrea1 persuaded by this ,agostino to have his works engraved1 made a drawing of a ,dead ,christ supported by three ,angels2 but since the attempt did not succeed exactly according to his fancy1 he would never again allow any work of his to be engraved4 ,after his death1 however1 certain persons published engravings of the ,visitation of ,s4 ,elizabeth and of the ,baptism of the people by ,s4 ,john1 taken from the work in chiaroscuro that ,andrea painted in the ,scalzo at ,florence4 ,marco da ,ravenna1 likewise1 in addition to the works already mentioned1 which he executed in company with ,agostino1 also engraved many others by himself1 which are all good and worthy of praise1 and are known by his signature1 which has been described above4 ,many others1 also1 have there been after these1 who have worked very well at engraving1 and have brought it about that every country has been able to see and enjoy the honoured labours of the most excellent masters4 ,nor has there been wanting one who has had the enterprise to execute with wood-blocks prints that possess the appearance of having been made with the brush after the manner of chiaroscuro1 which is an ingenious and difficult thing4 ,this was ,ugo da ,carpi1 who1 although he was a mediocre painter1 was nevertheless a man of most subtle wit in strange and fanciful inventions4 ,he it was1 as has been related in the thirtieth chapter of the ,treatise on ,technique1 who first attempted1 and that with the happiest result1 to work with two blocks1 one of which he used for hatching the shadows1 in the manner of a copper-plate1 and with the other he made the tint of colour1 cutting deeply with the strokes of the engraving1 and leaving the lights so bright1 that when the impression was pulled off they appeared to have been heightened with lead-white4 ,ugo executed in this manner1 after a design drawn by ,raffaello in chiaroscuro1 a woodcut in which is a ,sibyl seated who is reading1 with a clothed child giving her light with a torch4 ,having succeeded in this1 ,ugo took heart and attempted to make prints with wood-blocks of three tints4 ,the first gave the shadow2 the second1 which was lighter in tone1 made the middle tint1 and the third1 cut deeply1 gave the higher lights of the ground and left the white of the paper4 ,and the result of this1 also1 was so good1 that he executed a woodcut of neas carrying ,anchises on his back1 while ,troy is burning4 ,he then made a ,deposition from the ,cross1 and the story of ,simon ,magus1 which had been used by ,raffaello for the tapestries of the above-mentioned ,chapel2 and likewise ,david slaying ,goliath1 and the ,flight of the ,philistines1 of which ,raffaello had prepared the design in order to paint it in the ,papal ,loggie4 ,and after many other works in chiaroscuro1 he executed in the same manner a ,venus1 with many ,loves playing about her4 ,now since1 as ,i have said1 he was a painter1 ,i must not omit to tell that he painted in oils1 without using a brush1 but with his fingers1 and partly1 also1 with other bizarre instruments of his own1 an altar-piece which is on the altar of the ,volto ,santo in ,rome4 ,upon this altar-piece1 being one morning with ,michelagnolo at that altar to hear ,mass1 ,i saw an inscription saying that ,ugo da ,carpi had painted it without a brush2 and ,i laughed and showed the inscription to ,michelagnolo1 who answered1 also with a laugh1 that it would have been better if he had used a brush1 for then he might have done it in a better manner4 ,the method of executing these two kinds of woodcuts1 in imitation of chiaroscuro1 thus invented by ,ugo da ,carpi1 was the reason that1 many following in his steps1 a great number of most beautiful prints were produced by others4 ,for after him ,baldassarre ,peruzzi1 the painter of ,siena1 made a similar woodcut in chiaroscuro1 which was very beautiful1 of ,hercules driving ,avarice1 a figure laden with vases of gold and silver1 from ,mount ,parnassus1 on which are the ,muses in various lovely attitudes4 ,and ,francesco ,parmigiano engraved a ,diogenes for a sheet of royal folio laid open1 which was a finer print than any that ,ugo ever produced4 ,the same ,parmigiano1 having shown the method of making prints from three blocks to ,antonio da ,trento1 caused him to execute a large sheet in chiaroscuro of the ,beheading of ,s4 ,peter and ,s4 ,paul4 ,and afterwards he executed another1 but with two blocks only1 of the ,tiburtine ,sibyl showing the ,infant ,christ in the lap of the ,virgin to the ,emperor ,octavian2 a nude man seated1 who has his back turned in a beautiful attitude2 and likewise an oval print of the ,madonna lying down1 with many others by his hand that may be seen in various places1 printed after his death by ,joannicolo ,vicentino4 ,but the most beautiful were executed later by ,domenico ,beccafumi of ,siena1 after the death of ,parmigiano1 as will be related at greater length in the ,life of ,domenico4 ,not otherwise than worthy of praise1 also1 is the method that has been invented of making engravings more easily than with the burin1 although they do not come out so clear--that is1 with aquafortis1 first laying on the copper a coat of wax1 varnish1 or oil-colour1 and then drawing the design with an iron instrument that has a sharp point to cut through the wax1 varnish1 or colour1 whichever it may be1 after which one pours over it the aquafortis1 which eats into the copper in such a manner that it leaves the lines of the design hollow1 and impressions can be taken from it4 ,with this method ,francesco ,parmigiano executed many little things1 which are full of grace1 such as the ,nativity of ,christ1 a ,dead ,christ with the ,maries weeping over ,him1 and one of the tapestries executed for the ,chapel after the designs of ,raffaello1 with many other works4 ,after these masters1 fifty sheets with varied and beautiful landscapes were produced by ,battista1 a painter of ,vicenza1 and ,battista del ,moro of ,verona4 ,in ,flanders1 ,hieronymus ,cock has executed engravings of the liberal arts2 and in ,rome1 engravings have been done of the ,visitation in the ,pace1 painted by ,fra ,sebastiano ,viniziano1 of that by ,francesco ,salviati in the ,misericordia1 and of the ,feast of ,testaccio2 besides many works that have been engraved in ,venice by the painter ,battista ,franco1 and by many other masters4 ,but to return to the simple copper-plate engravings2 after ,marc' ,antonio had executed the many works that have been mentioned above1 ,rosso arrived in ,rome1 and ,baviera persuaded him that he should have some of his works engraved2 wherefore he commissioned ,gian ,jacopo ,caraglio of ,verona1 who was one of the most skilful craftsmen of that day1 and who sought with all diligence to imitate ,marc' ,antonio1 to engrave a lean anatomical figure of his own1 which holds a death's head in the hand1 and is seated on a serpent1 while a swan is singing4 ,this plate succeeded so well1 that the same ,rosso afterwards caused engravings to be made1 on plates of considerable size1 of some of the ,labours of ,hercules3 the ,slaying of the ,hydra1 the ,combat with ,cerberus1 the ,killing of ,cacus1 the ,breaking of the ,bull's ,horns1 the ,battle with the ,centaurs1 and the ,centaur ,nessus carrying off ,deianira4 ,and these plates proved to be so beautiful and so well engraved1 that the same ,jacopo executed1 likewise after the design of ,rosso1 the story of the daughters of ,pierus1 who1 for seeking to contend with the ,muses and to sing in competition with them1 were transformed into crows4 ,baviera having then caused ,rosso to draw twenty ,gods in niches1 with their attributes1 for a book1 these were engraved by ,gian ,jacopo ,caraglio in a very beautiful and graceful manner2 and also1 not long afterwards1 their ,transformations2 but of these ,rosso did not make the drawings1 save only of two1 for he had a difference with ,baviera1 and ,baviera had ten of them executed by ,perino del ,vaga4 ,the two by ,rosso were the ,rape of ,proserpine and the ,transformation of ,philyra into a horse2 and all were engraved with such diligence by ,caraglio1 that they have always been prized4 ,caraglio afterwards began for ,rosso the ,rape of the ,sabines1 which would have been a very rare work1 but1 the sack of ,rome supervening1 it could not be finished1 for ,rosso went away1 and the plates were all lost4 ,and although this work has since come into the hands of the printers1 it has proved a miserable failure1 for the engraving has been done by one who had no knowledge of the art1 and thought only of making money4 ,after this1 ,caraglio engraved for ,francesco ,parmigiano a plate of the ,marriage of ,our ,lady1 and other works by the same master2 and then another plate for ,tiziano ,vecelli1 which was very beautiful1 of a ,nativity that ,tiziano had formerly painted4 ,this ,gian ,jacopo ,caraglio1 after having executed many copper-plates1 being an ingenious spirit1 gave his attention to engraving cameos and crystals1 in which he became no less excellent than he had been in the engraving of copper-plates4 ,and since then1 having entered the service of the ,king of ,poland1 he has occupied himself no longer with engraving on copper1 now in his opinion a mean art1 but with the cutting of gems1 with working in incavo1 and with architecture2 for which having been richly rewarded by the liberality of that ,king1 he has spent large sums in investments in the territory of ,parma1 in order to be able to retire in his old age to the enjoyment of his native country among his friends and disciples1 after the labours of so many years4 ,after these masters came another excellent copper-plate engraver1 ,lamberto ,suave1#ae by whose hand are thirteen plates of ,christ and the twelve ,apostles1 in which the execution of the engraving is perfect in its delicacy4 ,if ,lamberto had possessed a more thorough mastery of design in addition to the industry1 patience1 and diligence that he showed in all other points1 he would have been marvellous in every respect2 as may be perceived clearly from a little sheet of ,s4 ,paul writing1 and from a larger sheet with the story of the ,raising of ,lazarus1 in which there are most beautiful things to be seen4 ,worthy of note1 in particular1 are the hollow rock in the cavern which he represented as the burial-place of ,lazarus1 and the light that falls upon some figures1 all of which is executed with beautiful and fanciful invention4 ,no little ability1 likewise1 has been shown in this profession by ,giovan ,battista ,mantovano1 a disciple of ,giulio ,romano2 among other works1 in a ,madonna who has the ,child in her arms and the moon under her feet1 and in some very beautiful heads with helmet-crests after the antique2 in two sheets1 in which are a captain of mercenaries on foot and one on horseback1 and also in a sheet wherein is a ,mars in armour1 who is seated upon a bed1 while ,venus gazes on a ,cupid whom she is suckling1 which has in it much that is good4 ,very fanciful1 also1 are two large sheets by the hand of the same master1 in which is the ,burning of ,troy1 executed with extraordinary invention1 design1 and grace4 ,these and many other sheets by the same hand are signed with the letters ,j4,b4,m4 ,and no less excellent than any of those mentioned above has been ,enea ,vico of ,parma1 who engraved the well-known copper-plate of the ,rape of ,helen by ,rosso1 and also another plate after the design of the same painter1 of ,vulcan with some ,loves1 who are fashioning arrows at his forge1 while the ,cyclopes are also at work1 which was truly a most beautiful engraving4 ,he executed the ,leda of ,michelagnolo on another1 and also an ,annunciation after the design of ,tiziano1 the story of ,judith that ,michelagnolo painted in the ,chapel1 the portrait of ,duke ,cosimo de' ,medici as a young man1 in full armour1 after the drawing by ,bandinelli1 and likewise the portrait of ,bandinelli himself2 and then the ,contest of ,cupid and ,apollo in the presence of all the ,gods4 ,and if ,enea had been maintained and rewarded for his labours by ,bandinelli1 he would have engraved many other beautiful plates for him4 ,afterwards1 ,francesco1 a protg of the ,salviati1 and an excellent painter1 being in ,florence1 and assisted by the liberality of ,duke ,cosimo1 commissioned ,enea to engrave the large plate of the ,conversion of ,s4 ,paul1 full of horses and soldiers1 which was held to be very beautiful1 and gave ,enea a great name4 ,the same ,enea then executed the portrait of ,signor ,giovanni de' ,medici1 father of ,duke ,cosimo1 with an ornament full of figures4 ,he engraved1 also1 the portrait of the ,emperor ,charles ,v1 with an ornament covered with appropriate ,victories and trophies1 for which he was rewarded by ,his ,majesty and praised by all2 and on another plate1 very well engraved1 he represented the victory that the ,emperor gained on the ,elbe4 ,for ,doni he executed some heads from nature in the manner of medallions1 with beautiful ornaments3 ,king ,henry of ,france1 ,cardinal ,bembo1 ,messer ,lodovico ,ariosto1 the ,florentine ,gello1 ,messer ,lodovico ,domenichi1 ,signora ,laura ,terracina1 ,messer ,cipriano ,morosino1 and ,doni himself4 ,he also engraved for ,don ,giulio ,clovio1 a most excellent illuminator1 a plate of a ,s4 ,george on horseback who is slaying the ,dragon1 in which1 although it was1 one might say1 one of the first works that he engraved1 he acquitted himself very well4 ,afterwards1 being a man of lofty genius1 and desiring to pass on to greater and more honourable undertakings1 ,enea applied himself to the study of antiquities1 and in particular of ancient medals1 of which he has published several books in engraving1 wherein are the true effigies of many ,emperors and their wives1 with every kind of inscription and reverse that could bring all who delight in them to a clear understanding of their stories2 for which he has rightly won great praise1 as he still does4 ,and those who have found fault with him for his books of medals have been in the wrong1 for whoever shall consider the labours that he has performed1 and how useful and beautiful these are1 must perforce excuse him1 even though he may have erred in a few matters of little importance2 and such errors1 which are not committed save from faulty information1 from a too ready credulity1 or from having opinions differing from others with some show of reason1 are worthy to be excused1 seeing that ,aristotle1 ,pliny1 and many others have been guilty of the like4 ,enea also designed to the common satisfaction and benefit of all mankind fifty costumes of different nations1 such as were worn by men and women1 peasants and citizens1 in ,italy1 in ,france1 in ,spain1 in ,portugal1 in ,england1 in ,flanders1 and in other parts of the world2 which was an ingenious work1 both fanciful and beautiful4 ,he executed1 also1 a genealogical tree of all the ,emperors1 which was a thing of great beauty4 ,and finally1 after much toil and travailing1 he now lives in repose under the shadow of ,alfonso ,,ii1 ,duke of ,ferrara1 for whom he has made a genealogical tree of all the ,marquises and ,dukes of the ,house of ,este4 ,for all these works and many others that he has executed1 as he still continues to do1 ,i have thought it right to make this honourable record of him among so many other men of the arts4 ,many others have occupied themselves with copper-plate engraving1 who1 although they have not attained to such perfection1 have none the less benefited the world with their labours1 by bringing many scenes and other works of excellent masters into the light of day1 and by thus giving the means of seeing the various inventions and manners of the painters to those who are not able to go to the places where the principal works are1 and conveying to the ultramontanes a knowledge of many things that they did not know4 ,and although many plates have been badly executed through the avarice of the printers1 eager more for gain than for honour1 yet in certain others1 besides those that have been mentioned1 there may be seen something of the good2 as in the large design of the ,last ,judgment of ,michelagnolo ,buonarroti on the front wall of the ,papal ,chapel1 engraved by ,giorgio ,mantovano1 and in the engravings by ,giovan ,battista de' ,cavalieri of the ,crucifixion of ,s4 ,peter and the ,conversion of ,s4 ,paul painted in the ,pauline ,chapel at ,rome4 ,this ,giovan ,battista has also executed copper-plate engravings1 besides other designs1 of the ,meditation of ,s4 ,john the ,baptist1 of the ,deposition from the ,cross that ,daniello ,ricciarelli of ,volterra painted in a chapel in the ,trinit at ,rome1 of a ,madonna with many ,angels1 and of a vast number of other works4 ,moreover1 many things taken from ,michelagnolo have been engraved by others at the commission of ,antonio ,lanferri1 who has employed printers for the same purpose4 ,these have published books of all the kinds of fishes1 and also the ,phaethon1 the ,tityus1 the ,ganymede1 the ,archers1 the ,bacchanalia1 the ,dream1 the ,piet1 and the ,crucifix1 all done by ,michelagnolo for the ,marchioness of ,pescara2 and1 in addition1 the four ,prophets of the ,chapel and other scenes and drawings have been engraved and published1 but executed so badly1 that ,i think it well to be silent as to the names of those engravers and printers4 ,but ,i must not be silent about the above-mentioned ,antonio ,lanferri and ,tommaso ,barlacchi1 for they1 as well as others1 have employed many young men to engrave plates after original drawings by the hands of a vast number of masters1 insomuch that it is better to say nothing of these works1 lest it should become wearisome4 ,and in this manner have been published1 among other plates1 grotesques1 ancient temples1 cornices1 bases1 capitals1 and many other suchlike things1 with all their measurements4 ,seeing everything reduced to a miserable manner1 and moved by compassion1 ,sebastiano ,serlio1 an architect of ,bologna1 has engraved on wood and copper two books of architecture1 in which1 among other things1 are thirty doors of the ,rustic ,order1 and twenty in a more delicate style2 which book is dedicated to ,king ,henry of ,france4 ,antonio ,l',abacco1 likewise1 has published plates in a beautiful manner of all the notable antiquities of ,rome1 with their measurements1 executed with great mastery and with very subtle engraving by 444 ,perugino4 ,nor has less been accomplished in this field by the architect ,jacopo ,barozzo of ,vignola1 who in a book of copper-plate engravings has shown with simple rules how to enlarge or to diminish in due proportion every part of the five ,orders of ,architecture1 a work most useful in that art1 for which we are much indebted to him2 even as we are to ,giovanni ,cugini#af of ,paris for his engravings and writings on architecture4 ,in ,rome1 besides the masters named above1 ,niccol ,beatricio#ag of ,lorraine has given so much attention to engraving with the burin1 that he has executed many plates worthy of praise2 such as two pieces of sarcophagi with battles of horsemen1 engraved on copper1 and other plates full of various animals very well executed1 and a scene showing the ,widow's ,daughter being restored to life by ,jesus ,christ1 engraved in a bold manner from the design of ,girolamo ,mosciano1 a painter of ,brescia4 ,the same master has engraved an ,annunciation from a drawing by the hand of ,michelagnolo1 and has also executed prints of the ,navicella of mosaic that ,giotto made in the portico of ,s4 ,pietro4 ,from ,venice1 likewise1 have come many most beautiful engravings on wood and on copper2 on wood1 after ,tiziano1 many landscapes1 a ,nativity of ,christ1 a ,s4 ,jerome1 and a ,s4 ,francis2 and on copper the ,tantalus1 the ,adonis1 and many other plates1 which have been engraved by ,giulio ,bonasone of ,bologna1 together with some others by ,raffaello1 by ,giulio ,romano1 by ,parmigiano1 and by all the other masters whose drawings he has been able to obtain4 ,and ,battista ,franco1 a painter of ,venice1 has engraved1 partly with the burin and partly with aquafortis1 many works by the hands of various masters1 such as the ,nativity of ,christ1 the ,adoration of the ,magi1 the ,preaching of ,s4 ,peter1 some plates from the ,acts of the ,apostles1 and many stories from the ,old ,testament4 ,so far1 indeed1 has this practice of making prints been carried1 that those who make a profession of it keep draughtsmen continually employed in copying every beautiful work as it appears1 and put it into prints4 ,wherefore there came from ,france1 after the death of ,rosso1 engravings of all the work by his hand that could be found1 such as ,clelia with the ,sabine women passing the river2 some masks after the manner of the ,fates1 executed for ,king ,francis2 a bizarre ,annunciation2 a ,dance of ten women2 and ,king ,francis advancing alone into the ,temple of ,jupiter1 leaving behind him ,ignorance and other similar figures1 which were executed during the lifetime of ,rosso by the copper-plate engraver ,renato4#ah ,and many more have been drawn and engraved since ,rosso's death2 among many other works1 all the stories of ,ulysses1 and1 to say nothing of the rest1 vases1 chandeliers1 candelabra1 salt-cellars1 and a vast number of other suchlike things made in silver after designs of ,rosso4 ,luca ,penni1 also1 has published engravings of two ,satyrs giving drink to a ,bacchus1 a ,leda taking the arrows from the quiver of a ,cupid1 ,susannah in the ,bath1 and many other plates copied from the designs of the same ,rosso and of ,francesco ,primaticcio of ,bologna1 now ,abbot of ,s4 ,martin in ,france4 ,and among these engravings are the ,judgment of ,paris1 ,abraham sacrificing ,isaac1 a ,madonna1 ,christ marrying ,s4 ,catharine1 ,jove changing ,callisto into a bear1 the ,council of the ,gods1 ,penelope weaving with her women1 and other things without number1 engraved on wood1 and executed for the most part with the burin2 by reason of which the wits of the craftsmen have become very subtle1 insomuch that little figures have been engraved so well1 that it would not be possible to give them greater delicacy4 ,and who can see without marvelling the works of ,francesco ,marcolini of ,forl8 ,who1 besides other things1 printed the book of the ,garden of ,thoughts from wood-blocks1 placing at the beginning an astrologer's sphere and a head of himself after the design of ,giuseppe ,porta of ,castelnuovo della ,garfagnana2 in which book are various fanciful figures1 such as ,fate1 ,envy1 ,calamity1 ,timidity1 ,praise1 and many others of the same kind1 which were held to be most beautiful4 ,not otherwise than praiseworthy1 also1 were the figures that ,gabriele ,giolito1 a printer of books1 placed in the ,orlando ,furioso1 for they were executed in a beautiful manner of engraving4 ,and even such1 likewise1 were the eleven large anatomical plates that were done by ,andrea ,vessalio after the drawings of ,johann of ,calcar1 a most excellent ,flemish painter1 which were afterwards copied on smaller sheets and engraved on copper by ,valverde1 who wrote on anatomy after ,vessalio4 ,next1 among the many plates that have issued from the hands of ,flemings within the last ten years1 very beautiful are some drawn by one ,michele1#ai a painter1 who worked for many years in two chapels that are in the ,church of the ,germans at ,rome4 ,these plates contain the story of ,moses and the ,serpents1 and thirty-two stories of ,psyche and ,love1 which are held to be most beautiful4 ,hieronymus ,cock1 also a ,fleming1 has engraved a large plate after the invention and design of ,martin ,heemskerk1 of ,delilah cutting off the locks of ,samson2 and not far away is the ,temple of the ,philistines1 in which1 the towers having fallen1 one sees ruin and destruction in the dead1 and terror in the living1 who are taking to flight4 ,the same master has executed in three smaller plates the ,creation of ,adam and ,eve1 the ,eating of the ,fruit1 and the ,angel driving them out of ,paradise2 and in four other plates of the same size1 in the first the ,devil imprinting avarice and ambition into the heart of man1 and in the others all the passions that result from those two4 ,there may also be seen twenty-seven plates of the same size by his hand1 with stories from the ,old ,testament after the expulsion of ,adam from ,paradise1 drawn by ,martin in a bold1 well-practised1 and most resolute manner1 which is very similar to the ,italian4 ,hieronymus afterwards engraved six round plates with the history of ,susannah1 and twenty-three other stories from the ,old ,testament1 similar to those of ,abraham already mentioned--namely1 six plates with the story of ,david1 eight plates with that of ,solomon1 four with that of ,balaam1 and five with those of ,judith and ,susannah4 ,and from the ,new ,testament he engraved twenty-nine plates1 beginning with the ,annunciation of the ,virgin1 and continuing down to the whole ,passion and ,death of ,jesus ,christ4 ,he also engraved1 after the drawings of the same ,martin1 the seven ,works of ,mercy1 and the story of the rich ,lazarus and the poor ,lazarus1 and four plates with the ,parable of the ,samaritan wounded by thieves1 with four other plates of the ,parable of the ,talents1 written by ,s4 ,matthew in his eighteenth chapter4 ,at the time when ,hans ,liefrinck executed in competition with him ten plates of the ,life and ,death of ,s4 ,john the ,baptist1 he engraved the ,twelve ,tribes on an equal number of plates2 ,reuben upon a hog1 representing ,sensuality2 ,simeon with a sword as a symbol of ,homicide2 and in like manner the other heads of ,tribes with attributes appropriate to the nature of each4 ,he then executed ten plates1 engraved with greater delicacy1 with the stories and acts of ,david1 from the time of his being anointed by ,samuel to his going before ,saul2 and he engraved six other plates with the story of how ,amnon became enamoured of his sister ,tamar and ravished her1 and the death of that same ,amnon4 ,and not long afterwards he executed ten plates of similar size with the history of ,job2 and from thirteen chapters of the ,proverbs of ,solomon he drew subjects for five plates of the same kind4 ,he also engraved the story of the ,magi2 and then1 on six plates1 the ,parable that is in the twelfth chapter of ,s4 ,matthew1 of those who for various reasons refused to go to the ,king's ,feast1 and of him who went without having a wedding-garment2 and six plates of equal size with some of the acts of the ,apostles4 ,and in eight similar plates he engraved figures of women of perfect excellence1 in various costumes3 six from the ,old ,testament--,jael1 ,ruth1 ,abigail1 ,judith1 ,esther1 and ,susannah2 and two from the ,new--,mary the ,virgin1 ,mother of ,jesus ,christ1 and ,mary ,magdalene4 ,after these works he carried out the engraving of the ,triumphs of ,patience in six plates1 with various things of fancy4 ,in the first1 in a chariot1 is ,patience1 who has in her hand a standard1 on which is a rose among thorns4 ,in the second may be seen a burning heart1 beaten by three hammers1 upon an anvil2 and the chariot of this second plate is drawn by two figures--namely1 by ,desire1 who has wings upon the shoulders1 and by ,hope1 who has an anchor in the hand1 and behind them ,fortune1 with her wheel broken1 is led as a prisoner4 ,in the next plate is ,christ on a chariot1 with the standard of the ,cross and of ,his ,passion1 with the ,evangelists at the corners in the form of animals2 and this chariot is drawn by two lambs1 and has behind it four prisoners--the ,devil1 the ,world1 or rather1 the ,flesh1 ,sin1 and ,death4 ,in another ,triumph is ,isaac1 nude1 upon a camel2 on the banner that he holds in his hand are a pair of prisoner's irons2 and behind him is drawn the altar with the ram1 the knife1 and the fire4 ,in the next plate he made ,joseph riding in triumph on an ox crowned with ears of corn and fruits1 with a standard on which is a bee-hive2 and the prisoners that are led behind him are ,anger and ,envy1 who are devouring a heart4 ,he engraved in another ,triumph ,david on a lion1 with the harp1 and with a standard in his hand1 on which is a bit2 and behind him is ,saul as a prisoner1 and ,shimei1 with his tongue protruding4 ,in another plate is ,tobias riding in triumph on an ass1 and holding in his hand a banner1 on which is a fountain2 and behind him ,poverty and ,blindness1 bound1 are led as prisoners4 ,and in the last of the six ,triumphs is ,s4 ,stephen the ,proto-martyr1 who is riding in triumph on an elephant1 and has a standard with a figure of ,charity2 and the prisoners behind him are his persecutors4 ,all these were inventions full of fancy1 and very ingenious2 and they were all engraved by ,hieronymus ,cock1 whose hand is very bold1 sure1 and resolute4 ,the same master engraved a plate of ,fraud and ,avarice1 fantastic and beautiful1 and another very lovely plate of a ,feast of ,bacchanals1 with children dancing4 ,on another he represented ,moses passing across the ,red ,sea1 according as it had been painted by ,agnolo ,bronzino1 a painter of ,florence1 in the upper chapel in the ,palace of the ,duke of ,florence2 and in competition with him1 also after the design of ,bronzino1 ,giorgio ,mantovano engraved a ,nativity of ,jesus ,christ1 which was very beautiful4 ,after these works1 ,hieronymus engraved twelve plates of the victories1 battles1 and deeds of arms of ,charles ,v1 for him who was the inventor of the subjects2 and for ,verese1 a painter and a great master of perspective in those parts1 twenty plates with various buildings4 ,for ,hieronymus ,bosch he executed a plate of ,s4 ,martin1 with a barque full of ,devils in the most bizarre forms4 ,and he made another of an alchemist who loses all his possessions1 distilling away his brains and consuming all that he has in various ways1 insomuch that in the end he takes refuge in the hospital with his wife and children2 which plate was designed for him by a painter1 who caused him to engrave the ,seven ,mortal ,sins1 with ,demons of various forms1 which was a fantastic and laughable work4 ,he also engraved a ,last ,judgment2 an old man who is seeking with a lantern for peace among the wares of the world1 and finds it not2 likewise a great fish that is devouring some little fishes2 a figure of ,carnival enjoying the pleasures of the table with many others1 and driving ,lent away1 and another of ,lent driving away ,carnival2 and so many other whimsical and fantastic inventions1 that it would be wearisome to attempt to speak of them all4 ,many other ,flemings have imitated the manner of ,albrecht ,drer with the greatest care and subtlety1 as may be seen from their engravings1 and in particular from those of 444#bj who has engraved in little figures four stories of the ,creation of ,adam1 four of the lives of ,abraham and of ,lot1 and four others of ,susannah1 which are very beautiful4 ,in like manner1 ,g444 ,p444#ba has engraved the ,seven ,works of ,mercy in seven small round plates1 eight stories taken from the ,books of ,kings1 ,regulus placed in the barrel filled with nails1 and an ,artemisia1 which is a plate of great beauty4 ,j444 ,b444#bb has executed figures of the four ,evangelists1 which are so small that it seems scarcely possible that he could have done them2 and also five other very fine plates1 in the first of which is a ,virgin drawn into the grave by ,death in all the freshness of her youth1 and in the second is ,adam1 in the third a peasant1 in the fourth a ,bishop1 and in the fifth a ,cardinal1 each1 like the ,virgin1 called by ,death to his last account4 ,and in some others are many ,germans going on parties of pleasure with their wives1 and some beautiful and fantastic ,satyrs4 ,by 444 are plates of the four ,evangelists1 engraved with great care1 and no less beautiful than are twelve stories of the ,prodigal ,son executed with much diligence by the hand of ,m4444 ,and1 finally1 ,franz ,floris1 a painter famous in those parts1 has produced a great number of works and drawings which have since been engraved1 for the most part by ,hieronymus ,cock1 such as ten plates of the ,labours of ,hercules1 a large plate with all the activities of the life of man1 another with the ,horatii and ,curiatii engaged in combat in the lists1 the ,judgment of ,solomon1 and the ,battle between ,hercules and the ,pygmies4 ,the same master1 also1 has engraved a ,cain who has killed ,abel1 over whose body ,adam and ,eve are weeping2 an ,abraham who is about to sacrifice ,isaac on the altar1 and a vast number of other plates1 so full of variety and invention1 that it is indeed marvellous to think of all that has been done in engravings on copper and wood4 ,lastly1 it is enough to draw attention to the engravings of the portraits of the ,painters1 ,sculptors1 and ,architects in this our book1 which were drawn by ,giorgio ,vasari and his pupils1 and engraved by ,maestro ,cristofano 4441#bc who has executed in ,venice1 as he still continues to do1 a vast number of works worthy of record4 ,in conclusion1 for all the assistance that the ultramontanes have received from seeing the various ,italian manners by means of engravings1 and that the ,italians have received from having seen those of the ultramontanes and foreigners1 thanks should be rendered1 for the most part1 to ,marc' ,antonio ,bolognese1 in that1 besides the circumstance that he played a great part in the beginning of this profession1 as has been related1 there has not as yet been one who has much surpassed him1 although some few have equalled him in certain points4 ,this ,marc' ,antonio died at ,bologna1 not long after his departure from ,rome4 ,in our book are some drawings of ,angels by his hand1 done with the pen1 and some other very beautiful sheets drawn from the apartments that ,raffaello da ,urbino painted4 ,in one of these apartments ,marc' ,antonio1 as a young man1 was portrayed by ,raffaello in one of those grooms who are carrying ,pope ,julius ,,ii1 in that part where the ,high-,priest ,onias is praying4 ,and let this be the end of the ,lives of ,marc' ,antonio ,bolognese and of all the other engravers of prints mentioned above1 of whom ,i have thought it right to give this long but necessary account1 in order to satisfy not only the students of our arts1 but also all those who delight in works of that kind4 ,,footnote3 #ad ,luca di ,leyden4 #ae ,lambert ,zutmann4 #af ,jean ,cousin4 #ag ,nicolas ,beautrizet4 #ah ,ren ,boyvin4 #ai ,michael ,coxie4 #bj ,albrecht ,aldegrever4 #ba ,georg ,pencz4 #bb ,hans ,beham4 #bc ,cristofano ,coriolano4 ,,antonio ,,da ,,san ,,gallo 7,,the ,,younger7 ,,life ,,of ,,antonio ,,da ,,san ,,gallo 7,,the ,,younger7 ,,architect ,,of ,,florence ,how many great and illustrious ,princes1 abounding with infinite wealth1 would leave behind them a name renowned and glorious1 if they possessed1 together with their store of the goods of ,fortune1 a mind filled with grandeur and inclined to those things that not only embellish the world1 but also confer vast benefit and advantage on the whole race of men6 ,and what works can or should ,princes and great persons undertake more readily than noble and magnificent buildings and edifices1 both on account of the many kinds of men that are employed upon them in the making1 and because1 when made1 they endure almost to eternity8 ,for of all the costly enterprises that the ancient ,romans executed at the time when they were at the supreme height of their greatness1 what else is there left to us save those remains of buildings1 the everlasting glory of the ,roman name1 which we revere as sacred things and strive to imitate as the sole patterns of the highest beauty8 ,and how much these considerations occupied the minds of certain ,princes who lived in the time of the ,florentine architect1 ,antonio da ,san ,gallo1 will now be seen clearly in the ,life of him that we are about to write4 ,antonio1 then1 was the son of ,bartolommeo ,picconi of ,mugello1 a maker of casks2 and after having learned the joiner's craft in his boyhood1 hearing that his uncle1 ,giuliano da ,san ,gallo1 was working at ,rome in company with his brother ,antonio1 he set out from ,florence for that city4 ,and there1 having devoted himself to the matters of the art of architecture with the greatest possible zeal1 and pursuing that art1 he gave promise of those achievements that we see in such abundance throughout all ,italy1 in the vast number of works executed by him at a more mature age4 ,now it happened that ,giuliano was forced by the torment that he suffered from the stone to return to ,florence2 and ,antonio1 having become known to the architect ,bramante of ,castel ,durante1 began to give assistance to that master1 who1 being old and crippled in the hands by palsy1 was not able to work as before in the preparation of his designs4 ,and these ,antonio executed with such accuracy and precision that ,bramante1 finding that they were correct and true in all their measurements1 was constrained to leave to him the charge of a great number of works that he had on his hands1 only giving him the order that he desired and all the inventions and compositions that were to be used in each work4 ,in these he found himself served by ,antonio with so much judgment1 diligence1 and expedition1 that in the year #aeab he gave him the charge of the corridor that was to lead to the ditches of the ,castello di ,s4 ,angelo2 for which he began to receive a salary of ten crowns a month2 but the death of ,julius ,,ii then took place1 and the work was left unfinished4 ,however1 the circumstance that ,antonio had already acquired a name as a person of ability in architecture1 and one who had a very good manner in matters of building1 was the reason that ,alessandro1 who was first ,cardinal ,farnese1 and afterwards ,pope ,paul ,,iii1 conceived the idea of commissioning him to restore the old palace in the ,campo di ,fiore1 in which he lived with his family2 and for that work ,antonio1 desiring to grow in reputation1 made several designs in different manners4 ,among which1 one that was arranged with two apartments was that which pleased his very reverend ,highness1 who1 having two sons1 ,signor ,pier ,luigi and ,signor ,ranuccio1 thought that he would leave them well accommodated by such a building4 ,and1 a beginning having been made with that work1 a certain portion was constructed regularly every year4 ,at this time a church dedicated to ,s4 ,maria di ,loreto was being built at the ,macello de' ,corbi1 near the ,column of ,trajan1 in ,rome1 and it was brought to perfection by ,antonio1 with decorations of great beauty4 ,after this1 ,messer ,marchionne ,baldassini caused a palace to be erected from the model and under the direction of ,antonio1 near ,s4 ,agostino1 which is arranged in such a manner that1 small though it may be1 it is held to be1 as indeed it is1 the finest and most convenient dwelling in ,rome2 and in it the staircases1 the court1 the loggie1 the doors1 and the chimney-pieces1 are all executed with consummate grace4 ,with which ,messer ,marchionne being very well satisfied1 he determined that ,perino del ,vaga1 the ,florentine painter1 should decorate one of the halls in colour1 with scenes and other figures1 as will be related in his ,life2 which decorations have given it infinite grace and beauty4 ,and near the ,torre di ,nona ,antonio directed and finished the building of the house of the ,centelli1 which is small1 but very convenient4 ,no long time passed before he went to ,gradoli1 a place in the dominions of the very reverend ,cardinal ,farnese1 where he caused a most beautiful and commodious palace to be erected for that ,cardinal4 ,on that journey he did a work of great utility in restoring the fortress of ,capo di ,monte1 which he surrounded with low and well-shaped walls2 and at the same time he made the design of the fortress of ,caprarola4 ,and the very reverend ,monsignor ,farnese1 finding himself served by ,antonio in all these works in a manner so satisfactory1 was constrained to wish him well1 and1 coming to love him more and more1 he showed him favour in his every enterprise whenever he was able4 ,after this1 ,cardinal ,alborense1 wishing to leave a memorial of himself in the church of his nation1 caused a chapel of marble1 with a tomb for himself1 to be erected and brought to completion by ,antonio in ,s4 ,jacopo degli ,spagnuoli2 which chapel1 as has been related1 was all painted in the spaces between the pilasters by ,pellegrino da ,modena1 and on the altar stood a most beautiful ,s4 ,james of marble executed by ,jacopo ,sansovino4 ,this is a work of architecture that is held to be truly worthy of the highest praise1 since the marble ceiling is divided very beautifully into octagonal compartments4 ,nor was it long before ,m4 ,bartolommeo ,ferratino1 for his own convenience and for the benefit of his friends1 and also in order to leave an honourable and enduring memorial of himself1 commissioned ,antonio to build a palace on the ,piazza d' ,amelia1 which is a beautiful and most imposing work2 whereby ,antonio acquired no little fame and profit4 ,during this time ,antonio di ,monte1 ,cardinal of ,santa ,prassedia1 was in ,rome1 and he desired that the same architect should build for him the palace that he afterwards occupied1 looking out upon the ,agone1 where there is the statue of ,maestro ,pasquino2 and in the centre1 which looks over the ,piazza1 he wished to erect a tower4 ,this was planned and brought to completion for him by ,antonio with a most beautiful composition of pilasters and windows from the first floor to the third--a good and graceful design2 and it was adorned both within and without by ,francesco dell' ,indaco with figures and scenes in terretta4 ,and ,antonio having meanwhile become the devoted servant of the ,cardinal of ,arimini1 that lord caused him to erect a palace at ,tolentino in the ,march1 for which1 in addition to the rewards that ,antonio received1 the ,cardinal ever afterwards held himself indebted to him4 ,while these matters were in progress1 and the fame of ,antonio was growing and spreading abroad1 it happened that old age and various infirmities made ,bramante a citizen of the other world2 at which three architects were appointed straightway by ,pope ,leo for the building of ,s4 ,pietro--,raffaello da ,urbino1 ,giuliano da ,san ,gallo1 the uncle of ,antonio1 and ,fra ,giocondo of ,verona4 ,but no long time passed before ,fra ,giocondo departed from ,rome1 and ,giuliano1 being old1 received leave to return to ,florence4 ,whereupon ,antonio1 who was in the service of the very reverend ,cardinal ,farnese1 besought him very straitly that he should make supplication to ,pope ,leo1 to the end that he might grant the place of his uncle ,giuliano to him1 which proved to be a thing very easy to obtain1 first because of the abilities of ,antonio1 which were worthy of that place1 and then by reason of the cordial relations between the ,pope and the very reverend ,cardinal ,farnese4 ,and thus1 in company with ,raffaello da ,urbino1 he continued that building1 but coldly enough4 ,the ,pope then went to ,civit ,vecchia1 in order to fortify it1 and in his company were many lords2 among others1 ,giovan ,paolo ,baglioni and ,signor ,vitello1 and such persons of ability as ,pietro ,navarra and ,antonio ,marchissi1 the architect for fortifications at that time1 who had come from ,naples at the command of the ,pope4 ,discussions arising as to the fortification of that place1 many and various were the opinions about this1 one man making one design1 and another a different one2 but among so many1 ,antonio displayed before them a plan which was approved by the ,pope and by those lords and architects as superior to all the others in strength and beauty and in the handsome and useful character of its arrangements2 wherefore ,antonio came into very great credit with the ,court4 ,after this1 the genius of ,antonio repaired a great mischief brought about in the following manner3 ,raffaello da ,urbino1 in executing the ,papal ,loggie and the apartments that are over the foundations1 had left many empty spaces in the masonry in order to oblige some friends1 to the serious damage of the whole building1 by reason of the great weight that had to be supported above them2 and the edifice was already beginning to show signs of falling1 on account of the weight being too great for the walls4 ,and it would certainly have fallen down but for the genius of ,antonio1 who filled up those little chambers with the aid of props and beams1 and refounded the whole fabric1 thus making it as firm and solid as it had ever been in the beginning4 ,meanwhile the ,florentine colony had begun their church in the ,strada ,giulia1 behind the ,banchi1 from the design of ,jacopo ,sansovino4 ,but they had chosen a site that extended too far into the river1 so that1 compelled by necessity1 they spent twelve thousand crowns on foundations in the water1 which were executed in a very secure and beautiful manner by ,antonio1 who found the way after ,jacopo had failed to discover it2 and several braccia of the edifice were built over the water4 ,antonio made a model so excellent1 that1 if the work had been carried to completion1 it would have been something stupendous4 ,nevertheless1 it was a great error1 giving proof of little judgment1 on the part of those who were at that time the heads of that colony in ,rome1 for they should never have allowed the architects to found so large a church in so terrible a river1 for the sake of gaining twenty braccia of length1 and to throw away so many thousands of crowns on foundations1 only to be compelled to contend with that river for ever2 particularly because1 by bringing that church forward and giving it another form1 they might have built it on solid ground1 and1 what is more1 might have carried the whole to completion with almost the same expense4 ,and if they trusted in the riches of the merchants of that colony1 it was seen afterwards how fallacious such a hope was1 for in all the years that the pontificate was held by ,leo and ,clement of the ,medici family1 by ,julius ,,iii1 and by ,marcellus1 who all came from ,florentine territory1 although the last-named lived but a short time1 and for all the greatness of so many ,cardinals and the riches of so many merchants1 it remained1 as it still does1 in the same condition in which it was left by our ,san ,gallo4 ,it is clear1 therefore1 that architects and those who cause buildings to be erected should look well to the end and to every matter1 before setting their hands to works of importance4 ,but to return to ,antonio3 the fortress of ,monte ,fiascone had been formerly built by ,pope ,urban1 and he restored it at the commission of the ,pope1 who took him to those parts one summer in his train4 ,and at the request of ,cardinal ,farnese he built two little temples on the island of ,visentina in the ,lake of ,bolsena1 one of which was constructed as an octagon without and round within1 and the other was square on the outer side and octagonal on the inner1 with four niches in the walls at the corners1 one to each2 which two little temples1 executed in so beautiful a manner1 bore testimony to the skill with which ,antonio was able to give variety to the details of architecture4 ,while these temples were building1 ,antonio returned to ,rome1 where he made a beginning with the ,palace of the ,bishop of ,cervia1 which was afterwards left unfinished1 on the ,canto di ,s4 ,lucia1 where the new ,mint stands4 ,he built the ,church of ,s4 ,maria di ,monferrato1 which is held to be very beautiful1 near the ,corte ,savella1 and likewise the house of one ,marrano1 which is behind the ,cibo ,palace1 near the houses of the ,massimi4 ,meanwhile ,leo died1 and with him all the fine and noble arts1 which had been restored to life by him and by his predecessor1 ,julius ,,ii2 and his successor was ,adrian ,,vi1 in whose pontificate all arts and talents were so crushed down1 that1 if the government of the ,apostolic ,seat had remained long in his hands1 that fate would have come upon ,rome under his rule which fell upon her on another occasion1 when all the statues saved from the destruction of the ,goths1 both the good and the bad1 were condemned to be burned4 ,adrian1 perhaps in imitation of the ,pontiffs of those former times1 had already begun to speak of intending to throw to the ground the ,chapel of the divine ,michelagnolo1 saying that it was a bagnio of nudes2 and he despised all good pictures and statues1 calling them vanities of the world1 and shameful and abominable things1 which circumstance was the reason that not only ,antonio1 but all the other beautiful intellects were kept idle1 insomuch that1 not to mention other works1 scarcely anything was done in the time of that ,pontiff on the building of ,s4 ,pietro1 to which at least he should have been friendly1 since he wished to prove himself so much the enemy of worldly things4 ,for that reason1 therefore1 attending under that ,pontiff to works of no great importance1 ,antonio restored the aisles of the ,church of ,s4 ,jacopo degli ,spagnuoli1 and furnished the faade with most beautiful windows4 ,he also caused a tabernacle of travertine to be constructed for the ,imagine di ,ponte1 which1 although small1 is yet very graceful2 and in it ,perino del ,vaga afterwards executed a beautiful little work in fresco4 ,the poor arts had already come to an evil pass through the life of ,adrian1 when ,heaven1 moved to pity for them1 resolved by the death of one to give new life to thousands2 wherefore it removed him from the world and caused him to surrender his place to one who would fill that position more worthily and would govern the affairs of the world in a different spirit4 ,and thus a new ,pope was elected in ,clement ,,vii1 who1 being a man of generous mind1 and desiring to follow in the steps of ,leo and of the other members of his illustrious family who had preceded him1 bethought himself that1 even as he had created beautiful memorials of himself as ,cardinal1 so as ,pope he should surpass all others in restoring and adorning buildings4 ,that election1 then1 brought consolation to many men of talent1 and infused a potent and heaven-sent breath of life in those ingenious but timid spirits who had sunk into abasement2 and they1 thus revived1 afterwards executed the beautiful works that we see at the present day4 ,and first1 having been set to work at the commission of ,his ,holiness1 ,antonio straightway reconstructed a court in front of the ,loggie1 which had been painted previously under the direction of ,raffaello1 in the ,palace2 which court was a vast improvement in beauty and convenience1 for it was formerly necessary to pass through certain narrow and tortuous ways1 and ,antonio1 widening these and giving them better form1 made them spacious and beautiful4 ,but this part is not now in the condition in which ,antonio left it1 for ,pope ,julius ,,iii took away the columns of granite that were there1 in order to adorn his villa with them1 and altered everything4 ,antonio also executed the faade of the old ,mint of ,rome1 a work of great beauty and grace1 in the ,banchi1 making a rounded corner1 which is held to be a difficult and even miraculous thing2 and in that work he placed the arms of the ,pope4 ,and he refounded the unfinished part of the ,papal ,loggie1 which had remained incomplete at the death of ,pope ,leo1 and had not been continued1 or even touched1 through the negligence of ,adrian4 ,and thus1 at the desire of ,clement1 they were carried to their final completion4 ,his ,holiness then resolving to fortify ,parma and ,piacenza1 after many designs and models had been made by various craftsmen1 ,antonio was sent to those places1 and with him ,giuliano ,leno1 the supervisor of those fortifications4 ,when they had arrived there1 ,antonio having with him his pupil ,l',abacco1 ,pier ,francesco da ,viterbo1 a very able engineer1 and the architect ,michele ,san ,michele of ,verona1 all of them together carried the designs of those fortifications into execution4 ,which done1 the others remaining1 ,antonio returned to ,rome1 where ,pope ,clement1 since the ,palace was poorly supplied in the matter of apartments1 ordained that ,antonio should begin those in which the public consistories are held1 above the ,ferraria1 which were executed in such a manner1 that the ,pontiff was well satisfied with them1 and caused other apartments to be constructed above them for the ,chamberlains of ,his ,holiness4 ,over the ceilings of those apartments1 likewise1 ,antonio made others which were very commodious--a work which was most dangerous1 because it necessitated so much refounding4 ,in this kind of work ,antonio was in truth very able1 seeing that his buildings never showed a crack2 nor was there ever among the moderns any architect more cautious or more skilful in joining walls4 ,in the time of ,pope ,paul ,,ii1 the ,church of the ,madonna of ,loreto1 which was small1 and had its roof immediately over brick piers of rustic work1 had been refounded and brought to that size in which it may be seen at the present day1 by means of the skill and genius of ,giuliano da ,maiano2 and it had been continued from the outer string-course upwards by ,sixtus ,,iv and by others1 as has been related2 but finally1 in the time of ,clement1 in the year #aebf1 without having previously shown the slightest sign of falling1 it cracked in such a manner1 that not only the arches of the tribune were in danger1 but the whole church in many places1 for the reason that the foundations were weak and wanting in depth4 ,wherefore ,antonio was sent by the said ,pope ,clement to put right so great a mischief2 and when he had arrived at ,loreto1 propping up the arches and fortifying the whole1 like the resolute and judicious architect that he was1 he refounded all the building1 and1 making the walls and pilasters thicker both within and without1 he gave it a beautiful form1 both as a whole and in its well-proportioned parts1 and made it strong enough to be able to support any weight1 however great4 ,he adhered to one and the same order in the transepts and in the aisles of the church1 making superb mouldings on the architraves1 friezes1 and cornices above the arches1 and he rendered beautiful and well constructed in no common way the socles of the four great piers around the eight sides of the tribune which support the four arches--namely1 three in the transepts1 where the chapels are1 and the larger one in the central nave4 ,this work certainly deserves to be celebrated as the best that ,antonio ever executed1 and that not without sufficient reason1 seeing that those who erect some new building1 or raise one from the foundations1 have the power to make it high or low1 and to carry it to such perfection as they desire or are able to achieve1 without being hindered by anything2 which does not fall to the lot of him who has to rectify or restore works begun by others and brought to a sorry state either by the craftsman or by the circumstances of ,fortune2 whence it may be said that ,antonio restored a dead thing to life1 and did that which was scarcely possible4 ,having finished all this1 he arranged that the church should be covered with lead1 and gave directions for the execution of all that still remained to do2 and thus1 by his means1 that famous temple received a better form and more grace than it had possessed before1 and the hope of a long-enduring life4 ,he then returned to ,rome1 just after that city had been given over to sack2 and the ,pope was at ,orvieto1 where the ,court was suffering very greatly from want of water4 ,thereupon1 at the wish of the ,pontiff1 ,antonio built in that city a well all of stone1 twenty-five braccia wide1 with two spiral staircases cut in the tufa1 one above the other1 following the curve of the well4 ,by these two spiral staircases it is possible to descend to the bottom of the well1 insomuch that the animals that go there for water1 entering by one door1 go down by one of the two staircases1 and when they have come to the platform where they receive their load of water1 they pass1 without turning round1 into the other branch of the spiral staircase1 which winds above that of the descent1 and emerge from the well by a different door1 opposite to the other4 ,this work1 which was an ingenious1 useful1 and marvellously beautiful thing1 was carried almost to completion before the death of ,clement2 and the mouth of the well1 which alone remained to be executed1 was finished by order of ,pope ,paul ,,iii1 but not according to the directions drawn up by ,clement with the advice of ,antonio1 who was much commended for so beautiful a work4 ,certain it is that the ancients never built a structure equal to this in workmanship or ingenuity1 seeing1 above all1 that the central shaft is made in such a way that even down to the bottom it gives light by means of certain windows to the two staircases mentioned above4 ,while this work was in progress1 the same ,antonio directed the construction of the fortress of ,ancona1 which in time was carried to completion4 ,afterwards1 ,pope ,clement resolving1 at the time when his nephew ,alessandro de' ,medici was ,duke of ,florence1 to erect an impregnable fortress in that city1 ,signor ,alessandro ,vitelli1 ,pier ,francesco da ,viterbo1 and ,antonio laid out that castle1 or rather1 fortress1 which is between the ,porta al ,prato and the ,porta a ,s4 ,gallo1 and caused it to be built with such rapidity1 that no similar structure1 whether ancient or modern1 was ever completed so quickly4 ,in a great tower1 which was the first to be founded1 and was called the ,toso1 were placed many inscriptions and medals1 with the most solemn pomp and ceremony2 and this work is now celebrated over all the world1 and is held to be impregnable4 ,by order of ,antonio were summoned to ,loreto the sculptor ,tribolo1 ,raffaello da ,montelupo1 ,francesco da ,san ,gallo1 then a young man1 and ,simone ,cioli1 who finished the scenes of marble begun by ,andrea ,sansovino4 ,to the same place ,antonio summoned the ,florentine ,mosca1 a most excellent carver of marble1 who was then occupied1 as will be related in his ,life1 with a chimney-piece of stone for the heirs of ,pellegrino da ,fossombrone1 which proved to be a divine work of carving4 ,this master1 ,i say1 at the entreaty of ,antonio1 made his way to ,loreto1 where he executed festoons that are absolutely divine4 ,thus1 with rapidity and diligence1 the ornamentation of that ,chamber of ,our ,lady was completely finished1 although ,antonio had five works of importance on his hands at one and the same time1 to all of which1 notwithstanding that they were in different places1 distant one from another1 he gave his attention in such a manner that he never neglected any of them2 for when at any time he could not conveniently be there in person1 he availed himself of the assistance of his brother ,battista4 ,these five works were the above-mentioned ,fortress of ,florence1 that of ,ancona1 the work at ,loreto1 the ,apostolic ,palace1 and the well at ,orvieto4 ,after the death of ,clement1 when ,cardinal ,farnese was elected supreme ,pontiff under the title of ,paul ,,iii1 ,antonio1 having been the friend of the ,pope while he was a ,cardinal1 came into even greater credit2 and ,his ,holiness1 having created his son1 ,signor ,pier ,luigi1 ,duke of ,castro1 sent ,antonio to make the designs of the fortress which that ,duke caused to be founded in that place2 of the palace1 called the ,osteria1 that is on the ,piazza2 and of the ,mint1 built of travertine after the manner of that in ,rome1 which is in the same place4 ,nor were these the only designs that ,antonio made in that city1 for he prepared many others of palaces and other buildings for various persons1 both natives and strangers1 who erected edifices of such cost that it would seem incredible to one who has not seen them1 so ornate are they all1 so commodious1 and built with so little regard for expense2 which was done by many1 without a doubt1 in order to please the ,pope1 seeing that even by such means do many contrive to procure favours for themselves1 flattering the humour of ,princes2 and this is a thing not otherwise than worthy of praise1 for it contributes to the convenience1 advantage1 and pleasure of the whole world4 ,next1 in the year in which the ,emperor ,charles ,v returned victorious from ,tunis1 most magnificent triumphal arches were erected to him in ,messina1 in ,apulia1 and in ,naples1 in honour of so great a victory2 and since he was to come to ,rome1 ,antonio1 at the commission of the ,pope1 made a triumphal arch of wood at the ,palace of ,s4 ,marco1 of such a shape that it might serve for two streets1 and so beautiful that a more superb or better proportioned work in wood has never been seen4 ,and if in such a work splendid and costly marbles had been added to the industry1 art1 and diligence bestowed on its design and execution1 it might have been deservedly numbered1 on account of its statues1 painted scenes1 and other ornaments1 among the ,seven ,wonders of the world4 ,this arch1 which was placed at the end of the corner turning into the principal ,piazza1 was of the ,corinthian ,order1 with four round columns overlaid with silver on each side1 and capitals carved in most beautiful foliage1 completely overlaid with gold4 ,there were very beautiful architraves1 friezes1 and cornices placed with projections over every column2 and between each two columns were two painted scenes1 insomuch that there were four scenes distributed over each side1 which1 with the two sides1 made eight scenes altogether1 containing1 as will be described elsewhere in speaking of those who painted them1 the deeds of the ,emperor4 ,in order to enhance this splendour1 also1 and to complete the pediment above that arch on each side1 there were two figures in relief1 each four braccia and a half in height1 representing ,rome1 with two ,emperors of the ,house of ,austria on either side1 those on the front part being ,albrecht and ,maximilian1 and those on the other side ,frederick and ,rudolph4 ,and upon the corners1 likewise1 were four prisoners1 two on each side1 with a great number of trophies1 also in relief1 and the arms of ,his ,holiness and of ,his ,majesty2 which were all executed under the direction of ,antonio by excellent sculptors and by the best painters that there were in ,rome at that time4 ,and not only this arch was executed under the direction of ,antonio1 but also all the preparations for the festival that was held for the reception of so great and so invincible an ,emperor4 ,the same ,antonio then set to work on the ,fortress of ,nepi for the aforesaid ,duke of ,castro1 and on the fortification of the whole city1 which is both beautiful and impregnable4 ,he laid out many streets in the same city1 and made for its citizens the designs of many houses and palaces4 ,his ,holiness then causing the bastions of ,rome to be constructed1 which are very strong1 and the ,porta di ,s4 ,spirito being included among those works1 the latter was built with the direction and design of ,antonio1 with rustic decorations of travertine1 in a very solid and beautiful manner1 and so magnificent1 that it equals the works of the ancients4 ,after the death of ,antonio1 there were some who sought1 moved more by envy than by any reasonable motive1 and employing extraordinary means1 to have this structure pulled down2 but this was not allowed by those in power4 ,under the direction of the same architect was refounded almost the whole of the ,apostolic ,palace1 which was in danger of ruin in many other parts besides those that have been mentioned2 in particular1 on one side1 the ,sistine ,chapel1 in which are the works of ,michelagnolo1 and likewise the faade1 which he did in such a way that not the slightest crack appeared--a work richer in danger than in honour4 ,he enlarged the ,great ,hall of that same ,sistine ,chapel1 making in two lunettes at the head of it those immense windows with their marvellous lights1 and with compartments pushed up into the vaulting and wrought in stucco2 all executed at great cost1 and so well1 that this hall may be considered the richest and the most beautiful that there had been in the world up to that time4 ,and he added to it a staircase1 by which it might be possible to go into ,s4 ,pietro1 so commodious and so well built that nothing better1 whether ancient or modern1 has yet been seen2 and likewise the ,pauline ,chapel1 where the ,sacrament has to be placed1 which is a work of extraordinary charm1 so beautiful and so well proportioned and distributed1 that through the grace that may be seen therein it appears to present itself to the eye with a festive smile4 ,antonio built the ,fortress of ,perugia1 at the time when there was discord between the people of that city and the ,pope2 and that work1 for which the houses of the ,baglioni were thrown to the ground1 was finished with marvellous rapidity1 and proved to be very beautiful4 ,he also built the ,fortress of ,ascoli1 bringing it in a few days to such a condition that it could be held by a garrison1 although the people of ,ascoli and others did not think that it could be carried so far in many years2 wherefore it happened that1 when the garrison was placed in it so quickly1 those people were struck with astonishment1 and could scarce believe it4 ,he also refounded his own house in the ,strada ,giulia at ,rome1 in order to protect himself from the floods that rise when the ,tiber is swollen2 and he not only began1 but in great part completed1 the palace that he occupied near ,s4 ,biagio1 which now belongs to ,cardinal ,riccio of ,montepulciano1 who has finished it1 adding most ornate apartments1 and spending upon it vast sums in addition to what had been spent by ,antonio1 which was some thousands of crowns4 ,but all that ,antonio did to the benefit and advantage of the world is as nothing in comparison with the model of the venerable and stupendous fabric of ,s4 ,pietro at ,rome1 which1 planned in the beginning by ,bramante1 he enlarged and rearranged with a new plan and in an extraordinary manner1 giving it dignity and a well-proportioned composition1 both as a whole and in its separate parts1 as may be seen from the model made of wood by the hand of his disciple1 ,antonio ,l',abacco1 who carried it to absolute perfection4 ,this model1 which gave ,antonio a very great name1 was published in engraving after the death of ,antonio da ,san ,gallo1 together with the ground-plan of the whole edifice1 by the said ,antonio ,l',abacco1 who wished to show in this way how great was the genius of ,san ,gallo1 and to make known to all men the opinion of that architect2 for new plans had been proposed in opposition by ,michelagnolo ,buonarroti1 and out of this change of plans many contentions afterwards arose1 as will be related in the proper place4 ,it appeared to ,michelagnolo1 and also to many others who saw the model of ,san ,gallo1 and such parts as were carried into execution by him1 that ,antonio's composition was too much cut up by projections and by members which are too small1 as are also the columns1 the arches upon arches1 and the cornices upon cornices4 ,besides this1 it seems not to be approved that the two bell-towers in his plan1 the four little tribunes1 and the principal cupola1 should have that ornament1 or rather1 garland of columns1 many and small4 ,in like manner1 men did not much approve1 nor do they now1 of those innumerable pinnacles that are in it as a finish to the work2 and it appears that in that model he imitated the style and manner of the ,germans rather than the good manner of the ancients1 which is now followed by the best architects4 ,the above-mentioned model of ,s4 ,pietro was finished by ,l',abacco a short time after the death of ,antonio2 and it was found that1 in so far as appertained merely to the woodwork and the labour of the carpenters1 it had cost four thousand one hundred and eighty-four crowns4 ,in executing it1 ,antonio ,l',abacco1 who had charge of the work1 acquitted himself very well1 having a good knowledge of the matters of architecture1 as is proved by the book of the buildings of ,rome that he printed1 which is very beautiful4 ,this model1 which is now to be found in the principal chapel of ,s4 ,pietro1 is thirty-five palme#bd in length1 twenty-six in breadth1 and twenty palme and a half in height2 wherefore1 according to the model1 the work would have been one thousand and forty palme in length1 or one hundred and four canne1#be and three hundred and sixty palme in breadth1 or thirty-six canne1 for the reason that the canna which is used in ,rome1 according to the measure of the masons1 is equal to ten palme4 ,for the making of this model and of many designs1 there were assigned to ,antonio by the ,wardens of the building of ,s4 ,pietro fifteen hundred crowns1 of which he received one thousand in cash2 but the rest he never drew1 for a short time after that work he passed to the other life4 ,he strengthened the piers of the same ,church of ,s4 ,pietro1 to the end that the weight of the tribune might be supported securely2 and he filled all the scattered parts of the foundations with solid material1 and made them so strong1 that there is no reason to fear that the building may show any more cracks or threaten to fall1 as it did in the time of ,bramante4 ,this masterly work1 if it were above the ground instead of being hidden below1 would amaze the boldest intellect4 ,and for these reasons the name and fame of this admirable craftsman should always have a place among the rarest masters4 ,we find that ever since the time of the ancient ,romans the men of ,terni and those of ,narni have been deadly enemies with one another1 as they still are1 for the reason that the lake of the ,marmora1 becoming choked up at times1 would do injury to one of those communities2 and thus1 when the people of ,narni wished to release the waters1 those of ,terni would by no means consent to it4 ,on that account there has always been a difference between them1 whether the ,pontiffs were governing ,rome1 or whether it was subject to the ,emperors2 and in the time of ,cicero that orator was sent by the ,senate to compose that difference1 but it remained unsettled4 ,wherefore1 after envoys had been sent to ,pope ,paul ,,iii in the year #aedf for the same purpose1 he despatched ,antonio to them to settle that dispute2 and so1 by his good judgment1 it was resolved that the lake should have an outlet on the side where the wall is1 and ,antonio had it cut1 although with the greatest difficulty4 ,but it came to pass by reason of the heat1 which was great1 and other hardships1 that ,antonio1 being now old and feeble1 fell sick of a fever at ,terni1 and rendered up his spirit not long after2 at which his friends and relatives felt infinite sorrow1 and many buildings suffered1 particularly the ,palace of the ,farnese family1 near the ,campo di ,fiore4 ,illustration3 ,,palazzo ,,farnese 7,after ,antonio di ,san ,gallo 7with ,michelangelo74 ,rome47 ,anderson ,pope ,paul ,,iii1 when he was ,cardinal ,alessandro ,farnese1 had carried that palace a considerable way towards completion1 and had finished part of the first range of windows in the faade and the inner hall1 and had begun one side of the courtyard2 but the building was yet not so far advanced that it could be seen in its perfection1 when the ,cardinal was elected ,pontiff1 and ,antonio altered the whole of the original design1 considering that he had to make a palace no longer for a ,cardinal1 but for a ,pope4 ,having therefore pulled down some houses that were round it1 and the old staircase1 he rebuilt it with a more gentle ascent1 and increased the courtyard on every side and also the whole palace1 making the halls greater in extent and the rooms more numerous and more magnificent1 with very beautiful carved ceilings and many other ornaments4 ,and he had already brought the faade1 with the second range of windows1 to completion1 and had only to add the great cornice that was to go right round the whole1 when the ,pope1 who was a man of exalted mind and excellent judgment1 desiring to have a cornice richer and more beautiful than any that there had ever been in any other palace whatsoever1 resolved that1 in addition to the designs that ,antonio had made1 all the best architects of ,rome should each make one1 after which he would choose the finest1 but would nevertheless have it carried into execution by ,antonio4 ,and so one morning1 while he was at table at the ,belvedere1 all those designs were brought before him in the presence of ,antonio1 the masters who had made them being ,perino del ,vaga1 ,fra ,sebastiano del ,piombo1 ,michelagnolo ,buonarroti1 and ,giorgio ,vasari1 who was then a young man and in the service of ,cardinal ,farnese1 at the commission of whom and of the ,pope he had prepared for that cornice not one only1 but two different designs4 ,it is true that ,buonarroti did not bring his own himself1 but sent it by the same ,giorgio ,vasari1 who had gone to show him his designs1 to the end that he might express his opinion on them as a friend2 whereupon ,michelagnolo gave him his own design1 asking that he should take it to the ,pope and make his excuses for not going in person1 on the ground that he was indisposed4 ,and when all the designs had been presented to the ,pope1 his ,holiness examined them for a long time1 and praised them all as ingenious and very beautiful1 but that of the divine ,michelagnolo above all4 ,now all this did not happen without causing vexation to ,antonio1 who was not much pleased with this method of procedure on the part of the ,pope1 and who would have liked to do everything by himself4 ,but even more was he displeased to see that the ,pope held in great account one ,jacomo ,melighino of ,ferrara1 and made use of him as architect in the building of ,s4 ,pietro1 although he showed neither power of design nor much judgment in his works1 giving him the same salary as he paid to ,antonio1 on whom fell all the labour4 ,and this happened because this ,melighino had been the faithful servant of the ,pope for many years without any reward1 and it pleased ,his ,holiness to recompense him in that way2 not to mention that he had charge of the ,belvedere and of some other buildings belonging to the ,pope4 ,after the ,pope1 therefore1 had seen all the designs mentioned above1 he said1 perchance to try ,antonio3 ,these are all beautiful1 but it would not be amiss for us to see another that our ,melighino has made4 ,at which ,antonio1 feeling some resentment1 and believing that the ,pope was making fun of him1 replied3 ,holy ,father1 ,melighino is but an architect in jest4 ,which hearing1 the ,pope1 who was seated1 turned towards ,antonio1 and1 bowing his head almost to the ground1 answered3 ,antonio1 it is our wish that ,melighino should be an architect in earnest1 as you may see from his salary4 ,having said this1 he dismissed the company and went away2 and by these words he meant to show that it is very often by ,princes rather than by their own merits that men are brought to the greatness that they desire4 ,the cornice was afterwards executed by ,michelagnolo1 who reconstructed the whole of that palace almost in another form1 as will be related in his ,life4 ,after the death of ,antonio there remained alive his brother ,battista ,gobbo1 a person of ability1 who spent all his time on the buildings of ,antonio1 although the latter did not behave very well towards him4 ,this ,battista did not live many years after ,antonio1 and at his death he left all his possessions to the ,florentine ,company of the ,misericordia in ,rome1 on the condition that the men of that ,company should cause to be printed a book of ,observations on ,vitruvius that he had written4 ,that book has never come into the light of day1 but it is believed to be a good work1 for he had a very fine knowledge of the matters of his art1 and was a man of excellent judgment1 and he was also upright and true4 ,but returning to ,antonio3 having died at ,terni1 he was taken to ,rome and carried to the grave with the greatest pomp1 followed by all the craftsmen of design and by many others2 and then1 at the instance of the ,wardens of ,s4 ,pietro1 his body was placed in a tomb near the ,chapel of ,pope ,sixtus in ,s4 ,pietro1 with the following epitaph3 ,,antonio ,,sancti ,,galli ,,florentino1 ,,urbe ,,munienda ,,ac ,,pub4 ,,operibus1 ,,pr,,cipueque ,d4 ,,petri ,,templo ,,ornan4 ,,architectorum ,,facile ,,principi1 ,,dum ,,velini ,,lacus ,,emissionem ,,parat1 ,,paulo ,,pont4 ,,max4 ,,auctore1 ,,interamn ,,intempestive ,,extincto1 ,,isabella ,,deta ,,uxor ,,moestiss4 ,,posuit #aedf1 ,,iii4 ,,calend4 ,,octobris4 ,and in truth ,antonio1 who was a most excellent architect1 deserves to be celebrated and extolled1 as his works clearly demonstrate1 no less than any other architect1 whether ancient or modern4 ,,footnote3 #bd ,the palma as used here is equal to about nine inches4 #be ,the canna is equal to four braccia4 ,,giulio ,,romano ,,life ,,of ,,giulio ,,romano ,,painter ,among his many1 or rather innumerable1 disciples1 the greater number of whom became able masters1 ,raffaello da ,urbino had not one who imitated him more closely in manner1 invention1 design1 and colouring1 than did ,giulio ,romano1 nor one who was better grounded1 more bold1 resolute1 prolific1 and versatile1 or more fanciful and varied than ,giulio2 not to mention for the present that he was very pleasant in his conversation1 gay1 amiable1 gracious1 and supremely excellent in character4 ,these qualities were the reason that he was so beloved by ,raffaello1 that1 if he had been his son1 he could not have loved him more2 wherefore it came to pass that ,raffaello always made use of him in his most important works1 and1 in particular1 in executing the ,papal ,loggie for ,leo ,x2 for after ,raffaello had made the designs for the architecture1 the decorations1 and the scenes1 he caused ,giulio to paint many of the pictures there1 among which are the ,creation of ,adam and ,eve1 that of the animals1 the ,building of ,noah's ,ark1 his ,sacrifice1 and many other works1 which are known by the manner1 such as the one in which the daughter of ,pharaoh1 with her ladies1 finds ,moses in the little ark1 which had been cast adrift on the river by the ,hebrews--a work that is marvellous on account of a very well executed landscape4 ,giulio also assisted ,raffaello in painting many things in that apartment of the ,borgia ,tower which contains the ,burning of the ,borgo1 more particularly the base1 which is painted in the colour of bronze1 with the ,countess ,matilda1 ,king ,pepin1 ,charlemagne1 ,godfrey de ,bouillon1 ,king of ,jerusalem1 and other benefactors of the ,church--all excellent figures2 and prints of a part of this scene1 taken from a drawing by the hand of ,giulio1 were published not long since4 ,the same ,giulio also executed the greater part of the scenes in fresco that are in the ,loggia of ,agostino ,chigi2 and he worked in oils on a very beautiful picture of ,s4 ,elizabeth1 which was painted by ,raffaello and sent to ,king ,francis of ,france1 together with another picture1 of ,s4 ,margaret1 painted almost entirely by ,giulio after the design of ,raffaello1 who sent to the same ,king the portrait of the ,vice-,queen of ,naples1 wherein ,raffaello did nothing but the likeness of the head from life1 and the rest was finished by ,giulio4 ,these works1 which were very dear to that ,king1 are still in the ,king's ,chapel at ,fontainebleau in ,france4 ,working in this manner in the service of his master ,raffaello1 and learning the most difficult secrets of art1 which were taught to him by ,raffaello himself with extraordinary lovingness1 before a long time had passed ,giulio knew very well how to draw in perspective1 take the measurements of buildings1 and execute ground-plans2 and ,raffaello1 designing and sketching at times inventions after his own fancy1 would afterwards have them drawn on a larger scale1 with the proper measurements1 by ,giulio1 in order to make use of them in his works of architecture4 ,and ,giulio1 beginning to delight in that art1 gave his attention to it in such a manner1 that he afterwards practised it and became a most excellent master4 ,at his death1 ,raffaello left as his heirs ,giulio and ,giovan ,francesco1 called ,il ,fattore1 on the condition that they should finish the works begun by him2 and they carried the greater part of these to completion with honour4 ,illustration3 ,,the ,,battle ,,of ,,constantine 7,detail1 after the fresco by ,giulio ,romano4 ,rome3 ,the ,vatican7 ,anderson ,now ,cardinal ,giulio de' ,medici1 who afterwards became ,pope ,clement ,,vii1 took a site under ,monte ,mario at ,rome1 in which1 besides a beautiful view1 there were running waters1 with some woods on the banks and a lovely plain which1 running along the ,tiber as far as the ,ponte ,molle1 formed on either side a wide expanse of meadowland that extended almost to the ,porta di ,s4 ,pietro2 and on the highest point of the bank1 where there was a level space1 he proposed to build a palace with all the best and most beautiful conveniences and adornments that could be desired in the form of apartments1 loggie1 gardens1 fountains1 groves1 and other things4 ,of all this he gave the charge to ,giulio1 who1 undertaking it willingly1 and setting his hand to the work1 brought that palace1 which was then called the ,vigna de' ,medici1 and is now known as the ,villa ,madama1 to that condition which will be described below4 ,accommodating himself1 then1 to the nature of the site and the wishes of the ,cardinal1 he made the faade in the form of a semicircle1 after the manner of a theatre1 with a design of niches and windows of the ,ionic ,order2 which was so excellent1 that many believe that ,raffaello made the first sketch for it1 and that the work was afterwards pursued and carried to completion by ,giulio4 ,the same ,giulio painted many pictures in the chambers and elsewhere2 in particular1 in a very beautiful loggia beyond the first entrance vestibule1 which is adorned all around with niches large and small1 wherein are great numbers of ancient statues2 and among these was a ,jupiter1 a rare work1 which was afterwards sent by the ,farnese family to ,king ,francis of ,france1 with many other most beautiful statues4 ,in addition to those niches1 the said loggia is all wrought in stucco and has the walls and ceilings all painted with grotesques by the hand of ,giovanni da ,udine4 ,at the head of this loggia ,giulio painted in fresco an immense ,polyphemus with a vast number of children and little satyrs playing about him1 for which he gained much praise1 even as he did for all the designs and works that he executed for that place1 which he adorned with fish-ponds1 pavements1 rustic fountains1 groves1 and other suchlike things1 all most beautiful and carried out with fine order and judgment4 ,it is true that1 the death of ,leo supervening1 for a time this work was carried no further1 for when a new ,pontiff had been elected in ,adrian1 and ,cardinal de' ,medici had returned to ,florence1 it was abandoned1 together with all the public works begun by ,adrian's predecessor4 ,during this time ,giulio and ,giovan ,francesco brought to completion many things that had been left unfinished by ,raffaello1 and they were preparing to carry into execution some of the cartoons that he had made for the pictures of the ,great ,hall of the ,palace--in which he had begun to paint four stories from the life of the ,emperor ,constantine1 and had1 when he died1 covered one wall with the proper mixture for painting in oils--when they saw that ,adrian1 being a man who took no delight in pictures1 sculptures1 or in any other good thing1 had no wish that the ,hall should be finished4 ,driven to despair1 therefore1 ,giulio and ,giovan ,francesco1 and with them ,perino del ,vaga1 ,giovanni da ,udine1 ,sebastiano ,viniziano1 and all the other excellent craftsmen1 were almost like to die of hunger during the lifetime of ,adrian4 ,but by the will of ,god1 while the ,court1 accustomed to the magnificence of ,leo1 was all in dismay1 and all the best craftsmen1 perceiving that no art was prized any longer1 were beginning to consider where they might take refuge1 ,adrian died1 and ,cardinal ,giulio de' ,medici was elected ,supreme ,pontiff under the name of ,clement ,,vii2 and with him all the arts of design1 together with the other arts1 were restored to life in one day4 ,giulio and ,giovan ,francesco1 full of joy1 set themselves straightway by order of the ,pope to finish the above-mentioned ,hall of ,constantine1 and threw to the ground the preparation that had been laid on one wall for painting in oils2 but they left untouched two figures that they had painted previously in oils1 which serve as adornments to certain ,popes2 and these were a ,justice and another similar figure4 ,the distribution of this ,hall1 which is low1 had been designed with much judgment by ,raffaello1 who had placed at the corners1 over all the doors1 large niches with ornaments in the form of little boys holding various devices of ,leo1 such as lilies1 diamonds1 plumes1 and other emblems of the ,house of ,medici4 ,in the niches were seated some ,popes in pontificals1 each with a canopy in his niche2 and round those ,popes were some little boys in the form of little angels1 holding books and other appropriate things in their hands4 ,and each ,pope had on either side of him a ,virtue1 chosen according to his merits2 thus1 the ,apostle ,peter had ,religion on one side and ,charity1 or rather ,piety1 on the other1 and so all the others had similar ,virtues2 and the said ,popes were ,damasus ,i1 ,alexander ,i1 ,leo ,,iii1 ,gregory1 ,sylvester1 and some others4 ,all these figures were so well placed in position and executed by ,giulio1 who painted all the best parts of this work in fresco1 that it is clear that he endured much labour and took great pains with them2 as may also be seen from a drawing of ,s4 ,sylvester1 which was designed very well by his own hand1 and is perhaps a much more graceful work than the painted figure4 ,it may be affirmed1 indeed1 that ,giulio always expressed his conceptions better in drawings than in finished work or in paintings1 for in the former may be seen more vivacity1 boldness1 and feeling2 and this may have happened because he made a drawing in an hour1 in all the heat and glow of working1 whereas on paintings he spent months1 and even years1 so that1 growing weary of them1 and losing that keen and ardent love that one has at the beginning of a work1 it is no marvel that he did not give them that absolute perfection that is to be seen in his drawings4 ,but to return to the stories3 ,giulio painted on one of the walls ,constantine making an address to his soldiers2 while in the air1 in a splendour of light1 appears the ,sign of the ,cross1 with some little boys1 and letters that run thus3 ,in hoc signo vinces4 ,and there is a dwarf at the feet of ,constantine1 placing a helmet on his head1 who is executed with great art4 ,next1 on the largest wall1 there is the battle of horsemen which took place at the ,ponte ,molle1 in which ,constantine routed ,maxentius4 ,this work is worthy of the highest praise1 on account of the dead and wounded that may be seen in it1 and the various extravagant attitudes of the foot-soldiers and horsemen who are fighting in groups1 all painted with great spirit2 not to mention that there are many portraits from life4 ,and if this scene were not too much darkened and loaded with blacks1 which ,giulio always delighted to use in colouring1 it would be altogether perfect2 but this takes away much of its grace and beauty4 ,in the same scene he painted the whole landscape of ,monte ,mario1 and the ,river ,tiber1 in which ,maxentius1 who is on horseback1 proud and terrible1 is drowning4 ,in short1 ,giulio acquitted himself in such a manner in this work1 that it has been a great light to all who have painted battle-pieces of that kind since his day4 ,he himself learned so much from the ancient columns of ,trajan and ,antoninus that are in ,rome1 that he made much use of this knowledge for the costumes of soldiers1 armour1 ensigns1 bastions1 palisades1 battering-rams1 and all the other instruments of war that are painted throughout the whole of that ,hall4 ,and beneath these scenes1 right round1 he painted many things in the colour of bronze1 which are all beautiful and worthy of praise4 ,on another wall he painted ,s4 ,sylvester the ,pope baptizing ,constantine1 representing there the very bath made by ,constantine himself1 which is at ,s4 ,giovanni ,laterano at the present day2 and he made a portrait from life of ,pope ,clement in the ,s4 ,sylvester who is baptizing1 with some assistants in their vestments1 and a crowd of people4 ,among the many attendants of the ,pope of whom he painted portraits there1 also from life1 was the ,cavalierino1 who was very influential with ,his ,holiness at that time1 and ,messer ,niccol ,vespucci1 a ,knight of ,rhodes4 ,and below this1 on the base1 he painted a scene with figures in imitation of bronze1 of ,constantine causing the ,church of ,s4 ,pietro to be built at ,rome1 in allusion to ,pope ,clement4 ,there he made portraits of the architect ,bramante and of ,giuliano ,lemi1#bf holding the design of the ground-plan of the said church1 and this scene is very beautiful4 ,on the fourth wall1 above the chimney-piece of that ,hall1 he depicted in perspective the ,church of ,s4 ,pietro at ,rome1 with the ,pope's throne exactly as it appears when ,his ,holiness chants the ,pontifical ,mass2 the body of ,cardinals and all the other prelates of the ,court2 the chapel of singers and musicians2 and the ,pope seated1 represented as ,s4 ,sylvester1 with ,constantine kneeling at his feet and presenting to him a figure of ,rome made of gold in the manner of those that are on the ancient medals1 by which ,giulio intended to signify the dowry which that ,constantine gave to the ,roman ,church4 ,in this scene ,giulio painted many women kneeling there to see that ceremony1 who are very beautiful2 a beggar asking for alms2 a little boy amusing himself by riding on a dog2 and the ,lancers of the ,papal ,guard1 who are making the people give way and stand back1 as is the custom4 ,and among many portraits that are in this work may be seen portraits from life of ,giulio himself1 the painter2 of ,count ,baldassarre ,castiglioni1 the author of the ,cortigiano1 and very much his friend2 of ,pontano and ,marullo2 and of many other men of letters and courtiers4 ,right round the ,hall and between the windows ,giulio painted many devices and poetical compositions1 which were pleasing and fanciful2 and everything was much to the satisfaction of the ,pope1 who rewarded him liberally for his labours4 ,while this ,hall was being painted1 ,giulio and ,giovan ,francesco1 although they could not meet the demands of their friends even in part1 executed an altar-piece with the ,assumption of ,our ,lady1 a very beautiful work1 which was sent to ,perugia and placed in the ,convent of the ,nuns of ,monteluci4 ,then1 having withdrawn to work by himself1 ,giulio painted a picture of ,our ,lady1 with a cat that was so natural that it appeared to be truly alive2 whence that picture was called the ,picture of the ,cat4 ,in another picture1 of great size1 he painted a ,christ being scourged at the ,column1 which was placed on the altar of the ,church of ,s4 ,prassedia at ,rome4 ,and not long after this1 ,m4 ,giovan ,matteo ,giberti1 who was then ,datary to ,pope ,clement1 and afterwards became ,bishop of ,verona1 commissioned ,giulio1 who was his very familiar friend1 to make the design for some rooms that were built of brick near the gate of the ,papal ,palace1 looking out upon the ,piazza of ,s4 ,pietro1 and serving for the accommodation of the trumpeters who blow their trumpets when the ,cardinals go to the ,consistory1 with a most commodious flight of steps1 which can be ascended on horseback as well as on foot4 ,for the same ,m4 ,giovan ,matteo he painted an altar-piece of the ,stoning of ,s4 ,stephen1 which ,m4 ,giovan ,matteo sent to a benefice of his own1 called ,s4 ,stefano1 in ,genoa4 ,in this altar-piece1 which is most beautiful in invention1 grace1 and composition1 the young ,saul may be seen seated on the garments of ,s4 ,stephen while the ,jews are stoning him2 and1 in a word1 ,giulio never painted a more beautiful work than this1 so fierce are the attitudes of the persecutors and so well expressed the patience of ,stephen1 who appears to be truly seeing ,jesus ,christ on the right hand of the ,father in the ,heaven1 which is painted divinely well4 ,this work1 together with the benefice1 ,m4 ,giovan ,matteo gave to the ,monks of ,monte ,oliveto1 who have turned the place into a monastery4 ,the same ,giulio executed at the commission of the ,german ,jacob ,fugger1 for a chapel that is in ,s4 ,maria de ,anima at ,rome1 a most lovely altar-piece in oils1 in which are the ,madonna1 ,s4 ,anne1 ,s4 ,joseph1 ,s4 ,james1 ,s4 ,john as a little boy kneeling1 and ,s4 ,mark the ,evangelist with a lion at his feet1 which is lying down with a book1 its hair curving in accordance with its position1 which was a beautiful consideration1 and difficult to execute2 not to mention that the same lion has short wings on its shoulders1 with feathers so soft and plumy1 that it seems almost incredible that the hand of a craftsman could have been able to imitate nature so closely4 ,besides this1 he painted there a building that curves in a circular form after the manner of a theatre1 with some statues so beautiful and so well placed that there is nothing better to be seen4 ,among other figures there is a woman who is spinning and gazing at a hen with some chickens1 than which nothing could be more natural2 and above ,our ,lady are some little boys1 very graceful and well painted1 who are upholding a canopy4 ,and if this picture1 also1 had not been so heavily loaded with black1 by reason of which it has become very dark1 it would certainly have been much better2 but this blackness has brought it about that the greater part of the work that is in it is lost or destroyed1 and that because black1 even when fortified with varnish1 is the ruin of all that is good1 always having in it a certain desiccative quality1 whether it be made from charcoal1 burnt ivory1 smoke-black1 or burnt paper4 ,among the many disciples that ,giulio had while he was executing these works1 such as ,bartolommeo da ,castiglione1 ,tommaso ,papacello of ,cortona1 and ,benedetto ,pagni of ,pescia1 those of whom he made the most particular use were ,giovanni da ,lione and ,raffaello dal ,colle of ,borgo a ,san ,sepolcro1 both of whom assisted him in the execution of many things in the ,hall of ,constantine and in the other works of which we have spoken4 ,wherefore ,i do not think it right to refrain from mentioning that these two1 who were very dexterous in painting1 and followed the manner of ,giulio closely in carrying into execution the works that he designed for them1 painted in colours after his design1 near the old ,mint in the ,banchi1 the escutcheon of ,pope ,clement ,,vii1 each of them doing one-half1 with two terminal figures1 one on either side of that escutcheon4 ,and the same ,raffaello1 not long after1 painted in fresco from a cartoon drawn by ,giulio1 in a lunette within the door of the ,palace of ,cardinal della ,valle1 a ,madonna who is covering the ,child1 who is sleeping1 with a piece of drapery1 with ,s4 ,andrew the ,apostle on one side and ,s4 ,nicholas on the other1 which was held1 with justice1 to be an excellent picture4 ,giulio1 meanwhile1 being very intimate with ,messer ,baldassarre ,turini da ,pescia1 built for him on ,mount ,janiculum1 where there are some villas that have a most beautiful view1 after making the design and model1 a palace so graceful and so well appointed1 from its having all the conveniences that could be desired in such a place1 that it defies description4 ,moreover1 the apartments were adorned not only with stucco1 but also with paintings1 for he himself painted there some stories of ,numa ,pompilius1 who was buried on that spot2 and in the bathroom of this palace1 with the help of his young men1 ,giulio painted some stories of ,venus1 ,love1 ,apollo1 and ,hyacinthus1 which are all to be seen in engraving4 ,after having separated himself completely from ,giovan ,francesco1 he executed various architectural works in ,rome1 such as the design of the house of the ,alberini in the ,banchi 7although some believe that the plan of this work came from ,raffaello71 and likewise a palace that may be seen at the present day on the ,piazza della ,dogana in ,rome1 which1 being beautiful in design1 has been reproduced in engraving4 ,and for himself1 on a corner of the ,macello de' ,corbi1 where stood his own house1 in which he was born1 he made a beginning with a beautiful range of windows1 which is a small thing1 but very graceful4 ,by reason of all these excellent qualities1 ,giulio1 after the death of ,raffaello1 was celebrated as the best craftsman in ,italy4 ,and ,count ,baldassarre ,castiglioni1 who was then in ,rome as ambassador from ,federigo ,gonzaga1 ,marquis of ,mantua1 and was much the friend1 as has been related1 of ,giulio1 having been commanded by his master the ,marquis to send him an architect of whom he might avail himself for the necessities of his palace and of the city1 the ,marquis adding that he would particularly like to have ,giulio--the ,count1 ,i say1 so wrought upon him with entreaties and promises1 that ,giulio said that he would go1 provided that he could do this with the leave of ,pope ,clement2 which leave having been obtained1 the ,count1 setting out for ,mantua1 from which he was then to go on behalf of the ,pope to the ,emperor1 took ,giulio with him2 and having arrived there1 he presented him to the ,marquis1 who1 after welcoming him warmly1 caused an honourably appointed house to be given to him1 together with a salary and also a good table for himself1 for his disciple ,benedetto ,pagni1 and for another young man who was in his service2 and1 what is more1 the ,marquis sent him several canne of velvet1 satin1 and other kinds of silk and cloth wherewith to clothe himself4 ,then1 hearing that he had no horse to ride1 he sent for a favourite horse of his own1 called ,luggieri1 and presented it to him2 and when ,giulio had mounted upon it1 they rode to a spot a bow-shot beyond the ,porta di ,s4 ,bastiano1 where ,his ,excellency had a place with some stables1 called the ,t1 standing in the middle of a meadow1 in which he kept his stud of horses and mares4 ,arriving there1 the ,marquis said that he would like1 without destroying the old walls1 to have some sort of place arranged to which he might resort at times for dinner or supper1 as a recreation4 ,giulio1 having heard the will of the ,marquis1 and having examined the whole place1 took a ground-plan of that site and set his hand to the work4 ,availing himself of the old walls1 he made in the principal part the first hall that is to be seen at the present day as one enters1 with the suite of rooms that are about it4 ,and since the place has no living rock1 and no quarries from which to excavate material for hewn and carved stone1 such as are used in building by those who can obtain them1 he made use of brick and baked stone1 which he afterwards worked over with stucco2 and with this material he made columns1 bases1 capitals1 cornices1 doors1 windows1 and other things1 all with most beautiful proportions4 ,and he executed the decorations of the vaults in a new and fantastic manner1 with very handsome compartments1 and with richly adorned recesses1 which was the reason that the ,marquis1 after a beginning so humble1 then resolved to have the whole of that building reconstructed in the form of a great palace4 ,illustration3 ,,the ,,marriage ,,banquet ,,of ,,cupid ,,and ,,psyche 7,after the fresco by ,giulio ,romano4 ,mantua3 ,palazzo del ,t7 ,alinari ,thereupon ,giulio made a very beautiful model1 all of rustic work both without and within the courtyard1 which pleased that lord so much1 that he assigned a good sum of money for the building2 and after ,giulio had engaged many masters1 the work was quickly carried to completion4 ,the form of the palace is as follows3 ,the building is quadrangular1 and has in the centre an open courtyard after the manner of a meadow1 or rather1 of a piazza1 into which open four entrances in the form of a cross4 ,the first of these traverses straightway1 or rather1 passes1 into a very large loggia1 which opens by another into the garden1 and two others lead into various apartments2 and these are all adorned with stucco-work and paintings4 ,in the hall to which the first entrance gives access the vaulting is wrought in various compartments and painted in fresco1 and on the walls are portraits from life of all the favourite and most beautiful horses from the stud of the ,marquis1 together with the dogs of the same coat or marking as the horses1 with their names2 which were all designed by ,giulio1 and painted in fresco on the plaster by the painters ,benedetto ,pagni and ,rinaldo ,mantovano1 his disciples1 and so well1 in truth1 that they seem to be alive4 ,from this hall one passes into a room which is at one corner of the palace1 and has the vaulting most beautifully wrought with compartments in stucco-work and varied mouldings1 touched in certain places with gold4 ,these mouldings divide the surface into four octagons1 which enclose a picture in the highest part of the vaulting1 in which is ,cupid marrying ,psyche in the sight of ,jove1 who is on high1 illumined by a dazzling celestial light1 and in the presence of all the ,gods4 ,it would not be possible to find anything executed with more grace or better draughtsmanship than this scene1 for ,giulio foreshortened the figures so well1 with a view to their being seen from below1 that some of them1 although they are scarcely one braccio in length1 appear when seen from the ground to be three braccia high2 and1 in truth1 they are wrought with marvellous art and ingenuity1 ,giulio having succeeded in so contriving them1 that1 besides seeming to be alive 7so strong is the relief71 they deceive the human eye with a most pleasing illusion4 ,in the octagons are all the earlier stories of ,psyche1 showing the adversities that came upon her through the wrath of ,venus1 and all executed with the same beauty and perfection2 in other angles are many ,loves1 as likewise in the windows1 producing various effects in accordance with the spaces where they are2 and the whole of the vaulting is painted in oils by the hands of the above-mentioned ,benedetto and ,rinaldo4 ,the rest of the stories of ,psyche are on the walls below1 and these are the largest4 ,in one in fresco is ,psyche in the bath2 and the ,loves are bathing her1 and then wiping her dry with most beautiful gestures4 ,in another part is ,mercury preparing the banquet1 while ,psyche is bathing1 with the ,bacchantes sounding instruments2 and there are the ,graces adorning the table with flowers in a beautiful manner4 ,there is also ,silenus supported by ,satyrs1 with his ass1 and a goat lying down1 which has two children sucking at its udder2 and in that company is ,bacchus1 who has two tigers at his feet1 and stands leaning with one arm on the credence1 on one side of which is a camel1 and on the other an elephant4 ,this credence1 which is barrel-shaped1 is adorned with festoons of verdure and flowers1 and all covered with vines laden with bunches of grapes and leaves1 under which are three rows of bizarre vases1 basins1 drinking-cups1 tazze1 goblets1 and other things of that kind in various forms and fantastic shapes1 and so lustrous1 that they seem to be of real silver and gold1 being counterfeited with a simple yellow and other colours1 and that so well1 that they bear witness to the extraordinary genius and art of ,giulio1 who proved in this part of the work that he was rich1 versatile1 and abundant in invention and craftsmanship4 ,not far away may be seen ,psyche1 who1 surrounded by many women who are serving and attiring her1 sees ,phoebus appearing in the distance among the hills in the chariot of the sun1 which is drawn by four horses2 while ,zephyr is lying nude upon some clouds1 and is blowing gentle breezes through a horn that he has in his mouth1 which make the air round ,psyche balmy and soft4 ,these stories were engraved not many years since after the designs of ,battista ,franco of ,venice1 who copied them exactly as they were painted from the great cartoons of ,giulio by ,benedetto of ,pescia and ,rinaldo ,mantovano1 who carried into execution all the stories except the ,bacchus1 the ,silenus1 and the two children suckled by the goat2 although it is true that the work was afterwards retouched almost all over by ,giulio1 so that it is very much as if it had been all painted by him4 ,this method1 which he learned from ,raffaello1 his instructor1 is very useful to young men1 who in this way obtain practice and thereby generally become excellent masters4 ,and although some persuade themselves that they are greater than those who keep them at work1 such fellows1 if their guide fails them before they are at the end1 or if they are deprived of the design and directions for the work1 learn that through having lost or abandoned that guidance too early they are wandering like blind men in an infinite sea of errors4 ,but to return to the apartments of the ,t2 from that room of ,psyche one passes into another full of double friezes with figures in low-relief1 executed in stucco after the designs of ,giulio by ,francesco ,primaticcio of ,bologna1 then a young man1 and by ,giovan ,battista ,mantovano1 in which friezes are all the soldiers that are on ,trajan's ,column at ,rome1 wrought in a beautiful manner4 ,and on the ceiling1 or rather soffit1 of an antechamber is painted in oils the scene when ,icarus1 having been taught by his father ,ddalus1 seeks to rise too high in his flight1 and1 after seeing the ,sign of ,cancer and the chariot of the sun1 which is drawn by four horses in foreshortening1 near the ,sign of ,leo1 is left without his wings1 the wax being consumed by the heat of the sun2 and near this the same ,icarus may be seen hurtling through the air1 and almost falling upon those who gaze at him1 his face dark with the shadow of death4 ,this invention was so well conceived and imagined by ,giulio1 that it seems to be real and true1 for in it one sees the fierce heat of the sun burning the wretched youth's wings1 the flaming fire gives out smoke1 and one almost hears the crackling of the burning plumes1 while death may be seen carved in the face of ,icarus1 and in that of ,ddalus the most bitter sorrow and agony4 ,in our book of drawings by various painters is the original design of this very beautiful scene1 by the hand of ,giulio himself1 who executed in the same place the stories of the twelve months of the year1 showing all that is done in each of them in the arts most practised by mankind--paintings which are notable no less for their fantastic and delightful character and their beauty of invention than for the judgment and diligence with which they were executed4 ,after passing the great loggia1 which is adorned with stucco-work and with many arms and various other bizarre ornaments1 one comes to some rooms filled with such a variety of fantasies1 that the brain reels at the thought of them4 ,for ,giulio1 who was very fanciful and ingenious1 wishing to demonstrate his worth1 resolved to make1 at an angle of the palace which formed a corner similar to that of the room of ,psyche described above1 an apartment the masonry of which should be in keeping with the painting1 in order to deceive as much as possible all who might see it4 ,he therefore had double foundations of great depth sunk at that corner1 which was in a marshy place1 and over that angle he constructed a large round room1 with very thick walls1 to the end that the four external angles of the masonry might be strong enough to be able to support a double vault1 round after the manner of an oven4 ,this done1 he caused to be built at the corners right round the room1 in the proper places1 the doors1 windows1 and fireplace1 all of rustic stones rough-hewn as if by chance1 and1 as it were1 disjointed and awry1 insomuch that they appeared to be really hanging over to one side and falling down4 ,having built this room in such strange fashion1 he set himself to paint in it the most fantastic composition that he was able to invent--namely1 ,jove hurling his thunderbolts against the ,giants4 ,and so1 depicting ,heaven on the highest part of the vaulting1 he placed there the throne of ,jove1 representing it as seen in foreshortening from below and from the front1 within a round temple1 supported by open columns of the ,ionic ,order1 with his canopy over the centre of the throne1 and with his eagle2 and all was poised upon the clouds4 ,lower down he painted ,jove in anger1 slaying the proud ,giants with his thunderbolts1 and below him is ,juno1 assisting him2 and around them are the ,winds1 with strange countenances1 blowing towards the earth1 while the ,goddess ,ops turns with her lions at the terrible noise of the thunder1 as also do the other ,gods and ,goddesses1 and ,venus in particular1 who is at the side of ,mars2 and ,momus1 with his arms outstretched1 appears to fear that ,heaven may be falling headlong down1 and yet he stands motionless4 ,the ,graces1 likewise1 are standing filled with dread1 and beside them1 in like manner1 the ,hours4 ,all the ,deities1 in short1 are taking to flight with their chariots4 ,the ,moon1 ,saturn1 and ,janus are going towards the lightest of the clouds1 in order to withdraw from that terrible uproar and turmoil1 and the same does ,neptune1 who1 with his dolphins1 appears to be seeking to support himself on his trident4 ,pallas1 with the nine ,muses1 stands wondering what horrible thing this may be1 and ,pan1 embracing a ,nymph who is trembling with fear1 seems to wish to save her from the glowing fires and the lightning-flashes with which the heavens are filled4 ,apollo stands in the chariot of the sun1 and some of the ,hours seem to be seeking to restrain the course of his horses4 ,bacchus and ,silenus1 with ,satyrs and ,nymphs1 betray the greatest terror1 and ,vulcan1 with his ponderous hammer on one shoulder1 gazes towards ,hercules1 who is speaking of this event with ,mercury1 beside whom is ,pomona all in dismay1 as are also ,vertumnus and all the other ,gods dispersed throughout that ,heaven1 in which all the effects of fear are so well expressed1 both in those who are standing and in those who are flying1 that it is not possible1 ,i do not say to see1 but even to imagine a more beautiful fantasy in painting than this one4 ,in the parts below1 that is1 on the walls that stand upright1 underneath the end of the curve of the vaulting1 are the ,giants1 some of whom1 those below ,jove1 have upon their backs mountains and immense rocks which they support with their stout shoulders1 in order to pile them up and thus ascend to ,heaven1 while their ruin is preparing1 for ,jove is thundering and the whole ,heaven burning with anger against them2 and it appears not only that the ,gods are dismayed by the presumptuous boldness of the ,giants1 upon whom they are hurling mountains1 but that the whole world is upside down and1 as it were1 come to its last day4 ,in this part ,giulio painted ,briareus in a dark cavern1 almost covered with vast fragments of mountains1 and the other ,giants all crushed and some dead beneath the ruins of the mountains4 ,besides this1 through an opening in the darkness of a grotto1 which reveals a distant landscape painted with beautiful judgment1 may be seen many ,giants flying1 all smitten by the thunderbolts of ,jove1 and1 as it were1 on the point of being overwhelmed at that moment by the fragments of the mountains1 like the others4 ,in another part ,giulio depicted other ,giants1 upon whom are falling temples1 columns1 and other pieces of buildings1 making a vast slaughter and havoc of those proud beings4 ,and in this part1 among those falling fragments of buildings1 stands the fireplace of the room1 which1 when there is a fire in it1 makes it appear as if the ,giants are burning1 for ,pluto is painted there1 flying towards the centre with his chariot drawn by lean horses1 and accompanied by the ,furies of ,hell2 and thus ,giulio1 not departing from the subject of the story with this invention of the fire1 made a most beautiful adornment for the fireplace4 ,in this work1 moreover1 in order to render it the more fearsome and terrible1 ,giulio represented the ,giants1 huge and fantastic in aspect1 falling to the earth1 smitten in various ways by the lightnings and thunderbolts2 some in the foreground and others in the background1 some dead1 others wounded1 and others again covered by mountains and the ruins of buildings4 ,wherefore let no one ever think to see any work of the brush more horrible and terrifying1 or more natural than this one2 and whoever enters that room and sees the windows1 doors1 and other suchlike things all awry and1 as it were1 on the point of falling1 and the mountains and buildings hurtling down1 cannot but fear that everything will fall upon him1 and1 above all1 as he sees the ,gods in the ,heaven rushing1 some here1 some there1 and all in flight4 ,and what is most marvellous in the work is to see that the whole of the painting has neither beginning nor end1 but is so well joined and connected together1 without any divisions or ornamental partitions1 that the things which are near the buildings appear very large1 and those in the distance1 where the landscapes are1 go on receding into infinity2 whence that room1 which is not more than fifteen braccia in length1 has the appearance of open country4 ,moreover1 the pavement being of small round stones set on edge1 and the lower part of the upright walls being painted with similar stones1 there is no sharp angle to be seen1 and that level surface has the effect of a vast expanse1 which was executed with much judgment and beautiful art by ,giulio1 to whom our craftsmen are much indebted for such inventions4 ,in this work the above-mentioned ,rinaldo ,mantovano became a perfect colourist1 for he carried the whole of it into execution after the cartoons of ,giulio1 as well as the other rooms4 ,and if this painter had not been snatched from the world so young1 even as he did honour to ,giulio during his lifetime1 so he would have done honour 7to himself7 after ,giulio's death4 ,illustration3 ,,the ,,destruction ,,of ,,the ,,giants ,,by ,,the ,,thunderbolts ,,of ,,jove 7,after the fresco by ,giulio ,romano4 ,mantua3 ,palazzo del ,t1 ,sala dei ,giganti7 ,alinari ,in addition to this palace1 in which ,giulio executed many other works worthy to be praised1 of which1 in order to avoid prolixity1 ,i shall say nothing1 he reconstructed with masonry many rooms in the castle where the ,duke lives at ,mantua1 and made two very large spiral staircases1 with very rich apartments adorned all over with stucco4 ,in one hall he caused the whole of the story of ,troy and the ,trojan ,war to be painted1 and likewise twelve scenes in oils in an antechamber1 below the heads of the twelve ,emperors previously painted there by ,tiziano ,vecelli1 which are all held to be excellent4 ,in like manner1 at ,marmirolo1 a place five miles distant from ,mantua1 a most commodious building was erected after the design of ,giulio and under his direction1 with large paintings no less beautiful than those of the castle and of the palace of the ,t4 ,the same master painted an altar-piece in oils for the ,chapel of ,signora ,isabella ,buschetta in ,s4 ,andrea at ,mantua1 of ,our ,lady in the act of adoring the ,infant ,jesus1 who is lying on the ground1 with ,s4 ,joseph1 the ass and the ox near a manger1 and on one side ,s4 ,john the ,evangelist1 and ,s4 ,longinus on the other1 figures of the size of life4 ,next1 on the walls of the same chapel1 he caused ,rinaldo to paint two very beautiful scenes after his own designs2 on one1 the ,crucifixion of ,jesus ,christ1 with the ,thieves1 some ,angels in the air1 and on the ground the ministers of the ,crucifixion and the ,maries1 with many horses1 in which he always delighted1 making them beautiful to a marvel1 and many soldiers in various attitudes2 and1 on the other1 the scene when the ,blood of ,christ was discovered in the time of the ,countess ,matilda1 which was a most beautiful work4 ,giulio then painted with his own hand for ,duke ,federigo a picture of ,our ,lady washing the little ,jesus ,christ1 who is standing in a basin1 while a little ,s4 ,john is pouring out the water from a vase4 ,both of these figures1 which are of the size of life1 are very beautiful2 and in the distance are small figures1 from the waist upwards1 of some ladies who are coming to visit the ,madonna4 ,this picture was afterwards presented by the ,duke to ,signora ,isabella ,buschetta1 of which lady ,giulio subsequently made a most beautiful portrait in a little picture of the ,nativity of ,christ1 one braccio in height1 which is now in the possession of ,signor ,vespasiano ,gonzaga1 together with another picture presented to him by ,duke ,federigo1 and likewise by the hand of ,giulio1 in which are a young man and a young woman embracing each other on a bed1 in the act of caressing one another1 while an old woman peeps at them secretly from behind a door--figures which are little less than life-size1 and very graceful4 ,in the house of the same person is another very excellent picture of a most beautiful ,s4 ,jerome1 also by the hand of ,giulio4 ,and in the possession of ,count ,niccola ,maffei is a picture of ,alexander the ,great1 of the size of life1 with a ,victory in his hand1 copied from an ancient medal1 which is a work of great beauty4 ,after these works1 ,giulio painted in fresco over a chimney-piece1 for ,m4 ,girolamo1 the organist of the ,duomo at ,mantua1 who was very much his friend1 a ,vulcan who is working his bellows with one hand and holding with the other1 with a pair of tongs1 the iron head of an arrow that he is forging1 while ,venus is tempering in a vase some already made and placing them in ,cupid's quiver4 ,this is one of the most beautiful works that ,giulio ever executed2 and there is little else in fresco by his hand to be seen4 ,for ,s4 ,domenico1 at the commission of ,m4 ,lodovico da ,fermo1 he painted an altar-piece of the ,dead ,christ1 whom ,joseph and ,nicodemus are preparing to lay in the sepulchre1 and near them are ,his ,mother1 the other ,maries1 and ,s4 ,john the ,evangelist4 ,and a little picture1 in which he also painted a ,dead ,christ1 is in the house of the ,florentine ,tommaso da ,empoli at ,venice4 ,at the same time when he was executing these and other pictures1 it happened that ,signor ,giovanni de' ,medici1 having been wounded by a musket-ball1 was carried to ,mantua1 where he died4 ,whereupon ,m4 ,pietro ,aretino1 who was the devoted servant of that lord1 and very much the friend of ,giulio1 desired that ,giulio should mould a likeness of him with his own hand as he lay dead2 and he1 therefore1 having taken a cast from the face of the dead man1 executed a portrait from it1 which remained for many years afterwards in the possession of the same ,aretino4 ,for the entry of the ,emperor ,charles ,v into ,mantua1 ,giulio1 by order of the ,duke1 made many most beautiful festive preparations in the form of arches1 scenery for dramas1 and a number of other things2 in which inventions ,giulio had no equal1 nor was there ever any man more fanciful in preparing masquerades and in designing extravagant costumes for jousts1 festivals1 and tournaments1 as was seen at that time with amazement and marvel by the ,emperor ,charles and by all who were present4 ,besides this1 at different times he gave so many designs for chapels1 houses1 gardens1 and faades throughout the whole of ,mantua1 and he so delighted to embellish and adorn the city1 that1 whereas it was formerly buried in mud and at times full of stinking water and almost uninhabitable1 he brought it to such a condition that at the present day1 thanks to his industry1 it is dry1 healthy1 and altogether pleasing and delightful4 ,while ,giulio was in the service of that ,duke1 one year the ,po1 bursting its banks1 inundated ,mantua in such a manner1 that in certain low-lying parts of the city the water rose to the height of nearly four braccia1 insomuch that for a long time frogs lived in them almost all the year round4 ,giulio1 therefore1 after pondering in what way he might put this right1 so went to work that for the time being the city was restored to its former condition2 and to the end that the same might not happen another time1 he contrived to have the streets on that side raised so much1 by command of the ,duke1 that they came above the level of the water1 and the buildings stood in safety4 ,in that part of the city the houses were small1 slightly built1 and of no great importance1 and he gave orders that they should be pulled down1 in order to raise the streets and bring that quarter to a better state1 and that new houses1 larger and more beautiful1 should be built there1 to the advantage and improvement of the city4 ,to this measure many opposed themselves1 saying to the ,duke that ,giulio was doing too much havoc2 but he would not hear any of them--nay1 he made ,giulio superintendent of the streets at that very time1 and decreed that no one should build in that city save under ,giulio's direction4 ,on which account many complaining and some even threatening ,giulio1 this came to the ears of the ,duke1 who used such words in his favour as made it known that if they did anything to the despite or injury of ,giulio1 he would count it as done to himself1 and would make an example of them4 ,the ,duke was so enamoured of the excellence of ,giulio1 that he could not live without him2 and ,giulio1 on his part1 bore to that lord the greatest reverence that it is possible to imagine4 ,wherefore he never asked a favour for himself or for others without obtaining it1 and when he died it was found that with all that he had received from the ,duke he had an income of more than a thousand ducats4 ,giulio built a house for himself in ,mantua1 opposite to ,s4 ,barnaba1 on the outer side of which he made a fantastic faade1 all wrought with coloured stucco1 and the interior he caused to be all painted and wrought likewise with stucco2 and he found place in it for many antiquities brought from ,rome and others received from the ,duke1 to whom he gave many of his own4 ,he made so many designs both for ,mantua and for places in its neighbourhood1 that it was a thing incredible2 for1 as has been told1 no palaces or other buildings of importance could be erected1 particularly in the city1 save after his design4 ,he rebuilt upon the old walls the ,church of ,s4 ,benedetto1 a rich and vast seat of ,black ,friars at ,mantua1 near the ,po2 and the whole church was embellished with most beautiful paintings and altar-pieces from designs by his hand4 ,and since his works were very highly prized throughout ,lombardy1 it pleased ,gian ,matteo ,giberti1 ,bishop of ,verona1 to have the tribune of the ,duomo of that city all painted1 as has been related in another place1 by ,il ,moro the ,veronese1 after designs by ,giulio4 ,for the ,duke of ,ferrara1 also1 he executed many designs for tapestries1 which were afterwards woven in silk and gold by ,maestro ,niccol and ,giovan ,battista ,rosso1 both ,flemings2 and of these there are engravings to be seen1 executed by ,giovan ,battista ,mantovano1 who engraved a vast number of things drawn by ,giulio1 and in particular1 besides three drawings of battles engraved by others1 a physician who is applying cupping-glasses to the shoulders of a woman1 and the ,flight of ,our ,lady into ,egypt1 with ,joseph holding the ass by the halter1 and some ,angels bending down a date-palm in order that ,christ may pluck the fruit4 ,the same master engraved1 also after the designs of ,giulio1 the ,wolf on the ,tiber suckling ,romulus and ,remus1 and four stories of ,pluto1 ,jove and ,neptune1 who are dividing the heavens1 the earth1 and the sea among them by lot2 and likewise the goat ,amaltheia1 which1 held by ,melissa1 is giving suck to ,jove1 and a large plate of many men in a prison1 tortured in various ways4 ,there were also printed1 after the inventions of ,giulio1 ,scipio and ,hannibal holding a parley with their armies on the banks of the river2 the ,nativity of ,s4 ,john the ,baptist1 which was engraved by ,sebastiano da ,reggio1 and many other works engraved and printed in ,italy4 ,in ,flanders and in ,france1 likewise1 have been printed innumerable sheets from designs by ,giulio1 of which1 although they are very beautiful1 there is no need to make mention1 nor of all his drawings1 seeing that he made them1 so to speak1 in loads4 ,let it be enough to say that he was so facile in every field of art1 and particularly in drawing1 that we have no record of any one who has produced more than he did4 ,giulio1 who was very versatile1 was able to discourse on every subject1 but above all on medals1 upon which he spent large sums of money and much time1 in order to gain knowledge of them4 ,and although he was employed almost always in great works1 this did not mean that he would not set his hand at times to the most trifling matters in order to oblige his patron and his friends2 and no sooner had one opened his mouth to explain to him his conception than he had understood it and drawn it4 ,among the many rare things that he had in his house was the portrait from life of ,albrecht ,drer on a piece of fine ,rheims cloth1 by the hand of ,albrecht himself1 who sent it1 as has been related in another place1 as a present to ,raffaello da ,urbino4 ,this portrait was an exquisite thing1 for it had been coloured in gouache with much diligence with water-colours1 and ,albrecht had executed it without using lead-white1 availing himself in its stead of the white of the cloth1 with the delicate threads of which he had so well rendered the hairs of the beard1 that it was a thing scarcely possible to imagine1 much less to do2 and when held up to the light it showed through on either side4 ,this portrait1 which was very dear to ,giulio1 he showed to me himself as a miracle1 when ,i went during his lifetime to ,mantua on some affairs of my own4 ,at the death of ,duke ,federigo1 by whom ,giulio had been beloved beyond belief1 he was so overcome with sorrow1 that he would have left ,mantua1 if the ,cardinal1 the brother of the ,duke1 on whom the government of the ,state had descended because the sons of ,federigo were very young1 had not detained him in that city1 where he had a wife and children1 houses1 villas1 and all the other possessions that are proper to a gentleman of means4 ,and this the ,cardinal did 7aided by those reasons7 from a wish to avail himself of the advice and assistance of ,giulio in renovating1 or rather building almost entirely anew1 the ,duomo of that city2 to which work ,giulio set his hand1 and carried it well on in a very beautiful form4 ,at this time ,giorgio ,vasari1 who was much the friend of ,giulio1 although they did not know one another save only by reputation and by letters1 in going to ,venice1 took the road by ,mantua1 in order to see ,giulio and his works4 ,and so1 having arrived in that city1 and going to find his friend1 when they met1 although they had never seen each other1 they knew one another no less surely than if they had been together in person a thousand times4 ,at which ,giulio was so filled with joy and contentment1 that for four days he never left him1 showing him all his works1 and in particular all the ground-plans of the ancient edifices in ,rome1 ,naples1 ,pozzuolo1 and ,campania1 and of all the other fine antiquities of which anything is known1 drawn partly by him and partly by others4 ,then1 opening a very large press1 he showed to ,giorgio the ground-plans of all the buildings that had been erected after his designs and under his direction1 not only in ,mantua and in ,rome1 but throughout all ,lombardy1 which were so beautiful1 that ,i1 for my part1 do not believe that there are to be seen any architectural inventions more original1 more lovely1 or better composed4 ,after this1 the ,cardinal asking ,giorgio what he thought of the works of ,giulio1 ,giorgio answered in the presence of ,giulio that they were such that he deserved to have a statue of himself placed at every corner of the city1 and that1 since he had given that city a new life1 the half of the ,state would not be a sufficient reward for the labours and abilities of ,giulio2 to which the ,cardinal answered that ,giulio was more the master of that ,state than he was himself4 ,and since ,giulio was very loving1 especially towards his friends1 there was no mark of love and affection that ,giorgio did not receive from him4 ,the same ,vasari1 having left ,mantua and gone to ,venice1 returned to ,rome at the very time when ,michelagnolo had just uncovered his ,last ,judgment in the ,chapel2 and he sent to ,giulio by ,m4 ,nino ,nini of ,cortona1 the secretary of the aforesaid ,cardinal of ,mantua1 three sheets containing the ,seven ,mortal ,sins1 copied from that ,last ,judgment of ,michelagnolo1 which were welcome in no ordinary manner to ,giulio1 both as being what they were1 and because he had at that time to paint a chapel in the palace for the ,cardinal1 and they served to inspire him to greater things than those that he had in mind4 ,putting forward all possible effort1 therefore1 to make a most beautiful cartoon1 he drew in it with fine fancy the scene of ,peter and ,andrew leaving their nets at the call of ,christ1 in order to follow ,him1 and to be thenceforward1 not fishers of fishes1 but fishers of men4 ,and this cartoon1 which proved to be the most beautiful that ,giulio had ever made1 was afterwards carried into execution by the painter ,fermo ,ghisoni1 a pupil of ,giulio1 and now an excellent master4 ,not long afterwards the superintendents of the building of ,s4 ,petronio at ,bologna1 being desirous to make a beginning with the faade of that church1 succeeded after great difficulty in inducing ,giulio to go there1 in company with a ,milanese architect called ,tofano ,lombardino1 a man in great repute at that time in ,lombardy for the many buildings by his hand that were to be seen in that country4 ,these masters1 then1 made many designs1 those of ,baldassarre ,peruzzi of ,siena having been lost2 and one that ,giulio made1 among others1 was so beautiful and so well ordered1 that he rightly received very great praise for it from that people1 and was rewarded with most liberal gifts on his return to ,mantua4 ,meanwhile1 ,antonio da ,san ,gallo having died at ,rome about that time1 the superintendents of the building of ,s4 ,pietro had been thereby left in no little embarrassment1 not knowing to whom to turn or on whom to lay the charge of carrying that great fabric to completion after the plan already begun2 but they thought that no one could be more fitted for this than ,giulio ,romano1 for they all knew how great were his worth and excellence4 ,and so1 surmising that he would accept such a charge more than willingly in order to repatriate himself in an honourable manner and with a good salary1 they caused some of his friends to approach him1 but in vain1 for the reason that1 although he would have gone with the greatest willingness1 two things prevented him--the ,cardinal would in no way consent to his departure1 and his wife1 with her relatives and friends1 used every possible means to dissuade him4 ,neither of these two reasons1 perchance1 would have prevailed with him1 if he had not happened to be in somewhat feeble health at that time2 for1 having considered how much honour and profit he might secure for himself and his children by accepting so handsome a proposal1 he was already fully disposed to make every effort not to be hindered in the matter by the ,cardinal1 when his malady began to grow worse4 ,however1 since it had been ordained on high that he should go no more to ,rome1 and that this should be the end and conclusion of his life1 in a few days1 what with his vexation and his malady1 he died at ,mantua1 which city might well have allowed him1 even as he had embellished her1 so also to honour and adorn his native city of ,rome4 ,giulio died at the age of fifty-four1 leaving only one male child1 to whom he had given the name of ,raffaello out of regard for the memory of his master4 ,this young ,raffaello had scarcely learned the first rudiments of art1 showing signs of being destined to become an able master1 when he also died1 not many years after1 together with his mother1 ,giulio's wife2 wherefore there remained no descendant of ,giulio save a daughter called ,virginia1 who still lives in ,mantua1 married to ,ercole ,malatesta4 ,giulio1 whose death was an infinite grief to all who knew him1 was given burial in ,s4 ,barnaba1 where it was proposed that some honourable memorial should be erected to him2 but his wife and children1 postponing the matter from one day to another1 themselves died for the most part without doing anything4 ,it is indeed a sad thing that there has been no one who has treasured in any way the memory of a man who did so much to adorn that city1 save only those who availed themselves of his services1 who have often remembered him in their necessities4 ,but his own talent1 which did him so much honour in his lifetime1 has secured for him after death1 in the form of his own works1 an everlasting monument which time1 with all its years1 can never destroy4 ,giulio was neither tall nor short of stature1 and rather stout than slight in build4 ,he had black hair1 beautiful features1 and eyes dark and merry1 and he was very loving1 regular in all his actions1 and frugal in eating1 but fond of dressing and living in honourable fashion4 ,he had disciples in plenty1 but the best were ,giovanni da ,lione1 ,raffaello dal ,colle of ,borgo1 ,benedetto ,pagni of ,pescia1 ,figurino da ,faenza1 ,rinaldo ,mantovano1 ,giovan ,battista ,mantovano1 and ,fermo ,ghisoni1 who still lives in ,mantua and does him honour1 being an excellent painter4 ,and the same may be said for ,benedetto1 who has executed many works in his native city of ,pescia1 and an altar-piece for the ,duomo of ,pisa1 which is in the ,office of ,works1 and also a picture of ,our ,lady in which1 with a poetical invention full of grace and beauty1 he painted a figure of ,florence presenting to her the dignities of the ,house of ,medici2 which picture is now in the possession of ,signor ,mondragone1 a ,spaniard much in favour with that most illustrious lord the ,prince of ,florence4 ,giulio died on the day of ,all ,saints in the year #aedf1 and over his tomb was placed the following epitaph3 ,,romanus ,,moriens ,,secum ,,tres ,,julius ,,artes ,,abstulit1 ,,haud ,,mirum1 ,,quatuor ,,unus ,,erat4 ,,footnote3 #bf ,giuliano ,leno4 ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo ,,life ,,of ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo ,,painter ,the first profession of ,sebastiano1 so many declare1 was not painting1 but music1 since1 besides being a singer1 he much delighted to play various kinds of instruments1 and particularly the lute1 because on that instrument all the parts can be played1 without any accompaniment4 ,this art made him for a time very dear to the gentlemen of ,venice1 with whom1 as a man of talent1 he always associated on intimate terms4 ,then1 having been seized while still young with a desire to give his attention to painting1 he learned the first rudiments from ,giovanni ,bellini1 at that time an old man4 ,and afterwards1 when ,giorgione da ,castelfranco had established in that city the methods of the modern manner1 with its superior harmony and its brilliancy of colouring1 ,sebastiano left ,giovanni and placed himself under ,giorgione1 with whom he stayed so long that in great measure he acquired his manner4 ,he thus executed in ,venice some portraits from life that were very like2 among others1 that of the ,frenchman ,verdelotto1 a most excellent musician1 who was then chapel-master in ,s4 ,marco1 and in the same picture that of his companion ,uberto1 a singer1 which picture ,verdelotto took with him to ,florence when he became chapel-master in ,s4 ,giovanni2 and at the present day the sculptor ,francesco da ,san ,gallo has it in his house4 ,about that time he also painted for ,s4 ,giovanni ,grisostomo at ,venice an altar-piece with some figures which incline so much to the manner of ,giorgione1 that they have been sometimes held by people without much knowledge of the matters of art to be by the hand of ,giorgione himself4 ,this altar-piece is very beautiful1 and executed with such a manner of colouring that it has great relief4 ,the fame of the abilities of ,sebastiano thus spreading abroad1 ,agostino ,chigi of ,siena1 a very rich merchant1 who had many affairs in ,venice1 hearing him much praised in ,rome1 sought to draw him to that city1 being attracted towards him because1 besides his painting1 he knew so well how to play on the lute1 and was sweet and pleasant in his conversation4 ,nor was it very difficult to draw ,sebastiano to ,rome1 since he knew how much that place had always been the benefactress and common mother-city of all beautiful intellects1 and he went thither with no ordinary willingness4 ,having therefore gone to ,rome1 ,agostino set him to work1 and the first thing that he caused him to do was to paint the little arches that are over the loggia which looks into the garden of ,agostino's palace in the ,trastevere1 where ,baldassarre of ,siena had painted all the vaulting1 on which little arches ,sebastiano painted some poetical compositions in the manner that he had brought from ,venice1 which was very different from that which was followed in ,rome by the able painters of that day4 ,after this work1 ,raffaello having executed a story of ,galatea in the same place1 ,sebastiano1 at the desire of ,agostino1 painted beside it a ,polyphemus in fresco1 in which1 spurred by rivalry with ,baldassarre of ,siena and then with ,raffaello1 he strove his utmost to surpass himself1 whatever may have been the result4 ,he likewise painted some works in oils1 for which1 from his having learned from ,giorgione a method of colouring of no little softness1 he was held in vast account at ,rome4 ,illustration3 ,,fra ,,sebastiano ,,viniziano ,,del ,,piombo3 ,,portrait ,,of ,a ,,lady 7,florence2 ,uffizi1 #aabc4 ,canvas7 ,while ,sebastiano was executing these works in ,rome1 ,raffaello da ,urbino had risen into such credit as a painter1 that his friends and adherents said that his pictures were more in accord with the rules of painting than those of ,michelagnolo1 being pleasing in colour1 beautiful in invention1 and charming in the expressions1 with design in keeping with the rest2 and that those of ,buonarroti had none of those qualities1 with the exception of the design4 ,and for such reasons these admirers judged that in the whole field of painting ,raffaello was1 if not more excellent than ,michelagnolo1 at least his equal2 but in colouring they would have it that he surpassed ,buonarroti without a doubt4 ,these humours1 having spread among a number of craftsmen who preferred the grace of ,raffaello to the profundity of ,michelagnolo1 had so increased that many1 for various reasons of interest1 were more favourable in their judgments to ,raffaello than to ,michelagnolo4 ,but ,sebastiano was in no way a follower of that faction1 since1 being a man of exquisite judgment1 he knew the value of each of the two to perfection4 ,the mind of ,michelagnolo1 therefore1 drew towards ,sebastiano1 whose colouring and grace pleased him much1 and he took him under his protection1 thinking that1 if he were to assist ,sebastiano in design1 he would be able by this means1 without working himself1 to confound those who held such an opinion1 remaining under cover of a third person as judge to decide which of them was the best4 ,while the matter stood thus1 and some works that ,sebastiano had executed were being much extolled1 and even exalted to infinite heights on account of the praise that ,michelagnolo bestowed on them1 besides the fact that they were in themselves beautiful and worthy of praise1 a certain person from ,viterbo1 ,i know not who1 much in favour with the ,pope1 commissioned ,sebastiano to paint a ,dead ,christ1 with a ,madonna who is weeping over ,him1 for a chapel that he had caused to be built in ,s4 ,francesco at ,viterbo4 ,that work was held by all who saw it to be truly most beautiful1 for the invention and the cartoon were by ,michelagnolo1 although it was finished with great diligence by ,sebastiano1 who painted in it a dark landscape that was much extolled1 and thereby ,sebastiano acquired very great credit1 and confirmed the opinions of those who favoured him4 ,wherefore ,pier ,francesco ,borgherini1 a ,florentine merchant1 who had taken over a chapel in ,s4 ,pietro in ,montorio1 which is on the right as one enters the church1 allotted it at the suggestion of ,michelagnolo to ,sebastiano1 because ,borgherini thought that ,michelagnolo would execute the design of the whole work1 as indeed he did4 ,sebastiano1 therefore1 having set to work1 executed it with such zeal and diligence1 that it was held to be1 as it is1 a very beautiful piece of painting4 ,from the small design by ,michelagnolo he made some larger ones for his own convenience1 and one of these1 a very beautiful thing1 which he drew with his own hand1 is in our book4 ,thinking that he had discovered the true method of painting in oils on walls1 ,sebastiano covered the rough-cast of that chapel with an incrustation which seemed to him likely to be suitable for this purpose2 and the whole of that part in which is ,christ being scourged at the ,column he executed in oils on the wall4 ,nor must ,i omit to tell that many believe not only that ,michelagnolo made the small design for this work1 but also that the above-mentioned ,christ who is being scourged at the ,column was outlined by him1 for there is a vast difference between the excellence of this figure and that of the others4 ,even if ,sebastiano had executed no other work but this1 for it alone he would deserve to be praised to all eternity1 seeing that1 in addition to the heads1 which are very well painted1 there are in the work some hands and feet of great beauty2 and although his manner was a little hard1 on account of the labour that he endured in the things that he counterfeited1 nevertheless he can be numbered among the good and praiseworthy craftsmen4 ,above this scene he painted two ,prophets in fresco1 and on the vaulting the ,transfiguration2 and the two ,saints1 ,s4 ,peter and ,s4 ,francis1 who are on either side of the scene below1 are very bold and animated figures4 ,it is true that he laboured for six years over this little work1 but when works are executed to perfection1 one should not consider whether they have been finished quickly or slowly1 although more praise is due to him who carries his labours to completion both quickly and well2 and he who pleads haste as an excuse when his works do not give satisfaction1 unless he has been forced to it1 is accusing rather than excusing himself4 ,when this work was uncovered1 it was seen that ,sebastiano had done well1 although he had toiled much over painting it1 so that the evil tongues were silenced and there were few who found fault with him4 ,illustration3 ,,the ,,flagellation 7,after the oil fresco by ,fra ,sebastiano ,viniziano del ,piombo4 ,rome3 ,s4 ,pietro in ,montorio7 ,anderson ,after this1 when ,raffaello painted for ,cardinal de' ,medici1 for sending to ,france1 that altar-piece containing the ,transfiguration of ,christ which was placed after his death on the principal altar of ,s4 ,pietro a ,montorio1 ,sebastiano also executed at the same time another altar-piece of the same size1 as it were in competition with ,raffaello1 of ,lazarus being raised from the dead four days after death1 which was counterfeited and painted with supreme diligence under the direction of ,michelagnolo1 and in some parts from his design4 ,these altar-pieces1 when finished1 were publicly exhibited together in the ,consistory1 and were vastly extolled1 both the one and the other2 and although the works of ,raffaello had no equals in their perfect grace and beauty1 nevertheless the labours of ,sebastiano were also praised by all without exception4 ,one of these pictures was sent by ,cardinal ,giulio de' ,medici to his episcopal palace at ,narbonne in ,france1 and the other was placed in the ,cancelleria1 where it remained until it was taken to ,s4 ,pietro a ,montorio1 together with the ornamental frame that ,giovan ,barile executed for it4 ,by means of this work ,sebastiano became closely connected with the ,cardinal1 and was therefore honourably rewarded during his pontificate4 ,not long afterwards1 ,raffaello having passed away1 the first place in the art of painting was unanimously granted by all1 thanks to the favour of ,michelagnolo1 to ,sebastiano1 and ,giulio ,romano1 ,giovan ,francesco of ,florence1 ,perino del ,vaga1 ,polidoro1 ,maturino1 ,baldassarre of ,siena1 and all the others had to give way4 ,wherefore ,agostino ,chigi1 who had been having a chapel and tomb built for himself under the direction of ,raffaello in ,s4 ,maria del ,popolo1 came to an agreement with ,sebastiano that he should paint it all2 whereupon the screen was made1 but the chapel remained covered1 without ever being seen by anyone1 until the year #aeed1 at which time ,luigi1 the son of ,agostino1 resolved that1 although his father had not been able to see it finished1 he at least would do so4 ,and so1 the chapel and the altar-piece being entrusted to ,francesco ,salviati1 he carried the work in a short time to that perfection which it had not received from the dilatory and irresolute ,sebastiano1 who1 so far as one can see1 did little work there1 although we find that he obtained from the liberality of ,agostino and his heirs much more than would have been due to him even if he had finished it completely1 which he did not do1 either because he was weary of the labours of art1 or because he was too much wrapped up in comforts and pleasures4 ,and he did the same to ,m4 ,filippo da ,siena1 ,clerk of the ,chamber1 for whom he began a scene in oils on the wall above the high-altar of the ,pace at ,rome1 and never finished it2 wherefore the friars1 in despair about it1 were obliged to take away the staging1 which obstructed their church1 to cover the work with a cloth1 and to have patience for as long as the life of ,sebastiano lasted4 ,after his death1 the friars uncovered the work1 and it was found that what he had done was most beautiful painting1 for the reason that in the part where he represented ,our ,lady visiting ,s4 ,elizabeth1 there are many women portrayed from life that are very beautiful1 and painted with consummate grace4 ,but it may be seen here that this man endured extraordinary labour in all the works that he produced1 and that he was not able to execute them with that facility which nature and study are wont at times to give to him who delights in working and exercises his hand continually4 ,and of the truth of this there is also a proof in the same ,pace1 in the ,chapel of ,agostino ,chigi1 where ,raffaello had executed the ,sibyls and ,prophets2 for ,sebastiano1 wishing to paint some things on the stone in the niche that remained to be painted below1 in order to surpass ,raffaello1 caused it to be incrusted with peperino-stone1 the joinings being filled in with fired stucco2 but he spent so much time on cogitations that he left the wall bare1 for1 after it had remained thus for ten years1 he died4 ,it is true that a few portraits from life could be obtained with ease from ,sebastiano1 because he could finish these with more facility and promptitude2 but it was quite otherwise with stories and other figures4 ,to tell the truth1 the painting of portraits from life was his proper vocation1 as may be seen from the portrait of ,marc' ,antonio ,colonna1 which is so well executed that it seems to be alive1 and also from those of ,ferdinando1 ,marquis of ,pescara1 and of ,signora ,vittoria ,colonna1 which are very beautiful4 ,he likewise made a portrait of ,adrian ,,vi when he first arrived in ,rome1 and one of ,cardinal ,hincfort4 ,that ,cardinal desired that ,sebastiano should paint for him a chapel in ,s4 ,maria de ,anima at ,rome2 but he kept putting him off from one day to another1 and the ,cardinal finally had it painted by the ,fleming ,michael1 his compatriot1 who painted there in fresco stories from the life of ,s4 ,barbara1 imitating our ,italian manner very well2 and in the altar-piece he made a portrait of the same ,cardinal4 ,but returning to ,sebastiano3 he also took a portrait of ,signor ,federigo da ,bozzolo1 and one of a captain in armour1 ,i know not who1 which is in the possession of ,giulio de' ,nobili at ,florence4 ,he painted a woman in ,roman dress1 which is in the house of ,luca ,torrigiani2 and ,giovan ,battista ,cavalcanti has a head by the same master's hand1 which is not completely finished4 ,he executed a picture of ,our ,lady covering the ,child with a piece of drapery1 which was a rare work2 and ,cardinal ,farnese now has it in his guardaroba4 ,and he sketched1 but did not carry to completion1 a very beautiful altar-piece of ,s4 ,michael standing over a large figure of the ,devil1 which was to be sent to the ,king of ,france1 who had previously received a picture by the hand of the same master4 ,then1 after ,cardinal ,giulio de' ,medici had been elected ,supreme ,pontiff and had taken the name of ,clement ,,vii1 he gave ,sebastiano to understand through the ,bishop of ,vasona that the time to show him favour had come1 and that he would become aware of this when the occasion arose4 ,and in the meantime1 while living in these high hopes1 ,sebastiano1 who had no equal in portrait-painting1 executed many from life1 and among others one of ,pope ,clement1 who was not then wearing a beard1 or rather1 two of him1 one of which came into the possession of the ,bishop of ,vasona1 and the other1 which is much larger1 showing a seated figure from the knees upwards1 is in the house of ,sebastiano at ,rome4 ,he also painted a portrait of the ,florentine ,anton ,francesco degli ,albizzi1 who happened to be then in ,rome on some business1 and he made it such that it appeared to be not painted but really alive2 wherefore ,anton ,francesco sent it to ,florence as a pearl of great price4 ,the head and hands of this portrait were things truly marvellous1 to say nothing of the beautiful execution of the velvets1 the linings1 the satins1 and all the other parts of the picture2 and since ,sebastiano was indeed superior to all other men in the perfect delicacy and excellence of his portrait-painting1 all ,florence was amazed at this portrait of ,anton ,francesco4 ,at this same time he also executed a portrait of ,messer ,pietro ,aretino1 and made it such that1 besides being a good likeness1 it is an astounding piece of painting1 for there may be seen in it five or six different kinds of black in the clothes that he is wearing--velvet1 satin1 ormuzine1 damask1 and cloth--and1 over and above those blacks1 a beard of the deepest black1 painted in such beautiful detail1 that the real beard could not be more natural4 ,this figure holds in the hand a branch of laurel and a scroll1 on which is written the name of ,clement ,,vii2 and in front are two masks1 one of ,virtue1 which is beautiful1 and another of ,vice1 which is hideous4 ,this picture ,m4 ,pietro presented to his native city1 and the people of ,arezzo have placed it in their public ,council ,chamber1 thus doing honour to the memory of their talented fellow-citizen1 and also receiving no less from him4 ,after this1 ,sebastiano made a portrait of ,andrea ,doria1 which was in like manner an admirable work1 and a head of the ,florentine ,baccio ,valori1 which was also beautiful beyond belief4 ,in the meantime ,fra ,mariano ,fetti1 ,friar of the ,piombo1 died1 and ,sebastiano1 remembering the promises made to him by the above-mentioned ,bishop of ,vasona1 master of the household to ,his ,holiness1 asked for the office of the ,piombo2 whereupon1 although ,giovanni da ,udine1 who had also done much in the service of ,his ,holiness in minoribus1 and still continued to serve him1 asked for the same office1 the ,pope1 moved by the prayers of the ,bishop1 and also thinking that the talents of ,sebastiano deserved it1 ordained that ,sebastiano should have the office1 but should pay out of it to ,giovanni da ,udine an allowance of three hundred crowns4 ,thus ,sebastiano assumed the friar's habit1 and straightway felt his soul changed thereby1 for1 perceiving that he now had the means to satisfy his desires1 he spent his time in repose without touching a brush1 and recompensed himself with his comforts and his revenues for many misspent nights and laborious days2 and whenever he happened to have something to do1 he would drag himself to the work with such reluctance1 that he might have been going to his death4 ,from which one may learn how much our reason and the little wisdom of men are deceived1 in that very often1 nay1 almost always1 we covet the very opposite to that which we really need1 and1 as the ,tuscan proverb has it1 in thinking to cross ourselves with a finger1 poke it into our own eyes4 ,it is the common opinion of men that rewards and honours spur the minds of mortals to the studies of those arts which they see to be the best remunerated1 and that1 on the contrary1 to see that those who labour at these arts are not recompensed by such men as have the means1 causes the same students to grow negligent and to abandon them4 ,and for this reason both ancients and moderns censure as strongly as they are able those ,princes who do not support every kind of man of talent1 and who do not give due honour and reward to all who labour valiantly in the arts4 ,but1 although this rule is for the most part a good one1 it may be seen1 nevertheless1 that at times the liberality of just and magnanimous ,princes produces the contrary effect1 for the reason that many are more useful and helpful to the world in a low or mediocre condition than they are when raised to greatness and to an abundance of all good things4 ,and here we have an example1 for the magnificent liberality of ,clement ,,vii1 bestowing too rich a reward on ,sebastiano ,viniziano1 who had done excellent work as a painter in his service1 was the reason that he changed from a zealous and industrious craftsman into one most idle and negligent1 and that1 whereas he laboured continually while he was living in poor circumstances and the rivalry between him and ,raffaello da ,urbino lasted1 he did quite the opposite when he had enough for his contentment4 ,be this as it may1 let us leave it to the judgment of wise ,princes to consider how1 when1 towards whom1 in what manner1 and by what rule1 they should exercise their liberality in the case of craftsmen and men of talent1 and let us return to ,sebastiano4 ,after he had been made ,friar of the ,piombo1 he executed for the ,patriarch of ,aquileia1 with great labour1 ,christ bearing the ,cross1 a half-length figure painted on stone--a work which was much extolled1 particularly for the head and the hands1 parts in which ,sebastiano was truly most excellent4 ,not long afterwards the niece of the ,pope1 who in time became ,queen of ,france1 as she still is1 having arrived in ,rome1 ,fra ,sebastiano began a portrait of her2 but this remained unfinished in the guardaroba of the ,pope4 ,and a short time after this1 ,cardinal ,ippolito de' ,medici having become enamoured of ,signora ,giulia ,gonzaga1 who was then living at ,fondi1 that ,cardinal sent ,sebastiano to that place1 accompanied by four light horsemen1 to take her portrait2 and within a month he finished that portrait1 which1 being taken from the celestial beauty of that lady by a hand so masterly1 proved to be a divine picture4 ,wherefore1 after it had been carried to ,rome1 the labours of that craftsman were richly rewarded by the ,cardinal1 who declared that this portrait surpassed by a great measure all those that ,sebastiano had ever executed up to that day1 as indeed it did2 and the work was afterwards sent to ,king ,francis of ,france1 who had it placed in his ,palace of ,fontainebleau4 ,illustration3 ,,andrea ,,doria 7,after the painting by ,fra ,sebastiano del ,piombo4 ,rome3 ,palazzo ,doria7 ,anderson ,this painter then introduced a new method of painting on stone1 which pleased people greatly1 for it appeared that by this means pictures could be made eternal1 and such that neither fire nor worms could harm them4 ,wherefore he began to paint many pictures on stone in this manner1 surrounding them with ornaments of variegated kinds of stone1 which1 being polished1 formed a very beautiful setting2 although it is true that these pictures1 with their ornaments1 when finished1 could not be transported or even moved1 on account of their great weight1 save with the greatest difficulty4 ,many persons1 then1 attracted by the novelty of the work and by the beauty of his art1 gave him earnest-money1 in order that he might execute some for them2 but he1 delighting more to talk about such pictures than to work at them1 always kept delaying everything4 ,nevertheless he executed on stone a ,dead ,christ with the ,madonna1 with an ornament also of stone1 for ,don ,ferrante ,gonzaga1 who sent it to ,spain4 ,the whole work together was held to be very beautiful1 and ,sebastiano was paid five hundred crowns for the painting by ,messer ,niccol da ,cortona1 agent in ,rome for the ,cardinal of ,mantua4 ,in this kind of painting ,sebastiano was truly worthy of praise1 for the reason that whereas ,domenico1 his compatriot1 who was the first to paint in oils on walls1 and after him ,andrea dal ,castagno1 ,antonio ,pollaiuolo1 and ,piero ,pollaiuolo1 failed to find the means of preventing the figures executed by them in this manner from becoming black and fading away very quickly1 ,sebastiano did find it2 wherefore the ,christ at the ,column1 which he painted in ,s4 ,pietro in ,montorio1 has never changed down to our own time1 and has the same freshness of colouring as on the first day4 ,for he went about the work with such diligence that he used to make the coarse rough-cast of lime with a mixture of mastic and colophony1 which1 after melting it all together over the fire and applying it to the wall1 he would then cause to be smoothed over with a mason's trowel made red-hot1 or rather white-hot1 in the fire2 and his works have therefore been able to resist the damp and to preserve their colour very well without suffering any change4 ,with the same mixture he worked on peperino-stone1 white and variegated marble1 porphyry1 and slabs of other very hard kinds of stone1 materials on which paintings can last a very long time2 not to mention that this has shown how one may paint on silver1 copper1 tin1 and other metals4 ,this man found so much pleasure in cogitating and discoursing1 that he would spend whole days without working2 and when he did force himself to work1 it was evident that he was suffering greatly in his mind1 which was the chief reason that he was of the opinion that no price was large enough to pay for his works4 ,for ,cardinal ,rangoni he painted a picture of a nude and very beautiful ,s4 ,agatha being tortured in the breasts1 which was an exquisite work1 and this picture is now in the guardaroba of ,signor ,guidobaldo1 ,duke of ,urbino1 and is in no way inferior to the many other most beautiful pictures that are there1 by the hands of ,raffaello da ,urbino1 ,tiziano1 and others4 ,he also made a portrait from life of ,signor ,piero ,gonzaga1 painted in oils on stone1 which was a very fine work2 but he toiled for three years over finishing it4 ,now1 when ,michelagnolo was in ,florence in the time of ,pope ,clement1 engaged in the work of the new ,sacristy of ,s4 ,lorenzo1 ,giuliano ,bugiardini wished to paint for ,baccio ,valori a picture with the head of ,pope ,clement and that of ,baccio himself1 and another for ,messer ,ottaviano de' ,medici of the same ,pontiff and the ,archbishop of ,capua4 ,michelagnolo therefore sent to ,sebastiano to ask him to despatch from ,rome a head of the ,pope painted in oils with his own hand2 and ,sebastiano painted one1 which proved to be very beautiful1 and sent it to him4 ,after ,giuliano had made use of the head and had finished his pictures1 ,michelagnolo1 who was a close companion of the said ,messer ,ottaviano1 made him a present of it2 and of a truth1 among the many heads that ,fra ,sebastiano executed1 this is the most beautiful of all and the best likeness1 as may be seen in the house of the heirs of ,messer ,ottaviano4 ,the same master also took the portrait of ,pope ,paul ,farnese1 as soon as he was elected ,supreme ,pontiff2 and he began one of the ,duke of ,castro1 his son1 but left it unfinished1 as he did with many other works with which he had made a beginning4 ,fra ,sebastiano had a passing good house which he had built for himself near the ,popolo1 and there he lived in the greatest contentment1 without troubling to paint or work any more4 ,he used often to say that it was a great fatigue to have to restrain in old age those ardours which in youth craftsmen are wont to welcome out of emulation and a desire for profit and honour1 and that it was no less wise for a man to live in peace than to spend his days in restless labour in order to leave a name behind him after death1 for all his works and labours had also in the end1 sooner or later1 to die4 ,and even as he said these things1 so he carried them into practice as well as he was able1 for he always sought to have for his table all the best wines and the rarest luxuries that could be found1 holding life in more account than art4 ,being much the friend of all men of talent1 he often had ,molza and ,messer ,gandolfo to supper1 making right good cheer4 ,he was also the intimate friend of ,messer ,francesco ,berni1 the ,florentine1 who wrote a poem to him2 to which ,fra ,sebastiano answered with another1 passing well1 for1 being very versatile1 he was even able to set his hand to writing humorous ,tuscan verse4 ,having been reproached by certain persons1 who said that it was shameful that he would no longer work now that he had the means to live1 ,fra ,sebastiano replied in this manner3 ,why will ,i not work now that ,i have the means to live8 ,because there are now in the world men of genius who do in two months what ,i used to do in two years2 and ,i believe that if ,i live long enough1 and not so long1 either1 ,i shall find that everything has been painted4 ,and since these stalwarts can do so much1 it is well that there should also be one who does nothing1 to the end that they may have the more to do4 ,with these and similar pleasantries ,fra ,sebastiano was always diverting himself1 being a man who was never anything but humorous and amusing2 and1 in truth1 a better companion never lived4 ,sebastiano1 as has been related1 was much beloved by ,michelagnolo4 ,but it is also true that when the front wall of the ,papal ,chapel1 where there is now the ,last ,judgment by the same ,buonarroti1 was to be painted1 there did arise some disdain between them1 for ,fra ,sebastiano had persuaded the ,pope that he should make ,michelagnolo paint it in oils1 whereas the latter would only do it in fresco4 ,now1 ,michelagnolo saying neither yea nor nay1 the wall was prepared after the fashion of ,fra ,sebastiano1 and ,michelagnolo stood thus for some months without setting his hand to the work4 ,but at last1 after being pressed1 he said that he would only do it in fresco1 and that painting in oils was an art for women and for leisurely and idle people like ,fra ,sebastiano4 ,and so1 after the incrustation laid on by order of the friar had been stripped off1 and the whole surface had been covered with rough-cast in a manner suitable for working in fresco1 ,michelagnolo set his hand to the work2 but he never forgot the affront that he considered himself to have received from ,fra ,sebastiano1 against whom he felt hatred almost to the day of the friar's death4 ,finally1 after ,fra ,sebastiano had come to such a state that he would not work or do any other thing but attend to the duties of his office as ,friar of the ,piombo1 and enjoy the pleasures of life1 at the age of sixty-two he fell sick of a most acute fever1 which1 being a ruddy person and of a full habit of body1 threw him into such a heat that he rendered up his soul to ,god in a few days1 after making a will and directing that his body should be carried to the tomb without any ceremony of priests or friars1 or expenditure on lights1 and that all that would have been spent thus should be distributed to poor persons1 for the love of ,god2 and so it was done4 ,he was buried in the ,church of the ,popolo1 in the month of ,june of the year #aedg4 ,art suffered no great loss in his death1 seeing that1 as soon as he assumed the habit of ,friar of the ,piombo1 he might have been numbered among those lost to her2 although it is true that he was regretted for his pleasant conversation by many friends as well as craftsmen4 ,many young men worked under ,sebastiano at various times in order to learn art1 but they made little proficience1 for from his example they learned little but the art of good living1 excepting only ,tommaso ,laureti1 a ,sicilian1 who1 besides many other works1 has executed a picture full of grace at ,bologna1 of a very beautiful ,venus1 with ,love embracing and kissing her1 which picture is in the house of ,m4 ,francesco ,bolognetti4 ,he has also painted a portrait of ,signor ,bernardino ,savelli1 which is much extolled1 and some other works of which there is no need to make mention4 ,,perino ,,del ,,vaga ,,life ,,of ,,perino ,,del ,,vaga ,,painter ,,of ,,florence ,a truly great gift is art1 who1 paying no regard to abundance of riches1 to high estate1 or to nobility of blood1 embraces1 protects1 and uplifts from the ground a child of poverty much more often than one wrapped in the ease of wealth4 ,and this ,heaven does in order to show how much power the influences of its stars and constellations have over us1 distributing more of its favours to one1 and to another less2 which influences are for the most part the reason that we mortals come to be born with dispositions more or less fiery or sluggish1 weak or strong1 fierce or gentle1 fortunate or unfortunate1 and richer or poorer in talent4 ,and whoever has any doubt of this1 will be enlightened in this present ,life of ,perino del ,vaga1 a painter of great excellence and genius4 ,this ,perino1 the son of a poor father1 having been left an orphan as a little child and abandoned by his relatives1 was guided and governed by art1 whom he always acknowledged as his true mother and honoured without ceasing4 ,and the studies of the art of painting were pursued by him with such zeal and diligence1 that he was enabled in due time to execute those noble and famous decorations which have brought so much glory to ,genoa and to ,prince ,doria4 ,wherefore we may believe without a doubt that it is ,heaven that raises men from those infinite depths in which they were born1 to that summit of greatness to which they ascend1 when they prove by labouring valiantly at their works that they are true followers of the sciences that they have chosen to learn2 even as ,perino chose and pursued as his vocation the art of design1 in which he proved himself full of grace and most excellent1 or rather1 absolutely perfect4 ,and he not only equalled the ancients in stucco-work1 but also equalled the best modern craftsmen in the whole field of painting1 displaying all the excellence that could possibly be desired in a human intellect that seeks1 in solving the difficulties of that art1 to achieve beauty1 grace1 charm1 and delicacy with colouring and with every other kind of ornament4 ,but let us speak more particularly of his origin4 ,there lived in the city of ,florence one ,giovanni ,buonaccorsi1 who entered the service of ,charles ,,viii1 ,king of ,france1 and fought in his wars1 and1 being a spirited and open-handed young man1 spent all that he possessed in that service and in gaming1 and finally lost his life therein4 ,to him was born a son1 who received the name of ,piero2 and this son1 after being left as an infant of two months old without his mother1 who died of plague1 was reared in the greatest misery at a farm1 being suckled by a goat1 until his father1 having gone to ,bologna1 took as his second wife a woman whose husband and children had died of plague2 and she1 with her plague-infected milk1 finished nursing ,piero1 who was now called ,pierino#bg 7a pet name such as it is a general custom to give to little children71 and retained that name ever afterwards4 ,he was then taken to ,florence by his father1 who1 on returning to ,france1 left him with some relatives2 and they1 either because they had not the means1 or because they would not accept the burdensome charge of maintaining him and having him taught some ingenious vocation1 placed him with the apothecary of the ,pinadoro1 to the end that he might learn that calling4 ,but1 not liking that profession1 he was taken as shop-boy by the painter ,andrea de' ,ceri1 who was pleased with the air and the ways of ,perino1 and thought that he saw in him a certain lively spirit of intelligence from which it might be hoped that in time some good fruits would issue from him4 ,andrea was no great painter2 quite commonplace1 indeed1 and one of those who stand openly and publicly in their workshops1 executing any kind of work1 however mean2 and he was wont to paint every year for the festival of ,s4 ,john certain wax tapers which were carried as offerings1 as they still are1 together with the other tributes of the city2 for which reason he was called ,andrea de' ,ceri1 and from that name ,perino was afterwards called for some time ,perino de' ,ceri4 ,andrea1 then1 took care of ,perino for some years1 teaching him the rudiments of art as well as he could2 but when the boy had reached the age of eleven1 he was forced to seek for him some master better than himself4 ,and so1 having a straight friendship with ,ridolfo1 the son of ,domenico ,ghirlandajo1 who1 as will be related1 was held to be able and well practised in painting1 ,andrea de' ,ceri placed ,perino with him1 to the end that he might give his attention to design1 and strive with all the zeal and love at his command to make in that art the proficience of which his great genius gave promise4 ,whereupon1 pursuing his studies1 among the many young men whom ,ridolfo had in his workshop1 all engaged in learning art1 in a short time ,perino came to surpass all the rest1 so great were his ardour and his eagerness4 ,among them was one named ,toto del ,nunziata1 who was to him as a spur to urge him on continually2 which ,toto1 likewise attaining in time to equality with the finest intellects1 departed from ,florence and made his way with some ,florentine merchants to ,england1 where he executed all his works1 and was very richly rewarded by the ,king of that country1 whom he also served in architecture1 erecting1 in particular1 his principal palace4 ,he and ,perino1 then1 working in emulation of one another1 and pursuing the studies of art with supreme diligence1 after no long time became very excellent4 ,and ,perino1 drawing from the cartoon of ,michelagnolo ,buonarroti in company with other young men1 both ,florentines and strangers1 won and held the first place among them all1 insomuch that he was regarded with that expectation which was afterwards fulfilled in the beautiful works that he executed with so much excellence and art4 ,there came to ,florence at that time the ,florentine painter ,vaga1 a master of no great excellence1 who was executing commonplace works at ,toscanella in the province of ,rome4 ,having a superabundance of work1 he was in need of assistance1 and he desired to take back with him a companion and also a young man who might help him in design1 in which he was wanting1 and in the other matters of art4 ,now this painter1 having seen ,perino drawing in the workshop of ,ridolfo together with the other young men1 found him so superior to them all1 that he was astonished2 and1 what is more1 he was pleased with his appearance and his ways1 for ,perino was a very beautiful youth1 most courteous1 modest1 and gentle1 and every part of his body was in keeping with the nobility of his mind2 wherefore ,vaga was so charmed with him1 that he asked him whether he would go with him to ,rome1 saying that he would not fail to assist him in his studies1 and promising him such benefits and conditions as he might demand4 ,so great was the desire that ,perino had to attain to excellence in his profession1 that1 when he heard ,rome mentioned1 through his eagerness to see that city1 he was deeply moved2 but he told him that he must speak to ,andrea de' ,ceri1 who had supported him up to that time1 so that he was loth to abandon him4 ,and so ,vaga1 having persuaded ,ridolfo1 ,perino's master1 and ,andrea1 who maintained him1 so contrived that in the end he took ,perino1 with the companion1 to ,toscanella4 ,there ,perino began to work and to assist them1 and they finished not only the work that ,vaga had undertaken1 but also many that they undertook afterwards4 ,but ,perino complained that the promise of seeing ,rome1 by which he had been brought from ,florence1 was not being fulfilled1 in consequence of the profit and advantage that ,vaga was drawing from his services1 and he resolved to go thither by himself2 which was the reason that ,vaga1 leaving all his works1 took him to ,rome4 ,and there1 through the love that he bore to art1 ,perino returned to his former work of drawing and continued at it many weeks1 growing more ardent every day4 ,but ,vaga wished to return to ,toscanella1 and therefore made him known1 as one belonging to himself1 to many commonplace painters1 and also recommended him to all the friends that he had there1 to the end that they might assist and favour him in his absence2 from which circumstance he was always called from that day onward ,perino del ,vaga4 ,illustration3 ,,the ,,passage ,,of ,,the ,,red ,,sea 7,after the fresco by ,perino del ,vaga4 ,rome3 ,the ,vatican1 ,loggia7 ,anderson ,thus left in ,rome1 and seeing the ancient works of sculpture and the marvellous masses of buildings1 reduced for the most part to ruins1 ,perino stood lost in admiration at the greatness of the many renowned and illustrious men who had executed those works4 ,and so1 becoming ever more and more aflame with love of art1 he burned unceasingly to attain to a height not too far distant from those masters1 in order to win fame and profit for himself with his works1 even as had been done by those at whom he marvelled as he beheld their beautiful creations4 ,and while he contemplated their greatness and the depths of his own lowliness and poverty1 reflecting that he possessed nothing save the desire to rise to their height1 and that1 having no one who might maintain him and provide him with the means to live1 he was forced1 if he wished to remain alive1 to labour at work for those ordinary shops1 now with one painter and now with another1 after the manner of the day-labourers in the fields1 a mode of life which so hindered his studies1 he felt infinite grief and pain in his heart at not being able to make as soon as he would have liked that proficience to which his mind1 his will1 and his necessities were urging him4 ,he made the resolve1 therefore1 to divide his time equally1 working half the week at day work1 and during the other half devoting his attention to design2 and to this second half he added all the feast-days1 together with a great part of the nights1 thus stealing time from time itself1 in order to become famous and to escape from the hands of others so far as it might be possible4 ,having carried this intention into execution1 he began to draw in the ,chapel of ,pope ,julius1 where the vaulting had been painted by ,michelagnolo ,buonarroti1 following both his methods and the manner of ,raffaello da ,urbino4 ,and then1 going on to the ancient works in marble and also to the grotesques in the grottoes under the ground1 which pleased him through their novelty1 he learned the methods of working in stucco1 gaining his bread meanwhile by grievous labour1 and enduring every hardship in order to become excellent in his profession4 ,nor had any long time passed before he became the best and most finished draughtsman that there was among all who were drawing in ,rome1 for the reason that he had1 perhaps1 a better knowledge of muscles and of the difficult art of depicting the nude than many others who were held to be among the best masters at that time2 which was the reason that he became known not only to the men of his profession1 but also to many lords and prelates4 ,and1 in particular1 ,giulio ,romano and ,giovan ,francesco1 called ,il ,fattore1 disciples of ,raffaello da ,urbino1 having praised him not a little to their master1 roused in him a desire to know ,perino and to see his works in drawing2 which having pleased him1 and together with his work his manner1 his spirit1 and his ways of life1 he declared that among all the young men that he had known1 ,perino would attain to the highest perfection in that art4 ,meanwhile ,raffaello da ,urbino had built the ,papal ,loggie1 by the command of ,leo ,x2 and the same ,pope ordered that ,raffaello should also have them adorned with stucco1 painted1 and gilded1 according as it should seem best to him4 ,thereupon ,raffaello placed at the head of that enterprise1 for the stucco-work and the grotesques1 ,giovanni da ,udine1 who was very excellent and without an equal in such works1 but mostly in executing animals1 fruits1 and other little things4 ,and since he had chosen in ,rome and summoned from other parts a great number of masters1 he had assembled together a company of men each very able at his own work1 one in stucco1 another in grotesques1 a third in foliage1 a fourth in festoons1 another in scenes1 and others in other things2 and according as they improved they were brought forward and paid higher salaries1 so that by competing in that work many young men attained to great perfection1 who were afterwards held to be excellent in their various fields of art4 ,among that company ,perino was assigned to ,giovanni da ,udine by ,raffaello1 to the end that he might execute grotesques and scenes together with the others2 and he was told that according as he should acquit himself1 so he would be employed by ,giovanni4 ,and thus1 labouring out of emulation and in order to prove his powers and make proficience1 before many months had passed ,perino was held to be the first among all those who were working there1 both in drawing and in colouring2 the best1 ,i say1 the most perfect in grace and finish1 and he who could execute both figures and grotesques in the most delicate and beautiful manner2 to which clear testimony and witness are borne by the grotesques1 festoons1 and scenes by his hand that are in that work1 which1 besides surpassing the others1 are executed in much more faithful accord with the designs and sketches that ,raffaello made for them4 ,this may be seen from a part of those scenes in the centre of the loggia1 on the vaulting1 where the ,hebrews are depicted crossing over the ,jordan with the sacred ,ark1 and also marching round the walls of ,jericho1 which fall into ruin2 and the other scenes that follow1 such as that of ,joshua causing the sun to stand still during the combat with the ,amorites4 ,among those painted in imitation of bronze on the base the best are likewise those by the hand of ,perino--namely1 ,abraham sacrificing his son1 ,jacob wrestling with the ,angel1 ,joseph receiving his twelve brethren1 the fire descending from ,heaven and consuming the sons of ,levi1 and many others which there is no need to name1 for their number is very great1 and they can be distinguished from the rest4 ,at the beginning of the loggia1 also1 where one enters1 he painted scenes from the ,new ,testament1 the ,nativity and the ,baptism of ,christ1 and ,his ,last ,supper with the ,apostles1 which are very beautiful2 besides which1 below the windows1 as has been said1 are the best scenes painted in the colour of bronze that there are in the whole work4 ,these labours cause every man to marvel1 both the paintings and the many works in stucco that he executed there with his own hand2 and his colouring1 moreover1 is much more pleasing and more highly finished than that of any of the others4 ,this work was the reason that he became famous beyond all belief1 yet this great praise did not send him to sleep1 but rather1 since genius grows with praise1 inspired him with even more zeal1 and made him almost certain that by persisting he would come to win those fruits and honours that he saw every day in the possession of ,raffaello da ,urbino and ,michelagnolo ,buonarroti4 ,and he laboured all the more willingly1 because he saw that he was held in estimation by ,giovanni da ,udine and by ,raffaello1 and was employed in works of importance4 ,he always showed extraordinary deference and obedience towards ,raffaello1 honouring him in such a manner that he was beloved by ,raffaello as a son4 ,there was executed at this time1 by order of ,pope ,leo1 the vaulting of the ,hall of the ,pontiffs1 which is that through which one passes by way of the ,loggie into the apartments of ,pope ,alexander ,,vi1 formerly painted by ,pinturicchio2 and that vaulting was painted by ,giovanni da ,udine and ,perino4 ,they executed in company the stucco-work and all those ornaments1 grotesques1 and animals that are to be seen there1 in addition to the varied and beautiful inventions that were depicted by them in the compartments of the ceiling1 which they had divided into certain circles and ovals to contain the seven ,planets of ,heaven drawn by their appropriate animals1 such as ,jupiter drawn by ,eagles1 ,venus by ,doves1 the ,moon by ,women1 ,mars by ,wolves1 ,mercury by ,cocks1 the ,sun by ,horses1 and ,saturn by ,serpents2 besides the twelve ,signs of the ,zodiac1 and some figures from the forty-eight ,constellations of ,heaven1 such as the ,great ,bear1 the ,dog ,star1 and many others1 which1 by reason of their number1 we must pass over in silence1 without recounting them all in their order1 since anyone may see the work2 which figures are almost all by the hand of ,perino4 ,in the centre of the vaulting is a circle with four figures representing ,victories1 seen foreshortened from below upwards1 who are holding the ,pope's ,crown and the ,keys2 and these are very well conceived and wrought with masterly art1 to say nothing of the delicacy with which he painted their vestments1 veiling the nude with certain light draperies that partly reveal the naked legs and arms1 a truly graceful and beautiful effect4 ,this work was justly held1 as it still is at the present day1 to be very magnificent and rich in craftsmanship1 and also cheerful and pleasing2 worthy1 in short1 of that ,pontiff1 who did not fail to reward their labours1 which truly deserved some signal remuneration4 ,perino decorated a faade in chiaroscuro--a method brought into use at that time by the example of ,polidoro and ,maturino--which is opposite to the house of the ,marchioness of ,massa1 near ,maestro ,pasquino1 executing it with great boldness of design and with supreme diligence4 ,in the third year of his pontificate ,pope ,leo paid a visit to ,florence1 for which many triumphal preparations were made in that city1 and ,perino went thither before the ,court1 partly in order to see the pomps of the city1 and partly from a wish to revisit his native country2 and on a triumphal arch at ,s4 ,trinit he made a large and very beautiful figure1 seven braccia high1 while another was executed in competition with him by ,toto del ,nunziata1 who had already been his rival in boyhood4 ,but to ,perino every hour seemed a thousand years until he could return to ,rome1 for he perceived that the rules and methods of the ,florentine craftsmen were very different from those that were customary in ,rome2 wherefore he departed from ,florence and returned to ,rome1 where he resumed his usual course of work4 ,and in ,s4 ,eustachio dalla ,dogana he painted a ,s4 ,peter in fresco1 which is a figure that has very strong relief1 executed with a simple flow of folds1 and yet wrought with much design and judgment4 ,there was in ,rome at this time the ,archbishop of ,cyprus1 a man who was a great lover of the arts1 and particularly of painting2 and he1 having a house near the ,chiavica1 where he had laid out a little garden with some statues and other antiquities of truly noble beauty1 and desiring to enhance their effect with some fine decorations1 sent for ,perino1 who was very much his friend1 and they came to the decision that he should paint round the walls of that garden many stories of ,bacchantes1 ,satyrs1 ,fauns1 and other wild things1 in reference to an ancient statue of ,bacchus1 seated beside a tiger1 which the ,archbishop had there4 ,and so ,perino adorned that place with a variety of poetical fancies2 and1 among other things1 he painted there a little loggia with small figures1 various grotesques1 and many landscapes1 coloured with supreme grace and diligence4 ,this work has been held by craftsmen1 as it always will be1 to be worthy of the highest praise2 and it was the reason that he became known to the ,fugger family1 merchants of ,germany1 who1 having built a house near the ,banchi1 on the way to the ,church of the ,florentines1 and having seen ,perino's work and liked it1 caused him to paint there a courtyard and a loggia1 with many figures1 all worthy of the same praise as the other works by his hand1 for in them may be seen much delicacy and grace and great beauty of manner4 ,at this same time ,m4 ,marchionne ,baldassini1 having caused a house to be built for him near ,s4 ,agostino1 as has been related1 by ,antonio da ,san ,gallo1 who designed it very well1 desired that a hall which ,antonio had constructed there should be painted all over2 and after passing in review many of the young painters1 to the end that it might be well and beautifully done1 he finally resolved to give it to ,perino4 ,having agreed about the price1 ,perino set his hand to it1 nor did he turn his attention from that work to any other until he had brought it to a very happy conclusion in fresco4 ,in that hall he made compartments by means of pilasters which have between them niches great and small2 in the larger niches are various figures of philosophers1 two in each niche1 and in some one only1 and in the smaller niches are little boys1 partly naked and partly draped in veiling1 while above those small niches are some heads of women1 painted in imitation of marble4 ,above the cornice that crowns the pilasters there follows a second series of pictures1 separated from the first series below1 with scenes in figures of no great size from the history of the ,romans1 beginning with ,romulus and ending with ,numa ,pompilius4 ,there are likewise various ornaments in imitation of different kinds of marble1 and over the beautiful chimney-piece of stone is a figure of ,peace burning arms and trophies1 which is very lifelike4 ,this work was held in much estimation during the lifetime of ,m4 ,marchionne1 as it has been ever since by all those who work in painting1 and also by many others not of the profession1 who give it extraordinary praise4 ,in the ,convent of the ,nuns of ,s4 ,anna1 ,perino painted a chapel in fresco with many figures1 which was executed by him with his usual diligence4 ,and on an altar in ,s4 ,stefano del ,cacco he painted in fresco1 for a ,roman lady1 a ,piet with the ,dead ,christ in the lap of ,our ,lady1 with a portrait from life of that lady1 which still has the appearance of a living figure2 and the whole work is very beautiful1 and executed with great mastery and facility4 ,in those days ,antonio da ,san ,gallo had built at the corner of a house in ,rome1 which is known as the ,imagine di ,ponte1 a tabernacle finely adorned with travertine and very handsome1 in which something beautiful in the way of painting was to be executed2 and he received a commission from the owner of that house to give the work to one whom he should consider capable of painting some noble picture there4 ,wherefore ,antonio1 who knew ,perino to be the best of the young men who were in ,rome1 allotted it to him4 ,and he1 setting his hand to the work1 painted there a ,christ in the act of crowning the ,madonna1 and in the background he made a ,glory1 with a choir of ,seraphim and ,angels clothed in light and delicate draperies1 who are scattering flowers1 and other children of great beauty and variety2 and on the sides of the tabernacle he painted ,saints1 ,s4 ,sebastian on one side and ,s4 ,anthony on the other4 ,this work was executed truly well1 and was equal to the others by his hand1 which were always full of grace and charm4 ,a certain protonotary had erected a chapel of marble on four columns in the ,minerva1 and1 desiring to leave an altar-piece there in memory of himself1 even if it were but a small one1 he came to an agreement with ,perino1 whose fame he had heard1 and commissioned him to paint it in oils4 ,and he chose that the subject should be the ,deposition of ,christ from the ,cross1 which ,perino set himself to execute with the greatest possible zeal and diligence4 ,in this picture he represented ,him as already laid upon the ground1 surrounded by the ,maries weeping over ,him1 in whose gestures and attitudes he portrayed a melting pity and sorrow2 besides which there are the ,nicodemuses#bh and other figures that are much admired1 all woeful and afflicted at seeing the sinless ,christ lying dead4 ,but the figures that he painted most divinely were those of the two ,thieves1 left fixed upon the crosses1 which1 besides appearing to be real dead bodies1 reveal a very good mastery over muscles and nerves1 which this occasion enabled him to display2 wherefore1 to the eyes of him who beholds them1 their limbs present themselves all drawn in that violent death by the nerves1 and the muscles by the nails and cords4 ,there is1 in addition1 a landscape wrapped in darkness1 counterfeited with much judgment and art4 ,and if the inundation which came upon ,rome after the sack had not done damage to this work1 covering more than half of it1 its excellence would be clearly seen2 but the water so softened the gesso1 and caused the wood to swell in such sort1 that all the lower part that was soaked has peeled off too much for the picture to give any pleasure2 nay1 it is a grief and a truly heartrending sorrow to behold it1 for it would certainly have been one of the most precious things in all ,rome4 ,there was being rebuilt at this time1 under the direction of ,jacopo ,sansovino1 the ,church of ,s4 ,marcello in ,rome1 a convent of ,servite ,friars1 which still remains unfinished2 and when they had carried the walls of some chapels to completion1 and had roofed them1 those friars commissioned ,perino to paint in one of these1 as ornaments for a ,madonna that is worshipped in that church1 two figures in separate niches1 ,s4 ,joseph and ,s4 ,filippo1 a ,servite friar and the founder of that ,order1 one on either side of the ,madonna4 ,these finished1 he painted above them some little boys that are perfect1 and in the centre of the wall he placed another standing upon a dado1 who has upon his shoulders the ends of two festoons1 which he directs towards the corners of the chapel1 where there are two other little boys who support them1 being seated upon them1 with their legs in most beautiful attitudes4 ,all this he executed with such art1 such grace1 and so beautiful a manner1 and gave to the flesh a tint of colour so fresh and soft1 that one might say that it was real flesh rather than painted4 ,and certainly these figures may be held to be the most beautiful that ever any craftsman painted in fresco1 for the reason that there is life in their eyes and movement in their attitudes1 and with the mouth they make as if to break into speech and say that art has conquered ,nature1 and that even art declares that nothing more than this can be done in her4 ,this work was so excellent in the sight of all good judges of art1 that he acquired a great name thereby1 although he had executed many works and what was known of his great genius in his profession was well known2 and he was therefore held in much more account and greater estimation than ever before4 ,for this reason ,lorenzo ,pucci1 ,cardinal ,santiquattro1 who had taken over a chapel on the left hand beside the principal chapel in the ,trinit1 a convent of ,calabrian and ,french ,friars who wear the habit of ,s4 ,francis of ,paola1 allotted it to ,perino1 to the end that he might paint there in fresco the life of ,our ,lady4 ,which having begun1 ,perino finished all the vaulting and a wall under an arch2 and on the outer side1 also1 over an arch of the chapel1 he painted two ,prophets four braccia and a half in height1 representing ,isaiah and ,daniel1 who in their great proportions reveal all the art1 excellence of design1 and beauty of colouring that can be seen in their perfection only in a picture executed by a great craftsman4 ,this will be clearly evident to one who shall consider the ,isaiah1 in whom1 as he reads1 may be perceived the thoughtfulness that study infuses in him1 and his eagerness in reading new things1 for he has his gaze fixed upon a book1 with one hand to his head1 exactly as a man often is when he is studying2 and ,daniel1 likewise1 is motionless1 with his head upraised in celestial contemplation1 in order to resolve the doubts of his people4 ,between these figures are two little boys who are upholding the escutcheon of the ,cardinal1 a shield of beautiful shape3 and these boys1 besides being so painted as to seem to be of flesh1 also have the appearance of being in relief4 ,the vaulting is divided into four scenes1 separated one from another by the cross--that is1 by the ribs of the vaulting4 ,in the first is the ,conception of ,our ,lady1 in the second her ,nativity1 in the third the scene when she ascends the steps of the ,temple1 and in the fourth ,s4 ,joseph marrying her4 ,on a wall-space equal in extent to the arch of the vaulting is her ,visitation1 in which are many figures that are very beautiful1 but above all some who have climbed on certain socles and are standing in very spirited and natural attitudes1 the better to see the ceremonious meeting of those women2 besides which1 there is something of the good and of the beautiful in the buildings and in every gesture of the other figures4 ,he pursued this work no further1 illness coming upon him2 and when he was well1 there began the plague of the year #aebc1 which raged so violently in ,rome1 that1 if he wished to save his life1 it became expedient for him to make up his mind to depart4 ,there was in the city of ,rome at that time the goldsmith ,piloto1 who was much the friend and intimate companion of ,perino1 and he was desirous of departing2 and so one morning1 as they were breakfasting together1 he persuaded ,perino to take himself off and go to ,florence1 on the ground that it was many years since he had been there1 and that it could not but bring him great honour to make himself known there and to leave some example of his excellence in that city2 saying also that1 although ,andrea de' ,ceri and his wife1 who had brought him up1 were dead1 nevertheless1 as a native of that country1 if he had no possessions there1 he had his love for it4 ,wherefore1 after no long time1 one morning ,perino and ,piloto departed and set out on the way to ,florence4 ,and when they had arrived there1 ,perino took the greatest pleasure in seeing once again the old works painted by the masters of the past1 which had been as a school to him in the days of his boyhood1 and likewise those of the masters then living who were the most celebrated and held to be the best in that city1 in which1 through the interest of friends1 a work was allotted to him1 as will be related below4 ,it happened one day that many craftsmen having assembled in his presence to do him honour1 painters1 sculptors1 architects1 goldsmiths1 and carvers in wood and marble1 who had gathered together according to the ancient custom1 some to see ,perino1 to keep him company1 and to hear what he had to say1 many to learn what difference in practice there might be between the craftsmen of ,rome and those of ,florence1 but most of them to hear the praise and censure that craftsmen are wont often to give to one another2 it happened1 ,i say1 that thus discoursing together of one thing and another1 and examining the works1 both ancient and modern1 in the various churches1 they came to that of the ,carmine1 in order to see the chapel of ,masaccio4 ,there everyone gazed attentively at the paintings1 and many various opinions were uttered in praise of that master1 all declaring that they marvelled that he should have possessed so much judgment as to be able in those days1 without seeing anything but the work of ,giotto1 to work with so much of the modern manner in the design1 in the colouring1 and in the imitation of ,nature1 and that he should have solved the difficulties of his art in a manner so facile2 not to mention that among all those who had worked at painting1 there had not as yet been one who had equalled him in strength of relief1 in resoluteness1 and in mastery of execution4 ,this kind of discourse much pleased ,perino1 and to all those craftsmen who spoke thus he answered in these words3 ,i do not deny that what you say1 and even more1 may be true2 but that there is no one among us who can equal this manner1 that ,i will deny with my last breath4 ,nay1 ,i will declare1 if ,i may say it with the permission of the company1 not in contempt1 but from a desire for the truth1 that ,i know many both more resolute and richer in grace1 whose works are no less lifelike in the painting than these1 and even much more beautiful4 ,and ,i1 by your leave1 ,i who am not the first in this art1 am grieved that there is no space near these works wherein ,i might be able to paint a figure2 for before departing from ,florence ,i would make a trial beside one of these figures1 likewise in fresco1 to the end that you might see by comparison whether there be not among the moderns one who has equalled him4 ,among their number was a master who was held to be the first painter in ,florence2 and he1 being curious to see the work of ,perino1 and perhaps wishing to lower his pride1 put forward an idea of his own1 which was this3 ,although1 said he1 all the space here is full1 yet1 since you have such a fancy1 which is certainly a good one and worthy of praise1 there1 on the opposite side1 where there is the ,s4 ,paul by his hand1 a figure no less good and beautiful than any other in the chapel1 is a space in which you may easily prove what you say by making another ,apostle1 either beside that ,s4 ,peter by ,masolino or beside the ,s4 ,paul of ,masaccio1 whichever you may prefer4 ,the ,s4 ,peter was nearer the window1 and the space beside it was greater and the light better2 besides which1 it was a figure no less beautiful than the ,s4 ,paul4 ,everyone1 therefore1 urged ,perino to do it1 because they had a great desire to see that ,roman manner2 besides which1 many said that he would be the means of taking out of their heads the fancy that they had nursed in their minds for so many decades1 and that if his figure should prove to be the best all would run after modern works4 ,wherefore1 persuaded by that master1 who told him at last that he ought not to disappoint the entreaties and expectations of so many lofty intellects1 particularly since it would not take longer than two weeks to execute a figure in fresco1 and they would not fail to spend years in praising his labours1 ,perino resolved to do it1 although he who spoke thus had an intention quite contrary to his words1 being persuaded that ,perino would by no means execute anything much better than the work of those craftsmen who were considered to be the most excellent at that time4 ,perino1 then1 undertook to make this attempt2 and having summoned by common consent ,m4 ,giovanni da ,pisa1 the ,prior of the convent1 they asked him for the space for the execution of the work1 which he granted to them with truly gracious courtesy2 and thus they took measurements of the space1 with the height and breadth1 and went away4 ,an ,apostle was then drawn by ,perino in a cartoon1 in the person of ,s4 ,andrew1 and finished with the greatest diligence2 whereupon ,perino1 having first caused the staging to be erected1 was prepared to begin to paint it4 ,but before this1 on his arrival in ,florence1 his many friends1 who had seen most excellent works by his hand in ,rome1 had contrived to obtain for him the commission for that work in fresco which ,i mentioned1 to the end that he might leave some example of his handiwork in ,florence1 which might demonstrate how spirited and how beautiful was his genius for painting1 and also to the end that he might become known and perchance be set to work on some labour of importance by those who were then governing4 ,there were at that time certain craftsmen who used to assemble in a company called the ,company of the ,martyrs1 in the ,camaldoli at ,florence2 and they had proposed many times to have a wall that was in that place painted with the story of the ,martyrs being condemned to death before two ,roman ,emperors1 who1 after they had been taken in battle1 caused them to be crucified in the wood and hanged on trees4 ,this story was suggested to ,perino1 and1 although the place was out of the way1 and the price small1 so much was he attracted by the possibilities of invention in the story and by the size of the wall1 that he was disposed to undertake it2 besides which1 he was urged not a little by those who were his friends1 on the ground that the work would establish him in that reputation which his talent deserved among the citizens1 who did not know him1 and among his fellow-craftsmen in ,florence1 where he was not known save by report4 ,having then determined to do the work1 he accepted the undertaking and made a small design1 which was held to be a thing divine2 and having set his hand to making a cartoon as large as the whole work1 he never left off labouring at it1 and carried it so far that all the principal figures were completely finished4 ,and so the ,apostle was abandoned1 without anything more being done4 ,perino drew this cartoon on white paper1 well shaded and hatched1 leaving the paper itself for the lights1 and executing the whole with admirable diligence4 ,in it were the two ,emperors on the seat of judgment1 condemning to the cross all the prisoners1 who were turned towards the tribunal1 some kneeling1 some standing1 and others bowed1 but all naked and bound in different ways1 and writhing with piteous gestures in various attitudes1 revealing the trembling of the limbs at the prospect of the severing of the soul from the body in the agony and torment of crucifixion2 besides which1 there were depicted in those heads the constancy of faith in the old1 the fear of death in the young1 and in others the torture that they suffer from the strain of the cords on their bodies and arms4 ,and there could also be seen the swelling of the muscles and even the cold sweat of death1 all depicted in that design4 ,then in the soldiers who were leading them there was revealed a terrible fury1 most impious and cruel1 as they presented them at the tribunal for condemnation and led them to the cross4 ,the ,emperors and the soldiers were wearing cuirasses after the ancient manner and garments very ornate and bizarre1 with buskins1 shoes1 helmets1 shields1 and other pieces of armour wrought with all that wealth of the most beautiful ornamentation to which a craftsman can attain in imitating and reproducing the antique1 and drawn with the greatest lovingness1 subtlety1 and delicacy that the perfection of art can display4 ,when this cartoon was seen by the craftsmen and by other judges of discernment1 they declared that they had never seen such beauty and excellence in design since the cartoon drawn by ,michelagnolo ,buonarroti in ,florence for the ,council ,chamber2 wherefore ,perino acquired the greatest fame that he could have gained in art4 ,and while he was engaged in finishing that cartoon1 he amused himself by causing oil-colours to be prepared and ground in order to paint for his dearest friend1 the goldsmith ,piloto1 a little picture of no great size1 containing a ,madonna1 which he carried something more than half-way towards completion4 ,for many years past ,perino had been intimately acquainted with a certain lame priest1 ,ser ,raffaello di ,sandro1 a chaplain of ,s4 ,lorenzo1 who always bore love to the craftsmen of design4 ,this priest1 then1 persuaded ,perino to take up his quarters with him1 seeing that he had no one to cook for him or to keep house for him1 and that during the time that he had been in ,florence he had stayed now with one friend and now with another2 wherefore ,perino went to lodge with him1 and stayed there many weeks4 ,meanwhile the plague began to appear in certain parts of ,florence1 and filled ,perino with fear lest he should catch the infection2 on which account he determined to go away1 but wished first to recompense ,ser ,raffaello for all the days that he had eaten at his table4 ,but ,ser ,raffaello would never consent to take anything1 only saying3 ,i would be fully paid by having a scrap of paper from your hand4 ,seeing him to be determined1 ,perino took about four braccia of coarse canvas1 and1 after having it fixed to the wall between two doors in the priest's little room1 painted on it in a day and a night a scene coloured in imitation of bronze4 ,on this canvas1 which was to serve as a screen for the wall1 he painted the story of ,moses passing the ,red ,sea and ,pharaoh being submerged with his horses and his chariots2 and ,perino painted therein figures in most beautiful attitudes1 some swimming in armour and some naked1 others swimming while clasping the horses round the neck1 with their beards and hair all soaked1 crying out in the fear of death and struggling with all their power to escape4 ,on the other side of the sea are ,moses1 ,aaron1 and all the other ,hebrews1 male and female1 who are thanking ,god1 and a number of vases that he counterfeited1 carried off by them from ,egypt1 varied and beautiful in form and shape1 and women with head-dresses of great variety4 ,which finished1 he left it as a mark of lovingness to ,ser ,raffaello1 to whom it was as dear as the ,priorate of ,s4 ,lorenzo would have been4 ,this canvas was afterwards much extolled and held in estimation1 and after the death of ,ser ,raffaello it passed1 together with his other possessions1 to his brother ,domenico di ,sandro1 the cheesemonger4 ,departing1 then1 from ,florence1 ,perino abandoned the work of the ,martyrs1 which caused him great regret2 and certainly1 if it had been in any other place but the ,camaldoli1 he would have finished it2 but1 considering that the officials of health had taken that very ,convent of ,camaldoli for those infected with the plague1 he thought it better to save himself than to leave fame behind him in ,florence1 being satisfied that he had proved how much he was worth in the design4 ,the cartoon1 with his other things1 remained in the possession of the goldsmith ,giovanni di ,goro1 his friend1 who died in the plague2 and after that it fell into the hands of ,piloto1 who kept it spread out in his house for many years1 showing it readily as a very rare work to every person of intelligence2 but ,i do not know what became of it after the death of ,piloto4 ,perino stayed for many months in various places1 seeking to avoid the plague1 but for all this he never spent his time in vain1 for he was continually drawing and studying the secrets of art2 and when the plague had ceased1 he returned to ,rome and gave his attention to executing little works of which ,i shall say nothing more4 ,in the year #aebc came the election of ,pope ,clement ,,vii1 which was the greatest of blessings for the arts of painting and sculpture1 which had been so kept down by ,adrian ,,vi during his lifetime1 that not only had nothing been executed for him1 but1 as has been related in other places1 not delighting in them1 or rather1 holding them in detestation1 he had brought it about that no other person delighted in them1 or spent money upon them1 or employed a single craftsman4 ,then1 therefore1 after the election of the new ,pontiff1 ,perino executed many works4 ,afterwards it was proposed that ,giulio ,romano and ,giovan ,francesco1 called ,il ,fattore1 should be made heads of the world of art in place of ,raffaello1 who was dead1 to the end that they might distribute the various works to the others1 according to the previous custom4 ,but ,perino1 in executing an escutcheon of the ,pope in fresco over the door of ,cardinal ,cesarino1 after the cartoon of ,giulio ,romano1 acquitted himself so excellently well1 that they doubted whether he would not be preferred to themselves1 because1 although they were known as the disciples of ,raffaello and as the heirs to his possessions1 they had not inherited the whole of the art and grace that he used to give to his figures with colours4 ,giulio and ,giovan ,francesco therefore made up their minds to attach ,perino to themselves2 and so in the holy year of ,jubilee1 #aebe1 they gave him ,caterina1 the sister of ,giovan ,francesco1 for wife1 to the end that the perfect friendship which had been maintained between them for so long might be converted into kinship4 ,thereupon1 continuing the works that he had in hand1 no long time had passed when1 on account of the praises bestowed upon him for the first work executed by him in ,s4 ,marcello1 it was resolved by the ,prior of that convent and by certain heads of the ,company of the ,crocifisso1 which has a chapel there built by its members as a place of assembly1 that the chapel should be painted2 and so they allotted this work to ,perino1 in the hope of having some excellent painting by his hand4 ,perino1 having caused the staging to be erected1 began the work2 and in the centre of the barrel-shaped vaulting he painted the scene when ,god1 after creating ,adam1 takes his wife ,eve from his side4 ,in this scene ,adam1 a most beautiful naked figure painted with perfect art1 is seen lying overcome by sleep1 while ,eve1 with great vivacity1 rises to her feet with the hands clasped and receives the benediction of her ,maker1 the figure of whom is depicted grave in aspect and sublime in majesty1 standing with many draperies about ,him1 which curve round ,his nude form with their borders4 ,on one side1 on the right hand1 are two ,evangelists1 ,s4 ,mark and ,s4 ,john1 the first of whom ,perino finished entirely1 and also the second with the exception of the head and a naked arm4 ,between these two ,evangelists1 by way of ornament1 he made two little boys embracing a candelabrum1 which are truly of living flesh2 and the ,evangelists1 likewise1 in the heads1 the draperies1 the arms1 and all that he painted in them with his own hand1 are very beautiful4 ,while he was executing this work1 he suffered many interruptions from illness and from other misfortunes1 such as happen every day to all who live in this world2 besides which1 it is said that the men of the ,company also ran short of money4 ,and so long did this business drag on1 that in the year #aebg there came upon them the ruin of ,rome1 when that city was given over to sack1 many craftsmen were killed1 and many works destroyed or carried away4 ,whereupon ,perino1 caught in that turmoil1 and having a wife and a baby girl1 ran from place to place in ,rome with the child in his arms1 seeking to save her1 and finally1 poor wretch1 was taken prisoner and reduced to paying a ransom1 which hit him so hard that he was like to go out of his mind4 ,when the fury of the sack had abated1 he was so crushed down by the fear that still possessed him1 that all thought of art was worlds away from him1 but nevertheless he painted canvases in gouache and other fantasies for certain ,spanish soldiers2 and after regaining his composure1 he lived like the rest in some poor fashion4 ,alone among so many1 ,baviera1 who had the engravings of ,raffaello1 had not lost much2 wherefore1 moved by the friendship that he had with ,perino1 and wishing to employ him1 he commissioned him to draw some of the stories of the ,gods transforming themselves in order to achieve the consummation of their loves4 ,these were engraved on copper by ,jacopo ,caraglio1 an excellent engraver of prints1 who acquitted himself so well in the matter of these designs1 that1 preserving the outlines and manner of ,perino1 and hatching the work with beautiful facility1 he sought also to impart to the engravings that grace and that delicacy which ,perino had given to the drawings4 ,while the havoc of the sack had destroyed ,rome and driven away the inhabitants and the ,pope himself1 who was living at ,orvieto1 not many remaining in the city1 and no business of any kind being done there1 there arrived in ,rome one ,niccola ,viniziano1 a rare and even unrivalled master of embroidery1 the servant of ,prince ,doria4 ,he1 moved by his long-standing friendship with ,perino1 and being a man who always favoured and wished well to the men of our arts1 persuaded him to leave that misery and set out for ,genoa1 promising that he would so go to work with that ,prince1 who was a lover of art and delighted in painting1 that he would commission ,perino to execute some big works1 and saying1 moreover1 that ,his ,excellency had often told him that he would like to have a suite of rooms adorned with handsome decorations4 ,it did not take much to persuade ,perino1 for he was oppressed by want and burning with desire to leave ,rome2 and he determined to depart with ,niccola4 ,having therefore made arrangements for leaving his wife and daughter well cared for by relatives in ,rome1 and having put all his affairs in order1 he set off for ,genoa4 ,arriving there1 and making himself known to that ,prince by means of ,niccola1 his coming was as welcome to ,his ,excellency as any agreeable experience that he had ever had in all his life4 ,he was received1 therefore1 with the greatest possible warmth and gladness1 and after many conversations and discussions they finally arranged that he should begin the work2 and they decided that he should execute a palace adorned with stucco-work and with pictures in fresco1 in oils1 and of every kind1 which ,i will strive to describe as briefly as ,i am able1 with all the rooms1 pictures1 and general arrangement1 saying nothing as to where ,perino first began to labour1 to the end that ,i may not obscure this work1 which is the best of all those by his hand1 with words4 ,i begin1 then1 by saying that at the entrance of the ,prince's ,palace there is a marble portal composed in the ,doric ,order1 and built after designs and models by the hand of ,perino1 with all its appurtenances of pedestals1 socles1 shafts1 capitals1 architrave1 frieze1 cornice and pediment1 and with some most beautiful seated figures of women1 who are supporting an escutcheon4 ,the masonry and carving of this work were executed by ,maestro ,giovanni da ,fiesole1 and the figures were finished to perfection by ,silvio1 the sculptor of ,fiesole1 a bold and resolute master4 ,entering within the portal1 one finds over the vestibule a vault covered with stucco-work1 varied scenes1 and grotesques1 and little arches in each of which are scenes of war and various kinds of battles1 some fighting on foot and others on horseback1 and all wrought with truly extraordinary diligence and art4 ,on the left one finds the staircase1 which has decorations of little grotesques after the antique that could not be richer or more beautiful1 with various scenes and little figures1 masks1 children1 animals1 and other things of fancy1 executed with that invention and judgment that always marked his work1 insomuch that of their kind they may well be called divine4 ,having ascended the staircase1 one comes into a most beautiful loggia1 which has at each end a very handsome door of stone2 and over each of these doors1 in the pediment1 are painted two figures1 one male and the other female1 represented in directly opposite attitudes1 one showing the front view and the other the back4 ,the vaulting has five arches1 and is wrought superbly in stucco1 and it is also divided by pictures in certain ovals1 containing scenes executed with the most perfect beauty that could be achieved2 and the walls are painted down to the floor with many seated figures of captains in armour1 some drawn from life and some from imagination1 and representing all the ancient and modern captains of the house of ,doria1 and above them are large letters of gold1 which run thus--,magni viri1 maximi duces1 optima fecere pro patria4 ,in the first hall1 which opens into the loggia and is entered by one of the two doors1 that on the left hand1 there are most beautiful ornaments of stucco on the corners of the vaulting1 and in the centre there is a large scene of the ,shipwreck of neas in the sea1 in which are nude figures1 living and dead1 in attitudes of infinite variety1 besides a good number of ships and galleys1 some sound and some shattered by the fury of the tempest2 not without beautiful considerations in the figures of the living1 who are striving to save themselves1 and expressions of terror that are produced in their features by the struggle with the waves1 the danger of death1 and all the emotions aroused by the perils of the sea4 ,this was the first scene and the first work that ,perino began for the ,prince4 ,it is said that when he arrived in ,genoa1 ,girolamo da ,treviso had already appeared there in advance of him in order to execute certain pictures1 and was painting a wall that faced towards the garden4 ,and after ,perino had begun to draw the cartoon for the scene of the ,shipwreck that has been described above1 while he was taking his time about it1 amusing himself and seeing ,genoa1 and labouring only at intervals at the cartoon1 although a great part was finished in various ways and those nudes were drawn1 some in chiaroscuro1 some in charcoal1 and others in black chalk1 some being drawn in imitation of gradine-work1 others shaded1 and others again only outlined2 while1 ,i say1 ,perino was going on in this way1 without beginning to paint1 ,girolamo da ,treviso murmured against him1 saying1 ,cartoons1 and nothing but cartoons6 ,i have my art at the tip of my brush4 ,decrying him very often in this or some other similar manner1 it came to the ears of ,perino1 who1 taking offence1 straightway caused his cartoon to be fixed to the vaulting where the scene was to be painted1 and the boards of his staging to be removed in many places1 to the end that the work might be seen from below2 and then he threw open the hall4 ,which hearing1 all ,genoa ran to see it1 and1 amazed by ,perino's grand design1 they praised him to the skies4 ,thither1 among others1 went ,girolamo da ,treviso1 who saw what he had never thought to see from the hand of ,perino2 whereupon1 dumbfoundered by the beauty of the work1 he departed from ,genoa without asking leave of ,prince ,doria1 and returned to ,bologna1 where he lived4 ,perino was thus left alone in the service of the ,prince1 and finished that hall1 painting it in oils on the surface of the walls2 and it was held to be1 as indeed it is1 a thing unrivalled in its beauty1 with its lovely work in stucco in the centre of the vaulting and all around1 even below the lunettes1 as ,i have described4 ,in the other hall1 into which one enters by the right-hand door in the loggia1 he executed on the vaulting works in stucco almost similar in design to those of the other1 and painted pictures in fresco of ,jove slaying the ,giants with his thunderbolts1 in which are many very beautiful nudes1 larger than life4 ,in the ,heaven1 likewise1 are all the ,gods1 who are making gestures of great vivacity and truly appropriate to their natures1 amid the terrible uproar of the thunder2 besides which1 the stucco-work is executed with supreme diligence1 and the fresco-colouring could not be more beautiful1 seeing that ,perino was very able--indeed1 a perfect master--in that field4 ,near this he adorned four chambers1 the ceilings of which are all wrought in stucco1 and distributed among them1 in fresco1 are the most beautiful fables from ,ovid1 which have all the appearance of reality1 nor could any one imagine the beauty1 the abundance1 the variety1 and the great numbers of the little figures1 animals1 foliage1 and grotesques that are in them1 all executed with lively invention4 ,beside the other hall1 likewise1 he adorned four more chambers1 but only directing the work1 which was carried out by his assistants1 although he gave them the designs both of the stucco-decorations and of the scenes1 figures1 and grotesques1 upon which a vast number of them worked1 some little and some much2 such as ,luzio ,romano1 who did much work in stucco there and many grotesques1 and a number of ,lombards4 ,let it suffice to say that there is no room there that has not something by his hand and is not full of ornaments1 even to the space below the vaulting1 with various compositions full of children1 bizarre masks1 and animals1 which all defies description2 not to mention that the little studies1 the antechambers1 the closets1 and all other parts of the palace1 are painted and made beautiful4 ,from the palace one passes into the garden and into a low building1 which has the most ornate decorations in all the rooms1 even below the ceilings1 and so also the halls1 chambers1 and anterooms1 all adorned by the same hand4 ,in this work ,pordenone also took a part1 as ,i said in his ,life1 and likewise ,domenico ,beccafumi of ,siena1 a very rare painter1 who showed that he was not inferior to any of the others1 although the works by his hand that are in ,siena are the most excellent among the vast number that he painted4 ,but to return to the works that ,perino executed after those that he did in the ,palace of the ,prince2 he executed a frieze in a room in the house of ,giannetin ,doria1 containing most beautiful women1 and he did many works for various gentlemen throughout the city1 both in fresco and in oil-colours4 ,he painted a most beautiful altar-piece1 very finely designed1 for ,s4 ,francesco1 and another for a church called ,s4 ,maria de ,consolatione1 at the commission of a gentleman of the house of ,baciadonne3 in which picture he painted the ,nativity of ,christ1 a work that is much extolled1 but it was placed in a position so dark1 that1 by reason of the light not being good enough1 one is not able to recognize its perfection1 and all the more because ,perino strove to paint it in a dark manner1 so that it has need of a strong light4 ,he also made drawings of the greater part of the neid1 with the stories of ,dido1 from which tapestries were woven2 and he likewise drew beautiful ornaments for the poops of galleys1 which were carved and finished to perfection by ,carota and ,tasso1 wood-carvers of ,florence1 who proved excellently well how able they were in that art4 ,and in addition to all these things he also executed a vast number of works on cloth for the galleys of the ,prince1 and the largest standards that could be made for their adornment and embellishment4 ,wherefore he was so beloved by that ,prince for his fine qualities1 that1 if he had continued to serve him1 the ,prince would have richly rewarded his abilities4 ,but while he was working in ,genoa1 the fancy came to him to fetch his wife from ,rome1 and so he bought a house in ,pisa1 being pleased with that city and half thinking of choosing it as his place of habitation when old age should come upon him4 ,now at that time the ,warden of the ,duomo at ,pisa was ,m4 ,antonio di ,urbano1 who had a very great desire to embellish that temple1 and had already caused a beginning to be made with some very beautiful ornaments of marble for the chapels of the church1 which had been executed by the hand of ,stagio da ,pietrasanta1 a very able and well practised carver of marble3 removing some old1 clumsy1 and badly proportioned chapels that were there4 ,having thus made a beginning1 the ,warden proposed to fill up those ornaments in the interior with altar-pieces in oils1 and on the outer side with a series of scenes in fresco and decorations in stucco1 by the hands of the best and most excellent masters that he could find1 without grudging any expense that might be incurred4 ,he had already set to work on the sacristy1 which he had placed in the great recess behind the high-altar1 and there the ornamentation of marble was already finished1 and many pictures had been painted by the ,florentine painter ,giovanni ,antonio ,sogliani1 the rest of which1 together with the altar-pieces and the chapels that were wanting1 were finished many years afterwards by order of ,m4 ,sebastiano della ,seta1 the ,warden of the ,duomo in those days4 ,at that time ,perino returned from ,genoa to ,pisa1 and1 having seen that beginning1 at the instance of ,battista del ,cervelliera1 a person well conversant with art and a most ingenious master of wood-carving1 perspective1 and inlaying1 he was presented to the ,warden4 ,after they had discoursed together on the subject of the works of the ,duomo1 ,perino was asked to paint an altar-piece for an ornament immediately within the ordinary door of entrance1 the ornamental frame being already finished1 and above that a scene of ,s4 ,george slaying the ,dragon and delivering the ,king's ,daughter4 ,perino therefore made a most beautiful design1 which included a row of children and other ornaments in fresco between one chapel and the other1 and niches with ,prophets and scenes of various kinds2 and this design pleased the ,warden4 ,and so1 having made the cartoon for one of them1 the first one1 that opposite to the door mentioned above1 he began to execute it in colour1 and finished six children1 which are very well painted4 ,he was to have continued this right round1 which would have made a very rich and very beautiful decoration2 and the whole work together would have proved to be something very handsome4 ,but he was seized with a desire to return to ,genoa1 where he had involved himself in love affairs and other pleasures1 to which he was inclined at certain times3 and on his departure he gave to the ,nuns of ,s4 ,maffeo a little altar-piece that he had painted for them in oils1 which is now in their possession in the convent4 ,then1 having arrived in ,genoa1 he stayed there many months1 executing other works for the ,prince4 ,his departure from ,pisa displeased the ,warden greatly1 and even more the circumstance that the work remained unfinished2 wherefore he did not cease to write to him every day that he should return1 or to make inquiries from ,perino's wife1 whom he had left in ,pisa4 ,but finally1 perceiving that the matter would never end1 ,perino neither answering nor returning1 he allotted the altar-piece of that chapel to ,giovanni ,antonio ,sogliani1 who finished it and set it into its place4 ,not long after this ,perino returned to ,pisa1 and1 seeing the work of ,sogliani1 flew into a rage1 and would on no account continue what he had begun1 saying that he did not choose that his pictures should serve as ornaments for those of other masters2 wherefore1 so far as concerned him1 that work remained unfinished4 ,giovanni ,antonio carried it on to such purpose that he painted four altar-pieces3 but these1 at a later date1 appeared to ,sebastiano della ,seta1 the new ,warden1 to be all in the same manner1 and somewhat less beautiful than the first1 and he allotted to ,domenico ,beccafumi of ,siena--after proving his worth from some pictures that he painted round the sacristy1 which are very beautiful--an altar-piece which he executed in ,pisa4 ,this not giving as much satisfaction as the first pictures1 he caused the two last that were wanting to be painted by ,giorgio ,vasari of ,arezzo2 and they were placed at the two doors beside the corner-walls of the main faade of the church4 ,of these1 as well as of many other works1 both large and small1 that are dispersed throughout ,italy and various places abroad1 it does not become me to say more1 and ,i will leave the right of free judgment about them to all who have seen or may see them4 ,the loss of this work caused real vexation to ,perino1 he having already made the designs for it1 which gave promise that it would prove to be something worthy of him1 and likely to give that temple great fame over and above that of its antiquities1 and also to make ,perino immortal4 ,during the many years of his sojourn in ,genoa1 although he drew both profit and pleasure from that city1 ,perino had grown weary of it1 as he remembered ,rome in the happy days of ,leo4 ,but although1 during the lifetime of ,cardinal ,ippolito de' ,medici1 he had received letters inviting him into his service1 and he had been disposed to enter it1 the death of that lord brought it about that he hesitated to repatriate himself4 ,while matters stood thus1 with his many friends urging his return1 himself desiring it infinitely more than any of them1 and several letters being exchanged1 one morning1 in the end1 the fancy took him1 and without saying a word he set off from ,pisa and made his way to ,rome4 ,there1 after making himself known to the most reverend ,cardinal ,farnese1 and then to ,pope ,paul1 he stayed many months without doing anything2 first1 because he was put off from one day to another1 and then because he was attacked by some infirmity in one of his arms1 on account of which he spent several hundreds of crowns1 to say nothing of the discomfort1 before he could be cured of it4 ,wherefore1 having no one to maintain him1 and being vexed by his cold welcome from the ,court1 he was tempted many times to go away2 but ,molza and many other friends exhorted him to have patience1 telling him that ,rome was no longer what she had been1 and that now she expected that a man should be exhausted and weary of her before she would choose and cherish him as her own1 and particularly if he were pursuing the path of some fine art4 ,at this time ,m4 ,pietro de' ,massimi bought a chapel in the ,trinit1 with the vaulting and the lunettes painted and adorned with stucco1 and the altar-piece painted in oils1 all by ,giulio ,romano and ,perino's brother-in-law1 ,giovan ,francesco2 and that gentleman was desirous to have it finished4 ,in the lunettes were four stories of ,s4 ,mary ,magdalene in fresco1 and in the altar-piece in oils was ,christ appearing to ,mary ,magdalene in the form of a gardener2 and ,m4 ,pietro first caused a gilt frame of wood to be made for the altar-piece1 which had a miserable one of stucco1 and then allotted the walls to ,perino1 who1 having caused the staging and the screen to be erected1 set his hand to the work1 and after many months brought it to completion4 ,he made a design of bizarre and beautiful grotesques1 partly in low-relief and partly painted2 and he executed two little scenes of no great size1 one on each wall1 surrounding them with an ornament in stucco of great variety4 ,in one scene was the ,pool of ,bethesda1 with all the cripples and sick persons1 and the ,angel who comes to move the waters1 the porticoes seen most beautifully foreshortened in perspective1 and the movements and vestments of the priests1 all painted with great grace and vivacity1 although the figures are not very large4 ,in the other1 he painted the ,raising of ,lazarus after he had been dead four days1 wherein he is seen newly restored to life1 and still marked by the pallor and fear of death3 and round him are many who are unswathing him1 and not a few who are marvelling1 and others struck with awe1 besides which the scene is adorned with some little temples that recede into the distance1 executed with supreme lovingness1 as are also the works in stucco all around4 ,there are likewise four very small scenes1 two to each wall1 and one on either side of the larger scene2 in one of which is the ,centurion beseeching ,christ that ,he should heal with a word his son who is dying1 in another ,christ driving the traders from the ,temple1 in a third the ,transfiguration1 and in the last a similar scene4 ,and on the projections of the pilasters within the chapel he painted four figures in the guise of ,prophets1 which1 in their proportions1 their excellence1 and their beauty1 are as well executed and finished as they could well be4 ,in a word1 the whole work was carried out with such diligence1 and is so delicate1 that it resembles miniature rather than painting4 ,in it may be seen much charm and vivacity of colouring1 and signs of great patience in its execution1 revealing that true love which should be felt for art2 and he painted this whole work with his own hand1 although he had a great part of the stucco-work executed after his designs by ,guglielmo ,milanese1 whom he had formerly had with him at ,genoa1 loving him much1 and once even offering to give him his daughter in marriage4 ,this ,guglielmo1 in reward for restoring the antiquities of the house of ,farnese1 has now been made ,friar of the ,piombo1 in the place of ,fra ,sebastiano ,viniziano4 ,i must not omit to tell that against one wall of this chapel was a most beautiful tomb of marble1 with a dead woman of marble1 beautifully carved by the sculptor ,bologna1 on the sarcophagus1 and two little naked boys at the sides4 ,the countenance of that woman was a lifelike portrait of a very famous courtezan of ,rome1 who left that memorial of herself1 which was removed by the friars because they felt scruples that such a woman should have been laid to rest there with so much honour4 ,this work1 with many designs that he made1 was the reason that the very reverend ,cardinal ,farnese began to give him an allowance and to make use of him in many works4 ,by order of ,pope ,paul1 a chimney-piece that was in the ,chamber of the ,burning of the ,borgo was placed in that of the ,segnatura1 where there were the panellings with perspective views in wood executed by the hand of the carver ,fra ,giovanni for ,pope ,julius4 ,raffaello had painted both of those chambers2 but it became necessary to repaint all the base to the scenes in the ,chamber of the ,segnatura1 which is that in which is the picture of ,mount ,parnassus4 ,on which account a decorative design in imitation of marble was painted by ,perino1 with various terminal figures1 festoons1 masks1 and other ornaments2 and1 in certain spaces1 scenes painted to look like bronze1 which are very beautiful for works in fresco4 ,in these scenes1 even as above them were ,philosophers discoursing on ,philosophy1 ,theologians on ,theology1 and ,poets on ,poetry1 were all the actions of those who have been eminent in those professions4 ,and although he did not execute them all with his own hand1 he retouched them so much a secco1 besides making perfectly finished cartoons1 that they may almost be said to be entirely by his hand2 which method he employed because1 being troubled by a catarrh1 he was not fit for so much labour4 ,whereupon the ,pope1 recognizing that he deserved something both on account of his age and for all his work1 and hearing him much recommended1 gave him an allowance of twenty-five ducats a month1 which lasted up to his death1 on the condition that he should have charge of the ,palace and of the house of the ,farnese family4 ,by this time ,michelagnolo ,buonarroti had uncovered the wall with the ,last ,judgment in the ,papal ,chapel1 and there remained still unpainted the base below1 where there was to be fixed a screen of arras woven in silk and gold1 like the tapestries that adorn the ,chapel4 ,wherefore1 the ,pope having ordained that the weaving should be done in ,flanders1 it was arranged with the consent of ,michelagnolo that ,perino should begin to paint a canvas of the same size1 which he did1 executing in it women1 children and terminal figures1 holding festoons1 and all very lifelike1 with the most bizarre things of fancy2 but this work1 which was truly worthy of him and of the divine picture that it was to adorn1 remained unfinished after his death in some apartments of the ,belvedere4 ,after this1 ,antonio da ,san ,gallo having finished the building of the ,great ,hall of ,kings in front of the ,chapel of ,sixtus ,,iv in the ,papal ,palace1 ,perino divided the ceiling into a large pattern of octagonal compartments1 crosses1 and ovals1 both sunk and in relief2 which done1 ,perino was also commissioned to adorn it with stucco-work1 with the richest and most beautiful ornaments that could be produced by all the resources of that art4 ,he thus began it1 and in the octagons1 in place of rosettes1 he made four little boys in full relief1 who1 with their feet pointing to the centre and their arms forming a circle1 make a most beautiful rosette1 and in the rest of the compartments are all the devices of the house of ,farnese1 with the arms of the ,pope in the centre of the vaulting4 ,and this work in stucco may be said with truth to have surpassed in mastery of execution1 in beauty1 and in delicacy1 all those that have ever been done by ancients or moderns1 and to be truly worthy of the head of the ,christian religion4 ,after the designs of the same man1 likewise1 the glass windows were executed by ,pastorino da ,siena1 an able master of that craft2 and ,perino caused the walls below to be prepared with very beautiful ornaments in stucco1 intending to paint scenes there with his own hand1 which were afterwards continued by the painter ,daniello ,ricciarelli of ,volterra1 who1 if death had not cut short the noble aspirations that he had1 would have proved how the moderns have the courage not only to equal the ancients with their works1 but perhaps even to surpass them by a great measure4 ,while the stucco-work of this vaulting was in progress1 and ,perino was considering the designs for his scenes1 the old walls of the ,church of ,s4 ,pietro at ,rome were being pulled down to make way for those of the new building1 and the masons came to a wall where there was a ,madonna1 with other pictures1 by the hand of ,giotto2 which being seen by ,perino1 who was in the company of ,messer ,niccol ,acciaiuoli1 a ,florentine doctor and much his friend1 both of them were moved to pity for that picture and would not allow it to be destroyed2 nay1 having caused the wall to be cut away around it1 they had it well braced with beams and bars of iron and deposited below the organ of ,s4 ,pietro1 in a place where there was neither altar nor any other consecrated object4 ,and before the wall that had been round the ,madonna was pulled down1 ,perino copied the figure of ,orso dell' ,anguillara1 the ,roman ,senator who had crowned ,m4 ,francesco ,petrarca on the ,campidoglio1 and who was at the feet of that ,madonna4 ,round the picture of the ,madonna were to be made some ornaments in stucco and painting1 and together with them a memorial to a certain ,niccol ,acciaiuoli1 who had formerly been a ,roman ,senator2 and ,perino1 having made the designs1 straightway set his hand to the work1 and1 assisted by his young men and by ,marcello ,mantovano1 his disciple1 carried it out with great diligence4 ,in the same ,s4 ,pietro the ,sacrament did not occupy1 with regard to masonry1 a very honourable position2 wherefore certain deputies were appointed from the ,company of the ,sacrament1 who ordained that a chapel should be built in the centre of the old church by ,antonio da ,san ,gallo1 partly with remains in the form of ancient marble columns1 and partly with other ornaments of marble1 bronze1 and stucco1 placing in the centre a tabernacle by the hand of ,donatello1 by way of further adornment2 and ,perino executed there a very beautiful ceiling with many minute scenes full of figures from the ,old ,testament1 symbolical of the ,sacrament4 ,in the middle of it1 also1 he painted a somewhat larger scene1 containing the ,last ,supper of ,christ with the ,apostles1 and below it two ,prophets1 one on either side of the body of ,christ4 ,the same master1 likewise1 caused his young men to paint in the ,church of ,s4 ,giuseppe1 near the ,ripetta1 the chapel of that church1 which was afterwards retouched and finished by himself2 and he also had a chapel painted after his designs in the ,church of ,s4 ,bartolommeo in ,isola1 which he retouched in like manner1 and caused some scenes to be painted at the high-altar of ,s4 ,salvatore del ,lauro1 with some grotesques on the vaulting1 and likewise an ,annunciation on the faade outside1 which was executed by his pupil1 ,girolamo ,sermoneta4 ,thus1 then1 partly because he was not able1 and partly because the labour wearied him1 liking to design his works rather than to execute them1 he pursued the same course that ,raffaello da ,urbino had formerly followed at the end of his life4 ,how harmful and how blameworthy is this practice1 is proved by the ,chigi works and by all those carried out by other hands1 and is also shown by those that ,perino caused to be executed in the same way2 besides which1 those works of ,giulio ,romano's that he did not paint with his own hand have not done him much honour4 ,and although this method pleases ,princes1 giving them their works quickly1 and perhaps benefits the craftsmen who labour upon them1 yet1 if they were the ablest men in the world1 they could never feel that love for the works of others which a man feels for his own4 ,nor1 however well drawn the cartoons may be1 can they be imitated as exactly and as thoroughly as by the hand of their author1 who1 seeing the work going to ruin1 in despair leaves it to fall into complete destruction4 ,he1 then1 who thirsts for honour1 should do his own painting4 ,this ,i can say from experience1 for after ,i had laboured with the greatest possible pains on the cartoons for the ,hall of the ,cancelleria in the ,palace of ,s4 ,giorgio in ,rome1 the work having to be executed with great haste in a hundred days1 a vast number of painters were employed to paint it1 who departed so far from their outlines and their true form1 that ,i made a resolution1 to which ,i have adhered1 that from that time onward no one should lay a hand on any works of mine4 ,whoever1 therefore1 wishes to ensure long life for his name and his works1 should undertake fewer and do them all with his own hand1 if he desires to obtain that full meed of honour that a man of exalted genius seeks to acquire4 ,i say1 then1 that ,perino1 by reason of the number of the labours committed to his care1 was forced to employ many persons2 and he thirsted rather for gain than for glory1 considering that he had thrown away his life and had saved nothing in his youth4 ,and it vexed him so much to see young men coming forward to undertake work1 that he sought to enroll them all under his own command1 to the end that they might not encroach on his position4 ,now in the year #aedf there came to ,rome the ,venetian ,tiziano da ,cadore1 a painter highly celebrated for his portraits1 who1 having formerly taken a portrait of ,pope ,paul at the time when ,his ,holiness went to ,busseto1 without exacting any remuneration either for that or for some others that he had executed for ,cardinal ,farnese and ,santa ,fiore1 was received by those prelates with the greatest honour in the ,belvedere2 at which a rumour arose in the ,court1 and then spread throughout ,rome1 to the effect that he had come in order to paint scenes with his own hand in the ,hall of ,kings in the ,palace1 where ,perino was to paint them and the stucco-work was already in progress4 ,this arrival caused much vexation to ,perino1 and he complained of it to many of his friends1 not because he believed that ,tiziano was likely to surpass him at painting historical scenes in fresco1 but because he desired to occupy himself with that work peacefully and honourably until his death1 and1 if he was to do it1 he wished to do it without competition1 the wall and the vaulting by ,michelagnolo in the ,chapel close by being more than enough for him by way of comparison4 ,that suspicion was the reason that while ,tiziano stayed in ,rome1 ,perino always avoided him1 and remained in an ill-humour until his departure4 ,the ,castellan of the ,castello di ,s4 ,angelo1 ,tiberio ,crispo1 who was afterwards made a ,cardinal1 being a person who delighted in our arts1 made up his mind to beautify the ,castle1 and rebuilt loggie1 chambers1 halls1 and apartments in a very handsome manner1 in order to be able to receive ,his ,holiness more worthily when he went there4 ,many rooms and other ornaments were executed from the designs and under the direction of ,raffaello da ,montelupo1 and then in the end by ,antonio da ,san ,gallo1 and a loggia was wrought in stucco under the supervision of ,raffaello1 who also made the ,angel of marble1 a figure six braccia high1 which was placed on the summit of the highest tower in the ,castle4 ,tiberio then caused the said loggia1 which is the one facing the meadows1 to be painted by ,girolamo ,sermoneta2 which finished1 the rest of the rooms were entrusted in part to ,luzio ,romano1 and finally the halls and other important apartments were finished partly by ,perino with his own hand1 and partly by others after his cartoons4 ,the principal hall is very pleasing and beautiful1 being wrought in stucco and all filled with scenes from ,roman history1 executed for the most part by ,perino's young men1 and not a few by the hand of ,marco da ,siena1 the disciple of ,domenico ,beccafumi2 and in certain rooms there are most beautiful friezes4 ,perino1 when he could find young men of ability1 was wont to make use of them willingly in his works2 but for all that he never ceased to execute any commonplace commission4 ,he very often painted pennons for trumpets1 banners for the ,castle1 and those of the fleet of the ,militant ,order2 and he executed hangings1 tabards1 door-curtains1 and the most insignificant works of art4 ,he began some canvases from which tapestries were to be woven for ,prince ,doria1 and he painted a chapel for the very reverend ,cardinal ,farnese1 and a writing-study for the most illustrious ,madama ,margherita of ,austria4 ,he caused an ornamental frame to be made round the ,madonna in ,s4 ,maria del ,pianto1 and also another ornamental frame round the ,madonna in ,piazza ,giudea2 and he executed many other works1 of which1 by reason of their number1 ,i will not now make any further mention1 particularly because he was accustomed to accept any sort of work that came to his hand4 ,this disposition of ,perino's1 which was well known to the officials of the ,palace1 was the reason that he always had something to do for one or another of them1 and he did it willingly1 in order to bind them to himself1 so that they might be obliged to serve him in the payment of his allowances and in his other requirements4 ,in addition to this1 ,perino had acquired such authority that all the work in ,rome was allotted to him1 for the reason that1 besides the circumstance that it appeared to be in a certain sense his due1 he would sometimes execute commissions for the most paltry prices2 whereby he did little good1 nay rather1 much harm1 to himself and to art4 ,that these words are true is proved by this1 that if he had undertaken to paint the ,hall of ,kings in the ,palace on his own account1 and had worked at it together with his own assistants1 he would have saved several hundreds of crowns1 which all went to the overseers who had charge of the work and paid the daily wages to those who worked there4 ,thus1 having undertaken a burden so heavy and so laborious1 and being infirm and enfeebled by catarrh1 he was not able to endure such discomforts1 having to draw day and night and to meet the demands of the ,palace1 and1 among other things1 to make the designs of embroideries1 of engravings for banner-makers1 and of innumerable ornaments required by the caprice of ,farnese and other ,cardinals and noblemen4 ,in short1 having his mind incessantly occupied1 and being always surrounded by sculptors1 masters in stucco1 wood-carvers1 seamsters1 embroiderers1 painters1 gilders1 and other suchlike craftsmen1 he had never an hour of repose2 and the only happiness and contentment that he knew in this life was to find himself at times with some of his friends at a tavern1 which was his favourite haunt in all the places where it fell to his lot to live1 considering that this was the true blessedness and peace of this world1 and the only repose from his labours4 ,and thus1 having ruined his constitution by the fatigues of his art and by his excesses in eating and in love1 he was attacked by asthma1 which1 sapping his strength little by little1 finally caused him to sink into consumption2 and one evening1 while talking with a friend near his house1 he fell dead of an apoplectic seizure in his forty-seventh year4 ,at this many craftsmen felt infinite sorrow1 it being a truly great loss that art suffered2 and he received honourable burial from his son-in-law1 ,m4 ,gioseffo ,cincio1 the physician of ,madama1 and from his wife1 in the ,chapel of ,s4 ,giuseppe in the ,ritonda at ,rome1 with the following epitaph3 ,,perino ,,bonaccursio ,,vag ,,florentino1 ,,qui ,,ingenio ,,et ,,arte ,,singulari ,,egregios ,,cum ,,pictores ,,permultos1 ,,tum ,,plastas ,,omnes ,,facile ,,superavit1 ,,catherina ,,perini ,,conjugi1 ,,lavinia ,,bonaccursia ,,parenti1 ,,josephus ,,cincius ,,socero ,,carissimo ,,et ,,optimo ,,fecere4 ,,vixit ,,ann4 #df1 ,,men4 #c1 ,,dies #ba4 ,,mortuus ,,est #ad ,,calend4 ,,novemb4 ,,ann4 ,,christ4 #aedg4 ,the place of ,perino was filled by ,daniello of ,volterra1 who had worked much with him1 and who finished the two other ,prophets that are in the ,chapel of the ,crocifisso in ,s4 ,marcello4 ,daniello has also adorned a chapel in ,s4 ,trinit most beautifully with stucco-work and painting1 for ,signora ,elena ,orsina2 with many other works1 of which mention will be made in the proper place4 ,perino1 then1 as may be seen from the works described and from many others that might be mentioned1 was one of the most versatile painters of our times1 in that he assisted the craftsmen to work excellently in stucco1 and executed grotesques1 landscapes1 animals1 and all the other things of which a painter can have knowledge1 using colours in fresco1 in oils1 and in distemper4 ,whence it may be said that he was the father of these most noble arts1 seeing that his talents live in those who are continually imitating him in every honourable field of art4 ,after ,perino's death were published many prints taken from his drawings1 such as the ,slaying of the ,giants that he executed in ,genoa1 eight stories of ,s4 ,peter taken from the ,acts of the ,apostles1 of which he made designs for the embroidering of a cope for ,pope ,paul ,,iii1 and many other things1 which are known by the manner4 ,perino made use of many young men1 and taught the secrets of art to many disciples2 but the best of them all1 and the one of whom he availed himself more than of any other1 was ,girolamo ,siciolante of ,sermoneta1 of whom there will be an account in the proper place4 ,his disciple1 likewise1 was ,marcello ,mantovano1 who executed on a wall at the entrance of the ,castello di ,s4 ,angelo1 after the design and under the direction of ,perino1 a ,madonna with many ,saints in fresco1 which was a very beautiful thing2 but of his works as well there will be an account elsewhere4 ,perino left many designs at his death1 some by his hand and some by others2 among the latter1 one of the whole ,chapel of ,michelagnolo ,buonarroti1 drawn by the hand of ,leonardo ,cungi of ,borgo a ,san ,sepolcro1 which was an excellent work4 ,all these designs1 with other things1 were sold by his heirs2 and in our book are many drawings done by him with the pen1 which are very beautiful4 ,,footnote3 #bg ,or ,perino4 #bh ,vasari sometimes groups under this name all the male figures that appear in a picture of the ,deposition from the ,cross4 ,,giorgio ,,vasari ,,to ,,the ,,craftsmen ,,in ,,design ,,to ,,the ,,craftsmen ,,in ,,design ,,giorgio ,,vasari ,,excellent ,,and ,,well-,,beloved ,,brother-,,craftsmen-- ,so great has always been the delight1 to say nothing of the profit and honour1 that ,i have derived from practising my hand to the best of my ability in this most noble art of ours1 that ,i have not only had a burning desire to exalt and to celebrate her1 and to honour her in every manner open to me1 but have also been full of affection for all those who have taken the same pleasure in her and have succeeded in practising her more happily than ,i1 perhaps1 have been able to do4 ,and from this my good will1 so full of the most sincere affection1 it appears to me that ,i have gathered hitherto fruits that are an ample reward1 for ,i have been always loved and honoured by you all1 and we have been united in the most perfect intimacy or brotherhood1 ,i know not which to call it2 mutually showing our works to one another1 ,i to you and you to me1 and helping one another with counsel and assistance whenever the occasion has presented itself4 ,wherefore ,i have always felt myself deeply bound by this loving fellowship1 and much more by your excellent abilities1 and no less1 also1 by this my inclination1 by nature1 and by a most powerful attraction1 to assist and serve you in every way and every matter wherein ,i have considered myself able to bring you pleasure or advantage4 ,to this end ,i published in the year #aeej the ,lives of our best and most famous ,craftsmen1 moved by a cause that has been mentioned in another place1 and also1 to tell the truth1 by a generous indignation that so much talent should have been for so long a time1 and should still remain1 buried in oblivion4 ,and this my labour appears not to have been in any way unwelcome2 on the contrary1 so acceptable1 that1 not to mention what has been said and written to me from many quarters1 out of the vast number that were printed at that time1 there is not one single volume to be found at the booksellers4 ,thus1 therefore1 receiving every day requests from many friends1 and understanding no less clearly the unexpressed desires of many others1 once more1 although in the midst of most important undertakings1 ,i have applied myself to the same labour1 with the intention not only of adding those masters who have passed to a better world between that time and the present1 thus giving me the opportunity of writing their ,lives in full1 but also of supplying that which may have been wanting to the perfection of my first work4 ,for since then ,i have had leisure to come to a better knowledge of many matters1 and to re-examine others1 not only by the favour of these my most illustrious ,lords1 whom ,i serve1 the true refuge and protection of all the arts1 but also through the facilities that they have given me to search the whole of ,italy once again and to see and understand many things which had not before come under my notice4 ,i have been able1 therefore1 not merely to make corrections1 but also to add so many things1 that many of the ,lives may be said to have been almost written anew2 while some1 indeed1 even of the old masters1 which were not there before1 have been added4 ,nor1 the better to revive the memory of those whom ,i so greatly honour1 have ,i grudged the great labour1 pains and expense of seeking out their portraits1 which ,i have placed at the head of their ,lives4 ,and for the greater satisfaction of many friends not of our profession1 who are yet devoted lovers of art1 ,i have included in a compendium the greater part of the works of those who are still living and are worthy to be for ever renowned on account of their abilities2 for that scruple which formerly restrained me can have no place here in the opinion of any thoughtful reader1 since ,i deal with no works save those that are excellent and worthy of praise4 ,and this may perchance serve as a spur to make every craftsman continue to labour worthily and advance unceasingly from good to better2 insomuch that he who shall write the rest of this history1 may be able to give it more grandeur and majesty1 having occasion to describe those rarer and more perfect works which1 begun from time to time through the desire of immortality1 and finished by the loving care of intellects so divine1 the world in days to come shall see issuing from your hands4 ,and the young men who follow with their studies1 incited by hope of glory 7if hope of gain has not enough force71 may perchance be inspired by such an example to attain to excellence4 ,and to the end that this work may prove to be in every way complete1 and that there may be no need to seek anything outside its pages1 ,i have added a great part of the works of the most celebrated craftsmen of antiquity1 both ,greek and of other nations1 whose memory has been preserved down to our own day by ,pliny and other writers1 without whose pens they would have been buried1 like many others1 in eternal oblivion4 ,and this consideration1 also1 may perchance increase the willingness of men in general to labour valiantly1 and may impel and inspire us all1 as we behold the nobility and greatness of our art1 and how she has always been prized and rewarded by all nations1 and particularly by the most lofty minds and the most powerful ,princes1 to leave the world adorned by works infinite in number and unsurpassed in excellence2 whence1 rendered beautiful by us1 it may give to us that rank which it has given to those ever marvellous and celebrated spirits4 ,accept1 then1 with a friendly mind1 these my labours1 which1 whatever they may be1 have been lovingly carried to conclusion by me for the glory of art and for the honour of her craftsmen1 and take them as a sure token and pledge of my heart1 which is desirous of nothing more ardently than of your greatness and glory1 in which1 seeing that ,i also have been received by you into your company 7for which ,i render my thanks to you1 and congratulate myself not a little on my own account71 ,i shall always consider myself in a certain sense a participator4 ,,domenico ,,beccafumi ,,life ,,of ,,domenico ,,beccafumi ,,of ,,siena ,,painter ,,and ,,master ,,of ,,casting ,that same quality1 the pure gift of nature1 which has been seen in ,giotto and in some others among those painters of whom we have spoken hitherto1 has been revealed most recently in ,domenico ,beccafumi1 the painter of ,siena1 in that he1 while guarding some sheep for his father ,pacio1 the labourer of the ,sienese citizen ,lorenzo ,beccafumi1 was observed to practise his hand by himself1 child as he was1 in drawing sometimes on stones and sometimes in other ways4 ,it happened that the said ,lorenzo saw him one day drawing various things with a pointed stick on the sand of a small stream1 where he was watching his little charges1 and he asked for the child from his father1 meaning to employ him as his servant1 and at the same time to have him taught4 ,the boy1 therefore1 who was then called ,mecherino1 having been given up by his father ,pacio to ,lorenzo1 was taken to ,siena1 where ,lorenzo caused him for a while to spend all the spare time that he had after his household duties in the workshop of a painter who was his neighbour4 ,this painter1 who was no great craftsman1 caused ,mecherino to learn all that he could not himself teach him from designs by eminent painters that he had in his possession1 of which he availed himself for his own purposes1 as those masters are wont to do who are not very able in design4 ,exercising his hand1 therefore1 in this manner1 ,mecherino gave promise of being destined to become an excellent painter4 ,during this time ,pietro ,perugino1 then a famous painter1 came to ,siena1 where1 as has been related1 he painted two altar-pieces2 and his manner pleased ,domenico greatly1 so that he set himself to study it and to copy those altar-pieces1 and no long time passed before he had caught that manner4 ,then1 after the ,chapel of ,michelagnolo and the works of ,raffaello da ,urbino had been thrown open in ,rome1 ,domenico1 who desired nothing so much as to learn1 and knew that he was losing his time in ,siena1 took leave of ,lorenzo ,beccafumi1 from whom he acquired the family name of ,beccafumi1 and made his way to ,rome4 ,there he placed himself under a painter1 who gave him board and lodging1 and executed many works in company with him1 giving his attention at the same time to studying the works of ,michelagnolo1 ,raffaello1 and other eminent masters1 and the marvellous statues and sarcophagi of antiquity4 ,no long time passed1 therefore1 before he became a bold draughtsman1 fertile in invention1 and a very pleasing colourist2 but during this period1 which did not exceed two years1 he did nothing worthy of record save a faade in the ,borgo with an escutcheon of ,pope ,julius ,,ii in colour4 ,meanwhile1 there had been brought to ,siena by a merchant of the ,spannocchi family1 as will be related in the proper place1 the painter ,giovanni ,antonio of ,vercelli1 a young man of passing good ability1 who was much employed1 particularly in making portraits from life1 by the gentlemen of that city1 which has always been the friend and patron of all men of talent4 ,domenico1 who was very desirous of returning to his own country1 having heard this news1 made his way back to ,siena2 and when he saw that ,giovanni ,antonio was very well grounded in drawing1 which he knew to be the essence of the excellence of a craftsman1 not resting content with what he had done in ,rome1 he set himself with the utmost zeal to follow him1 devoting himself much to anatomy and to drawing nudes2 which helped him so much1 that in a short time he began to be greatly esteemed in that most noble city4 ,nor was he beloved less for his goodness and his character than for his art1 for the reason that1 whereas ,giovanni ,antonio was coarse1 licentious1 and eccentric1 being called ,il ,sodoma because he always mixed and lived with beardless boys1 and answering willingly enough to that name1 ,domenico1 on the other hand1 was a pattern of good conduct and uprightness1 living like a ,christian and keeping very much to himself4 ,but such persons as are called merry fellows and good companions are very often more esteemed by men than the virtuous and orderly1 and most of the young men of ,siena followed ,sodoma1 extolling him as a man of originality4 ,and this ,sodoma1 being an eccentric1 and wishing to please the common herd1 always kept at his house parrots1 apes1 dwarf donkeys1 little ,elba horses1 a talking raven1 barbs for running races1 and other suchlike creatures2 from which he had won such a name among the vulgar1 that they spoke of nothing but his follies4 ,sodoma1 then1 had painted with colours in fresco the faade of the house of ,m4 ,agostino ,bardi1 and ,domenico at the same time1 in competition with him1 painted the faade of a house of the ,borghese1 close to the ,postierla column1 near the ,duomo1 with which he took very great pains4 ,below the roof1 in a frieze in chiaroscuro1 he executed some little figures that were much extolled2 and in the spaces between the three ranges of windows of travertine that adorn that palace1 he painted many ancient gods and other figures in imitation of bronze1 in chiaroscuro and in colour1 which were more than passing good1 although the work of ,sodoma was more extolled4 ,both these faades were executed in the year #aeab4 ,domenico afterwards painted for ,s4 ,benedetto1 a seat of ,monks of ,monte ,oliveto1 without the ,porta a ,tufi1 an altar-piece of ,s4 ,catharine of ,siena in a building receiving the ,stigmata1 with a ,s4 ,benedict standing on her right hand1 and on her left a ,s4 ,jerome in the habit of a ,cardinal2 which altar-piece1 being very soft in colouring and strong in relief1 was much praised1 as it still is4 ,in the predella of this picture1 likewise1 he painted some little scenes in distemper with incredible boldness and vivacity1 and with such facility of design1 that they could not be more graceful1 and yet they have the appearance of having been executed without the slightest effort in the world4 ,in one of these little scenes is the ,angel placing in the mouth of that same ,s4 ,catharine part of the ,host consecrated by the priest2 in another is ,jesus ,christ marrying her1 in a third she is receiving the habit from ,s4 ,dominic1 and there are other stories4 ,for the ,church of ,s4 ,martino the same master painted a large altar-piece with ,christ born and being adored by the ,virgin1 by ,joseph1 and by the ,shepherds2 and above the hut is a most beautiful choir of ,angels dancing4 ,in this work1 which is much extolled by craftsmen1 ,domenico began to show to those who had some understanding that his works were painted with a different foundation from those of ,sodoma4 ,he then painted in fresco1 in the ,great ,hospital1 the ,madonna visiting ,s4 ,elizabeth1 in a manner very pleasing and very natural4 ,and for the ,church of ,s4 ,spirito he executed an altar-piece of the ,madonna holding in her arms the ,child1 who is marrying the above-mentioned ,s4 ,catharine of ,siena1 and at the sides ,s4 ,bernardino1 ,s4 ,francis1 ,s4 ,jerome1 and ,s4 ,catharine the ,virgin-,martyr1 with ,s4 ,peter and ,s4 ,paul upon some marble steps in front1 on the polished surface of which he counterfeited with great art some reflections of the colour of their draperies4 ,this work1 which was executed with fine judgment and design1 brought him much honour1 as did also some little figures painted on the predella of the picture1 in which is ,s4 ,john baptizing ,christ1 a ,king causing the wife and children of ,s4 ,gismondo to be thrown into a well1 ,s4 ,dominic burning the books of the heretics1 ,christ presenting to ,s4 ,catharine of ,siena two crowns1 one of roses and the other of thorns1 and ,s4 ,bernardino of ,siena preaching on the ,piazza of ,siena to a vast multitude4 ,illustration3 ,,domenico ,,beccafumi3 ,s4 ,,catharine ,,before ,,the ,,crucifix 7,siena3 ,pinacoteca1 #dbj4 ,canvas7 ,next1 by reason of the fame of these works1 there was allotted to ,domenico an altar-piece that was to be placed in the ,carmine1 in which he had to paint a ,s4 ,michael doing vengeance on ,lucifer2 and he1 being full of fancy1 set himself to think out a new invention1 in order to display his talent and the beautiful conceptions of his brain4 ,and so1 seeking to represent ,lucifer and his followers driven for their pride from ,heaven to the lowest depths of ,hell1 he began a shower of nude figures raining down1 which is very beautiful1 although1 from his having taken too great pains with it1 it appears if anything rather confused4 ,this altar-piece1 which remained unfinished1 was taken after the death of ,domenico to the ,great ,hospital and placed at the top of some steps near the high-altar1 where it is still regarded with marvel on account of some very beautiful foreshortenings in the nudes4 ,in the ,carmine1 where this picture was to have been set up1 was placed another1 in the upper part of which is counterfeited a ,god the ,father above the clouds with many ,angels round ,him1 painted with marvellous grace2 and in the centre of the picture is the ,angel ,michael in armour1 flying1 and pointing to ,lucifer1 whom he has driven to the centre of the earth1 where there are burning buildings1 rugged caverns1 and a lake of fire1 with ,angels in various attitudes1 and nude figures of lost souls1 who are swimming with different gestures of agony in that fire4 ,all this is painted with such beauty and grace of manner1 that it appears that this marvellous work1 in its thick darkness1 is illuminated by the fire2 wherefore it is held to be a rare picture4 ,baldassarre ,peruzzi of ,siena1 an excellent painter1 could never have his fill of praising it1 and ,i myself1 one day that ,i saw it uncovered in his company1 while passing through ,siena1 was struck with astonishment by it1 as ,i also was by the five little scenes that are in the predella1 painted with distemper in a judicious and beautiful manner4 ,for the ,nuns of ,ognissanti in the same city ,domenico painted another altar-piece1 in which is ,christ on high in the heavens1 crowning the ,glorified ,virgin1 and below them are ,s4 ,gregory1 ,s4 ,anthony1 ,s4 ,mary ,magdalene1 and ,s4 ,catharine the ,virgin-,martyr2 and in the predella1 likewise1 are some very beautiful little figures executed in distemper4 ,in the house of ,signor ,marcello ,agostini ,domenico painted some very lovely works in fresco on the ceiling of an apartment1 which has three lunettes on each main side and two at each end1 with a series of friezes that go right round4 ,the centre of the ceiling is divided into two quadrangular compartments2 in the first1 where a silken arras is counterfeited as upheld by the ornament1 there may be seen1 as if woven upon it1 ,scipio ,africanus restoring the young woman untouched to her husband1 and in the other the celebrated painter ,zeuxis1 who is copying several nude women in order to paint his picture1 which was to be placed in the ,temple of ,juno4 ,in one of the lunettes1 painted with little figures only about half a braccio high1 but very beautiful1 are the two ,roman ,brothers who1 having been enemies1 became friends for the public good and for the sake of their country4 ,in that which follows is ,torquatus1#bi who1 in order to observe the laws1 when his son has been condemned to lose his eyes1 causes one of his son's and one of his own to be put out4 ,in the next is the ,petition of 4441#cj who1 after hearing the recital of his crimes against his country and the ,roman people1 is put to death4 ,in the lunette beside that one is the ,roman people deliberating on the expedition of ,scipio to ,africa2 and next to this1 in another lunette1 is an ancient sacrifice crowded with a variety of most beautiful figures1 with a temple drawn in perspective1 which has no little relief1 for in that field ,domenico was a truly excellent master4 ,in the last is ,cato killing himself after being overtaken by some horsemen that are most beautifully painted there4 ,and in the recesses of the lunettes1 also1 are some little scenes very well finished4 ,the excellence of this work was the reason that ,domenico was recognized as a rare painter by those who were then governing1 and was commissioned to paint the vaulting of a hall in the ,palace of the ,signori1 to which he devoted all the diligence1 study1 and effort of which any man is capable1 in order to prove his worth and to adorn that celebrated building of his native city1 which was honouring him so much4 ,this hall1 which is two squares long and one square wide1 has the ceiling made not with lunettes1 but after the manner of a groined vaulting2 wherefore ,domenico executed the compartments in painting1 thinking that this would give the best result1 with friezes and cornices overlaid with gold1 and all so beautifully1 that1 without any stucco-work or other ornaments1 they are so well painted and so graceful that they appear to be really in relief4 ,on each of the two ends of this hall there is a large picture with an historical scene1 and on each main wall there are two1 one on either side of an octagon2 and thus the pictures are six and the octagons two1 and in each of the latter is a scene4 ,at each corner of the vaulting1 where the rib is1 there is drawn a round compartment1 which extends half on one wall and half on the other1 so that these compartments1 being divided by the ribs of the vaulting1 form eight spaces1 in each of which are large seated figures1 representing distinguished men who have defended their ,republic and have observed her laws4 ,the highest part of the surface of the vaulting is divided into three parts1 in such a manner as to form a circular compartment in the centre1 immediately above the octagons1 and two square compartments over those on the walls4 ,in one of the octagons1 then1 is a woman with some children round her1 who holds a heart in her hand1 representing the love that men owe to their country4 ,in the other octagon is another woman1 with an equal number of children1 as a symbol of civic concord4 ,and these are one on either side of a ,justice that is in the circle1 with the sword and scales in her hands1 and seen from below in such bold foreshortening that it is a marvel1 for at the feet she is dark both in drawing and in colour1 and about the knees she becomes lighter1 and so continues little by little towards the torso1 the shoulders1 and the arms1 until she rises into a celestial splendour at the head1 which makes it appear as if that figure dissolves gradually in a mist3 wherefore it is not possible to imagine1 much less to see1 a more beautiful figure than this one1 or one executed with greater judgment and art1 among all that were ever painted to be seen in foreshortening from below4 ,as for the stories1 in the first1 at the end of the hall and on the left hand as one enters1 are ,m4 ,lepidus and ,fulvius ,flaccus the ,censors1 who1 after being at enmity with one another1 as soon as they became colleagues in the office of the ,censorship1 laid aside their private hatred for the good of their country1 and acted in that office like the closest friends4 ,and ,domenico painted them on their knees1 embracing each other1 with many figures round them1 and with a most beautiful prospect of buildings and temples drawn in perspective so ingeniously and so well1 that one may see in them what a master of perspective was ,domenico4 ,on the next wall there follows a picture with the story of the ,dictator ,postumius ,tiburtius1 who1 having left his only son at the head of his army in place of himself1 commanding him that he should do nothing else but guard the camp1 put him to death for having been disobedient and having with a fair occasion attacked the enemy and gained a victory4 ,in this scene ,domenico painted ,postumius as an old man with shaven face1 with the right hand on his axe1 and with the left showing to the army his son lying dead upon the ground1 and depicted very well in foreshortening2 and below this picture1 which is most beautiful1 is an inscription very well composed4 ,in the octagon that follows1 in the centre of the wall1 is the story of ,spurius ,cassius1 whom the ,roman ,senate1 suspecting that he was plotting to become ,king1 caused to be beheaded1 and his house to be pulled down2 and in this scene the head1 which is beside the executioner1 and the body1 which is on the ground in foreshortening1 are very beautiful4 ,in the next picture is the ,tribune ,publius ,mucius1 who caused all his fellow-tribunes1 who were conspiring with ,spurius to become tyrants of their country1 to be burned2 and here the fire that is consuming their bodies is painted very well and with great art4 ,at the other end of the hall1 in another picture1 is the ,athenian ,codrus1 who1 having heard from the oracle that the victory would fall to that side whose ,king should be killed by the enemy1 laid aside his robes1 entered unknown among the enemy1 and let himself be slain1 thus giving the victory to his people by his own death4 ,domenico painted him seated1 with his nobles round him as he puts off his robes1 near a most beautiful round temple2 and in the distant background of the picture he is seen dead1 with his name in an epitaph below4 ,then1 as one turns to the other long wall1 opposite to the two pictures with the octagon in the centre between them1 in the first scene one finds ,prince ,zaleucus1 who1 in order not to break the law1 caused one of his own eyes to be put out1 and one of his son's2 and here many are standing round him1 praying him that he should not do that cruelty to himself and his son1 and in the distance is his son offering violence to a maiden1 and below is his name in an inscription4 ,in the octagon that is beside that picture is the story of ,marcus ,manilius being hurled down from the ,capitol2 and the figure of the young ,marcus1 who is being thrown down from a kind of balcony1 is painted so well in foreshortening1 with the head downwards1 that it seems to be alive1 as also seem some figures that are below4 ,in the next picture is ,spurius ,melius1 who belonged to the ,equestrian ,order1 and was killed by the ,tribune ,servilius because the people suspected that he was conspiring to become tyrant of his country2 which ,servilius is seated with many round him1 and one who is in the centre points to ,spurius lying dead upon the ground1 a figure painted with great art4 ,then1 in the circles at the corners1 where there are the eight figures mentioned above1 are many men who have been distinguished for their defence of their country4 ,in the first part is the famous ,fabius ,maximus1 seated and in armour2 and on the other side is ,speusippus1 ,prince of the ,tegeat1 who1 being exhorted by a friend that he should rid himself of his rival and adversary1 answered that he did not wish1 at the bidding of his own private interest1 to deprive his country of such a citizen4 ,in the circle that is at the next corner1 in one part1 there is the ,prtor ,celius1 who1 for having fought against the advice and wish of the soothsayers1 although he had won and had gained a victory1 was punished by the ,senate2 and beside him sits ,thrasybulus1 who with the aid of some friends valorously slew thirty tyrants1 in order to free his country4 ,thrasybulus is an old man1 shaven1 with white locks1 and has his name written beneath him1 as have also all the others4 ,in a circle at one corner of the lower end of the hall is the ,prtor ,genutius ,cippus1 who having had a bird with wings in the form of horns miraculously alight on his head1 was told by the oracle that he would become ,king of his country1 whereupon1 although already an old man1 he chose to go into exile1 in order not to take away her liberty2 and ,domenico therefore painted a bird upon his head4 ,beside him sits ,charondas1 who1 having returned from the country1 and having gone straightway into the ,senate without disarming himself1 in violation of a law which ordained that one who entered the ,senate with arms should be put to death1 killed himself on perceiving his error4 ,in the second circle on the other side are ,damon and ,phintias1 whose unexampled friendship is so well known1 and with them is ,dionysius1 ,tyrant of ,sicily2 and beside these figures sits ,brutus1 who from love of his country condemned his two sons to death1 because they were conspiring to bring the ,tarquins back to their country4 ,this work1 then1 so truly extraordinary1 made known to the people of ,siena the ability and worth of ,domenico1 who showed most beautiful art1 judgment1 and genius in all that he did4 ,the first time that the ,emperor ,charles ,v came to ,italy1 it was expected that he would go to ,siena1 for he had declared such an intention to the ,ambassadors of that ,republic2 and among other vast and magnificent preparations that were made for the reception of so great an ,emperor1 ,domenico fashioned a horse eight braccia high and in full relief1 all of paste-board and hollow within4 ,the weight of that horse was supported by an armature of iron1 and upon it was the statue of the ,emperor1 armed in the ancient fashion1 with a sword in his hand4 ,and below it were three large figures--vanquished by him1 as it were--which also supported part of the weight1 the horse being in the act of leaping with the front legs high in the air2 which three figures represented three provinces conquered and subdued by the ,emperor4 ,in that work ,domenico showed that he was a master no less of sculpture than of painting2 to which it must be added that he had placed the whole work upon a wooden structure four braccia high1 with a number of wheels below it1 which1 being set in motion by men concealed within1 caused the whole to move forward2 and the design of ,domenico was that at the entry of ,his ,majesty this horse1 having been set in motion as has been described1 should accompany him from the gate as far as the ,palace of the ,signori1 and should then come to rest in the middle of the ,piazza4 ,this horse1 after being carried by ,domenico so near completion that there only remained to gild it1 was left in that condition1 because ,his ,majesty after all did not at that time go to ,siena1 but left ,italy after being crowned at ,bologna2 and the work remained unfinished4 ,but none the less the art and ingenuity of ,domenico were recognized1 and all men greatly praised the grandeur and excellence of that great structure1 which stood in the ,office of ,works of the ,duomo from that time until ,his ,majesty1 returning from his victorious enterprise in ,africa1 passed through ,messina and then ,naples1 ,rome1 and finally ,siena2 at which time ,domenico's work was placed on the ,piazza del ,duomo1 to his great honour4 ,the fame of the ability of ,domenico being thus spread abroad1 ,prince ,doria1 who was with the ,court1 after seeing all the works by his hand that were in ,siena1 besought him that he should go to ,genoa to work in his palace1 where ,perino del ,vaga1 ,giovanni ,antonio of ,pordenone1 and ,girolamo da ,treviso had worked4 ,but ,domenico could not promise that lord that he would go to serve him at that time1 although he engaged himself for another time1 for in those days he had set his hand to finishing a part of the marble pavement in the ,duomo1 which ,duccio1 the painter of ,siena1 had formerly begun in a new manner of work4 ,the figures and scenes were already in great part designed on the marble1 the outlines being hollowed out with the chisel and filled with a black mixture1 with ornaments of coloured marble all around1 and likewise the grounds for the figures4 ,but ,domenico1 with fine judgment1 saw that this work could be much improved1 and he therefore took grey marbles1 to the end that these1 profiled with the chisel and placed beside the brilliancy of the white marble1 might give the middle shades2 and he found that in this way1 with white and grey marble1 pictures of stone could be made with great perfection after the manner of chiaroscuro4 ,having then made a trial1 the work succeeded so well in invention1 in solidity of design1 and in abundance of figures1 that he made a beginning after this fashion with the grandest1 the most beautiful1 and the most magnificent pavement that had ever been made2 and in the course of his life1 little by little1 he executed a great part of it4 ,round the high-altar he made a border of pictures1 in which1 in order to follow the order of the stories begun by ,duccio1 he executed scenes from ,genesis2 namely1 ,adam and ,eve expelled from ,paradise and tilling the earth1 the ,sacrifice of ,abel1 and that of ,melchizedek4 ,in front of the altar is a large scene with ,abraham about to sacrifice ,isaac1 and this has round it a border of half-length figures1 carrying various animals which they seem to be going to sacrifice4 ,descending the steps1 one finds another large picture1 which serves to accompany that above1 and in it ,domenico represented ,moses receiving the ,laws from ,god on ,mount ,sinai2 and below this is the scene when1 having found the people worshipping the ,golden ,calf1 he is seized with anger and breaks the ,tables on which those ,laws were written4 ,below this scene1 opposite to the pulpit1 and right across the church1 is a frieze with a great number of figures1 which is composed with so much grace and such design that it defies description2 and in this is ,moses1 who1 striking the rock in the desert1 causes water to gush out and gives drink to his thirsty people4 ,here1 along the whole length of the frieze1 ,domenico represented the stream of water1 from which the people are drinking in various ways with a vivacity so pleasing1 that it is almost impossible to imagine any effect more lovely1 or figures in more graceful and beautiful attitudes than are those in this scene--some stooping to the ground to drink1 some kneeling before the rock that is spouting with water1 some drawing it in vases and others in cups1 and others1 finally1 drinking with their hands4 ,there are1 moreover1 some who are leading animals to drink1 amid the great rejoicing of that people2 and1 among other things1 most marvellous is a little boy who has taken a little dog by the head and neck and plunges its muzzle into the water1 in order to make it drink1 after which the dog1 having drunk1 and not wishing to drink any more1 shakes its head so naturally that it seems to be alive4 ,in short1 this frieze is so beautiful1 that for a work of that kind it could not be executed with greater art1 seeing that the various kinds of shadows that may be seen in these figures are not merely beautiful1 but miraculous2 and although the whole work1 on account of the fantastic nature of its craftsmanship1 is one of great beauty1 this part is held to be the most beautiful and the best4 ,below the cupola1 moreover1 there is a hexagonal compartment1 which is divided into seven hexagons and six rhombs1 of which hexagons ,domenico finished four before he died1 representing in them the stories and sacrifices of ,elijah1 and doing all this much at his leisure1 because this work was as a school and a pastime to ,domenico1 nor did he ever abandon it altogether for his other works4 ,while he was thus labouring now at this work and now elsewhere1 he painted a large altar-piece in oils which is in ,s4 ,francesco on the right hand as one enters into the church1 containing ,christ descending in ,glory to the ,limbo of ,hell in order to deliver the ,holy ,fathers2 wherein1 among many nudes1 is a very beautiful ,eve1 and a ,thief who is behind ,christ with the cross is a very well-executed figure1 while the cavern of ,limbo and the demons and fires of that place are fantastic to a marvel4 ,and since ,domenico was of the opinion that pictures painted in distemper preserved their freshness better than those painted in oils1 saying that it seemed to him that the works of ,luca da ,cortona1 of the ,pollaiuoli1 and of the other masters who painted in oils in those days1 had suffered from age more than those of ,fra ,giovanni1 ,fra ,filippo1 ,benozzo1 and the others before their time who painted in distemper--for this reason1 ,i say1 having to paint an altar-piece for the ,company of ,s4 ,bernardino on the ,piazza di ,s4 ,francesco1 he resolved to do it in distemper2 and in this way he executed it excellently well1 painting in it ,our ,lady with many ,saints4 ,in the predella1 which is very beautiful1 and painted by him likewise in distemper1 he depicted ,s4 ,francis receiving the ,stigmata2 ,s4 ,anthony of ,padua1 who1 in order to convert some heretics1 performs the miracle of the ,ass1 which makes obeisance before the sacred ,host2 and ,s4 ,bernardino of ,siena1 who is preaching to the people of his city on the ,piazza de' ,signori4 ,and on the walls of this ,company1 also1 he painted two stories of ,our ,lady in fresco1 in competition with some others that ,sodoma had executed in the same place4 ,in one he represented the ,visitation of ,s4 ,elizabeth1 and in the other the ,passing of ,our ,lady1 with the ,apostles all around2 and both of these are much extolled4 ,finally1 after having been long expected in ,genoa by ,prince ,doria1 ,domenico made his way there1 but with great reluctance1 being a man who was accustomed to a life of peace and contented with that which his wants required1 and nothing more2 besides which1 he was not much used to making journeys1 for the reason that1 having built himself a little house in ,siena1 and having also a vineyard a mile beyond the ,porta a ,camollia1 which he cultivated with his own hand as a recreation1 going there often1 it was a long time since he had gone far from ,siena4 ,having then arrived in ,genoa1 he painted a scene there1 beside that of ,pordenone1 in which he succeeded very well1 and yet not in such a manner that it could be counted among his best works4 ,but1 since the ways of the ,court did not please him1 being used to a life of freedom1 he did not stay very willingly in that place1 and1 indeed1 appeared as if he were stupefied4 ,wherefore1 having come to the end of that work1 he sought leave of the ,prince and set out to return home2 and passing by ,pisa1 in order to see that city1 he met with ,battista del ,cervelliera and was shown all the most noteworthy things in the city1 and in particular the altar-pieces of ,sogliani and the pictures that are in the recess behind the high-altar of the ,duomo4 ,meanwhile ,sebastiano della ,seta1 the ,warden of ,works of the ,duomo1 having heard from ,cervelliera of the qualities and abilities of ,domenico1 and being desirous to finish the work so long delayed by ,giovanni ,antonio ,sogliani1 allotted two of the pictures for that recess to ,domenico1 to the end that he might execute them at ,siena and send them finished to ,pisa2 and so it was done4 ,in one is ,moses1 who1 having found that the people had sacrificed to the ,golden ,calf1 is breaking the ,tables2 and in this ,domenico painted some nudes that are figures of great beauty4 ,in the other is the same ,moses1 with the earth opening and swallowing up a part of the people2 and in this1 also1 are some nudes killed by flaming thunderbolts1 which are marvellous4 ,these pictures1 when taken to ,pisa1 led to ,domenico painting four pictures for the front of that recess--namely1 two on each side--of the four ,evangelists1 which were four very beautiful figures4 ,whereupon ,sebastiano della ,seta1 who saw that he had been served quickly and well1 commissioned ,domenico1 after these pictures1 to paint the altar-piece of one of the chapels in the ,duomo1 ,sogliani having by that time painted four4 ,settling in ,pisa1 therefore1 ,domenico painted in that altar-piece ,our ,lady in the sky with the ,child in her arms1 upon some clouds supported by some little ,angels1 with many ,saints both male and female below1 all executed passing well1 but yet not with that perfection which marked the pictures described above4 ,but he1 excusing himself for this to many of his friends1 and particularly on one occasion to ,giorgio ,vasari1 said that since he was away from the air of ,siena and from certain comforts of his own1 he did not seem to be able to do anything4 ,having therefore returned home1 determined that he would never again go away to work elsewhere1 he painted for the ,nuns of ,s4 ,paolo1 near ,s4 ,marco1 an altar-piece in oils of the ,nativity of ,our ,lady1 with some nurses1 and ,s4 ,anne in a bed that is foreshortened and represented as standing within a door2 and in a dark shadow is a woman who is drying clothes1 without any other light but that which comes from the blaze of the fire4 ,in the predella1 which is full of charm1 are three scenes in distemper--the ,presentation of the ,virgin at the ,temple1 her ,marriage1 and the ,adoration of the ,magi4 ,in the ,mercanzia1 a tribunal in that city1 the officials have a little altar-piece which they say was painted by ,domenico when he was young2 it is very beautiful1 and it contains in the centre a ,s4 ,paul seated1 and on one side his ,conversion1 in little figures1 and on the other the scene of his ,beheading4 ,finally1 ,domenico was commissioned to paint the great recess of the ,duomo1 which is at the end behind the high-altar4 ,in this he first made a decoration of stucco with foliage and figures1 all with his own hand1 and two ,victories in the vacant spaces in the semicircle2 which decoration was in truth a very rich and beautiful work4 ,then in the centre he painted in fresco the ,ascension of ,christ into ,heaven2 and from the cornice downwards he painted three pictures divided by columns in relief1 and executed in perspective4 ,in the middle picture1 which has above it an arch in perspective1 are ,our ,lady1 ,s4 ,peter1 and ,s4 ,john2 and in the spaces at the sides are ten ,apostles1 five on each side1 all in various attitudes and gazing at ,christ1 who is ascending into ,heaven2 and above each of the two pictures of the ,apostles is an ,angel in foreshortening1 the two together representing those two ,angels who1 after the ,ascension1 declared that ,he had risen into ,heaven4 ,this work is certainly admirable1 but it would have been even more so if ,domenico had given beautiful expressions to the heads2 as it is1 they have something in the expressions that is not very pleasing1 and it appears that in his old age he adopted for his countenances an expression of terror by no means agreeable4 ,this work1 ,i say1 if there had been any beauty in the heads1 would have been so beautiful that there would have been nothing better to be seen4 ,but in this matter of the expressions of the heads1 in the opinion of the people of ,siena1 ,sodoma was superior to ,domenico1 for the reason that ,sodoma made them much more beautiful1 although those of ,domenico had more design and greater force4 ,and1 in truth1 the manner of the heads in these our arts is of no little importance1 and by painting them with graceful and beautiful expressions many masters have escaped the censure that they might have incurred for the rest of their work4 ,this was the last work in painting executed by ,domenico1 who1 having taken it into his head in the end to work in relief1 began to give his attention to casting in bronze1 and went so far with this that he executed1 although with extraordinary labour1 six ,angels of bronze in the round1 little less than life-size1 for the six columns nearest the high-altar of the ,duomo4 ,these ,angels1 which are very beautiful1 are holding tazze1 or rather little basins1 which support candelabra containing lights1 and in the last of them he acquitted himself so well1 that he was very highly praised for them4 ,whereupon1 growing in courage1 he made a beginning with figures of the twelve ,apostles1 which were to be placed on the columns lower down1 where there are now some of marble1 old and in a bad manner2 but he did not continue them1 for he did not live long after that4 ,and since he was a man of infinite ingenuity1 and succeeded well in everything1 he engraved wood-blocks by himself in order to make prints in chiaroscuro1 and there are to be seen prints of two ,apostles engraved by him excellently well1 of which we have one in our book of drawings1 together with some sheets drawn divinely by his hand4 ,he also engraved copper-plates with the burin1 and he executed with aquafortis some very fanciful little stories of alchemy1 in which ,jove and the other ,gods1 wishing to congeal ,mercury1 place him bound in a crucible1 and ,vulcan and ,pluto make fire around him2 but when they think that he must be fixed1 ,mercury flies away and goes off in smoke4 ,domenico1 in addition to the works described above1 executed many others of no great importance1 pictures of the ,madonna and other suchlike chamber-pictures1 such as a ,madonna that is in the house of the ,chevalier ,donati1 and a picture in distemper in which ,jove changes himself into a shower of gold and rains into the lap of ,dana4 ,piero ,catanei1 likewise1 has a round picture in oils of a very beautiful ,virgin by the hand of the same master4 ,he also painted a most beautiful bier for the ,confraternity of ,s4 ,lucia1 and likewise another for that of ,s4 ,antonio2 nor should anyone be astonished that ,i make mention of such works1 for the reason that they are beautiful to a marvel1 as all know who have seen them4 ,finally1 having come to the age of sixty-five1 he hastened the end of his life by toiling all by himself day and night at his castings in metal1 polishing them himself without calling in any assistance4 ,he died1 then1 on the #ahth of ,may1 #aedi1 and was given burial by his dearest friend1 the goldsmith ,giuliano1 in the ,duomo1 where he had executed so many rare works4 ,and he was carried to the tomb by all the craftsmen of his city1 which recognized even then the great loss that she had suffered in the death of ,domenico1 and now1 as she admires his works1 recognizes it more than ever4 ,domenico was an orderly and upright person1 fearing ,god and studious in his art1 although solitary beyond measure2 wherefore he well deserved to be honourably celebrated by his fellow-citizens of ,siena1 who have always won great praise by their attention to noble studies and to poetry1 with verses both in ,latin and in the vulgar tongue4 ,,footnote3 #bi ,zaleucus4 #cj ,here there is a blank in the text4 ,,giovanni ,,antonio ,,lappoli ,,life ,,of ,,giovanni ,,antonio ,,lappoli ,,painter ,,of ,,arezzo ,rarely does it happen that from an old stock there fails to sprout some good shoot1 which1 growing with time1 revives and reclothes with its leaves that desolate stem1 and reveals with its fruits to those who taste them the same savour that was once known in the ancient tree4 ,and that this is true is proved in this present ,life of ,giovanni ,antonio1 who1 at the death of his father ,matteo1 who was a painter of passing good repute in his day1 was left with a good income under the guardianship of his mother1 and lived thus up to the age of twelve4 ,having come to that period of his life1 and not caring to choose any other pursuit than that of painting1 to which he was drawn1 besides other reasons1 by a wish to follow the footsteps of his father in that art1 ,giovanni ,antonio began to learn the first rudiments of design under ,domenico ,pecori1 a painter of ,arezzo1 who had been1 together with his father ,matteo1 a disciple of ,clemente1#ca and who was his first master4 ,then1 after having been some time with him1 desiring to make greater proficience than he was making under the discipline of that master and in that place1 where he was not able to learn by himself1 although he had a strong natural inclination1 he turned his thoughts towards the idea of settling in ,florence4 ,to this intention1 not to mention that he was left alone by the death of his mother1 ,fortune was favourable enough1 for a young sister that he had was married to ,leonardo ,ricoveri1 one of the first and richest citizens that there were at that time in ,arezzo2 and so he went off to ,florence4 ,there1 among the works of many that he saw1 the manner of ,andrea del ,sarto and of ,jacopo da ,pontormo pleased him more than that of all the others who had worked at painting in that city4 ,wherefore he resolved to place himself under one of those two1 and was hesitating as to which of them he should choose as his master1 when there were uncovered the ,faith and ,charity painted by ,pontormo over the portico of the ,nunziata in ,florence1 and he became fully determined to go to work under ,pontormo1 thinking that his manner was so beautiful that it might be expected that ,jacopo1 who was still a young man1 was destined to surpass all the young painters of his own age1 as1 indeed1 was the firm belief of everyone at that time4 ,lappoli1 then1 although he might have gone to work under ,andrea1 for the said reasons attached himself to ,pontormo1 under whose discipline he was for ever drawing1 spurred to incredible exertions1 out of emulation1 by two motives4 ,one of these was the presence of ,giovan ,maria dal ,borgo a ,san ,sepolcro1 who was studying design and painting under the same master1 and who1 always advising him for his own good1 brought it about that he changed his manner and adopted the good manner of ,pontormo4 ,the other--and this spurred him more strongly--was the sight of ,agnolo1 who was called ,bronzino1 being much brought forward by ,jacopo on account of his loving submissiveness and goodness and the untiring diligence that he showed in imitating his master's works1 not to mention that he drew very well and acquitted himself in colouring in such a manner1 that he aroused hopes that he was destined to attain to that excellence and perfection which have been seen in him1 and still are seen1 in our own day4 ,giovanni ,antonio1 then1 being desirous to learn1 and impelled by the reasons mentioned above1 spent many months in making drawings and copies of the works of ,jacopo da ,pontormo1 which were so well executed1 so good1 and so beautiful1 that it is certain that if he had persevered1 what with the assistance that he had from ,nature1 his wish to become eminent1 the force of competition1 and the good manner of his master1 he would have become most excellent2 and to this some drawings in red chalk by his hand1 which may be seen in our book1 can bear witness4 ,but pleasure1 as may often be seen to happen1 is in young men generally the enemy of excellence1 and brings it about that their intellects are led astray2 wherefore he who is engaged in the studies of any faculty1 science1 or art whatsoever should have no relations save with those who are of the same profession1 and good and orderly besides4 ,giovanni ,antonio1 then1 in order that he might be looked after1 had gone to live in the house of one ,ser ,raffaello di ,sandro1 a lame chaplain1 in ,s4 ,lorenzo1 to whom he paid so much a year1 and he abandoned in great measure the study of painting1 for the reason that the priest was a man of the world1 delighting in pictures1 music1 and other diversions1 and many persons of talent frequented the rooms that he had at ,s4 ,lorenzo2 among others1 ,m4 ,antonio da ,lucca1 a most excellent musician and performer on the lute1 at that time a very young man1 from whom ,giovanni learned to play the lute4 ,and although the painter ,rosso and some others of the profession also frequented the same place1 ,lappoli attached himself rather to the others than to the men of his art1 from whom he might have learned much1 while at the same time amusing himself4 ,through these distractions1 therefore1 the love of painting of which ,giovanni ,antonio had given proof cooled off in great measure2 but none the less1 being the friend of ,pier ,francesco di ,jacopo di ,sandro1 who was a disciple of ,andrea del ,sarto1 he went sometimes with him to the ,scalzo to draw the pictures and nudes from life4 ,and no long time passed before he applied himself to colouring and executed pictures of ,jacopo's1 and then by himself some ,madonnas and portraits from life1 among which were that of the above-mentioned ,m4 ,antonio da ,lucca and that of ,ser ,raffaello1 which are very good4 ,in the year #aebc1 the plague being in ,rome1 ,perino del ,vaga came to ,florence1 and he also settled down to lodge with ,ser ,raffaello del ,zoppo2 wherefore ,giovanni ,antonio having formed a strait friendship with him and having recognized the ability of ,perino1 there was reawakened in his mind the desire to attend to painting1 abandoning all other pleasures1 and he resolved when the plague had ceased to go with ,perino to ,rome4 ,but this design was never fulfilled1 for the plague having come to ,florence1 at the very moment when ,perino had finished the scene of the ,submersion of ,pharaoh in the ,red ,sea1 painted in the colour of bronze in chiaroscuro for ,ser ,raffaello1 during the execution of which ,lappoli was always present1 they were forced both the one and the other to fly from ,florence1 in order not to lose their lives there4 ,thereupon ,giovanni ,antonio returned to ,arezzo1 and set himself1 in order to pass the time1 to paint on canvas the scene of the death of ,orpheus1 killed by the ,bacchantes3 he set himself1 ,i say1 to paint this scene in chiaroscuro of the colour of bronze1 after the manner in which he had seen ,perino paint the picture mentioned above1 and when the work was finished it brought him no little praise4 ,he then set to work to finish an altar-piece that his former master ,domenico ,pecori had begun for the ,nuns of ,s4 ,margherita3 in which altar-piece1 now to be seen in their convent1 he painted an ,annunciation4 ,and he made two cartoons for two portraits from life from the waist upwards1 both very beautiful2 one was ,lorenzo d' ,antonio di ,giorgio1 at that time a pupil and a very handsome youth1 and the other was ,ser ,piero ,guazzesi1 who was a convivial person4 ,the plague having finally somewhat abated1 ,cipriano d' ,anghiari1 a rich man of ,arezzo1 who in those days had caused a chapel with ornaments and columns of grey-stone to be built in the ,abbey of ,s4 ,fiore at ,arezzo1 allotted the altar-piece to ,giovanni ,antonio at the price of one hundred crowns4 ,meanwhile1 ,rosso passed through ,arezzo on his way to ,rome1 and lodged with ,giovanni ,antonio1 who was very much his friend2 and1 hearing of the work that he had undertaken to do1 he made at the request of ,lappoli a very beautiful little sketch full of nudes4 ,whereupon ,giovanni ,antonio1 setting his hand to the work and imitating the design of ,rosso1 painted in that altar-piece the ,visitation of ,s4 ,elizabeth1 and in the lunette above it a ,god the ,father and some children1 copying the draperies and all the rest from life4 ,and when he had brought it to completion1 he was much praised and commended for it1 and above all for some heads copied from life1 painted in a good manner and with much profit to himself4 ,then1 recognizing that if he wished to make greater proficience in his art he must take his leave of ,arezzo1 he determined1 after the plague had ceased entirely in ,rome1 to go to that city1 where he knew that ,perino1 ,rosso1 and many others of his friends had already returned and were employed in a number of important works4 ,while of this mind1 a convenient occasion of going there presented itself to him1 for there arrived in ,arezzo ,m4 ,paolo ,valdambrini1 the ,secretary of ,pope ,clement ,,vii1 who1 in returning from ,france in great haste1 passed through ,arezzo in order to see his brothers and nephews2 and when ,giovanni ,antonio had gone to visit him1 ,m4 ,paolo1 who was desirous that there should be in his native city of ,arezzo men distinguished in all the arts1 who might demonstrate the genius which that air and that sky give to those who are born there1 exhorted him1 although there was not much need for exhortation1 that he should go in his company to ,rome1 where he would obtain for him every convenience to enable him to attend to the studies of his art4 ,having therefore gone with ,m4 ,paolo to ,rome1 he found there ,perino1 ,rosso1 and others of his friends2 and besides this he was able by means of ,m4 ,paolo to make the acquaintance of ,giulio ,romano1 ,sebastiano ,viniziano1 and ,francesco ,mazzuoli of ,parma1 who arrived in ,rome about that time4 ,this ,francesco1 delighting to play the lute1 and therefore conceiving a very great affection for ,giovanni ,antonio and consorting continually with him1 brought it about that ,lappoli set himself with great zeal to draw and paint and to profit by the good fortune that he enjoyed in being the friend of the best painters that there were in ,rome at that time4 ,and he had already carried almost to completion a picture containing a ,madonna of the size of life1 which ,m4 ,paolo wished to present to ,pope ,clement in order to make ,lappoli known to him1 when1 as ,fortune would have it1 who often sets herself in opposition to the designs of mankind1 there took place on the #fth of ,may1 in the year #aebg1 the accursed sack of ,rome4 ,on that miserable day ,m4 ,paolo galloped on horseback1 and ,giovanni ,antonio with him1 to the ,porta di ,s4 ,spirito in the ,trastevere1 in order to prevent the soldiers of ,bourbon for a time from entering by that gate2 and there ,m4 ,paolo was killed and ,lappoli was taken prisoner by the ,spaniards4 ,and in a short time1 everything being given over to sack1 the picture was lost1 together with the designs executed in the chapel and all that poor ,giovanni ,antonio possessed4 ,he1 after having been much tormented by the ,spaniards to induce him to pay a ransom1 escaped in his shirt one night with some other prisoners1 and1 after suffering desperate hardships and running in great danger of his life1 because the roads were not safe1 finally made his way to ,arezzo1 where he was received by ,m4 ,giovanni ,pollastra1 a man of great learning1 who was his uncle2 but he had all that he could do to recover himself1 so broken was he by terror and suffering4 ,then in the same year there came upon ,arezzo the great plague in which four hundred persons died every day1 and ,giovanni ,antonio was forced once more to fly1 all in despair and very loth to go1 and to stay for some months out of the city4 ,but finally1 when that pestilence had abated to such an extent that people could begin to mix together1 a certain ,fra ,guasparri1 a ,conventual ,friar of ,s4 ,francis1 who was then ,guardian of their convent in that city1 commissioned ,giovanni ,antonio to paint the altar-piece of the high-altar in that church for one hundred crowns1 stipulating that he should represent in it the ,adoration of the ,magi4 ,whereupon ,lappoli1 hearing that ,rosso1 having also fled from ,rome1 was at ,borgo a ,san ,sepolcro1 and was there executing an altar-piece for the ,company of ,s4 ,croce1 went to visit him2 and after showing him many courtesies and causing some things to be brought for him from ,arezzo1 of which he knew him to stand in need1 since he had lost everything in the sack of ,rome1 he obtained for himself from ,rosso a very beautiful design of the above-mentioned altar-piece that he had to paint for ,fra ,guasparri4 ,and when he had returned to ,arezzo he set his hand to the work1 and finished it within a year from the day of the commission1 according to the agreement1 and that so well1 that he was very highly praised for it4 ,that design of ,rosso's passed afterwards into the hands of ,giorgio ,vasari1 and from him to the very reverend ,don ,vincenzio ,borghini1 ,director of the ,hospital of the ,innocenti in ,florence1 who has it in his book of drawings by various painters4 ,not long afterwards1 having become surety for ,rosso to the amount of three hundred crowns1 in the matter of some pictures that the said ,rosso was to paint in the ,madonna delle ,lagrime1 ,giovanni ,antonio found himself in a very evil pass1 for ,rosso went away without finishing the work1 as has been related in his ,life1 and ,lappoli was constrained to restore the money2 and if his friends had not helped him1 and particularly ,giorgio ,vasari1 who valued at three hundred crowns the part that ,rosso had left finished1 ,giovanni ,antonio would have been little less than ruined in his effort to do honour and benefit to his native city4 ,these difficulties over1 ,lappoli painted an altar-piece in oils containing the ,madonna1 ,s4 ,bartholomew1 and ,s4 ,matthew at the commission of ,abbot ,camaiani of ,bibbiena1 for a chapel in the lower church at ,s4 ,maria del ,sasso1 a seat of the ,preaching ,friars in the ,casentino2 and he acquitted himself very well1 counterfeiting the manner of ,rosso4 ,and this was the reason that a ,confraternity at ,bibbiena afterwards caused him to paint on a banner for carrying in processions a nude ,christ with the ,cross on ,his shoulder1 who is shedding blood into the ,chalice1 and on the other side an ,annunciation1 which was one of the best things that he ever did4 ,in the year #aecd1 ,duke ,alessandro de' ,medici being expected in ,arezzo1 the ,aretines1 with ,luigi ,guicciardini1 the commissary in that city1 wishing to honour the ,duke1 ordained that two comedies should be performed4 ,the charge of arranging one of those festivals was in the hands of a ,company of the most noble young men in the city1 who called themselves the ,umidi2 and the preparations and scenery for this comedy1 which had for its subject the ,intronati of ,siena1 were made by ,niccol ,soggi1 who was much extolled for them1 and the comedy was performed very well and with infinite satisfaction to all who saw it4 ,the festive preparations for the other were executed in competition by another ,company of young men1 likewise noble1 who called themselves the ,company of the ,infiammati4 ,and they1 in order to be praised no less than the ,umidi1 performed a comedy by ,m4 ,giovanni ,pollastra1 a poet of ,arezzo1 under his management1 and entrusted the making of the scenery to ,giovanni ,antonio1 who acquitted himself consummately well2 and thus their comedy was performed with great honour to that ,company and to the whole city4 ,nor must ,i pass over a lovely notion of that poet's1 who was certainly a man of beautiful ingenuity4 ,while the preparations for these and other festivals were in progress1 on many occasions the young men of the two ,companies1 out of rivalry and for various other reasons1 had come to blows1 and several disputes had arisen2 wherefore ,pollastra arranged a surprise 7keeping the matter absolutely secret71 which was as follows4 ,when all the people1 with the gentlemen and their ladies1 had assembled in the place where the comedy was to be performed1 four of those young men who had come to blows with one another in the city on other occasions1 dashing out with naked swords and cloaks wound round their arms1 began to shout on the stage and to pretend to kill one another3 and the first of them to be seen rushed out with one temple as it were smeared with blood1 crying out3 ,come forth1 traitors6 ,at which uproar all the people rose to their feet1 men began to lay hands on their weapons1 and the kinsmen of the young men1 who appeared to be giving each other fearful thrusts1 ran towards the stage2 when he who had come out first1 turning towards the other young men1 said3 ,hold your hands1 gentlemen1 and sheathe your swords1 for ,i have taken no harm2 and although we are at daggers drawn and you believe that the play will not be performed1 yet it will take place1 and ,i1 wounded as ,i am1 will now begin the ,prologue4 ,and so after this jest1 by which all the spectators and the actors themselves1 only excepting the four mentioned above1 were taken in1 the comedy was begun and played so well1 that afterwards1 in the year #aedj1 when the ,lord ,duke ,cosimo and the ,lady ,duchess ,leonora were in ,arezzo1 ,giovanni ,antonio had to prepare the scenery anew on the ,piazza del ,vescovado and have it performed before their ,excellencies4 ,and even as the performers had given satisfaction on the first occasion1 so at that time they gave so much satisfaction to the ,lord ,duke1 that they were afterwards invited to ,florence to perform at the next ,carnival4 ,in these two scenic preparations1 then1 ,lappoli acquitted himself very well1 and he was very highly praised4 ,he then made an ornament after the manner of a triumphal arch1 with scenes in the colour of bronze1 which was placed about the altar of the ,madonna delle ,chiavi4 ,after a time ,giovanni ,antonio settled in ,arezzo1 fully determined1 now that he had a wife and children1 to go roaming no more1 and living on his income and on the offices that the citizens of that city enjoy2 and so he continued without working much4 ,not long1 indeed1 after these events1 he sought to obtain the commissions for two altar-pieces that were to be painted in ,arezzo1 one for the ,church and ,company of ,s4 ,rocco1 and the other for the high-altar of ,s4 ,domenico2 but he did not succeed1 for the reason that both those pictures were allotted to ,giorgio ,vasari1 whose designs1 among the many that were made1 gave more satisfaction than any of the others4 ,for the ,company of the ,ascension in that city ,giovanni ,antonio painted on a banner for carrying in processions ,christ in the act of ,resurrection1 with many soldiers round the ,sepulchre1 and ,his ,ascension into ,heaven1 with the ,madonna surrounded by the twelve ,apostles1 which was all executed very well and with diligence4 ,at ,castello della ,pieve he painted an altar-piece in oils of the ,visitation of ,our ,lady1 with some ,saints about her1 and in an altar-piece that was painted for the ,pieve a ,san ,stefano he depicted the ,madonna and other ,saints2 which two works ,lappoli executed much better than the others that he had painted up to that time1 because he had been able to see at his leisure many works in relief and casts taken in gesso from the statues of ,michelagnolo and from other ancient works1 and brought by ,giorgio ,vasari to his house at ,arezzo4 ,the same master painted some pictures of ,our ,lady1 which are dispersed throughout ,arezzo and other places1 and a ,judith who is placing the head of ,holofernes in a basket held by her serving-woman1 which now belongs to ,mons4 ,m4 ,bernardetto ,minerbetti1 ,bishop of ,arezzo1 who loved ,giovanni ,antonio much1 as he loves all other men of talent1 and received from him1 besides other things1 a young ,s4 ,john the ,baptist in the desert1 almost wholly naked1 which is held dear by him1 since it is an excellent figure4 ,finally1 recognizing that perfection in this art consists in nothing else but seeking in good time to become rich in invention and to study the nude continually1 and thus to render facile the difficulties of execution1 ,giovanni ,antonio repented that he had not spent in the study of art the time that he had given to his pleasures1 perceiving that what can be done easily in youth cannot be done well in old age4 ,but although he was always conscious of his error1 yet he did not recognize it fully until1 having set himself to study when already an old man1 he saw a picture in oils1 fourteen braccia long and six braccia and a half high1 executed in forty-two days by ,giorgio ,vasari1 who painted it for the ,refectory of the ,monks of the ,abbey of ,s4 ,fiore at ,arezzo2 in which work are painted the ,nuptials of ,esther and ,king ,ahasuerus1 and there are in it more than sixty figures larger than life4 ,going therefore at times to see ,giorgio at work1 and staying to discourse with him1 ,giovanni ,antonio said3 ,now ,i see that continual study and work is what lifts men out of laborious effort1 and that our art does not come down upon us like the ,holy ,ghost4 ,giovanni ,antonio did not work much in fresco1 for the reason that the colours changed too much to please him2 nevertheless1 there may be seen over the ,church of ,murello a ,piet with two little naked ,angels by his hand1 executed passing well4 ,finally1 after having lived like a man of good judgment and one not unpractised in the ways of the world1 he fell sick of a most violent fever at the age of sixty1 in the year #aeeb1 and died4 ,a disciple of ,giovanni ,antonio was ,bartolommeo ,torri1 the scion of a not ignoble family in ,arezzo1 who1 making his way to ,rome1 and placing himself under ,don ,giulio ,clovio1 a most excellent miniaturist1 devoted himself in so thorough a manner to design and to the study of the nude1 but most of all to anatomy1 that he became an able master1 and was held to be the best draughtsman in ,rome4 ,and it is not long since ,don ,silvano ,razzi related to me that ,don ,giulio ,clovio had told him in ,rome1 after having praised this young man highly1 the very thing that he has often declared to me--namely1 that he had turned him out of his house for no other reason but his filthy anatomy1 for he kept so many limbs and pieces of men under his bed and all over his rooms1 that they poisoned the whole house4 ,besides this1 by neglecting himself and thinking that living like an unwashed philosopher1 accepting no rule of life1 and avoiding the society of other men1 was the way to become great and immortal1 he ruined himself completely2 for nature will not tolerate the unreasonable outrages that some men at times do to her4 ,having therefore fallen ill at the age of twenty-five1 ,bartolommeo returned to ,arezzo1 in order to regain his health and to seek to build himself up again2 but he did not succeed1 for he continued his usual studies and the same irregularities1 and in four months1 a little after the death of ,giovanni ,antonio1 he died and went to join him4 ,the loss of this young man was an infinite grief to the whole city1 for if he had lived1 to judge from the great promise of his works1 he was like to do extraordinary honour to his native place and to all ,tuscany2 and whoever sees any of the drawings that he made when still a mere lad1 stands marvelling at them and full of compassion for his untimely death4 ,,footnote3 #ca ,don ,bartolommeo della ,gatta1 ,abbot of ,s4 ,clemente4 ,,niccol ,,soggi ,,life ,,of ,,niccol ,,soggi ,,painter ,among the many who were disciples of ,pietro ,perugino1 there was not one1 after ,raffaello da ,urbino1 who was more studious or more diligent than ,niccol ,soggi1 whose ,life we are now about to write4 ,this master was born in ,florence1 the son of ,jacopo ,soggi1 a worthy person1 but not very rich2 and in time he entered the service of ,m4 ,antonio dal ,monte in ,rome1 because ,jacopo had a farm at ,marciano in ,valdichiana1 and1 passing most of his time there1 associated not a little with that same ,m4 ,antonio dal ,monte1 their properties being near together4 ,jacopo1 then1 perceiving that this son of his was much inclined to painting1 placed him with ,pietro ,perugino2 and in a short time1 by means of continual study1 he learned so much that it was not long before ,pietro began to make use of him in his works1 to the great advantage of ,niccol1 who devoted himself in such a manner to drawing in perspective and copying from nature1 that he afterwards became very excellent in both the one field and the other4 ,niccol also gave much attention to making models of clay and wax1 over which he laid draperies and soaked parchment3 which was the reason that he rendered his manner so dry1 that he always held to the same as long as he lived1 nor could he ever get rid of it for all the pains that he took4 ,the first work that this ,niccol executed after the death of his master ,pietro was an altar-piece in oils in the ,hospital for ,women1 founded by ,bonifazio ,lupi1 in the ,via ,san ,gallo at ,florence--that is1 the side behind the altar1 wherein is the ,angel saluting ,our ,lady1 with a building drawn in perspective1 in which there are arches and a groined vaulting rising above pilasters after the manner of ,pietro4 ,then1 in the year #aeab1 after having executed many pictures of ,our ,lady for the houses of citizens1 and other little works such as are painted every day1 hearing that great things were being done in ,rome1 he departed from ,florence1 thinking to make proficience in art and also to save some money1 and went off to ,rome4 ,there1 having paid a visit to the aforesaid ,m4 ,antonio dal ,monte1 who was then a ,cardinal1 he was not only welcomed warmly1 but also straightway set to work to paint1 in those early days of the pontificate of ,leo1 on the faade of the palace where there is the statue of ,maestro ,pasquino1 a great escutcheon of ,pope ,leo in fresco1 between that of the ,roman ,people and that of the ,cardinal4 ,in that work ,niccol did not acquit himself very well1 for in painting some nude figures and others clothed that he placed there as ornaments for those escutcheons1 he recognized that the study of models is bad for him who wishes to acquire a good manner4 ,thereupon1 after the uncovering of that work1 which did not prove to be of that excellence which many expected1 ,niccol set himself to execute a picture in oils1 in which he painted the ,martyr ,s4 ,prassedia squeezing a sponge full of blood into a vessel2 and he finished it with such diligence that he recovered in part the honour that he considered himself to have lost in painting the escutcheons described above4 ,this picture1 which was executed for the above-mentioned ,cardinal dal ,monte1 who was titular of ,s4 ,prassedia1 was placed in the centre of that church1 over an altar beneath which is a well of the blood of ,holy ,martyrs--a beautiful idea1 the picture alluding to the place where there was the blood of those ,martyrs4 ,after this ,niccol painted for his patron the ,cardinal another picture in oils1 three-quarters of a braccio in height1 of ,our ,lady with the ,child in her arms1 ,s4 ,john as a little boy1 and some landscapes1 all executed so well and with such diligence1 that the whole work appears to be done in miniature1 and not painted2 which picture1 one of the best works that ,niccol ever produced1 was for many years in the apartment of that prelate4 ,afterwards1 when the ,cardinal arrived in ,arezzo and lodged in the ,abbey of ,s4 ,fiore1 a seat of the ,black ,friars of ,s4 ,benedict1 in return for the many courtesies that were shown to him1 he presented that picture to the sacristy of that place1 in which it has been treasured ever since1 both as a good painting and in memory of the ,cardinal4 ,niccol himself went with the ,cardinal to ,arezzo1 where he lived almost ever afterwards4 ,at the time he formed a friendship with the painter ,domenico ,pecori1 who was then painting an altar-piece with the ,circumcision of ,christ for the ,company of the ,trinit2 and such was the intimacy between them that ,niccol painted for ,domenico in that altar-piece a building in perspective with columns and arches supporting a ceiling full of rosettes1 according to the custom of those days1 which was held at that time to be very beautiful4 ,niccol also painted for the same ,domenico a round picture of the ,madonna with a multitude below1 in oils and on cloth1 for the baldachin of the ,confraternity of ,arezzo1 which was burned1 as has been related in the ,life of ,domenico ,pecori1#cb during a festival that was held in ,s4 ,francesco4 ,then1 having received the commission for a chapel in that same ,s4 ,francesco1 the second on the right hand as one enters the church1 he painted there in distemper ,our ,lady1 ,s4 ,john the ,baptist1 ,s4 ,bernard1 ,s4 ,anthony1 ,s4 ,francis1 and three ,angels in the air who are singing1 with ,god the ,father in a pediment2 which were executed by ,niccol almost entirely in distemper1 with the point of the brush4 ,but since the work has almost all peeled off on account of the strength of the distemper1 it was labour thrown away4 ,niccol did this in order to try new methods2 and when he had recognized that the true method was working in fresco1 he seized the first opportunity1 and undertook to paint in fresco a chapel in ,s4 ,agostino in that city1 beside the door on the left hand as one enters the church4 ,in this chapel1 which was allotted to him by one ,scamarra1 a master of furnaces1 he painted a ,madonna in the sky with a multitude beneath1 and ,s4 ,donatus and ,s4 ,francis kneeling2 but the best thing that he did in this work was a ,s4 ,rocco at the head of the chapel4 ,this work giving great pleasure to ,domenico ,ricciardi of ,arezzo1 who had a chapel in the ,church of the ,madonna delle ,lagrime1 he entrusted the painting of the altar-piece of that chapel to ,niccol1 who1 setting his hand to the work1 painted in it with much care and diligence the ,nativity of ,jesus ,christ4 ,and although he toiled a long time over finishing it1 he executed it so well that he deserves to be excused for this1 or rather1 merits infinite praise1 for the reason that it is a most beautiful work2 nor would anyone believe with what extraordinary consideration he painted every least thing in it1 and a ruined building1 near the hut wherein are the ,infant ,christ and the ,virgin1 is drawn very well in perspective4 ,in the ,s4 ,joseph and some ,shepherds are many heads portrayed from life1 such as ,stagio ,sassoli1 a painter and the friend of ,niccol1 and ,papino della ,pieve1 his disciple1 who1 if he had not died when still young1 would have done very great honour both to himself and to his country2 and three ,angels in the air who are singing are so well executed that they would be enough by themselves to demonstrate the talent of ,niccol and the patience with which he laboured at this work up to the very last4 ,and no sooner had he finished it than he was requested by the men of the ,company of ,s4 ,maria della ,neve1 at ,monte ,sansovino1 to paint for that ,company an altar-piece wherein was to be the story of the ,snow1 which1 falling on the site of ,s4 ,maria ,maggiore at ,rome on the #eth of ,august1 was the reason of the building of that temple4 ,niccol1 then1 executed that altar-piece for the above-mentioned ,company with much diligence2 and afterwards he executed at ,marciano a work in fresco that won no little praise4 ,now in the year #aebd1 after ,m4 ,baldo ,magini had caused ,antonio1 the brother of ,giuliano da ,san ,gallo1 to build in the ,madonna delle ,carceri1 in the town of ,prato1 a tabernacle of marble with two columns1 architrave1 cornice1 and a quarter-round arch1 ,antonio resolved to bring it about that ,m4 ,baldo should give the commission for the picture which was to adorn that tabernacle to ,niccol1 with whom he had formed a friendship when he was working in the ,palace of the above-mentioned ,cardinal dal ,monte at ,monte ,sansovino4 ,he presented him1 therefore1 to ,m4 ,baldo1 who1 although he had been minded to have it painted by ,andrea del ,sarto1 as has been related in another place1 resolved1 at the entreaties and advice of ,antonio1 to allot it to ,niccol4 ,and he1 having set his hand to it1 strove with all his power to make a beautiful work1 but he did not succeed2 for1 apart from diligence1 there is no excellence of design to be seen in it1 nor any other quality worthy of much praise1 because his hard manner1 with his labours over his models of clay and wax1 almost always gave a laborious and displeasing effect to his work4 ,and yet1 with regard to the labours of art1 that man could not have done more than he did or shown more lovingness2 and since he knew that none 444#cc for many years he could never bring himself to believe that others surpassed him in excellence4 ,in this work1 then1 there is a ,god the ,father who is sending down the crown of virginity and humility upon the ,madonna by the hands of some ,angels who are round her1 some of whom are playing various instruments4 ,niccol made in the picture a portrait from life of ,m4 ,baldo1 kneeling at the feet of ,s4 ,ubaldo the ,bishop1 and on the other side he painted ,s4 ,joseph2 and those two figures are one on either side of the image of the ,madonna1 which worked miracles in that place4 ,niccol afterwards painted a picture three braccia in height of the same ,m4 ,baldo ,magini from life1 standing with the ,church of ,s4 ,fabiano di ,prato in his hand1 which he presented to the ,chapter of the ,canons of the ,pieve2 and this ,niccol executed for that ,chapter1 which1 in memory of the benefit received1 caused the picture to be placed in the sacristy1 an honour well deserved by that remarkable man1 who with excellent judgment conferred benefits on that church1 the principal church of his native city1 and so renowned for the ,girdle of the ,madonna1 which is preserved there4 ,this portrait was one of the best works that ,niccol ever executed in painting4 ,it is also the belief of some that a little altar-piece that is in the ,company of ,s4 ,pier ,martire on the ,piazza di ,s4 ,domenico1 at ,prato1 in which are many portraits from life1 is by the hand of the same ,niccol2 but in my opinion1 even if this be true1 it was painted by him before any of the other pictures mentioned above4 ,after these works1 ,niccol--under whose discipline ,domenico ,giuntalodi1 a young man of excellent ability belonging to ,prato1 had learned the rudiments of the art of painting1 although1 in consequence of having acquired the manner of ,niccol1 he never became a great master in painting1 as will be related--departed from ,prato and came to work in ,florence2 but1 having seen that the most important works in art were given to better and more eminent men than himself1 and that his manner was not up to the standard of ,andrea del ,sarto1 ,pontormo1 ,rosso1 and the others1 he made up his mind to return to ,arezzo1 in which city he had more friends1 greater credit1 and less competition4 ,which having done1 no sooner had he arrived than he made known to ,m4 ,giuliano ,bacci1 one of the chief citizens of that place1 a desire that he had in his heart1 which was this1 that he wished that ,arezzo should become his country1 and that therefore he would gladly undertake to execute some work which might maintain him for a time in the practice of his art1 whereby he hoped to demonstrate to that city the nature of his talents4 ,whereupon ,messer ,giuliano1 an ingenious man who desired that his native city should be embellished and should contain persons engaged in the arts1 so went to work with the men then governing the ,company of the ,nunziata1 who in those days had caused a great vaulting to be built in their church1 with the intention of having it painted1 that one arch of the wall-surface of that vaulting was allotted to ,niccol2 and it was proposed that he should be commissioned to paint the rest1 if the first part1 which he had to do then1 should please the men of the aforesaid ,company4 ,having therefore set his hand to this work with great diligence1 in two years ,niccol finished the half1 but not more1 of one arch1 on which he painted in fresco the ,tiburtine ,sibyl showing to the ,emperor ,octavian the ,virgin in ,heaven with the ,infant ,jesus ,christ in her arms1 and ,octavian in reverent adoration4 ,in the figure of ,octavian he portrayed the above-mentioned ,m4 ,giuliano ,bacci1 and his pupil ,domenico in a tall young man draped in red1 and others of his friends in other heads2 and1 in a word1 he acquitted himself in this work in such a manner that it did not displease the men of that ,company and the other men of that city4 ,it is true1 indeed1 that everyone grew weary of seeing him take so long and toil so much over executing his works2 but notwithstanding all this the rest would have been given to him to finish1 if that had not been prevented by the arrival in ,arezzo of the ,florentine ,rosso1 a rare painter1 to whom1 after he had been put forward by the ,aretine painter ,giovanni ,antonio ,lappoli and ,m4 ,giovanni ,pollastra1 as has been related in another place1 much favour was shown and the rest of that work allotted4 ,at which ,niccol felt such disdain1 that1 if he had not taken a wife the year before and had a son by her1 so that he was settled in ,arezzo1 he would have departed straightway4 ,however1 having finally become pacified1 he executed an altar-piece for the ,church of ,sargiano1 a place two miles distant from ,arezzo1 where there are ,frati ,zoccolanti2 in which he painted the ,assumption of ,our ,lady into ,heaven1 with many little ,angels supporting her1 and ,s4 ,thomas below receiving the ,girdle1 while all around are ,s4 ,francis1 ,s4 ,louis1 ,s4 ,john the ,baptist1 and ,s4 ,elizabeth1 ,queen of ,hungary4 ,in some of these figures1 and particularly in some of the little ,angels1 he acquitted himself very well2 and so also in the predella he painted some scenes with little figures1 which are passing good4 ,he executed1 likewise1 in the ,convent of the ,nuns of the ,murate1 who belong to the same ,order1 in that city1 a ,dead ,christ with the ,maries1 which is wrought with a high finish for a picture in fresco4 ,in the ,abbey of ,s4 ,fiore1 a seat of ,black ,friars1 behind the ,crucifix that is placed on the high-altar1 he painted in oils1 on a canvas1 ,christ praying in the ,garden and the ,angel showing to ,him the ,chalice of the ,passion and comforting ,him1 which was certainly a work of no little beauty and excellence4 ,and for the ,nuns of ,s4 ,benedetto1 of the ,order of ,camaldoli1 at ,arezzo1 on an arch above a door by which one enters the convent1 he painted the ,madonna1 ,s4 ,benedict1 and ,s4 ,catharine1 a work which was afterwards thrown to the ground in order to enlarge the church4 ,in the township of ,marciano in ,valdichiana1 where he passed much of his time1 living partly on the revenues that he had in that place and partly on what he could earn there1 ,niccol began an altar-piece of the ,dead ,christ and many other works1 with which he occupied himself for a time4 ,and meanwhile1 having with him the above-mentioned ,domenico ,giuntalodi of ,prato1 whom he loved as a son and kept in his house1 he strove to make him excellent in the matters of art1 teaching him so well how to draw in perspective1 to copy from nature1 and to make designs1 that he was already becoming very able in all these respects1 showing a good and beautiful genius4 ,and this ,niccol did1 besides being moved by the love and affection that he bore to that young man1 in the hope of having one who might help him now that he was nearing old age1 and might give him some return in his last years for so much labour and lovingness4 ,niccol was in truth most loving with every man1 true by nature1 and much the friend of those who laboured in order to attain to something in the world of art2 and what he knew he taught to them with extraordinary willingness4 ,no long time after this1 when ,niccol had returned from ,marciano to ,arezzo and ,domenico had left him1 the men of the ,company of the ,corpo di ,cristo1 in that city1 had a commission to give for the painting of an altar-piece for the high-altar of the ,church of ,s4 ,domenico4 ,now1 ,niccol desiring to paint it1 and likewise ,giorgio ,vasari1 then a mere lad1 the former did something which probably not many of the men of our art would do at the present day1 which was as follows3 ,niccol1 who was one of the members of the above-mentioned ,company1 perceiving that many were disposed to have it painted by ,giorgio1 in order to bring him forward1 and that the young man had a very great desire for it1 resolved1 after remarking ,giorgio's zeal1 to lay aside his own desire and need and to have the picture allotted by his companions to ,giorgio1 thinking more of the advantage that the young man might gain from the work than of his own profit and interest2 and even as he wished1 so exactly did the men of that ,company decide4 ,in the meantime ,domenico ,giuntalodi1 having gone to ,rome1 found ,fortune so propitious that he became known to ,don ,martino1 the ,ambassador of the ,king of ,portugal1 and went to live with him2 and he painted for him a canvas with some twenty portraits from life1 all of his followers and friends1 with himself in the midst of them1 engaged in conversation2 which work so pleased ,don ,martino1 that he looked upon ,domenico as the first painter in the world4 ,afterwards ,don ,ferrante ,gonzaga1 having been made ,viceroy of ,sicily1 and desiring to fortify the towns of that kingdom1 wished to have about his person a man who might draw and put down on paper for him all that he thought of from day to day2 and he wrote to ,don ,martino that he should find for him a young man who might be both able and willing to serve him in this way1 and should send him off as soon as possible4 ,don ,martino1 therefore1 first sent to ,don ,ferrante some designs by the hand of ,domenico1 among which was a ,colosseum1 engraved on copper by ,girolamo ,fagiuoli of ,bologna for ,antonio ,salamanca1 but drawn in perspective by ,domenico2 an old man in a child's go-cart1 drawn by the same hand and published in engraving1 with letters that ran thus1 ,ancora imparo2 and a little picture with the portrait of ,don ,martino himself4 ,and shortly afterwards he sent ,domenico1 at the wish of the aforesaid lord1 ,don ,ferrante1 who had been much pleased with that young man's works4 ,having then arrived in ,sicily1 there were assigned to ,domenico an honourable salary1 a horse1 and a servant1 all at the expense of ,don ,ferrante2 and not long afterwards he was set to work on the walls and fortresses of ,sicily4 ,whereupon1 abandoning his painting little by little1 he devoted himself to something else which for a time was more profitable to him2 for1 being an ingenious person1 he made use of men who were well adapted to heavy labour1 kept beasts of burden in the charge of others1 and caused sand and lime to be collected and furnaces to be set up2 and no long time had passed before he found that he had saved so much that he was able to buy offices in ,rome to the extent of two thousand crowns1 and shortly afterwards some others4 ,then1 after he had been made keeper of the wardrobe to ,don ,ferrante1 it happened that his master was removed from the government of ,sicily and sent to that of ,milan2 whereupon ,domenico went with him1 and1 working on the fortifications of that ,state1 contrived1 what with being industrious and with being something of a miser1 to become very rich2 and what is more1 he came into such credit that he managed almost everything in that government4 ,hearing of this1 ,niccol1 who was at ,arezzo1 now an old man1 needy1 and without any work to do1 went to find ,domenico in ,milan1 thinking that even as he had not failed ,domenico when he was a young man1 so ,domenico should not fail him now1 but should avail himself of his services1 since he had many in his employ1 and should be both able and willing to assist him in his poverty-stricken old age4 ,but he found to his cost that the judgments of men1 in expecting too much from others1 are often deceived1 and that the men who change their condition also change more often than not their nature and their will4 ,for after arriving in ,milan1 where he found ,domenico raised to such greatness that he had no little difficulty in getting speech of him1 ,niccol related to him all his troubles1 and then besought him that he should help him by making use of his services2 but ,domenico1 not remembering or not choosing to remember with what lovingness he had been brought up by ,niccol as if he had been his own son1 gave him a miserably small sum of money and got rid of him as soon as he was able4 ,and so ,niccol returned to ,arezzo very sore at heart1 having recognized that with the labour and expense with which1 as he thought1 he had reared a son1 he had formed one who was little less than an enemy4 ,in order to earn his bread1 therefore1 he went about executing all the work that came to his hand1 as he had done many years before1 and he painted among other things a canvas for the ,commune of ,monte ,sansovino1 containing the said town of ,monte ,sansovino and a ,madonna in the sky1 with two ,saints at the sides2 which picture was set up on an altar in the ,madonna di ,vertigli1 a church belonging to the ,monks of the ,order of ,camaldoli1 not far distant from the ,monte1 where it has pleased and still pleases ,our ,lord daily to perform many miracles and to grant favours to those who recommend themselves to the ,queen of ,heaven4 ,afterwards1 ,julius ,,iii having been created ,supreme ,pontiff1 ,niccol1 who had been much connected with the house of ,monte1 made his way to ,rome1 although he was an old man of eighty1 and1 having kissed the foot of ,his ,holiness1 besought him that he should deign to make use of him in the buildings which were to be erected1 so men said1 at the ,monte1 a place which the ,lord ,duke of ,florence had given in fief to the ,pontiff4 ,the ,pope1 then1 having received him warmly1 ordained that the means to live in ,rome should be given to him without exacting any sort of exertion from him2 and in this manner ,niccol spent several months in ,rome1 drawing many antiquities to pass the time4 ,meanwhile the ,pope resolved to increase his native town of ,monte ,sansovino1 and to make there1 besides many ornamental works1 an aqueduct1 because that place suffered much from want of water2 and ,giorgio ,vasari1 who had orders from the ,pope to cause those buildings to be begun1 recommended ,niccol ,soggi strongly to ,his ,holiness1 entreating him that ,niccol should be given the office of superintendent over those works4 ,whereupon ,niccol went to ,arezzo filled with these hopes1 but he had not been there many days when1 worn out by the fatigues and hardships of this world and by the knowledge that he had been abandoned by him who should have been the last to forsake him1 he finished the course of his life and was buried in ,s4 ,domenico in that city4 ,not long afterwards ,domenico ,giuntalodi1 ,don ,ferrante ,gonzaga having died1 departed from ,milan with the intention of returning to ,prato and of passing the rest of his life there in repose4 ,however1 finding there neither relatives nor friends1 and recognizing that ,prato was no abiding place for him1 he repented too late that he had behaved ungratefully to ,niccol1 and returned to ,lombardy to serve the sons of ,don ,ferrante4 ,but no long time passed before he fell sick unto death2 whereupon he made a will leaving ten thousand crowns to his fellow-citizens of ,prato1 to the end that they might buy property to that amount and form a fund wherewith to maintain continually at their studies a certain number of students from ,prato1 in the manner in which they maintained certain others1 as they still do1 according to the terms of another bequest4 ,and this has been carried out by the men of that town of ,prato1 who1 grateful for such a benefit1 which in truth has been a very great one and worthy of eternal remembrance1 have placed in their ,council ,chamber the image of ,domenico1 as that of one who has deserved well of his country4 ,,footnote3 #cb ,see p4 #bjh1 ,vol4 ,,iii4 #cc ,these words are missing in the text4 ,,index ,,index ,,of ,,names ,,of ,,the ,,craftsmen ,,mentioned ,,in ,,volume ,,vi ,abacco1 ,antonio ,l'1 #aac1 #aad1 #acj1 #acf1 #acg ,abbot of ,s4 ,clemente 7,don ,bartolommeo della ,gatta71 #bee ,agnolo1 ,baccio d' 7,baccio ,baglioni71 ,life1 #fe-fh4 #fi1 #gb ,agnolo1 ,battista d' 7,battista del ,moro71 ,life1 #bg-bh4 #ajh ,agnolo1 ,domenico di ,baccio d'1 #fh1 #gj1 #gb ,agnolo1 ,filippo di ,baccio d'1 #fh1 #gj ,agnolo1 ,giuliano di ,baccio d'1 ,life1 #fh-gb ,agnolo1 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