Fra Bartolommeo Part 5

He had as a follower a Suor Plautilla Nelli, born 1523, daughter of a n.o.ble Florentine, Piero di Luca Nelli. She took the vows at the age of fourteen, in the convent of S. Caterina di Siena, in Via Larga (now Cavour), Florence. Her sister, Suor Petronilla, in the same convent, was a writer, and her life of Savonarola is still extant. Suor Plautilla taught herself to paint. Legend says, that in order to study the nude for a Christ, she drew from the corpse of a nun--which might account for the weak stiffness of her design. Fra Paolo, though there is no record of his having taught her, left her as a legacy the designs and cartoons of Fra Bartolommeo, one of which, the _Pieta_, she has evidently made use of in the painting in the Belle Arti. The grouping is that of the _Pieta_ of Fra Bartolommeo, now in the Pitti, of which she must have had the original sketch, for she has put in the two saints in the background, which have been painted out in that of the Frate, but we will give her the entire credit of the colouring, which is extremely crude; the contrasting blues and yellows are in inharmonious tones, the shading harsh, and the whole picture wanting in chiaroscuro. The Corsini Gallery, Florence, has a _Virgin and Child_ by her.

PART II.

The scholars of Mariotto Albertinelli were much more important in the annals of art, the princ.i.p.al ones being Bugiardini, Francia Bigio, Visino, and Innocenza d' Imola.

Giuliano Bugiardini should be called the a.s.sistant rather than the scholar of Albertinelli, being older than his master. He was born in 1471 in a suburb outside the Via Faenza, Florence, and was placed in the shop of Domenico Ghirlandajo, where his acquaintance with Michelangelo--begun in the Medici Gardens--ripened into intimacy, and he was employed by him in the Sistine Chapel. Giuliano had that happily constructed mind which, with an ineffable content in its own works, will pa.s.s through life perfectly happy in the feeling that in reaching mediocrity it has achieved success. Not only wanting talent to produce better works, he lacked also the faculty of perceiving where his own were faulty, and having a great apt.i.tude for copying the works of others, he felt himself as great as the original artists. Michelangelo was always amused with his nave self-conceit, and kept up a friends.h.i.+p with him for many years. He even went so far as to sit to Bugiardini for his likeness, at the request of Ottaviano de' Medici. Giuliano, having painted and talked nonsense for two hours, at last exclaimed, to his sitter's great relief, "Now, Michelangelo, come and look at yourself; I have caught your very expression." But what was Michelangelo's horror to see himself depicted with eyes which were neither straight nor a pair!

The worthy artist looked from his work to the original, and declared he could see no difference between them, on which Michelangelo, shrugging his shoulders, said, "It must be a defect of nature," and bade his friend go on with it. This charming portrait was presented to Ottaviano de' Medici, with that of _Pope Clement VII._, copied from Sebastian del Piombo, and is now in the Louvre. Bugiardini's works always take the style of other masters. There is a _Madonna_ in the Uffizi, and one in the Leipsic Museum, both in Leonardo's style, with his defects exaggerated. The former is a sickly woman in a sentimental att.i.tude, the child rather heavy, the colouring is bright and well fused; he has evidently adopted the method which he had seen Albertinelli use in his studio.

During a stay in Bologna he painted a _Madonna and Saints_ as an altar-piece for the church of S. Francesco, besides a _Marriage of S.

Catherine_, now in the Bologna Pinacoteca. The composition of this is not without merit; the child Jesus seated on his mother's knees, gives the ring to S. Catherine, little S. John stands at the Virgin's feet, S.

Anthony on her left. The colouring is less pleasing, the flesh tints too red and raw.

A round picture in the Zambeccari Gallery, Bologna, shows him in Michelangelo's style. The Virgin is reading on a wooded bank, but looks up to see the infant Christ greet the approaching S. John Baptist; this is carefully, if rather hardly, painted. The lights in the Saviour's hair have been touched in with gold. The time of his stay in Bologna is uncertain, but in 1525 he was in Florence, and drawing designs for the Ringhiera with Andrea del Sarto. There is a doc.u.ment in the archives, proving that on October 5th, 1526 Bugiardini was paid twenty florins in gold for his share of the work. He obtained some rank as a portrait painter, in spite of his failure in that of Michelangelo; and had commissions from many of the celebrities of Florence. It was in original composition that his powers failed him. Messer Palla Rucellai ordered a picture from him of the _Martyrdom of S. Catherine_, which he began with the intention of making it a very fine work indeed. He spent several years in representing the wheels, the lightnings and fires in a sufficiently terrible aspect, but had to beg Michelangelo's a.s.sistance in drawing the men who were to be killed by those heavenly flames; his design was to have a row of soldiers in the foreground, all knocked down in different att.i.tudes. His friend took up the charcoal and sketched in a splendid group of agonised nude figures; but these were beyond his power to shade and colour, and Tribolo made him a set of models in clay, in the att.i.tudes given by Michelangelo, and from these he finished the work; but the great master's hand was never apparent in it. Bugiardini died at the age of seventy-five.

Of Frances...o...b..gi, commonly called Francia Bigio or Franciabigio, so much is said in the following life of Andrea del Sarto, that a slight sketch will suffice here. He was the son of Cristofano, and was born in 1482. His early studies were made in the Brancacci Chapel, and the Papal Hall--where he drew from the cartoons in 1505-6, and the studio of Mariotto Albertinelli, from which he pa.s.sed to his partners.h.i.+p with Andrea del Sarto in 1509. Thus it is that his first style was marked by the influence of Mariotto and Fra Bartolommeo, while in his later works he approximated more to Andrea del Sarto.

Two of his early paintings were placed in the church of S. Piero Maggiore, one a _Virgin and Child_ of great beauty. The infant clasps its arms round its mother's neck--a charming att.i.tude--which suggests a playful effort to hide from the young S. John, who is running towards him, by nestling closer to the dearer resting place. The picture is now in the Uffizi and has been long known as _Raphael's Madonna del Pozzo_.

[Footnote: Crowe and Cavalcaselle, _History of Painting_, vol. iii.

chap. xv. p. 501.] No greater testimony to Francia Bigio's excellence can be given than the frequency of his works being mistaken for those of Raphael, but the influence of his contemporaries was always strong upon him. The _Annunciation_, painted for the same church, is also described by Vasari as a carefully designed work, though somewhat feeble in manner. The angel is lightly poised in air, the Virgin kneeling before a foreshortened building. The picture was lost sight of in the demolition of the church, but Crowe and Cavalcaselle [Footnote: Crowe and Cavalcaselle, _History of Painting_, Vol. iii. p. 500.] believe they have discovered it in a picture at Turin, the authors.h.i.+p of which is avowedly doubtful. They mention, however, a celestial group of the Eternal Father in a cherub-peopled cloud, sending his blessing in the form of a dove, with a ray of glory. Surely if this be the one described by Vasari [Footnote: Vasari, vol. iii. p. 336] so minutely, he would not have omitted a part of the subject so important to the picture.

In 1509 we may presumably date the partners.h.i.+p with Andrea del Sarto, that being about the time when they began to work together in the Scalzo. Francia Bigio painted some frescoes in the church of S. Giobbe, behind the Servite Monastery. A _Visitation_ was in a tabernacle at the corner of the church, and subjects from Job's life on a pilaster within it: these have long ago disappeared. The altar-piece of the _Madonna and Job_, which he painted in oil for the same church, has been more fortunate, as it still exists in the Tuscan School in the Uffizi. Though much injured, it shows his earlier style. The _Calumny of Apelles_ in the same gallery is a curious picture. It is hard and dull in colouring, the prevailing tone being a heavy drab; there are several nude figures, of doubtful forms as to beauty of drawing, the flesh is painted in a smooth glazed style, without relief or tenderness.

Francia Bigio s.h.i.+nes more in fresco than in oil; his hardness is less apparent, and he gains in freedom and brilliance of colouring in the more congenial medium. The finest of his frescoes is, unfortunately, spoiled by his own hand, and remains as a memorial of his genius and hasty temper. I allude to the _Sposalizio_ (A.D. 1513) in the courtyard of the Servite church, where Andrea did his series of frescoes from the life of Filippo Benizzi. The composition is grand and carefully thought out, the colouring bright and pleasing; perhaps in emulating Andrea's luxurious style of drapery he has gone a little too far, and crowded the folds. The bridegroom is a n.o.ble figure, and shows in his face his gladness in the blossoming rod. A man in the foreground breaks a stick across his knees. The commentators of Vasari have taken this to emblematize the Roman Catholic legend of the Virgin having given rods to each of her suitors, and chosen him whose rod blossomed. Graceful women surround the Virgin, but there is perhaps a too marked sentimentality about these which suggests a striving after Raphael's style. There is, however, a great touch of nature in a mother with a naughty child, who sits crying on the ground, much to the mother's distress. Francia Bigio commenced this in Andrea's absence in France, which so excited his former comrade's emulation that he did his _Visitation_ in great haste, to get it uncovered as soon as Francia Bigio's. In fact, Andrea's works were ready by the date of the annual festa of the Servites, and the monks, being anxious to uncover all the new frescoes for that day, took upon them to remove the mattings from that of Francia Bigio as well, without his permission, for he wished to give a few more finis.h.i.+ng touches. So angry was he, on arriving in the cloister, to see a crowd of people admiring his work in what he felt to be an imperfect condition, that in an excess of rage he mounted on the scaffolding which still remained, and, seizing a hammer, beat the head of the Madonna to pieces, and ruined the nude figure breaking the rod. The monks hastened to the scene in an uproar of remonstrance, the frantic artist's destructive hand was stayed by the bystanders, but so deep was his displeasure that he refused to restore the picture, and no other hand having touched it, the fresco remains to this day a fine work mutilated. It shows him artistically in his very best, and morally, at his worst, phase. In 1518, while Andrea was in France, the monks of the Scalzo employed Francia Bigio to fill two compartments in their pretty little cloister, where Andrea had commenced his _Life of S. John Baptist_. These are spoken of more at length in the life of that master, who on his return took the work again in his own hands. In 1521 Bigio competed with Andrea and Pontormo, in the Medici Villa at Poggio a Cajano; Andrea's _Caesar receiving Tribute_ occupies one wall of the hall, and Francia Bigio's _Triumph of Cicero_ another. The subjects were selected by the historian, Messer Paolo Giovio, Bishop of Nocera; it only remained for the artists to make the most of the chosen themes. Francia Bigio filled his background with a careful architectural perspective, and a crowd of muscular Romans are grouped before it. This also was left unfinished at the Pope's death, and Allori completed it in 1582. Francia Bigio, however, did many of the gilded decorations of the hall.

In the Dresden Gallery is a work, Scenes from the Life of David, signed A. S., MDXXIII., and his monogram, a painting very much in the style of Andrea del Sarto's _Life of Joseph_. Reumont [Footnote: Life of Andrea del Sarto, p. 138 et seq.] claims it as the joint work of Andrea and Francia Bigio, founding his opinion on the letters A. S. before the date; but the letters mean only _Anno salutis_, and are used in very many of Francia Bigio's signed paintings. He had the commission from Gio Maria Benintendi in 1523. It is one of those curious pictures which have many scenes in one--a style which militates greatly against artistic unity. On the right is David's palace, on the left Uriah's; David is at his door watching Bathsheba and her maidens bathing. In the centre is the siege of Rabbah; another well-draped group represents David receiving Uriah's homage. In the foreground David gives wine to Uriah at a banquet. There is careful painting and ingenious composition, but a less finished manner of colouring than in Andrea's Joseph, which was painted about the same time for Pier Borgherini.

Like Ridolfo Ghirlandajo, Francia Bigio fell off in his later style, partly because his ambition failed him, and also because he began to look on art as a means of livelihood--a motive which is certain death to high art.

He was especially celebrated as a portrait painter, several of his works having been attributed to Raphael. Among these are one at the Louvre and one at the Pitti Palace, both portraits of a youth in tunic and black cap, with long hair flowing over his shoulders; one in the National Gallery, formerly in Mr. Fuller Maitland's collection; the portrait of a jeweller, dated A. S., MDXVI. in Lord Yarborough's gallery; that in the Berlin Museum, of a man sitting at a desk, dated 1522; and the likeness of Pier Francesco de Medici at Windsor--all of which bear Francia Bigio's monogram, often with the letters A. S. (_Anno salutis_) before the date. He died on January 14th, 1525.

CHAPTER X.

RIDOLFO GHIRLANDAJO. A.D. 1483--1560.

RIDOLFO (DI DOMENICO) BIGORDI, called GHIRLANDAJO, &c., was born on the 4th of January, 1483. Although not strictly a scholar, he is one of Fra Bartolommeo's princ.i.p.al followers. When quite a child he lost his father, the famous Domenico, who died of fever, on January 11th, 1494; his mother and uncle Benedetto only lived a few years after; and Ridolfo, with his three sisters and two brothers, was left to the guardians.h.i.+p of his uncle Davide.

Ridolfo was the only one who chose the family profession, and he became the fourth painter of the name of Ghirlandajo.

Davide was not a perfect artist, although a good mosaicist, as his works in the cathedrals of Orvieto, Siena, and Florence show, but he was for many years Ridolfo's only instructor. As the boy grew up Ridolfo frequented those public schools of art before spoken of, the Brancacci Chapel, and the study of the cartoons in the Papal Hall. Here he secured the friends.h.i.+p not only of Granacci and Pier di Cosimo, but of Raphael himself, with whom he visited Fra Bartolommeo in his convent.

Raphael permitted Ridolfo to a.s.sist him in a Madonna for Siena, and tried to persuade him to accompany him to Rome; but Ridolfo, like a true Florentine, declined to go "beyond sight of the Duomo."

His first great picture was done in 1504 for the church of San Gallo.

The subject was _Christ Searing His Cross_. His uncle Benedetto had laboured on a similar picture, now in the Louvre, but Ridolfo's is a great improvement on this; the composition is well balanced, full of force and animation, the weeping figures of the Maries and the solicitude of S. Veronica are very lifelike, although he has not entirely abolished his uncle's coa.r.s.eness in the scowling, low-typed men. The Christ and the Virgin are, on the contrary, so refined as to induce the supposition that this force of contrast was intentional; the landscape is rather hard and crude in tone, the flesh tints smooth, and the handling similar to that of Credi.

The original is now in Palazzo Antinori, Florence, but a replica, in which he was a.s.sisted by Michele, his favourite pupil and adopted son, is in Santo Spirito.

Vasari speaks of a _Nativity_, painted for the Cistercian monks of Cestello; a beautiful composition, in which the Madonna adores the holy child, S. Joseph standing near her; S. Francis and S. Jerome kneel in adoration; the landscape was sketched from the hills near "La Vernia,"

where S. Francis received the stigmata.

Maselli says the picture was lost when the monastery changed hands, but Messrs. Crowe and Cavalcaselle [Footnote: History of fainting, vol. in.

chap. xvi. pp. 523, 524.] believe they have found it in the Hermitage at S. Petersburg, under Granacci's name. It is possible that the favourite pupil of his father and Ridolfo's own friend may have a.s.sisted him. The landscape is Raphaelesque, and might mark the time when that master and Fra Bartolommeo influenced his style. His best manner approached so nearly to that of the Frate, that had he continued he would have very nearly rivalled his excellence.

His two masterpieces are now in the Uffizi; they were painted for the Brotherhood of S. Zen.o.bio, 1510, to stand one on each side of Albertinelli's _Annunciation_. One is _S. Zen.o.bio_ (the first bishop and patron saint of Florence) _restoring a dead child to life_; the other the _Funeral Procession of the Saint pa.s.sing the Baptistery_, where an elm tree, which had been withered, put forth fresh leaves as the coffin of the bishop touched it. A marble column, with a bronze tree in relief on it, stands on the spot as a memorial of this miracle. In these two works Ridolfo Ghirlandajo proved the power which was in him, but they are the culmination of his art; he never surpa.s.sed, or indeed equalled them again. His richness of colouring and deep relief equalled that of the Frate, the animation and expression rivalled Andrea del Sarto. In the first picture, the eagerness of the crowd, the intense feeling of the mother, in whom grief for the dead child seems almost greater than the hope of his resuscitation, the st.u.r.dy, solid character of the Florentines of the Republic, are all given with a masterly hand, while a rich blending of colour fuses the animated crowd in a harmonious unison.

In the latter, grandeur and dignity mark the group of ecclesiastics which surrounds the archbishop's bier, the full solid falls of their drapery show that he had well studied his father's works.

Ridolfo's brothers became monks, Don Bartolommeo lived in the Camaldoline Monastery of the Angeli, which Ridolfo beautified with many works. Paolo Uccelli had adorned the Loggia with frescoed stories from the life of S. Benedict. Ridolfo added two to the series. In one the Saint is at table with two angels, waiting for S. Romano to send his bread from the grotto, but the devil has cut the cord and taken it.

Another is _S, Benedict investing a youth with the habit of the order_.

In the church of the same monastery he painted a beautiful _Madonna and Child, with Angels_, above the holy water vase, and _S. Romualdo with the Camaldolese Hermitage in his Hand_, in a lunette in the cloister.

All these were done as a brotherly gift, and after they were finished, the abbot, Don Andrea Dossi, gave him a commission to paint a _Last Supper_ in the refectory, which he did, placing the portrait of the abbot in the corner.

Ridolfo, like his father, regarded art rather as a means of livelihood than with any aesthetic feelings, and this is probably the reason of his never attaining true excellence. His "bottega" was really a shop where any one might order a work of art, or of artisans.h.i.+p, and he gave as much attention to painting a banner for a procession as to composing an altar-piece. He had a great many a.s.sistants, whom he called on for help in various undertakings. They a.s.sisted him to prepare the Medici Halls for the reception of Pope Leo X., and later for the marriages of Giuliano and Lorenzo, not disdaining to paint scenes for the dramas which were then given. He painted banners, and designed costumes for the processions of the "potenze," a festive company, the origin of which is uncertain, but dating certainly from the Middle Ages. Each quarter of the city had an emperor, lords, and dignitaries, each of whom carried his banner or emblazonment. Grand processions, tournaments, and feasts were held once a year, on S. John's Day, by the potenze.

Having a.s.sisted at the triumphs and marriages of the Medici princes, he also furnished the funeral pomp and magnificence on the deaths of the brothers, that of Giuliano occurring in 1516, of Lorenzo 1519.

Lucratively it answered his purpose; the Medici gave him great honour; he was well paid by them, and got the commission to decorate the Chapel of the Palazzo Vecchio--a very good specimen of his fresco painting, in which he never reached his father's excellence, although in oil he far surpa.s.sed him. The chapel is small; the groined roof is covered with emblematical designs on a blue ground, a Trinity in the midst with angels bearing symbols of the pa.s.sions around. The apostles and evangelists surround this, and the princ.i.p.al wall has a larger fresco of the _Annunciation_--a rather conventional rendering.

Commissions flowed in on him to such a degree, that although he had fifteen children, he lived to ama.s.s money and lands, to see his daughters well married, and his sons prosperous merchants trading to distant lands. He died on the 6th of June, 1561, and lies with his forefathers in the church of S. Maria Novella.

ANDREA D'AGNOLO,

CALLED ANDREA DEL SARTO.

CHAPTER I.

YOUTH AND EARLY WORKS. A.D. 1487-1511.

Andrea Del Sarto is a curious instance of the vital power of art, which, like a flower forcing its way to the light through walls or rocks, will find expression in spite of obstacles.

Andrea the painter, "senza errori," was an artist in spite of lowering home influences, of want of encouragement in his patrons--for his greatest works only brought the smallest remuneration--and even in spite of his own nature, which was material, wanting in high aims, and deficient in ideality; yet his name lives for ever as a great master, and his works rank close to those of the leaders of the Renaissance.

In looking at them one sighs even in the midst of admiration, thinking that if the hand which produced them had been guided by a spark of divine genius instead of the finest talent, what glorious works they would have been! The truth is that Andrea's was a receptive, rather than an original and productive mind. His art was more imitative than spontaneous, and this forms perhaps the difference between talent and genius. The art of his time sunk into his mind, and was reproduced.

He lived precisely at the time of the culmination of art, when all the highest masters were bringing forth their grandest works; therefore he could not do otherwise than to follow the best examples.