,transcriber's note3 ,obvious printer's errors have been corrected4 ,hyphenation and accentuation have been standardised1 all other inconsistencies are as in the original4 ,the author's spelling has been maintained4 ,bold text is marked with 4 ,,lives ,,of ,,the ,,most ,,eminent ,,painters ,,sculptors ,,and ,,architects ,,by ,,giorgio ,,vasari3 ,,volume ,,viii4 ,,bastiano ,,to ,,taddeo ,,zucchero #aiad ,,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-ae ,,contents ,,of ,,volume ,,viii ,,page ,,bastiano ,,da ,,san ,,gallo1 ,,called ,,aristotile #c ,,benvenuto ,,garofalo ,,and ,,girolamo ,,da ,,carpi1 ,,and ,,other ,,lombards #bc ,,ridolfo1 ,,david1 ,,and ,,benedetto ,,ghirlandajo #ei ,,giovanni ,,da ,,udine #gc ,,battista ,,franco #hi ,,giovan ,,francesco ,,rustici #aaa ,,fra ,,giovanni ,,agnolo ,,montorsoli #acc ,,francesco ,,salviati #afa ,,daniello ,,ricciarelli #aig ,,taddeo ,,zucchero #bae ,,index ,,of ,,names #bfe ,,illustrations ,,to ,,volume ,,viii ,,plates ,,in ,,colour ,,facing ,,page ,,alessandro ,,bonvicino 7,,moretto ,,da ,,brescia7 ,s4 ,justina ,vienna3 ,imperial ,gallery1 #bah #bb ,,gaudenzio ,,ferrari ,madonna and ,child ,milan3 ,brera1 #bgg #ef ,,ridolfo ,,ghirlandajo ,portrait of a ,lady ,florence3 ,pitti1 #bbd #fd ,,jacopo ,,tintoretto ,bacchus and ,ariadne ,venice3 ,doges' ,palace1 ,sala ,anticollegio #if ,,plates ,,in ,,monochrome ,,francesco ,,ubertini 7,,il ,,bacchiacca7 ,the ,baptist in ,jordan ,berlin3 ,kaiser ,friedrich ,museum1 #bfg #ah ,,benvenuto ,,garofalo ,the ,madonna and ,child with ,saints ,ferrara3 ,pinacoteca1 #aead #bd ,,benvenuto ,,garofalo ,the ,massacre of the ,innocents ,ferrara3 ,pinacoteca1 #aeai #bf ,,benvenuto ,,garofalo ,the ,adoration of the ,magi ,ferrara3 ,pinacoteca1 #aecg #cj ,,niccol 7,,niccol ,,dell',,abate7 ,scene from the neid ,modena3 ,reale ,galleria ,estense #cd ,,il ,,modena 7,,antonio ,,begarelli7 ,the ,madonna and ,child with ,s4 ,john ,modena3 ,museo ,civico #ch ,,il ,,modena 7,,antonio ,,begarelli7 ,four ,saints ,modena3 ,s4 ,pietro #dj ,,giulio ,,campo ,the ,purification of the ,virgin ,cremona3 ,s4 ,margherita #db ,,sofonisba ,,anguisciuola ,portrait of the ,artist ,vienna3 ,imperial ,gallery1 #aji #dd ,,girolamo ,,romanino ,the ,madonna and ,child with ,saints ,brescia3 ,s4 ,francesco #df ,,alessandro ,,bonvicino 7,,moretto ,,da ,,brescia7 ,the ,coronation of the ,virgin ,brescia3 ,,ss4 ,nazzaro e ,celso #dh ,,gian ,,girolamo ,,bresciano 7,,savoldo7 ,the ,adoration of the ,shepherds ,brescia3 ,palazzo ,martinengo #ej ,,bramantino ,the ,holy ,family ,milan3 ,brera1 #bgi #ej ,,bramantino ,a ,warrior ,milan3 ,brera1 #did #eb ,,cesare ,,da ,,sesto ,salome ,vienna3 ,imperial ,gallery1 #ia #ed ,,gaudenzio 7,,gaudenzio ,,ferrari7 ,s4 ,paul ,paris3 ,louvre1 #abhe #ef ,,ridolfo ,,ghirlandajo ,christ bearing the ,cross ,london3 ,n4 ,g41 #aadc #fj ,,ridolfo ,,ghirlandajo ,the ,miracle of ,s4 ,zanobi ,florence3 ,uffizi1 #abge #fb ,,antonio ,,del ,,ceraiolo ,the ,crucifixion with ,,ss4 ,francis and ,mary ,magdalene ,florence3 ,accademia1 #afc #ff ,,ridolfo ,,ghirlandajo ,the ,madonna giving the ,girdle to ,s4 ,thomas ,prato3 ,duomo #gj ,,giovanni ,,da ,,udine ,arabesques ,rome3 ,the ,vatican1 ,loggia di ,raffaello #gh ,,jacopo ,,tintoretto ,the ,pool of ,bethesda ,venice3 ,s4 ,rocco #ih ,,jacopo ,,tintoretto ,the ,last ,judgment ,venice3 ,s4 ,maria dell',orto #ajb ,,jacopo ,,tintoretto ,the ,miracle of ,s4 ,mark ,venice3 ,accademia #ajd ,,jacopo ,,tintoretto ,the ,apotheosis of ,s4 ,rocco ,venice3 ,scuola di ,s4 ,rocco #ajf ,,giovan ,,francesco ,,rustici ,s4 ,john ,preaching ,florence3 ,the ,baptistry #aad ,,fra ,,giovanni ,,agnolo ,,montorsoli ,s4 ,cosmas ,florence3 ,s4 ,lorenzo1 ,medici ,chapel #acf ,,fra ,,giovanni ,,agnolo ,,montorsoli ,tomb of ,andrea ,doria ,genoa3 ,s4 ,matteo #add ,,fra ,,giovanni ,,agnolo ,,montorsoli ,fountain of ,neptune ,messina3 ,piazza del ,duomo #adf ,,fra ,,giovanni ,,agnolo ,,montorsoli ,high ,altar ,bologna3 ,s4 ,maria dei ,servi #aej ,,francesco ,,salviati 7,,francesco ,,de' ,,rossi7 ,portrait of a ,man ,florence3 ,uffizi1 #abef #afb ,,francesco ,,salviati 7,,francesco ,,de' ,,rossi7 ,justice ,florence3 ,bargello #agd ,,francesco ,,salviati 7,,francesco ,,de' ,,rossi7 ,the ,deposition ,florence3 ,s4 ,croce1 the ,refectory #ahj ,,francesco ,,dal ,,prato ,medal of ,pope ,clement ,,vii4 ,london3 ,british ,museum #aij ,,giuseppe ,,del ,,salviati 7,,giuseppe ,,porta7 ,the ,reconciliation of ,pope ,alexander ,,iii and ,frederick ,barbarossa ,rome3 ,the ,vatican1 ,sala ,regia #aib ,,daniello ,,ricciarelli ,the ,descent from the ,cross ,rome3 ,,ss4 ,trinita dei ,monti #bjj ,,daniello ,,ricciarelli ,the ,massacre of the ,innocents ,florence3 ,uffizi1 #aajg #bjh ,,federigo ,,zucchero ,portrait of the ,artist ,florence3 ,uffizi1 #bgj #bbf ,,bastiano ,,da ,,san ,,gallo1 ,,called ,,aristotile ,,life ,,of ,,bastiano ,,da ,,san ,,gallo1 ,,called ,,aristotile1 ,,painter ,,and ,,sculptor ,,of ,,florence ,when ,pietro ,perugino1 by that time an old man1 was painting the altar-piece of the high-altar of the ,servites at ,florence1 a nephew of ,giuliano and ,antonio da ,san ,gallo1 called ,bastiano1 was placed with him to learn the art of painting4 ,but the boy had not been long with ,perugino1 when he saw the manner of ,michelagnolo in the cartoon for the ,hall1 of which we have already spoken so many times1 in the house of the ,medici1 and was so struck with admiration1 that he would not return any more to ,pietro's workshop1 considering that his manner1 beside that of ,buonarroti1 was dry1 petty1 and by no means worthy to be imitated4 ,and since1 among those who used to go to paint that cartoon1 which was for a time the school of all who wished to attend to painting1 the most able of all was held to be ,ridolfo ,ghirlandajo1 ,bastiano chose him as his companion1 in order to learn colouring from him1 and so they became fast friends4 ,but not ceasing therefore to give his attention to that cartoon and to work at those nudes1 ,bastiano copied all together in a little cartoon the whole composition of that mass of figures1 which not one of all those who had worked at it had ever drawn as a whole4 ,and since he applied himself to it with all the earnestness that was in him1 it proved that he was afterwards able on any occasion to render an account of the attitudes1 muscles1 and movements of those figures1 and of the reasons that had caused ,buonarroti to depict certain difficult postures2 in doing which he would speak slowly and sententiously1 with great gravity1 so that a company of able craftsmen gave him the name of ,aristotile1 which1 moreover1 sat upon him all the better because it appeared that according to an ancient portrait of that supreme philosopher and confidant of ,nature1 ,bastiano much resembled him4 ,but to return to the little cartoon drawn by ,aristotile2 he held it always so dear1 that1 after ,buonarroti's original had perished1 he would never let it go either at a price or on any other terms1 or allow it to be copied2 indeed1 he would not show it1 save only as a man shows precious things to his dearest friends1 as a favour4 ,afterwards1 in the year #aedb1 this drawing was copied in oils by ,aristotile1 at the persuasion of ,giorgio ,vasari1 who was much his friend1 in a picture in chiaroscuro1 which was sent through ,monsignor ,giovio to ,king ,francis of ,france1 who held it very dear1 and gave a handsome reward to ,san ,gallo4 ,this ,vasari did in order that the memory of that work might be preserved1 seeing that drawings perish very readily4 ,in his youth1 then1 ,aristotile delighted1 as the others of his house have done1 in the matters of architecture1 and he therefore gave his attention to measuring the ground-plans of buildings and with great diligence to the study of perspective2 in doing which he was much assisted by a brother of his1 called ,giovan ,francesco1 who was employed as architect in the building of ,s4 ,pietro1 under ,giuliano ,leno1 the proveditor4 ,giovan ,francesco1 having drawn ,aristotile to ,rome1 employed him to keep the accounts in a great business that he had of furnaces for lime and works in pozzolana and tufa1 which brought him very large profits2 and in this way ,bastiano lived for a time1 without doing anything but draw in the ,chapel of ,michelagnolo1 and resort1 by means of ,m4 ,giannozzo ,pandolfini1 ,bishop of ,troia1 to the house of ,raffaello da ,urbino4 ,after a time1 ,raffaello having made for that ,bishop the design of a palace which he wished to erect in the ,via di ,s4 ,gallo at ,florence1 the above-named ,giovan ,francesco was sent to put it into execution1 which he did with all the diligence wherewith it is possible for such a work to be carried out4 ,but in the year #aecj1 ,giovan ,francesco being dead1 and the siege of ,florence in progress1 that work1 as we shall relate1 was left unfinished4 ,its completion was afterwards entrusted to his brother ,aristotile1 who1 as will be told1 had returned to ,florence many and many a year before1 after having amassed a large sum of money under the above-named ,giuliano ,leno1 in the business that his brother had left him in ,rome2 with a part of which money ,aristotile bought1 at the persuasion of ,luigi ,alamanni and ,zanobi ,buondelmonte1 who were much his friends1 a site for a house behind the ,convent of the ,servites1 near ,andrea del ,sarto1 where1 with the intention of taking a wife and living at leisure1 he afterwards built a very commodious little house4 ,after returning to ,florence1 then1 ,aristotile1 being much inclined to perspective1 to which he had given his attention under ,bramante in ,rome1 appeared to delight in scarcely any other thing2 but nevertheless1 besides executing a portrait or two from the life1 he painted in oils1 on two large canvases1 the ,eating of the ,fruit by ,adam and ,eve and their ,expulsion from ,paradise1 which he did after copies that he had made from the works painted by ,michelagnolo on the vaulting of the ,chapel in ,rome4 ,these two canvases of ,aristotile's1 because of his having taken them bodily from that place1 were little extolled2 but1 on the other hand1 he was well praised for all that he did in ,florence for the entry of ,pope ,leo1 making1 in company with ,francesco ,granacci1 a triumphal arch opposite to the door of the ,badia1 with many scenes1 which was very beautiful4 ,in like manner1 at the nuptials of ,duke ,lorenzo de' ,medici1 he was of great assistance in all the festive preparations1 and particularly in some prospect-views for comedies1 to ,franciabigio and ,ridolfo ,ghirlandajo1 who had charge of everything4 ,he afterwards executed many pictures of ,our ,lady in oils1 partly from his own fancy1 and partly copied from the works of others2 and among them he painted one similar to that which ,raffaello executed for ,s4 ,maria del ,popolo in ,rome1 with the ,madonna covering the ,child with a veil1 which now belongs to ,filippo dell',antella4 ,and another is in the possession of the heirs of ,messer ,ottaviano de' ,medici1 together with the portrait of the above-named ,lorenzo1 which ,aristotile copied from that which ,raffaello had executed4 ,many other pictures he painted about the same time1 which were sent to ,england4 ,but1 recognizing that he had no invention1 and how much study and good grounding in design painting required1 and that for lack of these qualities he would not be able to achieve any great excellence1 ,aristotile resolved that his profession should be architecture and perspective1 executing scenery for comedies1 to which he was much inclined1 on every occasion that might present itself to him4 ,and so1 the above-mentioned ,bishop of ,troia having once more set his hand to his palace in the ,via di ,s4 ,gallo1 the charge of this was given to ,aristotile1 who in time carried it with much credit to himself to the condition in which it is now to be seen4 ,meanwhile ,aristotile had formed a great friendship with ,andrea del ,sarto1 his neighbour1 from whom he learned to do many things to perfection1 attending with much study to perspective2 wherefore he was afterwards employed in many festivals that were held by certain companies of gentlemen who were living at ,florence in those peaceful times4 ,thus1 when the ,mandragola1 a most amusing comedy1 was to be performed by the ,company of the ,cazzuola in the house of ,bernardino di ,giordano1 on the ,canto a ,monteloro1 ,andrea del ,sarto and ,aristotile executed the scenery1 which was very beautiful2 and not long afterwards ,aristotile executed the scenery for another comedy by the same author1 in the house of the furnace-master ,jacopo at the ,porta ,s4 ,friano4 ,from that kind of scenery and prospect-views1 which much pleased the citizens in general1 and in particular ,signor ,alessandro and ,signor ,ippolito de' ,medici 7who were in ,florence at that time1 under the care of ,silvio ,passerini1 ,cardinal of ,cortona71 ,aristotile acquired so great a name1 that it was ever afterwards his principal profession2 indeed1 so some will have it1 his name of ,aristotile was given him because he appeared in truth to be in perspective what ,aristotle was in philosophy4 ,but1 as it often happens that from the height of peace and tranquillity one falls into wars and discords1 with the year #aebg all peace and gladness in ,florence were changed into sorrow and distress1 for by that time the ,medici had been driven out1 and then came the plague and the siege1 and for many years life was anything but gay2 wherefore no good could be done then by craftsmen1 and ,aristotile lived in those days always in his own house1 attending to his studies and fantasies4 ,afterwards1 however1 when ,duke ,alessandro had assumed the government of ,florence1 and matters were beginning to clear up a little1 the young men of the ,company of the ,children of the ,purification1 which is opposite to ,s4 ,marco1 arranged to perform a tragi-comedy taken from the ,book of ,kings1 of the tribulations that ensued from the violation of ,tamar1 which had been composed by ,giovan ,maria ,primerani4 ,thereupon the charge of the scenery and prospect-views was given to ,aristotile1 and he prepared the most beautiful scenery1 considering the capacity of the place1 that had ever been made4 ,and since1 besides the beauty of the setting1 the tragi-comedy was beautiful in itself and well performed1 and very pleasing to ,duke ,alessandro and his sister1 who heard it1 their ,excellencies caused the author1 who was in prison1 to be liberated1 on the condition that he should write another comedy1 but after his own fancy4 ,which having been done by him1 ,aristotile made in the loggia of the garden of the ,medici1 on the ,piazza di ,s4 ,marco1 a very beautiful scene and prospect-view1 full of colonnades1 niches1 tabernacles1 statues1 and many other fanciful things that had not been used up to that time in festive settings of that kind2 which all gave infinite satisfaction1 and greatly enriched that sort of painting4 ,the subject of the piece was ,joseph falsely accused of having sought to violate his mistress1 and therefore imprisoned1 and then liberated after his interpretation of the ,king's dream4 ,this scenery having also much pleased the ,duke1 he ordained1 when the time came1 that for his nuptials with ,madama ,margherita of ,austria another comedy should be performed1 with scenery by ,aristotile1 in the ,company of ,weavers1 which is joined to the house of the ,magnificent ,ottaviano de' ,medici1 in the ,via di ,s4 ,gallo4 ,to which having set his hand with all the study1 diligence1 and labour of which he was capable1 ,aristotile executed all those preparations to perfection4 ,now ,lorenzo di ,pier ,francesco de' ,medici1 having himself written the piece that was to be performed1 had charge of the whole representation and the music2 and1 being such a man that he was always thinking in what way he might be able to kill the ,duke1 by whom he was so much favoured and beloved1 he thought to find a way of bringing him to his end in the preparations for the play4 ,and so1 where the steps of the prospect-view and the floor of the stage ended1 he caused the wing-walls on either side to be thrown down to the height of eighteen braccia1 intending to build up in that space a room in the form of a purse-shaped recess1 which was to be of considerable size1 and a stage on a level with the stage proper1 which might serve for the choral music4 ,above this first stage he wished to make another for harpsichords1 organs1 and other suchlike instruments that cannot be moved or changed about with ease2 and the space where he had pulled down the walls1 in front1 he wished to have covered with curtains painted with prospect-views and buildings4 ,all which pleased ,aristotile1 because it enriched the proscenium1 and left the stage free of musicians1 but he was by no means pleased that the rafters upholding the roof1 which had been left without the walls below to support them1 should be arranged otherwise than with a great double arch1 which should be very strong2 whereas ,lorenzo wished that it should be sustained by some props1 and by nothing else that could in any way interfere with the music4 ,aristotile1 knowing that this was a trap certain to fall headlong down on a multitude of people1 would not on any account agree in the matter with ,lorenzo1 who in truth had no other intention but to kill the ,duke in that catastrophe4 ,wherefore1 perceiving that he could not drive his excellent reasons into ,lorenzo's head1 he had determined that he would withdraw from the whole affair1 when ,giorgio ,vasari1 who was the protg of ,ottaviano de' ,medici1 and was at that time1 although a mere lad1 working in the service of ,duke ,alessandro1 hearing1 while he was painting on that scenery1 the disputes and differences of opinion that there were between ,lorenzo and ,aristotile1 set himself dexterously between them1 and1 after hearing both the one and the other and perceiving the danger that ,lorenzo's method involved1 showed that without making any arch or interfering in any other way with the stage for the music1 those rafters of the roof could be arranged easily enough4 ,two double beams of wood1 he said1 each of fifteen braccia1 should be placed along the wall1 and fastened firmly with clamps of iron beside the other rafters1 and upon them the central rafter could be securely placed1 for in that way it would lie as safely as upon an arch1 neither more nor less4 ,but ,lorenzo1 refusing to believe either ,giorgio1 who proposed the plan1 or ,aristotile1 who approved it1 did nothing but oppose them with his cavillings1 which made his evil intention known to everyone4 ,whereupon ,giorgio1 having seen what a terrible disaster might result from this1 and that it was nothing less than an attempt to kill three hundred persons1 said that come what might he would speak of it to the ,duke1 to the end that he might send to examine and render safe the whole fabric4 ,hearing this1 and fearing to betray himself1 ,lorenzo1 after many words1 gave leave to ,aristotile that he should follow the advice of ,giorgio2 and so it was done4 ,this scenery1 then1 was the most beautiful not only of all that ,aristotile had executed up to that time1 but also of all that had ever been made by others1 for he made in it many corner-pieces in relief1 and also1 in the opening of the stage1 a representation of a most beautiful triumphal arch in imitation of marble1 covered with scenes and statues1 not to mention the streets receding into the distance1 and many other things wrought with marvellous invention and incredible diligence and study4 ,after ,duke ,alessandro had been killed by the above-named ,lorenzo1 and ,cosimo had been elected ,duke2 in #aecf1 there came to be married to him ,signora ,leonora di ,toledo1 a lady in truth most rare1 and of such great and incomparable worth1 that she may be likened without question1 and perchance preferred1 to the most celebrated and renowned woman in ancient history4 ,and for the nuptials1 which took place on the #bgth of ,june in the year #aeci1 ,aristotile made in the great court of the ,medici ,palace1 where the fountain is1 another scenic setting that represented ,pisa1 in which he surpassed himself1 ever improving and achieving variety2 wherefore it will never be possible to put together a more varied arrangement of doors and windows1 or faades of palaces more fantastic and bizarre1 or streets and distant views that recede more beautifully and comply more perfectly with the rules of perspective4 ,and he depicted there1 besides all this1 the ,leaning ,tower of the ,duomo1 the ,cupola1 and the round ,temple of ,s4 ,giovanni1 with other features of that city4 ,of the flights of steps that he made in the work1 and how everyone was deceived by them1 ,i shall say nothing1 lest ,i should appear to be saying the same that has been said at other times2 save only this1 that the flight of steps which appeared to rise from the ground to the stage was octagonal in the centre and quadrangular at the sides--an artifice extraordinary in its simplicity1 which gave such grace to the prospect-view above1 that it would not be possible to find anything better of that kind4 ,he then arranged with much ingenuity a lantern of wood in the manner of an arch1 behind all the buildings1 with a sun one braccio high1 in the form of a ball of crystal filled with distilled water1 behind which were two lighted torches1 which rendered the sky of the scenery and prospect-view so luminous1 that it had the appearance of the real and natural sun4 ,this sun1 which had around it an ornament of golden rays that covered the curtain1 was drawn little by little by means of a small windlass that was there1 in such a manner that at the beginning of the performance the sun appeared to be rising1 and then1 having climbed to the centre of the arch1 it so descended that at the end of the piece it was setting and sinking below the horizon4 ,the author of the piece was ,antonio ,landi1 a gentleman of ,florence1 and the interludes and music were in the hands of ,giovan ,battista ,strozzi1 a man of very beautiful genius1 who was then very young4 ,but since enough was written at that time about the other things that adorned the performance1 such as the interludes and music1 ,i shall do no more than mention who they were who executed certain pictures1 and it must suffice for the present to know that all the other things were carried out by the above-named ,giovan ,battista ,strozzi1 ,tribolo1 and ,aristotile4 ,below the scenery of the comedy1 the walls at the sides were divided into six painted pictures1 each eight braccia in height and five in breadth1 and each having around it an ornamental border one braccio and two-thirds in width1 which formed a frieze about it and was moulded on the side next the picture1 containing four medallions in the form of a cross1 with two ,latin mottoes for each scene1 and in the rest were suitable devices4 ,over all1 right round1 ran a frieze of blue baize1 save where the scene was1 above which was a canopy1 likewise of baize1 which covered the whole court4 ,on that frieze of baize1 above every painted story1 were the arms of some of the most illustrious families with which the house of ,medici had kinship4 ,beginning with the eastern side1 then1 next to the stage1 in the first picture1 which was by the hand of ,francesco ,ubertini1 called ,il ,bacchiacca1 was the ,return from ,exile of the ,magnificent ,cosimo de' ,medici2 the device consisted of two ,doves on a ,golden ,bough1 and the arms in the frieze were those of ,duke ,cosimo4 ,in the second1 which was by the same hand1 was the ,journey of the ,magnificent ,lorenzo to ,naples2 the device a ,pelican1 and the arms those of ,duke ,lorenzo--namely1 ,medici and ,savoy4 ,in the third picture1 painted by ,pier ,francesco di ,jacopo di ,sandro1 was ,pope ,leo ,x on his visit to ,florence1 being carried by his fellow-citizens under the baldachin2 the device was an ,upright ,arm1 and the arms those of ,duke ,giuliano--,medici and ,savoy4 ,in the fourth picture1 by the same hand1 was ,biegrassa taken by ,signor ,giovanni1 who was to be seen issuing victorious from that city2 the device was ,jove's ,thunderbolt1 and the arms in the frieze were those of ,duke ,alessandro--,austria and ,medici4 ,in the fifth1 ,pope ,clement was crowning ,charles ,v at ,bologna2 the device was a ,serpent that was biting its own tail1 and the arms were those of ,france and ,medici4 ,that picture was by the hand of ,domenico ,conti1 the disciple of ,andrea del ,sarto1 who proved that he had no great ability1 being deprived of the assistance of certain young men whose services he had thought to use1 since all1 both good and bad1 were employed2 wherefore he was laughed at1 who1 much presuming1 at other times with little discretion had laughed at others4 ,in the sixth scene1 the last on that side1 by the hand of ,bronzino1 was the ,dispute that took place at ,naples1 before the ,emperor1 between ,duke ,alessandro and the ,florentine exiles1 with the ,river ,sebeto and many figures1 and this was a most beautiful picture1 and better than any of the others2 the device was a ,palm1 and the arms those of ,spain4 ,opposite to the ,return of ,cosimo the ,magnificent 7that is1 on the other side71 was the happy day of the birth of ,duke ,cosimo2 the device was a ,phoenix1 and the arms those of the city of ,florence--namely1 a ,red ,lily4 ,beside this was the ,creation1 or rather1 ,election of the same ,cosimo to the dignity of ,duke2 the device was the ,caduceus of ,mercury1 and in the frieze were the arms of the ,castellan of the ,fortress2 and this scene1 which was designed by ,francesco ,salviati1 who had to depart in those days from ,florence1 was finished excellently well by ,carlo ,portelli of ,loro4 ,in the third were the three proud ,campanian envoys1 driven out of the ,roman ,senate for their presumptuous demand1 as ,titus ,livius relates in the twentieth book of his history2 and in that place they represented three ,cardinals who had come to ,duke ,cosimo1 but in vain1 with the intention of removing him from the government2 the device was a ,winged ,horse1 and the arms those of the ,salviati and the ,medici4 ,in the fourth was the ,taking of ,monte ,murlo2 the device an ,egyptian ,horn-owl over the head of ,pyrrhus1 and the arms those of the houses of ,sforza and ,medici2 in which scene1 painted by ,antonio di ,donnino1 a bold painter of things in motion1 might be seen in the distance a skirmish of horsemen1 which was so beautiful that this picture1 by the hand of a person reputed to be feeble1 proved to be much better than the works of some others who were able men only by report4 ,in the fifth could be seen ,duke ,alessandro being invested by his ,imperial ,majesty with all the devices and insignia of a ,duke2 the device was a ,magpie1 with leaves of laurel in its beak1 and in the frieze were the arms of the ,medici and of ,toledo2 and that picture was by the hand of ,battista ,franco the ,venetian4 ,in the last of all those pictures were the ,espousals of the same ,duke ,alessandro1 which took place at ,naples2 the devices were two ,crows1 the ancient symbols of marriage1 and in the frieze were the arms of ,don ,pedro di ,toledo1 ,viceroy of ,naples2 and that picture1 which was by the hand of ,bronzino1 was executed with such grace1 that1 like the first-named1 it surpassed the scenes of all the others4 ,by the same ,aristotile1 likewise1 there was executed over the loggia a frieze with other little scenes and arms1 which was much extolled1 and which pleased his ,excellency1 who rewarded him liberally for the whole work4 ,afterwards1 almost every year1 he executed scenery and prospect-views for the comedies that were performed at ,carnival time2 and he had in that manner of painting such assistance from nature and such practice1 that he had determined that he would write of it and teach others2 but this he abandoned1 because the undertaking proved to be more difficult than he had expected1 but particularly because afterwards commissions to execute prospect-views were given by new men in authority at the ,palace to ,bronzino and ,francesco ,salviati1 as will be related in the proper place4 ,aristotile1 therefore1 perceiving that many years had passed during which he had not been employed1 went off to ,rome to find ,antonio da ,san ,gallo1 his cousin1 who1 immediately after his arrival1 having received and welcomed him very warmly1 set him to press on certain buildings1 with a salary of ten crowns a month1 and then sent him to ,castro1 where he stayed some months1 being commissioned by ,pope ,paul ,,iii to execute a great part of the buildings there after the designs and directions of ,antonio4 ,but1 because ,aristotile1 having been brought up with ,antonio from childhood1 had become accustomed to treat him too familiarly1 it is said that ,antonio kept him at a distance1 since ,aristotile had never been able to accustom himself to calling him you1 insomuch that he gave him the thou even if they were before the ,pope1 to say nothing of a circle of nobles and gentlemen1 even as is still done by ,florentines used to the ancient fashions and to giving the thou to everyone1 as if they were from ,norcia1 without being able to accommodate themselves to modern ways of life as others do1 who march step by step with the times4 ,and how strange this circumstance appeared to ,antonio1 accustomed as he was to be honoured by ,cardinals and other great men1 everyone may imagine for himself4 ,having therefore grown weary of his stay at ,castro1 ,aristotile besought ,antonio that he should enable him to return to ,rome2 in which ,antonio obliged him very readily1 but said to him that he must behave towards him in a different manner and with better breeding1 particularly whenever they were in the presence of great persons4 ,one year1 at the time of the ,carnival1 when ,ruberto ,strozzi was giving a banquet at ,rome to certain lords1 his friends1 and a comedy was to be performed at his house1 ,aristotile made for him in the great hall a prospect-scene1 which1 considering the little space at his disposal1 was so pleasing1 so graceful1 and so beautiful1 that ,cardinal ,farnese1 among others1 not only was struck with astonishment at it1 but caused him to make one in his ,palace of ,s4 ,giorgio1 where is the ,cancelleria1 in one of those mezzanine halls that look out on the garden2 but in such a way that it might remain there permanently1 so that he might be able to make use of it whenever he so wished or required4 ,this work1 then1 was carried out by ,aristotile with all the study in his power and knowledge1 and in such a manner1 that it gave the ,cardinal and the men of the arts infinite satisfaction4 ,now the ,cardinal commissioned ,messer ,curzio ,frangipane to remunerate ,aristotile2 and he1 as a man of prudence1 wishing to do what was right by him1 but also not to overpay him1 asked ,perino del ,vaga and ,giorgio ,vasari to value the work4 ,this was very agreeable to ,perino1 because1 feeling hatred for ,aristotile1 and taking it ill that he had executed that prospect-scene1 which he thought should have fallen to him as the servant of the ,cardinal1 he was living in apprehension and jealousy1 and all the more because the ,cardinal had made use in those days not only of ,aristotile but also of ,vasari1 and had given him a thousand crowns for having painted in fresco1 in a hundred days1 the ,hall of ,parco ,majori in the ,cancelleria4 ,for these reasons1 therefore1 ,perino intended to value that prospect-view of ,aristotile's at so little1 that he would have to repent of having done it4 ,but ,aristotile1 having heard who were the men who had to value his prospect-view1 went to seek out ,perino1 and at the first word1 according to his custom1 began to give him the thou to his face1 for he had been his friend in youth2 whereupon ,perino1 who had already an ill-will against him1 flew into a rage and all but revealed1 without noticing1 the malicious thing that he had it in his mind to do4 ,aristotile having therefore told the whole story to ,vasari1 ,giorgio told him that he should have no anxiety and should be of good cheer1 for no wrong would be done to him4 ,afterwards1 ,perino and ,giorgio coming together to settle that affair1 ,perino1 as the older man1 began to speak1 and set himself to censure that prospect-scene and to say that it was a work of a few halfpence1 and that ,aristotile1 having received money on account and having been paid for those who had assisted him1 had been overpaid1 adding3 ,if ,i had been commissioned to do it1 ,i would have done it in another manner1 and with different scenes and ornaments from those used by that fellow2 but the ,cardinal always chooses to favour some person who does him little honour4 ,from these words and others ,giorgio recognized that ,perino wished rather to avenge himself on ,aristotile for the grievance that he had against the ,cardinal than to ensure with friendly affection the remuneration of the talents and labours of a good craftsman2 and he spoke these soft words to ,perino3 ,although ,i have not as much knowledge of such works as ,i might have1 nevertheless1 having seen some by the hands of those who know how to do them1 it appears to me that this one is very well executed1 and worthy to be valued at many crowns1 and not1 as you say1 at a few halfpence4 ,and it does not seem to me right that he who sits in his work-room drawing cartoons1 in order afterwards to reproduce in great works such a variety of things in perspective1 should be paid for the labour of his nights--and perhaps for the work of many weeks into the bargain--on the same scale as are paid the days of those who have to undergo no fatigue of the mind and hand1 and little of the body1 it being enough for them to imitate1 without in any way racking their brains1 as ,aristotile has done4 ,and if you1 ,perino1 had executed it1 as you say1 with more scenes and ornaments1 perhaps you might not have done it with that grace which has been achieved by ,aristotile1 who in that kind of painting has been esteemed with much judgment by the ,cardinal to be a better master than you4 ,remember that in the end1 by giving a wrong and unjust estimate1 you do harm not so much to ,aristotile as to art and excellence in general1 and even more to your own soul1 if you depart from what is right for the sake of some private grievance2 not to mention that all who recognize the work as a good one1 will censure not it but our weak judgment1 and may even put it down to envy and malice in our natures4 ,and whoever seeks to ingratiate himself with another1 to glorify his own works1 or to avenge himself for any injury by censuring or estimating at less than their true value the good works of others1 is finally recognized by ,god and man as what he is1 namely1 as malignant1 ignorant1 and wicked4 ,consider1 you who do all the work in ,rome1 how it would appear to you if others were to value your labours as you do theirs8 ,put yourself1 ,i beg you1 in the shoes of this poor old man1 and you will see how far you are from reason and justice4 ,of such force were these and other words that ,giorgio spoke lovingly to ,perino1 that they arrived at a just estimate1 and satisfaction was given to ,aristotile1 who1 with that money1 with the payment for the picture sent1 as was related at the beginning1 to ,france1 and with the savings from his salaries1 returned joyously to ,florence1 notwithstanding that ,michelagnolo1 who was his friend1 had intended to make use of him in the building that the ,romans were proposing to erect on the ,campidoglio4 ,having thus returned to ,florence in the year #aedg1 ,aristotile went to kiss the hands of the ,lord ,duke ,cosimo1 and besought his ,excellency1 since he had set his hand to many buildings1 that he should assist him and make use of his services4 ,and that lord1 having received him graciously1 as he has always received men of excellence1 ordained that an allowance of ten crowns a month should be given to him1 and said to him that he would be employed according as occasion might arise4 ,with that allowance ,aristotile lived peacefully for some years1 without doing anything more1 and then died at the age of seventy1 on the last day of ,may in the year #aeea1 and was buried in the ,church of the ,servites4 ,in our book are some drawings by the hand of ,aristotile1 and there are some in the possession of ,antonio ,particini2 among which are some very beautiful sheets drawn in perspective4 ,there lived in the same times as ,aristotile1 and were his friends1 two painters of whom ,i shall make brief mention here1 because they were such that they deserve to have a place among these rare intellects1 on account of some works executed by them that were truly worthy to be extolled4 ,one was ,jacone1 and the other ,francesco ,ubertini1 called ,il ,bacchiacca4 ,jacone1 then1 did not execute many works1 being one who lost himself in talking and jesting1 and contented himself with the little that his fortune and his idleness allowed him1 which was much less than what he required4 ,but1 since he was closely associated with ,andrea del ,sarto1 he drew very well and with great boldness2 and he was very fantastic and bizarre in the posing of his figures1 distorting them and seeking to make them varied and different from those of others in all his compositions4 ,in truth1 he had no little design1 and when he chose he could imitate the good4 ,in ,florence1 when still young1 he executed many pictures of ,our ,lady1 many of which were sent by ,florentine merchants into ,france4 ,for ,s4 ,lucia1 in the ,via de' ,bardi1 he painted in an altar-piece ,god the ,father1 ,christ1 and ,our ,lady1 with other figures1 and at ,montici1 about a tabernacle on the corner of the house of ,lodovico ,capponi1 he executed two figures in chiaroscuro4 ,for ,s4 ,romeo1 in an altar-piece1 he painted ,our ,lady and two ,saints4 ,then1 hearing once much praise spoken of the faades executed by ,polidoro and ,maturino at ,rome1 without anyone knowing about it he went off to that city1 where he stayed some months and made some copies1 gaining such proficience in matters of art1 that he afterwards proved himself in many works a passing good painter4 ,wherefore the ,chevalier ,buondelmonte commissioned him to paint in chiaroscuro a house that he had built opposite to ,s4 ,trinita1 at the beginning of the ,borgo ,s4 ,apostolo2 wherein ,jacone painted stories from the life of ,alexander the ,great1 very beautiful in certain parts1 and executed with so much grace and design1 that many believe that the designs for the whole work were made for him by ,andrea del ,sarto4 ,to tell the truth1 from the proof of his powers that ,jacone gave in that work1 it was thought that he was likely to produce some great fruits4 ,but1 since he always had his mind set more on giving himself a good time and every possible amusement1 living in a round of suppers and feastings with his friends1 than on studying and working1 he was for ever forgetting rather than learning4 ,and that which was a thing to laugh at or to pity1 ,i know not which1 was that he belonged to a company1 or rather1 gang1 of friends who1 under the pretence of living like philosophers1 lived like swine and brute-beasts2 they never washed their hands1 or face1 or head1 or beard2 they did not sweep their houses1 and never made their beds save only once every two months2 they laid their tables with the cartoons for their pictures1 and they drank only from the flask or the jug2 and this miserable existence of theirs1 living1 as the saying goes1 from hand to mouth1 was held by them to be the finest life in the world4 ,but1 since the outer man is wont to be a guide to the inner1 and to reveal what our minds are1 ,i believe1 as has been said before1 that they were as filthy and brutish in mind as their outward appearance suggested4 ,for the festival of ,s4 ,felice in ,piazza--that is1 the representation of the ,annunciation of the ,madonna1 of which there has been an account in another place--which was held by the ,company of the ,orciuolo in the year #aebe1 ,jacone made among the outer decorations1 according to the custom of those times1 a most beautiful triumphal arch standing by itself1 large1 double1 and very high1 with eight columns1 pilasters1 and pediments2 all of which he caused to be carried to completion by ,piero da ,sesto1 a well-practised master in woodwork4 ,on this arch1 then1 were painted nine scenes1 part of which1 the best1 he executed himself1 and the rest ,francesco ,ubertini1 ,il ,bacchiacca2 and these scenes were all from the ,old ,testament1 and for the greater part from the life of ,moses4 ,having then been summoned by a ,scopetine friar1 his kinsman1 to ,cortona1 ,jacone painted two altar-pieces in oils for the ,church of the ,madonna1 which is without the city4 ,in one of these is ,our ,lady with ,s4 ,rocco1 ,s4 ,augustine1 and other ,saints1 and in the other a ,god the ,father who is crowning ,our ,lady1 with two ,saints at the foot1 and in the centre is ,s4 ,francis1 who is receiving the ,stigmata2 which two works were very beautiful4 ,then1 having returned to ,florence1 he decorated for ,bongianni ,capponi a vaulted chamber in that city2 and he executed certain others for the same man in his villa at ,montici4 ,and finally1 when ,jacopo da ,pontormo painted for ,duke ,alessandro1 in his villa at ,careggi1 that loggia of which there has been an account in his ,life1 ,jacone helped to execute the greater part of the ornaments1 such as grotesques1 and other things4 ,after this he occupied himself with certain insignificant works1 of which there is no need to make mention4 ,illustration3 ,,the ,,baptism ,,in ,,jordan 7,after the painting by ,bacchiacca4 ,berlin3 ,kaiser ,friedrich ,museum1 ,no4 #bfg7 ,hanfstaengl ,the sum of the matter is that ,jacone spent the best part of his life in jesting1 in going off into cogitations1 and in speaking evil of all and sundry4 ,for in those days the art of design in ,florence had fallen into the hands of a company of persons who paid more attention to playing jokes and to enjoyment than to working1 and whose occupation was to assemble in shops and other places1 and there to spend their time in criticizing maliciously1 in their own jargon1 the works of others who were persons of excellence and lived decently and like men of honour4 ,the heads of this company were ,jacone1 the goldsmith ,piloto1 and the wood-carver ,tasso2 but the worst of them all was ,jacone1 for the reason that1 among his other fine qualities1 his every word was always a foul slander against somebody4 ,wherefore it was no marvel that from such a company there should have sprung in time1 as will be related1 many evil happenings1 or that ,piloto1 on account of his slanderous tongue1 was killed by a young man4 ,and since their habits and proceedings were displeasing to honest men1 they were generally to be found--,i do not say all of them1 but some at least--like wool-carders and other fellows of that kidney1 playing at chuck-stones at the foot of a wall1 or making merry in a tavern4 ,one day that ,giorgio ,vasari was returning from ,monte ,oliveto1 a place without ,florence1 after a visit to the reverend and most cultured ,don ,miniato ,pitti1 who was then ,abbot of that monastery1 he found ,jacone1 with a great part of his crew1 at the ,canto de' ,medici2 and ,jacone thought to attempt1 as ,i heard afterwards1 with some of his idle talk1 speaking half in jest and half in earnest1 to hit on some phrase insulting to ,giorgio4 ,and so1 when ,vasari rode into their midst on his horse1 ,jacone said to him3 ,well1 ,giorgio1 how goes it with you8 ,finely1 my ,jacone1 answered ,giorgio4 ,once ,i was poor like all of you1 and now ,i find myself with three thousand crowns or more4 ,you thought me a fool1 and the priests and friars think me an able master4 ,i used to be your servant1 and here is a servant of my own1 who serves me and looks after my horse4 ,i used to dress in the clothes that beggarly painters wear1 and here am ,i dressed in velvet4 ,once ,i went on foot1 and now ,i go on horseback4 ,so you see1 my ,jacone1 it goes exceeding well with me4 ,may ,god be with you4 ,when poor ,jacone had heard all this recital in one breath1 he lost all his presence of mind and stood confused1 without saying another word1 as if reflecting how miserable he was1 and how often the engineer is hoist with his own petard4 ,finally1 having become much reduced by an infirmity1 and being poor1 neglected1 and paralysed in the legs1 so that he could do nothing to better himself1 ,jacone died in misery in a little hovel that he had on a mean street1 or rather1 alley1 called ,codarimessa1 in the year #aeec4 ,francesco ,ubertini1 called ,il ,bacchiacca1 was a diligent painter1 and1 although he was the friend of ,jacone1 he always lived decently enough and like an honest man4 ,he was likewise a friend of ,andrea del ,sarto1 and much assisted and favoured by him in matters of art4 ,francesco1 ,i say1 was a diligent painter1 and particularly in painting little figures1 which he executed to perfection1 with much patience1 as may be seen from a predella with the story of the ,martyrs1 below the altar-piece of ,giovanni ,antonio ,sogliani1 in ,s4 ,lorenzo at ,florence1 and from another predella1 executed very well1 in the ,chapel of the ,crocifisso4 ,for the chamber of ,pier ,francesco ,borgherini1 of which mention has already been made so many times1 ,il ,bacchiacca1 in company with the others1 executed many little figures on the coffers and the panelling1 which are known by the manner1 being different from the others4 ,for the antechamber of ,giovan ,maria ,benintendi1 which likewise has been already mentioned1 he painted two very beautiful pictures with little figures1 in one of which1 the most beautiful and the most abundant in figures1 is the ,baptist baptizing ,jesus ,christ in the ,jordan4 ,he also executed many others for various persons1 which were sent to ,france and ,england4 ,finally1 having entered the service of ,duke ,cosimo1 since he was an excellent painter in counterfeiting all the kinds of animals1 ,il ,bacchiacca painted for his ,excellency a cabinet all full of birds of various kinds1 and rare plants1 all of which he executed divinely well in oils4 ,he then made1 with a vast number of little figures1 cartoons of all the months of the year1 which were woven into most beautiful tapestries in silk and gold1 with such industry and diligence that there is nothing better of that kind to be seen1 by ,marco1 the son of ,maestro ,giovanni ,rosto the ,fleming4 ,after these works1 ,il ,bacchiacca decorated in fresco the grotto of a water-fountain that is at the ,pitti ,palace4 ,lastly1 he made the designs for a bed that was executed in embroidery1 all full of scenes and little figures4 ,this is the most ornate work in the form of a bed1 in such a kind of workmanship1 that there is to be seen1 the embroidering having been made rich with pearls and other things of price by ,antonio ,bacchiacca1 the brother of ,francesco1 who is an excellent embroiderer2 and1 since ,francesco died before the completion of the bed1 which has served for the happy nuptials of the most illustrious ,lord ,prince of ,florence1 ,don ,francesco de' ,medici1 and of her serene ,highness ,queen ,joanna of ,austria1 it was finished in the end after the directions and designs of ,giorgio ,vasari4 ,francesco died at ,florence in the year #aeeg4 ,,benvenuto ,,garofalo ,,and ,,girolamo ,,da ,,carpi1 ,,and ,,other ,,lombards ,illustration3 ,,moretto ,,da ,,brescia3 ,s4 ,,justina 7,vienna3 ,imperial ,gallery1 #bah4 ,panel7 ,,lives ,,of ,,benvenuto ,,garofalo ,,and ,,girolamo ,,da ,,carpi1 ,,painters ,,of ,,ferrara1 ,,and ,,of ,,other ,,lombards ,in this part of the ,lives that we are about to write we shall give a brief account of the best and most eminent painters1 sculptors1 and architects who have lived in ,lombardy in our time1 after ,mantegna1 ,costa1 ,boccaccino of ,cremona1 and ,francia of ,bologna2 for ,i am not able to write the life of each in detail1 and it seems to me enough to enumerate their works4 ,and even this ,i would not have set myself to do1 nor to give a judgment on those works1 if ,i had not first seen them2 but since1 from the year #aedb down to this present year of #aeff1 ,i had not travelled1 as ,i did before1 over almost the whole of ,italy1 nor seen the above-mentioned works and the others that had appeared in great numbers during that period of four-and-twenty years1 ,i resolved1 before writing of them1 being almost at the end of this my labour1 to see them and judge of them with my own eyes4 ,wherefore1 after the conclusion of the above-mentioned nuptials of the most illustrious ,lord ,don ,francesco de' ,medici1 ,prince of ,florence and ,siena1 my master1 and of her serene ,highness ,queen ,joanna of ,austria1 on account of which ,i had been much occupied for two years on the ceiling of the principal hall of their ,palace1 ,i resolved1 without sparing any expense or fatigue1 to revisit ,rome1 ,tuscany1 part of the ,march1 ,umbria1 ,romagna1 ,lombardy1 and ,venice with all her domain1 in order to re-examine the old works and to see the many that have been executed from the year #aedb onward4 ,and so1 having made a record of the works that were most notable and most worthy to be put down in writing1 in order not to do wrong to the talents of many craftsmen or depart from that sincere truthfulness which is expected from those who write history of any kind1 ,i shall proceed without bias of mind to write down all that is wanting in any part of what has been already written1 without disturbing the order of the story1 and then to give an account of the works of some who are still living1 and have worked or are still working excellently well2 for it appears to me that so much is demanded by the merits of many rare and noble craftsmen4 ,let me begin1 then1 with the men of ,ferrara4 ,benvenuto ,garofalo was born at ,ferrara in the year #adha1 to ,piero ,tisi1 whose elders had their origin in ,padua4 ,he was born1 ,i say1 so inclined to painting1 that1 when still but a little boy1 while going to school to learn reading1 he would do nothing but draw2 from which exercise his father1 who looked on painting as a folly1 sought to divert him1 but was never able4 ,wherefore that father1 having seen that he must second the inclination of that son of his1 who would never do anything day and night but draw1 finally placed him with ,domenico ,panetti1 a painter of some repute at that time1 although his manner was dry and laboured1 in ,ferrara4 ,with that ,domenico ,benvenuto had been some little time1 when1 going once to ,cremona1 he happened to see in the principal chapel of the ,duomo in that city1 among other works by the hand of ,boccaccio ,boccaccino1 a painter of ,cremona1 who had painted the tribune there in fresco1 a ,christ seated on a throne surrounded by four ,saints1 and giving the ,benediction4 ,whereupon1 that work having pleased him1 he placed himself by means of some friends under ,boccaccino1 who was at that time executing in the same church1 likewise in fresco1 some stories of the ,madonna1 as has been said in his ,life1 in competition with the painter ,altobello1 who was painting in the same church1 opposite to ,boccaccino1 some stories of ,jesus ,christ1 which are very beautiful and truly worthy to be praised4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,,saints 7,after the painting by ,benvenuto ,garofalo4 ,ferrara3 ,pinacoteca1 #aead7 ,alinari ,now1 after ,benvenuto had been two years in ,cremona1 and had made much progress under the discipline of ,boccaccino1 he went off in the year #aejj1 at the age of nineteen1 to ,rome1 where1 having placed himself with ,giovanni ,baldini1 a ,florentine painter of passing good skill1 who possessed many very beautiful drawings by various excellent masters1 he was constantly practising his hand on those drawings whenever he had time1 and particularly at night4 ,then1 after he had been fifteen months with that master and had seen to his great delight the works of ,rome1 he travelled for a time over various parts of ,italy1 and finally made his way to ,mantua4 ,there he stayed two years with the painter ,lorenzo ,costa1 serving him with such lovingness1 that ,lorenzo1 after that period of two years1 in order to reward him1 placed him in the service of ,francesco ,gonzaga1 ,marquis of ,mantua1 for whom ,costa himself was working4 ,but ,benvenuto had not been long with the ,marquis1 when1 his father ,piero falling ill in ,ferrara1 he was forced to return to that city1 where he stayed afterwards for four years together1 executing many works by himself alone1 and some in company with the ,dossi4 ,then1 in the year #aeje1 being sent for by ,messer ,geronimo ,sagrato1 a gentleman of ,ferrara1 who was living in ,rome1 ,benvenuto returned there with the greatest willingness1 and particularly from a desire to see the miracles that were being related of ,raffaello da ,urbino and of the ,chapel of ,julius painted by ,buonarroti4 ,but when ,benvenuto had arrived in ,rome1 he was struck with amazement1 and almost with despair1 by seeing the grace and vivacity that the pictures of ,raffaello revealed1 and the depth in the design of ,michelagnolo4 ,wherefore he cursed the manners of ,lombardy1 and that which he had learned with so much study and effort at ,mantua1 and right willingly1 if he had been able1 would he have purged himself of all that knowledge2 but he resolved1 since there was no help for it1 that he would unlearn it all1 and1 after the loss of so many years1 change from a master into a disciple4 ,and so he began to draw from such works as were the best and the most difficult1 and to study with all possible diligence those greatly celebrated manners1 and gave his attention to scarcely any other thing for a period of two whole years2 by reason of which he so changed his method1 transforming his bad manner into a good one1 that notice was taken of him by the craftsmen4 ,and1 what was more1 he so went to work with humility and every kind of loving service1 that he became the friend of ,raffaello da ,urbino1 who1 being very courteous and not ungrateful1 taught ,benvenuto many things1 and always assisted and favoured him4 ,if ,benvenuto had pursued his studies in ,rome1 without a doubt he would have done things worthy of his beautiful genius2 but he was constrained1 ,i know not by what cause1 to return to his own country4 ,in taking leave of ,raffaello1 he promised that he would1 as that master advised him1 return to ,rome1 where ,raffaello assured him that he would give him more than enough in the way of work1 and that in honourable undertakings4 ,having then arrived in ,ferrara1 ,benvenuto settled the affairs and despatched the business that had caused him to return2 and he was preparing himself to make his way back to ,rome1 when the ,lord ,duke ,alfonso of ,ferrara set him to decorate a little chapel in the ,castle1 in company with other ,ferrarese painters4 ,that work finished1 his departure was again delayed by the great courtesy of ,m4 ,antonio ,costabili1 a ,ferrarese gentleman of much authority1 who gave him an altar-piece to paint in oils for the high-altar of the ,church of ,s4 ,andrea2 which finished1 he was forced to execute another for ,s4 ,bartolo1 a convent of ,cistercian ,monks1 wherein he painted the ,adoration of the ,magi1 which was beautiful and much extolled4 ,he then painted another for the ,duomo1 full of figures many and various1 and two others that were placed in the ,church of ,s4 ,spirito1 in one of which is the ,virgin in the air with the ,child in her arms1 and some other figures below1 and in the other the ,nativity of ,jesus ,christ4 ,illustration3 ,,the ,,massacre ,,of ,,the ,,innocents 7,after the painting by ,benvenuto ,garofalo4 ,ferrara3 ,pinacoteca1 #aeai7 ,alinari ,in executing those works1 remembering at times how he had turned his back on ,rome1 he felt the bitterest regret2 and he had resolved at all costs to return thither1 when1 his father ,piero's death taking place1 all his plans were broken off2 for1 finding himself burdened with a sister ready for a husband and a brother fourteen years of age1 and his affairs in disorder1 he was forced to compose his mind and resign himself to live in his native place4 ,and so1 after parting company with the ,dossi1 who had worked with him up to that time1 he painted by himself in the ,church of ,s4 ,francesco1 in a little chapel1 the ,raising of ,lazarus1 a work filled with a variety of good figures1 and pleasant in colouring1 with attitudes spirited and vivacious1 which brought him much commendation4 ,in another chapel in the same church he painted the ,massacre of the ,innocents1 cruelly done to death by ,herod1 so well and with such spirited movements in the soldiers and other figures1 that it was a marvel4 ,very well depicted1 in addition1 are different expressions in the great variety of heads1 such as terror in the mothers and nurses1 death in the infants1 and cruelty in the slayers1 and many other things1 which gave infinite satisfaction4 ,it is worthy of remark that in executing that work ,benvenuto did a thing that up to that time had never been done in ,lombardy--namely1 he made models of clay1 the better to see the shadows and lights1 and availed himself of a figure-model made of wood1 jointed in such a way that the limbs moved in every direction1 which he arranged as he wished1 in various attitudes1 with draperies over it4 ,but what is most important is that he copied every least detail from life and nature1 as one who knew that the true way is to observe and imitate the reality4 ,for the same church he executed the altar-piece of a chapel2 and on a wall he painted in fresco ,christ taken by the multitude in the ,garden4 ,for ,s4 ,domenico1 in the same city1 he painted two altar-pieces in oils2 in one is the ,miracle of the ,cross and ,s4 ,helen1 and in the other is ,s4 ,peter ,martyr with a good number of very beautiful figures1 wherein it is evident that ,benvenuto departed considerably from his first manner1 making it bolder and less laboured4 ,for the ,nuns of ,s4 ,salvestro he painted an altar-picture of ,christ praying to ,his ,father on the ,mount1 while the three ,apostles are lower down1 sleeping4 ,for the ,nuns of ,s4 ,gabriello he executed an ,annunciation1 and for those of ,s4 ,antonio1 in the altar-piece of their high-altar1 the ,resurrection of ,christ4 ,for the high-altar of the ,frati ,ingesuati1 in the ,church of ,s4 ,girolamo1 he painted ,jesus ,christ in the ,manger1 with a choir of ,angels on a cloud1 held to be very beautiful4 ,in ,s4 ,maria del ,vado1 in an altar-piece by the same hand1 very well conceived and coloured1 is ,christ ascending into ,heaven1 with the ,apostles standing in contemplation of ,him4 ,for the ,church of ,s4 ,giorgio1 a seat of the ,monks of ,monte ,oliveto1 without the city1 he painted an altar-piece in oils of the ,magi adoring ,christ and offering to ,him myrrh1 incense1 and gold2 and this is one of the best works that ,benvenuto ever executed in all his life4 ,all these works much pleased the people of ,ferrara1 by reason of which he executed pictures almost without number for their houses1 and many others for monasteries and for the townships and villas round about the city2 and1 among others1 he painted the ,resurrection of ,christ in an altar-piece for ,bondeno4 ,and1 finally1 he executed in fresco with beautiful and fantastic invention1 in the ,refectory of ,s4 ,andrea1 many figures that are bringing the ,old ,testament into accord with the ,new4 ,but1 since the works of this master are numberless1 let it be enough to have spoken of those that are the best4 ,girolamo da ,carpi having received his first instructions in painting from ,benvenuto1 as will be related in his ,life1 they painted in company the faade of the house of the ,muzzarelli1 in the ,borgo ,nuovo1 partly in chiaroscuro and partly in colours1 with some things done in imitation of bronze4 ,they painted together1 likewise1 both within and without1 the ,palace of ,coppara1 a place of recreation belonging to the ,duke of ,ferrara2 for which lord ,benvenuto executed many other works1 both by himself and in company with other painters4 ,then1 having lived a long time in the determination that he would not take a wife1 in the end1 after separating from his brother and growing weary of living alone1 at the age of forty-eight he took one2 but he had scarcely had her a year1 when1 falling grievously ill1 he lost the sight of his right eye1 and was in fear and peril of the other4 ,however1 having recommended himself to ,god and made a vow that he would always dress in grey1 as he afterwards did1 by the grace of ,god he preserved the sight of the other eye1 insomuch that the works executed by him at the age of sixty-five were so well done1 and with such diligence and finish1 that it was a marvel4 ,wherefore on one occasion1 when the ,duke of ,ferrara showed to ,pope ,paul ,,iii a ,triumph of ,bacchus in oils1 five braccia in length1 and the ,calumny of ,apelles1 painted by ,benvenuto at that age after the designs of ,raffaello da ,urbino1 which pictures are now over certain chimney-pieces belonging to his ,excellency1 that ,pontiff was struck with astonishment that an old man of such an age1 with only one eye1 should have executed works so large and so beautiful4 ,on every feast-day for twenty whole years ,benvenuto worked for the love of ,god in the ,convent of the ,nuns of ,s4 ,bernardino1 where he executed many works of importance in oils1 in distemper1 and in fresco2 which was certainly a marvellous thing1 and a great proof of his true and good nature1 for in that place he had no competition1 and nevertheless put no less study and diligence into his labour than he would have done at any other more frequented place4 ,those works are passing good in composition1 with beautiful expressions in the heads1 not confused1 and executed in a truly sweet and good manner4 ,for all the disciples that ,benvenuto had1 although he taught them everything that he knew with no ordinary willingness1 in order to make some of them excellent masters1 he never had any success with a single one of them1 and1 in place of being rewarded by them for his lovingness at least with gratitude of heart1 he never received anything from them save vexations2 wherefore he used to say that he had never had any enemies but his own disciples and assistants4 ,in the year #aeej1 being now old1 and the malady returning to his eye1 he became wholly blind1 and he lived thus for nine years2 which misfortune he bore with a patient mind1 resigning himself completely to the will of ,god4 ,finally1 when he had come to the age of seventy-eight1 thinking at last that he had lived too long in that darkness1 and rejoicing in death1 in the hope of going to enjoy eternal light1 he finished the course of his life on the #fth of ,september in the year #aeei1 leaving a son called ,girolamo1 who is a very gentle person1 and a daughter4 ,benvenuto was a very honest creature1 fond of a jest1 pleasant in his conversation1 patient and calm in all his adversities4 ,as a young man he delighted in fencing and playing the lute1 and in his friendships he was loving beyond measure and prodigal with his services4 ,he was the friend of the painter ,giorgione da ,castelfranco1 ,tiziano da ,cadore1 and ,giulio ,romano1 and most affectionate towards all the men of art in general2 and to this ,i can bear witness1 for on the two occasions when ,i was at ,ferrara in his time ,i received from him innumerable favours and courtesies4 ,he was buried with honour in the ,church of ,s4 ,maria del ,vado1 and was celebrated in verse and prose by many choice spirits no less than his talents deserved4 ,but it has not been possible to obtain ,benvenuto's portrait1 and therefore there has been placed at the head of these ,lives of the ,lombard painters that of ,girolamo da ,carpi1 whose ,life we are now about to write4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,magi 7,after the painting by ,benvenuto ,garofalo4 ,ferrara3 ,pinacoteca1 #aecg7 ,alinari ,girolamo1 then1 called ,da ,carpi1 who was a ,ferrarese and a disciple of ,benvenuto1 was employed at first by his father ,tommaso1 who was a kind of house-painter1 in his workshop1 to paint strong-boxes1 stools1 mouldings1 and other suchlike commonplace things4 ,after ,girolamo had made some proficience under the discipline of ,benvenuto1 he began to think that he should be removed by his father from those base labours2 but ,tommaso1 as one who had need of money1 would do nothing of the kind1 and ,girolamo resolved at all costs to leave him4 ,and so he went to ,bologna1 where he received no little favour from the gentlemen of that city2 wherefore1 having made some portraits1 which were passing good likenesses1 he acquired so much credit that he earned much money and assisted his father more while living at ,bologna than he had done when staying in ,ferrara4 ,at that time there was brought to the house of the noble ,counts ,ercolani at ,bologna a picture by the hand of ,antonio da ,correggio1 in which ,christ is appearing to ,mary ,magdalene in the form of a gardener1 executed with incredible softness and excellence2 and that manner so took possession of ,girolamo's heart1 that1 not content with having copied that picture1 he went to ,modena to see the other works by the hand of ,correggio4 ,having arrived there1 besides being filled with marvel at the sight of them1 one among them in particular struck him with amazement1 and that was the great picture1 a divine work1 in which is the ,madonna1 with the ,child in her arms marrying ,s4 ,catharine1 a ,s4 ,sebastian1 and other figures1 with an air of such beauty in the heads1 that they appear as if made in ,paradise2 nor is it possible to find more beautiful hair1 more lovely hands1 or any colouring more pleasing and natural4 ,having then received permission to copy it from the owner of the picture1 ,messer ,francesco ,grillenzoni1 a doctor1 who was much the friend of ,correggio1 ,girolamo copied it with the greatest diligence that it is possible to imagine4 ,after that he did the same with the altar-picture of ,s4 ,peter ,martyr1 which ,correggio had painted for a ,company of ,secular ,priests1 who hold it in very great price1 as it deserves1 there being in it1 in particular1 besides other figures1 an ,infant ,christ in the lap of ,his ,mother1 who appears as if breathing1 and a most beautiful ,s4 ,peter ,martyr2 and another little altar-piece by the same hand1 painted for the ,company of ,s4 ,bastiano1 and no less beautiful than the other4 ,all these works1 thus copied by ,girolamo1 were the reason that he so improved his manner1 that it did not appear like his original manner1 or in any way the same thing4 ,from ,modena ,girolamo went to ,parma1 where he had heard that there were some works by the same ,correggio1 and he copied some of the pictures in the tribune of the ,duomo1 considering them extraordinary works1 particularly the beautiful foreshortening of the ,madonna1 who is ascending into ,heaven1 surrounded by a multitude of ,angels1 with the ,apostles1 who are standing gazing on her as she ascends1 and four ,saints1 ,protectors of that city1 who are in the niches--,s4 ,john the ,baptist1 who is holding a lamb2 ,s4 ,joseph1 the husband of ,our ,lady2 ,s4 ,bernardo degli ,uberti the ,florentine1 a ,cardinal and ,bishop of ,florence2 and another ,bishop4 ,girolamo likewise studied the figures by the hand of the same ,correggio in the recess of the principal chapel in ,s4 ,giovanni ,evangelista--namely1 the ,coronation of the ,madonna1 with ,s4 ,john the ,evangelist1 the ,baptist1 ,s4 ,benedict1 ,s4 ,placido1 and a multitude of ,angels who are about them2 and the marvellous figures that are in the ,chapel of ,s4 ,gioseffo in the ,church of ,s4 ,sepolcro--a divine example of panel-painting4 ,now1 since it is inevitable that those who are pleased to follow some particular manner1 and who study it with lovingness1 should acquire it--at least1 in some degree 7whence it also happens that many become more excellent than their masters7--,girolamo caught not a little of ,correggio's manner2 wherefore1 after returning to ,bologna1 he imitated him always1 not studying any other thing but that manner and that altar-piece by the hand of ,raffaello da ,urbino which we mentioned as being in that city4 ,and all these particulars ,i heard from ,girolamo da ,carpi1 who was much my friend1 at ,rome in the year #aeej2 and he lamented very often to me that he had consumed his youth and his best years in ,ferrara and ,bologna1 and not in ,rome or some other place1 where1 without a doubt1 he would have made much greater proficience4 ,no little harm1 also1 did ,girolamo suffer in matters of art from his having given too much attention to amorous delights and to playing the lute at the time when he might have been making progress in painting4 ,having returned1 then1 to ,bologna1 he made a portrait1 among others1 of ,messer ,onofrio ,bartolini1 a ,florentine1 who was then in that city for his studies1 and afterwards became ,archbishop of ,pisa2 and that head1 which is now in the possession of the heirs of that ,messer ,noferi1 is very beautiful and in a manner full of grace4 ,there was working in ,bologna at this time a certain ,maestro ,biagio1 a painter1 who1 perceiving that ,girolamo was coming into good repute1 began to be afraid lest he might outstrip him and deprive him of all his profits4 ,wherefore1 seizing a good occasion1 he established a friendship with ,girolamo1 with the intention of hindering him in his work1 and became his intimate companion to such purpose1 that they began to work in company2 and so they continued for a while4 ,this friendship was harmful to ,girolamo1 not only in the matter of his earnings1 but likewise with respect to art1 for the reason that he followed in the footsteps of ,maestro ,biagio 7who worked by rule of thumb1 and took everything from the designs of one master or another71 and he1 also1 put no more diligence into his pictures4 ,now in the monastery of ,s4 ,michele in ,bosco1 without ,bologna1 a certain ,fra ,antonio1 a monk of that convent1 had painted a ,s4 ,sebastian of the size of life1 besides executing an altar-piece in oils for a convent of the same ,order of ,monte ,oliveto at ,scaricalasino1 and some figures in fresco in the ,chapel of ,s4 ,scholastica1 in the garden of ,monte ,oliveto ,maggiore1 and ,abbot ,ghiaccino1 who had compelled him to stay that year in ,bologna1 desired that he should paint the new sacristy of his church there4 ,but ,fra ,antonio1 who did not feel it in him to do so great a work1 and perchance was not very willing to undergo such fatigue1 as is often the case with that kind of man1 so contrived that the work was allotted to ,girolamo and ,maestro ,biagio1 who painted it all in fresco4 ,in the compartments of the vaulting they executed some little boys and ,angels1 and at the head1 in large figures1 the story of the ,transfiguration of ,christ1 availing themselves of the design of that which ,raffaello da ,urbino painted for ,s4 ,pietro in ,montorio at ,rome2 and on the other walls they painted some ,saints1 in which1 to be sure1 there is something of the good4 ,but ,girolamo1 having recognized that to stay in company with ,maestro ,biagio was not the course for him1 and1 indeed1 that it was his certain ruin1 broke up the partnership when that work was finished1 and began to work for himself4 ,the first work that he executed on his own account was an altar-piece for the ,chapel of ,s4 ,bastiano in the ,church of ,s4 ,salvadore1 in which he acquitted himself very well4 ,but then1 having heard of the death of his father1 he returned to ,ferrara1 where for a time he did nothing save some portraits and works of little importance4 ,meanwhile1 ,tiziano ,vecelli went to ,ferrara to execute certain things for ,duke ,alfonso1 as will be related in his ,life1 in a little closet1 or rather1 study1 where ,giovanni ,bellini had already painted some pictures1 and ,dosso a ,bacchanal rout of men which was so good1 that1 even if he had never done any other thing1 for that alone he would deserve praise and the name of an excellent painter2 and ,girolamo1 by means of ,tiziano and others1 began to have dealings with the ,court of the ,duke4 ,and so1 as it were to give a proof of his powers before he should do anything else1 he copied the head of ,duke ,ercole of ,ferrara from one by the hand of ,tiziano1 and counterfeited it so well1 that it seemed the same as the original2 wherefore it was sent1 as a work worthy of praise1 into ,france4 ,afterwards1 having taken a wife and had children by her1 sooner1 perchance1 than he should have done1 ,girolamo painted in ,s4 ,francesco at ,ferrara1 in the angles of the vaulting1 the four ,evangelists in fresco1 which were passing good figures4 ,in the same place he executed a frieze right round the church1 which was a very large and abundant work1 being full of half-length figures and little boys linked together in a very pleasing manner2 and for that church1 also1 he painted an altar-picture of ,s4 ,anthony of ,padua1 with other figures1 and another altar-piece of ,our ,lady in the air with two ,angels1 which was placed on the altar of ,signora ,giulia ,muzzarelli1 whose portrait was executed very well therein by ,girolamo4 ,at ,rovigo1 in the ,church of ,s4 ,francesco1 the same master painted the ,holy ,spirit appearing in ,tongues of ,fire1 which was a work worthy of praise for the composition and for the beauty of the heads4 ,at ,bologna1 for the ,church of ,s4 ,martino1 he painted an altar-piece of the three ,magi1 with most beautiful heads and figures2 and at ,ferrara1 in company with ,benvenuto ,garofalo1 as has been related1 the faade of the house of ,signor ,battista ,muzzarelli1 and also the ,palace of ,coppara1 a villa of the ,duke's1 distant twelve miles from ,ferrara2 and1 again1 in ,ferrara1 the faade of ,piero ,soncini in the ,piazza near the ,fishmarket1 painting there the ,taking of ,goletta by the ,emperor ,charles ,v4 ,the same ,girolamo painted for ,s4 ,polo1 a church of the ,carmelite ,friars in the same city1 a little altar-piece in oils of ,s4 ,jerome with two other ,saints1 of the size of life2 and for the ,duke's ,palace a great picture with a figure large as life1 representing ,opportunity1 and executed with beautiful vivacity1 movement and grace1 and fine relief4 ,he also painted a nude ,venus1 life-size and recumbent1 with ,love beside her1 which was sent to ,paris for ,king ,francis of ,france2 and ,i1 who saw it at ,ferrara in the year #aedj1 can with truth affirm that it was very beautiful4 ,he also made a beginning with the decorations in the ,refectory of ,s4 ,giorgio1 a seat of the ,monks of ,monte ,oliveto at ,ferrara1 and executed a great part of them2 but he left the work unfinished1 and it has been completed in our own day by ,pellegrino ,pellegrini1 a painter of ,bologna4 ,illustration3 ,,scene ,,from ,,the ,,neid 7,after the painting by ,niccol ,niccol dell',abate4 ,modena3 ,r4 ,galleria ,estense7 ,alinari ,now1 if we were to seek to make particular mention of the pictures that ,girolamo executed for many lords and gentlemen1 the story would be longer than is our desire1 and ,i shall speak of two only1 which are most beautiful4 ,from a picture by the hand of ,correggio that the ,chevalier ,baiardo has at ,parma1 beautiful to a marvel1 in which ,our ,lady is putting a shirt on the ,infant ,christ1 ,girolamo made a copy so like it that it seems the very same picture1 and he made another copy from one by the hand of ,parmigiano1 which is in the cell of the ,vicar in the ,certosa at ,pavia1 doing this so well and with such diligence1 that there is no miniature to be seen that is wrought with more subtlety2 and he executed innumerable others with great care4 ,and since ,girolamo delighted in architecture1 and also gave his attention to it1 in addition to many designs of buildings that he made for private persons1 he served in that art1 in particular1 ,cardinal ,ippolito of ,ferrara1 who1 having bought the garden at ,monte ,cavallo in ,rome which had formerly belonged to the ,cardinal of ,naples1 with many vineyards belonging to individuals around it1 took ,girolamo to ,rome1 to the end that he might serve him not only in the buildings1 but also in the truly regal ornaments of woodwork in that garden4 ,in this he acquitted himself so well1 that everyone was struck with astonishment2 and1 indeed1 ,i know not what other man could have done better than he did in executing in woodwork--which has since been covered with most beautiful verdure--works so fine and so pleasingly designed in various forms and in different kinds of temples1 in which there may now be seen arranged the richest and most beautiful ancient statues that there are in ,rome1 some whole and some restored by ,valerio ,cioli1 a ,florentine sculptor1 and by others4 ,by these works ,girolamo came into very great credit in ,rome1 and in the year #aeej he was introduced by the above-named ,cardinal1 his lord1 who loved him dearly1 into the service of ,pope ,julius ,,iii1 who made him architect over the works of the ,belvedere1 giving him rooms in that place and a good salary4 ,but1 since that ,pontiff could never be satisfied in such matters1 and1 to make it worse1 was hindered by understanding very little of design1 and would not have in the evening a thing that had pleased him in the morning1 and also because ,girolamo had to be always contending with certain old architects1 to whom it seemed strange to see a new man of little reputation preferred to themselves1 he resolved1 having perceived their envy and possible malignity1 and also being rather cold by nature than otherwise1 to retire4 ,and so he chose1 as the better course1 to return to the service of the ,cardinal at ,monte ,cavallo2 for which action ,girolamo was much commended1 for it is too wretched a life to have to be always contending all day long and on every least detail with one person or another1 and1 as he used to say1 it is at times better to enjoy peace of mind on bread and water than to sweat and strive amid grandeur and honours4 ,wherefore1 after ,girolamo had executed for his lord the ,cardinal a very beautiful picture1 which1 when ,i saw it1 pleased me very much1 being now weary1 he returned with him to ,ferrara1 to enjoy the peace of his home with his wife and children1 leaving the hopes and rewards of fortune in the possession of his adversaries1 who received from that ,pope the same as he had done1 neither more nor less4 ,while he was living thus at ,ferrara1 a part of the ,castle was burned1 ,i know not by what mischance1 and ,duke ,ercole gave the charge of restoring it to ,girolamo1 who did it very well1 adorning it as much as is possible in that district1 which suffers from a great dearth of stone wherewith to make carvings and ornaments2 for which he well deserved to be always held dear by that lord1 who rewarded him liberally for his labours4 ,finally1 after having executed these and many other works1 ,girolamo died in the year #aeef1 at the age of fifty-five1 and was buried in the ,church of the ,angeli1 beside his wife4 ,he left two daughters1 and also three sons1 ,giulio1 ,annibale1 and another4 ,girolamo was a blithe spirit1 very sweet and pleasing in his conversation1 and in his work somewhat slow and dilatory4 ,he was of middle stature1 and he delighted beyond measure in music1 and more in the pleasures of love than was perhaps expedient4 ,the buildings of his patrons have been carried on since his death by the ,ferrarese architect ,galasso1 a man of the most beautiful genius1 and of such judgment in matters of architecture1 that1 in so far as may be seen from the ordering of his designs1 he would have demonstrated his worth much more than he has done1 if he had been employed in works of importance4 ,an excellent sculptor1 and likewise a ,ferrarese1 has been ,maestro ,girolamo1 who1 living at ,recanati1 has executed many works in marble at ,loreto after his master1 ,andrea ,contucci1 and has made many of the ornaments round that ,chapel or ,house of the ,madonna4 ,this master--since the departure from that place of ,tribolo1 who was the last there1 after he had finished the largest scene in marble1 which is at the back of the chapel1 wherein are the ,angels carrying that house from ,sclavonia into the forest of ,loreto--has laboured there continually from #aecd to the year #aefj1 executing many works4 ,the first of these was a seated figure of a ,prophet of three braccia and a half1 which1 being good and beautiful1 was placed in a niche that is turned towards the west2 which statue1 having given satisfaction1 was the reason that he afterwards made all the other ,prophets1 with the exception of one1 that facing towards the east on the outer side1 over against the altar1 which is by the hand of ,simone ,cioli of ,settignano1 likewise a disciple of ,andrea ,sansovino4 ,the rest of those ,prophets1 ,i say1 are by the hand of ,maestro ,girolamo1 and are executed with much diligence and study and good skill of hand4 ,for the ,chapel of the ,sacrament the same master has made the candelabra of bronze about three braccia in height1 covered with foliage and figures cast in the round1 which are so well wrought that they are things to marvel at4 ,and a brother of ,maestro ,girolamo's1 who is an able master in similar works of casting1 has executed many things in company with him at ,rome1 and in particular a very large tabernacle of bronze for ,pope ,paul ,,iii1 which was to be placed in the chapel that is called the ,pauline in the ,palace of the ,vatican4 ,among the ,modenese1 also1 there have been at all times craftsmen excellent in our arts1 as has been said in other places1 and as may be seen from four panel-pictures1 of which no mention was made in the proper place because the master was not known2 which pictures were executed in distemper a hundred years ago in that city1 and1 for those times1 they are painted with diligence and very beautiful4 ,the first is on the high-altar of ,s4 ,domenico1 and the others in the chapels that are in the tramezzo#a of that church4 ,and there is living in the same country at the present day a painter called ,niccol1 who in his youth painted many works in fresco about the ,beccherie1 which have no little beauty1 and for the high-altar of ,s4 ,piero1 a seat of the ,black ,friars1 in an altar-piece1 the ,beheading of ,s4 ,peter and ,s4 ,paul1 imitating in the soldier who is cutting off their heads a similar figure by the hand of ,antonio da ,correggio1 much renowned1 which is in ,s4 ,giovanni ,evangelista at ,parma4 ,niccol has been more excellent in fresco-painting than in the other fields of painting1 and1 in addition to many works that he has executed at ,modena and ,bologna1 ,i understand that he has painted some very choice pictures in ,france1 where he still lives1 under ,messer ,francesco ,primaticcio1 ,abbot of ,s4 ,martin1 after whose designs ,niccol has painted many works in those parts1 as will be related in the ,life of ,primaticcio4 ,footnote #a3 ,see note on p4 #eg1 ,vol4 ,i4 ,giovan ,battista1 also1 a rival of that ,niccol1 has executed many works in ,rome and elsewhere1 and in particular he has painted at ,perugia1 in the ,chapel of ,signor ,ascanio della ,cornia1 in ,s4 ,francesco1 many pictures of the life of ,s4 ,andrew the ,apostle1 in which he has acquitted himself very well4 ,in competition with the above-named ,niccol1 the ,fleming ,arrigo1 a master of glass windows1 has painted in the same place an altar-piece in oils1 containing the story of the ,magi1 which would be beautiful enough if it were not somewhat confused and overloaded with colours1 which conflict with one another and destroy all the gradation2 but he has acquitted himself better in a window of glass designed and painted by himself1 and executed for the ,chapel of ,s4 ,bernardino in ,s4 ,lorenzo1 in the same city4 ,but to return to ,giovan ,battista2 having gone back after the above-named works to ,modena1 he has executed in the same ,s4 ,piero1 for which ,niccol painted the altar-piece1 two great scenes at the sides1 of the actions of ,s4 ,peter and ,s4 ,paul1 in which he has acquitted himself with no ordinary excellence4 ,in the same city of ,modena there have also been some sculptors worthy to be numbered among the good craftsmen1 for1 in addition to ,modanino1 of whom mention has been made in another place1 there has been a master called ,il ,modena1 who has executed most beautiful works in figures of terra-cotta1 of the size of life and even larger2 among others1 those of a chapel in ,s4 ,domenico at ,modena1 and for the centre of the dormitory of ,s4 ,piero 7a monastery of ,black ,friars1 likewise in ,modena71 a ,madonna1 ,s4 ,benedict1 ,s4 ,giustina1 and another ,saint4 ,to all these figures he has given so well the colour of marble1 that they appear as if truly of that stone2 not to mention that they all have beautiful expressions of countenance1 lovely draperies1 and admirable proportions4 ,the same master has executed similar figures for the dormitory of ,s4 ,giovanni ,evangelista at ,parma2 and he has made a good number of figures in the round and of the size of life for many niches on the outer side of ,s4 ,benedetto at ,mantua1 in the faade and under the portico1 which are so fine that they have the appearance of marble4 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,s4 ,,john 7,after the terra-cotta by ,il ,modena ,antonio ,begarelli4 ,modena3 ,museo ,civico7 ,alinari ,in like manner ,prospero ,clemente1 a sculptor of ,modena1 has been1 and still is1 an able man in his profession1 as is evident from the tomb of ,bishop ,rangone1 by his hand1 in the ,duomo of ,reggio1 wherein is a seated statue of that prelate1 as large as life1 with two little boys1 all very well executed2 which tomb he made at the commission of ,signor ,ercole ,rangone4 ,in the ,duomo of ,parma1 likewise1 in the vaults below1 there is by the hand of ,prospero the tomb of the ,blessed ,bernardo degli ,uberti1 the ,florentine1 ,cardinal and ,bishop of that city1 which was finished in the year #aedh1 and much extolled4 ,parma1 also1 has had at various times many excellent craftsmen and men of fine genius1 as has been said above1 for1 besides one ,cristofano ,castelli1 who painted a very beautiful altar-piece for the ,duomo in the year #adii1 and ,francesco ,mazzuoli1 whose ,life has been written1 there have been many other able men in that city4 ,mazzuoli1 as has been related1 executed certain works in the ,madonna della ,steccata1 but left that undertaking unfinished at his death1 and ,giulio ,romano1 having made a coloured design on paper1 which may be seen in that place by everyone1 directed that a certain ,michelagnolo ,anselmi1 a ,sienese by origin1 but a citizen of ,parma by adoption1 being a good painter1 should carry that cartoon into execution1 wherein is the ,coronation of ,our ,lady4 ,this he did excellently well1 in truth1 so that he well deserved that there should be allotted to him a great niche--one of four very large niches that are in that temple--opposite to that in which he had executed the above-mentioned work after the design of ,giulio4 ,whereupon1 setting his hand to this1 he carried well on towards completion there the ,adoration of the ,magi1 with a good number of beautiful figures1 making on the flat arch1 as was related before in the ,life of ,mazzuoli1 the ,wise ,virgins and the design of copper rosettes2 but1 when about a third of that work remained for him to do1 he died1 and so it was finished by ,bernardo ,soiaro of ,cremona1 as we shall relate in a short time4 ,by the hand of that ,michelagnolo is the ,chapel of the ,conception in ,s4 ,francesco1 in the same city2 and a ,celestial ,glory in the ,chapel of the ,cross in ,s4 ,pier ,martire4 ,girolamo ,mazzuoli1 the cousin of ,francesco1 as has been told1 continuing the work in that ,church of the ,madonna1 left unfinished by his kinsman1 painted an arch with the ,wise ,virgins and adorned it with rosettes4 ,then1 in the recess at the end1 opposite to the principal door1 he painted the ,holy ,spirit descending in ,tongues of ,fire on the ,apostles1 and in the last of the flat arches the ,nativity of ,jesus ,christ1 which1 although not yet uncovered1 he has shown to us this year of #aeff1 to our great pleasure1 since it is a truly beautiful example of work in fresco4 ,the great central tribune of the same ,madonna della ,steccata1 which is being painted by ,bernardo ,soiaro1 the painter of ,cremona1 will also be1 when finished1 a rare work1 and able to compare with the others that are in that place4 ,but of all these it cannot be said that the cause has been any other than ,francesco ,mazzuoli1 who was the first who with beautiful judgment began the magnificent ornamentation of that church1 which1 so it is said1 was built after the designs and directions of ,bramante4 ,illustration3 ,,four ,,saints 7,after ,begarelli4 ,modena3 ,s4 ,pietro7 ,anderson ,as for the masters of our arts in ,mantua1 besides what has been said of them up to the time of ,giulio ,romano1 ,i must say that he sowed the seeds of his art in ,mantua and throughout all ,lombardy in such a manner that there have been able men there ever since1 and his own works are every day more clearly recognized as good and worthy of praise4 ,and although ,giovan ,battista ,bertano1 the principal architect for the buildings of the ,duke of ,mantua1 has constructed in the ,castle1 over the part where there are the waters and the corridor1 many apartments that are magnificent and richly adorned with stucco-work and pictures1 executed for the most part by ,fermo ,ghisoni1 the disciple of ,giulio1 and by others1 as will be related1 nevertheless he has not equalled those made by ,giulio himself4 ,the same ,giovan ,battista has caused ,domenico ,brusciasorzi to execute after his design for ,s4 ,barbara1 the church of the ,duke's ,castle1 an altar-piece in oils truly worthy to be praised1 in which is the ,martyrdom of that ,saint4 ,and1 in addition1 having studied ,vitruvius1 he has written and published a work on the ,ionic volute1 showing how it should be turned1 after that author2 and at the principal door of his house at ,mantua he has placed a complete column of stone1 and the flat module of another1 with all the measurements of that ,ionic ,order marked1 and also the palm1 inch1 foot1 and braccio of the ancients1 to the end that whoever so desires may be able to see whether those measurements are correct or not4 ,in the ,church of ,s4 ,piero1 the ,duomo of ,mantua1 which was the work and architecture of the above-named ,giulio ,romano1 since in renovating it he gave it a new and modern form1 the same ,bertano has caused an altar-piece to be executed for each chapel by the hands of various painters2 and two of these he has had painted after his own designs by the above-mentioned ,fermo ,ghisoni1 one for the ,chapel of ,s4 ,lucia1 containing that ,saint and two children1 and the other for that of ,s4 ,giovanni ,evangelista4 ,another similar picture he caused to be executed by ,ippolito ,costa of ,mantua1 in which is ,s4 ,agata with the hands bound and between two soldiers1 who are cutting and tearing away her breasts4 ,battista d',agnolo del ,moro of ,verona painted for the same ,duomo1 as has been told1 the altar-piece that is on the altar of ,s4 ,maria ,maddalena1 and ,girolamo ,parmigiano that of ,s4 ,tecla4 ,paolo ,farinato of ,verona ,bertano commissioned to execute the altar-piece of ,s4 ,martino1 and the above-named ,domenico ,brusciasorzi that of ,s4 ,margherita2 and ,giulio ,campo of ,cremona painted that of ,s4 ,gieronimo4 ,and one that was better than any other1 although all are very beautiful1 in which is ,s4 ,anthony the ,abbot beaten by the ,devil in the form of a woman1 who tempts him1 is by the hand of ,paolo ,veronese4 ,but of all the craftsmen of ,mantua1 that city has never had a more able master in painting than ,rinaldo1 who was a disciple of ,giulio4 ,by his hand is an altar-piece in ,s4 ,agnese in that city1 wherein is ,our ,lady in the air1 with ,s4 ,augustine and ,s4 ,jerome1 which are very good figures2 but him death snatched from the world before his time4 ,in a very beautiful antiquarium and study made by ,signor ,cesare ,gonzaga1 which is full of ancient statues and heads of marble1 that lord has had the genealogical tree of the ,house of ,gonzaga painted1 in order to adorn it1 by ,fermo ,ghisoni1 who has acquitted himself very well in everything1 and especially in the expressions of the heads4 ,the same ,signor ,cesare has placed there1 in addition1 some pictures that are certainly very rare1 such as that of the ,madonna with the ,cat which ,raffaello da ,urbino painted1 and another wherein ,our ,lady with marvellous grace is washing the ,infant ,jesus4 ,in another little cabinet made for medals1 which has been beautifully wrought in ebony and ivory by one ,francesco da ,volterra1 who has no equal in such works1 he has some little antique figures in bronze1 which could not be more beautiful than they are4 ,in short1 between the last time that ,i saw ,mantua and this year of #aeff1 when ,i have revisited that city1 it has become so much more beautiful and ornate1 that1 if ,i had not seen it for myself1 ,i would not believe it2 and1 what is more1 the craftsmen have multiplied there1 and they still continue to multiply4 ,thus1 to that ,giovan ,battista ,mantovano1 an excellent sculptor and engraver of prints1 of whom we have spoken in the ,life of ,giulio ,romano and in that of ,marc',antonio ,bolognese1 have been born two sons1 who engrave copper-plates divinely well1 and1 what is even more astonishing1 a daughter1 called ,diana1 who also engraves so well that it is a thing to marvel at2 and ,i who saw her1 a very gentle and gracious girl1 and her works1 which are most beautiful1 was struck with amazement4 ,nor will ,i omit to say that in ,s4 ,benedetto1 a very celebrated monastery of ,black ,friars at ,mantua1 renovated by ,giulio ,romano after a most beautiful design1 are many works executed by the above-named craftsmen of ,mantua and other ,lombards1 in addition to those described in the ,life of the same ,giulio4 ,there are1 then1 works by ,fermo ,ghisoni1 such as a ,nativity of ,christ1 two altar-pieces by ,girolamo ,mazzuoli1 three by ,lattanzio ,gambara of ,brescia1 and three others by ,paolo ,veronese1 which are the best4 ,in the same place1 at the head of the refectory1 by the hand of a certain ,fra ,girolamo1 a lay-brother of ,s4 ,dominic1 as has been related elsewhere1 is a picture in oils which is a copy of the very beautiful ,last ,supper that ,leonardo painted in ,s4 ,maria delle ,grazie at ,milan1 and copied so well1 that ,i was amazed by it4 ,of which circumstance ,i make mention again very willingly1 having seen ,leonardo's original in ,milan1 this year of #aeff1 reduced to such a condition1 that there is nothing to be seen but a mass of confusion2 wherefore the piety of that good father will always bear testimony in that respect to the genius of ,leonardo da ,vinci4 ,by the hand of the same monk ,i have seen in the above-named house of the ,mint1 at ,milan1 a picture copied from one by ,leonardo1 in which are a woman that is smiling and ,s4 ,john the ,baptist as a boy1 counterfeited very well4 ,illustration3 ,,the ,,purification ,,of ,,the ,,virgin 7,after the fresco by ,giulio ,campi4 ,cremona3 ,s4 ,margherita7 ,alinari ,cremona1 as was said in the ,life of ,lorenzo di ,credi and in other places1 has had at various times men who have executed in painting works worthy of the highest praise4 ,and we have already related that when ,boccaccio ,boccaccino was painting the great recess of the ,duomo at ,cremona and the stories of ,our ,lady throughout the church1 ,bonifazio ,bembi was also a good painter1 and ,altobello executed in fresco many stories of ,jesus ,christ with much more design than have those of ,boccaccino4 ,after these works ,altobello painted in fresco a chapel in ,s4 ,agostino of the same city1 in a manner full of beauty and grace1 as may be seen by everyone4 ,at ,milan1 in the ,corte ,vecchia--that is1 the courtyard1 or rather1 piazza of the ,palace--he painted a standing figure armed in the ancient fashion1 much better than any of the others that were executed there by many painters about the same time4 ,after the death of ,bonifazio1 who left unfinished the above-mentioned stories of ,christ in the ,duomo of ,cremona1 ,giovanni ,antonio ,licinio of ,pordenone1 called in ,cremona ,de' ,sacchi1 finished those stories begun by ,bonifazio1 painting there in fresco five scenes of the ,passion of ,christ with a grand manner in the figures1 bold colouring1 and foreshortenings that have vivacity and force2 all which things taught the good method of painting to the ,cremonese1 and not in fresco only1 but likewise in oils1 for the reason that in the same ,duomo1 placed against a pilaster in the centre of the church1 is an altar-piece by the hand of ,pordenone that is very beautiful4 ,camillo1 the son of ,boccaccino1 afterwards imitated that manner in painting in fresco the principal chapel of ,s4 ,gismondo1 without the city1 and in other works1 and so succeeded much better than his father had done4 ,that ,camillo1 however1 being slow and even dilatory in his work1 did not paint much save small things and works of little importance4 ,but he who imitated most the good manners1 and who profited most by the competition of the above-named masters1 was ,bernardo de' ,gatti1 called ,il ,soiaro1 of whom mention has been made in speaking of ,parma4 ,some say that he was of ,verzelli1 and others of ,cremona2 but1 wherever he may have come from1 he painted a very beautiful altar-piece for the high-altar of ,s4 ,piero1 a church of the ,canons ,regular1 and in their refectory the story of the miracle that ,jesus ,christ performed with the five loaves and two fishes1 satisfying an infinite multitude1 although he retouched it so much a secco1 that it has since lost all its beauty4 ,that master also executed under a vault in ,s4 ,gismondo1 without ,cremona1 the ,ascension of ,jesus ,christ into ,heaven1 which was a pleasing work and very beautiful in colouring4 ,in the ,church of ,s4 ,maria di ,campagna at ,piacenza1 in competition with ,pordenone and opposite to the ,s4 ,augustine that has been mentioned1 he painted in fresco a ,s4 ,george in armour and on horseback1 who is killing the ,serpent1 with spirit1 movement1 and excellent relief4 ,that done1 he was commissioned to finish the tribune of that church1 which ,pordenone had left unfinished1 wherein he painted in fresco all the life of the ,madonna2 and although the ,prophets and ,sibyls that ,pordenone executed there1 with some children1 are beautiful to a marvel1 nevertheless ,soiaro acquitted himself so well1 that the whole of that work appears as if all by one and the same hand4 ,in like manner1 some little altar-pieces that he has executed at ,vigevano are worthy of considerable praise for their excellence4 ,finally1 after he had betaken himself to ,parma to work in the ,madonna della ,steccata1 the great niche and the arch that were left incomplete through the death of ,michelagnolo of ,siena were finished by the hands of ,soiaro4 ,and to him1 from his having acquitted himself well1 the people of ,parma have since given the charge of painting the great tribune that is in the centre of that church1 where he is now constantly occupied in executing in fresco the ,assumption of ,our ,lady1 which1 it is hoped1 is to prove a most admirable work4 ,illustration3 ,,portrait ,,of ,,the ,,artist 7,after the panel by ,sofonisba ,anguisciola4 ,vienna3 ,imperial ,gallery1 #aji7 ,bruckmann ,while ,boccaccino was still alive1 but old1 ,cremona had another painter1 called ,galeazzo ,campo1 who painted the ,rosary of the ,madonna in a large chapel in the ,church of ,s4 ,domenico1 and the faade at the back of ,s4 ,francesco1 with other works and altar-pieces by his hand that are in ,cremona1 all passing good4 ,to him were born three sons1 ,giulio1 ,antonio1 and ,vincenzio2 but ,giulio1 although he learned the first rudiments of art from his father ,galeazzo1 nevertheless afterwards followed the manner of ,soiaro1 as being better1 and studied much from some canvases executed in colours at ,rome by the hand of ,francesco ,salviati1 which were painted for the weaving of tapestries1 and sent to ,piacenza to ,duke ,pier ,luigi ,farnese4 ,the first works that this ,giulio executed in his youth at ,cremona were four large scenes in the choir of the ,church of ,s4 ,agata1 containing the martyrdom of that virgin1 which proved to be such1 that a well-practised master might perhaps not have done them so well4 ,then1 after executing some works in ,s4 ,margherita1 he painted many faades of palaces in chiaroscuro1 with good design4 ,for the ,church of ,s4 ,gismondo1 without the city1 he painted in oils the altar-piece of the high-altar1 which was very beautiful on account of the diversity and multitude of the figures that he executed in it1 in competition with the many painters who had worked in that place before him4 ,after the altar-piece he painted there many things in fresco on the vaulting1 and in particular the ,descent of the ,holy ,spirit on the ,apostles1 who are foreshortened to be seen from below1 with beautiful grace and great artistry4 ,at ,milan1 for the ,church of the ,passione1 a convent of ,canons ,regular1 he painted a ,christ ,crucified on a panel in oils1 with some ,angels1 the ,madonna1 ,s4 ,john the ,evangelist1 and the other ,maries4 ,in the ,nunnery of ,s4 ,paolo1 a convent also in ,milan1 he executed four scenes1 with the ,conversion and other acts of that ,saint4 ,in that work he was assisted by ,antonio ,campo1 his brother1 who also painted for the ,nunnery of ,s4 ,caterina at the ,porta ,ticinese1 likewise in ,milan1 for a chapel in the new church1 the architecture of which is by ,lombardino1 a picture in oils of ,s4 ,helen directing the search for the ,cross of ,christ1 which is a passing good work4 ,and ,vincenzio1 likewise1 the third of those three brothers1 having learned much from ,giulio1 as ,antonio has also done1 is a young man of excellent promise4 ,to the same ,giulio ,campo have been disciples not only his two above-named brothers1 but also ,lattanzio ,gambara and others2 but most excellent in painting1 doing him more honour than any of the rest1 has been ,sofonisba ,anguisciuola of ,cremona1 with her three sisters1 which most gifted maidens are the daughters of ,signor ,amilcare ,anguisciuola and ,signora ,bianca ,punzona1 both of whom belong to the most noble families in ,cremona4 ,speaking1 then1 of ,signora ,sofonisba1 of whom we said but little in the ,life of ,properzia of ,bologna1 because at that time we knew no more1 ,i must relate that ,i saw this year in the house of her father at ,cremona1 in a picture executed with great diligence by her hand1 portraits of her three sisters in the act of playing chess1 and with them an old woman of the household1 all done with such care and such spirit1 that they have all the appearance of life1 and are wanting in nothing save speech4 ,in another picture may be seen1 portrayed by the same ,sofonisba1 her father ,signor ,amilcare1 who has on one side one of his daughters1 her sister1 called ,minerva1 who was distinguished in painting and in letters1 and on the other side ,asdrubale1 their brother1 the son of the same man2 and these1 also1 are executed so well1 that they appear to be breathing and absolutely alive4 ,at ,piacenza1 in the house of the reverend ,archdeacon of the principal church1 are two very beautiful pictures by the same hand3 in one is the portrait of the ,archdeacon1 and in the other that of ,sofonisba herself1 and each of those figures lacks nothing save speech4 ,that lady1 having been brought afterwards by the ,duke of ,alva1 as was related above1 into the service of the ,queen of ,spain1 in which she still remains at the present day with a handsome salary and much honour1 has executed a number of portraits and pictures that are things to marvel at4 ,moved by the fame of which works1 ,pope ,pius ,,iv had ,sofonisba informed that he desired to have from her hand the portrait of her serene ,highness the ,queen of ,spain2 wherefore1 having executed it with all the diligence in her power1 she sent it to ,rome to be presented to him1 writing to his ,holiness a letter in the precise form given below3 ,illustration3 ,,the ,,madonna ,,and ,,child ,,with ,,saints 7,after the painting by ,girolamo ,romanino4 ,brescia3 ,s4 ,francesco7 ,alinari ,,holy ,,father1 ,from the very reverend ,nuncio of your ,holiness ,i understood that you desired to have a portrait by my hand of her ,majesty the ,queen1 my ,liege-lady4 ,and since ,i accepted this commission as a singular grace and favour1 having thus to serve your ,holiness1 ,i asked leave of her ,majesty1 who granted it very willingly1 recognizing therein the fatherly affection that your ,holiness bears to her4 ,taking the opportunity presented by this ,chevalier1 ,i send it to you1 and1 if ,i shall have satisfied therein the desire of your ,holiness1 ,i shall receive infinite compensation2 but ,i must not omit to tell you that if it were possible in the same way to present with the brush to the eyes of your ,holiness the beauties of the mind of this most gracious ,queen1 you would see the most marvellous thing in all the world4 ,but in those parts which can be portrayed by art1 ,i have not failed to use all the diligence in my power and knowledge1 in order to present the truth to your ,holiness4 ,and with this conclusion1 in all reverence and humility1 ,i kiss your most holy feet4 ,from the most humble servant of your ,holiness1 ,,sofonisba ,,anguisciuola4 ,at ,madrid1 on the #afth of ,september1 #aefa4 ,to that letter his ,holiness answered with that given below1 which1 having thought the portrait marvellously beautiful1 he accompanied with gifts worthy of the great talents of ,sofonisba3 ,,pius ,,papa ,,iv ,,dilecta ,,in ,,christo ,,filia4 ,we have received the portrait of the most gracious ,queen of ,spain1 our dearest daughter1 which you have sent to us2 and it has been most acceptable to us1 both on account of the person therein represented1 whom we love with the love of a father by reason of her true piety and her other most beautiful qualities of mind1 to say nothing of other reasons1 and also because it has been very well and diligently executed by your hand4 ,we thank you for it1 assuring you that we shall hold it among our dearest possessions1 and commending this your art1 which1 although it is marvellous1 we understand to be the least of the many gifts that are in you4 ,and with this conclusion we send you once again our benediction4 ,may our ,lord ,god preserve you4 ,dat4 ,rom1 die #ae ,octob41 #aefa4 ,and let this testimony suffice to prove how great is the talent of ,sofonisba4 ,a sister of hers1 called ,lucia1 left at her death fame no less than that of ,sofonisba1 by means of some pictures by her hand that are no less beautiful and precious than those of her sister described above1 as may be seen at ,cremona from a portrait that she executed of ,signor ,pietro ,maria1 an eminent physician1 but even more from another portrait1 painted by that gifted maiden1 of the ,duke of ,sessa1 which was counterfeited by her so well1 that it would seem impossible to do better or to make a portrait with a more animated likeness4 ,the third of the sisters ,anguisciuola1 called ,europa1 is still a child in age4 ,to her1 a girl all grace and talent1 ,i have spoken this very year2 and1 in so far as one can see from her works and drawings1 she will be in no way inferior to ,sofonisba and ,lucia1 her sisters4 ,this ,europa has executed many portraits of gentlemen at ,cremona1 which are altogether beautiful and natural1 and one of her mother1 ,signora ,bianca1 she sent to ,spain1 which vastly pleased ,sofonisba and everyone of that ,court who saw it4 ,anna1 the fourth sister1 although but a little girl1 is also giving her attention with much profit to design3 so that ,i know not what to say save that it is necessary to have by nature an inclination for art1 and then to add to that study and practice1 as has been done by those four noble and gifted sisters1 so much enamoured of every rare art1 and in particular of the matters of design1 insomuch that the house of ,signor ,amilcare ,anguisciuola1 most happy father of a fair and honourable family1 appeared to me the home of painting1 or rather1 of all the arts4 ,but1 if women know so well how to produce living men1 what marvel is it that those who wish are also so well able to create them in painting8 ,but to return to ,giulio ,campo1 of whom ,i have said that those young women are the disciples2 besides other works1 a painting on cloth that he has made as a cover for the organ in the ,cathedral ,church1 is executed with much study in distemper1 with a great number of figures representing the stories of ,esther and ,ahasuerus and the ,crucifixion of ,haman4 ,and in the same church there is a graceful altar-piece by his hand on the altar of ,s4 ,michael2 but since ,giulio is still alive1 ,i shall say no more for the present about his works4 ,of ,cremona1 likewise1 were the sculptor ,geremia1 who was mentioned by us in the ,life of ,filarete1#b and who has executed a large work in marble in ,s4 ,lorenzo1 a seat of the ,monks of ,monte ,oliveto2 and ,giovanni ,pedoni1 who has done many works at ,cremona and ,brescia1 and in particular many things in the house of ,signor ,eliseo ,raimondo1 which are beautiful and worthy of praise4 ,footnote #b3 ,really in the ,life of ,filippo ,brunelleschi1 p4 #bcf1 ,vol4 ,,ii4 ,illustration3 ,,the ,,coronation ,,of ,,the ,,virgin 7,after the painting by ,alessandro ,bonvicino ,il ,moretto or ,moretto da ,brescia4 ,brescia3 ,,ss4 ,nazaro e ,celso7 ,alinari ,in ,brescia1 also1 there have been1 and still are1 persons most excellent in the arts of design1 and1 among others1 ,girolamo ,romanino has executed innumerable works in that city4 ,the altar-piece on the high-altar of ,s4 ,francesco1 which is a passing good picture1 is by his hand1 and so also the little shutters that enclose it1 which are painted in distemper both within and without2 and his work1 likewise1 is another altar-piece executed in oils that is very beautiful1 wherein may be seen masterly imitations of natural objects4 ,but more able than that ,girolamo was ,alessandro ,moretto1 who painted in fresco1 under the arch of the ,porta ,brusciata1 the ,translation of the bodies of ,,ss4 ,faustino and ,jovita1 with some groups of figures that are accompanying those bodies1 all very well done4 ,for ,s4 ,nazzaro1 also in ,brescia1 he executed certain works1 and others for ,s4 ,celso1 which are passing good1 and an altar-piece for ,s4 ,piero in ,oliveto1 which is full of charm4 ,at ,milan1 in the house of the ,mint1 there is a picture by the hand of that same ,alessandro with the ,conversion of ,s4 ,paul1 and other heads that are very natural1 with beautiful adornments of draperies and vestments1 for the reason that he much delighted to counterfeit cloth of gold and of silver1 velvets1 damasks1 and other draperies of every kind1 which he used to place on the figures with great diligence4 ,the heads by the hand of that master are very lifelike1 and hold to the manner of ,raffaello da ,urbino1 and even more would they hold to it if he had not lived so far from ,raffaello4 ,the son-in-law of ,alessandro was ,lattanzio ,gambara1 a painter of ,brescia1 who1 having learned his art1 as has been related1 under ,giulio ,campo of ,verona1#c is now the best painter that there is in ,brescia4 ,by his hand1 in the ,black ,friars ,church of ,s4 ,faustino1 are the altar-piece of the high-altar1 and the vaulting and walls painted in fresco1 with other pictures that are in the same church4 ,in the ,church of ,s4 ,lorenzo1 also1 the altar-piece of the high-altar is by his hand1 with two scenes that are on the walls1 and the vaulting1 all painted in fresco almost in the same manner4 ,he has also painted1 besides many other faades1 that of his own house1 with most beautiful inventions1 and likewise the interior2 in which house1 situated between ,s4 ,benedetto and the ,vescovado1 ,i saw1 when ,i was last in ,brescia1 two very beautiful portraits by his hand1 that of ,alessandro ,moretto1 his father-in-law1 which is a very lovely head of an old man1 and that of the same ,alessandro's daughter1 his wife4 ,and if the other works of ,lattanzio were equal to those portraits1 he would be able to compare with the greatest men of his art4 ,but1 since his works are without number1 and he himself besides is still living1 it must suffice for the present to have made mention of those named4 ,footnote #c3 ,rather1 of ,cremona4 ,by the hand of ,gian ,girolamo ,bresciano are many works to be seen in ,venice and ,milan1 and in the above-mentioned house of the ,mint there are four pictures of ,night and of ,fire1 which are very beautiful4 ,in the house of ,tommaso da ,empoli at ,venice is a ,nativity of ,christ1 a very lovely effect of night1 and there are some other similar works of fantasy1 in which he was a master4 ,but1 since he occupied himself only with things of that kind1 and executed no large works1 there is nothing more to be said of him save that he was a man of fanciful and inquiring mind1 and that what he did deserves to be much commended4 ,girolamo ,mosciano of ,brescia1 after spending his youth in ,rome1 has executed many beautiful works in figures and landscapes1 and at ,orvieto1 in the principal ,church of ,s4 ,maria1 he has painted two altar-pieces in oils and some ,prophets in fresco1 which are good works2 and the drawings by his hand that are published in engraving1 are executed with good design4 ,but1 since he also is alive1 serving ,cardinal ,ippolito d',este in the buildings and restorations that he is carrying out in ,rome1 in ,tivoli1 and in other places1 ,i shall say no more about him at present4 ,there has returned recently from ,germany ,francesco ,ricchino1 likewise a painter of ,brescia1 who1 besides many other pictures that he has painted in various places1 has executed some works of painting in oils in the above-named ,s4 ,piero in ,oliveto at ,brescia1 which are done with much study and diligence4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,shepherds 7,after the painting by ,gian ,girolamo ,bresciano ,savoldo4 ,brescia3 ,palazzo ,martinengo7 ,alinari ,the brothers ,cristofano and ,stefano1 painters of ,brescia1 have a great name among craftsmen for their facility in drawing in perspective2 and1 among other works in ,venice1 they have counterfeited in painting on the flat ceiling of ,s4 ,maria dell',orto a corridor of double twisted columns1 similar to those of the ,porta ,santa in ,s4 ,pietro at ,rome1 which1 resting on certain great consoles that project outwards1 form a superb corridor with groined vaulting right round that church4 ,this work1 when seen from the centre of the church1 displays most beautiful foreshortenings1 which fill with astonishment everyone who sees them1 and make the ceiling1 which is flat1 appear to be vaulted2 besides that it is accompanied by a beautiful variety of mouldings1 masks1 festoons1 and some figures1 which make a very rich adornment to the work1 which deserves to be vastly extolled by everyone1 both for its novelty and for its having been carried to completion excellently well and with great diligence4 ,and1 since this method gave much satisfaction to that most illustrious ,senate1 there was entrusted to the same masters another ceiling1 similar1 but small1 in the ,library of ,s4 ,marco1 which1 for a work of that kind1 was very highly extolled4 ,finally1 those brothers have been summoned to their native city of ,brescia to do the same with a magnificent hall which was begun on the ,piazza many years ago1 at vast expense1 and erected over a theatre of large columns1 under which is a promenade4 ,this hall is sixty-two full paces long1 thirty-five broad1 and likewise thirty-five in height at the highest point of its elevation2 although it appears much larger1 being isolated on every side1 and without any apartment or other building about it4 ,on the ceiling of this magnificent and most honourable hall1 then1 those two brothers have been much employed1 with very great credit to themselves2 having made a roof-truss for the roof 7which is covered with lead7 of beams of wood that are very large1 composed of pieces well secured with clamps of iron1 and having turned the ceiling with beautiful artistry in the manner of a basin-shaped vault1 so that it is a rich work4 ,it is true that in that great space there are included only three pictures painted in oils1 each of ten braccia1 which were painted by the old ,tiziano2 whereas many more could have gone there1 with a richer1 more beautiful1 and better proportioned arrangement of compartments1 which would have made that hall more cheerful1 handsome1 and ornate2 but in every other part it has been made with much judgment4 ,illustration3 ,,the ,,holy ,,family 7,after the panel by ,bramantino4 ,milan3 ,brera1 #bgi7 ,anderson ,now1 having spoken in this part of our book1 up to the present1 of the craftsmen of design in the cities of ,lombardy1 it cannot but be well to say something about those of the city of ,milan1 the capital of that province1 of whom no mention has been made here1 although of some of them we have spoken in many other places in this our work4 ,to begin1 then1 with ,bramantino1 of whom mention has been made in the ,life of ,piero della ,francesca of the ,borgo1 ,i find that he executed many more works than ,i have enumerated above2 and1 in truth1 it did not then appear to me possible that a craftsman so renowned1 who introduced good design into ,milan1 should have executed works so few as those that had come to my notice4 ,now1 after he had painted in ,rome1 as has been related1 some apartments for ,pope ,nicholas ,v1 and had finished over the door of ,s4 ,sepolcro1 in ,milan1 the ,christ in foreshortening1 the ,madonna who has ,him on her lap1 the ,magdalene1 and ,s4 ,john1 which was a very rare work1 he painted in fresco1 on a faade in the court of the ,mint in ,milan1 the ,nativity of ,christ our ,saviour1 and1 in the ,church of ,s4 ,maria di ,brera1 in the tramezzo1#d the ,nativity of ,our ,lady1 with some ,prophets on the doors of the organ1 which are foreshortened very well to be seen from below1 and a perspective-view which recedes with a beautiful gradation excellently contrived2 at which ,i do not marvel1 he having always much delighted in the studies of architecture1 and having had a very good knowledge of them4 ,thus ,i remember to have seen once in the hands of ,valerio ,vicentino a very beautiful book of antiquities1 drawn with all the measurements by the hand of ,bramantino1 wherein were those of ,lombardy and the ground-plans of many well-known edifices1 which ,i drew from that book1 being then a lad4 ,in it was the ,temple of ,s4 ,ambrogio in ,milan1 built by the ,lombards1 and all full of sculptures and pictures in the ,greek manner1 with a round tribune of considerable size1 but not well conceived in the matter of architecture2 which temple was rebuilt in the time of ,bramantino1 after his design1 with a portico of stone on one side1 and with columns in the manner of trunks of trees that have been lopped1 which have in them something of novelty and variety4 ,there1 likewise1 was drawn the ancient portico of the ,church of ,s4 ,lorenzo in the same city1 built by the ,romans1 which is a great work1 beautiful and well worthy of note2 but the temple there1 or rather1 the church1 is in the manner of the ,goths4 ,in the same book was drawn the ,temple of ,s4 ,aquilino1 which is very ancient1 and covered with incrustations of marble and stucco1 very well preserved1 with some large tombs of granite4 ,in like manner1 there was the ,temple of ,s4 ,piero in ,ciel d',oro at ,pavia1 in which place is the body of ,s4 ,augustine1 in a tomb that is in the sacristy1 covered with little figures1 which1 according to my belief1 is by the hands of ,agostino and ,agnolo1 the sculptors of ,siena4 ,there1 also1 was drawn the tower of brick built by the ,goths1 which is a beautiful work1 for there may be seen in it1 besides other things1 some figures fashioned of terra-cotta after the antique1 each six braccia high1 which have remained in passing good preservation down to the present day4 ,in that tower1 so it is said1 died ,boetius1 who was buried in the above-named ,s4 ,piero in ,ciel d',oro1 now called ,s4 ,agostino1 where there may be seen1 even at the present day1 the tomb of that holy man1 with the inscription placed there by ,aliprando1 who restored and rebuilt the church in the year #abbb4 ,and1 besides all these1 there was in that book1 drawn by the hand of ,bramantino himself1 the very ancient ,temple of ,s4 ,maria in ,pertica1 round in shape1 and built with fragments by the ,lombards2 in which place now lie the bones from the slaughter of the ,frenchmen and others who were routed and slain before ,pavia1 when ,king ,francis ,i of ,france was taken prisoner there by the ,emperor ,charles ,v4 ,footnote #d3 ,see note on p4 #eg1 ,vol4 ,i4 ,illustration3 ,a ,,warrior 7,after the fresco by ,bramantino4 ,milan3 ,brera1 ,no4 #did7 ,alinari ,but let us now leave drawings on one side3 ,bramantino painted in ,milan the faade of the house of ,signor ,giovan ,battista ,latuate1 with a most beautiful ,madonna1 and on either side of her a ,prophet4 ,on the faade of ,signor ,bernardo ,scacalarozzo he painted four ,giants in imitation of bronze1 which are reasonably good2 with other works that are in ,milan1 which brought him credit1 from his having been the first light of a good manner of painting that was seen in ,milan1 and the reason that after him ,bramante became1 on account of the good form that he gave to his buildings and perspective-views1 an excellent master in the matters of architecture2 for the first things that ,bramante studied were the works of ,bramantino4 ,under the direction of ,bramante was built the ,temple of ,s4 ,satiro1 which pleases me exceedingly1 for it is a very rich work1 adorned both within and without with columns1 double corridors1 and other ornaments1 with the accompaniment of a most beautiful sacristy all full of statues4 ,but above all does the central tribune of that place merit praise1 the beauty of which1 as has been related in the ,life of ,bramante1 was the reason that ,bernardino da ,trevio followed that method in the ,duomo of ,milan1 and gave his attention to architecture1 although his first and principal art was painting2 having executed1 as has been related1 in a cloister of the ,monastery of ,s4 ,maria delle ,grazie1 four scenes of the ,passion in fresco1 and some others in chiaroscuro4 ,illustration3 ,,salome 7,after the panel by ,cesare da ,sesto4 ,vienna3 ,imperial ,gallery1 #ia7 ,bruckmann ,by that ,bernardino was brought forward and much assisted the sculptor ,agostino ,busto1 called ,il ,bambaja1 of whom there has been an account in the ,life of ,baccio da ,montelupo4 ,agostino executed some works in ,s4 ,marta1 a convent of nuns in ,milan1 among which1 although it is difficult to obtain leave to enter that place1 ,i have seen the tomb of ,monsignor de ,foix1 who died at ,pavia1#e in the form of many pieces of marble1 wherein are about ten scenes with little figures1 carved with much diligence1 of the deeds1 battles1 victories1 and triumphant assaults on strongholds of that lord1 and finally his death and burial4 ,to put it briefly1 that work is such that ,i1 gazing at it in amazement1 stood for a while marvelling that it was possible for works so delicate and so extraordinary to be done with the hand and with tools of iron2 for there may be seen in that tomb1 executed with the most marvellous carving1 decorations of trophies1 arms of every kind1 chariots1 artillery1 and many other engines of war1 and1 finally1 the body of that lord in armour1 large as life1 and almost seeming to be full of gladness1 as he lies dead1 at the victories that he had gained4 ,and certainly it is a pity that this work1 which is well worthy to be numbered among the most stupendous examples of the art1 should be unfinished and left to lie on the ground in pieces1 and not built up in some place2 wherefore ,i do not marvel that some figures have been stolen from it1 and then sold and set up in other places4 ,the truth is that there is so little humanity1 or rather1 piety1 to be found among men at the present day1 that of all those who were benefited and beloved by de ,foix not one has ever felt a pang for his memory or for the beauty and excellence of the work4 ,by the hand of the same ,agostino ,busto are some works in the ,duomo1 and1 as has been related1 the tomb of the ,biraghi in ,s4 ,francesco1 with many others that are very beautiful in the ,certosa of ,pavia4 ,footnote #e3 ,ravenna4 ,a rival of ,agostino was one ,cristofano ,gobbo1 who also executed many works in the faade of the above-named ,certosa and in the church1 and that so well1 that he can be numbered among the best sculptors that there were in ,lombardy at that time4 ,and the ,adam and ,eve that are in the east front of the ,duomo of ,milan1 which are by his hand1 are held to be rare works1 and such as can stand in comparison with any that have been executed by other masters in those parts4 ,almost at the same time there lived at ,milan another sculptor called ,angelo1 and by way of surname ,ciciliano1 who executed on the same side 7of the ,duomo71 and of equal size1 a ,s4 ,mary ,magdalene raised on high by four little ,angels1 which is a very beautiful work1 and by no means inferior to those of ,cristofano4 ,that sculptor also gave his attention to architecture1 and executed1 among other works1 the portico of ,s4 ,celso in ,milan1 which was finished after his death by ,tofano1 called ,lombardino1 who1 as was said in the ,life of ,giulio ,romano1 built many churches and palaces throughout all ,milan1 and1 in particular1 the convent1 church1 and faade of the ,nuns of ,s4 ,caterina at the ,porta ,ticinese1 with many other buildings similar to these4 ,silvio da ,fiesole1 labouring at the instance of ,tofano in the works of that ,duomo1 executed in the ornament of a door that faces between the west and the north1 wherein are several scenes from the life of ,our ,lady1 the scene containing her ,espousal1 which is very beautiful2 and that of equal size opposite to it1 in which is the ,marriage of ,cana in ,galilee1 is by the hand of ,marco da ,gr1 a passing well-practised sculptor4 ,the work of these scenes is now being continued by a very studious young man called ,francesco ,brambilari1 who has carried one of them almost to completion1 a very beautiful work1 in which are the ,apostles receiving the ,holy ,spirit4 ,he has made1 also1 a drop-shaped console of marble1 all in open-work1 with foliage and a group of children that are marvellous2 and over that work1 which is to be placed in the ,duomo1 there is to go a statue in marble of ,pope ,pius ,,iv1 one of the ,medici1 and a citizen of ,milan4 ,if there had been in that place the study of those arts that there is in ,rome and in ,florence1 those able masters would have done1 and would still be doing1 astonishing things4 ,and1 in truth1 they are greatly indebted at the present day to the ,chevalier ,leone ,lioni of ,arezzo1 who1 as will be told1 has spent much time and money in bringing to ,milan casts of many ancient works1 taken in gesso1 for his own use and that of the other craftsmen4 ,but to return to the ,milanese painters2 after ,leonardo da ,vinci had executed there the ,last ,supper already described1 many sought to imitate him1 and these were ,marco ,oggioni and others1 of whom mention has been made in ,leonardo's ,life4 ,in addition to them1 ,cesare da ,sesto1 likewise a ,milanese1 imitated him very well2 and1 besides what has been mentioned in the ,life of ,dosso1 he painted a large picture that is in the house of the ,mint in ,milan1 a truly abundant and beautiful work1 in which is ,christ being baptized by ,john4 ,by the same hand1 also1 in that place1 is a head of ,herodias1 with that of ,s4 ,john the ,baptist in a charger1 executed with most beautiful artistry4 ,and finally he painted for ,s4 ,rocco1 without the ,porta ,romana1 an altar-piece containing that ,saint as a very young man2 with other pictures that are much extolled4 ,gaudenzio1 a ,milanese painter1 who in his lifetime was held to be an able master1 painted the altar-piece of the high-altar in ,s4 ,celso4 ,in a chapel of ,s4 ,maria delle ,grazie he executed in fresco the ,passion of ,jesus ,christ1 with figures of the size of life in strange attitudes2 and then1 in competition with ,tiziano1 he painted an altar-piece for a place below that chapel1 in which1 although he was very confident1 he did not surpass the works of the others who had laboured in that place4 ,bernardino del ,lupino1 of whom some mention was made not very far back1 painted in ,milan1 near ,s4 ,sepolcro1 the house of ,signor ,gian ,francesco ,rabbia--that is1 the faade1 loggie1 halls1 and apartments--depicting there many of the ,metamorphoses of ,ovid and other fables1 with good and beautiful figures1 executed with much delicacy4 ,and in the ,monastero ,maggiore he painted all the great altar-wall with different stories1 and likewise1 in a chapel1 ,christ scourged at the ,column1 with many other works1 which are all passing good4 ,illustration3 ,,gaudenzio ,,ferrari3 ,,madonna ,,and ,,child 7,milan3 ,brera1 #bgg4 ,panel7 ,and let this be the end of the above-written ,lives of various ,lombard craftsmen4 ,illustration3 ,s4 ,,paul 7,after the panel by ,gaudenzio ,gaudenzio ,ferrari4 ,paris3 ,louvre1 #abhe7 ,alinari ,,ridolfo1 ,,david1 ,,and ,,benedetto ,,ghirlandajo ,,lives ,,of ,,ridolfo1 ,,david1 ,,and ,,benedetto ,,ghirlandajo ,,painters ,,of ,,florence ,although it appears in a certain sense impossible that one who imitates some man excellent in our arts1 and follows in his footsteps1 should not become in great measure like him1 nevertheless it may be seen that very often the brothers and sons of persons of singular ability do not follow their kinsmen in this respect1 but fall away strangely from their standard4 ,which comes to pass1 ,i think1 not because there are not in them1 through their blood1 the same fiery spirit and the same genius1 but rather from another reason--that is1 from overmuch ease and comfort and from an over-abundance of means1 which often prevent men from becoming industrious and assiduous in their studies4 ,yet this rule is not so fixed that the contrary does not sometimes happen4 ,david and ,benedetto ,ghirlandajo1 although they had very good parts and could have followed their brother ,domenico in the matters of art1 yet did not do so1 for the reason that after the death of that same brother they strayed away from the path of good work1 one of them1 ,benedetto1 spending a long time as a wanderer1 and the other distilling his brains away vainly in the study of mosaic4 ,david1 who had been much beloved by ,domenico1 and who loved him equally1 both living and dead1 finished after his death1 in company with his brother ,benedetto1 many works begun by ,domenico1 and in particular the altar-piece of the high-altar in ,s4 ,maria ,novella1 that is1 the part at the back1 which now faces the choir2 and some pupils of the same ,domenico finished the predella in little figures1 ,niccolaio painting with great diligence1 below the figure of ,s4 ,stephen1 a disputation of that ,saint1 while ,francesco ,granacci1 ,jacopo del ,tedesco1 and ,benedetto executed the figures of ,s4 ,antonino1 ,archbishop of ,florence1 and ,s4 ,catharine of ,siena4 ,and they painted an altar-picture of ,s4 ,lucia that is in that place1 with the head of a friar1 near the centre of the church2 and many other paintings and pictures that are in the houses of various individuals4 ,after having been several years in ,france1 where he worked and earned not a little1 ,benedetto returned to ,florence with many privileges and presents that he had received from that ,king in testimony of his talents4 ,and finally1 after having given his attention not only to painting but also to miniatures1 he died at the age of fifty4 ,david1 although he drew and worked much1 yet did not greatly surpass ,benedetto3 and this may have come about from his being too prosperous1 and from not keeping his thoughts fixed on art1 who is never found save by him who seeks her1 and1 when found1 must not be abandoned1 or she flies away4 ,by the hand of ,david1 in the garden of the ,monks of the ,angeli in ,florence1 at the head of a path that is opposite to a door that leads into that garden1 are two figures in fresco at the foot of a ,crucifix--namely1 ,s4 ,benedict and ,s4 ,romualdo--with some other similar works1 little worthy to have any record made of them4 ,but1 while ,david himself would not give attention to art1 it was not a little to his credit that he caused his nephew ,ridolfo1 the son of ,domenico1 to devote himself to it with all diligence1 and set him on the right way2 for that ,ridolfo1 who was under the care of ,david1 being a lad of beautiful genius1 was placed by him to practise painting1 and provided with all facilities for study by his uncle1 who repented too late that he had not studied that art1 and had spent all his time on mosaic4 ,david executed on a thick panel of walnut-wood1 which was to be sent to the ,king of ,france1 a ,madonna in mosaic1 with some ,angels about her1 which was much extolled4 ,and1 living at ,montaione1 a township in ,valdelsa1 where he had furnaces1 glass1 and wood at his command1 he executed there many works in glass and mosaic1 and in particular some vases1 which were presented to the ,magnificent ,lorenzo de' ,medici1 the elder1 and three heads1 that of ,s4 ,peter1 that of ,s4 ,laurence1 and that of ,giuliano de' ,medici1 on a dish of copper1 which are now in the guardaroba of the ,duke4 ,illustration3 ,,christ ,,bearing ,,the ,,cross 7,after the painting by ,ridolfo ,ghirlandajo4 ,london3 ,national ,gallery1 #aadc7 ,mansell ,meanwhile ,ridolfo1 drawing from the cartoon of ,michelagnolo1 was held to be one of the best draughtsmen thus employed1 and was therefore much beloved by everyone1 and particularly by ,raffaello ,sanzio of ,urbino1 who at that time1 also being a young man of great reputation1 was living in ,florence1 as has been related1 in order to learn art4 ,after ,ridolfo had studied from that cartoon1 and had become well-practised in painting under ,fra ,bartolommeo di ,san ,marco1 he already knew so much1 according to the judgment of the best masters1 that ,raffaello1 when about to go to ,rome at the summons of ,pope ,julius ,,ii1 left him to finish the blue drapery and other little things that were wanting in the picture of a ,madonna that he had painted for some gentlemen of ,siena2 which picture ,ridolfo1 after he had finished it with much diligence1 sent to ,siena4 ,and ,raffaello had not been long in ,rome before he sought in many ways to attract ,ridolfo to that city1 but he1 having never been out of sight of the ,cupola1 as the saying goes1 and not being able to reconcile himself to living out of ,florence1 never accepted any proposal made to him that would interfere with his living in that city4 ,for the ,convent of the ,nuns of ,ripoli ,ridolfo painted two altar-pieces in oils3 in one the ,coronation of ,our ,lady1 and in the other a ,madonna surrounded by certain ,saints4 ,for the ,church of ,s4 ,gallo he painted in an altar-piece ,christ bearing the ,cross1 with a good number of soldiers1 and the ,madonna and the other ,maries1 who are weeping in company with ,john1 while ,veronica is offering the ,sudarium to ,christ2 all showing force and animation4 ,that work1 in which are many very beautiful heads1 taken from life and executed with lovingness1 acquired a great name for ,ridolfo2 and in it are portrayed his father and some lads who were working with him1 and1 of his friends1 ,poggino1 ,scheggia1 and ,nunziata1 the head of the last-named being very lifelike4 ,that ,nunziata1 although he was a puppet-painter1 was in some things a person of distinction1 and above all in preparing fireworks and the girandole that were made every year for the festival of ,s4 ,john2 and1 since he was an amusing and facetious person1 everyone took great pleasure in conversing with him4 ,a citizen once saying to him that he was displeased with certain painters who could paint nothing but lewd things1 and that he therefore wished him to paint a picture of a ,madonna that might be seemly1 well advanced in years and not likely to provoke lascivious thoughts1 ,nunziata painted him one with a beard4 ,another meaning to ask from him a ,christ on the ,cross for a ground-floor room where he lived in summer1 and not being able to say anything but ,i want a ,christ on the ,cross for summer1 ,nunziata1 who saw him to be a simpleton1 painted him one in breeches4 ,but to return to ,ridolfo4 ,having been commissioned to paint the ,nativity of ,christ in an altar-piece for the ,monastery of ,cestello1 he exerted himself much1 in order to surpass his rivals1 and executed that work with the greatest diligence and labour at his command1 painting therein the ,madonna1 who is adoring the ,infant ,christ1 ,s4 ,joseph1 and two figures1 ,s4 ,francis and ,s4 ,jerome1 kneeling4 ,he also made there a most beautiful landscape1 very like the ,sasso della ,vernia1 where ,s4 ,francis received the ,stigmata1 and above the hut some ,angels that are singing2 and the whole work was very beautiful in colouring1 and passing good in relief4 ,about the same time1 after executing an altar-piece that went to ,pistoia1 he set his hand to two others for the ,company of ,s4 ,zanobi1 which is beside the canonical buildings of ,s4 ,maria del ,fiore2 which altar-pieces were to stand on either side of the ,annunciation that ,mariotto ,albertinelli had formerly painted there1 as was related in his ,life4 ,ridolfo1 then1 carried the two pictures to completion with great satisfaction to the men of that ,company1 painting in one ,s4 ,zanobi restoring a boy to life in the ,borgo degli ,albizzi in ,florence1 which is a very lively and spirited scene1 for there are in it many heads portrayed from life1 and some women who show very vividly their joy and astonishment at seeing the boy reviving and the spirit returning to him4 ,in the other is the scene of the same ,s4 ,zanobi being carried dead by six ,bishops from ,s4 ,lorenzo1 where he was first buried1 to ,s4 ,maria del ,fiore1 when1 passing through the ,piazza di ,s4 ,giovanni1 an elm that was there1 all withered1 on the spot where there is now a column of marble1 with a cross upon it in memory of the miracle1 was no sooner touched 7through the will of ,god7 by the coffin wherein was the holy corpse1 than it put forth leaves again and burst into bloom2 which picture was no less beautiful than the others by ,ridolfo mentioned above4 ,illustration3 ,,the ,,miracle ,,of ,s4 ,,zanobi 7,after the painting by ,ridolfo ,ghirlandajo4 ,florence3 ,uffizi1 #abge7 ,anderson ,now those works were executed by that painter while his uncle ,david was still alive1 and that good old man took the greatest pleasure in them1 thanking ,god that he had lived so long as to see the art of ,domenico come to life again1 as it were1 in ,ridolfo4 ,but finally1 being seventy-four years of age1 while he was preparing1 old as he was1 to go to ,rome to take part in the holy ,jubilee1 he fell ill and died in the year #aebe1 and received burial from ,ridolfo in ,s4 ,maria ,novella1 where the others of the ,ghirlandajo family lie4 ,ridolfo had a brother called ,don ,bartolommeo in the ,angeli1 a seat of the ,monks of ,camaldoli in ,florence1 who was a truly religious1 upright1 and worthy man2 and ,ridolfo1 who loved him much1 painted for him in the cloister that opens into the garden--that is1 in the loggia where there are the stories of ,s4 ,benedict painted in verdaccio by the hand of ,paolo ,uccello1 on the right hand as one enters by the door of the garden--a scene in which that same ,saint1 seated at table with two ,angels beside him1 is waiting for bread to be sent for him into the grotto by ,romanus1 but the ,devil has cut the cord with stones2 and the same ,saint investing a young man with the habit4 ,but the best figure of all those that are on that little arch1 is the portrait of a dwarf who stood at the door of the monastery at that time4 ,in the same place1 over the holy-water font at the entrance into the church1 he painted in fresco-colours a ,madonna with the ,child in her arms1 and some ,angels about her1 all very beautiful4 ,and in the cloister that is in front of the chapter-house1 in a lunette over the door of a little chapel1 he painted in fresco ,s4 ,romualdo with the ,church of the ,hermitage of ,camaldoli in his hand3 and not long afterwards a very beautiful ,last ,supper that is at the head of the refectory of the same monks1 which he did at the commission of ,don ,andrea ,doffi the ,abbot1 who had been a monk of that monastery1 and who had his own portrait painted in a corner at the foot4 ,ridolfo also executed three very beautiful stories of the ,madonna1 which have the appearance of miniatures1 on a predella in the little ,church of the ,misericordia1 in the ,piazza di ,s4 ,giovanni4 ,and for ,matteo ,cini1 in a little tabernacle on the corner of his house1 near the ,piazza di ,s4 ,maria ,novella1 he painted ,our ,lady1 ,s4 ,matthew the ,apostle1 and ,s4 ,dominic1 with two little sons of that ,matteo on their knees1 portrayed from life2 which work1 although small1 is very beautiful and full of grace4 ,for the ,nuns of ,s4 ,girolamo1 of the ,order of ,s4 ,francesco de' ,zoccoli1 on the heights of ,s4 ,giorgio1 he painted two altar-pieces2 in one is ,s4 ,jerome in ,penitence1 very beautiful1 with a ,nativity of ,jesus ,christ in the lunette above1 and in the other1 which is opposite to the first1 is an ,annunciation1 and in the lunette above ,s4 ,mary ,magdalene partaking of the ,communion4 ,in the ,palace that is now the ,duke's he painted the chapel where the ,signori used to hear ,mass1 executing in the centre of the vaulting the most ,holy ,trinity1 and in the other compartments some little ,angels who are holding the ,mysteries of the ,passion1 with some heads representing the twelve ,apostles4 ,in the four corners he painted the four ,evangelists in whole-length figures1 and at the head the ,angel ,gabriel bringing the ,annunciation to the ,virgin1 depicting in a kind of landscape the ,piazza della ,nunziata in ,florence as far as the ,church of ,s4 ,marco2 and all this work is executed excellently well1 with many beautiful ornaments4 ,when it was finished1 he painted in an altar-piece1 which was placed in the ,pieve of ,prato1 ,our ,lady presenting the ,girdle to ,s4 ,thomas1 who is with the other ,apostles4 ,for ,ognissanti1 at the commission of ,monsignor de' ,bonaf1 ,director of the ,hospital of ,s4 ,maria ,nuova1 and ,bishop of ,cortona1 he executed an altar-piece with ,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,romualdo2 and for the same patron1 having served him well1 he painted some other works1 of which there is no need to make mention4 ,he then copied the three ,labours of ,hercules 7which ,antonio del ,pollaiuolo had formerly painted in the ,palace of the ,medici71 for ,giovan ,battista della ,palla1 who sent them to ,france4 ,illustration3 ,,ridolfo ,,ghirlandajo3 ,,portrait ,,of ,a ,,lady 7,florence3 ,pitti1 #bbd4 ,panel7 ,after he had executed these and many other pictures1 ,ridolfo1 happening to have in his house all the appliances for working in mosaic which had belonged to his uncle ,david and his father ,domenico1 and having also learned something of that work from the uncle1 determined that he would try to do some work in mosaic with his own hand4 ,which having done1 and finding that he was successful1 he undertook to decorate the arch that is over the door of the ,nunziata1 wherein he made the ,angel bringing the ,annunciation to ,our ,lady4 ,but1 since he had not the patience for putting together all those little pieces1 he never again did any work in that field of art4 ,for a little church of the ,company of ,wool-carders at the head of the ,campaccio1 he painted in an altar-piece the ,assumption of the ,madonna1 with a choir of ,angels1 and the ,apostles about the ,sepulchre4 ,but by misadventure1 the room in which the picture was having been filled in the year of the siege with green broom for making fascines1 the damp so softened the gesso that it all peeled away2 wherefore ,ridolfo had to repaint it1 and made in it his own portrait4 ,at the ,pieve of ,giogoli1 in a tabernacle that is on the high road1 he painted ,our ,lady with two ,angels2 and in another tabernacle opposite to a mill of the ,eremite ,fathers of ,camaldoli1 which is on the ,ema1 beyond the ,certosa1 he painted many figures in fresco4 ,by reason of all which works1 ,ridolfo1 finding himself sufficiently employed1 and living comfortably with a good income1 would by no means rack his brains to do all that he could have done in painting1 but rather became disposed to live like a gentleman and take life as it came4 ,for the visit of ,pope ,leo to ,florence1 he executed in company with his young men and assistants all the festive preparations in the house of the ,medici1 and decorated the ,sala del ,papa and the adjoining rooms1 causing the chapel to be painted by ,pontormo1 as has been related4 ,in like manner1 for the nuptials of ,duke ,giuliano and ,duke ,lorenzo he executed the decorations and some scenery for comedies2 and1 since he was much beloved by those lords for his excellence1 he received many offices by their means1 and was elected to the ,collegio as an honoured citizen4 ,ridolfo did not disdain also to make pennons1 standards1 and other suchlike things in plenty1 and ,i remember having heard him say that three times he had painted the banners of the ,potenze1#f which used every year to hold tournaments and keep the city festive4 ,in short1 all sorts of works used to be executed in his shop1 so that many young men frequented it1 each learning that which pleased him best4 ,footnote #f3 ,see note on p4 #ei1 ,vol4 ,,vi4 ,thus ,antonio del ,ceraiolo1 having been with ,lorenzo di ,credi1 was then with ,ridolfo1 and afterwards1 having withdrawn by himself1 executed many works and portraits from life4 ,in ,s4 ,jacopo tra ,fossi there is by the hand of this ,antonio an altar-piece1 with ,s4 ,francis and ,s4 ,mary ,magdalene at the foot of a ,crucifix2 and in the ,church of the ,servites1 behind the high-altar1 a ,s4 ,michelagnolo copied from that by ,ghirlandajo in the ,ossa of ,s4 ,maria ,nuova4 ,another disciple of ,ridolfo1 who acquitted himself very well1 was ,mariano da ,pescia1 by whose hand is a picture of ,our ,lady1 with the ,infant ,christ1 ,s4 ,elizabeth1 and ,s4 ,john1 executed very well1 in the above-mentioned chapel of the ,palace1 which ,ridolfo had previously painted for the ,signoria4 ,the same ,mariano painted in chiaroscuro the whole house of ,carlo ,ginori1 in the street which takes its name from that family1 executing there stories from the life of ,samson1 in a very beautiful manner4 ,and if this painter had enjoyed a longer life than he did1 he would have become an excellent master4 ,a disciple of ,ridolfo1 likewise1 was ,toto del ,nunziata1 who painted for ,s4 ,piero ,scheraggio1 in company with his master1 an altar-piece of ,our ,lady1 with the ,child in her arms1 and two ,saints4 ,illustration3 ,,the ,,crucifixion ,,with ,,ss4 ,,francis ,,and ,,mary ,,magdalene 7,after the panel by ,antonio del ,ceraiolo4 ,florence3 ,accademia1 #afc7 ,brogi ,but dear beyond all the others to ,ridolfo was a disciple of ,lorenzo di ,credi1 who was also with ,andrea del ,ceraiolo1 called ,michele1 a young man of an excellent nature1 who executed his works with boldness and without effort4 ,this ,michele1 then1 following the manner of ,ridolfo1 approached him so closely that1 whereas at the beginning he received from his master a third of his earnings1 they came to execute their works in company1 and shared the profits4 ,michele looked upon ,ridolfo always as a father1 and loved him1 and also was so beloved by him1 that1 as one belonging to ,ridolfo1 he has ever been and still is known by no other name but ,michele di ,ridolfo4 ,these two1 ,i say1 loving each other like father and son1 executed innumerable works in company4 ,first1 for the ,church of ,s4 ,felice in ,piazza1 a place then belonging to the ,monks of ,camaldoli1 they painted in an altar-piece ,christ and ,our ,lady in the air1 who are praying to ,god the ,father for the people below1 where some ,saints are kneeling4 ,in ,s4 ,felicita they painted two chapels in fresco1 despatching them in an able manner2 in one is the ,dead ,christ with the ,maries1 and in the other the ,assumption of ,our ,lady1 with some ,saints4 ,for the ,church of the ,nuns of ,s4 ,jacopo delle ,murate they executed an altar-piece at the commission of ,bishop de' ,bonaf of ,cortona3 and for the ,convent of the ,nuns of ,ripoli another altar-piece with ,our ,lady and some ,saints4 ,for the ,chapel of the ,segni1 below the organ in the ,church of ,s4 ,spirito1 they painted1 likewise in an altar-piece1 ,our ,lady1 ,s4 ,anne1 and many other ,saints2 for the ,company of the ,neri a picture of the ,beheading of ,s4 ,john the ,baptist2 and for the ,monachine in ,borgo ,s4 ,friano an altar-piece of the ,annunciation4 ,in another altar-piece1 for ,s4 ,rocco at ,prato1 they painted ,s4 ,rocco1 ,s4 ,sebastian1 and between them ,our ,lady2 and likewise1 for the ,company of ,s4 ,bastiano1 beside ,s4 ,jacopo sopra ,arno1 they executed an altar-piece containing ,our ,lady1 ,s4 ,sebastian1 and ,s4 ,james2 with another for ,s4 ,martino alla ,palma4 ,and1 finally1 they painted for ,s4 ,alessandro ,vitelli a ,s4 ,anne in a picture that was sent to ,citt di ,castello1 and placed in the chapel of that lord in ,s4 ,fiorido4 ,but1 since the works and pictures that issued from ,ridolfo's shop were without number1 and even more so the portraits from life1 ,i shall say only that a portrait was made by him of ,signor ,cosimo de' ,medici when he was very young1 which was a most beautiful work1 and very true to life2 which picture is still preserved in the guardaroba of his ,excellency4 ,ridolfo was a rapid and resolute painter in certain kinds of work1 and particularly in festive decorations2 and thus1 for the entry of the ,emperor ,charles ,v into ,florence1 he executed in ten days an arch at the ,canto alla ,cuculia1 and another arch in a very short time at the ,porta al ,prato for the coming of the most illustrious ,lady1 ,duchess ,leonora1 as will be related in the ,life of ,battista ,franco4 ,at the ,madonna di ,vertigli1 a seat of the ,monks of ,camaldoli1 without the township of ,monte ,sansovino1 ,ridolfo1 having with him the above-named ,battista ,franco and ,michele1 executed in chiaroscuro1 in a little cloister1 all the stories of the life of ,joseph2 in the church1 the altar-pieces of the high-altar1 and a ,visitation of ,our ,lady in fresco1 which is as beautiful as any work in fresco that ,ridolfo ever painted4 ,but lovely beyond all others1 in the venerable aspect of the countenance1 is the figure of ,s4 ,romualdo1 which is on that high-altar4 ,they also executed other pictures there1 but it must suffice to have spoken of these4 ,ridolfo painted grotesques on the vaulting of the ,green ,chamber in the ,palace of ,duke ,cosimo1 and some landscapes on the walls1 which much pleased the ,duke4 ,finally1 having grown old1 ,ridolfo lived a very happy life1 having his daughters married1 and seeing his sons well started in the affairs of commerce in ,france and at ,ferrara4 ,and1 although afterwards he found himself so oppressed by the gout that he stayed always in the house or had to be carried in a chair1 nevertheless he bore that infirmity with great patience1 and also some misfortunes suffered by his sons4 ,old as he was1 he felt a great love for the world of art1 and insisted on being told of1 and at times on seeing1 those works that he heard much praised1 such as buildings1 pictures1 and other suchlike things that were being executed every day2 and one day that the ,lord ,duke was out of ,florence1 having had himself carried in his chair into the ,palace1 he dined there and stayed the whole day1 gazing at that ,palace1 which was so changed and transformed from what it was before1 that he did not recognize it2 and in the evening1 when going away1 he said3 ,i die happy1 because ,i shall be able to carry to our craftsmen in the next world the news that ,i have seen the dead restored to life1 the ugly rendered beautiful1 and the old made young4 ,ridolfo lived seventy-five years1 and died in the year #aefj2 and he was buried with his forefathers in ,s4 ,maria ,novella4 ,his disciple ,michele1 who1 as ,i have said1 is called by no other name than ,michele di ,ridolfo1 has painted in fresco1 since ,ridolfo left the world of art1 three great arches over certain gates of the city of ,florence2 at ,s4 ,gallo1 ,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,cosimo1 which are executed with very beautiful mastery2 at the ,porta al ,prato1 other similar figures2 and1 at the ,porta alla ,croce1 ,our ,lady1 ,s4 ,john the ,baptist1 and ,s4 ,ambrogio2 with altar-pieces and pictures without number1 painted with good mastery4 ,and ,i1 on account of his goodness and capacity1 have employed him several times1 together with others1 in the works of the ,palace1 with much satisfaction to myself and everyone besides4 ,but that which pleases me most in him1 in addition to his being a truly honest1 orderly1 and ,god-fearing man1 is that he has always in his workshop a good number of young men1 whom he teaches with incredible lovingness4 ,a disciple of ,ridolfo1 also1 was ,carlo ,portelli of ,loro in the ,valdarno di ,sopra1 by whose hand are some altar-pieces and innumerable pictures in ,florence2 as in ,s4 ,maria ,maggiore1 in ,s4 ,felicita1 in the ,nunnery of ,monticelli1 and1 at ,cestello1 the altar-piece of the ,chapel of the ,baldesi on the right hand of the entrance into the church1 wherein is the ,martyrdom of ,s4 ,romolo1 ,bishop of ,fiesole4 ,illustration3 ,,the ,,madonna ,,giving ,,the ,,girdle ,,to ,s4 ,,thomas 7,after the painting by ,ridolfo ,ghirlandajo4 ,prato3 ,duomo7 ,brogi ,,giovanni ,,da ,,udine ,,life ,,of ,,giovanni ,,da ,,udine ,,painter ,in ,udine1 a city of ,friuli1 lived a citizen called ,giovanni1 of the family of the ,nanni1 who was the first of that family to give attention to the practice of embroidery1 in which his descendants afterwards followed him with such excellence1 that their house was called no longer ,de' ,nanni but ,de' ,ricamatori4#g ,among them1 then1 one ,francesco1 who lived always like an honourable citizen1 devoted to the chase and to other suchlike exercises1 had in the year #adid a son1 to whom he gave the name ,giovanni2 and this son1 while still a child1 showed such inclination to design that it was a thing to marvel at1 for1 following behind his father in his hunting and fowling1 whenever he had time he was for ever drawing dogs1 hares1 bucks1 and1 in short1 all the kinds of birds and beasts that came into his hands2 which he did in such a fashion that everyone was astonished4 ,perceiving this inclination1 his father ,francesco took him to ,venice1 and placed him to learn the art of design with ,giorgione da ,castelfranco2 but1 while working under him1 the boy heard the works of ,michelagnolo and ,raffaello so extolled1 that he resolved at all costs to go to ,rome4 ,and so1 having obtained from ,domenico ,grimani1 who was much his father's friend1 letters of introduction to ,baldassarre ,castiglioni1 the ,secretary of the ,duke of ,mantua and a close friend of ,raffaello da ,urbino1 he went off to that city4 ,there1 having been placed by that ,castiglioni in the school of the young men of ,raffaello1 he learned excellently well the principles of art1 a thing which is of great importance1 for the reason that when a man begins by adopting a bad manner1 it rarely happens that he can abandon it without great difficulty1 in order to learn a better4 ,footnote #g3 ,embroiderers4 ,giovanni1 then1 having been only a very short time under the discipline of ,giorgione in ,venice1 when he had once seen the sweet1 graceful1 and beautiful manner of ,raffaello1 determined1 like a young man of fine intelligence1 that he would at all costs attach himself to that manner4 ,and so1 his brain and hand being equal to his noble intention1 he made so much proficience1 that in a short time he was able to draw very well and to work in colour with facility and grace1 insomuch that1 to put it in a few words1 he succeeded in counterfeiting excellently well every natural object--animals1 draperies1 instruments1 vases1 landscapes1 buildings1 and verdure2 in which not one of the young men of that school surpassed him4 ,but1 above all1 he took supreme delight in depicting birds of every kind1 insomuch that in a short time he filled a book with them1 which was so well varied and so beautiful1 that it was a recreation and a delight to ,raffaello4 ,living with ,raffaello was a ,fleming called ,giovanni1 who was an excellent master in depicting fruits1 leaves1 and flowers with a very faithful and pleasing likeness to nature1 although in a manner a little dry and laboured2 and from him ,giovanni da ,udine learned to make them as beautiful as his master1 and1 what is more1 with a certain soft and pastose manner that enabled him to become1 as will be related1 supremely excellent in some fields of art4 ,he also learned to execute landscapes with ruined buildings and fragments of antiquities1 and likewise to paint landscapes and verdure in colours on cloth1 in the manner that has been followed after him not only by the ,flemings1 but also by all the ,italian painters4 ,raffaello1 who much loved the genius of ,giovanni1 in executing the altar-picture of ,s4 ,cecilia that is in ,bologna1 caused him to paint the organ which that ,saint has in her hand2 and he counterfeited it so well from the reality1 that it appears as if in relief1 and also all the musical instruments that are at the feet of the ,saint4 ,but what was of much greater import was that he made his painting so similar to that of ,raffaello1 that the whole appears as if by one and the same hand4 ,not long afterwards1 excavations being made at ,s4 ,pietro in ,vincula1 among the ruins and remains of the ,palace of ,titus1 in the hope of finding figures1 certain rooms were discovered1 completely buried under the ground1 which were full of little grotesques1 small figures1 and scenes1 with other ornaments of stucco in low-relief4 ,whereupon1 ,giovanni going with ,raffaello1 who was taken to see them1 they were struck with amazement1 both the one and the other1 at the freshness1 beauty1 and excellence of those works1 for it appeared to them an extraordinary thing that they had been preserved for so long a time2 but it was no great marvel1 for they had not been open or exposed to the air1 which is wont in time1 through the changes of the seasons1 to consume all things4 ,these grotesques--which were called grotesques from their having been discovered in the underground grottoes--executed with so much design1 with fantasies so varied and so bizarre1 with their delicate ornaments of stucco divided by various fields of colour1 and with their little scenes so pleasing and beautiful1 entered so deeply into the heart and mind of ,giovanni1 that1 having devoted himself to the study of them1 he was not content to draw and copy them merely once or twice2 and he succeeded in executing them with facility and grace1 lacking nothing save a knowledge of the method of making the stucco on which the grotesques were wrought4 ,now many before him1 as has been related1 had exercised their wits on this1 but had discovered nothing save the method of making the stucco1 by means of fire1 with gypsum1 lime1 colophony1 wax1 and pounded brick1 and of overlaying it with gold2 and they had not found the true method of making stucco similar to that which had been discovered in those ancient chambers and grottoes4 ,but at that time works were being executed in lime and pozzolana1 as was related in the ,life of ,bramante1 for the arches and the tribune at the back in ,s4 ,pietro1 all the ornaments of foliage1 with the ovoli and other members1 being cast in moulds of clay1 and ,giovanni1 after considering that method of working with lime and pozzolana1 began to try if he could succeed in making figures in low-relief2 and so1 pursuing his experiments1 he contrived to make them as he desired in every part1 save that the outer surface did not come out with the delicacy and finish that the ancient works possessed1 nor yet so white4 ,on which account he began to think that it might be necessary to mix with the white lime of travertine1 in place of pozzolana1 some substance white in colour2 whereupon1 after making trial of various materials1 he caused chips of travertine to be pounded1 and found that it answered passing well1 but that still the work was of a livid rather than a pure white1 and also rough and granular4 ,but finally1 having caused chips of the whitest marble that could be found to be pounded and reduced to a fine powder1 and then sifted1 he mixed it with white lime of travertine1 and discovered that thus he had succeeded without any doubt in making the true stucco of the ancients1 with all the properties that he had desired therein4 ,at which rejoicing greatly1 he showed to ,raffaello what he had done2 wherefore he1 who was then executing by order of ,pope ,leo ,x1 as has been related1 the ,loggie of the ,papal ,palace1 caused ,giovanni to decorate all the vaulting there in stucco1 with most beautiful ornaments bordered by grotesques similar to the antique1 and with very lovely and fantastic inventions1 all full of the most varied and extravagant things that could possibly be imagined4 ,having executed the whole of that ornamentation in half-relief and low-relief1 he then divided it up with little scenes1 landscapes1 foliage1 and various friezes1 in which he touched the highest level1 as it were1 that art can reach in that field4 ,in all this he not only equalled the ancients1 but also1 in so far as one can judge from the remains that we have seen1 surpassed them1 for the reason that these works of ,giovanni's1 in beauty of design1 in the invention of figures1 and in colouring1 whether executed in stucco or painted1 are beyond all comparison superior to those of the ancients that are to be seen in the ,colosseum1 and to the paintings in the ,baths of ,diocletian and in other places4 ,in what other place are there to be seen birds painted that are more lifelike and natural1 so to speak1 in colouring1 in the plumage1 and in all other respects1 than those that are in the friezes and pilasters of the ,loggie8 ,and they are there in as many varieties as ,nature herself has been able to create1 some in one manner and some in another2 and many are perched on bunches1 ears1 and panicles1 not only of corn1 millet1 and buckwheat1 but of all the kinds of cereals1 vegetables1 and fruits that earth has produced from the beginning of time for the sustenance and nourishment of birds4 ,as for the fishes1 likewise1 the sea-monsters1 and all the other creatures of the water that ,giovanni depicted in the same place1 since the most that one could say would be too little1 it is better to pass them over in silence rather than seek to attempt the impossible4 ,and what should ,i say of the various kinds of fruits and flowers without number that are there1 in all the forms1 varieties1 and colours that ,nature contrives to produce in all parts of the world and in all the seasons of the year8 ,what1 likewise1 of the various musical instruments that are there1 all as real as the reality8 ,and who does not know as a matter of common knowledge that--,giovanni having painted at the head of the ,loggia1 where the ,pope had not yet determined what should be done in the way of masonry1 some balusters to accompany the real ones of the ,loggia1 and over them a carpet--who1 ,i say1 does not know that one day1 a carpet being urgently required for the ,pope1 who was going to the ,belvedere1 a groom1 who knew not the truth of the matter1 ran from a distance to take one of those painted carpets1 being completely deceived8 ,in short1 it may be said1 without offence to other craftsmen1 that of all works of the kind this is the most beautiful1 the most rare1 and the most excellent painting that has ever been seen by mortal eye4 ,and1 in addition1 ,i will make bold to say that this work has been the reason that not ,rome only but also all the other parts of the world have been filled with this kind of painting1 for1 besides that ,giovanni was the restorer and almost the inventor of grotesques in stucco and of other kinds1 from this his work1 which is most beautiful1 whoever has wished to execute such things has taken his exemplar2 not to mention that the young men that assisted ,giovanni1 who were many1 and even1 what with one time and another1 innumerable1 learned from the true master and filled every province with them4 ,then1 proceeding to execute the first range below those ,loggie1 ,giovanni used another and quite different method in the distribution of the stucco-work and paintings on the walls and vaultings of the other ,loggie2 but nevertheless those also were very beautiful1 by reason of the pleasing invention of the pergole of canes counterfeited in various compartments1 all covered with vines laden with grapes1 and with clematis1 jasmine1 roses1 and various kinds of birds and beasts4 ,next1 ,pope ,leo1 wishing to have painted the hall where the guard of halberdiers have their quarters1 on the level of the above-named ,loggie1 ,giovanni1 in addition to the friezes of children1 lions1 ,papal arms1 and grotesques that are round that hall1 made some divisions on the walls with imitations of variegated marbles of different kinds1 similar to the incrustations that the ancient ,romans used to make on their baths1 temples1 and other buildings1 such as may be seen in the ,ritonda and in the portico of ,s4 ,pietro4 ,in another hall beside that one1 which was used by the ,chamberlains1 ,raffaello da ,urbino painted in certain tabernacles some ,apostles in chiaroscuro1 large as life and very beautiful2 and over the cornices of that work ,giovanni portrayed from life many parrots of various colours which his ,holiness had at that time1 and also baboons1 marmosets1 civet-cats1 and other strange creatures4 ,but this work had a short life1 for the reason that ,pope ,paul ,,iv destroyed that apartment in order to make certain small closets and little places of retirement1 and thus deprived the ,palace of a very rare work2 which that holy man would not have done if he had possessed any taste for the arts of design4 ,giovanni painted the cartoons for those hangings and chamber-tapestries that were afterwards woven in silk and gold in ,flanders1 in which are certain little boys that are sporting around various festoons1 and as ornaments the devices of ,pope ,leo and various animals copied from life4 ,these tapestries1 which are very rare works1 are still in the ,palace at the present day4 ,he also executed the cartoons for some tapestries full of grotesques1 which are in the first rooms of the ,consistory4 ,illustration3 ,,arabesques 7,after the fresco by ,giovanni da ,udine4 ,rome3 ,the ,vatican1 ,loggia7 ,anderson ,while ,giovanni was labouring at those works1 the ,palace of ,m4 ,giovan ,battista dall',aquila1 which had been erected at the head of the ,borgo ,nuovo1 near the ,piazza di ,s4 ,pietro1 had the greater part of the faade decorated in stucco by the hand of the same master1 which was held to be a remarkable work4 ,the same ,giovanni executed the paintings and all the stucco-work in the loggia of the villa that ,cardinal ,giulio de' ,medici caused to be built under ,monte ,mario1 wherein are animals1 grotesques1 festoons1 and friezes of such beauty1 that it appears as if in that work ,giovanni had sought to outstrip and surpass his own self4 ,wherefore he won from that ,cardinal1 who much loved his genius1 in addition to many benefits that he received for his relatives1 the gift of a canonicate for himself at ,civitale in ,friuli1 which was afterwards given by ,giovanni to a brother of his own4 ,then1 having to make for the same ,cardinal1 likewise at that villa1 a fountain with the water spouting through the trunk of an elephant's head in marble1 he imitated in the whole work and in every detail the ,temple of ,neptune1 which had been discovered a short time before among the ancient ruins of the ,palazzo ,maggiore1 all adorned with lifelike products of the sea1 and wrought excellently well with various ornaments in stucco2 and he even surpassed by a great measure the artistry of that ancient hall by giving great beauty to those animals1 shells1 and other suchlike things without number1 and arranging them very well4 ,after this he made another fountain1 but in a rustic manner1 in the hollow of a torrent-bed surrounded by a wood2 causing water to flow in drops and fine jets from sponge-stones and stalactites1 with beautiful artifice1 so that it had all the appearance of a work of nature4 ,on the highest point of those hollow rocks and sponge-stones he fashioned a large lion's head1 which had around it a garland formed of maidenhair and other plants1 trained there with great artistry2 and no one could believe what grace these gave to that wild place1 which was most beautiful in every part and beyond all conception pleasing4 ,that work finished1 after the ,cardinal had made ,giovanni a ,chevalier of ,s4 ,pietro1 he sent him to ,florence1 to the end that1 when a certain chamber had been made in the ,palace of the ,medici 7at that corner1 namely1 where the elder ,cosimo1 the builder of that edifice1 had made a loggia for the convenience and assemblage of the citizens1 as it was the custom at that time for the most noble families to do71 he might paint and adorn it all with grotesques and stucco4 ,that loggia having then been enclosed after the design of ,michelagnolo ,buonarroti1 and given the form of a chamber1 with two knee-shaped windows1 which were the first to be made in that manner1 with iron gratings1 for the exterior of a palace1 ,giovanni adorned all the vaulting with stucco-work and painting1 making in a medallion the six balls1 the arms of the ,house of ,medici1 supported by three little boys executed in relief in attitudes of great beauty and grace4 ,besides this1 he made there many most beautiful animals1 and also many most lovely devices of gentlemen and lords of that illustrious house1 together with some scenes in half-relief1 executed in stucco2 and on the field of the vaulting he did the rest of the work in pictures1 counterfeiting them after the manner of cameos in black and white1 and so well1 that nothing better could be imagined4 ,there remained four arches beneath the vaulting1 each twelve braccia in breadth and six in height1 which were not painted at that time1 but many years afterwards by ,giorgio ,vasari1 as a young man of eighteen years1 when he was in the service of ,duke ,alessandro de' ,medici1 his first lord1 in the year #aece2 which ,giorgio executed there stories from the life of ,julius ,csar1 in allusion to the above-named ,cardinal ,giulio1 who had caused the work to be done4 ,giovanni then executed on a little barrel-shaped vault1 beside that chamber1 some works in stucco in the lowest of low-relief1 and likewise some pictures1 which are exquisite2 but1 although these pleased the painters that were in ,florence at that time1 being wrought with boldness and marvellous mastery1 and filled with spirited and fantastic inventions1 yet1 since they were accustomed to a laboured manner of their own and to doing everything that they carried into execution with copies taken from life1 they did not praise them without reserve1 not being altogether decided in their minds1 nor did they set themselves to imitate them1 perhaps because they had not the courage4 ,having then returned to ,rome1 ,giovanni executed in the loggia of ,agostino ,chigi1 which ,raffaello had painted and was still engaged in carrying to completion1 a border of large festoons right round the groins and squares of the vaulting1 making there all the kinds of fruits1 flowers1 and leaves1 season by season1 and fashioning them with such artistry1 that everything may be seen there living and standing out from the wall1 and as natural as the reality2 and so many are the various kinds of fruits and plants that are to be seen in that work1 that1 in order not to enumerate them one by one1 ,i will say only this1 that there are there all those that ,nature has ever produced in our parts4 ,above the figure of a ,mercury who is flying1 he made1 to represent ,priapus1 a pumpkin entwined in bind-weed1 which has for testicles two egg-plants1 and near the flower of the pumpkin he depicted a cluster of large purple figs1 within one of which1 over-ripe and bursting open1 the point of the pumpkin with the flower is entering2 which conceit is rendered with such grace1 that no one could imagine anything better4 ,but why say more8 ,to sum the matter up1 ,i venture to declare that in that kind of painting ,giovanni surpassed all those who have best imitated ,nature in such works1 for the reason that1 besides all the other things1 even the flowers of the elder1 of the fennel1 and of the other lesser plants are there in truly astonishing perfection4 ,there1 likewise1 may be seen a great abundance of animals in the lunettes1 which are encircled by those festoons1 and certain little boys that are holding in their hands the attributes of the ,gods2 and1 among other things1 a lion and a sea-horse1 being most beautifully foreshortened1 are held to be divine4 ,having finished that truly extraordinary work1 ,giovanni executed a very beautiful bathroom in the ,castello di ,s4 ,angelo1 and in the ,papal ,palace1 besides those mentioned above1 many other small works1 which for the sake of brevity are passed over4 ,raffaello having then died1 whose loss much grieved ,giovanni1 and ,pope ,leo having also left this world1 there was no more place in ,rome for the arts of design or for any other art1 and ,giovanni occupied himself for many months on some works of little importance at the villa of the above-named ,cardinal de' ,medici4 ,and for the arrival of ,pope ,adrian in ,rome he did nothing but the small banners of the ,castle1 which he had renewed twice in the time of ,pope ,leo1 together with the great standard that flies on the summit of the highest tower4 ,he also executed four square banners when the ,blessed ,antonino1 ,archbishop of ,florence1 and ,s4 ,hubert1 once ,bishop of ,i know not what city of ,flanders1 were canonized as ,saints by the above-mentioned ,pope ,adrian2 of which banners1 one1 wherein is the figure of that ,s4 ,antonino1 was given to the ,church of ,s4 ,marco in ,florence1 where the body of the ,saint lies1 another1 wherein is the figure of ,s4 ,hubert1 was placed in ,s4 ,maria de ,anima1 the church of the ,germans in ,rome1 and the other two were sent to ,flanders4 ,clement ,,vii having then been elected ,supreme ,pontiff1 with whom ,giovanni had a strait bond of service1 he returned immediately from ,udine1 whither he had gone to avoid the plague1 to ,rome2 where having arrived1 he was commissioned to make a rich and beautiful decoration over the steps of ,s4 ,pietro for the coronation of that ,pope4 ,and afterwards it was ordained that he and ,perino del ,vaga should paint some pictures on the vaulting of the old hall opposite to the lower apartments1 which lead from the ,loggie1 which he had painted before1 to the apartments of the ,borgia ,tower2 whereupon ,giovanni executed there a most beautiful design in stucco-work1 with many grotesques and various animals1 and ,perino the cars of the seven planets4 ,they had also to paint the walls of that same hall1 on which ,giotto1 according as is written by ,platina in the ,lives of the ,pontiffs1 had formerly painted some ,popes who had been put to death for the faith of ,christ1 on which account that hall was called for a time the ,hall of the ,martyrs4 ,but the vaulting was scarcely finished1 when there took place that most unhappy sack of ,rome1 and the work could not be pursued any further4 ,thereupon ,giovanni1 having suffered not a little both in person and in property1 returned again to ,udine1 intending to stay there a long time2 but in that he did not succeed1 for the reason that ,pope ,clement1 after returning from ,bologna1 where he had crowned ,charles ,v1 to ,rome1 caused ,giovanni also to return to that city1 where he commissioned him first to make anew the standards of the ,castello di ,s4 ,angelo1 and then to paint the ceiling of the great chapel1 the principal one in ,s4 ,pietro1 where the altar of that ,saint is4 ,meanwhile1 ,fra ,mariano having died1 who had the office of the ,piombo1 his place was given to ,sebastiano ,viniziano1 a painter of great repute1 and to ,giovanni a pension on the same of eighty chamber-ducats4 ,then1 after the troubles of the ,pontiff had in great measure ceased and affairs in ,rome had grown quiet1 ,giovanni was sent by his ,holiness with many promises to ,florence1 to execute in the new sacristy of ,s4 ,lorenzo1 which had been adorned with most excellent sculptures by ,michelagnolo1 the ornaments of the tribune1 which is full of sunk squares that diminish little by little towards the central point4 ,setting his hand to this1 then1 ,giovanni carried it excellently well to completion with the aid of many assistants1 with most beautiful foliage1 rosettes1 and other ornaments of stucco and gold2 but in one thing he failed in judgment1 for the reason that on the flat friezes that form the ribs of the vaulting1 and on those that run crossways1 so as to enclose the squares1 he made foliage1 birds1 masks1 and figures that cannot be seen at all from the ground1 although they are very beautiful1 by reason of the distance1 and also because they are divided up by other colours1 whereas1 if he had painted them in colours without any other elaboration1 they would have been visible1 and the whole work would have been brighter and richer4 ,there remained no more of the work to be executed than he would have been able to finish in a fortnight1 going over it again in certain places1 when there came the news of the death of ,pope ,clement1 and ,giovanni was robbed of all his hopes1 particularly of that which he expected from that ,pontiff as the reward and guerdon of this work4 ,wherefore1 having recognized1 although too late1 how fallacious in most cases are the hopes based on the favour of ,courts1 and how often those who put their trust in the lives of particular ,princes are left disappointed1 he returned to ,rome2 but1 although he would have been able to live there on his offices and revenues1 serving also ,cardinal ,ippolito de' ,medici and the new ,pontiff1 ,paul ,,iii1 he resolved to repatriate himself and to return to ,udine4 ,carrying that intention into effect1 therefore1 he went back to live in his native place with that brother to whom he had given the canonicate1 determined that he would never more handle a brush4 ,but in this also he was disappointed1 for the reason that1 having taken a wife and had children by her1 he was in a manner forced by the instinct that a man naturally feels to bring up his children and to leave them in good circumstances1 to set himself once more to work4 ,he painted1 then1 at the entreaty of the father of the ,chevalier ,giovan ,francesco di ,spilimbergo1 a frieze in a hall1 filling it with children1 festoons1 fruits1 and other things of fancy4 ,after that1 he adorned with lovely paintings and works in stucco the ,chapel of ,s4 ,maria at ,civitale2 and for the ,canons of the ,duomo of that place he executed two most beautiful standards4 ,and for the ,confraternity of ,s4 ,maria di ,castello1 at ,udine1 he painted on a rich banner ,our ,lady with the ,child in her arms1 and an ,angel full of grace who is offering to her that ,castello1 which stands on a hill in the centre of the city4 ,at ,venice1 in the ,palace of ,grimani1 the ,patriarch of ,aquileia1 he decorated with stucco-work and paintings a very beautiful chamber in which are some lovely little scenes by the hand of ,francesco ,salviati4 ,finally1 in the year #aeej1 ,giovanni went to ,rome to take part in the most holy ,jubilee1 on foot and dressed poorly as a pilgrim1 and in the company of humble folk2 and he stayed there many days without being known by anyone4 ,but one day1 while going to ,s4 ,paolo1 he was recognized by ,giorgio ,vasari1 who was riding in a coach to the same ,pardon in company with ,messer ,bindo ,altoviti1 who was much his friend4 ,at first ,giovanni denied that it was he1 but finally he was forced to reveal himself and to confess that he had great need of ,giorgio's assistance with the ,pope in the matter of the pension that he had from the ,piombo1 which was being denied to him by one ,fra ,guglielmo1 a ,genoese sculptor1 who had received that office after the death of ,fra ,sebastiano4 ,giorgio spoke of this matter to the ,pope1 which was the reason that the bond was renewed1 and afterwards it was proposed to exchange it for a canonicate at ,udine for ,giovanni's son4 ,but afterwards1 being again defrauded by that ,fra ,guglielmo1 ,giovanni went from ,udine to ,florence1 after ,pope ,pius had been elected1 in the hope of being assisted and favoured by his ,excellency with that ,pontiff1 by means of ,vasari4 ,having arrived in ,florence1 then1 he was presented by ,giorgio to his most illustrious ,excellency1 with whom he went to ,siena1 and then from there to ,rome1 whither there also went the ,lady ,duchess ,leonora2 and in such wise was he assisted by the kindness of the ,duke1 that he was not only granted all that he desired1 but also set to work by the ,pope with a good salary to give the final completion to the last ,loggia1 which is the one over that which ,pope ,leo had formerly caused him to decorate4 ,that finished1 the same ,pope commissioned him to retouch all that first ,loggia1 which was an error and a thing very ill considered1 for the reason that retouching it a secco caused it to lose all those masterly strokes that had been drawn by ,giovanni's brush in all the excellence of his best days1 and also the boldness and freshness that had made it in its original condition so rare a work4 ,after finishing that work1 ,giovanni1 being seventy years of age1 finished also the course of his life1 in the year #aefd1 rendering up his spirit to ,god in that most noble city which had enabled him for many years to live with so much success and so great a name4 ,giovanni was always1 but much more in his last years1 a ,god-fearing man and a good ,christian4 ,in his youth he took pleasure in scarcely any other thing but hunting and fowling2 and his custom when he was young was to go hunting on feast-days with his servant1 at times roaming over the ,campagna to a distance of ten miles from ,rome4 ,he could shoot very well with the fusil and the crossbow1 and therefore rarely returned home without his servant being laden with wild geese1 ringdoves1 wild ducks1 and other creatures such as are to be found in those marshy places4 ,giovanni1 so many declare1 was the inventor of the ox painted on canvas that is made for using in that pursuit1 so as to fire off the fusil without being seen by the wild creatures2 and on account of those exercises of hunting and fowling he always delighted to keep dogs and to train them by himself4 ,giovanni1 who deserves to be extolled among the greatest masters of his profession1 chose to be buried in the ,ritonda1 near his master ,raffaello da ,urbino1 in order not to be divided in death from him to whom in life his spirit was always attached2 and since1 as has been told1 each of them was an excellent ,christian1 it may be believed that they are still together in eternal blessedness4 ,,battista ,,franco ,,life ,,of ,,battista ,,franco ,,painter ,,of ,,venice ,battista ,franco of ,venice1 having given his attention in his early childhood to design1 went off at the age of twenty1 as one who aimed at perfection in that art1 to ,rome1 where1 after he had devoted himself for some time with much study to design1 and had seen the manner of various masters1 he resolved that he would not study or seek to imitate any other works but the drawings1 paintings1 and sculptures of ,michelagnolo2 wherefore1 having set himself to make research1 there remained no sketch1 study1 or even any thing copied by ,michelagnolo that he had not drawn4 ,wherefore no long time passed before he became one of the first draughtsmen who frequented the ,chapel of ,michelagnolo2 and1 what was more1 he would not for a time set himself to paint or to do any other thing but draw4 ,but in the year #aecf1 festive preparations of a grand and sumptuous kind being arranged by ,antonio da ,san ,gallo for the coming of the ,emperor ,charles ,v1 in which1 as has been related in another place1 all the craftsmen1 good and bad1 were employed1 ,raffaello da ,montelupo1 who had to execute the decorations of the ,ponte ,s4 ,angelo with the ten statues that were placed upon it1 having seen that ,battista was a young man of good parts and a finished draughtsman1 resolved to bring it about that he also should be employed1 and by hook or by crook to have some work given to him to do4 ,and so1 having spoken of this to ,san ,gallo1 he so contrived that ,battista was commissioned to execute in fresco four large scenes in chiaroscuro on the front of the ,porta ,capena1 now called the ,porta di ,s4 ,bastiano1 through which the ,emperor was to enter4 ,in that work ,battista1 without having hitherto touched colours1 executed over the gate the arms of ,pope ,paul ,,iii and those of the ,emperor ,charles1 with a ,romulus who was placing on the arms of the ,pontiff a ,papal crown1 and on those of the ,emperor an ,imperial crown2 which ,romulus1 a figure of five braccia1 dressed in the ancient manner1 with a crown on the head1 had on the right hand ,numa ,pompilius1 and on the left ,tullus ,hostilius1 and above him these words--,quirinus ,pater4 ,in one of the scenes that were on the faces of the towers standing on either side of the gate1 was the elder ,scipio triumphing over ,carthage1 which he had made tributary to the ,roman people2 and in the other1 on the right hand1 was the triumph of the younger ,scipio1 who had ruined and destroyed that same city4 ,in one of the two pictures that were on the exterior of the towers1 on the front side1 could be seen ,hannibal under the walls of ,rome1 driven back by the tempest1 and in the other1 on the left1 ,flaccus entering by that gate to succour ,rome against that same ,hannibal4 ,all these scenes and pictures1 being ,battista's first paintings1 and in comparison with those of the others1 were passing good and much extolled4 ,and1 if ,battista had begun from the first to paint and from time to time to practise using colours and handling brushes1 there is no doubt that he would have surpassed many craftsmen2 but his obstinate adherence to a certain opinion that many others hold1 who persuade themselves that draughtsmanship is enough for him who wishes to paint1 did him no little harm4 ,for all that1 however1 he acquitted himself much better than did some of those who executed the scenes on the arch of ,s4 ,marco1 on which there were eight scenes1 four on each side1 the best of which were painted partly by ,francesco ,salviati1 and partly by a certain ,martino#h and other young ,germans1 who had come to ,rome at that very time in order to learn4 ,nor will ,i omit to tell1 in this connection1 that the above-named ,martino1 who was very able in works in chiaroscuro1 executed some battle scenes with such boldness and such beautiful inventions in certain encounters and deeds of arms between ,christians and ,turks1 that nothing better could have been done4 ,and the marvellous thing was that ,martino and his assistants executed those canvases with such assiduity and rapidity1 in order that the work might be finished in time1 that they never quitted their labour2 and since drink1 and that good ,greco1 was continually being brought to them1 what with their being constantly drunk and inflamed with the heat of the wine1 and their facility in execution1 they achieved wonders4 ,wherefore1 when ,salviati1 ,battista1 and ,calavrese saw the work of these men1 they confessed that for him who wishes to be a painter it is necessary to begin to handle brushes in good time2 which matter having afterwards considered more carefully in his own mind1 ,battista began not to give so much study to finishing his drawings1 and at times to use colour4 ,footnote #h3 ,martin ,heemskerk4 ,montelupo then going to ,florence1 where1 in like manner1 very great preparations were being made for the reception of the above-named ,emperor1 ,battista went with him1 and when they arrived they found those preparations well on the way to completion2 but ,battista1 being set to work1 made a base all covered with figures and trophies for the statue on the ,canto de' ,carnesecchi that ,fra ,giovanni ,agnolo ,montorsoli had executed4 ,having therefore become known among the craftsmen as a young man of good parts and ability1 he was much employed afterwards at the coming of ,madama ,margherita of ,austria1 the wife of ,duke ,alessandro1 and particularly in the festive preparations that ,giorgio ,vasari made in the ,palace of ,messer ,ottaviano de' ,medici1 where that lady was to reside4 ,these festivities finished1 ,battista set himself to draw with the greatest industry the statues of ,michelagnolo that are in the new ,sacristy of ,s4 ,lorenzo1 to which at that time all the painters and sculptors of ,florence had flocked to draw and to work in relief2 and among these ,battista made no little proficience1 but1 nevertheless1 it was recognized that he had committed an error in never consenting to draw from the life and to use colours1 or to do anything but imitate statues and little else besides1 which had given his manner a hardness and dryness that he was not able to shake off1 nor could he prevent his works from having a hard and angular quality1 as may be seen from a canvas in which he depicted with much pains and labour the ,roman ,lucretia violated by ,tarquinius4 ,consorting thus with the others and frequenting that sacristy1 ,battista formed a friendship with the sculptor ,bartolommeo ,ammanati1 who was studying the works of ,buonarroti there in company with many others4 ,and of such a kind was that friendship1 that ,ammanati took ,battista into his house1 as well as ,genga of ,urbino1 and they lived thus in company for some time1 attending with much profit to the studies of art4 ,duke ,alessandro having then been done to death in the year #aecf1 and ,signor ,cosimo de' ,medici elected in his place1 many of the servants of the dead ,duke remained in the service of the new1 but others did not1 and among those who went away was the above-named ,giorgio ,vasari1 who returned to ,arezzo1 with the intention of having nothing more to do with ,courts1 having lost ,cardinal ,ippolito de' ,medici1 his first lord1 and then ,duke ,alessandro2 but he brought it about that ,battista was invited to serve ,duke ,cosimo and to work in his guardaroba1 where he painted in a large picture ,pope ,clement and ,cardinal ,ippolito1 copying them from a work by ,fra ,sebastiano and from one by ,tiziano1 and ,duke ,alessandro from a picture by ,pontormo4 ,this picture was not of that perfection that was expected2 but1 having seen in the same guardaroba the cartoon of the ,noli me tangere by ,michelagnolo1 which ,pontormo had previously executed in colours1 he set himself to make a cartoon like it1 but with larger figures2 which done1 he painted a picture from it wherein he acquitted himself much better in the colouring4 ,and the cartoon1 which he copied exactly after that of ,michelagnolo1 was executed with great patience and very beautiful4 ,the affair of ,monte ,murlo having then taken place1 in which the exiles and rebels hostile to the ,duke were routed and captured1 ,battista depicted with beautiful invention a scene of the battle fought there1 mingled with poetic fantasies of his own1 which was much extolled1 although there were recognized in the armed encounter and in the taking of the prisoners many things copied bodily from the works and drawings of ,buonarroti4 ,for the battle was in the distance1 and in the foreground were the huntsmen of ,ganymede1 who were standing there gazing at ,jove's ,eagle carrying the young man away into ,heaven2 which part ,battista took from the design of ,michelagnolo1 in order to use it to signify that the young ,duke had risen by the grace of ,god from the midst of his friends into ,heaven1 or some such thing4 ,this scene1 ,i say1 was first drawn by ,battista in a cartoon1 and then painted with supreme diligence in a picture2 and it is now1 together with his other works mentioned above1 in the upper apartments of the ,pitti ,palace1 which his most illustrious ,excellency has just caused to be completely finished4 ,having thus been engaged on these and some other works in the service of the ,duke1 until the time when he took to wife the ,lady ,donna ,leonora of ,toledo1 ,battista was next employed in the festive preparations for those nuptials1 on the triumphal arch at the ,porta al ,prato1 where ,ridolfo ,ghirlandajo caused him to execute some scenes of the actions of ,signor ,giovanni1 father of ,duke ,cosimo4 ,in one of these that lord could be seen passing the ,rivers ,po and ,adda1 in the presence of ,cardinal ,giulio de' ,medici1 who became ,pope ,clement ,,vii1 ,signor ,prospero ,colonna1 and other lords2 and in another was the scene of the delivering of ,san ,secondo4 ,on the other side ,battista painted in another scene the city of ,milan1 and around it the ,camp of the ,league1 which1 on departing1 the above-named ,signor ,giovanni leaves there4 ,on the right flank of the arch he painted on one side a picture of ,opportunity1 who1 having her tresses all unbound1 was offering them with one hand to ,signor ,giovanni1 and on the other side ,mars1 who was likewise offering him his sword4 ,in another scene under the arch1 by the hand of ,battista1 was ,signor ,giovanni fighting between the ,tesino and ,biegrassa upon the ,ponte ,rozzo1 defending it1 as it were like another ,horatius1 with incredible bravery4 ,opposite to this was the ,taking of ,caravaggio1 and in the centre of the battle ,signor ,giovanni1 who was passing fearlessly through fire and sword in the midst of the hostile army4 ,between the columns1 on the right hand1 there was in an oval ,garlasso1 taken by the same lord with a single company of soldiers1 and on the left hand1 between the two other columns1 the bastion of ,milan1 likewise taken from the enemy4 ,on the fronton1 which was at the back of anyone entering1 was the same ,signor ,giovanni on horseback under the walls of ,milan1 when1 tilting in single combat with a knight1 he ran him through from side to side with his lance4 ,above the great cornice1 which reached out to the other cornice1 on which the pediment rested1 in another large scene executed by ,battista with much diligence1 there was in the centre the ,emperor ,charles ,v1 who1 crowned with laurel1 was seated on a rock1 with the sceptre in his hand2 at his feet lay the ,river ,betis with a vase that poured water from two mouths1 and beside that figure was the ,river ,danube1 which1 with seven mouths1 was pouring its waters into the sea4 ,i shall not make mention here of the vast number of statues that accompanied the above-named pictures and others on that arch1 for the reason that it is enough for me at the present moment to describe that which concerns ,battista ,franco1 and it is not my office to give an account of all that was done by others in the festive preparations for those nuptials and described at great length2 besides which1 having spoken of the masters of those statues where the necessity arose1 it would be superfluous for me to say anything about them here1 and particularly because the statues are not now standing1 so that they cannot be seen and considered4 ,but to return to ,battista3 the best thing that he did for those nuptials was one of the ten above-mentioned pictures which were in the decorations in the great court of the ,medici ,palace1 wherein he painted in chiaroscuro ,duke ,cosimo invested with all the ,ducal insignia4 ,but1 for all the diligence that he used there1 he was surpassed by ,bronzino1 and by others who had less design than himself1 in invention1 in boldness1 and in the treatment of the chiaroscuro4 ,for1 as has been said before1 pictures must be executed with facility1 and the parts set in their places with judgment1 and without that effort and that labour which make things appear hard and crude2 besides which1 overmuch study often makes them come out heavy and dark1 and spoils them1 while lingering over them so long takes away the grace1 boldness and excellence that facility is wont to give them4 ,and these qualities1 although they come in great measure as gifts from nature1 can also in part be acquired by study and art4 ,having then been taken by ,ridolfo ,ghirlandajo to the ,madonna di ,vertigli in ,valdichiana 7which place was once attached to the ,monastery of the ,angeli1 of the ,order of ,camaldoli1 in ,florence1 and is now an independent body in place of the ,monastery of ,s4 ,benedetto1 which1 being without the ,porta a ,pinti1 was destroyed on account of the siege of ,florence71 ,battista painted there the scenes in the cloister already mentioned1 while ,ridolfo was executing the altar-piece and the ornaments of the high-altar4 ,these finished1 as has been related in the ,life of ,ridolfo1 they adorned with other pictures that holy place1 which is very celebrated and renowned for the many miracles that are wrought there by the ,virgin ,mother of the ,son of ,god4 ,battista then returned to ,rome1 at the very time when the ,judgment of ,michelagnolo had just been uncovered2 and1 being a zealous student of the manner and works of that master1 he gazed at it very gladly1 and in infinite admiration made drawings of it all4 ,and then1 having resolved to remain in ,rome1 at the commission of ,cardinal ,francesco ,cornaro--who had rebuilt the palace that he occupied beside ,s4 ,pietro1 which looks out on the portico in the direction of the ,camposanto--he painted over the stucco a loggia that looks towards the ,piazza1 making there a kind of grotesques all full of little scenes and figures2 which work1 executed with much labour and diligence1 was held to be very beautiful4 ,about the same time1 which was the year #aech1 ,francesco ,salviati1 having painted a scene in fresco in the ,company of the ,misericordia1 was to give it the final completion and to set his hand to others1 which many private citizens desired to have painted2 but1 by reason of the rivalry that there was between him and ,jacopo del ,conte1 nothing more was done2 which hearing1 ,battista sought to obtain by this means an opportunity to prove himself superior to ,francesco and the best master in ,rome2 and he so went to work1 employing his friends and other means1 that ,monsignor della ,casa1 after seeing a design by his hand1 allotted the work to him4 ,thereupon1 setting his hand to it1 he painted there in fresco ,s4 ,john the ,baptist taken at the command of ,herod and cast into prison4 ,but1 although this picture was executed with much labour1 it was not held to be equal by a great measure to that of ,salviati1 from its having been painted with very great effort and in a manner crude and melancholy1 while it had no order in the composition1 nor in a single part any of that grace and charm of colouring which ,francesco's work possessed4 ,and from this it may be concluded that those men are deceived who1 in pursuing this art1 give all their attention to executing well and with a good knowledge of muscles a torso1 an arm1 a leg1 or other member1 believing that a good grasp of that part is the whole secret2 for the reason that the part of a work is not the whole1 and only he carries it to perfect completion1 in a good and beautiful manner1 who1 after executing the parts well1 knows how to make them fit in due proportion into the whole1 and who1 moreover1 so contrives that the composition of the figures expresses and produces well and without confusion the effect that it should produce4 ,and1 above all1 care must be taken to make the heads vivacious1 spirited1 gracious1 and beautiful in the expressions1 the manner not crude1 and the nudes so tinted with black that they may have relief1 melting gradually into the distance according as may be required2 to say nothing of the perspective-views1 landscapes1 and other parts that good pictures demand1 nor that in making use of the works of others a man should proceed in such a manner that this may not be too easily recognized4 ,battista thus became aware too late that he had wasted time beyond all reason over the minuti of muscles and over drawing with too great diligence1 while paying no attention to the other fields of art4 ,illustration3 ,,tintoretto3 ,,bacchus ,,and ,,ariadne 7,venice3 ,doge's ,palace1 ,salon ,anticollegio4 ,canvas7 ,having finished that work1 which brought him little praise1 ,battista transferred himself by means of ,bartolommeo ,genga to the service of the ,duke of ,urbino1 to paint a very large vaulting in the church and chapel attached to the ,palace of ,urbino4 ,having arrived there1 he set himself straightway to make the designs according as the invention presented itself in the work1 without giving it any further thought and without making any compartments4 ,and so in imitation of the ,judgment of ,buonarroti1 he depicted in a ,heaven the ,glory of the ,saints1 who are dispersed over that vaulting on certain clouds1 with all the choirs of the ,angels about a ,madonna1 who1 having ascended into ,heaven1 is received by ,christ1 who is in the act of crowning her1 while in various separate groups stand the ,patriarchs1 the ,prophets1 the ,sibyls1 the ,apostles1 the ,martyrs1 the ,confessors1 and the ,virgins2 which figures1 in their different attitudes1 reveal their rejoicing at the advent of that ,glorious ,virgin4 ,this invention would certainly have given ,battista a great opportunity to prove himself an able master1 if he had chosen a better way1 not only making himself well-practised in fresco-colours1 but also proceeding with better order and judgment than he displayed in all his labour4 ,but he used in this work the same methods as in all his others1 for he made always the same figures1 the same countenances1 the same members1 and the same draperies2 besides which1 the colouring was without any charm1 and everything laboured and executed with difficulty4 ,when all was finished1 therefore1 it gave little satisfaction to ,duke ,guidobaldo1 ,genga1 and all the others who were expecting great things from that master1 equal to the beautiful design that he had shown to them in the beginning2 for1 in truth1 in making beautiful designs ,battista had no peer and could be called an able man4 ,which recognizing1 the ,duke thought that his designs would succeed very well if carried into execution by those who were fashioning vases of clay so excellently at ,castel ,durante1 for which they had availed themselves much of the prints of ,raffaello da ,urbino and other able masters2 and he caused ,battista to draw innumerable designs1 which1 when put into execution in that sort of clay1 the most kindly of all that there are in ,italy1 produced a rare result4 ,wherefore vases were made in such numbers and of as many kinds as would have sufficed to do honour to the credence of a ,king2 and the pictures that were painted on them would not have been better if they had been executed in oils by the most excellent masters4 ,of these vases1 which in the quality of the clay much resemble the kind that was wrought at ,arezzo in ancient times1 in the days of ,porsenna1 ,king of ,tuscany1 the above-named ,duke ,guidobaldo sent enough for a double credence to the ,emperor ,charles ,v1 and a set to ,cardinal ,farnese1 the brother of ,signora ,vittoria1 his consort4 ,and it is right that it should be known that of this kind of paintings on vases1 in so far as we can judge1 the ,romans had none1 for the vases of those times1 filled with the ashes of their dead or used for other purposes1 are covered with figures hatched and grounded with only one colour1 either black1 or red1 or white2 nor have they ever that lustrous glazing or that charm and variety of paintings which have been seen and still are seen in our own times4 ,nor can it be said that1 if perchance they did have such things1 the paintings have been consumed by time and by their having been buried1 for the reason that we see our own resisting the assaults of time and every other danger1 insomuch that it may even be said that they might remain four thousand years under the ground without the paintings being spoilt4 ,now1 although vases and paintings of that kind are made throughout all ,italy1 yet the best and most beautiful works in clay are those that are wrought1 as ,i have said1 at ,castel ,durante1 a place in the ,state of ,urbino1 and those of ,faenza1 the best of which are for the most part of a very pure white1 with few paintings1 and those in the centre or on the edges1 but delicate and pleasing enough4 ,but to return to ,battista3 for the nuptials of the above-mentioned ,lord ,duke and ,signora ,vittoria ,farnese1 which took place afterwards at ,urbino1 he1 assisted by his young men1 executed on the arches erected by ,genga1 who was the head of the festive preparations1 all the historical pictures that were painted upon them4 ,now1 since the ,duke doubted that ,battista would not finish in time1 the undertaking being very great1 he sent for ,giorgio ,vasari--who at that time was painting at ,rimini1 for the ,white ,friars of ,scolca1 of the ,order of ,monte ,oliveto1 a large chapel in fresco and an altar-piece in oils for their high-altar--to the end that he might go to the aid of ,genga and ,battista in those preparations4 ,but ,vasari1 feeling indisposed1 made his excuses to his ,excellency and wrote to him that he should have no doubt1 for the reason that the talents and knowledge of ,battista were such that he would have everything finished in time1 as indeed1 in the end1 he did4 ,giorgio then going1 after finishing his works at ,rimini1 to visit that ,duke and to make his excuses in person1 his ,excellency caused him to examine1 to the end that he might value it1 the above-mentioned chapel that had been painted by ,battista1 which ,vasari much extolled1 recommending the ability of that master1 who was largely rewarded by the great liberality of that lord4 ,illustration3 ,,the ,,pool ,,of ,,bethesda 7,after the painting by ,jacopo ,tintoretto4 ,venice3 ,s4 ,rocco7 ,anderson ,it is true1 however1 that ,battista was not at that time in ,urbino1 but in ,rome1 where he was engaged in drawing not only the statues but all the antiquities of that city1 and in making1 as he did1 a great book of them1 which was a praiseworthy work4 ,now1 while ,battista was giving his attention to drawing in ,rome1 ,messer ,giovanni ,andrea dell',anguillara1 a man truly distinguished in certain forms of poetry1 having got together a company of various choice spirits1 was causing very rich scenery and decorations to be prepared in the large hall of ,s4 ,apostolo1 in order to perform comedies by various authors before gentlemen1 lords1 and great persons4 ,he had caused seats to be made for the spectators of different ranks1 and for the ,cardinals and other great prelates he had prepared certain rooms from which1 through jalousies1 they could see and hear without being seen4 ,and since in that company there were painters1 sculptors1 architects1 and men who were to perform the dramas and to fulfil other offices1 ,battista and ,ammanati1 having been chosen of the company1 were given the charge of preparing the scenery1 with some stories and ornaments in painting1 which ,battista executed so well 7together with some statues that ,ammanati made71 that he was very highly extolled for them4 ,but the great expenses of that place exceeded the means available1 so that ,m4 ,giovanni ,andrea and the others were forced to remove the prospect-scene and the other ornaments from ,s4 ,apostolo and to convey them into the new ,temple of ,s4 ,biagio1 in the ,strada ,giulia4 ,there1 ,battista having once more arranged everything1 many comedies were performed with extraordinary satisfaction to the people and courtiers of ,rome2 and from this origin there sprang in time the players who travel around1 called the ,zanni4 ,after these things1 having come to the year #aeej1 ,battista executed in company with ,girolamo ,siciolante of ,sermoneta1 for ,cardinal di ,cesis1 on the faade of his palace1 the coat of arms of ,pope ,julius ,,iii1 who had been newly elected ,pontiff1 with three figures and some little boys1 which were much extolled4 ,that finished1 he painted in the ,minerva1 in a chapel built by a ,canon of ,s4 ,pietro and all adorned with stucco1 some stories of the ,madonna and of ,jesus ,christ in the compartments of the vaulting1 which were the best works that he had ever executed up to that time4 ,on one of the two walls he painted the ,nativity of ,jesus ,christ1 with some ,shepherds1 and ,angels that are singing over the hut1 and on the other the ,resurrection of ,christ1 with many soldiers in various attitudes about the ,sepulchre2 and above each of those scenes1 in certain lunettes1 he executed some large ,prophets4 ,and finally1 on the altar-wall1 he painted ,christ ,crucified1 ,our ,lady1 ,s4 ,john1 ,s4 ,dominic1 and some other ,saints in the niches2 in all which he acquitted himself very well and like an excellent master4 ,but since his earnings were scanty and the expenses of ,rome very great1 after having executed some works on cloth1 which had not much success1 he returned to his native country of ,venice1 thinking by a change of country to change also his fortune4 ,there1 by reason of his fine manner of drawing1 he was judged to be an able man1 and a few days afterwards he was commissioned to execute an altar-piece in oils for the ,chapel of ,mons4 ,barbaro1 ,patriarch-elect of ,aquileia1 in the ,church of ,s4 ,francesco della ,vigna2 in which he painted ,s4 ,john baptizing ,christ in the ,jordan1 in the air ,god the ,father1 at the foot two little boys who are holding the vestments of ,christ1 in the angles the ,annunciation1 and below these figures the semblance of a canvas superimposed1 with a good number of little nude figures of ,angels1 ,demons1 and ,souls in ,purgatory1 and with an inscription that runs--,in nomine ,jesu omne genuflectatur4 ,that work1 which was certainly held to be very good1 won him much credit and fame2 indeed1 it was the reason that the ,frati de' ,zoccoli1 who have their seat in that place1 and who have charge of the ,church of ,s4 ,giobbe in ,canareio1 caused him to paint in the ,chapel of the ,foscari1 in that ,church of ,s4 ,giobbe1 a ,madonna who is seated with the ,child in her arms1 with a ,s4 ,mark on one side and a female ,saint on the other1 and in the air some ,angels who are scattering flowers4 ,in ,s4 ,bartolommeo1 at the tomb of ,cristofano ,fuccheri1 a ,german merchant1 he executed a picture of ,abundance1 ,mercury1 and ,fame4 ,for ,m4 ,antonio della ,vecchia1 a ,venetian1 he painted in a picture with figures of the size of life and very beautiful ,christ crowned with ,thorns1 and about them some ,pharisees1 who are mocking ,him4 ,meanwhile there had been built of masonry in the ,palace of ,s4 ,marco1 after the design of ,jacopo ,sansovino1 as will be related in the proper place1 the staircase that leads from the first floor upwards1 and it had been adorned with various designs in stucco by the sculptor ,alessandro1 a disciple of ,sansovino2 and ,battista painted very minute grotesques over it all1 and in certain larger spaces a good number of figures in fresco1 which have been extolled not a little by the craftsmen1 and he then decorated the ceiling of the vestibule of that staircase4 ,not long afterwards1 when1 as has been related above1 three pictures were given to each of the best and most renowned painters of ,venice to paint for the ,library of ,s4 ,marco1 on the condition that he who should acquit himself best in the judgment of those ,magnificent ,senators was to receive1 in addition to the usual payment1 a chain of gold1 ,battista executed in that place three scenes1 with two ,philosophers between the windows1 and acquitted himself very well1 although he did not win the prize of honour1 as we said above4 ,after these works1 having received from the ,patriarch ,grimani the commission for a chapel in ,s4 ,francesco della ,vigna1 which is the first on the left hand entering into the church1 ,battista set his hand to it and began to make very rich designs in stucco over the whole vaulting1 with scenes of figures in fresco1 labouring there with incredible diligence4 ,but--whether it was his own carelessness1 or that he had executed some works1 perchance on very fresh walls1 as ,i have heard say1 at the villas of certain gentlemen--before he had that chapel finished1 he died1 and it remained incomplete4 ,it was finished afterwards by ,federigo ,zucchero of ,s4 ,agnolo in ,vado1 a young and excellent painter1 held to be among the best in ,rome1 who painted in fresco on the walls at the sides ,mary ,magdalene being converted by the ,preaching of ,christ and the ,raising of her brother ,lazarus1 which are pictures full of grace4 ,and1 when the walls were finished1 the same ,federigo painted in the altar-piece the ,adoration of the ,magi1 which was much extolled4 ,extraordinary credit and fame have come to ,battista1 who died in the year #aefa1 from his many printed designs1 which are truly worthy to be praised4 ,in the same city of ,venice and about the same time there lived1 as he still does1 a painter called ,jacopo ,tintoretto1 who has delighted in all the arts1 and particularly in playing various musical instruments1 besides being agreeable in his every action1 but in the matter of painting swift1 resolute1 fantastic1 and extravagant1 and the most extraordinary brain that the art of painting has ever produced1 as may be seen from all his works and from the fantastic compositions of his scenes1 executed by him in a fashion of his own and contrary to the use of other painters4 ,indeed1 he has surpassed even the limits of extravagance with the new and fanciful inventions and the strange vagaries of his intellect1 working at haphazard and without design1 as if to prove that art is but a jest4 ,this master at times has left as finished works sketches still so rough that the brush-strokes may be seen1 done more by chance and vehemence than with judgment and design4 ,he has painted almost every kind of picture in fresco and in oils1 with portraits from life1 and at every price1 insomuch that with these methods he has executed1 as he still does1 the greater part of the pictures painted in ,venice4 ,and since in his youth he proved himself by many beautiful works a man of great judgment1 if only he had recognized how great an advantage he had from nature1 and had improved it by reasonable study1 as has been done by those who have followed the beautiful manners of his predecessors1 and had not dashed his work off by mere skill of hand1 he would have been one of the greatest painters that ,venice has ever had4 ,not that this prevents him from being a bold and able painter1 and delicate1 fanciful1 and alert in spirit4 ,illustration3 ,,the ,,last ,,judgment 7,after the painting by ,jacopo ,tintoretto4 ,venice3 ,s4 ,maria dell',orto7 ,anderson ,now1 when it had been ordained by the ,senate that ,jacopo ,tintoretto and ,paolo ,veronese1 at that time young men of great promise1 should each execute a scene in the ,hall of the ,great ,council1 and ,orazio1 the son of ,tiziano1 another1 ,tintoretto painted in his scene ,frederick ,barbarossa being crowned by the ,pope1 depicting there a most beautiful building1 and about the ,pontiff a great number of ,cardinals and ,venetian gentlemen1 all portrayed from life1 and at the foot the ,pope's chapel of music4 ,in all this he acquitted himself in such a manner1 that the picture can bear comparison with those of the others1 not excepting that of the above-named ,orazio1 in which is a battle that was fought at ,rome between the ,germans of that ,frederick and the ,romans1 near the ,castello di ,s4 ,angelo and the ,tiber4 ,in this picture1 among other things1 is a horse in foreshortening1 leaping over a soldier in armour1 which is most beautiful2 but some declare that ,orazio was assisted in the work by his father ,tiziano4 ,beside these ,paolo ,veronese1 of whom there has been an account in the ,life of ,michele ,san ,michele1 painted in his scene the same ,frederick ,barbarossa presenting himself at ,court and kissing the hand of ,pope ,ottaviano1 to the despite of ,pope ,alexander ,,iii2 and1 in addition to that scene1 which was very beautiful1 ,paolo painted over a window four large figures3 ,time1 ,union1 with a bundle of rods1 ,patience1 and ,faith1 in which he acquitted himself better than ,i could express in words4 ,not long afterwards1 another scene being required in that hall1 ,tintoretto so went to work with the aid of friends and other means1 that it was given to him to paint2 whereupon he executed it in such a manner that it was a marvel1 and that it deserves to be numbered among the best things that he ever did1 so powerful in him was his determination that he would equal1 if not vanquish and surpass1 his rivals who had worked in that place4 ,and the scene that he painted there--to the end that it may be known also by those who are not of the art--was ,pope ,alexander excommunicating and interdicting ,barbarossa1 and that ,frederick therefore forbidding his subjects to render obedience any longer to the ,pontiff4 ,and among other fanciful things that are in this scene1 that part is most beautiful in which the ,pope and the ,cardinals are throwing down torches and candles from a high place1 as is done when some person is excommunicated1 and below is a rabble of nude figures that are struggling for those torches and candles--the most lovely and pleasing effect in the world4 ,besides all this1 certain bases1 antiquities1 and portraits of gentlemen that are dispersed throughout the scene1 are executed very well1 and won him favour and fame with everyone4 ,he therefore painted1 for places below the work of ,pordenone in the principal chapel of ,s4 ,rocco1 two pictures in oils as broad as the width of the whole chapel--namely1 about twelve braccia each4 ,in one he depicted a view in perspective as of a hospital filled with beds and sick persons in various attitudes who are being healed by ,s4 ,rocco2 and among these are some nude figures very well conceived1 and a dead body in foreshortening that is very beautiful4 ,in the other is a story likewise of ,s4 ,rocco1 full of most graceful and beautiful figures1 and such1 in short1 that it is held to be one of the best works that this painter has executed4 ,in a scene of the same size1 in the centre of the church1 he painted ,jesus ,christ healing the impotent man at the ,pool of ,bethesda1 which is also a work held to be passing good4 ,illustration3 ,,the ,,miracle ,,of ,s4 ,,mark 7,from the painting by ,jacopo ,tintoretto4 ,venice3 ,accademia7 ,alinari ,in the ,church of ,s4 ,maria dell',orto1 where1 as has been told above1 ,cristofano and his brother1 painters of ,brescia1 painted the ceiling1 ,tintoretto has painted--that is1 on canvas and in oils--the two walls of the principal chapel1 which are twenty-two braccia in height from the vaulting to the cornice at the foot4 ,in that which is on the right hand he has depicted ,moses returning from the ,mount1 where he had received the ,laws from ,god1 and finding the people worshipping the ,golden ,calf2 and opposite to that1 in the other1 is the ,universal ,judgment of the last day1 painted with an extravagant invention that truly has in it something awesome and terrible1 by reason of the diversity of figures of either sex and all ages that are there1 with vistas and distant views of the souls of the blessed and the damned4 ,there1 also1 may be seen the boat of ,charon1 but in a manner so different from that of others1 that it is a thing beautiful and strange4 ,if this fantastic invention had been executed with correct and well-ordered drawing1 and if the painter had given diligent attention to the parts and to each particular detail1 as he has done to the whole in expressing the confusion1 turmoil1 and terror of that day1 it would have been a most stupendous picture4 ,and whoever glances at it for a moment1 is struck with astonishment2 but1 considering it afterwards minutely1 it appears as if painted as a jest4 ,the same master has painted in oils in that church1 on the doors of the organ1 ,our ,lady ascending the steps of the ,temple1 which is a highly-finished work1 and the best-executed and most gladsome picture that there is in that place4 ,in ,s4 ,maria ,zebenigo1 likewise on the doors of the organ1 he has painted the ,conversion of ,s4 ,paul1 but not with much care4 ,in the ,carit is an altar-piece by his hand1 of ,christ taken down from the ,cross2 and in the ,sacristy of ,s4 ,sebastiano1 in competition with ,paolo ,veronese1 who executed many pictures on the ceiling and the walls of that place1 he painted over the presses ,moses in the ,desert and other scenes1 which were continued afterwards by ,natalino1 a ,venetian painter1 and by others4 ,the same ,tintoretto then painted for the altar of the ,piet1 in ,s4 ,giobbe1 three ,maries1 ,s4 ,francis1 ,s4 ,sebastian1 and ,s4 ,john1 with a piece of landscape2 and1 on the organ-doors in the ,church of the ,servites1 ,s4 ,augustine and ,s4 ,philip1 and beneath them ,cain killing his brother ,abel4 ,at the altar of the ,sacrament in ,s4 ,felice1 or rather1 on the ceiling of the tribune1 he painted the four ,evangelists2 and in the lunette above the altar an ,annunciation1 in the other lunette ,christ praying on the ,mount of ,olives1 and on the wall the ,last ,supper that ,he had with ,his ,apostles4 ,and in ,s4 ,francesco della ,vigna1 on the altar of the ,deposition from the ,cross1 there is by the same hand the ,madonna in a swoon1 with the other ,maries and some ,prophets4 ,in the ,scuola of ,s4 ,marco1 near ,,ss4 ,giovanni e ,polo1 are four large scenes by his hand4 ,in one of these is ,s4 ,mark1 who1 appearing in the air1 is delivering one who is his votary from many torments that may be seen prepared for him with various instruments of torture1 which being broken1 the executioner was never able to employ them against that devout man2 and in that scene is a great abundance of figures1 foreshortenings1 pieces of armour1 buildings1 portraits1 and other suchlike things1 which render the work very ornate4 ,in the second is a tempest of the sea1 and ,s4 ,mark1 likewise in the air1 delivering another of his votaries2 but that scene is by no means executed with the same diligence as that already described4 ,in the third is a storm of rain1 with the dead body of another of ,s4 ,mark's votaries1 and his soul ascending into ,heaven2 and there1 also1 is a composition of passing good figures4 ,in the fourth1 wherein an evil spirit is being exorcised1 he counterfeited in perspective a great loggia1 and at the end of it a fire that illumines it with many reflections4 ,and in addition to those scenes there is on the altar a ,s4 ,mark by the same hand1 which is a passing good picture4 ,these works1 then1 and many others that are here passed over1 it being enough to have made mention of the best1 have been executed by ,tintoretto with such rapidity1 that1 when it was thought that he had scarcely begun1 he had finished4 ,and it is a notable thing that with the most extravagant ways in the world1 he has always work to do1 for the reason that when his friendships and other means are not enough to obtain for him any particular work1 even if he had to do it1 ,i do not say at a low price1 but without payment or by force1 in one way or another1 do it he would4 ,and it is not long since1 ,tintoretto having executed the ,passion of ,christ in a large picture in oils and on canvas for the ,scuola of ,s4 ,rocco1 the men of that ,company resolved to have some honourable and magnificent work painted on the ceiling above it1 and therefore to allot that commission to that one among the painters that there were in ,venice who should make the best and most beautiful design4 ,having therefore summoned ,joseffo ,salviati1 ,federigo ,zucchero1 who was in ,venice at that time1 ,paolo ,veronese1 and ,jacopo ,tintoretto1 they ordained that each of them should make a design1 promising the work to him who should acquit himself best in this4 ,while the others1 then1 were engaged with all possible diligence in making their designs1 ,tintoretto1 having taken measurements of the size that the work was to be1 sketched a great canvas and painted it with his usual rapidity1 without anyone knowing about it1 and then placed it where it was to stand4 ,whereupon1 the men of the ,company having assembled one morning to see the designs and to make their award1 they found that ,tintoretto had completely finished the work and had placed it in position4 ,at which being angered against him1 they said that they had called for designs and had not commissioned him to execute the work2 but he answered them that this was his method of making designs1 that he did not know how to proceed in any other manner1 and that designs and models of works should always be after that fashion1 so as to deceive no one1 and that1 finally1 if they would not pay him for the work and for his labour1 he would make them a present of it4 ,and after these words1 although he had many contradictions1 he so contrived that the work is still in the same place4 ,in this canvas1 then1 there is painted a ,heaven with ,god the ,father descending with many ,angels to embrace ,s4 ,rocco1 and in the lowest part are many figures that signify1 or rather1 represent the other principal ,scuole of ,venice1 such as the ,carit1 ,s4 ,giovanni ,evangelista1 the ,misericordia1 ,s4 ,marco1 and ,s4 ,teodoro1 all executed after his usual manner4 ,but since it would be too long a task to enumerate all the pictures of ,tintoretto1 let it be enough to have spoken of the above-named works of that master1 who is a truly able man and a painter worthy to be praised4 ,illustration3 ,,the ,,apotheosis ,,of ,s4 ,,rocco 7,after the painting by ,jacopo ,tintoretto4 ,venice3 ,scuola di ,s4 ,rocco7 ,anderson ,there was in ,venice about this same time a painter called ,brazzacco1 a protg of the house of ,grimani1 who had been many years in ,rome2 and he was commissioned by favour to paint the ceiling in the ,great ,hall of the ,chiefs of the ,council of ,ten4 ,but this master1 knowing that he was not able to do it by himself and that he had need of assistance1 took as companions ,paolo ,veronese and ,battista ,farinato1 dividing between himself and them nine pictures in oils that were destined for that place--namely1 four ovals at the corners1 four oblong pictures1 and a larger oval in the centre4 ,giving the last-named oval1 with three of the oblong pictures1 to ,paolo ,veronese1 who painted therein a ,jove who is hurling his thunderbolts against the ,vices1 and other figures1 he took for himself two of the smaller ovals1 with one of the oblong pictures1 and gave two ovals to ,battista4 ,in one of these pictures is ,neptune1 the ,god of the ,sea1 and in each of the others two figures demonstrating the greatness and the tranquil and peaceful condition of ,venice4 ,now1 although all three of them acquitted themselves well1 ,paolo ,veronese succeeded better than the others1 and well deserved1 therefore1 that those ,signori should afterwards allot to him the other ceiling that is beside the above-named hall1 wherein he painted in oils1 in company with ,battista ,farinato1 a ,s4 ,mark supported in the air by some ,angels1 and lower down a ,venice surrounded by ,faith1 ,hope1 and ,charity2 which work1 although it was beautiful1 was not equal in excellence to the first4 ,paolo afterwards executed by himself in the ,umilt1 in a large oval of the ceiling1 an ,assumption of ,our ,lady with other figures1 which was a gladsome1 beautiful1 and well-conceived picture4 ,likewise a good painter in our own day1 in that city1 has been ,andrea ,schiavone2 ,i say good1 because at times1 for all his misfortunes1 he has produced some good work1 and because he has always imitated as well as he has been able the manners of the good masters4 ,but1 since the greater part of his works have been pictures that are dispersed among the houses of gentlemen1 ,i shall speak only of some that are in public places4 ,in the ,chapel of the family of ,pellegrini1 in the ,church of ,s4 ,sebastiano at ,venice1 he has painted a ,s4 ,james with two ,pilgrims4 ,in the ,church of the ,carmine1 on the ceiling of the choir1 he has executed an ,assumption with many ,angels and ,saints2 and in the ,chapel of the ,presentation1 in the same church1 he has painted the ,infant ,christ presented by ,his ,mother in the ,temple1 with many portraits from life1 but the best figure that is there is a woman suckling a child and wearing a yellow garment1 who is executed in a certain manner that is used in ,venice--dashed off1 or rather1 sketched1 without being in any respect finished4 ,him ,giorgio ,vasari caused in the year #aedj to paint on a large canvas in oils the battle that had been fought a short time before between ,charles ,v and ,barbarossa2 and that work1 which is one of the best that ,andrea ,schiavone ever executed1 and truly very beautiful1 is now in ,florence1 in the house of the heirs of the ,magnificent ,m4 ,ottaviano de' ,medici1 to whom it was sent as a present by ,vasari4 ,,giovan ,,francesco ,,rustici ,,life ,,of ,,giovan ,,francesco ,,rustici ,,sculptor ,,and ,,architect ,,of ,,florence ,it is in every way a notable thing that all those who were of the school in the garden of the ,medici1 and were favoured by the ,magnificent ,lorenzo the ,elder1 became without exception supremely excellent2 which circumstance cannot have come from any other cause but the great1 nay1 infinite judgment of that most noble lord1 the true ,mcenas of men of talent1 who1 even as he was able to recognize men of lofty spirit and genius1 was also both willing and able to recompense and reward them4 ,thus ,giovan ,francesco ,rustici1 a ,florentine citizen1 acquitting himself very well in drawing and working in clay in his boyhood1 was placed by that ,magnificent ,lorenzo1 who recognized him as a boy of spirit and of good and beautiful genius1 to learn under ,andrea del ,verrocchio1 with whom there was also working ,leonardo da ,vinci1 a rare youth and gifted with infinite parts4 ,whereupon ,rustici1 being pleased by the beautiful manner and ways of ,leonardo1 and considering that the expressions of his heads and the movements of his figures were more graceful and more spirited than those of any other works that he had ever seen1 attached himself to him1 after he had learned to cast in bronze1 to draw in perspective1 and to work in marble1 and after ,andrea had gone to work in ,venice4 ,rustici thus living with ,leonardo and serving him with the most loving submission1 ,leonardo conceived such an affection for him1 recognizing him to be a young man of good1 true1 and liberal mind1 patient and diligent in the labours of art1 that he did nothing1 either great or small1 save what was pleasing to ,giovan ,francesco1 who1 besides being of a noble family1 had the means to live honourably1 and therefore practised art more for his own delight and from desire of glory than for gain4 ,and1 to tell the truth of the matter1 those craftsmen who have as their ultimate and principal end gain and profit1 and not honour and glory1 rarely become very excellent1 even although they may have good and beautiful genius2 besides which1 labouring for a livelihood1 as very many do who are weighed down by poverty and their families1 and working not by inclination1 when the mind and the will are drawn to it1 but by necessity from morning till night1 is a life not for men who have honour and glory as their aim1 but for hacks1 as they are called1 and manual labourers1 for the reason that good works do not get done without first having been well considered for a long time4 ,and it was on that account that ,rustici used to say in his more mature years that you must first think1 then make your sketches1 and after that your designs2 which done1 you must put them aside for weeks and even months without looking at them1 and then1 choosing the best1 put them into execution2 but that method cannot be followed by everyone1 nor do those use it who labour only for gain4 ,and he used to say1 also1 that works should not be shown readily to anyone before they are finished1 so that a man may change them as many times and in as many ways as he wishes1 without any scruple4 ,giovan ,francesco learned many things from ,leonardo1 but particularly how to represent horses1 in which he so delighted that he fashioned them of clay and of wax1 in the round or in low-relief1 and in as many manners as could be imagined2 and of these there are some to be seen in our book which are so well drawn1 that they bear witness to the knowledge and art of ,giovan ,francesco4 ,he knew also how to handle colours1 and executed some passing good pictures1 although his principal profession was sculpture4 ,and since he lived for a time in the ,via de' ,martelli1 he became much the friend of all the men of that family1 which has always had men of the highest ability and worth1 and particularly of ,piero1 for whom1 being the nearest to his heart1 he made some little figures in full-relief1 and1 among others1 a ,madonna with the ,child in her arms seated upon some clouds that are covered with ,cherubim4 ,similar to that is another that he painted after some time in a large picture in oils1 with a garland of ,cherubim that form a diadem around the head of ,our ,lady4 ,the ,medici family having then returned to ,florence1 ,rustici made himself known to ,cardinal ,giovanni as the protg of his father ,lorenzo1 and was received with much lovingness4 ,but1 since the ways of the ,court did not please him and were distasteful to his nature1 which was altogether simple and peaceful1 and not full of envy and ambition1 he would always keep to himself and live the life as it were of a philosopher1 enjoying tranquil peace and repose4 ,and although he did at times choose to take some recreation1 and found himself among his friends in art or some citizens who were his intimate companions1 he did not therefore cease to work when the desire came to him or the occasion presented itself4 ,wherefore1 for the visit of ,pope ,leo to ,florence in the year #aeae1 at the request of ,andrea del ,sarto1 who was much his friend1 he executed some statues that were held to be very beautiful2 which statues1 since they pleased ,cardinal ,giulio de' ,medici1 were the reason that the ,cardinal caused him to make1 for the summit of the fountain that is in the great court of the ,palace of the ,medici1 the nude ,mercury of bronze about one braccio in height1 standing on a ball in the act of taking flight4 ,in the hands of that figure ,rustici placed an instrument that is made to revolve by the water that it pours down from above1 in the following manner3 one leg being perforated1 a pipe passes through it and through the torso1 and the water1 having risen to the mouth of the figure1 falls upon that instrument1 which is balanced with four thin plates fixed after the manner of a butterfly1 and causes it to revolve4 ,that figure1 ,i say1 for a small work1 was much extolled4 ,not long afterwards1 ,giovan ,francesco made for the same ,cardinal the model for a ,david to be cast in bronze 7similar to that executed by ,donato1 as has been related1 for the elder ,cosimo1 the ,magnificent71 for placing in the first court1 whence the other had been taken away4 ,that model gave much satisfaction1 but1 by reason of a certain dilatoriness in ,giovan ,francesco1 it was never cast in bronze2 wherefore the ,orpheus in marble of ,bandinelli was placed there1 and the ,david of clay made by ,rustici1 which was a very rare work1 came to an evil end1 which was a very great loss4 ,giovan ,francesco made an ,annunciation in half-relief in a large medallion1 with a most beautiful perspective-view1 in which he was assisted by the painter ,raffaello ,bello and by ,niccol ,soggi4 ,this1 when cast in bronze1 proved to be a work of such rare beauty1 that there was nothing more beautiful to be seen2 and it was sent to the ,king of ,spain4 ,and then he executed in marble1 in another similar medallion1 a ,madonna with the ,child in her arms and ,s4 ,john the ,baptist as a little boy1 which was placed in the first hall in the residence of the ,consuls of the ,guild of ,por ,santa ,maria4 ,by these works ,giovan ,francesco came into great credit1 and the ,consuls of the ,guild of ,merchants1 who had caused to be removed certain clumsy figures of marble that were over the three doors of the ,temple of ,s4 ,giovanni 7made1 as has been related1 in the year #abdj71 after allotting to ,contucci of ,sansovino those that were to be set up in place of the old ones over the door that faces towards the ,misericordia1 allotted to ,rustici those that were to be placed over the door that faces towards the canonical buildings of that temple1 on the condition that he should make three figures of bronze of four braccia each1 representing the same persons as the old ones--namely1 ,s4 ,john in the act of preaching1 standing between a ,pharisee and a ,levite4 ,that work was much after the heart of ,giovan ,francesco1 because it was to be set up in a place so celebrated and of such importance1 and1 besides this1 by reason of the competition with ,andrea ,contucci4 ,having therefore straightway set his hand to it and made a little model1 which he surpassed in the excellence of the work itself1 he showed all the consideration and diligence that such a labour required4 ,when finished1 the work was held to be in all its parts the best composed and best conceived of its kind that had been made up to that time1 the figures being wholly perfect and wrought with great grace of aspect and also extraordinary force4 ,in like manner1 the nude arms and legs are very well conceived1 and attached at the joints so excellently1 that it would not be possible to do better2 and1 to say nothing of the hands and feet1 what graceful attitudes and what heroic gravity have those heads6 ,illustration3 ,s4 ,,john ,,preaching 7,after the bronze by ,giovan ,francesco ,rustici4 ,florence3 ,the ,baptistery7 ,alinari ,giovan ,francesco1 while he was fashioning that work in clay1 would have no one about him but ,leonardo da ,vinci1 who1 during the making of the moulds1 the securing them with irons1 and1 in short1 until the statues were cast1 never left his side2 wherefore some believe1 but without knowing more than this1 that ,leonardo worked at them with his own hand1 or at least assisted ,giovan ,francesco with his advice and good judgment4 ,these statues1 which are the most perfect and the best conceived that have ever been executed in bronze by a modern master1 were cast in three parts and polished in the above-mentioned house in the ,via de' ,martelli where ,giovan ,francesco lived2 and so1 also1 the ornaments of marble that are about the ,s4 ,john1 with the two columns1 the mouldings1 and the emblem of the ,guild of ,merchants4 ,in addition to the ,s4 ,john1 which is a spirited and lively figure1 there is a bald man inclined to fatness1 beautifully wrought1 who1 having rested the right arm on one flank1 with part of a shoulder naked1 and with the left hand holding a scroll before his eyes1 has the left leg crossed over the right1 and stands in an attitude of deep contemplation1 about to answer ,s4 ,john2 and he is clothed in two kinds of drapery1 one delicate1 which floats over the nude parts of the figure1 and over that a mantle of thicker texture1 executed with a flow of folds full of mastery and artistry4 ,equal to him is the ,pharisee1 who1 having laid his right hand on his beard1 with a grave gesture1 is drawing back a little1 revealing astonishment at the words of ,john4 ,while ,rustici was executing that work1 growing weary at last of having to ask for money every day from those ,consuls or their agents1 who were not always the same 7and such persons are generally men who hold art or any work of value in little account71 he sold1 in order to be able to finish the work1 a farm out of his patrimony that he possessed at ,san ,marco ,vecchio1 at a short distance from ,florence4 ,and yet1 notwithstanding such labours1 expenses1 and pains1 he was poorly remunerated for it by the ,consuls and by his fellow-citizens1 for the reason that one of the ,ridolfi1 the head of that ,guild1 out of some private spite1 and perchance also because ,rustici had not paid him enough honour or allowed him to see the figures at his convenience1 was always opposed to him in everything4 ,and so that which should have resulted in honour for ,giovan ,francesco did the very opposite1 for1 whereas he deserved to be esteemed not only as a nobleman and a citizen but also as a master of art1 his being a most excellent craftsman robbed him1 with the ignorant and foolish1 of all that was due to his noble blood4 ,thus1 when ,giovan ,francesco's work was to be valued1 and he had chosen on his side ,michelagnolo ,buonarroti1 the body of ,consuls1 at the persuasion of ,ridolfi1 chose ,baccio d',agnolo2 at which ,rustici complained1 saying to the men of that body1 at the audience1 that it was indeed something too strange that a worker in wood should have to value the labours of a statuary1 and he as good as declared that they were a herd of oxen1 but ,ridolfi answered that1 on the contrary1 it was a good choice1 and that ,giovan ,francesco was a swollen bladder of pride and arrogance4 ,and1 what was worse1 that work1 which deserved not less than two thousand crowns1 was valued by the ,consuls at five hundred1 and even those were not paid to him in full1 but only four hundred1 and that only with the help of ,cardinal ,giulio de' ,medici4 ,having met with such malignity1 ,giovan ,francesco withdrew almost in despair1 determined that he would never again do work for public bodies1 or in any undertaking where he might have to depend on more than one citizen or any other single person4 ,and so1 keeping to himself and leading a solitary life in his rooms at the ,sapienza1 near the ,servite ,friars1 he continued to work at various things1 in order to pass the time and not to live in idleness2 but also consuming his life and his money in seeking to congeal mercury1 in company with a man of like brain called ,raffaello ,baglioni4 ,giovan ,francesco painted a picture in oils three braccia in breadth and two in height1 of the ,conversion of ,s4 ,paul1 full of different kinds of horses ridden by the soldiers of that ,saint1 with various beautiful attitudes and foreshortenings2 which painting1 together with many other works by the hand of the same master1 is in the possession of the heirs of the above-named ,piero ,martelli1 to whom he gave it4 ,in a little picture he painted a hunting-scene full of various animals1 which is a very bizarre and pleasing work2 and it now belongs to ,lorenzo ,borghini1 who holds it dear1 as one who much delights in the treasures of our arts4 ,for the ,nuns of ,s4 ,luca1 in the ,via di ,s4 ,gallo1 he executed in clay1 in half-relief1 a ,christ in the ,garden who is appearing to ,mary ,magdalene1 which was afterwards glazed by ,giovanni della ,robbia and placed on an altar in the church of those sisters1 within an ornament of grey sandstone4 ,for ,jacopo ,salviati the elder1 of whom he was much the friend1 he made a most beautiful medallion of marble1 containing a ,madonna1 for the chapel in his palace above the ,ponte alla ,badia1 and1 round the courtyard1 many medallions filled with figures of terra-cotta1 together with other very beautiful ornaments1 which were for the most part1 nay1 almost all1 destroyed by the soldiers in the year of the siege1 when the palace was set on fire by the party hostile to the ,medici4 ,and since ,giovan ,francesco had a great affection for that place1 he would set out at times from ,florence to go there just as he was1 in his lucco2#i and once out of the city he would throw it over his shoulder and slowly wander all by himself1 lost in contemplation1 until he was there4 ,one day among others1 being on that road1 and the day being hot1 he hid the lucco in a thicket of thorn-bushes1 and1 having reached the palace1 had been there two days before he remembered it4 ,in the end1 sending his man to look for it1 when he saw that he had found it he said3 ,the world is too good to last long4 ,footnote #i3 ,a long gown worn by the ,florentine citizens1 particularly on occasions of ceremony4 ,giovan ,francesco was a man of surpassing goodness1 and very loving to the poor1 insomuch that he would never let anyone leave him uncomforted2 nay1 keeping his money1 whether he had much or little1 in a basket1 he would give some according to his ability to anyone who asked of him4 ,wherefore a poor man who often went to him for alms1 seeing him go always to that basket1 said1 not thinking that he could be heard3 ,ah6 ,god6 if ,i had in my own room all that is in that basket1 ,i would soon settle all my troubles4 ,giovan ,francesco1 hearing him1 said1 after gazing at him fixedly a while3 ,come here1 ,i will satisfy you4 ,and then1 emptying the basket into a fold of his cloak1 he said to him3 ,go1 and may ,god bless you4 ,and shortly afterwards he sent to ,niccol ,buoni1 his dearest friend1 who managed all his affairs1 for more money2 which ,niccol1 who kept an account of his crops and of his money in the ,monte1 and sold his produce at the proper seasons1 made a practice1 according to ,rustici's own wish1 of giving him so much money every week1 which ,giovan ,francesco then kept in the drawer of his desk1 without a key1 and from time to time anyone who wished would take some to spend on the requirements of the household1 according as might be necessary4 ,but to return to his works3 ,giovan ,francesco made a most beautiful ,crucifix of wood1 as large as life1 for sending to ,france1 but it was left with ,niccol ,buoni1 together with other things in low-relief and drawings1 which are now in his possession1 at the time when ,rustici resolved to leave ,florence1 believing that it was no place for him and thinking by a change of country to obtain a change of fortune4 ,for ,duke ,giuliano1 by whom he was always much favoured1 he made a profile of his head in half-relief1 and cast it in bronze2 and this1 which was held to be a remarkable work1 is now in the house of ,m4 ,alessandro1 the son of ,m4 ,ottaviano de' ,medici4 ,to the painter ,ruberto di ,filippo ,lippi1 who was his disciple1 ,giovan ,francesco gave many works by his own hand1 such as low-reliefs1 models1 and designs2 and1 among other things1 several pictures--a ,leda1 a ,europa1 a ,neptune1 a very beautiful ,vulcan1 and another little panel in low-relief wherein is a nude man on horseback of great beauty1 which panel is now in the study of ,don ,silvano ,razzi1 at the ,angeli4 ,the same ,giovan ,francesco made a very beautiful woman in bronze1 two braccia in height1 representing one of the ,graces1 who was pressing one of her breasts2 but it is not known what became of it1 nor in whose possession it is to be found4 ,of his horses in clay with men on their backs or under them1 similar to those already mentioned1 there are many in the houses of citizens1 which were presented by him to his various friends1 for he was very courteous1 and not1 like most men of his class1 mean and discourteous4 ,and ,dionigi da ,diacceto1 an excellent and honourable gentleman1 who also kept the accounts of ,giovan ,francesco1 like ,niccol ,buoni1 and was his friend1 had from him many low-reliefs4 ,there never was a man more amusing or fanciful than ,giovan ,francesco1 nor one that delighted more in animals4 ,he had made a porcupine so tame1 that it stayed under the table like a dog1 and at times it rubbed against people's legs in such a manner1 that they drew them in very quickly4 ,he had an eagle1 and also a raven that said a great number of things so clearly1 that it was just like a human being4 ,he also gave his attention to the study of necromancy1 and by means of that ,i am told that he gave strange frights to his servants and assistants2 and thus he lived without a care4 ,having built a room almost in the manner of a fish-pond1 and keeping in it many serpents1 or rather1 grass-snakes1 which could not escape1 he used to take the greatest pleasure in standing1 particularly in summer1 to observe the mad pranks that they played1 and their fury4 ,there used to assemble in his rooms at the ,sapienza a company of good fellows who called themselves the ,company of the ,paiuolo2#aj and these1 whose numbers were limited to twelve1 were our ,giovan ,francesco1 ,andrea del ,sarto1 the painter ,spillo1 ,domenico ,puligo1 the goldsmith ,robetta1 ,aristotile da ,san ,gallo1 ,francesco di ,pellegrino1 ,niccol ,buoni1 ,domenico ,baccelli1 who played and sang divinely1 the sculptor ,solosmeo1 ,lorenzo called ,guazzetto1 and the painter ,ruberto di ,filippo ,lippi1 who was their proveditor4 ,each of these twelve could bring to certain suppers and entertainments of theirs four friends and no more4 ,the manner of the suppers1 which ,i am very willing to describe because these companies have fallen almost entirely out of fashion1 was that each man should bring some dish for supper1 prepared with some beautiful invention1 which1 on arriving at the proper place1 he presented to the master of the feast1 who was always one of their number1 and who then gave it to whomsoever he pleased1 each man thus exchanging his dish for that of another4 ,when they were at table1 they all offered each other something from their dishes1 and every man partook of everything2 and whoever had hit on the same invention for his dish as another1 and had produced the same thing1 was condemned to pay a penalty4 ,footnote #aj3 ,cooking-pot or cauldron4 ,one evening1 then1 when ,giovan ,francesco gave a supper to that ,company of the ,paiuolo1 he arranged that there should serve as a table an immense cauldron made with a vat1 within which they all sat1 and it appeared as if they were in the water of the cauldron1 in the centre of which came the viands arranged in a circle2 and the handle of the cauldron1 which curved like a crescent above them1 gave out a most beautiful light from the centre1 so that1 looking round1 they all saw each other face to face4 ,now1 when they were all seated at table in the cauldron1 which was most beautifully contrived1 there issued from the centre a tree with many branches1 which set before them the supper1 that is1 the first course of viands1 two to each plate4 ,this done1 it descended once more below1 where there were persons who played music1 and in a short time came up again and presented the second course1 and then the third1 and so on in due order1 while all around were servants who poured out the choicest wines4 ,the invention of the cauldron1 which was beautifully adorned with hangings and pictures1 was much extolled by the men of that company4 ,for that evening the contribution of ,rustici was a cauldron in the form of a pie1 in which was ,ulysses dipping his father in order to make him young again2 which two figures were boiled capons that had the form of men1 so well were the limbs arranged1 and all with various things good to eat4 ,andrea del ,sarto presented an octagonal temple1 similar to that of ,s4 ,giovanni1 but raised upon columns4 ,the pavement was a vast plate of jelly1 with a pattern of mosaic in various colours2 the columns1 which had the appearance of porphyry1 were sausages1 long and thick2 the socles and capitals were of ,parmesan cheese2 the cornices of sugar1 and the tribune was made of sections of marchpane4 ,in the centre was a choir-desk made of cold veal1 with a book of lasagne#aa that had the letters and notes of the music made of pepper-corns2 and the singers at the desk were cooked thrushes standing with their beaks open1 and with certain little shirts after the manner of surplices1 made of fine cauls of pigs1 and behind them1 for the basses1 were two fat young pigeons1 with six ortolans that sang the soprano4 ,spillo presented as his dish a smith1 which he had made from a great goose or some such bird1 with all the instruments wherewith to mend the cauldron in case of need4 ,domenico ,puligo represented by means of a cooked sucking-pig a serving-girl with a distaff at her side1 who was watching a brood of chickens1 and was there to scour the cauldron4 ,robetta made out of a calf's head1 with appurtenances formed of other fat meats1 an anvil for the maintenance of the cauldron1 which was very fine and very beautiful1 as were also all the other contributions2 not to enumerate one by one all the dishes of that supper and of many others that they gave4 ,footnote #aa3 ,broad1 flat strips of maccheroni4 ,the ,company of the ,cazzuola1#ab which was similar to the other1 and to which ,giovan ,francesco belonged1 had its origin in the following manner4 ,one evening in the year #aeab there were at supper in the garden that ,feo d',agnolo the hunchback1 a fife-player and a very merry fellow1 had in the ,campaccio1 with ,feo himself1 ,ser ,bastiano ,sagginati1 ,ser ,raffaello del ,beccaio1 ,ser ,cecchino de' ,profumi1 ,girolamo del ,giocondo1 and ,il ,baia1 and1 while they were eating their ricotta1#ac the eyes of ,baia fell on a heap of lime with the trowel sticking in it1 just as the mason had left it the day before1 by the side of the table in a corner of the garden4 ,whereupon1 taking some of the lime with that trowel1 or rather1 mason's trowel1 he dropped it all into the mouth of ,feo1 who was waiting with gaping jaws for a great mouthful of ricotta from another of the company4 ,which seeing1 they all began to shout3 ,a ,trowel1 a ,trowel6 ,that ,company being then formed by reason of that incident1 it was ordained that its members should be in all twenty-four1 twelve of those who1 as the phrase was in those times1 were going for the ,great1#ad and twelve of those who were going for the ,less2 and that its emblem should be a trowel1 to which they added afterwards those little black tadpoles that have a large head and a tail1 which are called in ,tuscany ,cazzuole4 ,their ,patron ,saint was ,s4 ,andrew1 whose festal day they used to celebrate with much solemnity1 giving a most beautiful supper and banquet according to their rules4 ,the first members of that ,company1 those going for the ,great1 were ,jacopo ,bottegai1 ,francesco ,rucellai1 ,domenico his brother1 ,giovan ,battista ,ginori1 ,girolamo del ,giocondo1 ,giovanni ,miniati1 ,niccol del ,barbigia1 ,mezzabotte his brother1 ,cosimo da ,panzano1 ,matteo his brother1 ,marco ,jacopi1 and ,pieraccino ,bartoli2 and those going for the ,less1 ,ser ,bastiano ,sagginati1 ,ser ,raffaello del ,beccaio1 ,ser ,cecchino de' ,profumi1 ,giuliano ,bugiardini the painter1 ,francesco ,granacci the painter1 ,giovan ,francesco ,rustici1 ,feo the hunchback1 his companion ,il ,talina the musician1 ,pierino the fifer1 ,giovanni the trombone-player1 and ,il ,baia the bombardier4 ,the associates were ,bernardino di ,giordano1 ,il ,talano1 ,il ,caiano1 ,maestro ,jacopo del ,bientina and ,m4 ,giovan ,battista di ,cristofano ,ottonaio1 both heralds of the ,signoria1 ,buon ,pocci1 and ,domenico ,barlacchi4 ,and not many years passed 7so much did they increase in reputation as they held their feasts and merrymakings71 before there were elected to that ,company of the ,cazzuola ,signor ,giuliano de' ,medici1 ,ottangolo ,benvenuti1 ,giovanni ,canigiani1 ,giovanni ,serristori1 ,giovanni ,gaddi1 ,giovanni ,bandini1 ,luigi ,martelli1 ,paolo da ,romena1 and ,filippo ,pandolfini the hunchback2 and together with these1 at one and the same time1 as associates1 ,andrea del ,sarto the painter1 ,bartolommeo ,trombone the musician1 ,ser ,bernardo ,pisanello1 ,piero the cloth-shearer1 ,gemma the mercer1 and lastly ,maestro ,manente da ,san ,giovanni the physician4 ,footnote #ab3 ,mason's trowel4 ,footnote #ac3 ,a sort of curd4 ,footnote #ad3 ,the phrase1 ,to go for the ,great1 was originally applied to those ,florentine families that belonged to the seven chief ,guilds4 ,it afterwards came to be used simply as a mark of superiority4 ,the feasts that these men held at various times were innumerable1 and ,i shall describe only a few of them for the sake of those who do not know the customs of these ,companies1 which1 as has been related1 have now fallen almost entirely out of fashion4 ,the first given by the ,cazzuola1 which was arranged by ,giuliano ,bugiardini1 was held at a place called the ,aia1#ae at ,s4 ,maria ,nuova1 where1 as we have already said1 the gates of ,s4 ,giovanni were cast in bronze4 ,there1 ,i say1 the master of the ,company having commanded that every man should present himself dressed in whatever costume he pleased1 on condition that those who might resemble one another in their manner of dress by being clothed in the same fashion1 should pay a penalty1 at the appointed hour there appeared the most beautiful1 bizarre1 and extravagant costumes that could be imagined4 ,then1 the hour of supper having come1 they were placed at table according to the quality of their clothes--those who were dressed as ,princes in the first places1 the rich and noble after them1 and those dressed as poor persons in the last and lowest places4 ,and whether they had games and merrymaking after supper1 it is better to leave that to everyone to imagine for himself than to say anything about it4 ,footnote #ae3 ,threshing-floor4 ,at another repast1 which was arranged by the same ,bugiardini and by ,giovan ,francesco ,rustici1 the men of the ,company appeared1 as the master had commanded1 all in the dress of masons and their labourers2 that is1 those who were going for the ,great had the trowel with the cutting edge and hammer in their girdles1 and those going for the ,less were dressed as labourers with the hod1 the levers for moving weights1 and in their girdles the ordinary trowel4 ,when all had arrived in the first room1 the lord of the feast showed them the ground-plan of an edifice that had to be built by the company1 and placed the master-masons at table around it2 and then the labourers began to carry up the materials for making the foundations--hods full of cooked lasagne and ricotta prepared with sugar for mortar1 sand made of cheese1 spices1 and pepper mixed together1 and for gravel large sweetmeats and pieces of berlingozzo4#af ,the wall-bricks1 paving-bricks1 and tiles1 which were brought in baskets and hand-barrows1 were loaves of bread and flat cakes4 ,a basement having then come up1 it appeared to the stone-cutters that it had not been executed and put together well enough1 and they judged that it would be a good thing to break it and take it to pieces2 whereupon1 having set upon it and found it all composed of pastry1 pieces of liver1 and other suchlike things1 they feasted on these1 which were placed before them by the labourers4 ,next1 the same labourers having come on the scene with a great column swathed with the cooked tripe of calves1 it was taken to pieces1 and after distributing the boiled veal1 capons1 and other things of which it was composed1 they eat the base of ,parmesan cheese and the capital1 which was made in a marvellous manner of pieces carved from roasted capons and slices of veal1 with a crown of tongues4 ,but why do ,i dally over describing all the details8 ,after the column1 there was brought up on a car a very ingenious piece of architrave with frieze and cornice1 composed in like manner so well and of so many different viands1 that to attempt to describe them all would make too long a story4 ,enough that when the time came to break up1 after many peals of thunder an artificial rain began to fall1 and all left the work and fled1 each one going to his own house4 ,footnote #af3 ,a ,florentine cake4 ,another time1 when the master of the same ,company was ,matteo da ,panzano1 the banquet was arranged in the following manner4 ,ceres1 seeking ,proserpine her daughter1 who had been carried off by ,pluto1 entered the room where the men of the ,cazzuola were assembled1 and1 coming before their master1 besought him that they should accompany her to the infernal regions4 ,to which request consenting after much discussion1 they went after her1 and so1 entering into a somewhat darkened room1 they saw in place of a door a vast mouth of a serpent1 the head of which took up the whole wall4 ,round which door all crowding together1 while ,cerberus barked1 ,ceres called out asking whether her lost daughter were in there1 and1 a voice having answered ,yes1 she added that she desired to have her back4 ,but ,pluto replied that he would not give her up1 and invited ,ceres with all the company to the nuptials that were being prepared2 and the invitation was accepted4 ,whereupon1 all having entered through that mouth1 which was full of teeth1 and which1 being hung on hinges1 opened to each couple of men that entered1 and then shut again1 they found themselves at last in a great room of a round shape1 which had no light but a very little one in the centre1 which burned so dim that they could scarcely see one another4 ,there1 having been pushed into their seats with a great fork by a most hideous ,devil who was in the middle1 beside the tables1 which were draped in black1 ,pluto commanded that in honour of his nuptials the pains of ,hell should cease for as long as those guests remained there2 and so it was done4 ,now in that room were painted all the chasms of the regions of the damned1 with their pains and torments2 and1 fire being put to a match of tow1 in a flash a light was kindled at each chasm1 thus revealing in the picture in what manner and with what pains those who were in it were tormented4 ,the viands of that infernal supper were all animals vile and most hideous in appearance2 but nevertheless within1 under the loathly covering and the shape of the pastry1 were most delicate meats of many kinds4 ,the skin1 ,i say1 on the outer side1 made it appear as if they were serpents1 grass-snakes1 lizards large and small1 tarantulas1 toads1 frogs1 scorpions1 bats1 and other suchlike animals2 but within all were composed of the choicest viands4 ,and these were placed on the tables before every man with a shovel1 under the direction of the ,devil1 who was in the middle1 while a companion poured out exquisite wines from a horn of glass1 ugly and monstrous in shape1 into glazed crucibles1 which served as drinking-glasses4 ,these first viands finished1 which formed a sort of relish1 dead men's bones were set all the way down the table in place of fruits and sweetmeats1 as if the supper1 which was scarcely begun1 were finished2 which reliquary fruits were of sugar4 ,that done1 ,pluto1 who proclaimed that he wished to go to his repose with his ,proserpine1 commanded that the pains should return to torment the damned2 and in a moment all the lights that have been mentioned were blown out by a sort of wind1 on every side were heard rumblings1 voices1 and cries1 awesome and horrible1 and in the middle of that darkness1 with a little light1 was seen the image of ,baia the bombardier1 who was one of the guests1 as has been related--condemned to ,hell by ,pluto for having always chosen as the subjects and inventions of his girandole and other fireworks the seven mortal sins and the things of ,hell4 ,while all were occupied in gazing on that spectacle and listening to various sounds of lamentation1 the mournful and funereal table was taken away1 and in place of it1 lights being kindled1 was seen a very rich and regal feast1 with splendid servants who brought the rest of the supper1 which was handsome and magnificent4 ,at the end of the supper came a ship full of various confections1 and the crew of the ship1 pretending to remove their merchandize1 little by little brought the men of the ,company into the upper rooms1 where1 a very rich scenic setting having been already prepared1 there was performed a comedy called the ,filogenia1 which was much extolled2 and at dawn1 the play finished1 every man went happily home4 ,two years afterwards1 it being the turn of the same man1 after many feasts and comedies1 to be master of the ,company another time1 he1 in order to reprove some of that ,company who had spent too much on certain feasts and banquets 7only1 as the saying goes1 to be themselves eaten alive71 had his banquet arranged in the following manner4 ,at the ,aia1 where they were wont to assemble1 there were first painted on the wall without the door some of those figures that are generally painted on the walls and porticoes of hospitals1 such as the director of the hospital1 with gestures full of charity1 inviting and receiving beggars and pilgrims4 ,this picture being uncovered late on the evening of the feast1 there began to arrive the men of the ,company1 who1 after knocking and being received at the entrance by the director of the hospital1 made their way into a great room arranged in the manner of a hospital1 with the beds at the sides and other suchlike things4 ,in the middle of that room1 round a great fire1 were ,bientina1 ,battista dell',ottonaio1 ,barlacchi1 ,baia1 and other merry spirits1 dressed after the manner of beggars1 wastrels1 and gallows-birds1 who1 pretending not to be seen by those who came in from time to time and gathered into a circle1 and conversing of the men of the ,company and also of themselves1 said the hardest things in the world about those who had thrown away their all and spent on suppers and feasts much more than was right4 ,which discourse finished1 when it was seen that all who were to be there had arrived1 in came ,s4 ,andrew1 their ,patron ,saint1 who1 leading them out of the hospital1 took them into another room1 magnificently furnished1 where they sat down to table and had a joyous supper4 ,then the ,saint laughingly commanded them that1 in order not to be too wasteful with their superfluous expenses1 so that they might keep well away from hospitals1 they should be contented with one feast1 a grand and solemn affair1 every year2 after which he went his way4 ,and they obeyed him1 holding a most beautiful supper1 with a comedy1 every year over a long period of time2 and thus there were performed at various times1 as was related in the ,life of ,aristotile da ,san ,gallo1 the ,calandra of ,m4 ,bernardo1 ,cardinal of ,bibbiena1 the ,suppositi and the ,cassaria of ,ariosto1 and the ,clizia and ,mandragola of ,macchiavelli1 with many others4 ,francesco and ,domenico ,rucellai1 for the feast that it fell to them to give when they were masters of the ,company1 performed first the ,arpie of ,fineo1 and the second time1 after a disputation of philosophers on the ,trinity1 they caused to be represented ,s4 ,andrew throwing open a ,heaven with all the choirs of the ,angels1 which was in truth a very rare spectacle4 ,and ,giovanni ,gaddi1 with the help of ,jacopo ,sansovino1 ,andrea del ,sarto1 and ,giovan ,francesco ,rustici1 represented a ,tantalus in ,hell1 who gave a feast to all the men of the ,company clothed in the dress of various ,gods2 with all the rest of the fable1 and many fanciful inventions of gardens1 scenes of ,paradise1 fireworks1 and other things1 to recount which would make our story too long4 ,a very beautiful invention1 also1 was that of ,luigi ,martelli1 when1 being master of the ,company1 he gave them supper in the house of ,giuliano ,scali at the ,porta ,pinti2 for he represented ,mars all smeared with blood1 to signify his cruelty1 in a room full of bloody human limbs2 in another room he showed ,mars and ,venus naked in a bed1 and a little farther on ,vulcan1 who1 having covered them with the net1 was calling all the ,gods to see the outrage done to him by ,mars and by his sorry spouse4 ,but it is now time--after this digression1 which may perchance appear to some too long1 although for many reasons it does not seem to me that this account has been given wholly out of place--that ,i return to the ,life of ,rustici4 ,giovan ,francesco1 then1 not liking much to live in ,florence after the expulsion of the ,medici in the year #aebh1 left the charge of all his affairs to ,niccol ,buoni1 and went off with his young man ,lorenzo ,naldini1 called ,guazzetto1 to ,france1 where1 having been made known to ,king ,francis by ,giovan ,battista della ,palla1 who happened to be there then1 and by ,francesco di ,pellegrino1 his very dear friend1 who had gone there a short time before1 he was received very willingly1 and an allowance of five hundred crowns a year was granted to him4 ,by that ,king1 for whom ,giovan ,francesco executed some works of which nothing in particular is known1 he was finally commissioned to make a horse in bronze1 twice the size of life1 upon which was to be placed the ,king himself4 ,whereupon1 having set his hand to the work1 after some models which much pleased the ,king1 he went on with the making of the large model and the mould for casting it1 in a large palace given to him for his enjoyment by the ,king4 ,but1 whatever may have been the reason1 the ,king died before the work was finished2 and since at the beginning of ,henry's reign many persons had their allowances taken away and the expenses of the ,court were cut down1 it is said that ,giovan ,francesco1 now old and not very prosperous1 had nothing to live upon save the profit that he made by letting the great palace and dwelling that he had received for his own enjoyment from the liberality of ,king ,francis4 ,and ,fortune1 not content with all that the poor man had endured up to that time1 gave him1 in addition to all the rest1 another very great shock1 in that ,king ,henry presented that palace to ,signor ,piero ,strozzi2 and ,giovan ,francesco would have found himself in very dire straits1 if the goodness of that lord1 to whom the misfortunes of ,rustici were a great grief 7the latter having made himself known to him71 had not brought him timely aid in the hour of his greatest need4 ,for ,signor ,piero1 sending him to an abbey or some other place1 whatever it may have been1 belonging to his brother1 not only succoured ,giovan ,francesco in his needy old age1 but even had him attended and cared for1 according as his great worth deserved1 until the end of his life4 ,giovan ,francesco died at the age of eighty1 and his possessions fell for the most part to the above-named ,signor ,piero ,strozzi4 ,i must not omit to tell that it has come to my ears that while ,antonio ,mini1 a disciple of ,buonarroti1 was living in ,france1 when he was entertained and treated with much lovingness in ,paris by ,giovan ,francesco1 there came into the hands of ,rustici some cartoons1 designs1 and models by the hand of ,michelagnolo2 a part of which the sculptor ,benvenuto ,cellini received when he was in ,france1 and he brought them to ,florence4 ,giovan ,francesco1 as has been said1 was not only without an equal in the work of casting1 but also exemplary in conduct1 of supreme goodness1 and a great lover of the poor4 ,wherefore it is no marvel that he was assisted most liberally in the hour of his need by the above-mentioned ,signor ,piero with money and every other thing1 for it is true beyond all other truths that even in this life the good works that we do to our neighbours for the love of ,god are repaid a thousand-fold4 ,rustici drew very well1 as may be seen1 besides our own book1 from the book of drawings of the very reverend ,don ,vincenzio ,borghini4 ,the above-mentioned ,lorenzo ,naldini1 called ,guazzetto1 the disciple of ,rustici1 has executed many works of sculpture excellently well in ,france1 but of these ,i have not been able to learn any particulars1 any more than of those of his master1 who1 it may well be believed1 did not stay all those years in ,france as good as idle1 nor always occupied with that horse of his4 ,that ,lorenzo possessed some houses beyond the ,porta a ,san ,gallo1 in the suburbs that were destroyed on account of the siege of ,florence1 which houses were thrown to the ground together with the rest by the people4 ,that circumstance so grieved him1 that1 returning in the year #aedj to revisit his country1 when he was within a quarter of a mile of ,florence he put the hood of his cloak over his head1 covering his eyes1 in order that1 in entering by that gate1 he might not see the suburb and his own houses all pulled down4 ,wherefore the guards at the gate1 seeing him thus muffled up1 asked him what that meant1 and1 having heard from him why he had so covered his face1 they laughed at him4 ,lorenzo1 after being a few months in ,florence1 returned to ,france1 taking his mother with him2 and there he still lives and labours4 ,,fra ,,giovanni ,,agnolo ,,montorsoli ,,life ,,of ,,fra ,,giovanni ,,agnolo ,,montorsoli ,,sculptor ,to one ,michele d',agnolo of ,poggibonzi1 in the village of ,montorsoli1 which is three miles distant from ,florence on the road to ,bologna1 where he had a good farm of some size1 there was born a male child1 to whom he gave the name of his father1 ,agnolo4 ,that child1 growing up1 and having an inclination for design1 as could be readily seen1 was placed by his father1 according to the advice of friends1 to learn stone-cutting under some masters who worked at the quarries of ,fiesole1 almost opposite to ,montorsoli4 ,agnolo continuing to ply the chisel with those masters1 in company with ,francesco del ,tadda1 who was then a lad1 and with others1 not many months had passed before he knew very well how to handle the tools and to execute many kinds of work in that profession4 ,having then contracted a friendship by means of ,francesco del ,tadda with ,maestro ,andrea1 a sculptor of ,fiesole1 the genius of the child so pleased that master1 that he conceived an affection for him1 and began to teach him2 and thus he kept him in his workshop for three years4 ,after which time1 his father ,michele being dead1 ,agnolo went off in company with other young stone-cutters to ,rome1 where1 having been set to work on the building of ,s4 ,pietro1 he carved some of those rosettes that are in the great cornices which encircle the interior of that temple1 with much profit to himself and a good salary4 ,having then departed from ,rome1 ,i know not why1 he placed himself in ,perugia with a master stone-cutter1 who at the end of a year left him in charge of all his works4 ,but1 recognizing that to stay at ,perugia was not the life for him1 and that he was not learning1 he went off1 when the opportunity to depart presented itself1 to work on the tomb of ,m4 ,raffaello ,maffei1 called ,il ,volterrano1 at ,volterra2 and in that work1 which was being made in marble1 he carved some things which showed that his genius was destined some day to achieve a good result4 ,which labour finished1 hearing that ,michelagnolo ,buonarroti was setting to work at that time on the buildings of the sacristy and library of ,s4 ,lorenzo the best carvers and stone-cutters that could be found1 he went off to ,florence2 where1 having been likewise set to work1 among the first things that he did were some ornaments from which ,michelagnolo recognized that he was a young man of most beautiful and resolute genius1 and that1 moreover1 he could do more in one day by himself alone than the oldest and best practised masters could do in two4 ,wherefore he caused to be given to him1 boy as he was1 the same salary as the older men were drawing4 ,these buildings being then suspended in the year #aebg on account of the plague and for other reasons1 ,agnolo1 not knowing what else to do1 went to ,poggibonzi1 from which place his father and grandfather had their origin2 and there he remained for a time with ,m4 ,giovanni ,norchiati1 his uncle1 a pious and well-lettered man1 doing nothing but draw and study4 ,but in the end1 seeing the world turned topsy-turvy1 a desire came to him to become a monk1 and to give his attention in peace to the salvation of his soul1 and he went to the ,hermitage of ,camaldoli4 ,there1 making trial of that life1 and not being able to endure the discomforts1 fastings1 and abstinences1 he did not stay long2 but nevertheless1 during the time that he was there1 he became very dear to those ,fathers1 for he was of an excellent disposition4 ,and during that time his diversion was to carve heads of men and of various animals1 with beautiful and fanciful inventions1 on the ends of the staves1 or rather1 sticks1 that those holy ,fathers carry when they go from ,camaldoli to the ,hermitage or for recreation into the forest1 at which time they have a dispensation from silence4 ,having departed from the ,hermitage with the leave and good-will of the ,principal1 he went off to ,la ,vernia1 as one who was drawn at all costs to become a monk1 and stayed there awhile1 frequenting the choir and mixing with those ,fathers2 but that life1 also1 did not please him1 and1 after having received information about the life in many religious houses of ,florence and ,arezzo1 he left ,la ,vernia and went to those places4 ,and finally1 not being able to settle in any other in such a manner as to have facilities for attending both to drawing and to the salvation of his soul1 he became a friar in the ,ingesuati at ,florence1 without the ,porta a ,pinti1 and was received by them very willingly2 for they gave their attention to making windows of glass1 and they hoped that he would be of great assistance and advantage to them in that work4 ,now those ,fathers1 according to the custom of their life and rule1 do not say ,mass1 and keep for that purpose a priest to say ,mass every morning2 and they had at that time as their chaplain a certain ,fra ,martino of the ,servite ,order1 a person of passing good judgment and character4 ,that ,fra ,martino1 having recognized the young man's genius1 reflected that he was little able to exercise it among those ,fathers1 who do nothing but say ,paternosters1 make windows of glass1 distil waters1 and lay out gardens1 with other suchlike pursuits1 and do not study or give their attention to letters2 and he contrived to say and do so much that the young man1 going forth from the ,ingesuati1 assumed the habit among the ,servite ,friars of the ,nunziata in ,florence on the seventh day of ,october in the year #aecj1 receiving the name of ,fra ,giovanni ,agnolo4 ,in the next year1 #aeca1 having learned in the meanwhile the ceremonies and offices of that ,order1 and studied the works of ,andrea del ,sarto that are in that place1 he made what they call his profession2 and in the year following1 to the full satisfaction of those ,fathers and the contentment of his relatives1 he chanted his first ,mass with much pomp and honour4 ,then1 the images in wax of ,leo1 ,clement1 and others of that most noble family1 which had been placed there as votive offerings1 having been destroyed during the expulsion of the ,medici by some young men who were rather mad than valorous1 the friars determined that these should be made again1 and ,fra ,giovanni ,agnolo1 with the help of some of those men who gave their attention to the work of fashioning such images1 restored some that were old and consumed by time1 and made anew those of ,pope ,leo and ,pope ,clement1 which are still to be seen there1 and a short time afterwards those of the ,king of ,bosnia and of the old ,lord of ,piombino4 ,and in these works ,fra ,giovanni ,agnolo made no little proficience4 ,meanwhile1 ,michelagnolo being in ,rome with ,pope ,clement1 who desired that the work of ,s4 ,lorenzo should be continued1 and had therefore had him summoned1 his ,holiness asked him to find a young man who might restore some ancient statues in the ,belvedere1 which were broken4 ,whereupon ,buonarroti1 remembering ,fra ,giovanni ,agnolo1 proposed him to the ,pope1 and his ,holiness demanded him in a brief from the ,general of the ,servite ,order1 who gave him up because he could not do otherwise1 and very unwillingly4 ,arriving in ,rome1 then1 the friar1 labouring in the rooms of the ,belvedere that were given to him by the ,pope to live and work in1 restored the left arm that was wanting to the ,apollo and the right arm of the ,laocoon1 which statues are in that place1 and likewise gave directions for restoring the ,hercules4 ,and1 since the ,pope went almost every morning to the ,belvedere for recreation and to say the office1 the friar made his portrait in marble1 and that so well that the work brought him much praise1 and the ,pope conceived a very great affection for him1 particularly because he saw him to be very studious of the matters of art1 and heard that he used to draw all night in order to have new things every morning to show to the ,pope1 who much delighted in them4 ,during that time1 a canonicate having fallen vacant at ,s4 ,lorenzo1 a church in ,florence built and endowed by the ,house of ,medici1 ,fra ,giovanni ,agnolo1 who by that time had laid aside the friar's habit1 obtained it for ,m4 ,giovanni ,norchiati1 his uncle1 who was chaplain in the above-named church4 ,illustration3 ,s4 ,,cosmas 7,after the marble by ,fra ,giovanni ,agnolo ,montorsoli4 ,florence3 ,s4 ,lorenzo1 ,medici ,chapel7 ,alinari ,finally1 ,pope ,clement1 having determined that ,buonarroti should return to ,florence to finish the works of the sacristy and library of ,s4 ,lorenzo1 gave him orders1 since many statues were wanting there1 as will be told in the ,life of ,michelagnolo himself1 that he should avail himself of the most able men that could be found1 and particularly of ,fra ,giovanni ,agnolo1 employing the same methods as had been adopted by ,antonio da ,san ,gallo in order to finish the works of the ,madonna di ,loreto4 ,having therefore made his way with the ,frate to ,florence1 ,michelagnolo1 in executing the statues of ,duke ,lorenzo and ,duke ,giuliano1 employed the ,frate much in polishing them and in executing certain difficult undercuttings2 with which occasion ,fra ,giovanni ,agnolo learned many things from that truly divine man1 standing with attention to watch him at work1 and observing every least thing4 ,now among other statues that were wanting to the completion of that work1 there were lacking a ,s4 ,cosimo and a ,s4 ,damiano that were to be one on either side of the ,madonna1 and ,michelagnolo gave the ,s4 ,damiano to ,raffaello da ,montelupo to execute1 and to the ,frate the ,s4 ,cosimo1 commanding the latter that he should work in the same rooms where he himself had worked and was still working4 ,having therefore set his hand with the greatest zeal to that work1 the ,frate made a large model of the figure1 which was retouched by ,buonarroti in many parts2 indeed1 ,michelagnolo made with his own hand the head and the arms of clay1 which are now at ,arezzo1 held by ,vasari among his dearest treasures in memory of that great man4 ,there were not wanting many envious persons who blamed ,michelagnolo for his action1 saying that in allotting that statue he had shown little judgment1 and had made a bad choice2 but the result afterwards proved1 as will be related1 that ,michelagnolo had shown excellent judgment1 and that the ,frate was an able man4 ,when ,michelagnolo1 with the assistance of ,fra ,giovanni ,agnolo1 had finished and placed in position the statues of ,duke ,giuliano and ,duke ,lorenzo1 being summoned by the ,pope1 who wished that arrangements should be made for executing in marble the faade of ,s4 ,lorenzo1 he went to ,rome2 but he had not made a long stay there1 when1 ,pope ,clement dying1 everything was left unfinished4 ,at ,florence the statue of the ,frate1 unfinished as it was1 together with the other works1 was thrown open to view1 and was very highly extolled2 and in truth1 whether it was his own study and diligence1 or the assistance of ,michelagnolo1 it proved in the end to be an excellent figure1 and the best that ,fra ,giovanni ,agnolo ever made among all that he executed in the whole of his life1 so that it was truly worthy to be placed where it was4 ,buonarroti1 being freed by the death of the ,pope from his engagements at ,s4 ,lorenzo1 turned his attention to discharging his obligations in connection with the tomb of ,pope ,julius ,,ii2 but1 since he had need of assistance for this1 he sent for the ,frate4 ,but ,fra ,giovanni ,agnolo did not go to ,rome until he had finished entirely the image of ,duke ,alessandro for the ,nunziata1 which he executed in a manner different from the others1 and very beautiful1 in the form in which that lord may still be seen1 clad in armour and kneeling on a ,burgundian helmet1 and with one hand to his breast1 in the act of recommending himself to the ,madonna there4 ,that image finished1 he then went to ,rome1 and was of great assistance to ,michelagnolo in the work of the above-mentioned tomb of ,julius ,,ii4 ,meanwhile ,cardinal ,ippolito de' ,medici heard that ,cardinal de ,tournon had to take a sculptor to ,france to serve the ,king1 and he proposed to him ,fra ,giovanni ,agnolo1 who1 being much exhorted with good reasons by ,michelagnolo1 went with that same ,cardinal de ,tournon to ,paris4 ,arriving there1 he was introduced to the ,king1 who received him very willingly1 and shortly afterwards assigned to him a good allowance1 with the command that he should execute four large statues4 ,of these the ,frate had not yet finished the models1 when1 the ,king being far away and occupied in fighting with the ,english on the borders of his kingdom1 he began to be badly treated by the treasurers1 not being able to draw his allowances and have whatever he desired1 according as had been ordained by the ,king4 ,at which feeling great disdain--for it appeared to him that in proportion as these arts and the men of the arts were esteemed by that magnanimous ,king1 even so they were disprized and put to shame by his ,ministers--he departed1 notwithstanding that the treasurers1 who became aware of his displeasure1 paid him his overdue allowances down to the last farthing4 ,it is true that before setting out he gave both the ,king and the ,cardinal to know by means of letters that he wished to go away4 ,having therefore gone from ,paris to ,lyons1 and from there through ,provence to ,genoa1 he had not been long there when1 in company with some friends1 he went to ,venice1 ,padua1 ,verona1 and ,mantua1 seeing with great pleasure buildings1 sculptures1 and pictures1 and at times drawing them2 but above all did the pictures of ,giulio ,romano in ,mantua please him1 some of which he drew with care4 ,then1 having heard at ,ferrara and ,bologna that his fellow-friars of the ,servite ,order were holding a ,general ,chapter at ,budrione1 he went there in order to see again many who were his friends1 and in particular the ,florentine ,maestro ,zaccheria1 whom he loved most dearly4 ,at his entreaty ,fra ,giovanni ,agnolo made in a day and a night two figures in clay of the size of life1 a ,faith and a ,charity1 which1 made in the semblance of white marble1 served to adorn a temporary fountain contrived by him with a great vessel of copper1 which continued to spout water during the whole day when the ,chapter was held1 to his great credit and honour4 ,having returned with the above-named ,maestro ,zaccheria from ,budrione to ,florence1 he made in his own ,servite ,convent1 likewise of clay1 and placed in two niches of the chapter-house1 two figures larger than life1 ,moses and ,s4 ,paul1 which brought him much praise4 ,being then sent to ,arezzo by ,maestro ,dionisio1 the ,general of the ,servites at that time1 who was afterwards made a ,cardinal by ,pope ,paul ,,iii1 and who felt himself much indebted to ,angelo1 the ,general at ,arezzo1 who had brought him up and taught him the appreciation of letters1 ,fra ,giovanni ,agnolo executed for that ,general of ,arezzo a beautiful tomb of grey sandstone in ,s4 ,piero in that city1 with many carvings and some statues1 and upon a sarcophagus the above-named ,general ,angelo taken from life1 and two nude little boys in the round1 who are weeping and extinguishing the torches of human life1 with other ornaments1 which render that work very beautiful4 ,it was not yet completely finished1 when1 being summoned to ,florence by the proveditors for the festive preparations that ,duke ,alessandro was then causing to be made for the visit to that city of the ,emperor ,charles ,v1 who was returning victorious from ,tunis1 the ,frate was forced to depart4 ,having arrived in ,florence1 he made on the ,ponte a ,s4 ,trinita1 upon a great base1 a figure of eight braccia1 representing the ,river ,arno lying down1 which from its attitude appeared to be rejoicing with the ,rhine1 the ,danube1 the ,bagradas1 and the ,ebro1 statues executed by others1 over the coming of his ,majesty2 which ,arno was a very good and beautiful figure4 ,on the ,canto de' ,carnesecchi the same master made a figure1 twelve braccia high1 of ,jason1 ,leader of the ,argonauts1 but this1 being of immoderate size1 and the time short1 did not prove to have the perfection of the first2 nor1 indeed1 did the figure of ,august ,gladness that he made on the ,canto alla ,cuculia4 ,but1 everyone remembering the shortness of the time in which he executed those works1 they won much honour and fame for him both from the craftsmen and from all others4 ,having then finished the work at ,arezzo1 and hearing that ,girolamo ,genga had a work to execute in marble at ,urbino1 the ,frate went to seek him out2 but1 not having come to any agreement1 he took the road to ,rome1 and1 after staying there but a short time1 went on to ,naples1 in the hope that he might have to make the tomb of ,jacopo ,sannazzaro1 a gentleman of ,naples1 and a truly distinguished and most rare poet4 ,sannazzaro had built at ,margoglino1 a very pleasant place with a most beautiful view at the end of the ,chiaia1 on the shore1 a magnificent and most commodious habitation1 which he enjoyed during his lifetime2 and1 coming to his death1 he left that place1 which has the form of a convent1 with a beautiful little church1 to the ,order of ,servite ,friars1 enjoining on ,signor ,cesare ,mormerio and the ,lord ,count d',aliffe1 the executors of his will1 that they should erect his tomb in that church1 built by himself1 which was to be administered by the above-named friars4 ,when the making of it came to be discussed1 ,fra ,giovanni ,agnolo was proposed by the friars to the above-named executors2 and to him1 after he had gone to ,naples1 as has been related1 that tomb was allotted1 for his models had been judged to be no little better than the many others that had been made by various sculptors1 the price being a thousand crowns4 ,of which having received a good portion1 he sent to quarry the marbles ,francesco del ,tadda of ,fiesole1 an excellent carver1 whom he had commissioned to execute all the squared work and carving that had to be done in that undertaking1 in order to finish it more quickly4 ,while the ,frate was preparing himself to make that tomb1 the ,turkish army having entered ,puglia and the people of ,naples being in no little alarm on that account1 orders were given that the city should be fortified1 and for that purpose there were appointed four men of importance and of the best judgment4 ,these men1 wishing to make use of competent architects1 turned their thoughts to the ,frate2 but he1 having heard some rumour of this1 and not considering that it was right for a man of religion1 such as he was1 to occupy himself with affairs of war1 gave the executors to understand that he would do the work either in ,carrara or in ,florence1 and that at the appointed time it would be finished and erected in its place4 ,having then made his way from ,naples to ,florence1 he straightway received a command from the ,signora ,donna ,maria1 the mother of ,duke ,cosimo1 that he should finish the ,s4 ,cosimo that he had previously begun under the direction of ,buonarroti1 for the tomb of the elder ,lorenzo de' ,medici1 the ,magnificent4 ,whereupon he set his hand to it1 and finished it2 and that done1 since the ,duke had already caused to be constructed a great part of the conduits for the great fountain of his villa at ,castello1 and that fountain was to have at the top1 as a crowning ornament1 a ,hercules in the act of crushing ,antus1 from whose mouth there was to issue1 in place of breath1 a jet of water rising to some height1 the ,frate was commissioned to make for this a model of considerable size2 which pleasing his ,excellency1 it was ordained that he should execute it and should go to ,carrara to quarry the marble4 ,to ,carrara the ,frate went very willingly1 hoping with that opportunity to carry forward the above-mentioned tomb of ,sannazzaro1 and in particular a scene with figures in half-relief4 ,while ,fra ,giovanni ,agnolo was there1 then1 ,cardinal ,doria wrote from ,genoa to ,cardinal ,cibo1 who happened to be at ,carrara1 saying that1 since ,bandinelli had not finished the statue of ,prince ,doria1 and would now never finish it1 he should contrive to obtain for him some able man1 a sculptor1 who might do it1 for the reason that he had the charge of pressing on that work4 ,which letter having been received by ,cibo1 who had long had knowledge of the ,frate1 he did his utmost to send him to ,genoa2 but he steadfastly declared that he could not and would not serve his most reverend ,highness until he had fulfilled the promise and obligation by which he was bound to ,duke ,cosimo4 ,while these matters were being discussed1 he had carried the tomb of ,sannazzaro well forward1 and had blocked out the marble for the ,hercules2 and he then went with the latter to ,florence4 ,there he brought it with much promptitude and study to such a condition1 that it would have been but little toil for him to finish it completely if he had continued to work at it4 ,but a rumour having arisen that the marble was not proving to be by any means as perfect a work as the model1 and that the ,frate was likely to find difficulty in fitting together the legs of the ,hercules1 which did not correspond with the torso1 ,messer ,pier ,francesco ,riccio1 the majordomo1 who was paying the ,frate his allowance1 let himself be swayed by that more than a serious man should have done1 and began to proceed very cautiously with his payments1 trusting too much to ,bandinelli1 who was leaning with all his weight against ,fra ,giovanni ,agnolo1 in order to avenge himself for the wrong which it appeared to him that master had done to him by promising that he would make the statue of ,doria when once free of his obligation to the ,duke4 ,it was also thought that the favour of ,tribolo1 who was executing the ornaments of ,castello1 was no advantage to the ,frate4 ,however that may have been1 perceiving himself to be badly treated by ,riccio1 and being a proud and choleric man1 he went off to ,genoa4 ,there he received from ,cardinal ,doria and from the ,prince the commission for the statue of that ,prince1 which was to be placed on the ,piazza ,doria2 to which having set his hand1 yet without altogether neglecting the tomb of ,sannazzaro1 while ,tadda was executing the squared work and the carvings at ,carrara1 he finished it to the great satisfaction of the ,prince and the people of ,genoa4 ,but1 although that statue had been made to be placed on the ,piazza ,doria1 nevertheless the ,genoese made so much ado1 that1 to the despair of the ,frate1 it was placed on the ,piazza della ,signoria1 notwithstanding that he said that he had fashioned it to stand by itself on a pedestal1 and that therefore it could not look well or have its proper effect against a wall4 ,and1 to tell the truth1 nothing worse can be done than to set up a work made for one place in some other place1 seeing that the craftsman accommodates himself in the process of his labour1 with regard to the lights and view-points1 to the position in which his work1 whether sculpture or painting1 is to be placed4 ,after this the ,genoese1 seeing the scenes and figures made for the tomb of ,sannazzaro1 and much liking them1 desired that the ,frate should execute a ,s4 ,john the ,evangelist for their ,cathedral ,church2 which1 when finished1 pleased them so much that it filled them with stupefaction4 ,finally ,fra ,giovanni ,agnolo departed from ,genoa and went to ,naples1 where he set up in the place already mentioned the tomb of ,sannazzaro1 which is composed in this fashion4 ,at the lower corners are two pedestals1 on each of which are carved the arms of ,sannazzaro1 and between them is a slab of one braccio and a half on which is carved the epitaph that ,jacopo wrote for himself1 supported by two little boys4 ,next1 on each of the said pedestals is a seated statue of marble in the round1 four braccia in height1 these being ,minerva and ,apollo2 and between them1 set off by two ornamental consoles that are at the sides1 is a scene two braccia and a half square1 in which are carved in low-relief ,fauns1 ,satyrs1 ,nymphs1 and other figures that are playing and singing1 after the manner which that most excellent man has described in the pastoral verses of his most learned ,arcadia4 ,above this scene is placed a sarcophagus of a very beautiful shape in the round1 all carved and very ornate1 in which are the remains of that poet2 and upon it1 on a base in the centre1 is his head taken from life1 with these words at the foot--,,actius ,,sincerus2 accompanied by two boys with wings in the manner of ,loves1 who have some books about them4 ,and in two niches that are at the sides1 in the other two walls of the chapel1 there are on two bases two upright figures of marble in the round1 each of three braccia or little more2 these being ,s4 ,james the ,apostle and ,s4 ,nazzaro4 ,when this work had been built up in the manner that has been described1 the above-mentioned lords1 the executors1 were completely satisfied with it1 and all ,naples likewise4 ,illustration3 ,,tomb ,,of ,,andrea ,,doria 7,after ,fra ,giovanni ,agnolo ,montorsoli4 ,genoa3 ,s4 ,matteo7 ,alinari ,the ,frate then remembering that he had promised ,prince ,doria that he would return to ,genoa to make his tomb for him in ,s4 ,matteo and to adorn the whole church1 he departed straightway from ,naples and set out for ,genoa4 ,having arrived there1 he made the models of the work that he was to execute for that lord1 which pleased him vastly2 and then he set his hand to it1 with a good allowance of money and a good number of masters4 ,and thus1 dwelling in ,genoa1 the ,frate made many friendships with noblemen and men of distinction1 and in particular with some physicians1 who were of much assistance to him2 for1 helping one another1 they made anatomical studies of many human bodies1 and gave their attention to architecture and perspective1 and so ,fra ,giovanni ,agnolo attained to the greatest excellence4 ,besides this1 the ,prince1 going very often to the place where he was working1 and much liking his discourse1 conceived a very great affection for him4 ,at that time1 also1 of two nephews that he had left in charge of ,maestro ,zaccheria1 one1 called ,agnolo1 was sent to him1 a young man of beautiful genius and exemplary character2 and shortly afterwards there was sent to him by the same ,zaccheria another young man called ,martino1 the son of one ,bartolommeo1 a tailor4 ,of both these young men1 teaching them as if they were his sons1 the ,frate availed himself in the work that he had in hand4 ,and when he had finally come to the end of it1 he built up the chapel1 the tomb1 and the other ornaments that he had made for that church1 which forms a cross at the head of the central nave and three crosses down along the length of the nave1 and has the high-altar standing isolated at the head and in the centre4 ,the chapel1 then1 is supported at the corners by four large pilasters1 which likewise uphold the great cornice that runs right round1 over which curve four semicircular arches that lie in line with the pilasters4 ,of these arches1 three are adorned in their central space with windows of no great size2 and over the arches curves a round cornice that forms four angles between one arch and another at the corners1 while above it rises a vaulting in the form of a basin4 ,after the ,frate1 then1 had made many ornaments of marble about the altar on all four sides1 he placed upon the altar a very rich and beautiful vase of marble for the most ,holy ,sacrament1 between two ,angels of the size of life1 likewise of marble4 ,next1 around the whole runs a pattern of different kinds of stone let into the marble with a beautiful and well-varied arrangement of variegated marbles and rare stones1 such as serpentines1 porphyries1 and jaspers4 ,and in the principal wall1 at the head of the chapel1 he made another pattern from the level of the floor to the height of the altar1 with similar kinds of variegated marble and stone1 which forms a base to four pilasters of marble that enclose three spaces4 ,in the central space1 which is larger than the others1 there is in a tomb the body of ,i know not what ,saint1 and in those at the sides are two statues of marble1 representing two ,evangelists4 ,above that range of pilasters is a cornice1 and above the cornice four other smaller pilasters2 and these support another cornice1 which is divided into compartments to hold three little tablets that correspond to the spaces below4 ,in the central compartment1 which rests upon the great cornice1 is a ,christ of marble rising from the dead1 in full-relief1 and larger than life4 ,on the walls at the sides the same order of columns is repeated2 and above that tomb1 in the central space1 is a ,madonna in half-relief1 with the ,dead ,christ3 which ,madonna is between ,king ,david and ,s4 ,john the ,baptist2 and on the other side are ,s4 ,andrew and ,jeremiah the ,prophet4 ,the lunettes of the arches above the great cornice1 wherein are two windows1 are in stucco-work1 with two children that appear to be adorning the windows4 ,in the angles below the tribune are four ,sibyls1 likewise of stucco1 even as the whole vaulting is also wrought in grotesques of various manners4 ,beneath this chapel is built a subterranean chamber1 wherein1 after descending to it by a marble staircase1 one sees at the head a sarcophagus of marble with two children upon it1 in which was to be placed--as ,i believe was done after his death--the body of ,signor ,andrea ,doria himself4 ,and on an altar opposite to the sarcophagus1 within a most beautiful vase of bronze1 which was made and polished divinely well by him who cast it1 whoever he may have been1 is a piece of the wood of that most holy ,cross upon which our ,blessed ,jesus ,christ was crucified2 which wood was presented to ,prince ,doria by the ,duke of ,savoy4 ,the walls of that tomb are all encrusted with marble1 and the vaulting wrought in stucco and gold1 with many stories of the noble deeds of ,doria2 and the pavement is all divided into compartments with different kinds of variegated stone1 to correspond with the vaulting4 ,next1 on the walls of the cross of the nave1 at the head1 are two tombs of marble with two tablets in half-relief2 in one is buried ,count ,filippino ,doria1 and in the other ,signor ,giannettino of the same family4 ,against the pilasters at the beginning of the central nave are two very beautiful pulpits of marble1 and at the sides of the aisles there are distributed along the walls in a fine order of architecture some chapels with columns and many other ornaments1 which make that church a truly rich and magnificent edifice4 ,the church finished1 the same ,prince ,doria ordained that work should be begun on his ,palace1 and that new additions of buildings should be made to it1 with very beautiful gardens4 ,these were executed under the direction of the ,frate1 who1 having at the last constructed a fish-pond in front of that ,palace1 made a sea monster of marble in full-relief1 which pours water in great abundance into that fish-pond2 and after the likeness of that monster he made for those lords another1 which was sent into ,spain to ,granvela4 ,he also executed a great ,neptune in stucco1 which was placed on a pedestal in the garden of the ,prince2 and he made in marble two portraits of the same ,prince and two of ,charles ,v1 which were taken by ,covos to ,spain4 ,much the friends of the ,frate1 while he was living in ,genoa1 were ,messer ,cipriano ,pallavicino1 who1 being a man of great judgment in the matters of our arts1 has always associated readily with the most excellent craftsmen1 and has shown them every favour2 the ,lord ,abbot ,negro1 ,messer ,giovanni da ,montepulciano1 the ,lord ,prior of ,s4 ,matteo1 and1 in a word1 all the first lords and gentlemen of that city1 in which he acquired both fame and riches4 ,having finished the works described above1 ,fra ,giovanni ,agnolo departed from ,genoa and went to ,rome to visit ,buonarroti1 whom he had not seen for many years past1 and to try if he could by some means pick up again the thread of his connection with the ,duke of ,florence and return to complete the ,hercules that he had left unfinished4 ,but1 after arriving in ,rome1 where he bought himself the title of ,chevalier of ,s4 ,pietro1 he heard by letters received from ,florence that ,bandinelli1 pretending to be in want of marble1 and giving out that the above-named ,hercules was a piece of marble spoiled1 had broken it up1 with the leave of ,riccio the majordomo1 and had used it to make cornices for the tomb of ,signor ,giovanni1 on which he was then at work2 and at this he felt such disdain1 that for the time being he would not on any account return to visit ,florence1 since it appeared to him that the presumption1 arrogance1 and insolence of that man were too easily endured4 ,illustration3 ,,fountain ,,of ,,neptune 7,after ,fra ,giovanni ,agnolo ,montorsoli4 ,messina3 ,piazza del ,duomo7 ,brogi ,while the ,frate was thus passing his time in ,rome1 the people of ,messina1 having determined to erect on the ,piazza of their ,duomo a fountain with a very great enrichment of statues1 had sent men to ,rome to seek out some excellent sculptor4 ,these men had secured ,raffaello da ,montelupo1 but he fell ill at the very moment when he was about to depart with them for ,messina1 so that they made another choice and took the ,frate1 who had sought with all insistence1 and even with some interest1 to obtain that work4 ,having therefore apprenticed as a carpenter in ,rome his nephew ,agnolo1 who had proved to be less gifted than he had expected1 he set out with ,martino1 and they arrived in ,messina in the month of ,september1 #aedg4 ,there1 having been provided with rooms1 he set his hand to making the conduit for the waters1 which come from a distance1 and to having marble sent from ,carrara2 and with great promptitude1 assisted by many stone-cutters and carvers1 he finished that fountain1 which is made in the following manner4 ,the fountain1 ,i say1 has eight sides--namely1 four large1 the principal sides1 and four smaller4 ,the principal sides are divided1 and two of these1 projecting outwards1 form an angle in the middle1 and two1 receding inwards1 join a straight face that belongs to the four smaller sides1 so that in all there are eight4 ,the four angular sides1 which jut outwards1 making a projection1 give space for the four straight sides1 which recede inwards2 and in each enclosed space is a basin of some size1 which receives water in great abundance from one of four ,river ,gods of marble that are placed on the edge of the basin of the whole fountain1 so as to command all the eight sides already described4 ,the fountain stands on a base of four steps1 which form twelve sides2 eight longer sides1 which contain the angles1 and four smaller sides1 where the basins are1 under the four ,river ,gods4 ,the borders of the fountain are five palms high1 and at each of the corners 7which in all cover twenty sides7 there is a terminal figure as an ornament4 ,the circumference of the first basin with eight sides is one hundred and two palms1 and the diameter is thirty-four2 and in each of the above-named twenty sides is a little scene of marble in low-relief1 with poetical subjects appropriate to water and fountains1 such as the horse ,pegasus creating the ,castalian ,fount1 ,europa passing over the sea1 ,icarus flying and falling into the same1 ,arethusa transformed into a fount1 ,jason crossing the sea with the ,golden ,fleece1 ,narcissus changed into a fount1 and ,diana in the water and transforming ,acton into a stag1 with other suchlike stories4 ,at the eight angles that divide the projections of the steps of the fountain1 which rises two steps towards the basins and ,river ,gods1 and four towards the angular sides1 are eight ,sea ,monsters1 lying on certain dados1 with their front paws resting on some masks that pour water into some vases4 ,the ,river ,gods which are on the border1 and which rest within the basin on dados so high that they appear as if sitting in the water1 are the ,nile with seven little boys1 the ,tiber surrounded by an infinite number of palms and trophies1 the ,ebro with many victories of ,charles ,v1 and the ,river ,cumano1 near ,messina1 from which the waters for the fountain are taken2 with some stories and ,nymphs executed with beautiful conceptions4 ,up to this level of ten palms there are sixteen jets of water1 very abundant2 eight come from the masks already mentioned1 four from the ,river ,gods1 and four from some fishes seven palms high1 which1 standing upright in the basin1 with their heads out1 spout water towards the larger sides4 ,in the centre of the octagonal basin1 on a pedestal four palms high1 are ,sirens with wings in place of arms1 one at each corner2 and above these ,sirens1 which are twined together in the centre1 are four ,tritons eight palms high1 which likewise have their tails twined together1 and with their arms they support a great tazza1 into which water is poured by four masks superbly carved4 ,from the centre of that tazza rises a round shaft that supports two most hideous masks1 representing ,scylla and ,charybdis1 which are trodden under foot by three nude ,nymphs1 each six palms high1 above whom is placed the last tazza1 which is upheld by them with their arms4 ,in that tazza four ,dolphins1 with their heads down and their tails raised on high1 forming a base1 support a ball1 from the centre of which1 through four heads1 there issues water that spouts upwards1 and so also from the ,dolphins1 upon which are mounted four naked little boys4 ,on the topmost summit1 finally1 is a figure in armour representing the constellation of ,orion1 which has on the shield the arms of the city of ,messina1 of which ,orion is said1 or rather is fabled1 to have been the founder4 ,such1 then1 is that fountain of ,messina1 although it is not so easy to describe it in words as it would be to picture it in drawing4 ,and since it much pleased the people of ,messina1 they caused him to make another on the shore1 where the ,customs-house is2 which also proved to be beautiful and very rich4 ,now1 although that fountain has in like manner eight sides1 it is nevertheless different from that described above2 for it has four straight sides that rise three steps1 and four others1 smaller1 that are semicircular1 and upon these stands the fountain with its eight sides4 ,the borders of the great basin on the lowest level have at each angle a carved pedestal of an equal height1 and in the centre of four of them1 on the front face1 is another pedestal4 ,on each side where the steps are semicircular there is an elliptical basin of marble1 into which water pours in great abundance through two masks that are on the parapet below the carved border4 ,in the centre of the great basin of the fountain is a pedestal high in proportion1 on which are the arms of ,charles ,v2 at each angle of that pedestal is a ,sea-horse1 which spouts water on high from between its feet2 and in the frieze of the same1 beneath the upper cornice1 are eight great masks that pour jets of water downwards4 ,and on the summit is a ,neptune of five braccia1 who holds the trident in his hand1 and has the right leg planted beside a ,dolphin4 ,at the sides1 also1 upon two other pedestals1 are ,scylla and ,charybdis in the forms of two monsters1 fashioned very well1 with heads of ,dogs and ,furies about them4 ,that work1 likewise1 when finished1 much pleased the people of ,messina1 who1 having found a man to their liking1 made a beginning1 when the fountains were completed1 with the faade of the ,duomo1 and carried it to some extent forward4 ,and then they ordained that twelve chapels in the ,corinthian ,order should be made in that ,duomo1 six on either side1 with the twelve ,apostles in marble1 each of five braccia4 ,of these chapels only four were finished by the ,frate1 who also made with his own hand a ,s4 ,peter and a ,s4 ,paul1 which were two large and very good figures4 ,he was also commissioned to make a ,christ of marble for the head of the principal chapel1 with a very rich ornament all around1 and a scene in low-relief beneath each of the statues of the ,apostles2 but at that time he did nothing more4 ,on the ,piazza of the same ,duomo he directed the building of the ,temple of ,s4 ,lorenzo1 in a beautiful manner of architecture1 which won him much praise2 and on the shore there was built under his direction the ,beacon-tower4 ,and while these works were being carried forward1 he caused a chapel to be erected for the ,captain ,cicala in ,s4 ,domenico1 for which he made a ,madonna of marble as large as life2 and for the chapel of ,signor ,agnolo ,borsa1 in the cloister of the same church1 he executed a scene of marble in low-relief1 which was held to be beautiful1 and was wrought with much diligence4 ,he also caused water to be conducted by way of the wall of ,s4 ,agnolo for a fountain1 and made for it with his own hand a large boy of marble1 which pours water into a vase that is very ornate and beautifully contrived2 which was held to be a lovely work4 ,at the ,wall of the ,virgin he made another fountain1 with a ,virgin by his own hand1 which pours water into a basin2 and for that which is erected at the ,palace of ,signor ,don ,filippo ,laroca1 he made a boy larger than life1 of a kind of stone that is used at ,messina1 which boy1 surrounded by certain monsters and other products of the sea1 pours water into a vase4 ,and he made a statue in marble of four braccia1 a very beautiful figure of ,s4 ,catharine the ,martyr1 which was sent to ,taormina1 a place twenty-four miles distant from ,messina4 ,illustration3 ,,high ,,altar 7,after ,fra ,giovanni ,agnolo ,montorsoli4 ,bologna3 ,s4 ,maria dei ,servi7 ,alinari ,friends of ,fra ,giovanni ,agnolo1 while he was living at ,messina1 were the above-named ,signor ,don ,filippo ,laroca1 and ,don ,francesco of the same family2 ,messer ,bardo ,corsi1 ,giovan ,francesco ,scali1 and ,m4 ,lorenzo ,borghini1 all three ,florentine gentlemen then in ,messina2 ,serafino da ,fermo1 and the ,grand ,master of ,rhodes1 which last many times sought to draw him to ,malta and to make him a ,knight2 but he answered that he did not wish to confine himself in that island1 besides which1 feeling that he was doing ill not to be wearing the habit of his ,order1 he thought at times of going back to it4 ,and1 in truth1 ,i know that even if he had not been in a manner forced to do it1 he was determined to resume the habit and to go back to live like a good ,churchman4 ,when1 therefore1 in the time of ,pope ,paul ,,iv1 in the year #aeeg1 all the apostates1 or rather1 friars who had thrown off the habit1 were constrained to return to their ,orders under threat of the severest penalties1 ,fra ,giovanni ,agnolo abandoned the works that he had in hand1 leaving his disciple ,martino in his place1 and went in the month of ,may from ,messina to ,naples1 intending to return to his ,servite ,monastery in ,florence4 ,but before doing any other thing1 wishing to devote himself entirely to ,god1 he set about thinking how he might dispose of his great gains most suitably4 ,and so1 after having given in marriage certain nieces who were poor girls1 and others from his native country and from ,montorsoli1 he ordained that a thousand crowns should be given to his nephew ,agnolo1 of whom mention has been already made1 in ,rome1 and that a knighthood of the ,lily should be bought for him4 ,to each of two hospitals in ,naples he gave a good sum of money in alms4 ,to his own ,servite ,convent he left a thousand crowns to buy a farm1 and also that at ,montorsoli which had belonged to his forefathers1 on the condition that twenty-five crowns should be paid to each of two nephews of his own1 friars of the same ,order1 every year during their lifetime1 together with other charges that will be mentioned later4 ,all these matters being arranged1 he showed himself in ,rome and resumed the habit1 with much joy to himself and to his fellow-friars1 and particularly to ,maestro ,zaccheria4 ,then1 having gone to ,florence1 he was received and welcomed by his relatives and friends with incredible pleasure and gladness4 ,but1 although the ,frate had determined that he would spend the rest of his life in the service of our ,lord ,god and the salvation of his soul1 and live in peace and quietness1 enjoying a knighthood that he had reserved for himself1 he did not succeed in this so easily4 ,for he was summoned to ,bologna with great insistence by ,maestro ,giulio ,bovio1 the uncle of ,vascone ,bovio1 to the end that he might make the high-altar in the ,church of the ,servites1 which was to be all of marble and isolated1 and in addition a tomb with figures1 richly decorated with variegated stone and incrustations of marble2 and he was not able to refuse him1 particularly because that work was to be executed in a church of his ,order4 ,having therefore gone to ,bologna1 he set his hand to the work and executed it in twenty-eight months1 making that altar1 which shuts off the choir of the friars from one pilaster to the other1 all of marble both within and without1 with a nude ,christ of two braccia and a half in the centre1 and with some other statues at the sides4 ,that work is truly beautiful in architecture1 well designed and distributed1 and so well put together1 that nothing better could be done2 the pavement1 also1 wherein there is the tomb of ,bovio on the level of the ground1 is wrought in a beautifully ordered pattern2 certain candelabra of marble1 with some little figures and scenes1 are passing well contrived2 and every part is rich in carving4 ,but the figures1 besides that they are small1 on account of the difficulty that is found in conveying large pieces of marble to ,bologna1 are not equal to the architecture1 nor much worthy to be praised4 ,while ,fra ,giovanni ,agnolo was executing that work in ,bologna1 he was ever pondering1 as one who was not yet firmly resolved in the matter1 in what place1 among those of his ,order1 he might be able most conveniently to spend his last years2 when ,maestro ,zaccheria1 his very dear friend1 who was then ,prior of the ,nunziata in ,florence1 desiring to attract him to that place and to settle him there1 spoke of him to ,duke ,cosimo1 recalling to his memory the excellence of the ,frate1 and praying that he should deign to make use of him4 ,to which the ,duke having answered graciously1 saying that he would avail himself of the ,frate as soon as he had returned from ,bologna1 ,maestro ,zaccheria wrote to him of the whole matter1 and then sent him a letter of ,cardinal ,giovanni de' ,medici1 in which that lord exhorted him that he should return to his own country to execute some important work with his own hand4 ,having received these letters1 the ,frate1 remembering that ,messer ,pier ,francesco ,riccio1 after having been mad many years1 had died1 and that ,bandinelli also had left the world1 which men had seemed to be little his friends1 wrote back that he would not fail to return as soon as he might be able1 in order to serve his most illustrious ,excellency1 and to execute under his protection not profane things1 but some sacred work1 since he had a mind wholly turned to the service of ,god and of ,his ,saints4 ,finally1 then1 having returned to ,florence in the year #aefa1 he went off with ,maestro ,zaccheria to ,pisa1 where the ,lord ,duke and the ,cardinal were1 to do reverence to their most illustrious lordships2 and after he had been received with much kindness and favour by those lords1 and informed by the ,duke that after his return to ,florence he would be given a work of importance to execute1 he went back4 ,then1 having obtained leave from his fellow-friars of the ,nunziata by means of ,maestro ,zaccheria1 he erected in the centre of the chapter-house of that convent1 where many years before he had made the ,moses and ,s4 ,paul of stucco1 as has been related above1 a very beautiful tomb for himself and for all such men of the arts of design1 painters1 sculptors1 and architects1 as had not a place of their own in which to be buried2 intending to arrange by a contract1 as he did1 that those friars1 in return for the property that he was to leave to them1 should be obliged to say ,mass on some feast-days and ordinary days in that chapter-house1 and that every year1 on the day of the most ,holy ,trinity1 a solemn festival should be held there1 and on the following day an office of the dead for the souls of those buried in that place4 ,this design having then been imparted by ,fra ,giovanni ,agnolo and ,maestro ,zaccheria to ,giorgio ,vasari1 who was very much their friend1 they discoursed together on the affairs of the ,company of ,design1 which had been created in the time of ,giotto1 and had a home in ,s4 ,maria ,nuova in ,florence1 which it had possessed from that time down to our own1 as may still be seen at the present day from a record at the high-altar of that ,hospital2 and they thought with this occasion to revive it and set it up again4 ,for that ,company had been removed from the above-mentioned high-altar1 as has been related in the ,life of ,jacopo di ,casentino1 to a place under the vaulting of the same ,hospital at the corner of the ,via della ,pergola1 and finally had been removed and driven from that place also by ,don ,isidoro ,montaguti1 the ,director of the ,hospital1 so that it was almost entirely dispersed1 and no longer assembled4 ,now1 after ,fra ,giovanni ,agnolo1 ,maestro ,zaccheria1 and ,giorgio had thus discoursed at some length of the condition of that ,company1 and the ,frate had spoken of it with ,bronzino1 ,francesco da ,san ,gallo1 ,ammanati1 ,vincenzio de' ,rossi1 ,michele di ,ridolfo1 and many other sculptors and painters of the first rank1 and had declared his mind to them1 when the morning of the most ,holy ,trinity came1 all the most noble and excellent craftsmen of the arts of design1 to the number of forty-eight1 were assembled in the above-named chapter-house1 where a most beautiful festival had been prepared1 and where the tomb was already finished1 and the altar so far advanced that there were wanting only some figures of marble that were going into it4 ,there1 after a most solemn ,mass had been said1 a beautiful oration was made by one of those fathers in praise of ,fra ,giovanni ,agnolo1 and of the magnificent liberality that he was showing to the ,company by presenting to them that chapter-house1 that tomb1 and that chapel1 in order to take possession of which1 he said in conclusion1 it had been already arranged that the body of ,pontormo1 which had been placed in a vault in the first little cloister of the ,nunziata1 should be laid in the new tomb before any other4 ,when1 therefore1 the ,mass and the oration were finished1 they all went into the church1 where there were on a bier the remains of that ,pontormo2 and then1 having placed the bier on the shoulders of the younger men1 with a taper for each and also some torches1 they passed around the ,piazza and carried it into the chapter-house1 which1 previously draped with cloth of gold1 they found all black and covered with painted corpses and other suchlike things2 and thus was ,pontormo laid in the new tomb4 ,the ,company then dispersing1 the first meeting was ordained for the next ,sunday1 when1 besides settling the constitution of the ,company1 they were to make a selection of the best and create an ,academy1 with the assistance of which those without knowledge might learn1 and those with knowledge1 spurred by honourable and praiseworthy emulation1 might proceed to make greater proficience4 ,giorgio1 meanwhile1 had spoken of these matters with the ,duke1 and had besought him that he should favour the study of these noble arts1 even as he had favoured the study of letters by reopening the ,university of ,pisa1 creating a college for scholars1 and making a beginning with the ,florentine ,academy2 and he found him as ready to assist and favour that enterprise as he could have desired4 ,after these things1 the ,servite ,friars1 having thought better over the matter1 came to a resolution1 which they made known to the ,company1 that they would not have their chapter-house used by them save for holding festivals1 offices1 and burials1 and would not have their convent disturbed by the ,company's meetings and assemblies1 or in any other way4 ,of which ,giorgio having spoken with the ,duke1 demanding some place from him1 his ,excellency said that he had thought of providing them with one wherein they might not only be able to erect a building for the ,company1 but also have room enough to work and demonstrate their worth4 ,and shortly afterwards he wrote through ,m4 ,lelio ,torelli to the ,prior and ,monks of the ,angeli1 giving them to understand that they were to accommodate the above-named ,company in the temple that had been begun in their monastery by ,filippo ,scolari1 called ,lo ,spano4 ,the monks obeyed1 and the ,company was provided with certain rooms1 in which they assembled many times with the gracious leave of those fathers1 who received them sometimes even in their own chapter-house with much courtesy4 ,but the ,duke having been informed afterwards that some of those monks were not altogether content that the ,company's building should be erected in their precincts1 because the monastery would be encumbered thereby1 and the above-named temple1 which the craftsmen said that they wished to fill with their works1 would do very well as it was1 so far as they were concerned1 his ,excellency made it known to the men of the ,academy1 which had already made a beginning and had held the festival of ,s4 ,luke in that temple1 that the monks1 so he understood1 were not very willing to have them in their house1 and that therefore he would not fail to provide them with another place4 ,the same ,lord ,duke also said1 like the truly magnanimous ,prince that he is1 that he wished not only always to favour that ,academy1 but also to be himself its chief1 guide1 and protector1 and that for that reason he would appoint year by year a ,lieutenant who might be present in his stead at all their meetings4 ,acting on this promise1 he chose as the first the reverend ,don ,vincenzio ,borghini1 the ,director of the ,hospital of the ,innocenti2 and for these favours and courtesies shown by the ,lord ,duke to his new ,academy1 he was thanked by ten of the oldest and most excellent of its members4 ,but since the reformation of the ,company and the rules of the ,academy are described at great length in the statutes that were drawn up by the men elected and deputed for that purpose as reformers by the whole body 7who were ,fra ,giovanni ,agnolo1 ,francesco da ,san ,gallo1 ,agnolo ,bronzino1 ,giorgio ,vasari1 ,michele di ,ridolfo1 and ,pier ,francesco di ,jacopo di ,sandro71 in the presence of the said ,lieutenant1 and with the approval of his ,excellency1 ,i shall say no more about it in this place4 ,i must mention1 however1 that since the old seal and arms1 or rather1 device of the ,company1 which was a winged ox lying down1 the animal of ,s4 ,luke the ,evangelist1 displeased many of them1 it was ordained that each one should give in words his suggestion for a new one1 or show it in a drawing1 and then there were seen the most beautiful inventions and the most lovely and extravagant fantasies that could be imagined4 ,but for all that it is not yet completely determined which of them is to be accepted4 ,meanwhile ,martino1 the disciple of the ,frate1 having come from ,messina to ,florence1 died in a few days1 and was buried in the above-named tomb that had been made by his master4 ,and not long afterwards1 in #aefd1 the good father himself1 ,fra ,giovanni ,agnolo1 who had been so excellent a sculptor1 was buried in the same tomb with most honourable obsequies1 a very beautiful oration being delivered in his praise in the ,temple of the ,nunziata by the very reverend and most learned ,maestro ,michelagnolo4 ,truly great is the debt that our arts for many reasons owe to ,fra ,giovanni ,agnolo1 in that he bore infinite love to them and likewise to their craftsmen2 and of what great service has been and still is that ,academy1 which may be said to have received its origin from him in the manner that has been described1 and which is now under the protection of the ,lord ,duke ,cosimo1 and assembles by his command in the new sacristy of ,s4 ,lorenzo1 where there are so many works in sculpture by ,michelagnolo1 may be recognized from this1 that not only in the obsequies of that ,buonarroti 7which1 thanks to our craftsmen and to the assistance of the ,prince1 were not merely magnificent1 but little less than regal1 and which will be described in his ,life71 but also in many other undertakings1 the same men1 from emulation1 and from a desire not to be unworthy of their ,academy1 have achieved marvellous things1 and particularly in the nuptials of the most illustrious ,lord1 ,don ,francesco de' ,medici1 ,prince of ,florence and ,siena1 and of her ,serene ,highness1 ,queen ,joanna of ,austria1 which have been described fully and in due order by others1 and will be described again by us at great length in a more convenient place4 ,and since not only in this good father1 but also in many others of whom we have spoken above1 it has been seen1 as it still continues to be1 that good ,churchmen are useful and serviceable to the world in the arts and in the other more noble exercises no less than in letters1 in public instruction1 and in sacred councils1 and that they have no reason to fear comparison in this respect with others1 it may be said that there is probably no truth whatever in that which certain persons1 influenced more by anger or by some private spite than by reason and love of truth1 declare so freely of them--namely1 that they devote themselves to such a life because from poverty of spirit they have not1 like other men1 the power to make a livelihood2 for which may ,god forgive them4 ,fra ,giovanni ,agnolo lived fifty-six years1 and died on the last day of ,august1 #aefc4 ,,francesco ,,salviati ,,life ,,of ,,francesco ,,salviati ,,painter ,,of ,,florence ,the father of ,francesco ,salviati1 whose ,life we are now about to write1 and who was born in the year #aeaj1 was a good man called ,michelagnolo de' ,rossi1 a weaver of velvets2 and he1 having not only this child but also many others1 both male and female1 and being therefore in need of assistance1 had determined in his own mind that he would at all costs make ,francesco devote himself to his own calling of weaving velvets4 ,but the boy1 who had turned his mind to other things1 and did not like the pursuit of that trade1 although in the past it had been practised by persons1 ,i will not say noble1 but passing rich and prosperous1 followed his father's wishes in that matter with no good-will4 ,indeed1 associating in the ,via de' ,servi1 where his father had a house1 with the children of ,domenico ,naldini1 their neighbour and an honoured citizen1 he showed himself all given to gentle and honourable ways1 and much inclined to design4 ,in which matter he received no little assistance for a time from a cousin of his own called ,diacceto1 a young goldsmith1 who had a passing good knowledge of design1 in that he not only taught him all that he knew1 but also furnished him with many drawings by various able men1 over which1 without telling his father1 ,francesco practised day and night with extraordinary zeal4 ,and ,domenico ,naldini1 having become aware of this1 first examined the boy well1 and then prevailed upon his father1 ,michelagnolo1 to place him in his uncle's shop to learn the goldsmith's art2 by reason of which opportunity for design ,francesco in a few months made so much proficience1 that everyone was astonished4 ,in those days a company of young goldsmiths and painters used to assemble together at times and go throughout ,florence on feast-days drawing the most famous works1 and not one of them laboured more or with greater love than did ,francesco4 ,the young men of that company were ,nanni di ,prospero delle ,corniole1 the goldsmith ,francesco di ,girolamo dal ,prato1 ,nannoccio da ,san ,giorgio1 and many other lads who afterwards became able men in their professions4 ,illustration3 ,,portrait ,,of ,a ,,man 7,after the panel by ,francesco ,salviati ,francesco de' ,rossi4 ,florence3 ,uffizi1 #abef7 ,alinari ,at this time ,francesco and ,giorgio ,vasari1 both being still boys1 became fast friends1 and in the following manner4 ,in the year #aebc1 ,silvio ,passerini1 ,cardinal of ,cortona1 passing through ,arezzo as the ,legate of ,pope ,clement ,,vii1 ,antonio ,vasari1 his kinsman1 took ,giorgio1 his eldest son1 to make his reverence to the ,cardinal4 ,and the ,cardinal1 finding that the boy1 who at that time was not more than nine years of age1 had been so well grounded in his first letters by the diligence of ,m4 ,antonio da ,saccone and of ,messer ,giovanni ,pollastra1 an excellent poet of ,arezzo1 that he knew by heart a great part of the neid of ,virgil1 which he was pleased to hear him recite1 and that he had learned to draw from ,guglielmo da ,marcilla1 the ,french painter--the ,cardinal1 ,i say1 ordained that ,antonio should himself take the boy to ,florence4 ,there ,giorgio was settled in the house of ,m4 ,niccol ,vespucci1 ,knight of ,rhodes1 who lived on the abutment of the ,ponte ,vecchio1 above the ,church of the ,sepolcro1 and was placed with ,michelagnolo ,buonarroti2 and this circumstance came to the knowledge of ,francesco1 who was then living in the ,chiasso di ,messer ,bivigliano1 where his father rented a great house that faced on the ,vacchereccia1 employing many workmen4 ,whereupon1 since like always draws to like1 he so contrived that he became the friend of ,giorgio1 by means of ,m4 ,marco da ,lodi1 a gentleman of the above-named ,cardinal of ,cortona1 who showed to ,giorgio a portrait1 which much pleased him1 by the hand of ,francesco1 who a short time before had been placed to learn painting with ,giuliano ,bugiardini4 ,meanwhile ,vasari1 not neglecting the study of letters1 by order of the ,cardinal spent two hours every day with ,ippolito and ,alessandro de' ,medici1 under their master ,pierio1 an able man4 ,and this friendship1 contracted as described above between ,vasari and ,francesco1 became such that it never ceased to bind them together1 although1 by reason of their rivalry and a certain somewhat haughty manner of speech that ,francesco had1 some persons thought otherwise4 ,when ,vasari had been some months with ,michelagnolo1 that excellent man was summoned to ,rome by ,pope ,clement1 to receive instructions for beginning the ,library of ,s4 ,lorenzo2 and he was placed by him1 before he departed1 with ,andrea del ,sarto4 ,and devoting himself under him to design1 ,giorgio was continually lending his master's drawings in secret to ,francesco1 who had no greater desire than to obtain and study them1 as he did day and night4 ,afterwards ,giorgio was placed by the ,magnificent ,ippolito with ,baccio ,bandinelli1 who was pleased to have the boy with him and to teach him2 and ,vasari contrived to obtain ,francesco as his companion1 with great advantage to them both1 for the reason that while working together they learned more and made greater progress in one month than they had done in two years while drawing by themselves4 ,and the same did another young man who was likewise working under ,bandinelli at that time1 called ,nannoccio of the ,costa ,san ,giorgio1 of whom mention was made not long ago4 ,in the year #aebg1 the ,medici being expelled from ,florence1 there was a fight for the ,palace of the ,signoria1 and a bench was thrown down from on high so as to fall upon those who were assaulting the door2 but1 as fate would have it1 that bench hit an arm of the ,david in marble by ,buonarroti1 which is beside the door on the ,ringhiera1 and broke it into three pieces4 ,these pieces having remained on the ground for three days1 without being picked up by anyone1 ,francesco went to the ,ponte ,vecchio to find ,giorgio1 and told him his intention2 and then1 children as they were1 they went to the ,piazza1 and1 without thinking of any danger1 in the midst of the soldiers of the guard1 they took the pieces of that arm and carried them to the house of ,michelagnolo1 the father of ,francesco1 in the ,chiasso di ,m4 ,bivigliano4 ,from which house having afterwards recovered them1 ,duke ,cosimo in time caused them to be restored to their places with pegs of copper4 ,after this1 the ,medici being in exile1 and with them the above-mentioned ,cardinal of ,cortona1 ,antonio ,vasari took his son back to ,arezzo1 to the no little regret of ,giorgio and ,francesco1 who loved one another as brothers4 ,but they did not long remain separated from each other1 for the reason that after the plague1 which came in the following ,august1 had killed ,giorgio's father and the best part of his family1 he was so pressed with letters by ,francesco1 who also came very near dying of plague1 that he returned to ,florence4 ,there1 working with incredible zeal for a period of two years1 being driven by necessity and by the desire to learn1 they made marvellous proficience1 having recourse1 together with the above-named ,nannoccio da ,san ,giorgio1 to the workshop of the painter ,raffaello da ,brescia1 under whom ,francesco1 being the one who had most need to provide himself with the means to live1 executed many little pictures4 ,having come to the year #aebi1 since it did not appear to ,francesco that staying in ,brescia's workshop was doing him much good1 he and ,nannoccio went to work with ,andrea del ,sarto1 and stayed with him all the time that the siege lasted1 but in such discomfort1 that they repented that they had not followed ,giorgio1 who spent that year in ,pisa with the goldsmith ,manno1 giving his attention for four months to the goldsmith's craft to occupy himself4 ,vasari having then gone to ,bologna1 at the time when the ,emperor ,charles ,v was crowned there by ,clement ,,vii1 ,francesco1 who had remained in ,florence1 executed on a little panel a votive picture for a soldier who had been murderously attacked in bed by certain other soldiers during the siege2 and although it was a paltry thing1 he studied it and executed it to perfection4 ,that votive picture fell not many years ago into the hands of ,giorgio ,vasari1 who presented it to the reverend ,don ,vincenzio ,borghini1 the ,director of the ,hospital of the ,innocenti1 who holds it dear4 ,for the ,black ,friars of the ,badia ,francesco painted three little scenes on a ,tabernacle of the ,sacrament made by the carver ,tasso in the manner of a triumphal arch4 ,in one of these is the ,sacrifice of ,abraham1 in the second the ,manna1 and in the third the ,hebrews eating the ,paschal ,lamb on their departure from ,egypt2 and the work was such that it gave an earnest of the success that he has since achieved4 ,he then painted in a picture for ,francesco ,sertini1 who sent it to ,france1 a ,dalilah who was cutting off the locks of ,samson1 and in the distance ,samson embracing the columns of the temple and bringing it down upon the ,philistines2 which picture made ,francesco known as the most excellent of the young painters that were then in ,florence4 ,not long afterwards the elder ,cardinal ,salviati having requested ,benvenuto della ,volpaia1 a master of clock-making1 who was in ,rome at that time1 to find for him a young painter who might live with him and paint some pictures for his delight1 ,benvenuto proposed to him ,francesco1 who was his friend1 and whom he knew to be the most competent of all the young painters of his acquaintance2 which he did all the more willingly because the ,cardinal had promised that he would give the young man every facility and all assistance to enable him to study4 ,the ,cardinal1 then1 liking the young ,francesco's qualities1 said to ,benvenuto that he should send for him1 and gave him money for that purpose4 ,and so1 when ,francesco had arrived in ,rome1 the ,cardinal1 being pleased with his method of working1 his ways1 and his manners1 ordained that he should have rooms in the ,borgo ,vecchio1 and four crowns a month1 with a place at the table of his gentlemen4 ,the first works that ,francesco 7to whom it appeared that he had been very fortunate7 executed for the ,cardinal were a picture of ,our ,lady1 which was held to be very beautiful1 and a canvas of a ,french nobleman who is running in chase of a hind1 which1 flying from him1 takes refuge in the ,temple of ,diana3 of which work ,i keep the design1 drawn by his hand1 in my book1 in memory of him4 ,that canvas finished1 the ,cardinal caused him to portray in a very beautiful picture of ,our ,lady a niece of his own1 married to ,signor ,cagnino ,gonzaga1 and likewise that lord himself4 ,now1 while ,francesco was living in ,rome1 with no greater desire than to see his friend ,giorgio ,vasari in that city1 ,fortune was favourable to his wishes in that respect1 and even more to ,vasari4 ,for1 ,cardinal ,ippolito having parted in great anger from ,pope ,clement for reasons that were discussed at the time1 but returning not long afterwards to ,rome accompanied by ,baccio ,valori1 in passing through ,arezzo he found ,giorgio1 who had been left without a father and was occupying himself as best he could2 wherefore1 desiring that he should make some proficience in art1 and wishing to have him near his person1 he commanded ,tommaso de' ,nerli1 who was ,commissary there1 that he should send him to ,rome as soon as he should have finished a chapel that he was painting in fresco for the ,monks of ,s4 ,bernardo1 of the ,order of ,monte ,oliveto1 in that city4 ,that commission ,nerli executed immediately1 and ,giorgio1 having thus arrived in ,rome1 went straightway to find ,francesco1 who joyfully described to him in what favour he was with his lord the ,cardinal1 and how he was in a place where he could satisfy his hunger for study2 adding1 also3 ,not only do ,i enjoy the present1 but ,i hope for even better things1 for1 besides seeing you in ,rome1 with whom1 as the young friend nearest to my heart1 ,i shall be able to study and discuss the matters of art1 ,i also live in hope of entering the service of ,cardinal ,ippolito de' ,medici1 from whose liberality1 as well as from the favour of the ,pope1 ,i may look for greater things than ,i have at present2 and this will happen without a doubt if a certain young man1 who is expected from abroad1 does not arrive4 ,giorgio1 although he knew that the young man who was expected was himself1 and that the place was being kept for him1 yet would not reveal himself1 because of a certain doubt that had entered his mind as to whether the ,cardinal might not have another in view1 and also from a wish not to declare a circumstance that might afterwards fall out differently4 ,giorgio had brought a letter from the above-named ,commissary ,nerli to the ,cardinal1 which1 after having been five days in ,rome1 he had not yet presented4 ,finally ,giorgio and ,francesco went to the ,palace and found in what is now the ,hall of ,kings ,messer ,marco da ,lodi1 who had formerly been with the ,cardinal of ,cortona1 as was related above1 but was then in the service of ,medici4 ,to him ,giorgio presented himself1 saying that he had a letter from the ,commissary of ,arezzo that was to be delivered to the ,cardinal1 and praying that he should give it to him2 which ,messer ,marco was promising to do immediately1 when at that very moment the ,cardinal himself appeared there4 ,whereupon ,giorgio1 coming forward before him1 presented the letter and kissed his hands2 and he was received graciously1 and shortly afterwards given into the charge of ,jacopone da ,bibbiena1 the master of the household1 who was commanded to provide him with rooms and with a place at the table of the pages4 ,it appeared a strange thing to ,francesco that ,giorgio should not have confided the matter to him2 but he was persuaded that he had done it for the best and with a good intention4 ,when the above-named ,jacopone1 therefore1 had given ,giorgio some rooms behind ,s4 ,spirito1 near ,francesco1 the two devoted themselves in company all that winter to the study of art1 with much profit1 leaving no noteworthy work1 either in the ,palace or in any other part of ,rome1 that they did not draw4 ,and since1 when the ,pope was in the ,palace1 they were not able to stay there drawing at their ease1 as soon as his ,holiness had ridden forth to the ,magliana1 as he often did1 they would gain admittance by means of friends into those apartments to draw1 and would stay there from morning till night without eating anything but a little bread1 and almost freezing with cold4 ,cardinal ,salviati having then commanded ,francesco that he should paint in fresco in the chapel of his ,palace1 where he heard ,mass every morning1 some stories of the life of ,s4 ,john the ,baptist1 ,francesco set himself to study nudes from life1 and ,giorgio with him1 in a bath-house near there2 and afterwards they made some anatomical studies in the ,campo ,santo4 ,the spring having then come1 ,cardinal ,ippolito1 being sent by the ,pope to ,hungary1 ordained that ,giorgio should be sent to ,florence1 and should there execute some pictures and portraits that he had to despatch to ,rome4 ,but in the ,july following1 what with the fatigues of the past winter and the heat of summer1 ,giorgio fell ill and was carried by litter to ,arezzo1 to the great sorrow of ,francesco1 who also fell sick and was like to die4 ,however1 being restored to health1 ,francesco was commissioned by ,maestro ,filippo da ,siena1 at the instance of ,antonio ,l',abacco1 a master-worker in wood1 to paint in fresco in a niche over the door at the back of ,s4 ,maria della ,pace1 a ,christ speaking with ,s4 ,filippo1 and in two angles the ,virgin and the ,angel of the ,annunciation2 which pictures1 much pleasing ,maestro ,filippo1 were the reason that he caused him to paint the ,assumption of ,our ,lady in the same place1 in a large square space that was not yet painted in one of the eight sides of that temple4 ,whereupon ,francesco1 reflecting that he had to execute that work not merely in a public place1 but in a place where there were pictures by the rarest masters--,raffaello da ,urbino1 ,rosso1 ,baldassarre da ,siena1 and others--put all possible study and diligence into executing it in oils on the wall1 so that it proved to be a beautiful picture1 and was much extolled2 and excellent among other figures is held to be the portrait that he painted there of the above-named ,maestro ,filippo with the hands clasped4 ,and since ,francesco lived1 as has been told1 with ,cardinal ,salviati1 and was known as his protg1 he began to be called and known by no other name but ,cecchino ,salviati1 and he kept that name to the day of his death4 ,pope ,clement ,,vii being dead and ,paul ,,iii elected1 ,m4 ,bindo ,altoviti caused ,francesco to paint on the faade of his house at the ,ponte ,s4 ,agnolo the arms of the new ,pontiff1 with some large nude figures1 which gave infinite satisfaction4 ,about the same time he made a portrait of that ,messer ,bindo1 which was a very good figure and a beautiful portrait2 and this was afterwards sent to his villa of ,s4 ,mizzano in the ,valdarno1 where it still is4 ,he then painted for the ,church of ,s4 ,francesco a ,ripa a very beautiful altar-picture of the ,annunciation in oils1 which was executed with the greatest diligence4 ,for the coming of ,charles ,v to ,rome in the year #aece1 he painted for ,antonio da ,san ,gallo some scenes in chiaroscuro1 which were placed on the arch that was made at ,s4 ,marco2 and these pictures1 as has been said in another place1 were the best that there were in all those festive decorations4 ,afterwards ,signor ,pier ,luigi ,farnese1 who had been made ,lord of ,nepi at that time1 wishing to adorn that city with new buildings and pictures1 took ,francesco into his service1 giving him rooms in the ,belvedere2 and there ,francesco painted for him on large canvases some scenes in gouache of the actions of ,alexander the ,great1 which were afterwards carried into execution and woven into tapestries in ,flanders4 ,for the same ,lord of ,nepi he decorated a large and very beautiful bathroom with many scenes and figures executed in fresco4 ,then1 the same lord having been created ,duke of ,castro1 for his first entry rich and most beautiful decorations were made in that city under the direction of ,francesco1 and at the gate an arch all covered with scenes1 figures1 and statues1 executed with much judgment by able men1 and in particular by ,alessandro1 called ,scherano1 a sculptor of ,settignano4 ,another arch1 in the form of a faade1 was made at the ,petrone1 and yet another on the ,piazza1 which arches1 with regard to the woodwork1 were executed by ,battista ,botticelli2 and in these festive preparations1 among other things1 ,francesco made a beautiful perspective-scene for a comedy that was performed4 ,about the same time1 ,giulio ,camillo1 who was then in ,rome1 having made a book of his compositions in order to send it to ,king ,francis of ,france1 had it all illustrated by ,francesco ,salviati1 who put into it all the diligence that it is possible to devote to such a work4 ,cardinal ,salviati1 having a desire to possess a picture in tinted woods 7that is1 in tarsia7 by the hand of ,fra ,damiano da ,bergamo1 a lay-brother of ,s4 ,domenico at ,bologna1 sent him a design done in red chalk by the hand of ,francesco1 as a pattern for its execution2 which design1 representing ,king ,david being anointed by ,samuel1 was the best thing that ,cecchino ,salviati ever drew1 and truly most rare4 ,after this1 ,giovanni da ,cepperello and ,battista ,gobbo of ,san ,gallo--who had caused the ,florentine painter ,jacopo del ,conte1 then a young man1 to paint in the ,florentine ,company of the ,misericordia in ,s4 ,giovanni ,decollato1 under the ,campidoglio at ,rome1 namely1 in the second church where they hold their assemblies1 a story of that same ,s4 ,john the ,baptist1 showing the ,angel appearing to ,zacharias in the ,temple--commissioned ,francesco to paint below that scene another story of the same ,saint1 namely1 the ,visitation of ,our ,lady to ,s4 ,elizabeth4 ,that work1 which was finished in the year #aech1 he executed in fresco in such a manner1 that it is worthy to be numbered among the most graceful and best conceived pictures that ,francesco ever painted1 in the invention1 in the composition of the scene1 in the method and the attention to rules for the gradation of the figures1 in the perspective and the architecture of the buildings1 in the nudes1 in the draped figures1 in the grace of the heads1 and1 in short1 in every part2 wherefore it is no marvel if all ,rome was struck with astonishment by it4 ,around a window he executed some bizarre fantasies in imitation of marble1 and some little scenes that have marvellous grace4 ,and since ,francesco never wasted any time1 while he was engaged on that work he executed many other things1 and also drawings1 and he coloured a ,phathon with the ,horses of the ,sun1 which ,michelagnolo had drawn4 ,all these things ,salviati showed to ,giorgio1 who after the death of ,duke ,alessandro had gone to ,rome for two months2 saying to him that1 once he had finished a picture of a young ,s4 ,john that he was painting for his master ,cardinal ,salviati1 a ,passion of ,christ on canvas that was to be sent to ,spain1 and a picture of ,our ,lady that he was painting for ,raffaello ,acciaiuoli1 he wished to turn his steps to ,florence in order to revisit his native place1 his relatives1 and his friends1 for his father and mother were still alive1 to whom he was always of the greatest assistance1 and particularly in settling two sisters1 one of whom was married1 and the other is a nun in the ,convent of ,monte ,domini4 ,coming thus to ,florence1 where he was received with much rejoicing by his relatives and friends1 it chanced that he arrived there at the very moment when the festive preparations were being made for the nuptials of ,duke ,cosimo and the ,lady ,donna ,leonora di ,toledo4 ,wherefore he was commissioned to paint one of the already mentioned scenes that were executed in the courtyard1 which he accepted very willingly2 and that was the one in which the ,emperor was placing the ,ducal crown on the head of ,duke ,cosimo4 ,but being seized1 before he had finished it1 with a desire to go to ,venice1 ,francesco left it to ,carlo ,portelli of ,loro1 who finished it after ,francesco's design2 which design1 with many others by the same hand1 is in our book4 ,having departed from ,florence and made his way to ,bologna1 ,francesco found there ,giorgio ,vasari1 who had returned two days before from ,camaldoli1 where he had finished the two altar-pieces that are in the tramezzo#ag of the church1 and had begun that of the high-altar2 and ,vasari was arranging to paint three great panel-pictures for the refectory of the ,fathers of ,s4 ,michele in ,bosco1 where he kept ,francesco with him for two days4 ,during that time1 some of his friends made efforts to obtain for him the commission for an altar-piece that was to be allotted by the men of the ,della ,morte ,hospital4 ,but1 although ,salviati made a most beautiful design1 those men1 having little understanding1 were not able to recognize the opportunity that ,messer ,domeneddio#ah had sent them of obtaining for ,bologna a work by the hand of an able master4 ,wherefore ,francesco went away in some disdain1 leaving some very beautiful designs in the hands of ,girolamo ,fagiuoli1 to the end that he might engrave them on copper and have them printed4 ,footnote #ag3 ,see note on p4 #eg1 ,vol4 ,i4 ,footnote #ah3 ,a method of alluding to the ,deity1 which1 in its playful simplicity1 is quite impossible in ,english4 ,having arrived in ,venice1 he was received courteously by the ,patriarch ,grimani and his brother ,messer ,vettorio1 who showed him a thousand favours4 ,for that ,patriarch1 after a few days1 he painted in oils1 in an octagon of four braccia1 a most beautiful ,psyche to whom1 as to a ,goddess1 on account of her beauty1 incense and votive offerings are presented2 which octagon was placed in a hall in the house of that lord1 wherein is a ceiling in the centre of which there curve some festoons executed by ,camillo ,mantovano1 an excellent painter in representing landscapes1 flowers1 leaves1 fruits1 and other suchlike things4 ,that octagon1 ,i say1 was placed in the midst of four pictures each two braccia and a half square1 executed with stories of the same ,psyche1 as was related in the ,life of ,genga1 by ,francesco da ,forl2 and the octagon is not only beyond all comparison more beautiful than those four pictures1 but even the most beautiful work of painting that there is in all ,venice4 ,after that1 in a chamber wherein ,giovanni ,ricamatori of ,udine had executed many works in stucco1 he painted some little figures in fresco1 both nude and draped1 which are full of grace4 ,in like manner1 in an altar-piece that he executed for the ,nuns of the ,corpus ,domini at ,venice1 he painted with much diligence a ,dead ,christ with the ,maries1 and in the air an ,angel who has the ,mysteries of the ,passion in the hands4 ,he made the portrait of ,m4 ,pietro ,aretino1 which1 as a rare work1 was sent by that poet to ,king ,francis1 with some verses in praise of him who had painted it4 ,and for the ,nuns of ,s4 ,cristina in ,bologna1 of the ,order of ,camaldoli1 the same ,salviati1 at the entreaty of ,don ,giovan ,francesco da ,bagno1 their ,confessor1 painted an altar-piece with many figures1 a truly beautiful picture1 which is in the church of that convent4 ,then1 having grown weary of the life in ,venice1 as one who remembered that of ,rome1 and considering that it was no place for men of design1 ,francesco departed in order to return to ,rome4 ,and so1 making a dtour by ,verona and ,mantua1 in the first of which places he saw the many antiquities that are there1 and in the other the works of ,giulio ,romano1 he made his way back to ,rome by the road through ,romagna1 and arrived there in the year #aeda4 ,there1 having rested a little1 the first works that he made were the portrait of ,messer ,giovanni ,gaddi and that of ,messer ,annibale ,caro1 who were much his friends4 ,those finished1 he painted a very beautiful altar-piece for the ,chapel of the ,clerks of the ,chamber in the ,pope's ,palace4 ,and in the ,church of the ,germans he began a chapel in fresco for a merchant of that nation1 painting on the vault above the ,apostles receiving the ,holy ,spirit1 and in a picture that is half-way up the wall ,jesus ,christ rising from the dead1 with the soldiers sleeping round the ,sepulchre in various attitudes1 foreshortened in a bold and beautiful manner4 ,on one side he painted ,s4 ,stephen1 and on the other side ,s4 ,george1 in two niches2 and at the foot he painted ,s4 ,giovanni ,limosinario1 who is giving alms to a naked beggar1 with a ,charity on one side of him1 and on the other side ,s4 ,alberto1 the ,carmelite ,friar1 between ,logic and ,prudence4 ,and in the great altar-picture1 finally1 he painted in fresco the ,dead ,christ with the ,maries4 ,having formed a friendship with ,piero di ,marcone1 a ,florentine goldsmith1 and having become his gossip1 ,francesco made to ,piero's wife1 who was also his gossip1 after her delivery1 a present of a very beautiful design1 which was to be painted on one of those round baskets in which food is brought to a newly-delivered woman4 ,in that design there was the life of man1 in a number of square compartments containing very beautiful figures1 both on one side and on the other2 namely1 all the ages of human life1 each of which rested on a different festoon appropriate to the particular age and the season4 ,in that bizarre composition were included1 in two long ovals1 figures of the sun and moon1 and between them ,sais1 a city of ,egypt1 standing before the ,temple of the ,goddess ,pallas and praying for wisdom1 as if to signify that on behalf of newborn children one should pray before any other thing for wisdom and goodness4 ,that design ,piero held ever afterwards as dear as if it had been1 as indeed it was1 a most beautiful jewel4 ,not long afterwards1 the above-named ,piero and other friends having written to ,francesco that he would do well to return to his native place1 for the reason that it was held to be certain that he would be employed by the ,lord ,duke ,cosimo1 who had no masters about him save such as were slow and irresolute1 he finally determined 7trusting much1 also1 in the favour of ,m4 ,alamanno1 the brother of the ,cardinal and uncle of the ,duke7 to return to ,florence4 ,having arrived1 therefore1 before attempting any other thing1 he painted for the above-named ,m4 ,alamanno ,salviati a very beautiful picture of ,our ,lady1 which he executed in a room in the ,office of ,works of ,s4 ,maria del ,fiore that was occupied by ,francesco dal ,prato1 who at that time1 from being a goldsmith and a master of tausia1#ai had set himself to casting little figures in bronze and to painting1 with much profit and honour4 ,in that same place1 then1 which that master held as the official in charge of the woodwork of the ,office of ,works1 ,francesco made portraits of his friend ,piero di ,marcone and of ,avveduto del ,cegia1 the dresser of minever-furs1 who was also much his friend2 which ,avveduto1 besides many other things by the hand of ,francesco that he possesses1 has a portrait of ,francesco himself1 executed in oils with his own hand1 and very lifelike4 ,footnote #ai3 ,damascening4 ,illustration3 ,,justice 7,after the fresco by ,francesco ,salviati ,francesco de' ,rossi4 ,florence3 ,bargello7 ,alinari ,the above-mentioned picture of ,our ,lady1 being1 after it was finished1 in the shop of the wood-carver ,tasso1 who was then architect of the ,palace1 was seen by many persons and vastly extolled2 but what caused it even more to be considered a rare picture was that ,tasso1 who was accustomed to censure almost everything1 praised it to the skies4 ,and1 what was more1 he said to ,m4 ,pier ,francesco1 the majordomo1 that it would be an excellent thing for the ,duke to give ,francesco some work of importance to execute2 whereupon ,m4 ,pier ,francesco and ,cristofano ,rinieri1 who had the ear of the ,duke1 played their part in such a way1 that ,m4 ,alamanno spoke to his ,excellency1 saying to him that ,francesco desired to be commissioned to paint the ,hall of ,audience1 which is in front of the ,chapel of the ,ducal ,palace1 and that he cared nothing about payment2 and the ,duke was content that this should be granted to him4 ,whereupon ,francesco1 having made small designs of the ,triumph of ,furius ,camillus and of many stories of his life1 set himself to contrive the division of that hall according to the spaces left by the windows and doors1 some of which are high and some low2 and there was no little difficulty in making that division in such a way that it might be well-ordered and might not disturb the sequence of the stories4 ,in the wall where there is the door by which one enters into the hall1 there were two large spaces1 divided by the door4 ,opposite to that1 where there are the three windows that look out over the ,piazza1 there were four spaces1 but not wider than about three braccia each4 ,in the end-wall that is on the right hand as one enters1 wherein are two windows that likewise look out on the ,piazza1 but in another direction1 there were three similar spaces1 each about three braccia wide2 and in the end-wall that is on the left hand1 opposite to the other1 what with the marble door that leads into the chapel1 and a window with a grating of bronze1 there remained only one space large enough to contain a work of importance4 ,on the wall of the chapel1 then--within an ornament of ,corinthian columns that support an architrave1 which has below it a recess1 wherein hang two very rich festoons1 and two pendants of various fruits1 counterfeited very well1 while upon it sits a naked little boy who is holding the ,ducal arms1 namely1 those of the ,houses of ,medici and ,toledo--he painted two scenes2 on the right hand ,camillus1 who is commanding that the schoolmaster shall be given up to the vengeance of his young scholars1 and on the other the same ,camillus1 while the army is in combat and fire is burning the stockades and tents of the camp1 is routing the ,gauls4 ,and beside that1 where the same range of pilasters continues1 he painted a figure of ,opportunity1 large as life1 who has seized ,fortune by the locks1 and some devices of his ,excellency1 with many ornaments executed with marvellous grace4 ,on the main wall1 where there are two great spaces divided by the principal door1 he painted two large and very beautiful scenes4 ,in the first are the ,gauls1 who1 weighing the gold of the tribute1 add to it a sword1 to the end that the weight may be the greater1 and ,camillus1 full of rage1 delivers himself from the tribute by force of arms2 which scene is very beautiful1 and crowded with figures1 landscapes1 antiquities1 and vases counterfeited very well and in various manners in imitation of gold and silver4 ,in the other scene1 beside the first1 is ,camillus in the triumphal chariot1 drawn by four horses2 and on high is ,fame1 who is crowning him4 ,before the chariot are priests very richly apparelled1 with the statue of the ,goddess ,juno1 and holding vases in their hands1 and with some trophies and spoils of great beauty4 ,about the chariot are innumerable prisoners in various attitudes1 and behind it the soldiers of the army in their armour1 among whom ,francesco made a portrait of himself1 which is so good that it seems as if alive4 ,in the distance1 where the triumphal procession is passing1 is a very beautiful picture of ,rome1 and above the door is a figure of ,peace in chiaroscuro1 who is burning the arms1 with some prisoners2 all which was executed by ,francesco with such diligence and study1 that there is no more beautiful work to be seen4 ,on the wall towards the west he painted in a niche in one of the larger spaces1 in the centre1 a ,mars in armour1 and below that a nude figure representing a ,gaul1#bj with a crest on the head similar to that of a cock2 and in another niche a ,diana with a skin about her waist1 who is drawing an arrow from her quiver1 with a dog4 ,in the two corners next the other two walls are two figures of ,time1 one adjusting weights in a balance1 and the other tempering the liquid in two vases by pouring one into the other4 ,on the last wall1 which is opposite to the chapel and faces towards the north1 in a corner on the right hand1 is the ,sun figured in the manner wherein the ,egyptians represent him1 and in the other corner the ,moon in the same manner4 ,in the middle is ,favour1 represented as a nude young man on the summit of the wheel1 with ,envy1 ,hatred1 and ,malice on one side1 and on the other side ,honours1 ,pleasure1 and all the other things described by ,lucian4 ,above the windows is a frieze all full of most beautiful nudes1 as large as life1 and in various forms and attitudes2 with some scenes likewise from the life of ,camillus4 ,and opposite to the ,peace that is burning the arms is the ,river ,arno1 who1 holding a most abundant horn of plenty1 raises with one hand a curtain and reveals ,florence and the greatness of her ,pontiffs and the heroes of the ,house of ,medici4 ,he painted there1 besides all that1 a base that runs round below those scenes1 and niches with some terminal figures of women that support festoons2 and in the centre are certain ovals with scenes of people adorning a ,sphinx and the ,river ,arno4 ,footnote #bj3 ,a play on the word ,gallo1 which means both ,gaul and cock4 ,francesco put into the execution of that work all the diligence and study that are possible2 and1 although he had many contradictions1 he carried it to a happy conclusion1 desiring to leave in his native city a work worthy of himself and of so great a ,prince4 ,francesco was by nature melancholy1 and for the most part he did not care to have anyone about him when he was at work4 ,but nevertheless1 when he first began that undertaking1 almost doing violence to his nature and affecting an open heart1 with great cordiality he allowed ,tasso and others of his friends1 who had done him some service1 to stand and watch him at work1 showing them every courtesy that he was able4 ,but when he had gained a footing at ,court1 as the saying goes1 and it seemed to him that he was in good favour1 returning to his choleric and biting nature1 he paid them no attention4 ,nay1 what was worse1 he used the most bitter words according to his wont 7which served as an excuse to his adversaries71 censuring and decrying the works of others1 and praising himself and his own works to the skies4 ,these methods1 which displeased most people and likewise certain craftsmen1 brought upon him such odium1 that ,tasso and many others1 who from being his friends had become his enemies1 began to give him cause for thought and for action4 ,for1 although they praised the excellence of the art that was in him1 and the facility and rapidity with which he executed his works so well and with such unity1 they were not at a loss1 on the other hand1 for something to censure4 ,and since1 if they had allowed him to gain a firm footing and to settle his affairs1 they would not have been able afterwards to hinder or hurt him1 they began in good time to give him trouble and to molest him4 ,whereupon many of the craftsmen and others1 banding themselves together and forming a faction1 began to disseminate among the people of importance a rumour that ,salviati's work was not succeeding1 and that he was labouring by mere skill of hand1 and devoting no study to anything that he did4 ,in which1 in truth1 they accused him wrongly1 for1 although he never toiled over the execution of his works1 as they themselves did1 yet that did not mean that he did not study them and that his works had not infinite grace and invention1 or that they were not carried out excellently well4 ,not being able to surpass his excellence with their works1 those adversaries wished to overwhelm it with such words and reproaches2 but in the end truth and excellence have too much force4 ,at first ,francesco made light of such rumours1 but later1 perceiving that they were growing beyond all reason1 he complained of it many times to the ,duke4 ,but1 since it began to be seen that the ,duke1 to all appearance1 was not showing him such favours as he would have liked1 and it seemed that his ,excellency cared nothing for those complaints1 ,francesco began to fall from his position in such a manner1 that his adversaries1 taking courage from that1 sent forth a rumour that his scenes in the hall were to be thrown to the ground1 because they did not give satisfaction and had in them no particle of excellence4 ,all these calumnies1 which were pressed against him with incredible envy and malice by his adversaries1 had reduced ,francesco to such a state1 that1 if it had not been for the goodness of ,messer ,lelio ,torelli1 ,messer ,pasquino ,bertini1 and others of his friends1 he would have retreated before them1 which was exactly what they desired4 ,but the above-named friends1 exhorting him continually to finish the work of the hall and others that he had in hand1 restrained him1 even as was done by many other friends not in ,florence1 to whom he wrote of these persecutions4 ,and ,giorgio ,vasari1 among others1 answering a letter that ,salviati wrote to him on the matter1 exhorted him always to have patience1 because excellence is refined by persecution as gold by fire2 adding that a time was about to come when his art and his genius would be recognized1 and that he should complain of no one but himself1 in that he did not yet know men's humours1 and how the people and the craftsmen of his own country were made4 ,thus1 notwithstanding all these contradictions and persecutions that poor ,francesco suffered1 he finished that hall--namely1 the work that he had undertaken to execute in fresco on the walls1 for the reason that on the ceiling1 or rather1 soffit1 there was no need for him to do any painting1 since it was so richly carved and all overlaid with gold1 that among works of that kind there is none more beautiful to be seen4 ,and as a finish to the whole the ,duke caused two new windows of glass to be made1 with his devices and arms and those of ,charles ,v2 and nothing could be better in that kind of work than the manner in which they were executed by ,battista del ,borro1 an ,aretine painter excellent in that field of art4 ,after that1 ,francesco painted for his ,excellency the ceiling of the hall where he dines in winter1 with many devices and little figures in distemper2 and a most beautiful study which opens out over the ,green ,chamber4 ,he made portraits1 likewise1 of some of the ,duke's children2 and one year1 for the ,carnival1 he executed in the ,great ,hall the scenery and prospect-view for a comedy that was performed1 and that with such beauty and in a manner so different from those that had been done in ,florence up to that time1 that they were judged to be superior to them all4 ,nor is this to be marvelled at1 since it is very certain that ,francesco was always in all his works full of judgment1 and well-varied and fertile in invention1 and1 what is more1 he had a perfect knowledge of design1 and had a more beautiful manner than any other painter in ,florence at that time1 and handled colours with great skill and delicacy4 ,he also made a head1 or rather1 a portrait1 of ,signor ,giovanni de' ,medici1 the father of ,duke ,cosimo1 which was very beautiful2 and it is now in the guardaroba of the same ,lord ,duke4 ,for ,cristofano ,rinieri1 who was much his friend1 he painted a most beautiful picture of ,our ,lady1 which is now in the ,udienza della ,decima4 ,for ,ridolfo ,landi he executed a picture of ,charity1 which could not be more lovely than it is2 and for ,simone ,corsi1 likewise1 he painted a picture of ,our ,lady1 which was much extolled4 ,for ,m4 ,donato ,acciaiuoli1 a knight of ,rhodes1 with whom he always maintained a particular intimacy1 he executed certain little pictures that are very beautiful4 ,and he also painted in an altar-piece ,christ showing to ,s4 ,thomas1 who would not believe that ,he had newly risen from the dead1 the marks of the blows and wounds that ,he had received from the ,jews2 which altar-piece was taken by ,tommaso ,guadagni into ,france1 and placed in the ,chapel of the ,florentines in a church at ,lyons4 ,francesco also depicted at the request of the above-named ,cristofano ,rinieri and of ,maestro ,giovanni ,rosto1 the ,flemish master of tapestry1 the whole story of ,tarquinius and the ,roman ,lucretia in many cartoons1 which1 being afterwards put into execution in tapestries woven in silk1 floss-silk1 and gold1 proved to be a marvellous work4 ,which hearing1 the ,duke1 who was at that time having similar tapestries1 all in silk and gold1 made in ,florence by the same ,maestro ,giovanni for the ,sala de' ,dugento1 and had caused cartoons with the stories of the ,hebrew ,joseph to be executed by ,bronzino and ,pontormo1 as has been related1 commanded that ,francesco also should make a cartoon1 which was that with the interpretation of the dream of the seven fat and seven lean kine4 ,into that cartoon ,francesco put all the diligence that could possibly be devoted to such a work1 and that is required for pictures that are to be woven2 for there must be fantastic inventions and variety of composition in the figures1 and these must stand out one from another1 so that they may have strong relief1 and they must come out bright in colouring and rich in the costumes and vestments4 ,that piece of tapestry and the others having turned out well1 his ,excellency resolved to establish the art in ,florence1 and caused it to be taught to some boys1 who1 having grown to be men1 are now executing most excellent works for the ,duke4 ,francesco also executed a most beautiful picture of ,our ,lady1 likewise in oils1 which is now in the chamber of ,messer ,alessandro1 the son of ,m4 ,ottaviano de' ,medici4 ,for the above-named ,m4 ,pasquino ,bertini he painted on canvas yet another picture of ,our ,lady1 with ,christ and ,s4 ,john as little children1 who are smiling over a parrot that they have in their hands2 which was a very pleasing and fanciful work4 ,and for the same man he made a most beautiful design of a ,crucifix1 about one braccio high1 with a ,magdalene at the foot1 in a manner so new and so pleasing that it is a marvel2 which design ,m4 ,salvestro ,bertini lent to ,girolamo ,razzi1 his very dear friend1 who is now ,don ,silvano1 and two pictures were painted from it by ,carlo of ,loro1 who has since executed many others1 which are dispersed about ,florence4 ,giovanni and ,piero d',agostino ,dini had erected in ,s4 ,croce1 on the right hand as one enters by the central door1 a very rich chapel of grey sandstone and a tomb for ,agostino and others of their family2 and they gave the commission for the altar-piece of that chapel to ,francesco1 who painted in it ,christ taken down from the ,cross by ,joseph of ,arimatha and ,nicodemus1 and at the foot the ,madonna in a swoon1 with ,mary ,magdalene1 ,s4 ,john1 and the other ,maries4 ,that altar-piece was executed by ,francesco with so much art and study1 that not only the nude ,christ is very beautiful1 but all the other figures likewise are well disposed and coloured with relief and force2 and although at first the picture was censured by ,francesco's adversaries1 nevertheless it won him a great name with men in general1 and those who have painted others after him out of emulation have not surpassed him4 ,the same ,francesco1 before he departed from ,florence1 painted the portrait of the above-mentioned ,m4 ,lelio ,torelli1 and some other works of no great importance1 of which ,i know not the particulars4 ,but1 among other things1 he brought to completion a design of the ,conversion of ,s4 ,paul that he had drawn long before in ,rome1 which is very beautiful2 and he had it engraved on copper in ,florence by ,enea ,vico of ,parma1 and the ,duke was content to retain him in ,florence until that should be done1 with his usual salary and allowances4 ,during that time1 which was in the year #aedh1 ,giorgio ,vasari being at ,rimini in order to execute in fresco and in oils the works of which we have spoken in another place1 ,francesco wrote him a long letter1 informing him in exact detail how his affairs were passing in ,florence1 and1 in particular1 that he had made a design for the principal chapel of ,s4 ,lorenzo1 which was to be painted by order of the ,lord ,duke1 but that with regard to that work infinite mischief had been done against him with his ,excellency1 and1 among other things1 that he held it almost as certain that ,m4 ,pier ,francesco1 the majordomo1 had not presented his design1 so that the work had been allotted to ,pontormo4 ,and finally he said that for these reasons he was returning to ,rome1 much dissatisfied with the men and the craftsmen of his native country4 ,illustration3 ,,the ,,deposition 7,after the painting by ,francesco ,salviati ,francesco de' ,rossi4 ,florence3 ,s4 ,croce1 the ,refectory7 ,alinari ,having thus returned to ,rome1 he bought a house near the ,palace of ,cardinal ,farnese1 and1 while he was occupying himself with executing some works of no great importance1 he received from that ,cardinal1 through ,m4 ,annibale ,caro and ,don ,giulio ,clovio1 the commission to paint the ,chapel of the ,palace of ,s4 ,giorgio1 in which he executed an ornament of most beautiful compartments in stucco1 and a vaulting in fresco with stories of ,s4 ,laurence and many figures1 full of grace1 and on a panel of stone1 in oils1 the ,nativity of ,christ1 introducing into that work1 which was very beautiful1 the portrait of the above-named ,cardinal4 ,then1 having another work allotted to him in the above-mentioned ,company of the ,misericordia 7where ,jacopo del ,conte had painted the ,preaching and the ,baptism of ,s4 ,john1 in which1 although he had not surpassed ,francesco1 he had acquitted himself very well1 and where some other works had been executed by the ,venetian ,battista ,franco and by ,pirro ,ligorio71 ,francesco painted1 on that part that is exactly beside his own picture of the ,visitation1 the ,nativity of ,s4 ,john1 which1 although he executed it excellently well1 was nevertheless not equal to the first4 ,at the head of that ,company1 likewise1 he painted for ,m4 ,bartolommeo ,bussotti two very beautiful figures in fresco--,s4 ,andrew and ,s4 ,bartholomew1 the ,apostles--which are one on either side of the altar-piece1 wherein is a ,deposition from the ,cross by the hand of the same ,jacopo del ,conte1 which is a very good picture and the best work that he had ever done up to that time4 ,in the year #aeej1 ,julius ,,iii having been elected ,supreme ,pontiff1 ,francesco painted some very beautiful scenes in chiaroscuro for the arch that was erected above the steps of ,s4 ,pietro1 among the festive preparations for the coronation4 ,and then1 in the same year1 a sepulchre with many steps and ranges of columns having been made in the ,minerva by the ,company of the ,sacrament1 ,francesco painted upon it some scenes and figures in terretta1 which were held to be very beautiful4 ,in a chapel of ,s4 ,lorenzo in ,damaso he executed two ,angels in fresco that are holding a canopy1 the design of one of which is in our book4 ,in the refectory of ,s4 ,salvatore del ,lauro at ,monte ,giordano1 on the principal wall1 he painted in fresco1 with a great number of figures1 the ,marriage of ,cana in ,galilee1 at which ,jesus ,christ turned water into wine2 and at the sides some ,saints1 with ,pope ,eugenius ,,iv1 who belonged to that ,order1 and other founders4 ,above the door of that refectory1 on the inner side1 he painted a picture in oils of ,s4 ,george killing the ,dragon1 and he executed that whole work with much mastery1 finish1 and charm of colouring4 ,about the same time he sent to ,florence1 for ,m4 ,alamanno ,salviati1 a large picture in which are ,adam and ,eve beside the ,tree of ,life in the ,earthly ,paradise1 eating the ,forbidden ,fruit1 which is a very beautiful work4 ,for ,signor ,ranuccio1 ,cardinal ,sant',agnolo1 of the ,house of ,farnese1 ,francesco painted with most beautiful fantasy two walls in the hall that is in front of the great hall in the ,farnese ,palace4 ,on one wall he depicted ,signor ,ranuccio the ,elder receiving from ,eugenius ,,iv his baton as ,captain-,general of ,holy ,church1 with some ,virtues1 and on the other ,pope ,paul ,,iii1 of the ,farnese family1 who is giving the baton of the ,church to ,signor ,pier ,luigi1 while there is seen approaching from a distance the ,emperor ,charles ,v1 accompanied by ,cardinal ,alessandro ,farnese and by other lords portrayed from life2 and on that wall1 besides the things described above and many others1 he painted a ,fame and a number of other figures1 which are executed very well4 ,it is true1 indeed1 that the work received its final completion1 not from him1 but from ,taddeo ,zucchero of ,sant',agnolo1 as will be related in the proper place4 ,he gave completion and proportion to the ,chapel of the ,popolo1 which ,fra ,sebastiano ,viniziano had formerly begun for ,agostino ,chigi1 but had not finished2 and ,francesco finished it1 as has been described in the ,life of ,fra ,sebastiano4 ,for ,cardinal ,riccio of ,montepulciano he painted a most beautiful hall in his ,palace in the ,strada ,giulia1 where he executed in fresco various pictures with many stories of ,david2 and1 among others1 one of ,bathsheba bathing herself in a bath1 with many other women1 while ,david stands gazing at her1 is a scene very well composed and full of grace1 and as rich in invention as any other that there is to be seen4 ,in another picture is the ,death of ,uriah1 in a third the ,ark1 before which go many musical instruments1 and finally1 after some others1 a battle that is being fought between ,david and his enemies1 very well composed4 ,and1 to put it briefly1 the work of that hall is all full of grace1 of most beautiful fantasies1 and of many fanciful and ingenious inventions2 the distribution of the parts is done with much consideration1 and the colouring is very pleasing4 ,to tell the truth1 ,francesco1 feeling himself bold and fertile in invention1 and having a hand obedient to his brain1 would have liked always to have on his hands works large and out of the ordinary4 ,and for no other reason was he strange in his dealings with his friends1 save only for this1 that1 being variable and in certain things not very stable1 what pleased him one day he hated the next2 and he did few works of importance without having in the end to contend about the price1 on which account he was avoided by many4 ,after these works1 ,andrea ,tassini1 having to send a painter to the ,king of ,france1 in the year #aeed sought out ,giorgio ,vasari1 but in vain1 for he said that not for any salary1 however great1 or promises1 or expectations1 would he leave the service of his lord1 ,duke ,cosimo2 and finally ,andrea came to terms with ,francesco and took him to ,france1 undertaking to recompense him in ,rome if he were not satisfied in ,france4 ,before ,francesco departed from ,rome1 as if he thought that he would never return1 he sold his house1 his furniture1 and every other thing1 excepting the offices that he held4 ,but the venture did not succeed as he had expected1 for the reason that1 on arriving in ,paris1 where he was received kindly and with many courtesies by ,m4 ,francesco ,primaticcio1 painter and architect to the ,king1 and ,abbot of ,s4 ,martin1 he was straightway recognized1 so it is said1 as the strange sort of man that he was1 for he saw no work either by ,rosso or by any other master that he did not censure either openly or in some subtle way4 ,everyone therefore expecting some great work from him1 he was set by the ,cardinal of ,lorraine1 who had sent for him1 to execute some pictures in his ,palace at ,dampierre4 ,whereupon1 after making many designs1 finally he set his hand to the work1 and executed some pictures with scenes in fresco over the cornices of chimney-pieces1 and a little study full of scenes1 which are said to have shown great mastery2 but1 whatever may have been the reason1 these works did not win him much praise4 ,besides that1 ,francesco was never much liked there1 because he had a nature altogether opposed to that of the men of that country1 where1 even as those merry and jovial men are liked and held dear who live a free life and take part gladly in assemblies and banquets1 so those are1 ,i do not say shunned1 but less liked and welcomed1 who are by nature1 as ,francesco was1 melancholy1 abstinent1 sickly1 and cross-grained4 ,for some things he might have deserved to be excused1 since his habit of body would not allow him to mix himself up with banquets and with eating and drinking too much1 if only he could have been more agreeable in conversation4 ,and1 what was worse1 whereas it was his duty1 according to the custom of that country and that ,court1 to show himself and pay court to others1 he would have liked1 and thought that he deserved1 to be himself courted by everyone4 ,in the end1 the ,king being occupied with matters of war1 and likewise the ,cardinal1 and himself being disappointed of his salary and promised benefits1 ,francesco1 after having been there twenty months1 resolved to return to ,italy4 ,and so he made his way to ,milan1 where he was courteously received by the ,chevalier ,leone ,aretino in the house that he has built for himself1 very ornate and all filled with statues ancient and modern1 and with figures cast in gesso from rare works1 as will be told in another place2 and after having stayed there a fortnight and rested himself1 he went on to ,florence4 ,there he found ,giorgio ,vasari and told him how well he had done not to go to ,france1 giving him an account that would have driven the desire to go there1 no matter how great1 out of anyone4 ,from ,florence he returned to ,rome1 and there entered an action against those who had guaranteed his allowances from the ,cardinal of ,lorraine1 and compelled them to pay him in full2 and when he had received the money he bought some offices1 in addition to others that he held before1 with a firm resolve to look after his own life1 knowing that he was not in good health and that he had wholly ruined his constitution4 ,notwithstanding that1 he would have liked to be employed in great works2 but in this he did not succeed so readily1 and he occupied himself for a time with executing pictures and portraits4 ,pope ,paul ,,iv having died1 ,pius was elected1 likewise the ,fourth of that name1 who1 much delighting in building1 availed himself of ,pirro ,ligorio in matters of architecture2 and his ,holiness ordained that ,cardinals ,alessandro ,farnese and ,emulio should cause the ,great ,hall1 called the ,hall of ,kings1 to be finished by ,daniello da ,volterra1 who had begun it4 ,that very reverend ,farnese did his utmost to obtain the half of that work for ,francesco1 and in consequence there was a long contention between ,daniello and ,francesco1 particularly because ,michelagnolo ,buonarroti exerted himself in favour of ,daniello1 and for a time they arrived at no conclusion4 ,meanwhile1 ,vasari having gone with ,cardinal ,giovanni de' ,medici1 the son of ,duke ,cosimo1 to ,rome1 ,francesco related to him his many difficulties1 and in particular that in which1 for the reasons just given1 he then found himself2 and ,giorgio1 who much loved the excellence of the man1 showed him that up to that time he had managed his affairs very badly1 and that for the future he should let him 7,vasari7 manage them1 for he would so contrive that in one way or another the half of that ,hall of ,kings would fall to him to execute1 which ,daniello was not able to finish by himself1 being a slow and irresolute person1 and almost certainly not as able and versatile as ,francesco4 ,matters standing thus1 and nothing more being done for the moment1 not many days afterwards ,giorgio himself was requested by the ,pope to paint part of that ,hall1 but he answered that he had one three times larger to paint in the ,palace of his master1 ,duke ,cosimo1 and1 in addition1 that he had been so badly treated by ,pope ,julius ,,iii1 for whom he had executed many labours in the ,vigna on the ,monte and elsewhere1 that he no longer knew what to expect from certain kinds of men2 adding that he had painted for the ,palace of the same ,pontiff1 without being paid1 an altar-piece of ,christ calling ,peter and ,andrew from their nets on the ,sea of ,tiberias 7which had been taken away by ,pope ,paul ,,iv from a chapel that ,julius had built over the corridor of the ,belvedere1 and which was to be sent to ,milan71 and that his ,holiness should cause it to be either paid for or restored to him4 ,to which the ,pope said in answer--and whether it was true or not1 ,i do not know--that he knew nothing of that altar-piece1 but wished to see it2 whereupon it was sent for1 and1 after his ,holiness had seen it1 but in a bad light1 he was content that it should be restored4 ,the discussion about the ,hall being then resumed1 ,giorgio told the ,pope frankly that ,francesco was the first and best painter in ,rome1 that his ,holiness would do well to employ him1 since no one could serve him better1 and that1 although ,buonarroti and the ,cardinal of ,carpi favoured ,daniello1 they did so more from the motive of friendship1 and perhaps out of animosity1 than for any other reason4 ,but to return to the altar-piece2 ,giorgio had no sooner left the ,pope than he sent it to the house of ,francesco1 who afterwards had it taken to ,arezzo1 where1 as we have related in another place1 it has been deposited by ,vasari with a rich1 costly1 and handsome ornament1 in the ,pieve of that city4 ,the affairs of the ,hall of ,kings remaining in the condition that has been described above1 when ,duke ,cosimo departed from ,siena in order to go to ,rome1 ,vasari1 who had gone as far as that with his ,excellency1 recommended ,salviati warmly to him1 beseeching him to make interest on his behalf with the ,pope1 and to ,francesco he wrote as to all that he was to do when the ,duke had arrived in ,rome4 ,in all which ,francesco departed in no way from the advice given him by ,giorgio1 for he went to do reverence to the ,duke1 and was welcomed by his ,excellency with an aspect full of kindness1 and shortly afterwards so much was said to his ,holiness on his behalf1 that the half of the above-mentioned ,hall was allotted to him4 ,setting his hand to the work1 before doing any other thing he threw to the ground a scene that had been begun by ,daniello2 on which account there were afterwards many contentions between them4 ,the ,pontiff was served in matters of architecture1 as has been already related1 by ,pirro ,ligorio1 who at first had much favoured ,francesco1 and would have continued to favour him2 but ,francesco paying no more attention either to ,pirro or to any other after he had begun to work1 this was the reason that ,ligorio1 from being his friend1 became in a certain sort his adversary1 and of this very manifest signs were seen1 for ,pirro began to say to the ,pope that since there were many young painters of ability in ,rome1 and he wished to have that ,hall off his hands1 it would be a good thing to allot one scene to each of them1 and thus to see it finished once and for all4 ,these proceedings of ,pirro's1 to which it was evident that the ,pope was favourable1 so displeased ,francesco1 that in great disdain he retired from the work and all the contentions1 considering that he was held in little estimation4 ,and so1 mounting his horse and not saying a word to anyone1 he went off to ,florence1 where1 like the strange creature that he was1 without giving a thought to any of the friends that he had there1 he took up his abode in an inn1 as if he did not belong to the place and had no acquaintance there nor anyone who cared for him in any way4 ,afterwards1 having kissed the hands of the ,duke1 he was received with such kindness1 that he might well have looked for some good result1 if only he had been different in nature and had adhered to the advice of ,giorgio1 who urged him to sell the offices that he had in ,rome and to settle in ,florence1 so as to enjoy his native place with his friends and to avoid the danger of losing1 together with his life1 all the fruits of his toil and grievous labours4 ,but ,francesco1 moved by sensitiveness and anger1 and by his desire to avenge himself1 resolved that he would at all costs return to ,rome in a few days4 ,meanwhile1 moving from that inn at the entreaty of his friends1 he retired to the house of ,m4 ,marco ,finale1 the ,prior of ,s4 ,apostolo1 where he executed a ,piet in colours on cloth of silver for ,m4 ,jacopo ,salviati1 as it were to pass the time1 with the ,madonna and the other ,maries1 which was a very beautiful work4 ,he renewed in colours a medallion with the ,ducal arms1 which he had made on a former occasion and placed over a door in the ,palace of ,messer ,alamanno4 ,and for the above-named ,m4 ,jacopo he made a most beautiful book of bizarre costumes and various headdresses of men and horses for masquerades1 for which he received innumerable courtesies from the liberality of that lord1 who lamented the strange and eccentric nature of ,francesco1 whom he was never able to attract into his house on this occasion1 as he had done at other times4 ,finally1 ,francesco being about to set out for ,rome1 ,giorgio1 as his friend1 reminded him that1 being rich1 advanced in years1 weak in health1 and little fitted for more fatigues1 he should think of living in peace and shun strife and contention1 which he would have been able to do with ease1 having acquired honour and property in plenty1 if he had not been too avaricious and desirous of gain4 ,he exhorted him1 in addition1 to sell the greater part of the offices that he possessed and to arrange his affairs in such a manner1 that in any emergency or any misfortune that might happen he might be able to remember his friends and those who had given him faithful and loving service4 ,francesco promised that he would do right both in word and deed1 and confessed that ,giorgio had spoken the truth2 but1 as happens to most of the men who think that time will last for ever1 he did nothing more in the matter4 ,having arrived in ,rome1 ,francesco found that ,cardinal ,emulio had distributed the scenes of the ,hall1 giving two of them to ,taddeo ,zucchero of ,sant' ,agnolo1 one to ,livio da ,forl1 another to ,orazio da ,bologna1 yet another to ,girolamo da ,sermoneta1 and the rest to others4 ,which being reported by ,francesco to ,giorgio1 whom he asked whether it would be well for him to continue the work that he had begun1 he received the answer that it would be a good thing1 after making so many little designs and large cartoons1 to finish at least one picture1 notwithstanding that the greater part of the work had been allotted to so many others1 all much inferior to him1 and that he should make an effort to approach as near as possible in his work to the pictures by ,buonarroti on the walls and vaulting of the ,sistine ,chapel1 and to those of the ,pauline2 for the reason that after his work was seen1 the others would be thrown to the ground1 and all1 to his great glory1 would be allotted to him4 ,and ,giorgio warned him to give no thought to profit or money1 or to any vexation that he might suffer from those in charge of the work1 telling him that the honour was much more important than any other thing4 ,of all these letters and of the replies1 the originals1 as well as copies1 are among those that we ourselves treasure in memory of so great a man1 who was our dearest friend1 and among those by our own hand that must have been found among his possessions4 ,after these things ,francesco was living in an angry mood1 in no way certain as to what he wished to do1 afflicted in mind1 feeble in body1 and weakened by everlasting medicines1 when finally he fell ill with the illness of death1 which carried him in a short time to the last extremity1 without having given him time to make a complete disposal of his possessions4 ,to a disciple called ,annibale1 the son of ,nanni di ,baccio ,bigio1 he left sixty crowns a year on the ,monte delle ,farine1 fourteen pictures1 and all his designs and other art possessions4 ,the rest of his property he left to ,suor ,gabriella1 his sister1 a nun1 although ,i understand that she did not receive1 as the saying goes1 even the cord of the sack4 ,however1 there must have come into her hands a picture painted on cloth of silver1 with embroidery around it1 which he had executed for the ,king of ,portugal or of ,poland1 whichever it was1 and left to her to the end that she might keep it in memory of him4 ,all his other possessions1 such as the offices that he had bought after unspeakable fatigues1 all were lost4 ,francesco died on ,s4 ,martin's ,day1 the #aath of ,november1 in the year #aefc1 and was buried in ,s4 ,gieronimo1 a church near the house where he lived4 ,the death of ,francesco was a very great loss to art1 seeing that1 although he was fifty-four years of age and weak in health1 he was continually studying and working1 cost what it might2 and at the very last he had set himself to work in mosaic4 ,it is evident that he was capricious1 and would have liked to do many things2 and if he had found a ,prince who could have recognized his humour and could have given him works after his fancy1 he would have achieved marvellous things1 for1 as we have said1 he was rich1 fertile1 and most exuberant in every kind of invention1 and a master in every field of painting4 ,he gave great beauty and grace to every kind of head1 and he understood the nude as well as any other painter of his time4 ,he had a very graceful and delicate manner in painting draperies1 arranging them in such a way that the nude could always be perceived in the parts where that was required1 and clothing his figures in new fashions of dress2 and he showed fancy and variety in headdresses1 foot-wear1 and every other kind of ornament4 ,he handled colours in oils1 in distemper1 and in fresco in such a manner1 that it may be affirmed that he was one of the most able1 resolute1 bold1 and diligent craftsmen of our age1 and to this we1 who associated with him for so many years1 are well able to bear testimony4 ,and although there was always between us a certain proper emulation1 by reason of the desire that good craftsmen have to surpass one another1 none the less1 with regard to the claims of friendship1 there was never any lack of love and affection between us1 although each of us worked in competition in the most famous places in ,italy1 as may be seen from a vast number of letters that are in my possession1 as ,i have said1 written by the hand of ,francesco4 ,salviati was affectionate by nature1 but suspicious1 acute1 subtle1 and penetrative1 and yet ready to believe anything2 and when he set himself to speak of some of the men of our arts1 either in jest or in earnest1 he was likely to give offence1 and at times touched them to the quick4 ,it pleased him to mix with men of learning and great persons1 and he always held plebeian craftsmen in detestation1 even though they might be able in some field of art4 ,he avoided such persons as always speak evil1 and when the conversation turned on them he would tear them to pieces without mercy4 ,but most of all he abhorred the knaveries that craftsmen sometimes commit1 of which1 having been in ,france1 and having heard something of them1 he was only too well able to speak4 ,at times1 in order to be less weighed down by his melancholy1 he used to mingle with his friends and force himself to be cheerful4 ,but in the end his strange nature1 so irresolute1 suspicious1 and solitary1 did harm to no one but himself4 ,his dearest friend was ,manno1 a ,florentine goldsmith in ,rome1 a man rare in his profession and excellent in character and goodness of heart4 ,manno is burdened with a family1 and if ,francesco had been able to dispose of his property1 and had not spent all the fruits of his labours on offices1 only to leave them to the ,pope1 he would have left a great part of them to that worthy man and excellent craftsman4 ,very dear to him1 likewise1 was the above-mentioned ,avveduto dell',avveduto1 a dresser of minever-furs1 who was the most loving and most faithful friend that ,francesco ever had2 and if he had been in ,rome when ,francesco died1 ,salviati would probably have arranged certain of his affairs with better judgment than he did4 ,illustration3 ,,medal ,,of ,,pope ,,clement ,,vii 7,after ,francesco dal ,prato4 ,london3 ,british ,museum7 ,his disciple1 also1 was the ,spaniard ,roviale1 who executed many works in company with him1 and by himself an altar-piece containing the ,conversion of ,s4 ,paul for the ,church of ,s4 ,spirito in ,rome4 ,and ,salviati was very well disposed towards ,francesco di ,girolamo dal ,prato1 in company with whom1 as has been related above1 he studied design while still a child2 which ,francesco was a man of most beautiful genius1 and drew better than any other goldsmith of his time2 and he was not inferior to his father ,girolamo1 who executed every kind of work with plates of silver better than any of his rivals4 ,it is said that ,girolamo succeeded with ease in any kind of work2 thus1 having beaten the plate of silver with certain hammers1 he placed it on a piece of plank1 and between the two a layer of wax1 tallow and pitch1 producing in that way a material midway between soft and hard1 and then1 beating it with iron instruments both inwards and outwards1 he caused it to come out in whatever shapes he desired--heads1 breasts1 arms1 legs1 backs1 and any other thing that he wished or was demanded from him by those who caused votive offerings to be made1 in order to attach them to those holy images that were to be found in any place where they had received favours or had been heard in their prayers4 ,francesco1 then1 not attending only to the making of votive offerings1 as his father did1 worked also at tausia and at inlaying steel with gold and silver after the manner of damascening1 making foliage1 figures1 and any other kind of work that he wished2 in which manner of inlaid work he made a complete suit of armour for a foot-soldier1 of great beauty1 for ,duke ,alessandro de' ,medici4 ,among many medals that the same man made1 those were by his hand1 and very beautiful1 which were placed in the foundations of the fortifications at the ,porta a ,faenza1 with the head of the above-named ,duke ,alessandro2 together with others in which there was on one side the head of ,pope ,clement ,,vii1 and on the other a nude ,christ with the scourges of ,his ,passion4 ,francesco also delighted in the work of sculpture1 and cast some little figures in bronze1 full of grace1 which came into the possession of ,duke ,alessandro4 ,and the same master polished and carried to great perfection four similar figures1 made by ,baccio ,bandinelli--namely1 a ,leda1 a ,venus1 a ,hercules1 and an ,apollo--which were given to the same ,duke4 ,being dissatisfied1 then1 with the goldsmith's craft1 and not being able to give his attention to sculpture1 which calls for too many resources1 ,francesco1 having a good knowledge of design1 devoted himself to painting2 and since he was a person who mixed little with others1 and did not care to have it known more than was inevitable that he was giving his attention to painting1 he executed many works by himself4 ,meanwhile1 as was related at the beginning1 ,francesco ,salviati came to ,florence1 and he worked at the picture for ,m4 ,alamanno in the rooms that the other ,francesco occupied in the ,office of ,works of ,s4 ,maria del ,fiore2 wherefore with that opportunity1 seeing ,salviati's method of working1 he applied himself to painting with much more zeal than he had done up to that time1 and executed a very beautiful picture of the ,conversion of ,s4 ,paul1 which is now in the possession of ,guglielmo del ,tovaglia4 ,and after that1 in a picture of the same size1 he painted the ,serpents raining down on the ,hebrew people1 and in another he painted ,jesus ,christ delivering the ,holy ,fathers from the ,limbo of ,hell2 which two last-named pictures1 both very beautiful1 now belong to ,filippo ,spini1 a gentleman who much delights in our arts4 ,besides many other little works that ,francesco dal ,prato executed1 he drew much and well1 as may be seen from some designs by his hand that are in our book of drawings4 ,he died in the year #aefb1 and his death much grieved the whole ,academy1 because1 besides his having been an able master in art1 there was never a more excellent man than ,francesco4 ,illustration3 ,,the ,,reconciliation ,,of ,,pope ,,alexander ,,iii ,,and ,,frederick ,,barbarossa 7,after the fresco by ,giuseppe del ,salviati ,giuseppe ,porta4 ,rome3 ,the ,vatican1 ,sala ,regia7 ,anderson ,another pupil of ,francesco ,salviati was ,giuseppe ,porta of ,castelnuovo della ,garfagnana1 who1 out of respect for his master1 was also called ,giuseppe ,salviati4 ,this ,giuseppe1 having been taken to ,rome as a boy1 in the year #aece1 by an uncle1 the secretary of ,monsignor ,onofrio ,bartolini1 ,archbishop of ,pisa1 was placed with ,salviati1 under whom he learned in a short time not only to draw very finely1 but also to use colour excellently well4 ,he then went with his master to ,venice1 where he formed so many connections with noble persons1 that1 being left there by ,francesco1 he made up his mind that he would choose that city as his home2 and so1 having taken a wife there1 he has lived there ever since1 and he has worked in few other places but ,venice4 ,he painted long ago the faade of the house of the ,loredani on the ,campo di ,s4 ,stefano1 with scenes very pleasingly coloured in fresco and executed in a beautiful manner4 ,he painted1 likewise1 that of the ,bernardi at ,s4 ,polo1 and another behind ,s4 ,rocco1 which is a very good work4 ,three other faades he has painted in chiaroscuro1 very large and covered with various scenes--one at ,s4 ,mois1 the second at ,s4 ,cassiano1 and the third at ,s4 ,maria ,zebenigo4 ,he has also painted in fresco1 at a place called ,treville1 near ,treviso1 the whole of the ,palace of the ,priuli1 a rich and vast building1 both within and without2 of which building there will be a long account in the ,life of ,sansovino2 and at ,pieve di ,sacco he has painted a very beautiful faade4 ,at ,bagnuolo1 a seat of the ,friars of ,s4 ,spirito at ,venice1 he has executed an altar-piece in oils2 and for the same fathers he has painted the ceiling1 or rather1 soffit of the refectory in the ,convent of ,s4 ,spirito1 with a number of compartments filled with painted pictures1 and a most beautiful ,last ,supper on the principal wall4 ,for the ,hall of the ,doge1 in the ,palace of ,s4 ,marco1 he has painted the ,sibyls1 the ,prophets1 the ,cardinal ,virtues1 and ,christ with the ,maries1 which have won him vast praise2 and in the above-mentioned ,library of ,s4 ,marco he painted two large scenes1 in competition with the other painters of ,venice of whom mention has been made above4 ,being summoned to ,rome by ,cardinal ,emulio after the death of ,francesco1 he finished one of the larger scenes that are in the ,hall of ,kings1 and began another2 and then1 ,pope ,pius ,,iv having died1 he returned to ,venice1 where the ,signoria commissioned him to paint a ceiling with pictures in oils1 which is at the head of the new staircase in the ,palace4 ,the same master has painted six very beautiful altar-pieces in oils1 one of which is on the altar of the ,madonna in ,s4 ,francesco della ,vigna1 the second on the high-altar in the ,church of the ,servites1 the third is with the ,friars ,minors1 the fourth in the ,madonna dell',orto1 the fifth at ,s4 ,zaccheria1 and the sixth at ,s4 ,mois2 and he has painted two at ,murano1 which are beautiful and executed with much diligence and in a lovely manner4 ,but of this ,giuseppe1 who is still alive and is becoming a very excellent master1 ,i say no more for the present1 save that1 in addition to his painting1 he devotes much study to geometry4 ,by his hand is the ,volute of the ,ionic ,capital that is to be seen in print at the present day1 showing how it should be turned after the ancient measure2 and there is to appear soon a work that he has composed on the subject of geometry4 ,a disciple of ,francesco1 also1 was one ,domenico ,romano1 who was of great assistance to him in the hall that he painted in ,florence1 and in other works4 ,domenico engaged himself in the year #aeej to ,signor ,giuliano ,cesarino1 and he does not work on his own account4 ,,daniello ,,ricciarelli ,,life ,,of ,,daniello ,,ricciarelli ,,painter ,,and ,,sculptor ,,of ,,volterra ,daniello1 when he was a lad1 learned to draw a little from ,giovanni ,antonio ,sodoma1 who went at that time to execute certain works in the city of ,volterra2 and when ,sodoma had gone away he made much greater and better proficience under ,baldassarre ,peruzzi than he had done under the discipline of the other4 ,but to tell the truth1 for all that1 he achieved no great success at that time1 for the reason that in proportion as he devoted great effort and study to seeking to learn1 being urged by a strong desire1 even so1 on the other hand1 did his brain and hand fail him4 ,wherefore in his first works1 which he executed at ,volterra1 there is evidence of very great1 nay1 infinite labour1 but not yet any promise of a grand or beautiful manner1 nor any grace1 charm1 or invention1 such as have been seen at an early hour in many others who have been born to be painters1 and who1 even in their first beginnings1 have shown facility1 boldness1 and some indication of a good manner4 ,his first works1 indeed1 seem in truth as if done by a melancholic1 being full of effort and executed with much patience and expenditure of time4 ,but let us come to his works1 leaving aside those that are not worthy of attention2 in his youth he painted in fresco at ,volterra the faade of ,m4 ,mario ,maffei1 in chiaroscuro1 which gave him a good name and won him much credit4 ,but after he had finished it1 perceiving that he had there no competition that might spur him to seek to rise to greater heights1 and that there were no works in that city1 either ancient or modern1 from which he could learn much1 he determined at all costs to go to ,rome1 where he heard that there were not at that time many who were engaged in painting1 excepting ,perino del ,vaga4 ,before departing1 he resolved that he would take some finished work that might make him known2 and so1 having painted a canvas in oils of ,christ ,scourged at the ,column1 with many figures1 to which he devoted all possible diligence1 availing himself of models and portraits from life1 he took it with him4 ,and1 having arrived in ,rome1 he had not been long there before he contrived by means of friends to show that picture to ,cardinal ,triulzi1 whom it satisfied in such a manner that he not only bought it1 but also conceived a very great affection for ,daniello2 and a short time afterwards he sent him to work in a village without ,rome belonging to himself1 called ,salone1 where he had built a very large house1 which he was having adorned with fountains1 stucco-work1 and paintings1 and in which at that very time ,gian ,maria da ,milano and others were decorating certain rooms with stucco and grotesques4 ,arriving there1 then1 ,daniello1 both out of emulation and from a desire to serve that lord1 from whom he could hope to win much honour and profit1 painted various things in many rooms and loggie in company with the others1 and in particular executed many grotesques1 full of various little figures of women4 ,but the work that proved to be more beautiful than all the rest was a story of ,phathon1 executed in fresco with figures of the size of life1 and a very large ,river ,god that he painted there1 which is a very good figure2 and all these works1 since the above-named ,cardinal went often to see them1 and took with him now one and now another of the ,cardinals1 were the reason that ,daniello formed a friendship and bonds of service with many of them4 ,afterwards1 ,perino del ,vaga1 who at that time was painting the ,chapel of ,m4 ,agnolo de' ,massimi in the ,trinita1 having need of a young man who might help him1 ,daniello1 desiring to make proficience1 and drawn by his promises1 went to work with him and assisted him to execute certain things in the work of that chapel1 which he carried to completion with much diligence4 ,now1 before the sack of ,rome ,perino had painted on the vaulting of the ,chapel of the ,crocifisso in ,s4 ,marcello1 as has been related1 the ,creation of ,adam and ,eve in figures of the size of life1 and in much larger figures two ,evangelists1 ,s4 ,john and ,s4 ,mark1 which were not yet completely finished1 since the figure of ,s4 ,john was wanting from the middle upwards2 and the men of that ,company resolved1 when the affairs of ,rome had finally become settled again1 that the same ,perino should finish the work4 ,but he1 having other work to do1 made the cartoons and had it finished by ,daniello1 who completed the ,s4 ,john that had been left unfinished1 painted all by himself the two other ,evangelists1 ,s4 ,luke and ,s4 ,matthew1 between them two little boys that are holding a candelabrum1 and1 on the arch of the wall that contains the window1 two ,angels standing poised on their wings in the act of flight1 who are holding in their hands the ,mysteries of the ,passion of ,jesus ,christ2 and he adorned the arch richly with grotesques and little naked figures of great beauty4 ,in short1 he acquitted himself marvellously well in all that work1 although he took a considerable time over it4 ,illustration3 ,,the ,,descent ,,from ,,the ,,cross 7,after the fresco by ,daniello ,ricciarelli4 ,rome3 ,,ss4 ,trinita dei ,monti7 ,anderson ,the same ,perino having then caused ,daniello to execute a frieze in the hall of the ,palace of ,m4 ,agnolo ,massimi1 with many divisions in stucco and other ornaments1 and stories of the actions of ,fabius ,maximus1 he bore himself so well1 that ,signora ,elena ,orsina1 having seen that work and hearing the ability of ,daniello much extolled1 commissioned him to paint her chapel in the ,church of the ,trinita in ,rome1 on the hill1 where the ,friars of ,s4 ,francesco di ,paola have their seat4 ,wherefore ,daniello1 putting forth all possible effort and diligence1 in order to produce a rare work which might make him known as an excellent painter1 did not shrink from devoting to it the labour of many years4 ,from the name of that lady1 the title given to the chapel being that of the ,cross of ,christ ,our ,saviour1 the subject chosen was that of the actions of ,s4 ,helen2 and so in the principal altar-piece ,daniello painted ,jesus ,christ taken down from the ,cross by ,joseph1 ,nicodemus1 and other disciples1 and the ,virgin ,mary in a swoon1 supported on the arms of the ,magdalene and the other ,maries1 in all which he showed very great judgment1 and gave proof of very rare ability1 for the reason that1 besides the composition of the figures1 which has a very rich effect1 the figure of ,christ is very fine and most beautifully foreshortened1 with the feet coming forward and the rest backwards4 ,very beautiful and difficult1 likewise1 are the foreshortenings in the figures of those who1 having removed ,him from the ,cross1 support ,him with some bands1 standing on some ladders and revealing in certain parts the nude flesh1 executed with much grace4 ,around that altar-piece he made an ornament in stucco-work of great beauty and variety1 full of carvings1 with two figures that support the pediment with their heads1 while with one hand they hold the capital1 and with the other they seek to place the column1 which stands at the foot on the base1 below the capital to support it2 which work is done with extraordinary care4 ,in the arch above the altar-piece he painted two ,sibyls in fresco1 which are the best figures in the whole work2 and those ,sibyls are one on either side of the window1 which is above the centre of the altar-piece1 giving light to the whole chapel4 ,the vaulting of the chapel is divided into four compartments by bizarre1 well varied1 and beautiful partitions of stucco-work and grotesques made with new fantasies of masks and festoons2 and in those compartments are four stories of the ,cross and of ,s4 ,helen1 the mother of ,constantine4 ,in the first is the scene when1 before the ,passion of the ,saviour1 three ,crosses are constructed2 in the second1 ,s4 ,helen commanding certain ,hebrews to reveal those ,crosses to her2 in the third1 the ,hebrews not consenting to reveal them1 she causes to be cast into a well him who knows where they are2 and in the fourth he reveals the place where all three are buried4 ,those four scenes are beautiful beyond belief1 and executed with great care4 ,on the side-walls are four other scenes1 two to each wall1 and each is divided off by the cornice that forms the impost of the arch upon which rests the groined vaulting of the chapel4 ,in one is ,s4 ,helen causing the ,holy ,cross and the two others to be drawn up from a well2 and in the second is that of the ,saviour healing a sick man4 ,of the pictures below1 in that on the right hand is the same ,s4 ,helen recognizing the ,cross of ,christ because it restores to life a corpse upon which it is laid2 to the nude flesh of which corpse ,daniello devoted extraordinary pains1 searching out all the muscles and seeking to render correctly all the parts of the body1 as he also did in those who are placing the ,cross upon it1 and in the bystanders1 who are all struck with amazement by the sight of that miracle4 ,and1 in addition1 there is a bier of bizarre shape painted with much diligence1 with a skeleton embracing it1 executed with great care and with beautiful invention4 ,in the other picture1 which is opposite to the first1 he painted the ,emperor ,heraclius walking barefoot and in his shirt1 and carrying the ,cross of ,christ through the gate of ,rome1 with men1 women1 and children kneeling1 who are adoring it1 many lords in his train1 and a groom who is holding his horse4 ,below each scene1 forming a kind of base1 are two most beautiful women in chiaroscuro1 painted in imitation of marble1 who appear to be supporting those scenes4 ,and under the first arch1 on the front side1 he painted on the flat surface1 standing upright1 two figures as large as life1 a ,s4 ,francesco di ,paola1 the head of the ,order that administers the above-named church1 and a ,s4 ,jerome robed as a ,cardinal1 which are two very good figures1 even as are those of the whole work1 which ,daniello executed in seven years1 with incalculable labour and study4 ,but1 since pictures that are executed in that way have always a certain hard and laboured quality1 the work is wanting in the grace and facility that give most pleasure to the eye4 ,wherefore ,daniello1 himself confessing the fatigue that he had endured in the work1 and fearing the fate that did come upon him 7namely1 that he would be censured71 made below the feet of those two ,saints1 to please himself1 and as it were in his own defence1 two little scenes of stucco in low-relief1 in which he sought to show that1 although he worked slowly and with effort1 nevertheless1 since ,michelagnolo ,buonarroti and ,fra ,sebastiano del ,piombo were his friends1 and he was always imitating their works and observing their precepts1 his imitation of those two men should be enough to defend him from the biting words of envious and malignant persons1 whose evil nature must perforce be revealed1 although they may not think it4 ,in one of these scenes1 then1 he made many figures of ,satyrs that are weighing legs1 arms1 and other members of figures with a steelyard1 in order to put on one side those that are correct in weight and satisfactory1 and to give those that are bad to ,michelagnolo and ,fra ,sebastiano1 who are holding conference over them2 and in the other is ,michelagnolo looking at himself in a mirror1 the significance of which is clear enough4 ,at two angles of the arch1 likewise1 on the outer side1 he painted two nudes in chiaroscuro1 which are of the same excellence as the other figures in that work4 ,when it was all uncovered1 which was after a very long time1 it was much extolled1 and held to be a very beautiful work and a triumph over difficulties1 and the painter a most excellent master4 ,after that chapel1 ,cardinal ,alessandro ,farnese caused him to execute in a room in his ,palace--namely1 at the corner1 under one of those very rich ceilings made under the direction of ,maestro ,antonio da ,san ,gallo for three large chambers that are in a line--a very beautiful frieze in painting1 with a scene full of figures on each wall1 the scenes being a very beautiful triumph of ,bacchus1 a ,hunt1 and others of that kind4 ,these much pleased the ,cardinal1 who caused him to paint1 in addition1 in several parts of that frieze1 the ,unicorn in various forms in the lap of a ,virgin1 which is the device of that most illustrious family4 ,which work was the reason that that lord1 who has ever been the friend of all talented and distinguished men1 always favoured him1 and even more would he have done it1 if ,daniello had not been so dilatory over his work2 but for that ,daniello was not to blame1 seeing that such was his nature and genius1 and he was content to do little well rather than much not so well4 ,now1 in addition to the affection that the ,cardinal bore him1 ,signor ,annibale ,caro worked on his behalf in such a manner with his patrons1 the ,farnesi1 that they always assisted him4 ,and for ,madama ,margherita of ,austria1 the daughter of ,charles ,v1 he painted in eight spaces in the study of which mention has been made in the ,life of ,indaco1 in the ,palace of the ,medici on the ,piazza ,navona1 eight little stories of the actions and illustrious deeds of the above-named ,emperor ,charles ,v1 with such diligence and excellence1 that it would be almost impossible to do better in that kind of work4 ,in the year #aedg ,perino del ,vaga died1 leaving unfinished the ,hall of ,kings1 which1 as has been related1 is in the ,papal ,palace1 in front of the ,sistine and ,pauline ,chapels2 and by the mediation of many friends and lords1 and in particular of ,michelagnolo ,buonarroti1 ,daniello was set in his place by ,pope ,paul ,,iii1 with the same salary that ,perino had received1 and was commanded to make a beginning with the ornaments of the walls that were to be executed in stucco1 with many nudes in the round over certain pediments4 ,now1 since the walls of that ,hall are broken by six large doors in variegated marble1 and only one wall is left unbroken1 ,daniello made over each door what is almost a tabernacle in stucco1 of great beauty4 ,in each of these he intended to execute in painting one of those ,kings who have defended the ,apostolic ,church1 and then to continue on the walls with stories of those ,kings who have benefited the ,church with tributes or victories1 so that in all there were to be six stories and six niches4 ,after those niches1 or rather1 tabernacles1 ,daniello with the aid of many assistants executed all the other very rich decorations in stucco that are to be seen in that ,hall1 studying at the same time over the cartoons for all that he had proposed to do in that place in the way of painting4 ,which done1 he made a beginning with one of the stories1 but he did not paint more than about two braccia of it1 and two of the ,kings in the tabernacles of stucco over the doors4 ,for1 although he was pressed by ,cardinal ,farnese and by the ,pope1 not reflecting that death very often spoils the designs of men1 he carried on the work so slowly that when in the year #aedi the death of the ,pope took place1 there was nothing done save what has been described2 and then1 the ,conclave having to be held in the ,hall1 which was full of scaffolding and woodwork1 it became necessary to throw everything to the ground and uncover the work4 ,the whole being thus seen by everyone1 the works in stucco were vastly extolled1 as they deserved1 but not so the two ,kings in painting1 for it was thought that they were not equal in excellence to the work at the ,trinita1 and that with all those fine allowances and advantages he had gone rather backward than forward4 ,julius ,,iii having been created ,pontiff in the year #aeej1 ,daniello put himself forward by means of friends and interests1 hoping to obtain the same salary and to continue the work of that ,hall1 but the ,pope1 not having any inclination in his favour1 always put him off2 indeed1 sending for ,giorgio ,vasari1 who had been his servant from the time when he was ,archbishop of ,siponto1 he made use of him in all matters concerned with design4 ,nevertheless1 his ,holiness having determined to make a fountain at the head of the corridor of the ,belvedere1 and not liking a design by ,michelagnolo 7in which was ,moses striking the rock and causing water to flow from it7 because it was a thing that could not be carried out without a great expenditure of time1 since ,michelagnolo wished to make it of marble2 his ,holiness1 ,i say1 preferring the advice of ,giorgio1 which was that the ,cleopatra1 a divine figure made by the ,greeks1 should be set up in that place1 the charge of that work was given by means of ,buonarroti to ,daniello1 with orders that he should make in the above-named place a grotto in stucco-work1 within which that ,cleopatra was to be placed4 ,daniello1 then1 having set his hand to that work1 pursued it so slowly1 although he was much pressed1 that he finished only the stucco-work and the paintings in that room1 but as for the many other things that the ,pope wished to have done1 seeing them delayed longer than he had expected1 he lost all desire for them1 so that nothing more was done and everything was left in the condition that is still to be seen4 ,in a chapel in the ,church of ,s4 ,agostino ,daniello painted in fresco1 with figures of the size of life1 ,s4 ,helen causing the ,cross to be found1 and in two niches at the sides ,s4 ,cecilia and ,s4 ,lucia1 which work was painted partly by him and partly1 after his designs1 by the young men who worked with him1 so that it did not prove as perfect as his others4 ,at this same time there was allotted to him by ,signora ,lucrezia della ,rovere a chapel in the ,trinita1 opposite to that of ,signora ,elena ,orsina4 ,in that chapel1 having divided it into compartments with stucco-work1 he had the vaulting painted with stories of the ,virgin1 after his own cartoons1 by ,marco da ,siena and ,pellegrino da ,bologna2 on one of the walls he caused the ,nativity of the ,virgin to be painted by the ,spaniard ,bizzerra1 and on the other1 by ,giovan ,paolo ,rossetti of ,volterra1 his disciple1 the ,presentation of ,jesus ,christ to ,simeon2 and he caused the same ,giovan ,paolo to execute two scenes that are on the arches above1 ,gabriel bringing the ,annunciation to the ,virgin and the ,nativity of ,christ4 ,on the outer side1 at the angles1 he painted two large figures1 and on the pilasters1 at the foot1 two ,prophets4 ,on the altar-front ,daniello painted with his own hand the ,madonna ascending the steps of the ,temple1 and on the principal wall the same ,virgin ascending into ,heaven1 borne by many most beautiful ,angels in the forms of little boys1 and the twelve ,apostles below1 gazing on her as she ascends4 ,and since the place would not hold so many figures1 and he desired to use a new invention in the work1 he made it appear as if the altar of that chapel were the sepulchre1 and placed the ,apostles around it1 making their feet rest on the floor of the chapel1 where the altar begins2 which method of ,daniello's has pleased some1 but others1 who form the greater and better part1 not at all4 ,and although ,daniello toiled fourteen years over executing that work1 it is not a whit better than the first4 ,on the last wall of the chapel that remained to be finished1 on which there was to be painted the ,massacre of the ,innocents1 having himself made the cartoons1 he had the whole executed by the ,florentine ,michele ,alberti1 his disciple4 ,the ,florentine ,monsignor ,m4 ,giovanni della ,casa1 a man of great learning 7to which his most pleasing and learned works1 both in ,latin and in the vulgar tongue1 bear witness71 having begun to write a treatise on the matters of painting1 and wishing to enlighten himself as to certain minute particulars with the help of men of the profession1 commissioned ,daniello to make with all possible care a finished model of a ,david in clay4 ,and then he caused him to paint1 or rather1 to copy in a picture1 the same ,david1 which is very beautiful1 from either side1 both the front and the back1 which was a fanciful notion2 and that picture now belongs to ,m4 ,annibale ,rucellai4 ,for the same ,m4 ,giovanni he executed a ,dead ,christ with the ,maries2 and1 on a canvas that was to be sent to ,france1 neas disrobing in order to go to sleep with ,dido1 and interrupted by ,mercury1 who is represented as speaking to him in the manner that may be read in the verses of ,virgil4 ,and he painted for the same man in another picture1 likewise in oils1 a most beautiful ,s4 ,john in ,penitence1 of the size of life1 which was held very dear by that lord as long as he lived2 and also a ,s4 ,jerome1 beautiful to a marvel4 ,pope ,julius ,,iii having died1 and ,paul ,,iv having been elected ,supreme ,pontiff1 the ,cardinal of ,carpi sought to persuade his ,holiness to give the above-mentioned ,hall of ,kings to ,daniello to finish1 but that ,pope1 not delighting in pictures1 answered that it was much better to fortify ,rome than to spend money on painting it4 ,and so he caused a beginning to be made with the great portal of the ,castle1 after the design of ,salustio1 the son of ,baldassarre ,peruzzi of ,siena and his architect1 and ordained that in that work1 which was being executed all in travertine1 after the manner of a sumptuous and magnificent triumphal arch1 there should be placed in niches five statues1 each of four braccia and a half2 whereupon ,daniello was commissioned to make an ,angel ,michael1 the other statues having been allotted to other craftsmen4 ,meanwhile ,monsignor ,giovanni ,riccio1 ,cardinal of ,montepulciano1 resolved to erect a chapel in ,s4 ,pietro a ,montorio1 opposite to that which ,pope ,julius had caused to be built under the direction of ,giorgio ,vasari1 and he allotted the altar-piece1 the scenes in fresco and the statues of marble that were going into it1 to ,daniello2 and ,daniello1 by that time completely determined that he would abandon painting and devote himself to sculpture1 went off to ,carrara to have the marble quarried both for the ,s4 ,michael and for the statues that he was to make for the chapel in ,s4 ,pietro a ,montorio4 ,with that occasion1 coming to see ,florence and the works that ,vasari was executing in the ,palace for the ,duke1 and the other works in that city1 he received many courtesies from his innumerable friends1 and in particular from ,vasari himself1 to whom ,buonarroti had recommended him by letter4 ,abiding in ,florence1 then1 and perceiving how much the ,lord ,duke delighted in all the arts of design1 ,daniello was seized with a desire to attach himself to the service of his most illustrious ,excellency4 ,many means being therefore employed1 the ,lord ,duke replied to those who were recommending him that he should be introduced by ,vasari1 and so it was done2 and ,daniello offering himself as the servant of his ,excellency1 the ,duke answered graciously that he accepted him most willingly1 and that after he had fulfilled the engagements that he had in ,rome1 he should come when he pleased1 and he would be received very gladly4 ,daniello stayed all that summer in ,florence1 where ,giorgio lodged him in the house of ,simon ,botti1 who was much his friend4 ,there1 during that time1 he cast in gesso nearly all the figures of marble by the hand of ,michelagnolo that are in the new sacristy of ,s4 ,lorenzo2 and for the ,fleming ,michael ,fugger he made a ,leda1 which was a very beautiful figure4 ,he then went to ,carrara1 and from there1 having sent the marble that he desired in the direction of ,rome1 he returned once again to ,florence1 for the following reason4 ,daniello had brought with him1 when he first came from ,rome to ,florence1 a young disciple of his own called ,orazio ,pianetti1 a talented and very gentle youth2 but no sooner had he arrived in ,florence1 whatever may have been the reason1 than he died4 ,at which feeling infinite grief and sorrow1 ,daniello1 as one who much loved the young man for his fine qualities1 and was not able to show his affection for him in any other way1 returning that last time to ,florence1 made a portrait of him in marble from the breast upwards1 which he copied excellently well from one moulded from his dead body4 ,and when it was finished1 he placed it with an epitaph in the ,church of ,s4 ,michele ,berteldi on the ,piazza degli ,antinori2 in which ,daniello proved himself1 by that truly loving office1 to be a man of rare goodness1 and a different sort of friend to his friends from the kind that is generally seen at the present day1 when there are very few to be found who value anything in friendship beyond their own profit and convenience4 ,after these things1 it being a long time since he had been in his native city of ,volterra1 he went there before returning to ,rome1 and was warmly welcomed by his relatives and friends4 ,being besought to leave some memorial of himself in his native place1 he executed the story of the ,innocents in a small panel with little figures1 which was held to be a very beautiful work1 and placed it in the ,church of ,s4 ,piero4 ,then1 thinking that he would never return1 he sold the little that he possessed there by way of patrimony to ,leonardo ,ricciarelli1 his nephew1 who1 having been with him in ,rome1 and having learned very well how to work in stucco1 afterwards served ,giorgio ,vasari for three years1 in company with many others1 in the works that were executed at that time in the ,palace of the ,duke4 ,when ,daniello had finally returned to ,rome1 ,pope ,paul ,,iv having a desire to throw to the ground the ,judgment of ,michelagnolo on account of the nudes1 which seemed to him to display the parts of shame in an unseemly manner1 it was said by the ,cardinals and by men of judgment that it would be a great sin to spoil them1 and they found a way out of it1 which was that ,daniello should paint some light garments to cover them2 and the business was afterwards finished in the time of ,pius ,,iv by repainting the ,s4 ,catherine and the ,s4 ,biagio1 which were thought to be unseemly4 ,illustration3 ,,the ,,massacre ,,of ,,the ,,innocents 7,after the painting by ,daniello ,ricciarelli4 ,florence3 ,uffizi1 #aajg7 ,anderson ,in the meantime he began the statues for the ,chapel of the above-named ,cardinal of ,montepulciano1 and the ,s4 ,michael for the great portal2 but none the less1 being a man who was always going from one notion to another1 he did not work with the promptitude that he could and should have used4 ,about this time1 after ,king ,henry of ,france had been killed in a tournament1 ,signor ,ruberto ,strozzi being about to come to ,italy and to ,rome1 ,queen ,caterina de' ,medici1 having been left ,regent in that kingdom1 and wishing to erect some honourable memorial to her dead husband1 commanded the said ,ruberto to confer with ,buonarroti and to contrive to have her desire in that matter fulfilled4 ,wherefore1 having arrived in ,rome1 he spoke long of the matter with ,michelagnolo1 who1 not being able1 because he was old1 to accept that undertaking himself1 advised ,signor ,ruberto to give it to ,daniello1 saying that he would not fail to give him all the counsel and assistance that he could4 ,to that offer ,strozzi attached great importance1 and1 after they had considered with much deliberation what should be done1 it was resolved that ,daniello should make a horse of bronze all in one piece1 twenty palms high from the head to the feet1 and about forty in length1 and that upon it there should then be placed the statue of ,king ,henry in armour1 likewise of bronze4 ,daniello having then made a little model of clay after the advice and judgment of ,michelagnolo1 which much pleased ,signor ,ruberto1 an account of everything was written to ,france1 and in the end an agreement was made between him and ,daniello as to the method of executing that work1 the time1 the price1 and every other thing4 ,whereupon ,daniello1 setting to work with much study on the horse1 made it in clay exactly as it was to be1 without ever doing any other work2 and then1 having made the mould1 he was proceeding to prepare to cast it1 and1 the work being of such importance1 was taking advice from many founders as to the method that he ought to pursue1 to the end that it might come out well1 when ,pius ,,iv1 who had been elected ,pontiff after the death of ,paul1 gave ,daniello to understand that he desired1 as has been related in the ,life of ,salviati1 that the work of the ,hall of ,kings should be finished1 and that therefore every other thing was to be put on one side4 ,to which ,daniello answered that he was fully occupied and pledged to the ,queen of ,france1 but would make the cartoons and have the work carried forward by his young men1 and1 in addition1 would also do his own part in it4 ,the ,pope1 not liking that answer1 began to think of allotting the whole to ,salviati2 wherefore ,daniello1 seized with jealousy1 so went to work with the help of the ,cardinal of ,carpi and ,michelagnolo1 that the half of that ,hall was given to him to paint1 and the other half1 as we have related1 to ,salviati1 although ,daniello did his utmost to obtain the whole1 in order to proceed with it at his leisure and convenience1 without competition4 ,but in the end the matter of that work was handled in such a manner1 that ,daniello did not do there one thing more than what he had done before1 and ,salviati did not finish the little that he had begun1 and even that little was thrown to the ground for him by certain malicious persons4 ,finally1 after four years1 ,daniello was ready1 so far as concerned him1 to cast the above-mentioned horse1 but he was obliged to wait many months more than he would otherwise have done1 for want of the supplies of iron instruments1 metal1 and other materials that ,signor ,ruberto was to give him4 ,but in the end1 all these things having been provided1 ,daniello embedded the mould1 which was a vast mass1 between two furnaces for founding in a very suitable room that he had at ,monte ,cavallo4 ,the material being melted and the orifices unstopped1 for a time the metal ran well enough1 but at length the weight of the metal burst the mould of the body of the horse1 and all the molten material flowed in a wrong direction4 ,at first this much troubled the mind of ,daniello1 but none the less1 having thought well over everything1 he found a way to remedy that great misfortune2 and so after two months1 casting it a second time1 his ability prevailed over the impediments of ,fortune1 so that he executed the casting of that horse 7which is a sixth1 or more1 larger than that of ,antoninus which is on the ,campidoglio7 perfectly uniform and equally delicate throughout1 and it is a marvellous thing that a work so large should not weigh more than twenty thousand 7libbre74 ,but such were the discomforts and fatigues that were endured in the work by ,daniello1 who was rather feeble in constitution and melancholy than otherwise1 that not long afterwards there came upon him a cruel catarrh1 which much reduced him2 indeed1 whereas ,daniello should have been happy at having surmounted innumerable difficulties in so rare a casting1 it seemed that he never smiled again1 no matter what good fortune might befall him1 and no long time passed before that catarrh1 after an illness of two days1 robbed him of his life1 on the #dth of ,april1 #aeff4 ,but before that1 having foreseen his death1 he confessed very devoutly1 and demanded all the ,sacraments of the ,church2 and then1 making his will1 he directed that his body should be buried in the new church that had been begun at the ,baths by ,pius ,,iv for the ,carthusian ,monks1 ordaining also that at his tomb1 in that place1 there should be set up the statue of the ,angel that he had formerly begun for the great portal of the ,castle4 ,and of all this he gave the charge to the ,florentine ,michele degli ,alberti and to ,feliciano of ,san ,vito in the district of ,rome1 making them executors of his will in those matters1 and leaving them two hundred crowns for the purpose4 ,which last wishes of ,daniello's the two of them executed with diligence and love1 giving him honourable burial in that place1 according as he had directed4 ,to the same men he left all his property pertaining to art1 moulds in gesso1 models1 designs1 and all the other materials and implements of his work2 wherefore they offered themselves to the ,ambassador of ,france1 saying that they would deliver completely finished1 within a fixed time1 the work of the horse and the figure of the ,king that was to go upon it4 ,and1 in truth1 both of them having practised many years under the instruction and discipline of ,daniello1 the greatest things may be expected from them4 ,disciples of ,daniello1 likewise1 have been ,biagio da ,carigliano of ,pistoia1 and ,giovan ,paolo ,rossetti of ,volterra1 who is a very diligent person and of most beautiful genius2 which ,giovan ,paolo1 having retired to ,volterra many years ago1 has executed1 as he still does1 works worthy of much praise4 ,another who also worked with ,daniello1 and made much proficience1 was ,marco da ,siena1 who1 having made his way to ,naples and chosen that city as his home1 lives there and is constantly at work4 ,and ,giulio ,mazzoni of ,piacenza has likewise been a disciple of ,daniello2 which ,giulio received his first instruction from ,vasari1 when ,giorgio was executing in ,florence an altar-piece for ,m4 ,biagio ,mei1 which was sent to ,lucca and placed in ,s4 ,piero ,cigoli1 and when the same ,giorgio was painting the altar-piece of the high-altar and a great work in the refectory of ,monte ,oliveto at ,naples1 besides the ,sacristy of ,s4 ,giovanni ,carbonaro and the doors of the organ in the ,piscopio1 with other altar-pieces and pictures4 ,giulio1 having afterwards learned from ,daniello to work in stucco1 in which he equalled his master1 has adorned with his own hand all the interior of the ,palace of ,cardinal ,capodiferro1 executing there marvellous works not only in stucco1 but also of scenes in fresco and in oils1 which have won him infinite praise1 and that rightly4 ,the same master has made a head of ,francesco del ,nero in marble1 copying it so well from the life1 that ,i do not believe that it is possible to do better2 wherefore it may be hoped that he is destined to achieve a very fine result1 and to attain to the greatest excellence and perfection that a man can reach in these our arts4 ,daniello was an orderly and excellent man1 but so intent on the studies of art1 that he gave little thought to the other circumstances of his life4 ,he was a melancholy person1 and very solitary2 and he died at about the age of fifty-seven4 ,a request for his portrait was made to those disciples of his1 who had taken it in gesso1 and when ,i was in ,rome last year they promised it to me2 but1 for all the messages and letters that ,i have sent to them1 they have refused to give it1 thus showing little affection for their dead master4 ,however1 ,i have been unwilling to be hindered by that ingratitude on their part1 seeing that ,daniello was my friend1 and ,i have included the portrait given above1 which1 although it is little like him1 must serve as a proof of my diligence and of the little care and lovingness of ,michele degli ,alberti and ,feliciano da ,san ,vito4 ,,taddeo ,,zucchero ,,life ,,of ,,taddeo ,,zucchero ,,painter ,,of ,,sant',,agnolo ,,in ,,vado ,francesco ,maria being ,duke of ,urbino1 there was born in the township of ,sant',agnolo in ,vado1 a place in that ,state1 on the #ast of ,september in the year #aebi1 to the painter ,ottaviano ,zucchero1 a male child to whom he gave the name of ,taddeo2 which boy having learned by the age of ten to read and write passing well1 his father took him under his own discipline and taught him something of design4 ,but1 perceiving that his son had a very beautiful genius and was likely to become a better master in painting than he believed himself to be1 ,ottaviano placed him with ,pompeo da ,fano1 who was very much his friend1 but a commonplace painter4 ,pompeo's works not pleasing ,taddeo1 and likewise his ways1 he returned to ,sant',agnolo1 and there1 as well as in other places1 assisted his father to the best of his power and knowledge4 ,finally1 being well grown in years and in judgment1 and perceiving that he could not make much progress under the discipline of his father1 who was burdened with seven sons and one daughter1 and also that with his own little knowledge he could not be of as much assistance to his father as he might wish1 he went off all alone1 at the age of fourteen1 to ,rome4 ,there1 at first1 not being known by anyone1 and himself knowing no one1 he suffered some hardships2 and1 if he did know one or two persons1 he was treated worse by them than by the others4 ,thus1 having approached ,francesco1 called ,sant',agnolo1 who was working by the day at grotesques under ,perino del ,vaga1 he commended himself to him with all humility1 praying him that1 being his kinsman1 he should consent to help him2 but no good came of it1 for ,francesco1 as certain kinds of kinsmen often do1 not only did not assist him by word or deed1 but reproved and repelled him harshly4 ,but for all that1 not losing heart and not being dismayed1 the poor boy contrived to maintain himself 7or we should rather say1 to starve himself7 for many months in ,rome by grinding colours for a small price1 now in one shop and now in another1 at times also drawing something1 as best he could4 ,and although in the end he placed himself as an assistant with one ,giovan ,piero ,calavrese1 he did not gain much profit from that1 for the reason that his master1 together with his wife1 a shrew of a woman1 not only made him grind colours all day and all night1 but even1 among other things1 kept him in want of bread1 which1 lest he should be able to have enough or to take it at his pleasure1 they used to keep in a basket hung from the ceiling1 with some little bells1 which would ring at the least touch of a hand on the basket1 and thus give the alarm4 ,but this would have caused little annoyance to ,taddeo1 if only he had had any opportunity of drawing some designs by the hand of ,raffaello da ,urbino that his pig of a master possessed4 ,on account of these and many other strange ways ,taddeo left ,giovan ,piero1 and resolved to live by himself and to have recourse to the workshops of ,rome1 where he was by that time known1 spending a part of the week in doing work for a livelihood1 and the rest in drawing1 particularly the works by the hand of ,raffaello that were in the house of ,agostino ,chigi and in other places in ,rome4 ,and since very often1 when the evening came on1 he had no place wherein to sleep1 many a night he took refuge under the loggie of the above-named ,chigi's house and in other suchlike places2 which hardships did something to ruin his constitution1 and1 if his youth had not helped him1 they would have killed him altogether4 ,as it was1 falling ill1 and not being assisted by his kinsman ,francesco ,sant',agnolo any more than he had been before1 he returned to his father's house at ,sant',agnolo1 in order not to finish his life in such misery as that in which he had been living4 ,however1 not to waste any more time on matters that are not of the first importance1 now that ,i have shown at sufficient length with what difficulties and hardships he made his proficience1 let me relate that ,taddeo1 at length restored to health and once more in ,rome1 resumed his usual studies1 but with more care of himself than he had taken in the past1 and learned so much under a certain ,jacopone1 that he came into some credit4 ,wherefore the above-mentioned ,francesco1 his kinsman1 who had behaved so cruelly toward him1 perceiving that he had become an able master1 and wishing to make use of him1 became reconciled with him2 and they began to work together1 ,taddeo1 who was of a kindly nature1 having forgotten all his wrongs4 ,and so1 ,taddeo making the designs1 and both together executing many friezes in fresco in chambers and loggie1 they went on assisting one another4 ,meanwhile the painter ,daniello da ,parma1 who had formerly been many years with ,antonio da ,correggio1 and had associated with ,francesco ,mazzuoli of ,parma1 having undertaken to paint a church in fresco for the ,office of ,works of ,s4 ,maria at ,vitto1#ba beyond ,sora1 on the borders of the ,abruzzi1 called ,taddeo to his assistance and took him to ,vitto4 ,in which work1 although ,daniello was not the best painter in the world1 nevertheless1 on account of his age1 and from his having seen the methods of ,correggio and ,parmigiano1 and with what softness they executed their paintings1 he had such experience that1 imparting it to ,taddeo and teaching him1 he was of the greatest assistance to him with his words2 no less1 indeed1 than another might have been by working before him4 ,in that work1 which was on a groined vaulting1 ,taddeo painted the four ,evangelists1 two ,sibyls1 two ,prophets1 and four not very large stories of ,jesus ,christ and of the ,virgin ,his ,mother4 ,footnote #ba3 ,alvito4 ,he then returned to ,rome1 where1 ,m4 ,jacopo ,mattei1 a ,roman gentleman1 discoursing with ,francesco ,sant',agnolo of his desire to have the faade of his house painted in chiaroscuro1 ,francesco proposed ,taddeo to him2 but he appeared to that gentleman to be too young1 wherefore ,francesco said to him that he should make trial of ,taddeo in two scenes1 which1 if they were not successful1 could be thrown to the ground1 and1 if successful1 could be continued4 ,taddeo having then set his hand to the work1 the two first scenes proved to be such1 that ,m4 ,jacopo was not only satisfied with them1 but astonished4 ,in the year #aedh1 therefore1 when ,taddeo had finished that work1 he was vastly extolled by all ,rome1 and that with good reason1 because after ,polidoro1 ,maturino1 ,vincenzio da ,san ,gimignano1 and ,baldassarre da ,siena1 no one had attained in works of that kind to the standard that ,taddeo had reached1 who was then a young man only eighteen years of age4 ,the stories of the work may be understood from these inscriptions1 of the deeds of ,furius ,camillus1 one of which is below each scene4 ,the first1 then1 runs thus-- ,,tusculani1 ,,pace ,,constanti1 ,,vim ,,romanam ,,arcent4 ,the second-- ,m4,f4,c4 ,,signiferum ,,secum ,,in ,,hostem ,,rapit4 ,the third-- ,m4,f4,c4 ,,auctore1 ,,incensa ,,urbs ,,restituitur4 ,the fourth-- ,m4,f4,c4 ,,pactionibus ,,turbatis ,,pr,,lium ,,gallis ,,nunciat4 ,the fifth-- ,m4,f4,c4 ,,proditorem ,,vinctum ,,falerio ,,reducendum ,,tradit4 ,the sixth-- ,,matronalis ,,auri ,,collatione ,,votum ,,apollini ,,solvitur4 ,the seventh-- ,m4,f4,c4 ,,junoni ,,regin ,,templum ,,in ,,aventino ,,dedicat4 ,the eighth-- ,,signum ,,junonis ,,regin ,a ,,veiis ,,romam ,,transfertur4 ,the ninth-- ,m4,f4,c4 444 ,,anlius ,,dict4 ,,decem 444 ,,socios ,,capit4 ,from that time until the year #aeej1 when ,julius ,,iii was elected ,pope1 ,taddeo occupied himself with works of no great importance1 yet with considerable profits4 ,in which year of #aeej1 the year of the ,jubilee1 ,ottaviano1 the father of ,taddeo1 with his mother and another of their sons1 went to ,rome to take part in that most holy ,jubilee1 and partly1 also1 to see their son4 ,after they had been there some weeks with ,taddeo1 on departing they left with him the boy that they had brought with them1 who was called ,federigo1 to the end that he might cause him to study letters4 ,but ,taddeo judged him to be more fitted for painting1 as indeed ,federigo has since been seen to be from the excellent result that he has achieved2 and so1 after he had learned his first letters1 ,taddeo began to make him give his attention to design1 with better fortune and support than he himself had enjoyed4 ,meanwhile ,taddeo painted in the ,church of ,s4 ,ambrogio de' ,milanesi1 on the wall of the high-altar1 four stories of the life of that ,saint1 coloured in fresco and not very large1 with a frieze of little boys1 and women after the manner of terminal figures2 which was a work of no little beauty4 ,that finished1 he painted a faade full of stories of ,alexander the ,great1 beside ,s4 ,lucia della ,tinta1 near the ,orso1 beginning from his birth and continuing with five stories of the most noteworthy actions of that famous man2 which work won him much praise1 although it had to bear comparison with another faade near it by the hand of ,polidoro4 ,about that time ,guidobaldo1 ,duke of ,urbino1 having heard the fame of the young man1 who was his vassal1 and desiring to give completion to the walls of the chapel in the ,duomo of ,urbino1 wherein ,battista ,franco1 as has been related1 had painted the vaulting in fresco1 caused ,taddeo to be summoned to ,urbino4 ,and he1 leaving ,federigo in ,rome1 under the care of persons who might make him give his attention to his studies1 and likewise another of his brothers1 whom he placed with some friends to learn the goldsmith's art1 went off to ,urbino1 where many attentions were paid him by that ,duke2 and then orders were given to him as to all that he was to design in the matter of the chapel and other works4 ,but in the meantime the ,duke1 as ,general to the ,signori of ,venice1 had to visit ,verona and the other fortified places of that dominion1 and he took with him ,taddeo1 who copied for him the picture by the hand of ,raffaello da ,urbino which1 as has been related in another place1 is in the house of the noble ,counts of ,canossa4 ,and he afterwards began1 also for his ,excellency1 a large canvas with the ,conversion of ,s4 ,paul1 which1 unfinished as he left it1 is still in the possession of his father ,ottaviano at ,sant',agnolo4 ,then1 having returned to ,urbino1 he occupied himself for a time with continuing the designs for the above-mentioned chapel1 which were of the life of ,our ,lady1 as may be seen from some of them that are in the possession of his brother ,federigo1 drawn in chiaroscuro with the pen4 ,but1 whether it was that the ,duke had not made up his mind or considered ,taddeo to be too young1 or for some other reason1 ,taddeo remained with him two years without doing anything but some pictures in a little study at ,pesaro1 a large coat of arms in fresco on the faade of the ,palace1 and a picture with a life-size portrait of the ,duke1 which were all beautiful works4 ,finally the ,duke1 having to depart for ,rome to receive from ,pope ,julius ,,iii his baton as ,general of ,holy ,church1 left directions that ,taddeo was to proceed with the above-named chapel1 and that he was to be provided with all that he required for that purpose4 ,but the ,duke's ministers1 keeping him1 as such men generally do1 in want of everything1 brought it about that ,taddeo1 after having lost two years of his time1 had to go off to ,rome1 where1 having found the ,duke1 he excused himself adroitly1 without blaming anyone1 and promised that he would not fail to do the work when the time came4 ,in the year #aeea1 ,stefano ,veltroni1 of ,monte ,sansovino--having received orders from the ,pope and from ,vasari to have adorned with grotesques the apartments of the villa on the hill without the ,porta del ,popolo1 which had belonged to ,cardinal ,poggio--summoned ,taddeo1 and caused him to paint in the central picture a figure of ,opportunity1 who1 having seized ,fortune by the locks1 appears to be about to cut them with her shears 7the device of that ,pope72 in which ,taddeo acquitted himself very well4 ,then1 ,vasari having made before any of the others the designs for the court and the fountain at the foot of the new ,palace1 which were afterwards carried on by ,vignuola and ,ammanati and built by ,baronino1 ,prospero ,fontana1 in painting many pictures there1 as will be related hereafter1 availed himself not a little of ,taddeo in many things4 ,and these were the cause of even greater benefits for him1 for the ,pope1 liking his method of working1 commissioned him to paint in some apartments1 above the corridor of the ,belvedere1 some little figures in colour that served as friezes for those apartments2 and in an open loggia1 behind those that faced towards ,rome1 he painted in chiaroscuro on the wall1 with figures as large as life1 all the ,labours of ,hercules1 which were destroyed in the time of ,pope ,paul ,,iv1 when other apartments and a chapel were built there4 ,at the ,vigna of ,pope ,julius1 in the first apartments of the ,palace1 he executed some scenes in colour1 and in particular one of ,mount ,parnassus1 in the centre of the ceilings1 and in the court of the same he painted in chiaroscuro two scenes of the history of the ,sabines1 which are one on either side of the principal door of variegated marble that leads into the loggia1 whence one descends to the fountain of the ,acqua ,vergine2 all which works were much commended and extolled4 ,now ,federigo1 while ,taddeo was in ,rome with the ,duke1 had returned to ,urbino1 and he had lived there and at ,pesaro ever since2 but ,taddeo1 after the works described above1 caused him to return to ,rome1 in order to make use of him in executing a great frieze in a hall1 with others in other rooms1 of the house of the ,giambeccari on the ,piazza di ,s4 ,apostolo1 and in other friezes that he painted in the house of ,m4 ,antonio ,portatore at the ,obelisk of ,s4 ,mauro1 all full of figures and other things1 which were held to be very beautiful4 ,maestro ,mattivolo1 the ,master of the ,post1 bought in the time of ,pope ,julius a site on the ,campo ,marzio1 and built there a large and very commodious house1 and then commissioned ,taddeo to paint the faade in chiaroscuro2 which ,taddeo executed there three stories of ,mercury1 the ,messenger of the ,gods1 which were very beautiful1 and the rest he caused to be painted by others after designs by his own hand4 ,meanwhile ,m4 ,jacopo ,mattei1 having caused a chapel to be built in the ,church of the ,consolazione below the ,campidoglio1 allotted it to ,taddeo to paint1 knowing already how able he was2 and he willingly undertook to do it1 and for a small price1 in order to show to certain persons1 who went about saying that he could do nothing save faades and other works in chiaroscuro1 that he could also paint in colour4 ,having then set his hand to that work1 ,taddeo would only touch it when he was in the mood and vein to do well1 spending the rest of his time on works that did not weigh upon him so much in the matter of honour2 and so he executed it at his leisure in four years4 ,on the vaulting he painted in fresco four scenes of the ,passion of ,christ1 of no great size1 with most beautiful fantasies1 and all so well executed in invention1 design1 and colouring1 that he surpassed his own self2 which scenes are the ,last ,supper with the ,apostles1 the ,washing of ,feet1 the ,prayer in the ,garden1 and ,christ taken and kissed by ,judas4 ,on one of the walls at the sides he painted in figures large as life ,christ ,scourged at the ,column1 and on the other ,pilate showing ,him after the scourging to the ,jews1 saying ,ecce ,homo2 above this last1 in an arch1 is the same ,pilate washing his hands1 and in the other arch1 opposite to that1 ,christ led before ,annas4 ,on the altar-wall he painted the same ,christ ,crucified1 and the ,maries at the foot of the ,cross1 with ,our ,lady in a swoon2 on either side of her is a ,prophet1 and in the arch above the ornament of stucco he painted two ,sibyls2 which four figures are discoursing of the ,passion of ,christ4 ,and on the vaulting1 about certain ornaments in stucco1 are four half-length figures representing the ,four ,evangelists1 which are very beautiful4 ,the whole work1 which was uncovered in the year #aeef1 when ,taddeo was not more than twenty-six years of age1 was held1 as it still is1 to be extraordinary1 and he was judged by the craftsmen at that time to be an excellent painter4 ,that work finished1 ,m4 ,mario ,frangipane allotted to him his chapel in the ,church of ,s4 ,marcello1 in which ,taddeo made use1 as he also did in many other works1 of the young strangers who are always to be found in ,rome1 and who go about working by the day in order to learn and to gain their bread2 but none the less for the time being he did not finish it completely4 ,the same master painted in fresco in the ,pope's ,palace1 in the time of ,paul ,,iv1 some rooms where ,cardinal ,caraffa lived1 in the great tower above the ,guard of ,halberdiers2 and two little pictures in oils of the ,nativity of ,christ and the ,virgin flying with ,joseph into ,egypt1 which were sent to ,portugal by the ,ambassador of that ,kingdom4 ,the ,cardinal of ,mantua1 wishing to have painted with the greatest possible rapidity the whole interior of his ,palace beside the ,arco di ,portogallo1 allotted that work to ,taddeo for a proper price2 and ,taddeo1 beginning it with the help of a good number of men1 in a short time carried it to completion1 showing that he had very great judgment in being able to employ so many different brains harmoniously in so great a work1 and in managing the various manners in such a way1 that the work appears as if all by the same hand4 ,in short1 ,taddeo satisfied in that undertaking1 with great profit to himself1 the ,cardinal and all who saw it1 disappointing the expectations of those who could not believe that he was likely to succeed amid the perplexities of such a great work4 ,in like manner1 he painted some scenes with figures in fresco for ,m4 ,alessandro ,mattei in some recesses in the apartments of his ,palace near the ,botteghe ,scure1 and some others he caused to be executed by his brother ,federigo1 to the end that he might become accustomed to the work4 ,which ,federigo1 having taken courage1 afterwards executed by himself a ,mount ,parnassus in the recess of a ceiling in the house of a ,roman gentleman called ,stefano ,margani1 below the steps of the ,araceli4 ,whereupon ,taddeo1 seeing ,federigo confident and working by himself from his own designs1 without being assisted more than was reasonable by anyone1 contrived to have a chapel allotted to him by the men of ,s4 ,maria dell',orto a ,ripa1 making it almost appear that he intended to do it himself1 for the reason that it would never have been given to ,federigo alone1 who was still a mere lad4 ,taddeo1 then1 in order to satisfy these men1 painted there the ,nativity of ,christ1 and ,federigo afterwards executed all the rest1 acquitting himself in such a manner that there could be seen the beginning of that excellence which is now made manifest in him4 ,in those same times the ,duke of ,guise1 who was then in ,rome1 desiring to take an able and practised painter to paint his ,palace in ,france1 ,taddeo was proposed to him2 whereupon1 having seen some of his works1 and liking his manner1 he agreed to give him a salary of six hundred crowns a year1 on condition that ,taddeo1 after finishing the work that he had in hand1 should go to ,france to serve him4 ,and so ,taddeo would have done1 the money for his preparations having been deposited in a bank1 if it had not been for the wars that broke out in ,france at that time1 and shortly afterwards the death of that ,duke4 ,taddeo then went back to finish the work for ,frangipane in ,s4 ,marcello1 but he was not able to work for long without being interrupted1 for1 the ,emperor ,charles ,v having died1 preparations were made for giving him most honourable obsequies in ,rome1 fit for an ,emperor of the ,romans1 and to ,taddeo were allotted many scenes from the life of that ,emperor1 and also many trophies and other ornaments1 which were made by him of pasteboard in a very sumptuous and magnificent manner2 and he finished the whole in twenty-five days4 ,for his labours1 therefore1 and those of ,federigo and others who had assisted him1 six hundred crowns of gold were paid to him4 ,shortly afterwards he painted two great chambers at ,bracciano for ,signor ,paolo ,giordano ,orsini1 which were very beautiful and richly adorned with stucco-work and gold2 in one the stories of ,cupid and ,psyche1 and in the second1 which had been begun previously by others1 some stories of ,alexander the ,great2 and others that remained for him to paint1 continuing the history of the same ,alexander1 he caused to be executed by his brother ,federigo1 who acquitted himself very well4 ,and then he painted in fresco for ,m4 ,stefano del ,bufalo1 in his garden near the fountain of ,trevi1 the ,muses around the ,castalian ,fount and ,mount ,parnassus1 which was held to be a beautiful work4 ,the ,wardens of ,works of the ,madonna of ,orvieto1 as has been related in the ,life of ,simone ,mosca1 had caused some chapels with ornaments of marble and stucco to be built in the aisles of their church1 and had also had some altar-pieces executed by ,girolamo ,mosciano of ,brescia2 and1 having heard the fame of ,taddeo by means of friends1 they sent a summons to him1 and he went to ,orvieto1 taking with him ,federigo4 ,there1 settling to work1 he executed two great figures on the wall of one of those chapels1 one representing the ,active ,life1 and the other the ,contemplative1 which were despatched with a very sure facility of hand1 in the manner wherein he executed works to which he gave little study2 and while ,taddeo was painting those figures1 ,federigo painted three little stories of ,s4 ,paul in the recess of the same chapel4 ,at the end of which1 both having fallen ill1 they went away1 promising to return in ,september4 ,taddeo returned to ,rome1 and ,federigo to ,sant',agnolo with a slight fever2 which having passed1 at the end of two months he also returned to ,rome4 ,there1 ,holy ,week being close at hand1 the two together set to work in the ,florentine ,company of ,s4 ,agata1 which is behind the ,banchi1 and painted in four days on the vaulting and the recess of that oratory1 for a rich festival that was prepared for ,holy ,thursday and ,good ,friday1 scenes in chiaroscuro of the whole ,passion of ,christ1 with some ,prophets and other pictures1 which caused all who saw them to marvel4 ,after that1 ,cardinal ,alessandro ,farnese1 having brought very near completion his ,palace of ,caprarola1 with ,vignuola as architect1 of whom there will be an account in a short time1 gave the charge of painting it all to ,taddeo1 on these conditions3 that1 since ,taddeo did not wish to abandon his other works in ,rome1 he should be obliged to make all the cartoons1 designs1 divisions1 and arrangements for the works in painting and in stucco that were to be executed in that place2 that the men who were to carry them into execution should be chosen by ,taddeo1 but paid by the ,cardinal2 and that ,taddeo should be obliged to work there himself for two or three months in the year1 and to go there as many times as it might be necessary to see how things were progressing1 and to retouch all that was not to his satisfaction4 ,and for all these labours the ,cardinal promised him a salary of two hundred crowns a year4 ,whereupon ,taddeo1 having so honourable an appointment and the support of so great a lord1 determined that he would give himself some peace of mind1 and would no longer accept any mean work in ,rome1 as he had done up to that time2 desiring1 above all1 to avoid the censure that many men of art laid upon him1 saying that from a certain grasping avarice he would accept any kind of work1 in order to gain with the arms of others that which would have been to many of them an honest means to enable them to study1 as he himself had done in his early youth4 ,against which reproaches ,taddeo used to defend himself by saying that he did it on account of ,federigo and the other brothers that he had on his shoulders1 desiring that they should learn with his assistance4 ,having thus resolved to serve ,farnese and also to finish the chapel in ,s4 ,marcello1 he obtained for ,federigo from ,m4 ,tizio da ,spoleti1 the master of the household to the above-named ,cardinal1 the commission to paint the faade of a house that he had on the ,piazza della ,dogana1 near ,s4 ,eustachio2 which was very welcome to ,federigo1 for he had never desired anything so much as to have some work altogether for himself4 ,on one part of the faade1 therefore1 he painted in colours the scene of ,s4 ,eustachio causing himself to be baptized with his wife and children1 which was a very good work2 and on the centre of the faade he painted the same ,saint1 when1 while hunting1 he sees ,jesus ,christ on the ,cross between the horns of a stag4 ,now since ,federigo1 when he executed that work1 was not more than twenty-eight#bb years of age1 ,taddeo1 who reflected that the work was in a public place1 and that it was of great importance to the credit of ,federigo1 not only went sometimes to see him at his painting1 but also at times insisted on retouching and improving some part4 ,wherefore ,federigo1 after having had patience for a time1 finally1 carried away on one occasion by the anger natural in one who would have preferred to work by himself1 seized a mason's hammer and dashed to the ground something 7,i know not what7 that ,taddeo had painted2 and in his rage he stayed some days without going back to the house4 ,which being heard by the friends of both the one and the other of them1 they so went to work that the two were reconciled1 on the understanding that ,taddeo should be able to set his hand on the designs and cartoons of ,federigo and correct them at his pleasure1 but never the works that he might execute in fresco1 in oils1 or in any other medium4 ,footnote #bb3 ,an error of the copyist or printer for eighteen4 ,illustration3 ,,portrait ,,of ,,the ,,artist 7,after the panel by ,federigo ,zucchero4 ,florence3 ,uffizi1 #bgj7 ,alinari ,federigo having then finished the work of that house1 it was universally extolled1 and won him the name of an able painter4 ,after that1 ,taddeo was ordered to repaint in the ,sala de' ,palafrenieri those ,apostles which ,raffaello had formerly executed there in terretta1 and which had been thrown to the ground by ,paul ,,iv2 and he1 having painted one1 caused all the others to be executed by his brother ,federigo1 who acquitted himself very well4 ,next1 they painted together a frieze in fresco-colours in one of the halls of the ,palace of the ,araceli4 ,then1 a proposal being discussed1 about the same time that they were working at the ,araceli1 to give to ,signor ,federigo ,borromeo as a wife the ,lady ,donna ,virginia1 the daughter of ,duke ,guidobaldo of ,urbino1 ,taddeo was sent to take her portrait1 which he did excellently well2 and before he departed from ,urbino he made all the designs for a credence1 which that ,duke afterwards caused to be made in clay at ,castel ,durante1 for sending to ,king ,philip of ,spain4 ,having returned to ,rome1 ,taddeo presented to the ,pope that portrait1 which pleased him well enough2 but such was the discourtesy of that ,pontiff1 or of his ministers1 that the poor painter was not recompensed even for his expenses4 ,in the year #aefj the ,pope expected in ,rome the ,lord ,duke ,cosimo and the ,lady ,duchess ,leonora1 his consort1 and proposed to lodge their ,excellencies in the apartments formerly built by ,innocent ,,viii1 which look out upon the first court of the ,palace and that of ,s4 ,pietro1 and have in front of them loggie that look out on the piazza where the ,benediction is given2 and ,taddeo received the charge of painting the pictures and some friezes that were to be executed there1 and of overlaying with gold the new ceilings that had been made in place of the old ones1 which had been consumed by time4 ,in that work1 which was certainly a great and important undertaking1 ,federigo1 to whom his brother ,taddeo gave the charge of almost the whole1 acquitted himself very well2 but he incurred a great danger1 for1 as he was painting grotesques in those loggie1 he fell from a staging that rested on the main part of the scaffolding1 and was near coming to an evil end4 ,no long time passed before ,cardinal ,emulio1 to whom the ,pope had given the charge of the matter1 commissioned many young men1 to the end that the work might be finished quickly1 to paint the little palace that is in the wood of the ,belvedere1 which was begun in the time of ,pope ,paul ,,iv with a most beautiful fountain and many ancient statues as ornaments1 after an architectural design by ,pirro ,ligorio4 ,the young men who worked 7with great credit to themselves7 in that place1 were ,federigo ,barocci of ,urbino1 a youth of great promise1 and ,leonardo ,cungi and ,durante del ,nero1 both of ,borgo ,san ,sepolcro1 who executed the apartments of the first floor4 ,at the head of the staircase1 which was made in a spiral shape1 the first room was painted by ,santi ,titi1 a painter of ,florence1 who acquitted himself very well2 the larger room1 which is beside the first1 was painted by the above-named ,federigo ,zucchero1 the brother of ,taddeo2 and the ,sclavonian ,giovanni dal ,carso1 a passing good master of grotesques1 executed another room beyond it4 ,but1 although each of the men named above acquitted himself very well1 nevertheless ,federigo surpassed all the others in some stories of ,christ that he painted there1 such as the ,transfiguration1 the ,marriage of ,cana in ,galilee1 and the ,centurion kneeling before ,christ4 ,and of two that were still wanting1 one was painted by ,orazio ,sammacchini1 a ,bolognese painter1 and the other by a certain ,lorenzo ,costa of ,mantua4 ,the same ,federigo ,zucchero painted in that place the little loggia that looks out over the fish-pond4 ,and then he painted a frieze in the principal hall of the ,belvedere 7to which one ascends by the spiral staircase71 with stories of ,moses and ,pharaoh1 beautiful to a marvel2 the design for which work1 drawn and coloured with his own hand in a most beautiful drawing1 ,federigo himself gave not long since to the ,reverend ,don ,vincenzio ,borghini1 who holds it very dear as a drawing by the hand of an excellent painter4 ,in the same place1 also1 ,federigo painted the ,angel slaying the first-born in ,egypt1 availing himself1 in order to finish it the quicker1 of the help of many of his young men4 ,but when those works came to be valued by certain persons1 the labours of ,federigo and the others were not rewarded as they should have been1 because there are among our craftsmen in ,rome1 as well as in ,florence and everywhere else1 some most malignant spirits who1 blinded by prejudice and envy1 are not able or not willing to recognize the merits of the works of others and the deficiency of their own2 and such persons are very often the reason that the young men of fine genius1 becoming dismayed1 grow cold in their studies and their work4 ,after these works1 ,federigo painted in the ,office of the ,ruota1 about an escutcheon of ,pope ,pius ,,iv1 two figures larger than life1 ,justice and ,equity1 which were much extolled2 thus giving time to ,taddeo1 meanwhile1 to attend to the work of ,caprarola and the chapel in ,s4 ,marcello4 ,in the meantime his ,holiness1 wishing at all costs to finish the ,hall of ,kings1 after the many contentions that had taken place between ,daniello and ,salviati1 as has been related1 gave orders to the ,bishop of ,forl as to all that he wished him to do in the matter4 ,wherefore the ,bishop wrote to ,vasari 7on the #crd of ,september in the year #aefa71 that the ,pope1 wishing to finish the work of the ,hall of ,kings1 had given him the charge of finding men who might once and for all take it off his hands1 and that therefore1 moved by their ancient friendship and by other reasons1 he besought ,giorgio to consent to go to ,rome in order to execute that work1 with the good pleasure and leave of his master the ,duke1 for the reason that1 while giving satisfaction to his ,holiness1 he would win much honour and profit for himself2 praying him to answer as soon as possible4 ,replying to which letter1 ,vasari said that1 finding himself very well placed in the service of the ,duke1 and remunerated for his labours with rewards different from those that he had received from other ,pontiffs in ,rome1 he intended to remain in the service of his ,excellency1 for whom he was at that very time to set his hand to a hall much greater than the ,hall of ,kings2 and that there was no want in ,rome of men who might be employed in that work4 ,the above-named ,bishop having received that answer from ,vasari1 and having conferred with his ,holiness of the whole matter1 ,cardinal ,emulio1 immediately after receiving from the ,pontiff the charge of having that ,hall finished1 divided the work1 as has been related1 among many young men1 some of whom were already in ,rome1 and others were summoned from other places4 ,to ,giuseppe ,porta of ,castelnuovo della ,garfagnana1 a disciple of ,salviati1 were given two of the largest scenes in the ,hall2 to ,girolamo ,siciolante of ,sermoneta1 one of the large scenes and one of the small2 to ,orazio ,sammacchini of ,bologna one of the small scenes1 to ,livio da ,forl a similar one1 and to ,giovan ,battista ,fiorini of ,bologna yet another of the small scenes4 ,which hearing1 ,taddeo perceived that he had been excluded because it had been said to the above-named ,cardinal ,emulio that he was a person who gave more attention to gain than to glory and working well2 and he did his utmost with ,cardinal ,farnese to obtain a part of that work4 ,but the ,cardinal1 not wishing to move in the matter1 answered him that his labours at ,caprarola should content him1 and that it did not seem to him right that his own works should be neglected by reason of the rivalry and emulation between the craftsmen2 adding also that1 when a master does well1 it is the works that give a name to the place1 and not the place to the works4 ,notwithstanding this1 ,taddeo so went to work by other means with ,emulio1 that finally he was commissioned to execute one of the smaller scenes over a door1 not being able1 either by prayers or by any other means1 to obtain the commission for one of the large scenes2 and1 in truth1 it is said that ,emulio was acting with caution in the matter1 for the reason that1 hoping that ,giuseppe ,salviati would surpass all the others1 he was minded to give him the rest1 and perchance to throw to the ground all that might have been done by the others4 ,now1 after all the men named above had carried their works well forward1 the ,pope desired to see them all2 and so1 everything being uncovered1 he recognized 7and all the ,cardinals and the best craftsmen were of the same opinion7 that ,taddeo had acquitted himself better than any of the others1 although all had done passing well4 ,his ,holiness1 therefore1 commanded ,signor ,agabrio that he should cause ,cardinal ,emulio to commission him to execute one of the larger scenes2 whereupon the head-wall was allotted to him1 wherein is the door of the ,pauline ,chapel4 ,and there he made a beginning with the work1 but he did not carry it any farther1 for1 the death of the ,pope supervening1 everything was uncovered for the holding of the ,conclave1 although many of those scenes had not been finished4 ,of the scene that ,taddeo began in that place1 we have the design by his hand1 sent to us by him1 in the book of drawings that we have so often mentioned4 ,taddeo painted at the same time1 besides some other little things1 a picture with a very beautiful ,christ1 which was to be sent to ,caprarola for ,cardinal ,farnese2 which work is now in the possession of his brother ,federigo1 who says that he desires it for himself as long as he lives4 ,the picture receives its light from some weeping ,angels1 who are holding torches4 ,but since the works that ,taddeo executed at ,caprarola will be described at some length in a little time1 in discoursing of ,vignuola1 who built that fabric1 for the present ,i shall say nothing more of them4 ,federigo was meanwhile summoned to ,venice1 and made an agreement with the ,patriarch ,grimani to finish for him the chapel in ,s4 ,francesco della ,vigna1 which had remained incomplete1 as has been related1 on account of the death of the ,venetian ,battista ,franco4 ,but1 before he began that chapel1 he adorned for that ,patriarch the staircase of his ,palace in ,venice1 with little figures placed with much grace in certain ornaments of stucco2 and then he executed in fresco1 in the above-named chapel1 the two stories of ,lazarus and the ,conversion of the ,magdalene1 the design of which1 by the hand of ,federigo1 is in our book4 ,afterwards1 in the altar-piece of the same chapel1 ,federigo painted the story of the ,magi in oils4 ,and then he painted some pictures in a loggia1 which are much extolled1 at the villa of ,m4 ,giovan ,battista ,pellegrini1 between ,chioggia and ,monselice1 where ,andrea ,schiavone and the ,flemings1 ,lamberto and ,gualtieri1 have executed many works4 ,after the departure of ,federigo1 ,taddeo continued to work in fresco all that summer in the chapel of ,s4 ,marcello2 and for that chapel1 finally1 he painted in the altar-piece the ,conversion of ,s4 ,paul4 ,in that picture may be seen1 executed in a beautiful manner1 the ,saint fallen from his horse and all dazed by the splendour and voice of ,jesus ,christ1 whom he depicted amid a ,glory of ,angels1 in the act1 so it appears1 of saying1 ,saul1 ,saul1 why persecutest thou ,me8 ,his followers1 who are about him1 are likewise struck with awe1 and stand as if bereft of their senses4 ,on the vaulting1 within certain ornaments of stucco1 he painted in fresco three stories of the same ,saint4 ,in one he is being taken as a prisoner to ,rome1 and disembarks on the ,island of ,malta2 and there may be seen how1 on the kindling of the fire1 a viper strikes at his hand to bite it1 while some mariners1 almost naked1 stand in various attitudes about the barque2 in another is the scene when a young man1 having fallen from a window1 is brought to ,s4 ,paul1 who by the power of ,god restores him to life2 and in the third is the ,beheading and ,death of the ,saint4 ,on the walls below are two large scenes1 likewise in fresco2 in one is ,s4 ,paul healing a man crippled in the legs1 and in the other a disputation1 wherein he causes a magician to be struck with blindness2 and both the one and the other are truly most beautiful4 ,but that work having been left incomplete by reason of his death1 ,federigo has finished it this year1 and it has been thrown open to view with great credit to him4 ,at this same time ,federigo executed some pictures in oils1 which were sent to ,france by the ,ambassador of that kingdom4 ,the little hall in the ,farnese ,palace having remained unfinished on account of the death of ,salviati 7wanting two scenes1 namely1 at the entrance1 opposite to the great window71 ,cardinal ,sant',agnolo1 of the ,farnese family1 gave them to ,taddeo to execute1 and he carried them to completion very well4 ,but nevertheless he did not surpass or even equal ,francesco in the works executed by him in the same apartment1 as certain envious and malignant spirits went about saying throughout ,rome1 in order to diminish the glory of ,salviati by their foul calumnies2 and although ,taddeo used to defend himself by saying that he had caused the whole to be executed by his assistants1 and that there was nothing in that work by his hand save the design and a few other things1 such excuses were not accepted1 for the reason that a man who wishes to surpass another in any competition1 must not entrust the credit of his art to the keeping of feeble persons1 for that is clearly the way to perdition4 ,thus ,cardinal ,sant',agnolo1 a man of truly supreme judgment in all things1 and of surpassing goodness1 recognized how much he had lost by the death of ,salviati2 for1 although he was proud and even arrogant1 and ill-tempered1 in matters of painting he was truly most excellent4 ,however1 since the best craftsmen had disappeared from ,rome1 that lord1 for want of others1 resolved to entrust the painting of the ,great ,hall in that ,palace to ,taddeo1 who accepted it willingly1 in the hope of being able to prove by means of every effort how great were his ability and knowledge4 ,the ,florentine ,lorenzo ,pucci1 ,cardinal ,santiquattro1 had formerly caused a chapel to be built in the ,trinita1 and all the vaulting to be painted by ,perino del ,vaga1 with certain ,prophets on the outer side1 and two little boys holding the arms of that ,cardinal4 ,but the chapel remaining unfinished1 with three walls still to be painted1 when the ,cardinal died1 those fathers1 without any regard for what was just and reasonable1 sold that chapel to the ,archbishop of ,corfu2 and it was afterwards given by that ,archbishop to ,taddeo to paint4 ,now although1 out of respect for the church and from other reasons1 it may have been well to find means of finishing the chapel1 at least they should not have allowed the arms of the ,cardinal to be removed from the part that was finished1 only in order to place there those of the above-named ,archbishop1 which they could have set up in another place1 instead of offering so manifest an affront to the memory of that good ,cardinal4 ,having thus so many works on his hands1 ,taddeo was every day urging ,federigo to return from ,venice4 ,that ,federigo1 after having finished the chapel for the ,patriarch1 was negotiating to undertake to paint the principal wall of the ,great ,hall of the ,council1 where ,antonio ,viniziano had formerly painted2 but the rivalry and the contentions that he suffered from the ,venetian painters were the reason that neither they1 with all their interest1 nor he1 likewise1 obtained it4 ,meanwhile ,taddeo1 having a desire to see ,florence and the many works which1 so he heard1 ,duke ,cosimo had carried out and was still carrying out1 and the beginning that his friend ,giorgio ,vasari was making in the ,great ,hall2 ,taddeo1 ,i say1 pretending one day to go to ,caprarola in connection with the work that he was doing there1 went off to ,florence for the ,festival of ,s4 ,john1 in company with ,tiberio ,calcagni1 a young ,florentine sculptor and architect4 ,there1 to say nothing of the city1 he found vast pleasure in the works of the many excellent sculptors and painters1 ancient as well as modern2 and if he had not had so many charges and so many works on his hands1 he would gladly have stayed there some months4 ,thus he saw the preparations of ,vasari for the above-named ,hall--namely1 forty-four great pictures1 of four1 six1 seven1 or ten braccia each--in which he was executing figures for the most part of six or eight braccia1 with the assistance only of the ,fleming ,giovanni ,strada and ,jacopo ,zucchi1 his disciples1 and ,battista ,naldini1 in all which he took the greatest pleasure1 and1 hearing that all had been executed in less than a year1 it gave him great courage4 ,wherefore1 having returned to ,rome1 he set his hand to the above-named chapel in the ,trinita1 with the resolve that he would surpass himself in the stories of ,our ,lady that were to be painted there1 as will be related presently4 ,now ,federigo1 although he was pressed to return from ,venice1 was not able to refuse to stay in that city for the ,carnival in company with the architect ,andrea ,palladio4 ,and ,andrea1 having made for the gentlemen of the ,company of the ,calza a theatre in wood after the manner of a ,colosseum1 in which a tragedy was to be performed1 caused ,federigo to execute for the decoration of the same twelve large scenes1 each seven feet and a half square1 with innumerable other stories of the actions of ,hyrcanus1 ,king of ,jerusalem1 after the subject of the tragedy2 in which work ,federigo gained much honour1 from its excellence and from the rapidity with which he executed it4 ,next1 ,palladio going to ,friuli to found the ,palace of ,civitale1 of which he had previously made the model1 ,federigo went with him in order to see that country2 and there he drew many things that pleased him4 ,then1 after having seen many things in ,verona and in many other cities of ,lombardy1 he finally made his way to ,florence1 at the very time when festive preparations1 rich and marvellous1 were being made for the coming of ,queen ,joanna of ,austria4 ,having arrived there1 he executed1 after the desire of the ,lord ,duke1 a most beautiful and fanciful ,hunt in colours on a vast canvas that covered the stage at the end of the ,hall1 and some scenes in chiaroscuro for an arch2 all which gave infinite satisfaction4 ,from ,florence he went to ,sant' ,agnolo1 to revisit his relatives and friends1 and finally he arrived in ,rome on the #afth of the ,january following2 but he was of little assistance to ,taddeo at that time1 for the reason that the death of ,pope ,pius ,,iv1 followed by that of ,cardinal ,sant',agnolo1 interrupted the work of the ,hall of ,kings and that of the ,farnese ,palace4 ,whereupon ,taddeo1 who had finished another apartment of rooms at ,caprarola1 and had carried almost to completion the chapel in ,s4 ,marcello1 proceeded to give his attention to the work of the ,trinita1 much at his leisure1 and to execute the ,passing of ,our ,lady1 with the ,apostles standing about the bier4 ,in the meantime1 also1 ,taddeo had obtained for ,federigo a chapel to be painted in fresco in the ,church of the ,reformed ,priests of ,jesus at the ,obelisk of ,s4 ,mauro2 and to that ,federigo straightway set his hand4 ,taddeo1 feigning to be angry because ,federigo had delayed too long to return1 appeared to care little for his arrival2 but in truth he welcomed it greatly1 as was afterwards seen from the result4 ,for he was much annoyed by having to provide for his house 7of which annoyance ,federigo had been accustomed to relieve him71 and by the anxious care of that brother who was employed as a goldsmith2 but when ,federigo came they put many inconveniences to rights1 in order to be able to attend to their work with a quiet mind4 ,the friends of ,taddeo were seeking meanwhile to give him a wife1 but he1 being one who was accustomed to living free1 and feared that which generally happens 7namely1 that he would bring into his house1 together with the wife1 a thousand vexatious cares and annoyances71 could never make up his mind to it4 ,nay1 attending to his work in the ,trinita1 he proceeded to make the cartoon of the principal wall1 on which there was going the ,ascension of ,our ,lady into ,heaven2 while ,federigo painted a picture of ,s4 ,peter in ,prison for the ,lord ,duke of ,urbino2 another1 wherein is a ,madonna in ,heaven with some ,angels about her1 which was to be sent to ,milan2 and a third with a figure of ,opportunity1 which was sent to ,perugia4 ,the ,cardinal of ,ferrara had kept many painters and masters in stucco at work at the very beautiful villa that he has at ,tivoli1 and finally he sent ,federigo there to paint two rooms1 one of which is dedicated to ,nobility1 and the other to ,glory2 in which ,federigo acquitted himself very well1 executing there beautiful and fantastic inventions4 ,that finished1 he returned to the work of the above-mentioned chapel in ,rome1 which he has carried to completion1 painting in it a choir of many ,angels and various ,glories1 with ,god the ,father sending down the ,holy ,spirit upon the ,madonna1 who is receiving the ,annunciation from the ,angel ,gabriel1 while about her are six ,prophets1 larger than life and very beautiful4 ,taddeo1 meanwhile1 continuing to paint the ,assumption of the ,madonna in fresco in the ,trinita1 appeared to be driven by nature to do in that work1 as his last1 the utmost in his power4 ,and in truth it proved to be his last1 for1 having fallen ill of a sickness which at first appeared to be slight enough1 and caused by the great heat that there was that year1 and which afterwards became very grave1 he died in the month of ,september in the year #aeff2 having first1 like a good ,christian1 received the ,sacraments of the ,church1 and seen the greater part of his friends1 and leaving in his place his brother ,federigo1 who was also ill at that time4 ,and so in a short time1 ,buonarroti1 ,salviati1 ,daniello1 and ,taddeo having been taken from the world1 our arts have suffered a very great loss1 and particularly the art of painting4 ,taddeo was very bold in his work1 and had a manner passing soft and pastose1 and very far removed from the hardness often seen4 ,he was very abundant in his compositions1 and he made his heads1 hands1 and nudes very beautiful1 keeping them free of the many crudities over which certain painters labour beyond all reason1 in order to make it appear that they understand anatomy and art2 to which kind of men there often happens that which befell him who1 from his seeking to be in his speech more ,athenian than the ,athenians1 was recognized by a woman of the people to be no ,athenian4 ,taddeo also handled colours with much delicacy1 and he had great facility of manner1 for he was much assisted by nature2 but at times he sought to make too much use of it4 ,he was so desirous of having something of his own1 that he continued for a time to accept any sort of work for the sake of gain2 but for all that he executed many1 nay1 innumerable works worthy of great praise4 ,he kept a number of assistants in order to finish his works1 for the reason that it is not possible to do otherwise4 ,he was sanguine1 hasty1 and quick to take offence1 and1 in addition1 much given to the pleasures of love2 but nevertheless1 although he was strongly inclined by nature to such pleasures1 he contrived to conduct his affairs with a certain degree of decency1 and very secretly4 ,he was loving with his friends1 and whenever he could help them he never spared himself4 ,at his death he left the work in the ,trinita not yet uncovered1 and the ,great ,hall in the ,farnese ,palace unfinished1 and so also the works of ,caprarola1 but nevertheless these all remained in the hands of his brother ,federigo1 whom the patrons of the works are content to allow to give them completion1 as he will do2 and1 in truth1 ,federigo will be heir to the talents of ,taddeo no less than to his property4 ,taddeo was given burial by ,federigo in the ,ritonda of ,rome1 near the tabernacle where ,raffaello da ,urbino1 his fellow-countryman1 is buried2 and certainly they are well placed1 one beside the other1 for the reason that even as ,raffaello died at the age of thirty-seven and on the same day that he was born1 which was ,good ,friday1 so ,taddeo was born on the first day of ,september1 #aebi1 and died on the second day of the same month in the year #aeff4 ,federigo is minded1 if it should be granted to him1 to restore the other tabernacle in the ,ritonda1 and to make some memorial in that place to his loving brother1 to whom he knows himself to be deeply indebted4 ,now1 since mention has been made above of ,jacopo ,barozzi of ,vignuola1 saying that after his architectural designs and directions the most illustrious ,cardinal ,farnese has built his rich and even regal villa of ,caprarola1 let me relate that the same ,jacopo ,barozzi of ,vignuola1 a ,bolognese painter and architect1 who is now fifty-eight years of age1 was placed in his childhood and youth to learn the art of painting in ,bologna1 but did not make much proficience1 because he did not receive good guidance at the beginning4 ,and also1 to tell the truth1 he had by nature much more inclination for architecture than for painting1 as was clearly manifest even at that time from his designs and from the few works of painting that he executed1 for there were always to be seen in them pieces of architecture and perspective2 and so strong and potent in him was that inclination of nature1 that he may be said to have learned almost by himself1 in a short time1 both the first principles and also the greatest difficulties1 and that very well4 ,wherefore1 almost before he was known1 various designs with most beautiful and imaginative fantasies were seen to issue from his hand1 executed for the most part at the request of ,m4 ,francesco ,guicciardini1 at that time ,governor of ,bologna1 and for others of his friends2 which designs were afterwards put into execution in tinted woods inlaid after the manner of tarsia1 by ,fra ,damiano da ,bergamo1 of the ,order of ,s4 ,domenico in ,bologna4 ,vignuola then went to ,rome to work at painting1 and to obtain from that art the means to assist his poor family2 and at first he was employed at the ,belvedere with ,jacopo ,melighini of ,ferrara1 the architect of ,pope ,paul ,,iii1 drawing some architectural designs for him4 ,but afterwards1 there being in ,rome at that time an academy of most noble lords and gentlemen who occupied themselves in reading ,vitruvius 7among whom were ,m4 ,marcello ,cervini1 who afterwards became ,pope1 ,monsignor ,maffei1 ,m4 ,alessandro ,manzuoli1 and others71 ,vignuola set himself in their service to take complete measurements of all the antiquities of ,rome1 and to execute certain works after their fancy2 which circumstance was of the greatest assistance to him both for learning and for profit4 ,meanwhile ,francesco ,primaticcio1 the ,bolognese painter1 of whom there will be an account in another place1 had arrived in ,rome1 and he made much use of ,vignuola in making moulds of a great part of the antiques in ,rome1 in order to take those moulds into ,france1 and then to cast from them statues in bronze similar to the antiques2 which work having been despatched1 ,primaticcio1 in going to ,france1 took ,vignuola with him1 in order to make use of him in matters of architecture and to have his assistance in casting in bronze the above-mentioned statues of which they had made the moulds2 which things1 both the one and the other1 he did with much diligence and judgment4 ,after two years had passed1 he returned to ,bologna1 according to the promise made by him to ,count ,filippo ,pepoli1 in order to attend to the building of ,s4 ,petronio4 ,in that place he consumed several years in discussions and disputes with certain others who were his competitors in the affairs there1 without doing anything but design and cause to be constructed after his plans the canal that brings vessels into ,bologna1 whereas before that they could not come within three miles2 than which work none better or more useful was ever executed1 although ,vignuola1 the originator of an enterprise so useful and so praiseworthy1 was poorly rewarded for it4 ,pope ,julius ,,iii having been elected in the year #aeej1 by means of ,vasari ,vignuola was appointed architect to his ,holiness1 and there was given to him the particular charge of conducting the ,acqua ,vergine and of superintending the works at the ,vigna of ,pope ,julius1 who took ,vignuola into his service most willingly1 because he had come to know him when he was ,legate in ,bologna4 ,in that building1 and in other works that he executed for that ,pontiff1 he endured much labour1 but was badly rewarded for it4 ,finally ,cardinal ,alessandro ,farnese1 having recognized the genius of ,vignuola1 to whom he always showed much favour1 desired1 in carrying out the building of his ,palace at ,caprarola1 that the whole work should spring from the fanciful design and invention of ,vignuola4 ,and1 in truth1 the judgment of that lord in making choice of so excellent an architect was no less than the greatness of his mind in setting his hand to an edifice so noble and grand1 which1 although it is in a place where it can be enjoyed but little by men in general1 being out of the way1 yet is none the less marvellous in its site1 and very suitable for one who wishes at times to withdraw from the vexations and tumult of the city4 ,this edifice1 then1 has the form of a pentagon1 and is divided into four sets of apartments1 without counting the front part1 where the principal door is2 in which front part is a loggia forty palms in breadth and eighty in length4 ,on one side there curves in a round form a spiral staircase1 ten palms wide across the steps1 and twenty palms across the space in the centre1 which gives light to the staircase1 which curves from the base to the third or uppermost story2 and these steps are all supported by double columns with cornices1 which curve in a round in accordance with the staircase4 ,the whole is a rich and well-varied work1 beginning with the ,doric ,order1 and continuing in the ,ionic1 the ,corinthian1 and the ,composite1 with a wealth of balusters1 niches1 and other fanciful ornaments1 which make it a rare thing1 and most beautiful4 ,opposite to this staircase--namely1 at the other of the corners that are one on either side of the above-mentioned loggia of the entrance--there is a suite of rooms that begins in a circular vestibule equal in breadth to the staircase1 and leads to a great hall on the ground floor1 eighty palms long and forty broad4 ,this hall is wrought in stucco and painted with stories of ,jove--namely1 his birth1 his being nursed by the ,goat ,amaltheia1 and her coronation1 with two other stories on either side of the last-named1 showing her being placed in the heavens among the forty-eight ,heavenly ,signs1 and another similar story of the same ,goat1 which alludes1 as also do the others1 to the name of ,caprarola4 ,on the walls of this hall are perspective-views of buildings drawn by ,vignuola and coloured by his son-in-law1 which are very beautiful and make the room seem larger than it is4 ,beside this hall is a smaller hall of forty palms1 which comes exactly at the next corner1 and in it1 besides the works in stucco1 are painted things that are all significant of ,spring4 ,continuing from this little hall towards the other angle 7that is1 towards the point of the pentagon1 where a tower has been begun71 one goes into three chambers1 each forty palms broad and thirty long4 ,in the first of these are various inventions executed in stucco and painting1 representing ,summer1 to which season this first chamber is dedicated4 ,in that which follows there is painted and wrought in the same manner the season of ,autumn2 and in the last1 which is sheltered from the north1 and decorated likewise in the same manner1 there is represented in a similar kind of work the season of ,winter4 ,so far we have spoken 7with regard to the floor that is over the underground rooms of the basement1 cut out of the tufa1 where there are rooms for the servants1 kitchens1 larders1 and wine-cellars7 of the half of this pentagonal edifice--namely1 of the part on the right hand4 ,opposite to that part1 on the left hand1 there are rooms exactly equal in number and of the same size4 ,within the five angles of the pentagon ,vignuola has made a circular court1 into which all the apartments of the edifice open with their doors2 which doors1 ,i mean1 all open into the circular loggia surrounding the court1 which is eighteen palms in breadth1 while the diameter of the remaining space in the court is ninety-five palms and five inches4 ,the pilasters of the loggia 7which is divided up by niches71 supporting the arches and the vaulting1 are in couples1 with a niche in the centre1 and twenty in number2 and each couple covers a breadth of fifteen palms1 which is also the breadth of the space of the arches4 ,around the loggia1 at the angles that form the shape of the round1 are four spiral staircases1 which lead from the basement of the palace up to the top1 for the convenience of the edifice and of the rooms4 ,and there are reservoirs that collect the rain-water1 which feed a very large and beautiful cistern in the centre2 to say nothing of the windows and innumerable other conveniences1 which make this building appear to be1 as indeed it is1 a rare and most beautiful fabric4 ,and1 besides having the site and form of a fortress1 it is furnished on the outer side with an oval flight of steps1 with ditches all around1 and with drawbridges made with beautiful invention and in a novel manner1 which lead into gardens full of rich and well-varied fountains1 graceful parterres of verdure1 and1 in short1 all that is required for a truly regal villa4 ,now1 ascending by the great spiral staircase from the level of the court to the other apartment above1 one finds already finished1 over the part of which we have spoken1 an equal number of rooms1 and also the chapel1 which is opposite to the principal round staircase on this floor4 ,in the hall that is exactly above that of ,jove1 and of equal size1 there are painted by the hands of ,taddeo and his young men1 with very rich and beautiful ornaments of stucco1 the actions of the illustrious men of the ,house of ,farnese4 ,on the vaulting are compartments with six scenes1 four square and two round1 which follow right round the cornice of this hall1 and in the centre are three ovals1 accompanied along their length by two smaller and rectangular pictures1 in one of which is painted ,fame1 and in the other ,bellona4 ,in the first of the three ovals is ,peace1 in the central oval the ancient arms of the ,house of ,farnese1 with the helmet-crest1 above which is the ,unicorn1 and in the last is ,religion4 ,in the first of the six above-mentioned scenes1 which is a round1 is ,guido ,farnese1 with many persons1 all well executed1 about him1 and with this inscription below3 ,,guido ,,farnesius1 ,,urbis ,,veteris ,,principatum ,,civibus ,,ipsis ,,deferentibus ,,adeptus1 ,,laboranti ,,intestinis ,,discordiis ,,civitati1 ,,seditiosa ,,factione ,,ejecta1 ,,pacem ,,et ,,tranquillitatem ,,restituit1 ,,anno #acbc4 ,in an oblong picture is ,pietro ,niccol ,farnese1 who is delivering ,bologna1 with this inscription below3 ,,petrus ,,nicolaus1 ,,sedis ,,roman ,,potentissimis ,,hostibus ,,memorabili ,,pr,,lio ,,superatis1 ,,imminenti ,,obsidionis ,,periculo ,,bononiam ,,liberat1 ,,anno ,,salutis #acfa4 ,in the rectangular picture next to this is ,pietro ,farnese1 elected ,captain of the ,florentines1 with this inscription3 ,,petrus ,,farnesius1 ,,reip4 ,,florentin ,,imperator1 ,,magnis ,,pisanorum ,,copiis 444 ,,urbem ,,florentiam ,,triumphans ,,ingreditur1 ,,anno #acfb4 ,in the other round picture1 which is opposite to that described above1 is another ,pietro ,farnese1 who routs the enemies of the ,roman ,church at ,orbatello1 with his inscription4 ,in one of the two other rectangular pictures1 which are of equal size1 is ,signor ,ranieri ,farnese1 elected ,general of the ,florentines in place of the above-named ,signor ,pietro1 his brother1 with this inscription3 ,,rainerius ,,farnesius ,a ,,florentinis ,,difficili ,,reip4 ,,tempore ,,in ,,petri ,,fratris ,,mortui ,,locum ,,copiarum ,,omnium ,,dux ,,deligitur1 ,,anno #acfb4 ,in the last picture is ,ranuccio ,farnese1 chosen by ,eugenius ,,iii as ,general of the ,church1 with this inscription3 ,,ranutius ,,farnesius1 ,,pauli ,,tertii ,,pap ,,avus1 ,,eugenio ,,tertio ,p4,m4 ,,ros ,,aure ,,munere ,,insignitus1 ,,pontificii ,,exercitus ,,imperator ,,constituitur1 ,,anno ,,christi #adce4 ,in short1 there are on this vaulting vast numbers of most beautiful figures1 besides the stucco-work and other ornaments overlaid with gold4 ,on the walls are eight scenes1 two to each wall4 ,on the first1 in a scene on the right hand as one enters1 is ,pope ,julius ,,iii confirming ,duke ,ottavio and the ,prince his son in the possession of ,parma and ,piacenza1 in the presence of ,cardinal ,farnese1 ,sant',agnolo his brother1 the ,camarlingo ,santa ,fiore1 the elder ,salviati1 ,chieti1 ,carpi1 ,polo1 and ,morone1 all being portraits from life2 with this inscription3 ,,julius ,,iii1 ,p4,m41 ,,alexandro ,,farnesio ,,auctore1 ,,octavio ,,farnesio1 ,,ejus ,,fratri1 ,,parmam ,,amissam ,,restituit1 ,,anno ,,salutis #aeej4 ,in the second scene is ,cardinal ,farnese going to ,worms as ,legate to the ,emperor ,charles ,v1 and his ,majesty and the ,prince1 his son1 are coming forth to meet him1 with a vast multitude of ,barons1 and among them the ,king of the ,romans2 with the proper inscription4 ,on the wall on the left hand as one enters1 in the first scene1 is the war fought against the ,lutherans in ,germany1 where ,duke ,ottavio ,farnese was ,legate1 in the year #aedf1 with the inscription2 and in the second are the above-named ,cardinal ,farnese and the ,emperor with his sons1 who are all four under a baldachin carried by various persons portrayed from life1 among whom is ,taddeo1 the master of the work1 with a company of many lords all around4 ,on one of the head-walls1 or rather1 ends1 are two scenes1 and between them an oval1 in which is the portrait of ,king ,philip1 with this inscription3 ,,philippo ,,hispaniarum ,,regi ,,maximo1 ,,ob ,,eximia ,,in ,,domum ,,farnesiam ,,merita4 ,in one of the scenes is ,duke ,ottavio taking ,madama ,margherita of ,austria as his wife1 with ,pope ,paul ,,iii in the centre1 and portraits of ,cardinal ,farnese the younger1 the ,cardinal of ,carpi1 ,duke ,pier ,luigi1 ,m4 ,durante1 ,eurialo da ,cingoli1 ,m4 ,giovanni ,riccio of ,montepulciano1 the ,bishop of ,como1 ,signora ,livia ,colonna1 ,claudia ,mancina1 ,settimia1 and ,donna ,maria di ,mendoza4 ,in the other is ,duke ,orazio taking as his wife the daughter of ,king ,henry of ,france1 with this inscription3 ,,henricus ,,ii1 ,,valesius1 ,,gallorum ,,rex1 ,,horatio ,,farnesio ,,castri ,,duci ,,dianam ,,filiam ,,in ,,matrimonium ,,collocat1 ,,anno ,,salutis #aeeb4 ,in which scene1 besides the portrait of ,diana herself with the royal mantle1 and that of her husband ,duke ,orazio1 are portraits of ,caterina de' ,medici1 ,queen of ,france1 ,marguerite1 the sister of the ,king1 the ,king of ,navarre1 the ,constable1 the ,duke of ,guise1 the ,duke of ,nemours1 the ,admiral ,prince of ,cond1 the younger ,cardinal of ,lorraine1 ,guise not yet a ,cardinal1 ,signor ,piero ,strozzi1 ,madame de ,montpensier1 and ,mademoiselle de ,rohan4 ,on the other head-wall1 opposite to that already described1 are likewise two other scenes1 with the oval in the centre1 in which is the portrait of ,king ,henry of ,france1 with this inscription3 ,,henrico ,,francorum ,,regi ,,max4 ,,famili ,,farnesi ,,conservatori4 ,in one of the scenes 7namely1 in that which is on the right hand7 ,pope ,paul ,,iii is investing ,duke ,orazio1 who is kneeling1 with a priestly robe1 and making him ,prefect of ,rome1 with ,duke ,pier ,luigi close at hand1 and other lords around2 and with these words3 ,,paulus ,,iii ,p4,m4 ,,horatium ,,farnesium ,,nepotem1 ,,summ ,,spei ,,adolescentem1 ,,pr,,fectum ,,urbis ,,creat1 ,,anno ,,sal4 #aedi4 ,and in this scene are portraits of the ,cardinal of ,paris1 ,viseo1 ,morone1 ,badia1 ,trento1 ,sfondrato1 and ,ardinghelli4 ,in the other scene1 beside the last-named1 the same ,pope is giving the ,general's baton to ,pier ,luigi and his sons1 who were not yet ,cardinals2 with portraits of the ,pope1 ,pier ,luigi ,farnese1 the ,camarlingo1 ,duke ,ottavio1 ,orazio1 the ,cardinal of ,capua1 ,simonetta1 ,jacobaccio1 ,san ,jacopo1 ,ferrara1 ,signor ,ranuccio ,farnese as a young man1 ,giovio1 ,molza1 ,marcello ,cervini1 who afterwards became ,pope1 the ,marquis of ,marignano1 ,signor ,giovan ,battista ,castaldo1 ,signor ,alessandro ,vitelli1 and ,signor ,giovan ,battista ,savelli4 ,coming now to the little hall which is beside the hall just described1 and which is above the ,hall of ,spring1 in the vaulting1 which is adorned with a vast and rich decoration in stucco and gold1 in the recess in the centre1 there is the ,coronation of ,pope ,paul ,,iii1 with four spaces that form a cruciform inscription1 with these words3 ,,paulus ,,iii ,,farnesius1 ,,pontifex ,,maximus1 ,,deo ,,et ,,hominibus ,,approbantibus1 ,,sacra ,,tiara ,,solemni ,,ritu ,,coronatur1 ,,anno ,,salutis #aecd1 ,,iii ,,non4 ,,novemb4 ,then follow four scenes above the cornice--namely1 one over every wall4 ,in the first the ,pope is blessing the galleys at ,civit ,vecchia1 when about to send them to ,tunis in ,barbary in the year #aece4 ,in the next the same ,pope is excommunicating the ,king of ,england in the year #aecg2 with the proper inscription4 ,in the third is a fleet of galleys which the ,emperor and the ,venetians fitted out against the ,turk1 with the authority and assistance of the ,pontiff1 in the year #aech4 ,in the fourth1 ,perugia having rebelled against the ,church1 the people of that city go to seek pardon in the year #aedj4 ,on the walls of the same little hall are four large scenes1 one to each wall1 with windows and doors between4 ,in the first large scene the ,emperor ,charles ,v1 having returned victorious from ,tunis1 is kissing the feet of ,pope ,paul1 of the ,farnese family1 in ,rome1 in the year #aece4 ,in the next1 which is above the door on the left hand1 is the story of the peace that ,pope ,paul ,,iii brought about at ,busseto between the ,emperor ,charles ,v and ,francis ,i of ,france1 in the year #aech2 in which scene are these portraits--the elder ,bourbon1 ,king ,francis1 ,king ,henry1 the elder ,lorenzo1 ,tournon1 the younger ,lorenzo1 the younger ,bourbon1 and two sons of ,king ,francis4 ,in the third the same ,pope is making ,cardinal di ,monte his ,legate at the ,council of ,trent2 and there are innumerable portraits4 ,in the last1 which is between two windows1 the same ,pontiff is creating many ,cardinals in preparation for the ,council1 among whom there are four who became ,popes in succession after him--,julius ,,iii1 ,marcello ,cervini1 ,paul ,,iv1 and ,pius ,,iv4 ,to put it briefly1 this little hall is very richly adorned with all that is required in such a place4 ,in the first chamber next to the little hall1 which is dedicated to ,dress1 and likewise richly wrought in stucco and gold1 there is in the centre a ,sacrifice1 with three nude figures1 among which is an armed figure of ,alexander the ,great1 who is casting some garments of skin upon the fire2 and in many other scenes that are in the same place1 one sees how men discovered the way to make garments from plants and other wild products2 but it would take too long to seek to describe the whole in full4 ,from this chamber one enters into a second1 dedicated to ,sleep1 for which1 when ,taddeo had to paint it1 he received the inventions given below from the ,commendatore ,annibale ,caro1 at the commission of the ,cardinal2 and1 to the end that the whole may be the better understood1 we shall write here the advice of ,caro in his own words1 which are these-- ,the subjects that the ,cardinal has commanded me to give you for the pictures in the ,palace of ,caprarola1 it is not enough for them to be explained by word of mouth1 because1 besides the invention1 we must look to the disposition of the figures1 the attitudes1 the colours1 and a number of other considerations1 all in accordance with the descriptions that ,i find of the things that appear to me to be suitable2 wherefore ,i shall put down on paper all that occurs to me in the matter1 as briefly and as distinctly as ,i shall be able4 ,and first with regard to the chamber with the flat vaulting--for of any other1 up to the present1 he has not given me the charge--it appears to me that since it is destined to contain the bed for the person of his most illustrious lordship1 there must be executed there things in keeping with the place and out of the common both in the invention and in the workmanship4 ,now1 to declare my conception first in general1 ,i would have a ,night painted there1 because1 besides that it would be appropriate to sleep1 it would be a subject not very customary and different from those of the other rooms1 and would give you an occasion of executing rare and beautiful works in your art1 since the strong lights and dark shadows that go into such a subject are wont to give no little grace and relief to the figures2 and it would please me to have the time of this ,night close upon the dawn1 to the end that the things represented there may be visible without improbability4 ,and to come to the details and to their disposition1 it is necessary that we come to an understanding first about the situation and the distribution of the chamber4 ,let us say1 then1 that it is divided1 as indeed it is1 into vaulting and walls1 or faades1 as we wish to call them4 ,the vaulting has a sunk oval in the centre and four great spandrels at the corners1 which1 drawing together little by little and continuing one with the other along the faades1 embrace the above-mentioned oval4 ,the walls1 also1 are four1 and between the spandrels they form four lunettes4 ,now1 let us give names to all these parts1 with the divisions that we shall make in the whole chamber1 and we shall thus be able to distinguish each part on every side1 all the way round4 ,dividing it into five sections1 then1 the first shall be the 'head'2 and this ,i presume to be next to the garden4 ,the second1 which must be that opposite to the first1 we shall call the 'foot'2 the third1 on the right hand1 we shall call the 'right'2 the fourth1 on the left hand1 the 'left'2 and the fifth1 situated in the midst of the others1 shall be named the 'centre4' ,thus1 distinguishing all the parts with these names1 we shall speak1 for example1 of the lunette at the head1 the faade at the foot1 the concavity on the left1 the horn on the right1 and so with any other part that it may be necessary to name2 and to the spandrels that are at the corners1 each between two of these boundaries1 we shall give the name both of the one and of the other4 ,and thus1 also1 we shall determine on the pavement below the situation of the bed1 which1 in my opinion1 must be along the faade at the foot1 with the head turned to the left-hand faade4 ,now1 all the parts having received a name1 let us turn to give a form to them all in general1 and then to each by itself4 ,first of all1 the concavity of the vaulting1 or rather1 the oval1 shall be represented--so the ,cardinal has judiciously determined--as being all heaven4 ,the rest of the vaulting1 comprising the four spandrels together with the border that we have already mentioned as enclosing the oval all around1 shall be made to appear as the unbroken surface within the chamber1 and as resting upon the faades1 with some beautiful architectural design of your own devising4 ,the four lunettes ,i would have counterfeited as likewise concave2 and1 whereas the oval above represents a heaven1 these must represent heaven1 earth1 and sea1 as if without the chamber1 in accordance with the various figures and scenes that shall be there4 ,and since1 the vaulting being very flat1 the lunettes are so low that they will not hold any but little figures1 ,i would divide each lunette into three parts along its length1 and1 leaving the ends in a line with the height of the spandrels1 ,i would deepen the centre part below that line1 in such a manner that it may be like a great high window and show the exterior of the room1 as it were1 with figures and scenes proportionate in size to the others4 ,and the two extremities that remain on either side1 like horns to the lunette--and horns henceforward they will be called--shall be left low1 of the height that they are above that line1 and in each of them must be painted a figure seated or recumbent1 and seeming to be either within or without the room1 whichever you please1 for you must choose what looks best2 and what ,i say of one lunette ,i say of all four4 ,to return to the interior of the chamber as a whole1 it appears to me that it should be in itself all in darkness1 save in so far as the concavities both of the oval above and of the large windows at the sides may give it a certain degree of light1 partly from the heaven1 with its celestial lights1 and partly from the earth with fires that must be painted there1 as will be described later4 ,at the same time1 from the centre of the room to the lower end1 ,i would have it that the nearer one may approach to the foot1 where the ,night is to be1 the greater shall be the darkness1 and that in like manner in the other half1 from the centre to the upper end1 in proportion as one approaches step by step to the head1 where ,aurora is to be1 it shall grow continually lighter4 ,having thus disposed of the chamber as a whole1 let us proceed to distribute the subjects1 giving to each part its own4 ,in the oval that is in the vaulting1 you must paint at the head1 as we have said1 a figure of ,aurora4 ,this figure1 ,i find1 may be made in several ways1 but of all these ,i shall choose that which in my opinion can be done with the greatest grace in painting4 ,you must paint1 then1 a maiden of such beauty as the poets strive to express with words1 composing her of roses1 gold1 purple1 dew1 and other suchlike graces2 and so much for the colours and flesh-tints of her person4 ,as for her dress1 composing out of many one that appears most suitable1 we must reflect that1 even as she has three stages and three distinct colours1 so she has three names--,alba1 ,vermiglia1 and ,rancia2#bc and for this reason ,i would make her down to the girdle a garment delicate in texture1 as it were transparent1 and white2 from the girdle down to the knees an outer garment of scarlet1 with certain pinkings and tassels in imitation of the reflections seen on the clouds when she is vermilion1 and from the knees down to the feet of the colour of gold1 in order to represent her when she is orange1 taking heed that this dress must be slit from the thighs downwards1 in order to show the bare legs2 and both the under garment and the outer must be blown by the wind1 so as to flutter in folds4 ,the arms1 also1 must be naked and of a rosy flesh-tint2 on the shoulders you must make her wings of various colours1 and on the head a crown of roses2 and in her hands you must place a lamp or a lighted torch1 or rather1 there must go before her a ,cupid who is carrying a torch1 and after her another who with another torch awakens ,tithonus4 ,she must be seated on a gilded throne in a chariot likewise gilded1 drawn by a winged ,pegasus or by two horses1 for she is depicted both in the one way and in the other4 ,as for the colours of the horses1 one must be shining white and the other shining red1 in order to denote them according to the names that ,homer gives them of ,lampus and ,phathon4 ,you must make her rising from a tranquil sea1 which should appear rippled1 luminous1 and glancing4 ,on the wall behind1 upon the right-hand horn1 you must paint her husband ,tithonus1 and on the left her lover ,cephalus4 ,tithonus should be an old man white as snow1 on an orange-coloured bed1 or rather1 in a cradle1 according to those who make him1 on account of his great age1 once more a child2 and he should be shown in the act of holding her back1 or gazing on her with amorous eyes1 or sighing after her1 as if her departure grieved him4 ,cephalus must be a most beautiful young man dressed in a doublet girt at the waist1 with his buskins on his feet1 with the spear1 which must have the iron head gilded1 in his hand1 and with a dog at his side1 in the act of entering into a wood1 as if caring nothing for her by reason of the love that he bears to his ,procris4 ,between ,cephalus and ,tithonus1 in the space with the great window1 behind the ,aurora1 there must shoot upwards some few rays of the sun1 of a splendour more vivid than that of the ,aurora2 but these must be cut off1 so as not to be seen1 by a large figure of a woman who must appear before them4 ,this woman shall be ,vigilance1 and she must be so painted that it may appear that she is illumined from behind by the rising sun1 and that1 in order to forestall him1 she is entering into the chamber by the great window that has been mentioned4 ,let her form be that of a tall1 valorous1 and splendid woman1 with the eyes well open and the brows well arched2 dressed down to the feet in a transparent veil1 which is girt at the waist2 leaning with one hand on a lance1 and with the other gathering together a fold of her gown4 ,let her stand firmly on the right foot1 and1 holding the left foot suspended1 appear from one side to be rooted to the ground1 and from the other to be ready to step out4 ,let her raise her head in order to gaze at ,aurora1 and appear to be angry that she has risen before her2 and let her have on the head a helmet with a cock upon it1 which shall be in the act of beating its wings and crowing4 ,all this must be behind the ,aurora2 and in front of her1 in the heaven of the concave oval1 ,i would make certain little figures of girls one behind another1 some more bright and some less bright1 according as they are more or less near to the light of the ,aurora1 in order to represent the ,hours which go before her and the sun4 ,these ,hours shall be painted with the vestments1 garlands1 and headdresses of virgins1 and winged1 with the hands full of flowers1 as if they were scattering these about4 ,footnote #bc3 ,white1 vermilion1 and orange4 ,on the opposite side1 at the foot of the oval1 there shall be ,night1 and even as ,aurora is rising1 ,night shall be sinking2 as the one shows her front1 the other shall turn her back2 as the first is issuing from a tranquil sea1 the second shall be plunging into a sea that is troubled and dark2 the horses of the first come with the breast forward1 those of the second shall show their croups2 and so1 also1 the person of ,night shall be altogether different from that of ,aurora4 ,her flesh-tint shall be dark1 dark her mantle1 dark her hair1 and dark her wings2 and these shall be open1 as if she were flying4 ,she shall hold her hands on high1 and in one a white babe that is sleeping1 to represent ,sleep1 and in the other a black babe that appears to be sleeping1 to represent ,death2 for of both these she is said to be the mother4 ,she shall appear to be sinking with the head downwards and wrapped in thicker shadow1 and the heaven about her shall be of a deeper blue and dotted with many stars4 ,her car shall be of bronze1 with the wheels divided into four spaces1 to denote her four watches4 ,then1 on the faade opposite 7namely1 at the foot71 even as ,aurora has on either side ,tithonus and ,cephalus1 ,night shall have ,oceanus and ,atlas4 ,oceanus shall be painted on the right1 a great figure of a man with the beard and hair dripping and dishevelled1 and both from the beard and from the hair there shall issue here and there some heads of dolphins4 ,he shall be depicted as resting on a car drawn by whales1 with the ,tritons all around in front of him1 with their trumpets1 and also the ,nymphs1 and behind him some beasts of the sea2 or1 if not with all these things1 at least with some of them1 according to the space that you will have1 which to me appears little for so much matter4 ,for ,atlas1 on the left hand1 there shall be painted a mountain with the breast1 arms1 and all the upper parts of a robust man1 bearded and muscular1 in the act of upholding the heavens1 as his figure is generally shown4 ,lower down1 likewise1 over against the ,vigilance that we have placed opposite to ,aurora1 there should be placed a figure of ,sleep2 but1 since it appears to me better1 for several reasons1 that ,sleep should be over the bed1 we must place in his stead a figure of ,repose4 ,as for this ,repose1 ,i find1 indeed1 that she was worshipped1 and that temples were dedicated to her2 but ,i can by no means find how she was figured1 unless her figure was that of ,security1 which ,i do not believe1 because security is a thing of the mind and repose of the body4 ,we must therefore figure a ,repose of our own devising1 in this manner3 a young maiden of pleasing aspect1 who1 being weary1 yet does not lie down1 but sleeps seated with the head resting on the left arm4 ,she shall have a spear with the head lying against her shoulder and the foot fixed in the ground1 and shall let one arm hang limply down it1 and have one leg crossed over it1 in the attitude of resting for the restoration of her strength1 and not from indolence4 ,she shall have a crown of poppies1 and a sceptre laid on one side1 but not so far distant that she cannot readily take it up again2 and whereas ,vigilance has upon her head a cock crowing1 so to her we may give a sitting hen1 in order to signify that even when resting she is active4 ,within the same oval1 on the right hand1 you shall paint a ,moon4 ,her figure shall be that of a maiden of about eighteen years1 tall and virginal in aspect1 after the likeness of ,apollo1 with long tresses1 thick and somewhat waved1 or wearing on the head one of those caps that are called ,phrygian1 wide at the foot and pointed and twisted at the top1 like the ,doge's hat1 with two wings over the brow that must hang down and cover the ears1 and with two little horns jutting from the head1 as of the crescent moon2 or1 after ,apuleius1 with a flat disk1 polished and shining in the manner of a mirror1 on the centre of the brow1 which must have on either side of it some serpents and over it some few ears of corn1 and on the head a crown of dittany1 after the ,greeks1 or of various flowers1 after ,marcian1 or of helichrysum1 after certain others4 ,her dress some would have reaching down to the feet1 others only to the knees1 girt under the breasts and crossed below the navel after the fashion of a nymph1 with a little mantle on the shoulder clasped over the muscle on the right side1 and on the feet buskins wrought in a pleasing pattern4 ,pausanias1 alluding1 ,i believe1 to ,diana1 makes her dressed in deerskin2 ,apuleius1 taking her perchance for ,isis1 gives her a vestment of the finest veiling in various colours1 white1 yellow1 and red1 and another garment all black1 but bright and shining1 dotted with many stars and with a moon in the centre1 and all around it a border with ornaments of fruits and flowers hanging down after the manner of tassels4 ,of these vestments1 take whichever looks best4 ,the arms you must make bare1 with the sleeves broad2 with the right hand she must hold a lighted torch1 and with the left an unbent bow1 which1 according to ,claudian1 is of horn1 and1 according to ,ovid1 of gold4 ,make it as seems best to you1 and attach the quiver to her shoulders4 ,she is found in ,pausanias with two serpents in the left hand1 and in ,apuleius she has a gilded vase with a serpent as a handle1 which appears as if swollen with poison1 the foot of the vase being adorned with palm leaves2 but by this ,i believe that he means to indicate ,isis1 and ,i have therefore resolved that you shall represent her with the bow1 as described above4 ,she shall ride on a car drawn by horses1 one black and the other white1 or1 if you desire variety1 by a mule1 after ,festus ,pompeius1 or by bullocks1 after ,claudian and ,ausonius2 and if you choose bullocks1 they must have the horns very small and a white patch on the right flank4 ,the attitude of the ,moon must be that of looking down from the heaven in the oval towards the horn of the faade that looks out over the garden1 where you must place her lover ,endymion1 and she shall lean down from the car to kiss him1 and1 not being able by reason of the interposition of the border1 she shall gaze lovingly upon him and illumine him with her radiance4 ,for ,endymion you must make a beautiful young shepherd1 asleep at the foot of ,mount ,latmus4 ,in the horn on the other side there shall be ,pan1 the ,god of ,shepherds1 who was enamoured of the ,moon2 his figure is very well known4 ,round his neck place his pipes1 and with both hands he shall hold out towards the ,moon a skein of white wool1 with which he is fabled to have won her love2 and with that present he must appear to be persuading her to come down to live with him4 ,in the rest of the space of the same great window you must paint a scene1 and that shall be the scene of the sacrifices to the ,lemures1 which men used to hold at night in order to drive evil spirits from their houses4 ,the ritual of these sacrifices was to go about1 with the hands washed and the feet bare1 scattering black beans2 first rolling them about in the mouth1 and then throwing them over the shoulder2 and among the company were some who made a noise by sounding basins and suchlike instruments of copper4 ,on the left side of the oval you must paint ,mercury in the ordinary manner1 with the little winged cap1 with the winged sandals on the feet1 with the ,caduceus in the left hand1 and with the purse in the right2 altogether nude1 save for his little mantle on the shoulder2 a most beautiful youth1 but with a natural beauty1 without any artifice2 of a cheerful countenance1 spirited eyes1 beardless1 or with the first down1 with reddish hair1 and narrow in the shoulders4 ,some place wings over his ears1 and make certain golden feathers coming out of his hair4 ,the attitude you may make as you please1 provided only that it shows him gliding down from ,heaven in order to infuse sleep1 and1 turning towards the side of the bed1 about to touch the tester with his wand4 ,on the left-hand faade1 in the horn next to the faade at the foot1 we might have the ,lares1 his two sons1 who were the tutelary spirits of private houses2 namely1 two young men dressed in the skins of dogs1 with certain garments girt up and thrown over the left shoulder in such a way that they may come out under the right1 in order to signify that they are unencumbered and ready to guard the house4 ,they shall sit one beside the other1 each holding a spear in the right hand1 and between them1 in the centre1 there shall be a dog1 and above them a small head of ,vulcan1 wearing a little cap1 with a smith's pincers beside it4 ,in the other horn1 next to the faade at the head1 you must paint a ,battus being converted into stone for having revealed the cattle stolen by ,mercury4 ,let him be an old shepherd seated1 showing with the forefinger of the right arm the place where the cattle were hidden1 and leaning with the left arm on a stick or rod1 the herdsman's staff2 and from the waist downwards he must be of black stone of the colour of basanite1 into which stone he was converted4 ,then in the rest of the great window you must paint the scene of the sacrifice that the ancients used to offer to ,mercury to the end that their sleep might not be interrupted2 and to represent this it is necessary to make an altar with his statue upon it1 at the foot of that a fire1 and all around persons who are throwing into it pieces of wood for burning1 and who1 having in their hands cups full of wine1 are sprinkling part of the wine and drinking the rest4 ,in the centre of the oval1 in order to fill up all the space of the heaven1 ,i would paint ,twilight1 as being the mean between ,aurora and ,night4 ,to represent him1 ,i find that one must paint a young man wholly naked1 sometimes with wings and sometimes without1 and with two lighted torches1 one of which we must show being kindled at that of ,aurora1 and the other held out towards ,night4 ,some represent this young man1 with the same two torches1 as riding on one of the horses of the ,sun or of ,aurora1 but this would not be a composition suitable for our purpose2 wherefore we shall make him as described above1 turned towards ,night1 and place behind him1 between his legs1 a great star1 which shall be that of ,venus1 because ,venus1 ,phosphorus1 ,hesperus1 and ,twilight seem to be regarded as one and the same thing4 ,and with the exception of this star1 see to it that all the lesser stars near the ,aurora shall have disappeared4 ,now1 having by this time filled up all the exterior of the chamber both above in the oval and on the sides and faades1 it remains for us to come to the interior1 the four spandrels of the vaulting4 ,beginning with that over the bed1 which is between the left-hand faade and that at the foot1 you must paint ,sleep there2 and in order to figure him1 you must first figure his home4 ,ovid places it in ,lemnos and among the ,cimmerii1 ,homer in the gean ,sea1 ,statius among the ,ethiopians1 and ,ariosto in ,arabia4 ,wherever it may be1 it is enough to depict a mountain1 such an one as may be imagined where there is always darkness and never any sun2 at the foot of it a deep hollow1 through which water shall pass1 as still as death1 in order to signify that it makes no murmur1 and this water must be of a sombre hue1 because they make it a branch of ,lethe4 ,within this hollow shall be a bed1 which1 being fabled to be of ebony1 shall be black in colour and covered with black draperies4 ,in this bed shall be placed ,sleep1 a young man of perfect beauty1 for they make him surpassing beautiful and serene2 nude1 according to some1 and according to others clothed in two garments1 one black below and another white over it1 with wings on the shoulders1 and1 according to ,statius1 also at the top of the head4 ,under his arm he shall hold a horn1 which shall appear to be spilling a liquid of a livid hue over the bed1 in order to denote ,oblivion2 although others make the horn full of fruits4 ,in one hand he shall hold the wand1 and in the other three poppy-heads4 ,he shall be sleeping like one sick1 with the head and the limbs hanging limp1 as if wholly relaxed in slumber4 ,about his head shall be seen ,morpheus1 ,icelus1 and ,phantasus1 and a great number of ,dreams1 all which are his children4 ,the ,dreams shall be little figures1 some of a beautiful aspect and others hideous1 as being things that partly please and partly terrify4 ,let them1 likewise1 have wings1 and also twisted feet1 as being unstable and uncertain things1 and let them hover and whirl about him1 making a kind of dramatic spectacle by transforming themselves into things possible and impossible4 ,morpheus is called by ,ovid the creator and fashioner of figures1 and ,i would therefore make him in the act of fashioning various masks with grotesque faces and placing some of them on feet4 ,icelus1 they say1 transforms himself into many shapes1 and him ,i would figure in such a way that as a whole he may have the appearance of a man1 and yet may have parts of a wild beast1 of a bird1 and of a serpent1 as the same ,ovid describes him4 ,phantasus1 they have it1 transforms himself into various inanimate things1 and him1 also1 we may represent1 after the words of ,ovid1 partly of stone1 partly of water1 and partly of wood4 ,you must feign that in this place there are two gates1 one of ivory1 whence there issue the false dreams1 and one of horn1 whence the true dreams come2 the true shall be more distinct in colour1 more luminous1 and better executed1 and the false shall be confused1 sombre1 and imperfect4 ,in the next spandrel1 between the faade at the foot and that on the right hand1 you shall place ,brizo1 the ,goddess of prophecy and the interpretress of dreams4 ,for her ,i cannot find the vestments1 but ,i would make her in the manner of a ,sibyl1 seated at the foot of the elm described by ,virgil1 under the branches of which are placed innumerable images1 which1 falling from those branches1 must be shown flying about her in the forms that we have given them2 as has been related1 some lighter and some darker1 some broken and some indistinct1 and others almost wholly invisible2 in order to represent by these the dreams1 the visions1 the oracles1 the phantasms1 and the vain things that are seen in sleep 7for into these five kinds ,macrobius appears to divide them72 and she shall be as it were lost in thought1 interpreting them1 and shall have about her persons offering to her baskets filled with all manner of things1 excepting only fishes4 ,in the spandrel between the right-hand faade and that at the head it will be well to place ,harpocrates1 the ,god of ,silence1 because this1 presenting itself at the first glance before those who enter by the door that leads from the great painted chamber1 will warn them as they enter that they must not make any noise4 ,his figure is that of a young man1 or rather1 of a boy1 black in colour1 from his being ,god of the ,egyptians1 and with his finger to his mouth in the act of commanding silence4 ,he shall carry in his hand a branch of a peach-tree1 and1 if you think it well1 a garland of the leaves of the same tree4 ,they feign that he was born weak in the legs1 and that1 having been killed1 his mother ,isis restored him to life2 and for this reason some make him stretched out on the ground1 and others in the lap of his mother1 with the feet joined together4 ,but1 for the sake of harmony with the other figures1 ,i would make him standing1 supported in some way1 or rather1 seated1 like that of the most illustrious ,cardinal ,sant',agnolo1 which is likewise winged and holds a horn of plenty4 ,he shall have about him persons offering to him1 as was the custom1 first-fruits of lentils and other vegetables1 and also of peaches1 as mentioned above4 ,others used to make for this same ,god a figure without a face1 with a little cap on the head1 and about him a wolf's skin1 all covered with eyes and ears4 ,take which of these two you please4 ,in the last spandrel1 between the faade at the head and that on the left1 it will be well to place ,angerona1 the ,goddess of ,secrecy1 which figure1 coming within the same door of entrance1 will admonish those who come out of the chamber to keep secret all that they have seen and heard1 as is the duty of the servants of noblemen4 ,the figure is that of a woman placed upon an altar1 with the mouth bound and sealed4 ,i know not with what vestments she used to be depicted1 but ,i would envelop her in a long gown covering her whole person1 and would represent her as shrugging her shoulders4 ,around her there must be painted some priests1 by whom sacrifices used to be offered to her before the gate in the ,curia1 to the end that it might be unlawful for any person to reveal to the prejudice of the ,republic any matter that might be discussed there4 ,the space within the spandrels being filled up1 it now only remains to say that around all this work it seems to me that there should be a frieze to encircle it on every side1 and in this ,i would make either grotesques or small scenes with little figures4 ,the matter of these ,i would have in harmony with the subjects already given above1 each in accord with that nearest to it2 and if you paint little scenes1 it would please me to have them representing the actions that men and also animals do at the hour that we have fixed there4 ,now1 beginning at the head1 ,i would paint in the frieze of that faade1 as things appropriate to the ,dawn1 artisans1 workmen1 and persons of various kinds who1 having risen1 are returning to the labours of their pursuits--as smiths to the forge1 men of letters to their studies1 huntsmen to the open country1 and muleteers to the road1 and above all would ,i like to have the poor old woman from ,petrarca rising from her spinning and lighting the fire1 with her feet bare and her clothes dishevelled4 ,and if you think fit to make grotesques of animals there1 make them of birds singing1 geese going forth to their pasture1 cocks announcing the day1 and similar fancies4 ,in the frieze on the faade at the foot1 in accord with the darkness there1 ,i would make persons going fowling by night1 spies1 adulterers1 climbers of windows1 and other suchlike things2 and for grotesques1 porcupines1 hedgehogs1 badgers1 a peacock with the tail spread1 signifying the night of stars1 owls large and small1 bats1 and suchlike animals4 ,in the frieze on the right-hand faade you must paint things in keeping with the ,moon1 such as fishers of the night1 mariners navigating with the compass1 necromancers1 witches1 and the like2 for grotesques1 a beacon-tower in the distance1 nets1 weir-baskets with some fishes in them1 crabs feeding by the light of the moon1 and1 if there be space enough1 an elephant kneeling in adoration of her4 ,and1 finally1 in the frieze on the left-hand faade1 mathematicians with their instruments for measuring1 thieves1 false-coiners1 robbers of buried treasure1 shepherds with their folds still closed1 lying around their fires1 and the like2 and for animals ,i would make there wolves1 foxes1 apes1 weasels1 and any other treacherous animals that lie in wait for other creatures4 ,in this part ,i have placed these phantasies thus at random in order to suggest what kinds of inventions could be painted there2 but1 since they are not things that need to be described1 ,i leave you to imagine them in your own manner1 knowing that painters are by their nature full of resource and grace in inventing such bizarre fantasies4 ,and now1 having filled in all the parts of the work both within and without the chamber1 there is no occasion for us to say any more1 save that you must discuss the whole matter with the most illustrious ,monsignore1 and1 according to his taste1 adding or taking away whatever may be necessary1 you must strive on your part to do yourself honour4 ,fare you well4 ,now1 although all these beautiful inventions of ,caro's were very ingenious1 fanciful1 and worthy of praise1 nevertheless ,taddeo was not able to carry into execution more than the place would contain2 but those that he painted there were the greater part1 and they were executed by him with much grace and in a most beautiful manner4 ,next to this chamber1 in the last of the three1 which is dedicated to ,solitude1 ,taddeo1 with the help of his assistants1 painted ,christ preaching to the ,apostles in the desert and in the woods1 with a ,s4 ,john on the right hand that is very well executed4 ,in another scene1 which is opposite to the first1 are painted many figures of men who are living in the forest in order to avoid the conversation of mankind2 and these certain others are seeking to disturb1 throwing stones at them1 while some are plucking out their own eyes so as not to see4 ,and in this scene1 likewise1 is painted the ,emperor ,charles ,v1 portrayed from life1 with this inscription-- ,,post ,,innumeros ,,labores ,,ociosam ,,quietamque ,,vitam ,,traduxit4 ,opposite to ,charles is the portrait of the last ,grand ,turk1 who much delighted in solitude1 with these words-- ,,animum ,a ,,negocio ,,ad ,,ocium ,,revocavit4 ,near him is ,aristotle1 who has beneath him these words-- ,,anima ,,fit ,,sedendo ,,et ,,quiescendo ,,prudentior4 ,opposite to him1 beneath another figure by the hand of ,taddeo1 is written this-- ,,quemadmodum ,,negocii1 ,,sic ,,et ,,ocii ,,ratio ,,habenda4 ,beneath another may be read-- ,,ocium ,,cum ,,dignitate1 ,,negocium ,,sine ,,periculo4 ,and opposite to that1 under another figure1 is this motto-- ,,virtutis ,,et ,,liber ,,vit ,,optima ,,magistra ,,solitudo4 ,beneath another-- ,,plus ,,agunt ,,qui ,,nihil ,,agere ,,videntur4 ,and under the last-- ,,qui ,,agit ,,plurima1 ,,plurimum ,,peccat4 ,to put it briefly1 this room is very ornate with beautiful figures1 and likewise very rich in stucco and gold4 ,but to return to ,vignuola2 how excellent he is in matters of architecture1 the works that he has written and published and still continues to write1 in addition to his marvellous buildings1 bear ample testimony1 and in the ,life of ,michelagnolo we shall say all that it may be expedient for us to say in this connection4 ,taddeo1 in addition to the works described above1 executed many others of which there is no need to make mention2 but in particular a chapel in the ,church of the ,goldsmiths in the ,strada ,giulia1 a faade in chiaroscuro at ,s4 ,gieronimo1 and the ,chapel of the ,high-altar in ,s4 ,sabina4 ,and his brother ,federigo is painting for the ,chapel of ,s4 ,lorenzo1 which is all wrought in stucco1 in ,s4 ,lorenzo in ,damaso1 an altar-piece with that ,saint on the gridiron and ,paradise all open2 which altar-piece is expected to prove a very beautiful work4 ,and1 in order not to omit anything that may be useful1 pleasing1 or helpful to anyone who may read these my labours1 ,i shall add this as well4 ,while ,taddeo was working1 as has been related1 at the ,vigna of ,pope ,julius and at the faade of ,mattiuolo1 the ,master of the ,post1 he executed for ,monsignor ,innocenzio1 the most reverend and illustrious ,cardinal di ,monte1 two painted pictures of no great size2 and one of them1 which is beautiful enough1 is now in the guardaroba of that ,cardinal 7who has given the other away71 in company with a vast number of things ancient and modern1 all truly of the rarest1 among which1 ,i must not omit to mention1 there is a painted picture as fantastic as any work of which we have spoken hitherto4 ,in this picture1 which is about two braccia and a half in height1 there is nothing to be seen by him who looks at it from the ordinary point of view1 from the front1 save some letters on a flesh-coloured ground1 and in the centre the ,moon1 which goes gradually increasing or diminishing according to the lines of the writing4 ,and yet1 if you go below the picture and look in a sphere or mirror that is placed over the picture in the manner of a little baldachin1 you see in that mirror1 which receives the image from the picture1 a most lifelike portrait in painting of ,king ,henry ,,ii of ,france1 somewhat larger than life1 with these words about it--,,henry ,,ii1 ,,roy ,,de ,,france4 ,you can see the same portrait by lowering the picture1 placing your brow on the upper part of the frame1 and looking down2 but it is true that whoever looks at it in that manner1 sees it turned the other way from what it is in the mirror4 ,that portrait1 ,i say1 cannot be seen save by looking at it as described above1 because it is painted on twenty-eight ridges1 too low to be perceived1 which are between the lines of the words given below1 in which1 besides the ordinary meaning1 there may be read1 by looking at both ends of the lines and in the centre1 certain letters somewhat larger than the others1 which run thus-- ,,henricus ,,valesius ,,dei ,,gratia ,,gallorum ,,rex ,,invictissimus4 ,it is true1 indeed1 that the ,roman ,m4 ,alessandro ,taddei1 the secretary of that ,cardinal1 and ,don ,silvano ,razzi1 my dearest friend1 who have given me information about this picture and about many other things1 do not know by whose hand it is1 but only that it was presented by the above-named ,king ,henry to ,cardinal ,caraffa1 when he was in ,france1 and then by ,caraffa to the most illustrious ,cardinal di ,monte1 who treasured it as a very rare thing1 which in truth it is4 ,the words painted in the picture1 which alone are to be seen by him who looks at it from the ordinary point of view1 as one looks at other pictures1 are these-- ,h,eus tu quid vi,des nil ut reo,r ,nisi lunam cr,escentem et ,e ,regione pos,itam qu e,x ,intervallo ,g,radatim ut,i ,crescit nos ,admonet ut i,n ,una spe fide e,t charitate t,v ,simul et ego ,illuminat ,i ,verbo dei cresc,amus1 done,c ,ab ejusdem ,gratia fia,t ,lux in nobis ,amplissima qu,i ,e,st ternus i,l,le dator luci,s ,in quo et a qu,o mortales omne,s ,veram lucem ,recipere s,i ,speramus in van,u,m non sperabi,m,u,s ,in the same guardaroba is a most beautiful portrait of ,signora ,sofonisba ,anguisciuola by her own hand1 once presented by her to ,pope ,julius ,,iii4 ,and there is another thing of great value1 a very ancient book with the ,bucolics1 the ,georgics1 and the neid of ,virgil1 in characters so old1 that it has been judged by many men of learning in ,rome and in other places that it was written in the very time of ,csar ,augustus1 or little after2 wherefore it is no marvel that it should be held by the ,cardinal in the greatest veneration4 ,and let this be the end of the ,life of the painter ,taddeo ,zucchero4 ,,index ,,index ,,of ,,names ,,of ,,the ,,craftsmen ,,mentioned ,,in ,,volume ,,viii ,abacco1 ,antonio ,l'1 #afg ,abate1 ,niccol dell'1 #cg1 #ch ,agnolo 7nephew of ,montorsoli71 #add1 #adg1 #aea ,agnolo1 ,baccio d'1 #aaf ,agnolo1 ,battista d' 7,battista del ,moro71 #da ,agnolo ,bronzino1 #aa1 #ab1 #id1 #aec1 #aef1 #agi ,agnolo da ,siena1 #ec ,agostino ,busto 7,il ,bambaja71 #ed1 #ee ,agostino da ,siena1 #ec ,alberti1 ,michele1 #bje1 #baj1 #baa ,albertinelli1 ,mariotto1 #fb ,alessandro 7,scherano71 #afh ,alessandro ,moretto 7,alessandro ,bonvicini71 #di1 #ej ,alessandro ,vittoria1 #ajj ,altobello da ,melone1 #bd1 #dc ,ammanati1 ,bartolommeo1 #ia1 #ib1 #ii1 #aec1 #bbj ,andrea ,contucci 7,andrea dal ,monte ,sansovino71 #cf1 #aad ,andrea da ,fiesole1 #acc ,andrea dal ,monte ,sansovino 7,andrea ,contucci71 #cf1 #aad ,andrea del ,sarto1 #e1 #f1 #aa1 #af1 #ag1 #ai1 #aac1 #aai1 #abj1 #abb1 #abf1 #ace1 #afc1 #afd ,andrea ,mantegna1 #bc ,andrea ,palladio1 #bcc1 #bcd ,andrea ,schiavone1 #ajg1 #ajh1 #bca ,andrea ,verrocchio1 #aaa ,angelo ,ciciliano1 #ee ,anguisciuola1 ,anna1 #dh ,anguisciuola1 ,europa1 #de1 #dh ,anguisciuola1 ,lucia1 #de1 #dg1 #dh ,anguisciuola1 ,minerva1 #de1 #df ,anguisciuola1 ,sofonisba1 #de-dh1 #bfa ,anna ,anguisciuola1 #dh ,annibale da ,carpi1 #cf ,annibale di ,nanni di ,baccio ,bigio1 #ahh ,anselmi1 ,michelagnolo1 #ci1 #dd ,antonio1 ,fra1 #cb ,antonio ,bacchiacca1 #bj ,antonio ,begarelli 7,il ,modena71 #ch ,antonio ,campo1 #dd1 #de ,antonio da ,correggio1 #cj1 #ca1 #cd1 #cg1 #bag ,antonio da ,san ,gallo 7the elder71 #c ,antonio da ,san ,gallo 7the younger71 #ac1 #hi1 #acf1 #afh1 #bjb ,antonio del ,ceraiolo1 #fe1 #ff ,antonio del ,pollaiuolo1 #fd ,antonio di ,donnino ,mazzieri1 #ab ,antonio ,filarete1 #dh ,antonio ,l',abacco1 #afg ,antonio ,mini1 #abh ,antonio ,particini1 #af ,antonio ,viniziano1 #bcc ,apelles1 #bh ,aretino1 ,leone 7,leone ,lioni71 #ef1 #ahd ,aristotile 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