Lives of the Most Eminent Painters Sculptors and Architects Part 1

Lives of the most Eminent Painters Sculptors and Architects.

by Giorgio Vasari.

OF THE ACADEMICIANS OF DESIGN, PAINTERS, SCULPTORS, AND ARCHITECTS, AND OF THEIR WORKS, AND FIRST OF BRONZINO

Having written hitherto of the lives and works of the most excellent painters, sculptors, and architects, from Cimabue down to the present day, who have pa.s.sed to a better life, and having spoken with the opportunities that came to me of many still living, it now remains that I say something of the craftsmen of our Academy of Florence, of whom up to this point I have not had occasion to speak at sufficient length. And beginning with the oldest and most important, I shall speak first of Agnolo, called Bronzino, a Florentine painter truly most rare and worthy of all praise.

Agnolo, then, having been many years with Pontormo, as has been told, caught his manner so well, and so imitated his works, that their pictures have been taken very often one for the other, so similar they were for a time. And certainly it is a marvel how Bronzino learned the manner of Pontormo so well, for the reason that Jacopo was rather strange and shy than otherwise even with his dearest disciples, being such that he would never let anyone see his works save when completely finished. But notwithstanding this, so great were the patience and lovingness of Agnolo towards Pontormo, that he was forced always to look kindly upon him, and to love him as a son. The first works of account that Bronzino executed, while still a young man, were in the Certosa of Florence, over a door that leads from the great cloister into the chapter-house, on two arches, one within and the other without. On that without is a Pieta, with two Angels, in fresco, and on that within is a nude S. Laurence upon the gridiron, painted in oil-colours on the wall; which works were a good earnest of the excellence that has been seen since in the works of this painter in his mature years. In the Chapel of Lodovico Capponi, in S. Felicita at Florence, Bronzino, as has been said in another place, painted two Evangelists in two round pictures in oils, and on the vaulting he executed some figures in colour. In the Abbey of the Black Friars at Florence, in the upper cloister, he painted in fresco a story from the life of S. Benedict, when he throws himself naked on the thorns, which is a very good picture. In the garden of the Sisters called the Poverine, he painted in fresco a most beautiful tabernacle, wherein is Christ appearing to the Magdalene in the form of a gardener. And in S. Trinita, likewise in Florence, may be seen a picture in oils by the same hand, on the first pilaster at the right hand, of the Dead Christ, Our Lady, S. John, and S. Mary Magdalene, executed with much diligence and in a beautiful manner. And during that time when he executed these works, he also painted many portraits of various persons, and other pictures, which gave him a great name.

[Ill.u.s.tration: BARTOLOMMEO PANCIATICHI

(_After the painting by =Angelo Bronzino=. Florence: Uffizi, 159_)

_Alinari_]

Then, the siege of Florence being ended and the settlement made, he went, as has been told elsewhere, to Pesaro, where under the protection of Guidobaldo, Duke of Urbino, besides the above-mentioned harpsichord-case full of figures, which was a rare thing, he executed the portrait of that lord and one of a daughter of Matteo Sofferoni, which was a truly beautiful picture and much extolled. He also executed at the Imperiale, a villa of the said Duke, some figures in oils on the spandrels of a vault; and more of these he would have done if he had not been recalled to Florence by his master, Jacopo Pontormo, that he might a.s.sist him to finish the Hall of Poggio a Caiano. And having arrived in Florence, he painted as it were by way of pastime, for Messer Giovanni de Statis, Auditor to Duke Alessandro, a little picture of Our Lady which was a much extolled work, and shortly afterwards, for Monsignor Giovio, his friend, the portrait of Andrea Doria; and for Bartolommeo Bettini, to fill certain lunettes in a chamber, the portraits of Dante, Petrarca, and Boccaccio, half-length figures of great beauty. Which pictures finished, he made portraits of Bonaccorso Pinadori, Ugolino Martelli, Messer Lorenzo Lenzi, now Bishop of Fermo, and Pier Antonio Bandini and his wife, with so many others, that it would be a long work to seek to make mention of them all; let it suffice that they were all very natural, executed with incredible diligence, and finished so well, that nothing more could be desired. For Bartolommeo Panciatichi he painted two large pictures of Our Lady, with other figures, beautiful to a marvel and executed with infinite diligence, and, besides these, portraits of him and his wife, so natural that they seem truly alive, and nothing is wanting in them save breath. For the same man he has painted a picture of Christ on the Cross, which is executed with much study and pains, insomuch that it is clearly evident that he copied it from a real dead body fixed on a cross, such is the supreme excellence and perfection of every part. For Matteo Strozzi he painted in fresco, in a tabernacle at his villa of S. Casciano, a Pieta with some Angels, which was a very beautiful work. For Filippo d' Averardo Salviati he executed a Nativity of Christ in a small picture with little figures, of such beauty that it has no equal, as everyone knows, that work being now in engraving; and for Maestro Francesco Montevarchi, a most excellent physicist, he painted a very beautiful picture of Our Lady and some other little pictures full of grace. And he a.s.sisted his master Pontormo, as was said above, to execute the work of Careggi, whereon the spandrels of the vaults he painted with his own hand five figures, Fortune, Fame, Peace, Justice, and Prudence, with some children, all wrought excellently well.

Duke Alessandro being then dead and Cosimo elected, Bronzino a.s.sisted the same Pontormo in the work of the Loggia of Castello. For the nuptials of the most ill.u.s.trious Lady, Leonora di Toledo, the wife of Duke Cosimo, he painted two scenes in chiaroscuro in the court of the Medici Palace, and on the base that supported the horse made by Tribolo, as was related, some stories of the actions of Signor Giovanni de'

Medici, in imitation of bronze; all which were the best pictures that were executed in those festive preparations. Wherefore the Duke, having recognized the ability of this man, caused him to set his hand to adorning a chapel of no great size in the Ducal Palace for the said Lady d.u.c.h.ess, a woman of true worth, if ever any woman was, and for her infinite merits worthy of eternal praise. In that chapel Bronzino made on the vault some compartments with very beautiful children and four figures, each of which has the feet turned towards the walls--S.

Francis, S. Jerome, S. Michelagnolo, and S. John; all executed with the greatest diligence and lovingness. And on the three walls, two of which are broken by the door and the window, he painted three stories of Moses, one on each wall. Where the door is, he painted the story of the snakes or serpents raining down upon the people, with many beautiful considerations in figures bitten by them, some of whom are dying, some are dead, and others, gazing on the Brazen Serpent, are being healed. On another wall, that of the window, is the Rain of Manna; and on the unbroken wall the Pa.s.sing of the Red Sea, and the Submersion of Pharaoh; which scene has been printed in engraving at Antwerp. In a word, this work, executed as it is in fresco, has no equal, and is painted with the greatest possible diligence and study. In the altar-picture of this chapel, painted in oils, which was placed over the altar, was Christ taken down from the Cross, in the lap of His Mother; but it was removed from there by Duke Cosimo for sending as a present, as a very rare work, to Granvella, who was once the greatest man about the person of the Emperor Charles V. In place of that altar-piece the same master has painted another like it, which was set over the altar between two pictures not less beautiful than the altar-piece, in which pictures are the Angel Gabriel and the Virgin receiving from him the Annunciation; but instead of these, when the first altar-picture was removed, there were a S. John the Baptist and a S. Cosimo, which were placed in the guardaroba when the Lady d.u.c.h.ess, having changed her mind, caused the other two to be painted.

[Ill.u.s.tration: ELEANORA DE TOLEDO AND HER SON

(_After the painting by =Angelo Bronzino=. Florence: Uffizi, 172_)

_Alinari_]

The Lord Duke, having seen from these and other works the excellence of this painter, and that it was his particular and peculiar field to portray from life with the greatest diligence that could be imagined, caused him to paint a portrait of himself, at that time a young man, fully clad in bright armour, and with one hand upon his helmet; in another picture the Lady d.u.c.h.ess, his consort, and in yet another picture the Lord Don Francesco, their son and Prince of Florence. And no long time pa.s.sed before he portrayed the same Lady d.u.c.h.ess once again, to do her pleasure, in a different manner from the first, with the Lord Don Giovanni, her son, beside her. He also made a portrait of La Bia, a young girl, the natural daughter of the Duke; and afterwards all the Duke's children, some for the first time and others for the second--the Lady Donna Maria, a very tall and truly beautiful girl, the Prince Don Francesco, the Lord Don Giovanni, Don Garzia, and Don Ernando, in a number of pictures which are all in the guardaroba of his Excellency, together with the portraits of Don Francesco di Toledo, Signora Maria, mother of the Duke, and Ercole II, Duke of Ferrara, with many others. About the same time, also, he executed in the Palace for the Carnival, two years in succession, two scenic settings and prospect-views for comedies, which were held to be very beautiful. And he painted a picture of singular beauty that was sent to King Francis in France, wherein was a nude Venus, with a Cupid who was kissing her, and Pleasure on one side with Play and other Loves, and on the other side Fraud and Jealousy and other pa.s.sions of love. The Lord Duke had caused to be begun by Pontormo the cartoons of the tapestries in silk and gold for the Sala del Consiglio de' Dugento; and, having had two stories of the Hebrew Joseph executed by the said Pontormo, and one by Salviati, he gave orders that Bronzino should do the rest. Whereupon he executed fourteen pieces with the excellence and perfection which everyone knows who has seen them; but since this was an excessive labour for Bronzino, who was losing too much time thereby, he availed himself in the greater part of these cartoons, himself making the designs, of Raffaello dal Colle, the painter of Borgo a San Sepolcro, who acquitted himself excellently well.

Now Giovanni Zanchini had built a chapel very rich in carved stone, with his family tombs in marble, opposite to the Chapel of the Dini in S.

Croce at Florence, on the front wall, on the left hand as one enters the church by the central door; and he allotted the altar-piece to Bronzino, to the end that he might paint in it Christ descended into the Limbo of h.e.l.l in order to deliver the Holy Fathers. Agnolo, then, having set his hand to it, executed that work with the utmost possible diligence that one can use who desires to acquire glory by such a labour; wherefore there are in it most beautiful nudes, men, women, and children, young and old, with different features and att.i.tudes, and portraits of men that are very natural, among which are Jacopo da Pontormo, Giovan Battista Gello, a pa.s.sing famous Academician of Florence, and the painter Bacchiacca, of whom we have spoken above. And among the women he portrayed there two n.o.ble and truly most beautiful young women of Florence, worthy of eternal praise and memory for their incredible beauty and virtue, Madonna Costanza da Sommaia, wife of Giovan Battista Doni, who is still living, and Madonna Camilla Tedaldi del Corno, who has now pa.s.sed to a better life. Not long afterwards he executed another large and very beautiful altar-picture of the Resurrection of Jesus Christ, which was placed in the Chapel of Jacopo and Filippo Guadagni beside the choir in the Church of the Servites--that is, the Nunziata.

And at this same time he painted the altar-piece that was placed in the chapel of the Palace, whence there had been removed that which was sent to Granvella; which altar-piece is certainly a most beautiful picture, and worthy of that place. Bronzino then painted for Signor Alamanno Salviati a Venus with a Satyr beside her, so beautiful as to appear in truth Venus G.o.ddess of Beauty.

[Ill.u.s.tration: CHRIST IN LIMBO

(_After the panel by =Angelo Bronzino=. Florence: Uffizi, 1271_)

_Anderson_]

Having then gone to Pisa, whither he was summoned by the Duke, he executed some portraits for his Excellency; and for Luca Martini, who was very much his friend, and not of him only, but also attached with true affection to all men of talent, he painted a very beautiful picture of Our Lady, in which he portrayed that Luca with a basket of fruits, from his having been the minister and proveditor for the said Lord Duke in the draining of the marshes and other waters that rendered unhealthy the country round Pisa, and for having made it in consequence fertile and abundant in fruits. Nor did Bronzino depart from Pisa before there was allotted to him at the instance of Martini, by Raffaello del Setaiuolo, the Warden of Works of the Duomo, the altar-picture for one of the chapels in that Duomo, wherein he painted a nude Christ with the Cross, and about Him many Saints, among whom is a S. Bartholomew flayed, which has the appearance of a true anatomical subject and of a man flayed in reality, so natural it is and imitated with such diligence from an anatomical subject. That altar-picture, which is beautiful in every part, was placed, as I have said, in a chapel from which they removed another by the hand of Benedetto da Pescia, a disciple of Giulio Romano. Bronzino then made for Duke Cosimo a full-length portrait of the dwarf Morgante, nude, and in two ways--namely, on one side of the picture the front, and on the other the back, with the bizarre and monstrous members which that dwarf has; which picture, of its kind, is beautiful and marvellous. For Ser Carlo Gherardi of Pistoia, who from his youth was a friend of Bronzino, he executed at various times, besides the portrait of Ser Carlo himself, a very beautiful Judith placing the head of Holofernes in a basket, and on the cover that protects that picture, in the manner of a mirror, a Prudence looking at herself; and for the same man a picture of Our Lady, which is one of the most beautiful things that he has ever done, because it has extraordinary design and relief. And the same Bronzino executed the portrait of the Duke when his Excellency was come to the age of forty, and also that of the Lady d.u.c.h.ess, both of which are as good likenesses as could be. After Giovan Battista Cavalcanti had caused a chapel to be built in S. Spirito, at Florence, with most beautiful variegated marbles conveyed from beyond the sea at very great cost, and had laid there the remains of his father Tommaso, he had the head and bust of the father executed by Fra Giovanni Agnolo Montorsoli, and the altar-piece Bronzino painted, depicting in it Christ appearing to Mary Magdalene in the form of a gardener, and more distant two other Maries, all figures executed with incredible diligence.

Jacopo da Pontormo having left unfinished at his death the chapel in S.

Lorenzo, and the Lord Duke having ordained that Bronzino should complete it, he finished in the part where the Deluge is many nudes that were wanting at the foot, and gave perfection to that part, and in the other, where at the foot of the Resurrection of the Dead many figures were wanting over a s.p.a.ce about one braccio in height and as wide as the whole wall, he painted them all in the manner wherein they are to be seen, very beautiful; and between the windows, at the foot, in a s.p.a.ce that remained there unpainted, he depicted a nude S. Laurence upon a gridiron, with some little Angels about him. In that whole work he demonstrated that he had executed his paintings in that place with much better judgment than his master Pontormo had shown in his pictures in the work; the portrait of which Pontormo Bronzino painted with his own hand in a corner of that chapel, on the right hand of the S. Laurence.

The Duke then gave orders to Bronzino that he should execute two large altar-pictures, one containing a Deposition of Christ from the Cross with a good number of figures, for sending to Porto Ferraio in the Island of Elba, for the Convent of the Frati Zoccolanti, built by his Excellency in the city of Cosmopolis; and another altar-piece, in which Bronzino painted the Nativity of Our Lord Jesus Christ, for the new Church of the Knights of S. Stephen, which has since been built in Pisa, together with their Palace and Hospital, after the designs and directions of Giorgio Vasari. Both these pictures have been finished with such art, diligence, design, invention, and supreme loveliness of colouring, that it would not be possible to go further; and no less, indeed, was required in a church erected by so great a Prince, who has founded and endowed that Order of Knights.

On some little panels made of sheet-tin, and all of one same size, the same Bronzino has painted all the great men of the House of Medici, beginning with Giovanni di Bicci and the elder Cosimo down to the Queen of France, in that line, and in the other from Lorenzo, the brother of the elder Cosimo, down to Duke Cosimo and his children; all which portraits are set in order behind the door of a little study that Vasari has caused to be made in the apartment of new rooms in the Ducal Palace, wherein is a great number of antique statues of marble and bronzes and little modern pictures, the rarest miniatures, and an infinity of medals in gold, silver, and bronze, arranged in very beautiful order. These portraits of the ill.u.s.trious men of the House of Medici are all natural and vivacious, and most faithful likenesses.

It is a notable thing that whereas many are wont in their last years to do less well than they have done in the past, Bronzino does as well and even better now than when he was in the flower of his manhood, as the works demonstrate that he is executing every day. Not long ago he painted for Don Silvano Razzi, a Camaldolite monk in the Monastery of the Angeli at Florence, who is much his friend, a picture about one braccio and a half high of a S. Catharine, so beautiful and well executed, that it is not inferior to any other picture by the hand of this n.o.ble craftsman; insomuch that nothing seems to be wanting in her save the spirit and that voice which confounded the tyrant and confessed Christ her well-beloved spouse even to the last breath; and that father, like the truly gentle spirit that he is, has nothing that he esteems and holds in price more than that picture. Agnolo made a portrait of the Cardinal, Don Giovanni de' Medici, the son of Duke Cosimo, which was sent to the Court of the Emperor for Queen Joanna; and afterwards that of the Lord Don Francesco, Prince of Florence, which was a picture very like the reality, and executed with such diligence that it has the appearance of a miniature. For the nuptials of Queen Joanna of Austria, wife of that Prince, he painted in three large canvases which were placed at the Ponte alla Carraia, as will be described at the end, some scenes of the Nuptials of Hymen, of such beauty that they appeared not things for a festival, but worthy to be set in some honourable place for ever, so finished they were and executed with such diligence. For the same Lord Prince he painted a few months ago a small picture with little figures which has no equal, and it may be said that it is truly a miniature. And since at this his present age of sixty-five he is no less enamoured of the matters of art than he was as a young man, he has undertaken recently, according to the wishes of the Duke, to execute two scenes in fresco on the wall beside the organ in the Church of S.

Lorenzo, in which there is not a doubt that he will prove the excellent Bronzino that he has always been.

This master has delighted much, and still delights, in poetry; wherefore he has written many capitoli and sonnets, part of which have been printed. But above all, with regard to poetry, he is marvellous in the style of his capitoli after the manner of Berni, insomuch that at the present day there is no one who writes better in that kind of verse, nor things more fanciful and bizarre, as will be seen one day if all his works, as is believed and hoped, come to be printed. Bronzino has been and still is most gentle and a very courteous friend, agreeable in his conversation and in all his affairs, and much honoured; and as loving and liberal with his possessions as a n.o.ble craftsman such as he is could well be. He has been peaceful by nature, and has never done an injury to any man, and he has always loved all able men in his profession, as I know, who have maintained a strait friends.h.i.+p with him for three-and-forty years, that is, from 1524 down to the present year, ever since I began to know and to love him in that year of 1524, when he was working at the Certosa with Pontormo, whose works I used as a youth to go to draw in that place.

[Ill.u.s.tration: GIULIANO DE' MEDICI

(_After the painting by =Alessandro Allori=. Florence: Uffizi, 193_)

_Alinari_]

Many have been the pupils and disciples of Bronzino, but the first (to speak now of our Academicians) is Alessandro Allori, who has been loved always by his master, not as a disciple, but as his own son, and they have lived and still live together with the same love, one for another, that there is between a good father and his son. Alessandro has shown in many pictures and portraits that he has executed up to his present age of thirty, that he is a worthy disciple of so great a master, and that he is seeking by diligence and continual study to arrive at that rarest perfection which is desired by beautiful and exalted intellects. He has painted and executed all with his own hand the Chapel of the Montaguti in the Church of the Nunziata--namely, the altar-piece in oils, and the walls and vaulting in fresco. In the altar-piece is Christ on high, and the Madonna, in the act of judging, with many figures in various att.i.tudes and executed very well, copied from the Judgment of Michelagnolo Buonarroti. About that altar-piece, on the same wall, are four large figures in the forms of Prophets, or rather, Evangelists, two above and two below; and on the vaulting are some Sibyls and Prophets executed with great pains, study, and diligence, he having sought in the nudes to imitate Michelagnolo. On the wall which is at the left hand looking towards the altar, is Christ as a boy disputing in the midst of the Doctors in the Temple; which boy is seen in a fine att.i.tude answering their questions, and the Doctors, and others who are there listening attentively to him, are all different in features, att.i.tudes, and vestments, and among them are portraits from life of many of Alessandro's friends, which are good likenesses. Opposite to that, on the other wall, is Christ driving from the Temple those who with their buying and selling were making it a house of traffic and a market-place; with many things worthy of consideration and praise. Over those two scenes are some stories of the Madonna, and on the vaulting figures that are of no great size, but pa.s.sing graceful; with some buildings and landscapes, which in their essence show the love that he bears to art, and how he seeks the perfection of design and invention. And opposite to the altar-piece, on high, is a story of Ezekiel, when he saw a great mult.i.tude of bones reclothe themselves with flesh and take to themselves their members; in which this young man has demonstrated how much he desires to master the anatomy of the human body, and how he has studied it and given it his attention. And, in truth, in this his first work of importance, as also in the nuptials of his Highness, with figures in relief and stories in painting, he has proved himself and given great signs and promise, as he continues to do, that he is like to become an excellent painter; and not in this only, but in some other smaller works, and recently in a small picture full of little figures in the manner of miniature, which he has executed for Don Francesco, Prince of Florence, a much-extolled work; and other pictures and portraits he has painted with great study and diligence, in order to become practised and to acquire a grand manner.

Another young man, likewise a pupil of Bronzino and one of our Academicians, called Giovan Maria b.u.t.teri, has shown good mastery and much dexterity in what he did, besides many other smaller pictures and other works, for the obsequies of Michelagnolo and for the coming of the above-named most ill.u.s.trious Queen Joanna to Florence.

And another disciple, first of Pontormo and then of Bronzino, has been Cristofano dell' Altissimo, a painter, who, after having executed in his youth many pictures in oils and some portraits, was sent by the Lord Duke Cosimo to Como, to copy many pictures of ill.u.s.trious persons in the Museum of Monsignor Giovio, out of the vast number which that man, so distinguished in our times, collected in that place. Many others, also, the Lord Duke has obtained by the labours of Vasari; and of all these portraits a list[1] will be made in the index of this book, in order not to occupy too much s.p.a.ce in this discourse. In the work of these portraits Cristofano has exerted himself with such diligence and pains, that those which he has copied up to the present day, and which are in three friezes in a guardaroba of the said Lord Duke, as will be described elsewhere in speaking of the decorations of that place, are more than two hundred and eighty in number, what with Pontiffs, Emperors, Kings, Princes, Captains of armies, men of letters, and, in short, all men for some reason ill.u.s.trious and renowned. And, to tell the truth, we owe a great obligation to this zeal and diligence of Giovio and of the Duke, for the reason that not only the apartments of Princes, but also those of many private persons, are now being adorned with portraits of one or other of those ill.u.s.trious men, according to the country, family, and particular affection of each person.

Cristofano, then, having established himself in this manner of painting, which is suited to his genius, or rather, inclination, has done little else, as one who is certain to derive from it honour and profit in abundance.

[Footnote 1: Given in the original Italian edition of 1568.]

Pupils of Bronzino, also, are Stefano Pieri and Lorenzo della Sciorina, who have so acquitted themselves, both the one and the other, in the obsequies of Michelagnolo and in the nuptials of his Highness, that they have been admitted among the number of our Academicians.

From the same school of Pontormo and Bronzino has issued also Battista Naldini, of whom we have spoken in another place. This Battista, after the death of Pontormo, having been some time in Rome and having applied himself with much study to art, has made much proficience and become a bold and well-practised painter, as many works demonstrate that he has executed for the very reverend Don Vincenzio Borghini, who has made great use of him and a.s.sisted him, together with Francesco da Poppi, a young man of great promise and one of our Academicians, who has acquitted himself well in the nuptials of his Highness, and other young men, whom Don Vincenzio is continually employing and a.s.sisting. Of this Battista, Vasari has made use for more than two years, as he still does, in the works of the Ducal Palace of Florence, where, by the emulation of many others who were working in the same place, he has made much progress, insomuch that at the present day he is equal to any other young man of our Academy; and that which much pleases those who are good judges is that he is expeditious, and does his work without effort.

Battista has painted in an altar-picture in oils that is in a chapel of the Black Friars' Abbey of Florence, a Christ who is bearing the Cross, in which work are many good figures; and he has other works constantly in hand, which will make him known as an able man.

Not inferior to any of these named above in talent, art, and merit, is Maso Manzuoli, called Maso da San Friano, a young man of about thirty or thirty-two years, who had his first principles from Pier Francesco di Jacopo di Sandro, one of our Academicians, of whom we have spoken in another place. This Maso, I say, besides having shown how much he knows and how much may be expected of him in many pictures and smaller paintings, has demonstrated this recently in two altar-pictures with much honour to himself and full satisfaction to everyone, having displayed in them invention, design, manner, grace, and unity in the colouring. In one of these altar-pieces, which is in the Church of S.

Apostolo at Florence, is the Nativity of Jesus Christ, and in the other, which is placed in the Church of S. Pietro Maggiore, and is as beautiful as an old and well-practised master could have made it, is the Visitation of Our Lady to S. Elizabeth, executed with judgment and with many fine considerations, insomuch that the heads, the draperies, the att.i.tudes, the buildings, and all the other parts are full of loveliness and grace. This man acquitted himself with no ordinary excellence in the obsequies of Buonarroti, as an Academician and very loving, and then in some scenes for the nuptials of Queen Joanna.

Now, since not only in the Life of Ridolfo Ghirlandajo I have spoken of his disciple Michele and of Carlo da Loro, but also in other places, I shall say nothing more of them here, although they are of our Academy, enough having been said of them. But I will not omit to tell that other disciples and pupils of Ghirlandajo have been Andrea del Minga, likewise one of our Academicians, who has executed many works, as he still does; Girolamo di Francesco Crocifissaio, a young man of twenty-six, and Mirabello di Salincorno, both painters, who have done and continue to do such works of painting in oils and in fresco, and also portraits, that a most honourable result may be expected from them. These two executed together, now several years ago, some pictures in fresco in the Church of the Capuchins without Florence, which are pa.s.sing good; and in the obsequies of Michelagnolo and the above-mentioned nuptials, also they did themselves much honour. Mirabello has painted many portraits, and in particular that of the most ill.u.s.trious Prince more than once, and many others that are in the hands of various gentlemen of Florence.

Another, also, who has done much honour to our Academy and to himself, is Federigo di Lamberto of Amsterdam, a Fleming, the son-in-law of the Paduan Cartaro, working in the said obsequies and in the festive preparations for the nuptials of the Prince, and besides this he has shown in many pictures painted in oils, both large and small, and in other works that he has executed, a good manner and good design and judgment. And if he has merited praise up to the present, he will merit even more in the future, for he is labouring constantly with much advantage in Florence, which he appears to have chosen as his country, that city being one where young men derive much benefit from compet.i.tion and emulation.

A beautiful genius, also, universal and abundant in fine fantasies, has been shown by Bernardo Timante Buontalenti, who had his first principles of painting in his youth from Vasari, and then, continuing, has made so much proficiency that he has now served for many years, and still serves with much favour, the most ill.u.s.trious Lord Don Francesco de' Medici, Prince of Florence. That lord has kept him continually at work; and he has executed for his Excellency many works in miniature after the manner of Don Giulio Clovio, such as many portraits and scenes with little figures, painted with much diligence. The same Bernardo has made with a beautiful architectural design, by order of the said Prince, a cabinet with compartments of ebony and columns of heliotrope, oriental jasper, and lapis-lazuli, which have bases and capitals of chased silver; and besides this he has filled the whole surface of the work with jewels and most lovely ornaments of silver and beautiful little figures, within which ornaments are to be miniatures, and, between terminals placed in pairs, figures of silver and gold in the round, separated by other compartments of agate, jasper, heliotrope, sardonyx, cornelian, and others of the finest stones, to describe all which here would make a very long story. It is enough that in this work, which is near completion, Bernardo has displayed a most beautiful genius, equal to any work. Thus that lord makes use of him for many ingenious fantasies of his own of cords for drawing weights, of windla.s.ses, and of lines; besides that he has discovered a method of fusing rock-crystal with ease and of purifying it, and has made with it scenes and vases of several colours; for Bernardo occupies himself with everything. This, also, will be seen in a short time in the making of vases of porcelain with all the perfection of the most ancient and most perfect; in which at the present day a most excellent master is Giulio da Urbino, who is in the service of the most ill.u.s.trious Duke Alfonso II of Ferrara, and does stupendous things in the way of vases with several kinds of clay, and to those in porcelain he gives the most beautiful shapes, besides fas.h.i.+oning with the same earth little squares, octagons, and rounds, hard and with an extraordinary polish, for making pavements counterfeiting the appearance of variegated marbles; of all which things our Prince has the methods of making them. His Excellency has also caused a beginning to be made with the executing of a study-table with precious stones, richly adorned, as an accompaniment to another belonging to his father, Duke Cosimo. And not long ago he had one finished after the design of Vasari, which is a rare work, being of oriental alabaster all inlaid with great pieces of jasper, heliotrope, cornelian, lapis-lazuli, and agate, with other stones and jewels of price that are worth twenty thousand crowns. This study-table has been executed by Bernardino di Porfirio of Leccio in the neighbourhood of Florence, who is excellent in such work, and who made for Messer Bindo Altoviti an octagon of ebony and ivory inlaid likewise with jaspers, after the design of the same Vasari; which Bernardino is now in the service of their Excellencies. But to return to Bernardo: in painting, also, beyond the expectation of many, he showed that he is able to execute large figures no less well than the small, when he painted for the obsequies of Michelagnolo that great canvas of which we have spoken. Bernardo was employed, also, with much credit to him, for the nuptials of his and our Prince, in certain masquerades, in the Triumph of Dreams, as will be told, and in the interludes of the comedy that was performed in the Palace, as has been described exhaustively by others. And if this man, when he was a youth (although even now he is not past thirty), had given his attention to the studies of art as he gave it to the methods of fortification, in which he spent no little time, he would be perchance now at such a height of excellence as would astonish everyone; none the less, it is believed that he is bound for all that to achieve the same end, although something later, for the reason that he is all genius and art, to which is added this also, that he is continually employed and exercised by his sovereign, and in the most honourable works.

Of our Academy, also, is Giovanni della Strada, a Fleming, who has good design, the finest fantasy, much invention, and a good manner of colouring; and, having made much proficience during the ten years that he has worked in the Palace in distemper, fresco, and oils, after the designs and directions of Giorgio Vasari, he can bear comparison with any of the many painters that the said Lord Duke has in his service. But at the present day the princ.i.p.al task of this man is to make cartoons for various arras-tapestries that the Duke and the Prince are having executed, likewise under the direction of Vasari, of divers kinds in accordance with the stories in painting that are on high in the rooms and chambers painted by Vasari in the Palace, for the adornment of which they are being made, to the end that the embellishment of tapestries below may correspond to the pictures above. For the chambers of Saturn, Ops, Ceres, Jove, and Hercules, he has made most lovely cartoons for about thirty pieces of tapestry; and for the upper chambers where the Princess has her habitation, which are four, dedicated to the virtues of woman, with stories of Roman, Hebrew, Greek, and Tuscan women (namely, the Sabines, Esther, Penelope, and Gualdrada), he has made, likewise, very beautiful cartoons for tapestries. In like manner, he has done the same for ten pieces of tapestry in a hall, in which is the Life of Man; and also for the five lower rooms where the Prince dwells, dedicated to David, Solomon, Cyrus, and others. And for twenty rooms in the Palace of Poggio a Caiano, for which the tapestries are even now being woven, he has made after the inventions of the Duke cartoons of the hunting of every kind of animal, and the methods of fowling and fis.h.i.+ng, with the strangest and most beautiful inventions in the world; in which variety of animals, birds, fishes, landscapes, and vestments, with huntsmen on foot and on horseback, fowlers in various habits, and nude fishermen, he has shown and still shows that he is a truly able man, and that he has learned well the Italian manner, being minded to live and die in Florence in the service of his most ill.u.s.trious lords, in company with Vasari and the other Academicians.

Another pupil of Vasari, likewise, and also an Academician, is Jacopo di Maestro Piero Zucca, a young Florentine of twenty-five or twenty-six years, who, having a.s.sisted Vasari to execute the greater part of the works in the Palace, and in particular the ceiling of the Great Hall, has made so much proficience in design and in the handling of colours, labouring with much industry, study, and a.s.siduity, that he can now be numbered among the first of the young painters in our Academy. And the works that he has done by himself alone in the obsequies of Michelagnolo, in the nuptials of the most ill.u.s.trious Lord Prince, and at other times for various friends, in which he has shown intelligence, boldness, diligence, grace, and good judgment, have made him known as a gifted youth and an able painter; but even more will those make him known that may be expected from him in the future, doing as much honour to his country as has been done to her by any painter at any time.

In like manner, among other young painters of the Academy, Santi t.i.ti may be called ingenious and able, who, as has been told in other places, after having practised for many years in Rome, has returned finally to enjoy Florence, which he regards as his country, although his elders are of Borgo a San Sepolcro and of a pa.s.sing good family in that city. This Santi acquitted himself truly excellently in the works that he executed for the obsequies of Buonarroti and the above-mentioned nuptials of the most ill.u.s.trious Princess, but even more, after great and almost incredible labours, in the scenes that he painted in the theatre which he made for the same nuptials on the Piazza di S. Lorenzo, for the most ill.u.s.trious Lord Paolo Giordano Orsino, Duke of Bracciano; wherein he painted in chiaroscuro, on several immense pieces of canvas, stories of the actions of various ill.u.s.trious men of the Orsini family. But how able he is can be perceived best from two altar-pieces by his hand that are to be seen, one of which is in Ognissanti, or rather, S. Salvadore di Fiorenza (as it is now called), once the church of the Padri Umiliati, and now of the Zoccolanti, and contains the Madonna on high and at the foot S. John, S. Jerome, and other Saints; and in the other, which is in S. Giuseppe, behind S. Croce, in the Chapel of the Guardi, is a Nativity of Our Lord executed with much diligence, with many portraits from life. Not to speak of many pictures of Our Lady and various portraits that he has painted in Rome and in Florence, and pictures executed in the Vatican, as has been related above.

There are also certain other young painters of the same Academy who have been employed in the above-mentioned decorations, some of Florence and some of the Florentine States. Alessandro del Barbiere, a young Florentine of twenty-five, besides many other works, painted for the said nuptials in the Palace, after the designs and directions of Vasari, the canvases of the walls in the Great Hall, wherein were depicted the squares of all the cities in the dominion of the Lord Duke; in which he certainly acquitted himself very well, and proved himself a young man of judgment and likely to achieve any success. In like manner, Vasari has been a.s.sisted in these and other works by many other disciples and friends; Domenico Benci, Alessandro Fortori of Arezzo, his cousin Stefano Veltroni, and Orazio Porta, both of Monte Sansovino, and Tommaso del Verrocchio.

In the same Academy there are also many excellent craftsmen who are strangers, of whom we have spoken at length in various places above; and therefore it shall suffice here to make known their names, to the end that they may be numbered in this part among the other Academicians.

These, then, are Federigo Zucchero; Prospero Fontana and Lorenzo Sabatini, of Bologna; Marco da Faenza, Tiziano Vecelli, Paolo Veronese, Giuseppe Salviati, Tintoretto, Alessandro Vittoria, the sculptor Danese, the painter Battista Farinato of Verona, and the architect Andrea Palladio.

Now, to say something also of the sculptors in our Academy and of their works, although I do not intend to speak of them at any length, because they are alive and for the most part most ill.u.s.trious in name and fame, I say that Benvenuto Cellini, a citizen of Florence, who is now a sculptor (to begin with the oldest and most honoured), had no peer in his youth when he was a goldsmith, nor perhaps had he for many years any equal in that profession and in making most beautiful figures in the round and in low-relief, and all the other works of that craft. He set jewels, and adorned them with marvellous collets and with little figures so well wrought, and at times so bizarre and fantastic that it is not possible to imagine anything finer or better. And the medals that he made in his youth, of silver and gold, were executed with incredible diligence, nor can they ever be praised enough. He made in Rome for Pope Clement VII a very beautiful morse for a pluvial, setting in it excellently well a pointed diamond surrounded by some children made of gold plate, and a G.o.d the Father marvellously wrought; wherefore, besides his payment, he received as a gift from that Pope an office of mace-bearer. Being then commissioned by the same Pontiff to make a chalice of gold, the cup of which was to be supported by figures representing the Theological Virtues, he carried it near completion with most marvellous artistry. In these same times there was no one who made the medals of that Pope better than he did, among the many who essayed it, as those well know who saw his medals and possess them; and since for these reasons he received the charge of making the dies for the Mint of Rome, no more beautiful coins have ever been seen than were struck in Rome at that time. Wherefore Benvenuto, after the death of Clement, having returned to Florence, likewise made dies with the head of Duke Alessandro for the coins of the Mint of Florence, so beautiful and wrought with such diligence, that some of them are now preserved as if they were most beautiful antique medals, and that rightly, for the reason that in these he surpa.s.sed himself. Having finally given himself to sculpture and to the work of casting, Benvenuto executed in France many works in bronze, silver, and gold, while he was in the service of King Francis in that kingdom. Then, having returned to his own country and entered the service of Duke Cosimo, he was first employed in some goldsmiths' work, and in the end was given some works of sculpture; whereupon he executed in metal the statue of the Perseus that has cut off the head of Medusa, which is in the Piazza del Duca, near the door of the Ducal Palace, upon a base of marble with some very beautiful figures in bronze, each about one braccio and a third in height. This whole work was carried to perfection with the greatest possible study and diligence, and set up in the above-named place as a worthy companion to the Judith by the hand of Donato, that famous and celebrated sculptor. And certainly it was a marvel that Benvenuto, after being occupied for so many years in making little figures, executed so great a statue with such excellence. The same master has made a Crucifix of marble, in the round and large as life, which of its kind is the rarest and most beautiful piece of sculpture that there is to be seen.

Wherefore the Lord Duke keeps it, as a thing most dear to him, in the Pitti Palace, intending to place it in the chapel, or rather, little church, that he is building in that place; which little church could not have in these times anything more worthy of itself and of so great a Prince. In short, it is not possible to praise this work so much as would be sufficient. Now, although I could enlarge at much greater length on the works of Benvenuto, who has been in his every action spirited, proud, vigorous, most resolute, and truly terrible, and a person who has been only too well able to speak for himself with Princes, no less than to employ his hand and brain in matters of art, I shall say nothing more of him here, seeing that he has written of his own life and works, and a treatise on the goldsmith's arts, and on founding and casting in metal, with other things pertaining to such arts, and also of sculpture, with much more eloquence and order than I perchance would be able to use here; as for him, therefore, I must be content with this short summary of the rarest of his princ.i.p.al works.

[Ill.u.s.tration: PERSEUS