Guglielmo was a man of fine spirit and intelligence, and of very great mastery in handling glass, and particularly in so distributing the colours that the brightest should come in the foremost figures, those in the other figures being darker in proportion as they receded; in which point he was a rare and truly excellent master. Moreover, he showed very good judgment in the painting of his figures; whereby he executed them with such unity, that they fell back into the distance little by little, in such a way that they did not cling either to the buildings or to the landscapes, and had the appearance of being painted on panel, or rather in relief. He showed invention and variety in the composition of scenes, making them rich and well grouped; and he rendered easy the process of making such pictures as are put together out of pieces of glass, which was held to be very difficult, as indeed it is for one who has not his skill and dexterity. He designed the pictures for his windows with such good method and order, that the mountings of lead and iron, which cross them in certain places, were so well fitted into the joinings of the figures and the folds of the draperies, that they cannot be seen—nay, they gave the whole such grace, that the brush could not have done more—and thus he was able to make a virtue of necessity.

Guglielmo used only two kinds of colour for the shading of such glass as he proposed to subject to the action of fire; one was scale of iron, and the other scale of copper. That of iron, which is dark, served to shade draperies, hair, and buildings; and the other, that of copper, which produces a tawny tint, served for flesh colours. He also made much use of a hard stone that comes from Flanders and France, called at the present day hematite, which is red in colour and is much employed for burnishing gold. This, having first been pounded in a bronze mortar, and then ground with an iron brazing instrument on a plate of copper or yellow brass, and tempered with gum, works divinely well on glass.

When Guglielmo first arrived in Rome, he was no great draughtsman, although he was well practised in every other respect. But having recognized the need of this, he applied himself to the study of drawing, in spite of his being well advanced in years; and thus little by little he achieved the improvement that is evident in the windows that he afterwards made for the Palace of the said Cardinal at Cortona, and for the other without the city, in a round window that is in the aforesaid Pieve, over the facade, on the right hand as one enters the church, wherein are the arms of Pope Leo X, and likewise in two little windows that are in the Company of Gesu, in one of which is a Christ, and in the other a S. Onofrio. These are no little different from his early works, and much better.

Now while Guglielmo, as has been related, was living in Cortona, there died at Arezzo one Fabiano di Stagio Sassoli, an Aretine, who had been a very good master of the making of large windows. Thereupon the Wardens of Works for the Vescovado gave the commission for three windows in the principal chapel, each twenty braccia in height, to Stagio, the son of the said Fabiano, and to the painter Domenico Pecori; but when these were finished and fixed in their places, they gave no great satisfaction to the Aretines, although they were passing good and rather worthy of praise than otherwise. It happened at this time that Messer Lodovico Belichini, an excellent physician, and one of the first men in the government of the city of Arezzo, went to Cortona to cure the mother of the aforesaid Cardinal; and there he became well acquainted with our Guglielmo, with whom, when he had time, he was very willing to converse. And Guglielmo, who was then called the Prior, from his having received about that time the benefice of a priory, likewise conceived an affection for that physician, who asked him one day whether, with the good will of the Cardinal, he would go to Arezzo to execute some windows; at which Guglielmo promised that he would, and with the permission and good will of the Cardinal he made his way to that city. Now Stagio, of whom we have spoken above, having parted from the company of Domenico, received Guglielmo into his house; and the latter, for his first work, executed for a window of the Chapel of S. Lucia, belonging to the Albergotti, in the Vescovado of Arezzo, that Saint and a S. Sylvester, in so good a manner that the work may truly be said to be made with living figures, and not of coloured and transparent glass, or at least to be a picture worthy of praise and marvellous. For besides the mastery shown in the flesh-colours, the glasses are flashed; that is, in some places the first skin has been removed, and the glass then coloured with another tint; by which is meant, for example, the placing of yellow over red flashed glass, or the application of white and green over blue; which is a difficult and even miraculous thing in this craft. The first or true colour, then, such as red, blue, or green, covers the whole of one side; and the other part, which is as thick as the blade of a knife, or a little more, is white. Many, being afraid that they might break the glasses, on account of their lack of skill in handling them, do not employ a pointed iron for removing that layer, but in place of this, for greater safety, set about grinding the glasses with a copper wheel fixed on the end of an iron instrument; and thus, little by little, by the use of emery, they contrive to leave only a layer of white glass, which turns out very clear. Then, if a yellow colour has to be applied to the piece of glass thus left white, at the moment when it is to be placed into the furnace for firing, it is painted by means of a brush with calcined silver, which is a colour similar to bole, but somewhat thick; and in the fire this melts over the glass, fuses, and takes a firm hold, penetrating into the glass and making a very beautiful yellow. These methods of working no one used better, or with more ingenuity and art, than Prior Guglielmo; and it is in these things that the difficulty consists, for painting the glass with oil-colours or in any other manner is little or nothing, and that it should be diaphanous or transparent is not a matter of much importance, whereas firing it in the furnace and making it such that it will withstand the action of water and remain fresh for ever, is a difficult work and well worthy of praise. Wherefore this excellent master deserves the highest praise, since there is not a man of his profession who has done as much, whether in design, or invention, or colouring, or general excellence.

He then made the great round-window of the same church, containing the Descent of the Holy Spirit, and likewise the Baptism of Christ by S. John, wherein he represented Christ in the Jordan, awaiting S. John, who has taken a cup of water in order to baptize Him, while a nude old man is taking off his shoes, and some angels are preparing Christ's raiment, and on high is the Father, sending down the Holy Spirit upon His Son. This window is over the baptismal font of that Duomo, for which he also executed the window containing the Resurrection of Lazarus on the fourth day after death; wherein it seems impossible that he could have included in so small a space such a number of figures, in which may be recognized the terror and amazement of the people, with the stench from the body of Lazarus, whose resurrection causes his two sisters to rejoice amid their tears. In this work are innumerable colours, flashed one over the other in the glass, and every least thing truly appears most natural in its own kind.

And whoever wishes to learn how much the hand of the Prior was able to effect in this art, should study the window of S. Matthew over the Chapel of that Apostle, and observe the marvellous invention of that scene, wherein he can see a living figure of Christ calling Matthew from his tables, while Matthew, following Him and stretching out his arms to receive Him, abandons the riches and treasures that he has acquired. And at the same time an Apostle may be seen in a very spirited attitude, awaking another who has fallen asleep on some steps; and in like manner there may also be perceived a S. Peter speaking with S. John, both being so beautiful that they seem truly divine. In this same window are temples in perspective, staircases, and figures so well grouped, and landscapes so natural, that one would never think it was glass, but rather a thing rained down from Heaven for the consolation of mankind. In the same place he made the window of S. Anthony and that of S. Nicholas, both most beautiful, with two others, one containing the scene of Christ driving the traders from the Temple, and the other that of the woman taken in adultery; all these works being held to be truly excellent and marvellous.

So fully were the labours and abilities of the Prior recognized by the Aretines, what with praises, favours, and rewards, and so satisfied and contented was he by this result, that he resolved to adopt that city as his home, and to change himself from a Frenchman into an Aretine. Afterwards, reflecting in his own mind that the art of glass-painting, on account of the destruction that takes place every moment in such works, was no lasting one, there came to him a desire to devote himself to painting, and he therefore undertook to execute for the Wardens of Works of the Vescovado in that city three very large vaults in fresco, thinking thus to leave a memorial of himself behind him. The Aretines, in return for this, presented to him a farm that belonged to the Confraternity of S. Maria della Misericordia, near their city, with some excellent houses, for his enjoyment during his lifetime. And they ordained that when the work was finished, its value should be estimated by some distinguished craftsman, and that the Wardens should make this good to him in full. Whereupon he made up his mind to show his worth in this undertaking, and he made his figures very large on account of the height, after the manner of the works in Michelagnolo's chapel. And so mightily did his wish to become excellent in such an art avail in him, that although he was fifty years of age, he improved little by little in such a manner, that he showed that his knowledge and comprehension of the beautiful were not less than his delight in imitating the good in the execution of his work. He went on to represent the earlier events of the New Testament, even as in the three large works he had depicted the beginning of the Old. For this reason, therefore, I am inclined to believe that any man of genius who has the desire to attain to perfection, is able, if he will but take the pains, to make naught of the limits of any science. At the beginning of those works, indeed, he was alarmed by their size, and because he had never executed any before; which was the reason that he sent to Rome for Maestro Giovanni, a French miniaturist, who, coming to Arezzo, painted over S. Antonio an arch with a Christ in fresco, and for that Company the banner that is carried in processions, which he executed with great diligence, having received the commission for them from the Prior.

At the same time Guglielmo made the round window for the facade of the Church of S. Francesco, a great work, in which he represented the Pope in Consistory, with the Conclave of Cardinals, and S. Francis going to Rome for the confirmation of his Rule and bearing the roses of January. In this work he proved what a master of composition he was, so that it may be said with truth that he was born for that profession; nor may any craftsman ever think to equal him in beauty, in abundance of figures, or in grace. There are innumerable windows executed by him throughout that city, all most beautiful, such as the great round window in the Madonna delle Lacrime, containing the Assumption of Our Lady and the Apostles, and a very beautiful window with an Annunciation; a round window with the Marriage of the Virgin, and another containing a S. Jerome executed for the Spadari, and likewise three other windows below, in various parts of the church; with a most beautiful round window with the Nativity of Christ in the Church of S. Girolamo, and another in S. Rocco. He sent some, also, to various places, such as Castiglione del Lago, and one to Florence for Lodovico Capponi, to be set up in S. Felicita, where there is the panel by Jacopo da Pontormo, a most excellent painter, and the chapel adorned by him with mural paintings in oils and in fresco and with panel-pictures; which window came into the hands of the Frati Ingesuati in Florence, who worked at that craft, and they took it all to pieces in order to learn how it was made, removing many pieces as specimens and replacing them with new ones, so that in the end they made quite a different window.

He also conceived the wish to paint in oils, and for the Chapel of the Conception in S. Francesco at Arezzo he executed a panel-picture wherein are some vestments very well painted, and many heads most lifelike, and so beautiful that he was honoured thereby ever afterwards, seeing that this was the first work that he had ever done in oils.

The Prior was a very honourable person, and delighted in agriculture and in making alterations in buildings; wherefore, having bought a most beautiful house, he made in it a vast number of improvements. As a man of religion, he was always most upright in his ways; and the remorse of conscience, on account of his departure from his convent, kept him sorely afflicted. For which reason he made a very beautiful window for the Chapel of the High-altar in S. Domenico, a convent of his Order at Arezzo; wherein he depicted a vine that issues from the body of S. Dominic and embraces a great number of sanctified friars, who constitute the tree of the Order; and at the highest point is Our Lady, with Christ, who is marrying S. Catherine of Siena—a work much extolled and of great mastery, for which he would accept no payment, believing himself to be much indebted to that Order. He sent a very beautiful window to S. Lorenzo in Perugia, and an endless number of others to many places round Arezzo.

And because he took much pleasure in matters of architecture, he made for the citizens of that country a number of designs of buildings and adornments for their city, such as the two doors of S. Rocco in stone, and the ornament of grey-stone that was added to the panel-picture of Maestro Luca in S. Girolamo; and he designed an ornament in the Abbey of Cipriano d' Anghiari, and another for the Company of the Trinita in the Chapel of the Crocifisso, and a very rich lavatory for the sacristy; which were all executed with great perfection by the stone-cutter Santi.

Finally, ever delighting in labour, and continually working both winter and summer at his mural painting, which breaks down the healthiest of men, he became so afflicted by the damp and so swollen with dropsy, that his physicians had to tap him, and in a few days he rendered up his soul to Him who had given it. First, like a good Christian, he partook of the Sacraments of the Church, and made his will. Then, having a particular devotion for the Hermits of Camaldoli, who have their seat on the summit of the Apennines, twenty miles distant from Arezzo, he bequeathed to them his property and his body, and to Pastorino da Siena, his assistant, who had been with him many years, he left his glasses, his working-instruments, and his designs, of which there is one in our book, a scene of the Submersion of Pharaoh in the Red Sea.

This Pastorino afterwards applied himself to many other fields of art, and also to glass windows, although the works that he produced in that craft were but few. Guglielmo was much imitated, also, by one Maso Porro of Cortona, who was more able in firing and putting together the glass than in painting it. One of the pupils of Guglielmo was Battista Borro of Arezzo, who continues to imitate him greatly in the making of windows; and he also taught the first rudiments to Benedetto Spadari and to Giorgio Vasari of Arezzo.

The Prior lived sixty-two years, and died in the year 1537. He deserves infinite praise, in that by him there was brought into Tuscany the art of working in glass with the greatest mastery and delicacy that could be desired. Wherefore, since he conferred such great benefits upon us, we also will pay him honour, exalting him continually with loving and unceasing praise both for his life and for his works.



SIMONE



LIFE OF SIMONE, CALLED IL CRONACA

[SIMONE DEL POLLAIUOLO]

ARCHITECT OF FLORENCE

Many intellects are lost that would make rare and worthy works, if, on coming into the world, they were to hit upon persons able and willing to set them to work on those labours for which they are fitted. But it often happens that he who has the means is neither capable nor willing; and if, indeed, there chances to be one willing to erect some worthy building, he often takes no manner of care to seek out an architect of real merit or of any loftiness of spirit. Nay, he puts his honour and glory into the keeping of certain thievish creatures, who generally disgrace the name and fame of such memorials; and in order to thrust forward into greatness those who depend entirely upon him (so great is the power of ambition), he often rejects the good designs that are offered to him, and puts into execution the very worst; wherefore his own fame is left besmirched by the clumsiness of the work, since it is considered by all men of judgment that the craftsman and the patron who employs him, in that they are conjoined in their works, are of one and the same mind. And on the other hand, how many Princes of little understanding have there been, who, through having chanced upon persons of excellence and judgment, have obtained after death no less fame from the memory of their buildings than they enjoyed when alive from their sovereignty over their people.

Truly fortunate, however, in his day, was Cronaca, in that he not only had the knowledge, but also found those who kept him continually employed, and that always on great and magnificent works. Of him it is related that while Antonio Pollaiuolo was in Rome, working at the tombs of bronze that are in S. Pietro, there came to his house a young lad, his relative, whose proper name was Simone, and who had fled from Florence on account of some brawl. This Simone, having worked with a master in woodwork, and being much inclined to the art of architecture, began to observe the beautiful antiquities of that city, and, delighting in them, went about measuring them with the greatest diligence. And, going on with this, he had not been long in Rome before he showed that he had made much proficience, both in taking measurements and in carrying one or two things into execution.

Thereupon he conceived the idea of returning to Florence, and departed from Rome; and on arriving in his native city, having become a passing good master of words, he described the marvels of Rome and of other places with such accuracy, that from that time onwards he was called Il Cronaca, every man thinking that he was truly a chronicle of information in his discourse. Now he had become such that he was held to be the most excellent of the modern architects in the city of Florence, seeing that he had good judgment in choosing sites, and showed that he had an intellect more lofty than that of many others who were engaged in that profession; for it was evident from his works how good an imitator he was of antiquities, and how closely he had observed the rules of Vitruvius and the works of Filippo di Ser Brunellesco.

, Florence: Palazzo Strozzi)

Alinari]

There was then in Florence that Filippo Strozzi who is now called "the elder," to distinguish him from his son; and he, being very rich, wished to leave to his native city and to his children, among other memorials of himself, one in the form of a beautiful palace. Wherefore Benedetto da Maiano, having been called upon by him for this purpose, made him a model entirely isolated, which was afterwards put into execution, although not in all its extent, as will be related below, for some of his neighbours would not give up their houses to accommodate him. Benedetto began the palace, therefore, in the best way that he could, and brought the outer shell almost to completion before the death of Filippo: which outer shell is in the Rustic Order, with varying degrees of rustication, as may be seen, since the boss-covered part from the first range of windows downwards, together with the doors, is very much Rustic, and the part from the first range of windows to the second is much less Rustic. Now it happened that at the very moment when Benedetto was leaving Florence, Cronaca returned from Rome; whereupon, Simone being presented to Filippo, the latter was so pleased with the model that he made for the courtyard and for the great cornice which goes round the outer side of the palace, that, having recognized the excellence of his intellect, he decided that thenceforward the whole work should pass through his hands, and availed himself of his services ever afterwards. Cronaca, then, in addition to the beautiful exterior in the Tuscan Order, made at the top a very magnificent Corinthian cornice, which serves to complete the roof; and half of it is seen finished at the present day, with such extraordinary grace that nothing could be added to it, nor could anything more beautiful be desired. This cornice was taken by Cronaca, who copied it in Rome with exact measurements, from an ancient one that is to be found at Spoglia Cristo, which is held to be the most beautiful among the many that are in that city; although it is true that it was enlarged by Cronaca to the proportions required by the palace, to the end that it might make a suitable finish, and might also complete the roof of that palace by means of its projection. Thus, then, the genius of Cronaca was able to make use of the works of others and to transform them almost into his own; which does not succeed with many, since the difficulty lies not in merely having drawings and copies of beautiful things, but in accommodating them to the purpose which they have to serve, with grace, true measurement, proportion, and fitness. But just as much as this cornice of Cronaca's was and always will be extolled, so was that one censured which was made for the Palace of the Bartolini in the same city by Baccio d' Agnolo, who, seeking to imitate Cronaca, placed over a small facade, delicate in detail, a great ancient cornice copied with the exact measurements from the frontispiece of Monte Cavallo; which resulted in such ugliness, from his not having known how to adapt it with judgment, that it could not look worse, for it seems like an enormous cap on a small head. It is not enough for craftsmen, when they have executed their works, to excuse themselves, as many do, by saying that they were taken with exact measurements from the antique and copied from good masters, seeing that good judgment and the eye play a greater part in all such matters than measuring with compasses. Cronaca, then, executed half of the said cornice with great art right round that palace, together with dentils and ovoli, and finished it completely on two sides, counterpoising the stones in such a way, in order that they might turn out well bound and balanced, that there is no better masonry to be seen, nor any carried to perfection with more diligence. In like manner, all the other stones are so well put together, and with so high a finish, that the whole does not appear to be of masonry, but rather all of one piece. And to the end that everything might be in keeping, he caused beautiful pieces of iron-work to be made for all parts of the palace, as adornments for it, and the lanterns that are at the corners, which were all executed with supreme diligence by Niccolo Grosso, called Il Caparra, a smith of Florence. In those marvellous lanterns may be seen cornices, columns, capitals, and brackets of iron, fixed together with wonderful craftsmanship; nor has any modern ever executed in iron works so large and so difficult, and with such knowledge and mastery.



Niccolo Grosso was an eccentric and self-willed person, claiming justice for himself and giving it to others, and never covetous of what was not his own. He would never give anyone credit in the payment of his works, and always insisted on having his earnest-money. For this reason Lorenzo de' Medici called him Il Caparra,[28] and he was known to many others by that name. He had a sign fixed over his shop, wherein were books burning; wherefore, when one asked for time to make his payment, he would say, "I cannot give it, for my books are burning, and I can enter no more debtors in them." He was commissioned by the honourable Captains of the Guelph party to make a pair of andirons, which, when he had finished them, were sent for several times. But he kept saying, "On this anvil do I sweat and labour, and on it will I have my money paid down." Whereupon they sent to him once more for the work, with a message that he should come for his money, for he would straightway be paid; but he, still obstinate, answered that they must first bring the money. The provveditore, therefore, knowing that the Captains wished to see the work, fell into a rage, and sent to him saying that he had received half the money, and that when he had dispatched the andirons, he would pay him the rest. On which account Caparra, recognizing that this was true, gave one of the andirons to the messenger, saying: "Take them this one, for it is theirs; and if it pleases them, bring me the rest of the money, and I will hand over the other; but at present it is mine." The officials, seeing the marvellous work that he had put into it, sent the money to his shop; and he sent them the other andiron. It is related, also, that Lorenzo de' Medici resolved to have some pieces of iron-work made, to be sent abroad as presents, in order that the excellence of Caparra might be made known. He went, therefore, to his shop, and happened to find him working at some things for certain poor people, from whom he had received part of the price as earnest-money. On Lorenzo making his request, Niccolo would in no way promise to serve him before having satisfied the others, saying that they had come to his shop before Lorenzo, and that he valued their money as much as his. To the same master some young men of the city brought a design, from which he was to make for them an iron instrument for breaking and forcing open other irons by means of a screw, but he absolutely refused to serve them; nay, he upbraided them, and said: "Nothing will induce me to serve you in such a matter; for these things are nothing but thieves' tools, or instruments for abducting and dishonouring young girls. Such things are not for me, I tell you, nor for you, who seem to me to be honest men." And they, perceiving that Caparra would not do their will, asked him who there was in Florence who might serve them; whereupon, flying into a rage, he drove them away with a torrent of abuse. He would never work for Jews, and was wont, indeed, to say that their money was putrid and stinking. He was a good man and a religious, but whimsical in brain and obstinate: and he would never leave Florence, for all the offers that were made to him, but lived and died in that city. Of him I have thought it right to make this record, because he was truly unique in his craft, and has never had and never will have an equal, as may be seen best from the iron-work and the beautiful lanterns of the Palace of the Strozzi.



This palace was brought to completion by Cronaca, and adorned with a very rich courtyard in the Corinthian and Doric Orders, with ornaments in the form of columns, capitals, cornices, windows, and doors, all most beautiful. And if it should appear to anyone that the interior of this palace is not in keeping with the exterior, he must know that the fault is not Cronaca's, for the reason that he was forced to adapt his interior to an outer shell begun by others, and to follow in great measure what had been laid down by those before him; and it was no small feat for him to have given it such beauty as it displays. The same answer may be made to any who say that the ascent of the stairs is not easy, nor correct in proportion, but too steep and sudden; and likewise, also, to such as say that the rooms and apartments of the interior in general are out of keeping, as has been described, with the grandeur and magnificence of the exterior. Nevertheless this palace will never be held as other than truly magnificent, and equal to any private building whatsoever that has been erected in Italy in our own times; wherefore Cronaca rightly obtained, as he still does, infinite commendation for this work.

The same master built the Sacristy of S. Spirito in Florence, which is in the form of an octagonal temple, beautiful in proportions, and executed with a high finish; and among other things to be seen in this work are some capitals fashioned by the happy hand of Andrea dal Monte Sansovino, which are wrought with supreme perfection; and such, likewise, is the antechamber of that sacristy, which is held to be very beautiful in invention, although the coffered ceiling, as will be described, is not well distributed over the columns. The same Cronaca also erected the Church of S. Francesco dell' Osservanza on the hill of S. Miniato, without Florence; and likewise the whole of the Convent of the Servite Friars, which is a highly extolled work.

. Florence: S. Spirito)

Alinari]

At this same time there was about to be built, by the advice of Fra Girolamo Savonarola, a most famous preacher of that day, the Great Council Chamber of the Palace of the Signoria in Florence; and for this opinions were taken from Leonardo da Vinci, Michelagnolo Buonarroti, although he was a mere lad, Giuliano da San Gallo, Baccio d' Agnolo, and Simone del Pollaiuolo, called Il Cronaca, who was the devoted friend and follower of Savonarola. These men, after many disputes, came to an agreement, and decided that the Hall should be made in that form which it retained down to our own times, when, as has been mentioned and will be related yet again in another place, it was almost rebuilt. The charge of the whole work was given to Cronaca, as a man of talent and also as the friend of the aforesaid Fra Girolamo; and he executed it with great promptitude and diligence, showing the beauty of his genius particularly in the making of the roof, since the structure is of vast extent in every direction. He made the tie-beams of the roof-truss, which are thirty-eight braccia in length from wall to wall, of a number of timbers well scarfed and fastened together, since it was not possible to find beams of sufficient size for the purpose; and whereas the tie-beams of other roof-trusses have only one king-post, all those of this Hall have three each, a king-post in the middle, and a queen-post on either side. The rafters are long in proportion, and so are the struts of each king-post and queen-post; nor must I omit to say that the struts of the queen-posts, on the side nearest the wall, thrust against the rafters, and, towards the centre, against the struts of the king-post. I have thought it right to describe how this roof-truss is made, because it was constructed with beautiful design, and I have seen drawings made of it by many for sending to various places. When these tie-beams, thus contrived, had been drawn up and placed at intervals of six braccia, and the roof had been likewise laid down in a very short space of time, Cronaca attended to the fixing of the ceiling, which was then made of plain wood and divided into panels, each of which was four braccia square and surrounded by an ornamental cornice of few members; and a flat moulding was made of the same width as the planks, which enclosed the panels and the whole work, with large bosses at the intersections and the corners of the whole ceiling. And although the end walls of this Hall, one on either side, were eight braccia out of the square, they did not make up their minds, as they might have done, to thicken the walls so as to make it square, but carried them up to the roof just as they were, making three large windows on each of those end walls. But when the whole was finished, the Hall, on account of its extraordinary size, turned out to be too dark, and also stunted and wanting in height in relation to its great length and breadth; in short, almost wholly out of proportion. They sought, therefore, but with little success, to improve it by making two windows in the middle of the eastern side of the Hall, and four on the western side. After this, in order to give it its final completion, they made on the level of the brick floor, with great rapidity, being much pressed by the citizens, a wooden tribune right round the walls of the Hall, three braccia both in breadth and height, with seats after the manner of a theatre, and with a balustrade in front; on which tribune all the magistrates of the city were to sit. In the middle of the eastern side was a more elevated dais, on which the Signori sat with the Gonfalonier of Justice; and on either side of this more prominent place was a door, one of them leading to the Segreto[29] and the other to the Specchio.[30] Opposite to this, on the west side, was an altar at which Mass was read, with a panel by the hand of Fra Bartolommeo, as has been mentioned; and beside the altar was the pulpit for making speeches. In the middle of the Hall, then, were benches in rows laid crossways, for the citizens; while in the centre and at the corners of the tribune were some gangways with six steps, providing a convenient ascent for the ushers in the collection of votes. In this Hall, which was much extolled at that day for its many beautiful features and the rapidity with which it was erected, time has since served to reveal such errors as that it is low, dark, gloomy, and out of the square. Nevertheless Cronaca and the others deserve to be excused, both on account of the haste with which it was executed at the desire of the citizens, who intended in time to have it adorned with pictures and the ceiling overlaid with gold, and because up to that day there had been no greater hall built in Italy; although there are others very large, such as that of the Palace of S. Marco in Rome, that of the Vatican, erected by Pius II and Innocent VIII, that of the Castle of Naples, that of the Palace of Milan, and those of Urbino, Venice, and Padua.

After this, to provide an ascent to this Hall, Cronaca, with the advice of the same masters, made a great staircase six braccia wide and curving in two flights, richly adorned with grey-stone, and with Corinthian pilasters and capitals, double cornices, and arches, of the same stone; and with barrel-shaped vaulting, and windows with columns of variegated marble and carved marble capitals. But although this work was much extolled, it would have won even greater praise if the staircase had not turned out inconvenient and too steep; for it is a sure fact that it could have been made more gentle, as has been done in the time of Duke Cosimo, within the same amount of space and no more, in the new staircase made, opposite to that of Cronaca, by Giorgio Vasari, which is so gentle in ascent and so convenient, that going up it is almost like walking on the level. This has been the work of the aforesaid Lord Duke Cosimo, who, being a man of most happy genius and most profound judgment both in the government of his people and in all other things, grudges neither expense nor anything else in his desire to make all the fortifications and other buildings, both public and private, correspond to the greatness of his own mind, and not less beautiful than useful or less useful than beautiful.

His Excellency, then, reflecting that the body of this Hall is the largest, the most magnificent, and the most beautiful in all Europe, has resolved to have it improved in such parts as are defective, and to have it made in every other part more ornate than any other structure in Italy, by the design and hand of Giorgio Vasari of Arezzo. And thus, the walls having been raised twelve braccia above their former height, in such a manner that the height from the pavement to the ceiling is thirty-two braccia, the roof-truss made by Cronaca to support the roof has been restored and replaced on high after a new arrangement; and the old ceiling, which was simple and commonplace, and by no means worthy of that Hall, has been remodelled with a system of compartments of great variety, rich in mouldings, full of carvings, and all overlaid with gold, together with thirty-nine painted panels, square, round, and octagonal, the greater number of which are each nine braccia in extent, and some even more, and all containing scenes painted in oils, with the largest figures seven or eight braccia high. In these stories, commencing with the very beginning, may be seen the rise, the honours, the victories, and the glorious deeds of the city and state of Florence, and in particular the wars of Pisa and Siena, together with an endless number of other things, which it would take too long to describe. And on each of the side walls there has been left a convenient space of sixty braccia, in each of which are to be painted three scenes in keeping with the ceiling and embracing the space of seven pictures on either side, which represent events from the wars of Pisa and Siena. These compartments on the walls are so large, that no greater spaces for the painting of historical pictures have ever been seen either by the ancients or by the moderns. And the said compartments are adorned by some vast stone ornaments which meet at the ends of the Hall, at one side of which, namely, the northern side, the Lord Duke has caused to be finished a work begun and carried nearly to completion by Baccio Bandinelli, that is, a facade filled with columns and pilasters and with niches containing statues of marble; which space is to serve as a public audience chamber, as will be related in the proper place. On the other side, opposite to this, there is to be, in a similar facade that is being made by the sculptor and architect Ammanati, a fountain to throw up water in the Hall, with a rich and most beautiful adornment of columns and statues of marble and bronze. Nor will I forbear to say that this Hall, in consequence of the roof having been raised twelve braccia, has gained not only height, but also an ample supply of windows, since, in addition to the others that are higher up, in each of those end walls are to be made three large windows, which will be over the level of a corridor that is to form a loggia within the Hall and to extend on one side over the work of Bandinelli, whence there will be revealed a most beautiful view of the whole Piazza. But of this Hall, and of the other improvements that have been or are being made in the Palace, there will be a longer account in another place. This only let me say at present, that if Cronaca and those other ingenious craftsmen who gave the design for the Hall could return to life, in my belief they would not recognize either the Palace, or the Hall, or any other thing that is there. The Hall, namely, that part which is rectangular, without counting the works of Bandinelli and Ammanati, is ninety braccia in length and thirty-eight braccia in breadth.

But returning to Cronaca: in the last years of his life there entered into his head such a frenzy for the cause of Fra Girolamo Savonarola, that he would talk of nothing else but that. Living thus, in the end he died after a passing long illness, at the age of fifty-five, and was buried honourably in the Church of S. Ambrogio at Florence, in the year 1509; and after no long space of time the following epitaph was written for him by Messer Giovan Battista Strozzi:

CRONACA VIVO, E MILLE E MILLE ANNI E MILLE ANCORA, MERCE DE' VIVI MIEI PALAZZI E TEMPI, BELLA ROMA, VIVRA L' ALMA MIA FLORA.

Cronaca had a brother called Matteo, who gave himself to sculpture and worked under the sculptor Antonio Rossellino; but although he was a man of good and beautiful intelligence, a fine draughtsman, and well practised in working marble, he left no finished work, because, being snatched from the world by death at the age of nineteen, he was not able to accomplish that which was expected from him by all who knew him.

FOOTNOTE:

[28] Earnest-money.

[29] Room in which the beans used in voting for the election of magistrates were counted.

[30] Office of those who had charge of the Specchio, the book in which were inscribed the names of such citizens as were in arrears with their taxes.



DOMENICO PULIGO



LIFE OF DOMENICO PULIGO

PAINTER OF FLORENCE

It is a marvellous and almost incredible thing, that many followers of the art of painting, through continual practice and handling of colours, either by an instinct of nature or by the trick of a good manner, acquired without any draughtsmanship or grounding, carry their works to such thorough completion, and very often contrive to make them so good, that, although the craftsmen themselves may be none of the rarest, their pictures force the world to extol them and to hold them in supreme veneration. And it has been perceived in the past from many examples, and in many of our painters, that the most vivacious and perfect works are produced by those who have a beautiful manner from nature, although they must exercise it with continual study and labour; while this gift of nature has such power, that even if they neglect or abandon the studies of art, and pay attention to nothing save the mere practice of painting and of handling colours with a grace infused in them by nature, at the first glance their works have the appearance of displaying all the excellent and marvellous qualities that are wont to appear after a close inspection in the works of those masters whom we hold to be the best. And that this is true, is demonstrated to us in our own day by experience, from the works of Domenico Puligo, a painter of Florence; wherein what has been said above may be clearly recognized by one who has knowledge of the matters of art.



While Ridolfo, the son of Domenico Ghirlandajo, was executing a number of works in painting at Florence, as will be related, he followed his father's habit of always keeping many young men painting in his workshop: which was the reason that not a few of them, through competing one with another, became very good masters, some at making portraits from life, some at working in fresco, others in distemper, and others at painting readily on cloth. Making these lads execute pictures, panels, and canvases, in the course of a few years Ridolfo, with great profit for himself, sent an endless number of these to England, to Germany, and to Spain. Baccio Gotti and Toto del Nunziata, disciples of Ridolfo, were summoned, one to France by King Francis, and the other to England by the King of that country, each of whom invited them after having seen some of their work. Two other disciples of the same master remained with him, working under him for many years, because, although they had many invitations into Spain and Hungary from merchants and others, they were never induced either by promises or by money to tear themselves away from the delights of their country, in which they had more work to do than they were able to execute. One of these two was Antonio del Ceraiuolo, a Florentine, who, having been many years with Lorenzo di Credi, had learnt from him, above all, to draw so well from nature, that with supreme facility he gave his portraits an extraordinary likeness to the life, although otherwise he was no great draughtsman. And I have seen some heads portrayed from life by his hand, which, although they have, for example, the nose crooked, one lip small and the other large, and other suchlike deformities, nevertheless resemble the life, through his having well caught the expression of the subject; whereas, on the other hand, many excellent masters have made pictures and portraits of absolute perfection with regard to art, but with no resemblance whatever to those that they are supposed to represent. And to tell the truth, he who executes portraits must contrive, without thinking of what is looked for in a perfect figure, to make them like those for whom they are intended. When portraits are like and also beautiful, then may they be called rare works, and their authors truly excellent craftsmen. This Antonio, then, besides many portraits, executed a number of panel-pictures in Florence; but for the sake of brevity I will make mention only of two. One of these, wherein he painted a Crucifixion, with S. Mary Magdalene and S. Francis, is in S. Jacopo tra Fossi, on the Canto degli Alberti; and in the other, which is in the Nunziata, is a S. Michael who is weighing souls.

The other of the two aforesaid disciples was Domenico Puligo, who was more excellent in draughtsmanship and more pleasing and gracious in colouring than any of the others mentioned above. He, considering that his method of painting with softness, without overloading his works with colour or making them hard, but causing the distances to recede little by little as though veiled with a kind of mist, gave his pictures both relief and grace, and that although the outlines of the figures that he made were lost in such a way that his errors were concealed and hidden from view in the dark grounds into which the figures merged, nevertheless his colouring and the beautiful expressions of his heads made his works pleasing, always kept to the same method of working and to the same manner, which caused him to be held in esteem as long as he lived. But omitting to give an account of the pictures and portraits that he made while in the workshop of Ridolfo, some of which were sent abroad and some remained in the city, I shall speak only of those which he painted when he was rather the friend and rival of Ridolfo than his disciple, and of those that he executed when he was so much the friend of Andrea del Sarto, that nothing was more dear to him than to see that master in his workshop, in order to learn from him, showing him his works and asking his opinion of them, so as to avoid such errors and defects as those men often fall into who do not show their work to any other craftsman, but trust so much in their own judgment that they would rather incur the censure of all the world when those works are finished, than correct them by means of the suggestions of loving friends.

One of the first things that Domenico executed was a very beautiful picture of Our Lady for Messer Agnolo della Stufa, who has it in his Abbey of Capalona in the district of Arezzo, and holds it very dear for the great diligence of its execution and the beauty of its colouring. He painted another picture of Our Lady, no less beautiful than that one, for Messer Agnolo Niccolini, now Archbishop of Pisa and a Cardinal, who keeps it in his house on the Canto de' Pazzi in Florence; and likewise another, of equal size and excellence, which is now in the possession of Filippo dell' Antella, at Florence. In another, which is about three braccia in height, Domenico made a full-length Madonna with the Child between her knees, a little S. John, and another head; and this picture, which is held to be one of the best works that he executed, since there is no sweeter colouring to be seen, is at the present day in the possession of Messer Filippo Spini, Treasurer to the most Illustrious Prince of Florence, and a gentleman of magnificent spirit, who takes much delight in works of painting.

Among other portraits that Domenico made from the life, which are all beautiful and also good likenesses, the most beautiful is the one which he painted of Monsignore Messer Piero Carnesecchi, at that time a marvellously handsome youth, for whom he also made some other pictures, all very beautiful and executed with much diligence. In like manner, he portrayed in a picture the Florentine Barbara, a famous and most lovely courtesan of that day, much beloved by many no less for her fine culture than for her beauty, and particularly because she was an excellent musician and sang divinely. But the best work that Domenico ever executed was a large picture wherein he made a life-size Madonna, with some angels and little boys, and a S. Bernard who is writing; which picture is now in the hands of Giovanni Gualberto del Giocondo, and of his brother Messer Niccolo, a Canon of S. Lorenzo in Florence.

The same master made many other pictures, which are dispersed among the houses of citizens, and in particular some wherein may be seen a half-length figure of Cleopatra, causing an asp to bite her on the breast, and others wherein is the Roman Lucretia killing herself with a dagger. There are also some very beautiful portraits from life and pictures by the same hand at the Porta a Pinti, in the house of Giulio Scali, a man whose judgment is as fine in the matters of our arts as it is in those of every other most noble and most honourable profession. Domenico executed for Francesco del Giocondo, in a panel for his chapel in the great tribune of the Church of the Servi at Florence, a S. Francis who is receiving the Stigmata; which work is very sweet and soft in colouring, and wrought with much diligence. In the Church of Cestello, round the Tabernacle of the Sacrament, he painted two angels in fresco, and on the panel of a chapel in the same church he made a Madonna with her Son in her arms, S. John the Baptist, S. Bernard, and other saints. And since it appeared to the monks of that place that he had acquitted himself very well in those works, they caused him to paint in a cloister of their Abbey of Settimo, without Florence, the Visions of Count Ugo, who built seven abbeys. And no long time after, Puligo painted, in a shrine at the corner of the Via Mozza da S. Catarina, a Madonna standing, with her Son in her arms marrying S. Catherine, and a figure of S. Peter Martyr. For a Company in the township of Anghiari he executed a Deposition from the Cross, which may be numbered among his best works.

But since it was his profession to attend rather to pictures of Our Lady, portraits, and other heads, than to great works, he gave up almost all his time to such things. Now if he had devoted himself not so much to the pleasures of the world, as he did, and more to the labours of art, there is no doubt that he would have made great proficience in painting, and especially as Andrea del Sarto, who was much his friend, assisted him on many occasions both with advice and with drawings; for which reason many of his works reveal a draughtsmanship as fine as the good and beautiful manner of the colouring. But the circumstance that Domenico was unwilling to endure much fatigue, and accustomed to labour rather in order to get through work and make money than for the sake of fame, prevented him from reaching a greater height. And thus, associating with gay spirits and lovers of good cheer, and with musicians and women, he died at the age of fifty-two, in the year 1527, in the pursuit of a love-affair, having caught the plague at the house of his mistress.

Colour was handled by him in so good and harmonious a manner, that it is for that reason, rather than for any other, that he deserves praise. Among his disciples was Domenico Beceri of Florence, who, giving a high finish to his colouring, executed his works in an excellent manner.



INDEX



INDEX OF NAMES

OF THE CRAFTSMEN MENTIONED IN VOLUME IV

Abbot of S. Clemente (Don Bartolommeo della Gatta), 41, 82, 216, 217

Agnolo, Baccio d', 101, 204, 267, 270

Agnolo Gaddi, 52, 54

Agostino Busto, 60

Albertinelli, Biagio di Bindo, 165

Albertinelli, Mariotto, Life, 165-171. 151, 154

Albrecht Duerer, 232

Aldigieri (Altichiero) da Zevio, 51, 54, 55

Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), 3, 4, 82

Alessandro Moretto, 60

Alesso Baldovinetti, 82

Alonzo Berughetta, 8

Alunno, Niccolo, 18, 19

Ammanati, 274

Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), 5, 144, 186, 223, 270

Andrea dal Castagno (Andrea degl' Impiccati), 82

Andrea dal Monte Sansovino (Andrea Sansovino, or Andrea Contucci), 5, 144, 186, 223, 270

Andrea degl' Impiccati (Andrea dal Castagno), 82

Andrea del Gobbo, 122

Andrea del Sarto, 83, 129, 134, 281, 283

Andrea di Cosimo, 129

Andrea Luigi (L'Ingegno), 47

Andrea Mantegna, 24, 55, 82

Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), 5, 144, 186, 223, 270

Andrea Verrocchio, 35, 39, 81, 90, 92, 112

Angelico, Fra (Fra Giovanni da Fiesole), 73, 154, 185

Angelo, Battista d', 61

Antonio (Antoniasso), 6, 7

Antonio da Correggio, Life, 117-122. 83, 125

Antonio da San Gallo, Life, 191-205. 145, 254

Antonio del Ceraiuolo, 280

Antonio di Giorgio, 36

Antonio Filarete, 56

Antonio Montecavallo, 140

Antonio Pollaiuolo, 4, 81, 265

Antonio Rossellino, 275

Apelles, 82, 83, 105

Arezzo, Niccolo d', 55

Aristotile da San Gallo, 212

Avanzi, Jacopo (Jacopo Davanzo), 51, 55

Bacchiaccha, Il (Francesco), 46

Baccio Bandinelli, 204, 274

Baccio d' Agnolo, 101, 204, 267, 270

Baccio da Montelupo, 186

Baccio della Porta (Fra Bartolommeo di San Marco), Life, 151-162. 82, 151-162, 165-167, 215, 244, 272

Baccio Gotti, 280

Baccio Ubertino, 46

Baldassarre Peruzzi, 145, 146, 200

Baldovinetti, Alesso, 82

Bandinelli, Baccio, 204, 274

Barile, Gian, 238

Bartolommeo, Fra (Fra Carnovale da Urbino), 138

Bartolommeo Clemente of Reggio, 60

Bartolommeo della Gatta, Don (Abbot of S. Clemente), 41, 82, 216, 217

Bartolommeo di San Marco, Fra (Baccio della Porta), Life, 151-162. 82, 151-162, 165-167, 215, 244, 272

Bartolommeo Montagna, 52, 60

Bartolommeo Vivarini, 52, 59

Basaiti, Marco (Il Bassiti, or Marco Basarini), 52, 58

Bastiani, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Scarpaccia), 52, 57, 58

Bastiano da Monte Carlo, 179

Battista Borro, 262

Battista d' Angelo, 61

Baviera, 232, 233

Bazzi, Giovanni Antonio (Sodoma), 72, 218

Beceri, Domenico, 283

Bellini, Gentile, 57, 59, 109

Bellini, Giovanni, 57, 58, 82, 109

Bellini, Vittore (Belliniano), 52, 59, 60

Benedetto Buglioni, 155

Benedetto Buonfiglio, 17, 18

Benedetto (Giovan Battista) Caporali, 48, 75, 76

Benedetto Cianfanini, 162

Benedetto da Maiano, 36, 151, 266, 267

Benedetto da Rovezzano, 155

Benedetto Diana, 52, 60

Benedetto Spadari, 262

Bernardino da Trevio, 138

Bernardino Pinturicchio, Life, 13-19. 46, 65, 211, 212

Bertoldo, 185

Berughetta, Alonzo, 8

Biagio di Bindo Albertinelli, 165

Bianco, Simon, 60

Bologna, Il, 237

Bolognese, Marc' Antonio, 232, 233

Boltraffio, Giovanni Antonio, 105

Bonsignori, Francesco, 60

Borgo a San Sepolcro, Piero dal (Piero della Francesca), 71, 82, 216

Borro, Battista, 262

Botticelli, Sandro (Alessandro Filipepi, or Sandro di Botticello), 3, 4, 82

Bramante da Urbino, Life, 137-148. 199-202, 216, 217, 223, 232, 237, 254

Bramantino, 217

Bresciano, Vincenzio (Vincenzio Zoppa or Foppa), 51, 52, 56

Bronzino, 179

Brunelleschi, Filippo (Filippo di Ser Brunellesco), 137, 185, 266

Bugiardini, Giuliano, 154, 161, 170, 186

Buglioni, Benedetto, 155

Buonarroti, Michelagnolo, 41, 43, 48, 65, 66, 74, 84, 85, 101, 104, 145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224, 242-245, 259, 270

Buonconsigli, Giovanni, 52, 60

Buonfiglio, Benedetto, 17, 18

Busto, Agostino, 60

Cadore, Tiziano da, 114

Campagnola, Girolamo, 51, 55, 56

Campagnola, Giulio, 51, 56, 57

Caparra, Il (Niccolo Grosso), 268, 269

Caporali, Benedetto (Giovan Battista), 48, 75, 76

Caporali, Giulio, 48

Caradosso, 23, 144

Caravaggio, Polidoro da, 83, 237

Carnovale da Urbino, Fra (Fra Bartolommeo), 138

Caroto, Francesco, 60

Carpaccio (Scarpaccia), Vittore, Life, 51-61

Carpi, Ugo da, 233

Cartoni, Niccolo (Niccolo Zoccolo), 9, 10

Castagno, Andrea dal (Andrea degl' Impiccati), 82

Castel Bolognese, Giovanni da, 111

Castel della Pieve, Pietro da (Pietro Vannucci, or Pietro Perugino), Life, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242, 243

Castelfranco, Giorgione da, Life, 109-114. 82, 125

Catena, Vincenzio, 52, 58

Cecchino del Frate, 162

Ceraiuolo, Antonio del, 280

Cesare Cesariano, 138

Cianfanini, Benedetto, 162

Cimabue, Giovanni, 77

Claudio, Maestro, 254, 255

Conigliano, Giovan Battista da, 52, 58

Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), 5, 144, 186, 223, 270

Cordegliaghi, Giovanetto, 52, 58, 59

Correggio, Antonio da, Life, 117-122. 83, 125

Cortona, Luca da (Luca Signorelli), Life, 71-76. 82, 216, 261

Cosimo, Andrea di, 129

Cosimo, Piero di, Life, 125-134

Cosimo Rosselli, 82, 125, 126, 151, 165

Credi, Lorenzo di, 153, 186, 280

Cristofano, 55

Cronaca, Il (Simone, or Simone del Pollaiuolo), Life, 265-275. 101

Davanzo, Jacopo (Jacopo Avanzi), 51, 55

Davanzo, Jacopo (of Milan), 60

Diamante, Fra, 3

Diana, Benedetto, 52, 60

Domenico Beceri, 283

Domenico di Paris, 47

Domenico Ghirlandajo, 36, 65, 82, 279

Domenico Pecori, 257

Domenico Puligo, Life, 279-283

Don Bartolommeo della Gatta (Abbot of S. Clemente), 41, 82, 216, 217

Donato (Donatello), 52, 152, 185

Duerer, Albrecht, 232

Ercole Ferrarese (Ercole da Ferrara), 82

Eusebio San Giorgio, 47

Fabiano di Stagio Sassoli, 256, 257

Ferrara, Stefano da, 56

Ferrarese, Ercole (Ercole da Ferrara), 82

Ferrarese, Galasso (Galasso Galassi), 55

Fiesole, Fra Giovanni da (Fra Angelico), 73, 154, 185

Filarete, Antonio, 56

Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), 3, 4, 82

Filippo Brunelleschi (Filippo di Ser Brunellesco), 137, 185, 266

Filippo Lippi (Filippino), Life, 3-10. 44, 82, 99, 100, 176, 177

Filippo Lippi, Fra, 3, 5, 9, 185

Fivizzano, 29

Flore, Jacobello de, 51, 55

Foppa, Vincenzio (Vincenzio Zoppa, or Vincenzio Bresciano), 51, 52, 56

Fra Angelico (Fra Giovanni da Fiesole), 73, 154, 185

Fra Bartolommeo (Fra Carnovale da Urbino), 138

Fra Bartolommeo di San Marco (Baccio della Porta), Life, 151-162. 82, 151-162, 165-167, 215, 244, 272

Fra Carnovale da Urbino (Fra Bartolommeo), 138.

Fra Diamante, 3

Fra Filippo Lippi, 3, 5, 9, 185

Fra Giocondo of Verona, 145

Fra Giovanni da Fiesole (Fra Angelico), 73, 154, 185

Fra Giovanni da Verona, 222

Fra Paolo Pistoiese, 162

Fra Sebastiano del Piombo, 84, 114, 240

Francesca, Piero della (Piero dal Borgo a San Sepolcro), 71, 82, 216

Francesco (Il Bacchiaccha), 46

Francesco (L'Indaco), 66, 67

Francesco, Maestro, 142

Francesco Bonsignori, 60

Francesco Caroto, 60

Francesco da Melzo, 99

Francesco da San Gallo, 134, 203, 204

Francesco Francia, Life, 23-29. 82

Francesco Giamberti, 134, 191

Francesco Granacci (Il Granaccio), 4, 169, 186

Francesco Masini, Messer, 227

Francesco Mazzuoli (Parmigiano), 83

Francesco Turbido (Il Moro), 61

Francia, Francesco, Life, 23-29. 82

Franciabigio, 170

Francione, 191, 192

Frate, Cecchino del, 162

Gabriele Rustici, 162

Gaddi, Agnolo, 52, 54

Galasso Ferrarese (Galasso Galassi), 55

Galieno, 179

Garbo, Raffaellino del, Life, 175-179. 6, 9

Gasparo Misceroni, 60

Gatta, Don Bartolommeo della (Abbot of S. Clemente), 41, 82, 216, 217

Gentile Bellini, 57, 59, 109

Gerino Pistoiese (Gerino da Pistoia), 18, 46

Gherardo, 36

Ghirlandajo, Domenico, 36, 65, 82, 279

Ghirlandajo, Ridolfo, 169, 212, 216, 279-281

Giamberti, Francesco, 134, 191

Gian Barile, 238

Gian Niccola, 47, 48

Giocondo of Verona, Fra, 145

Giorgio, Antonio di, 36

Giorgio Vasari. See Vasari (Giorgio)

Giorgione da Castelfranco, Life, 109-114. 82, 125

Giotto, 80

Giovan Battista da Conigliano, 52, 58

Giovan Battista (Benedetto) Caporali, 48, 75, 76

Giovan Francesco Penni, 237, 247

Giovan Francesco Rustici, 105, 186

Giovanetto Cordegliaghi, 52, 58, 59

Giovanni (Lo Spagna), 46, 47

Giovanni, Maestro, 260

Giovanni Antonio Bazzi (Sodoma), 72, 218

Giovanni Antonio Boltraffio, 105

Giovanni Bellini, 57, 58, 82, 109

Giovanni Buonconsigli. 52. 60

Giovanni Cimabue, 77

Giovanni da Castel Bolognese, 111

Giovanni da Fiesole, Fra (Fra Angelico), 73, 154, 185

Giovanni da Udine, 237, 239

Giovanni da Verona, Fra, 222

Giovanni de' Santi, 46, 210, 213, 249

Giovanni Mansueti, 52, 59

Giovanni Pisano, 142

Giovanni Rosto, 46

Girolamo Campagnola, 51, 55, 56

Girolamo Misceroni, 60

Girolamo Romanino, 60

Giromin Morzone, 55, 56

Giuliano Bugiardini, 154, 161, 170, 186

Giuliano da Maiano, 197

Giuliano da San Gallo, Life, 191-205. 101, 134, 145, 191-205, 270

Giuliano Leno, 147

Giulio Campagnola, 51, 56, 57

Giulio Caporali, 48

Giulio Romano, 76, 84, 119, 232, 237, 247

Giusto (of Padua), 51, 56

Gobbo, Andrea del, 122

Gotti, Baccio, 280

Granacci, Francesco (Il Granaccio), 4, 169, 186

Grosso, Niccolo (Il Caparra), 268, 269

Guerriero da Padova, 51, 56

Guglielmo da Marcilla (Guillaume de Marcillac), Life, 253-262

Il Bacchiaccha (Francesco), 46

Il Bassiti (Marco Basarini, or Marco Basaiti), 52, 58

Il Bologna, 237

Il Caparra (Niccolo Grosso), 268, 269

Il Cronaca (Simone, or Simone del Pollaiuolo), Life, 265-275. 101

Il Granaccio (Francesco Granacci), 4, 169, 186

Il Moro (Francesco Turbido), 61

Il Rosso, 84

Imola, Innocenzio da, 170

Impiccati, Andrea degl' (Andrea dal Castagno), 82

Indaco, L' (Francesco), 66, 67

Indaco, L' (Jacopo), Life, 65-67

Innocenzio da Imola, 170

Jacobello de Flore, 51, 55

Jacopo (L'Indaco), Life, 65-67

Jacopo Avanzi (Jacopo Davanzo), 51, 55

Jacopo Davanzo (of Milan), 60

Jacopo da Pontormo, 179, 246, 260

Lanzilago, Maestro, 6, 7

Lazzaro Scarpaccia (Sebastiano Scarpaccia, or Lazzaro Bastiani), 52, 57, 58

Lazzaro Vasari (the elder), 71, 82

Leno, Giuliano, 147

Leonardo da Vinci, Life. 89-105. 44, 82, 85, 89-105, 109, 127, 138, 151, 156, 196, 212, 215, 242, 270

Liberale, Maestro, 54

L'Indaco (Francesco), 66, 67

L'Indaco (Jacopo), Life, 65-67

L'Ingegno (Andrea Luigi), 47

Lippi, Filippo (Filippino), Life, 3-10. 44, 82, 99, 100, 176, 177

Lippi, Fra Filippo, 3, 5, 9, 185

Lo Spagna (Giovanni), 46, 47

Lombardo, Tullio, 60

Lorenzetto, 240

Lorenzo (father of Piero di Cosimo), 125

Lorenzo di Credi, 153, 186, 280

Luca da Cortona (Luca Signorelli), Life, 71-76. 82, 216, 261

Luca della Robbia (the younger), 237

Luca Signorelli (Luca da Cortona), Life, 71-76. 82, 216, 261

Luigi, Andrea (L'Ingegno), 47

Luigi Vivarini, 52

Maestro Claudio, 254, 255

Maestro Francesco, 142

Maestro Giovanni, 260

Maestro Lanzilago, 6, 7

Maestro Liberale, 54

Maestro Zeno, 60

Maiano, Benedetto da, 36, 151, 266, 267

Maiano, Giuliano da, 197

Mansueti, Giovanni, 52, 59

Mantegna, Andrea, 24, 55, 82

Marc' Antonio Bolognese, 232, 233

Marcilla, Guglielmo da (Guillaume de Marcillac), Life, 253-262

Marco Basaiti (Il Bassiti, or Marco Basarini), 52, 58

Marco da Ravenna, 233

Marco Oggioni, 105

Mariotto Albertinelli, Life, 165-171. 151, 154

Masaccio, 3, 185, 215

Masini, Messer Francesco, 227

Maso Papacello, 76

Maso Porro, 262

Masolino da Panicale, 3

Matteo (brother of Cronaca), 275

Maturino, 83

Mazzuoli, Francesco (Parmigiano), 83

Melzo, Francesco da, 99

Messer Francesco Masini, 227

Michelagnolo Buonarroti, 41, 43, 48, 65, 66, 74, 84, 85, 101, 104, 145, 157, 186, 187, 199, 201, 204, 209, 212, 215, 223, 224, 242-245. 259, 270

Misceroni, Gasparo, 60

Misceroni, Girolamo, 60

Modena, Pellegrino da, 237

Montagna, Bartolommeo, 52, 60

Monte Carlo, Bastiano da, 179

Montecavallo, Antonio, 140

Montelupo, Baccio da, 186

Montevarchi, 46

Monte Sansovino, Andrea dal (Andrea Contucci, or Andrea Sansovino), 5, 144, 186, 223, 270

Moreto, Niccolo, 57

Moretto, Alessandro, 60

Moro, Il (Francesco Turbido), 61

Morzone, Giromin, 55, 56

Niccola Pisano, 142

Niccolo Alunno, 18, 19

Niccolo Cartoni (Niccolo Zoccolo), 9, 10

Niccolo d' Arezzo, 55

Niccolo Grosso (Il Caparra), 268, 269

Niccolo Moreto, 57

Niccolo Soggi, 186

Niccolo Zoccolo (Niccolo Cartoni), 9, 10

Nunziata, Toto del, 280

Oggioni, Marco, 105

Orazio di Paris, 47

Padova, Guerriero da, 51, 56

Panicale, Masolino da, 3

Paolo da Verona, 179

Paolo Pistoiese, Fra, 162

Paolo Uccello, 185, 246

Papacello, Maso, 76

Paris, Domenico di, 47

Paris, Orazio di, 47

Parmigiano (Francesco Mazzuoli), 83

Pastorino da Siena, 262

Pecori, Domenico, 257

Pellegrino da Modena, 237

Penni, Giovan Francesco, 237, 247

Perino del Vaga, 84, 237, 254

Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), Life, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242, 243

Peruzzi, Baldassarre, 145, 146, 200

Pesello, 82

Pheidias, 105

Piero della Francesca (Piero dal Borgo a San Sepolcro), 71, 82, 216

Piero di Cosimo, Life, 125-134

Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), Life, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242, 243

Pietro Rosselli, 159

Pinturicchio, Bernardino, Life, 13-19. 46, 65, 211, 212

Piombo, Fra Sebastiano del, 84, 114, 240

Pisano, Giovanni, 142

Pisano, Niccola, 142

Pistoiese, Fra Paolo, 162

Pistoiese, Gerino (Gerino da Pistoia), 18, 46

Polidoro da Caravaggio, 83, 237

Pollaiuolo, Antonio, 4, 81, 265

Pollaiuolo, Simone del (Simone, or Il Cronaca), Life, 265-275. 101

Pontormo, Jacopo da, 179, 246, 260

Porro, Maso, 262

Porta, Baccio della (Fra Bartolommeo di San Marco), Life, 151-162. 82, 151-162, 165-167, 215, 244, 272

Puligo, Domenico, Life, 279-283

Raffaellino del Garbo, Life, 175-179. 6, 9

Raffaello da Urbino (Raffaello Sanzio), Life, 209-250. 13, 28, 29, 44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255

Raggio, 4

Ravenna, Marco da, 233

Ridolfo Ghirlandajo, 169, 212, 216, 279-281

Robbia, Luca della (the younger), 237

Rocco Zoppo, 46

Romanino, Girolamo, 60

Romano, Giulio, 76, 84, 119, 232, 237, 247

Rosselli, Cosimo, 82, 125, 126, 151, 165

Rosselli, Pietro, 159

Rossellino, Antonio, 275

Rosso, Il, 84

Rosto, Giovanni, 46

Rovezzano, Benedetto da, 155

Rustici, Gabriele, 162

Rustici, Giovan Francesco, 105, 186

Salai, 99

S. Clemente, Abbot of (Don Bartolommeo della Gatta), 41, 82, 216, 217

San Gallo, Antonio da, Life, 191-205. 145, 254

San Gallo, Aristotile da, 212

San Gallo, Francesco da, 134, 203, 204

San Gallo, Giuliano da, Life, 191-205. 101, 134, 145, 191-205, 270

San Gimignano, Vincenzio da, 237

San Giorgio, Eusebio, 47

San Marco, Fra Bartolommeo di (Baccio della Porta), Life, 151-162. 82, 151-162, 165-167, 215, 244, 272

Sandro Botticelli (Alessandro Filipepi, or Sandro di Botticello), 3, 4, 82

Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino), 5, 144, 186, 223, 270

Santi, 261

Santi, Giovanni de', 46, 210, 213, 249

Sanzio, Raffaello (Raffaello da Urbino), Life, 209-250. 13, 28, 29, 44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255

Sarto, Andrea del, 83, 129, 134, 281, 283

Sassoli, Fabiano di Stagio, 256, 257

Sassoli, Stagio, 73, 257

Scarpaccia, Lazzaro (Sebastiano Scarpaccia, or Lazzaro Bastiani), 52, 57, 58

Scarpaccia, Sebastiano (Lazzaro Scarpaccia, or Lazzaro Bastiani), 52, 57, 58

Scarpaccia (Carpaccio), Vittore, Life, 51-61

Sebastiano del Piombo, Fra, 84, 114, 240

Sebastiano Scarpaccia (Lazzaro Scarpaccia, or Lazzaro Bastiani), 52, 57, 58

Sebeto da Verona, 51, 55

Siena, Pastorino da, 262

Signorelli, Luca (Luca da Cortona), Life, 71-76. 82, 216, 261

Simon Bianco, 60

Simone, 55

Simone (Simone del Pollaiuolo, or Il Cronaca), Life, 265-275. 101

Sodoma (Giovanni Antonio Bazzi), 72, 218

Soggi, Niccolo, 186

Spadari, Benedetto, 262

Spagna, Lo (Giovanni), 46, 47

Squarcione, 56

Stagio Sassoli, 73, 257

Stefano da Ferrara, 56

Stefano da Zevio (Stefano Veronese), 51-54

Stefano Veronese (Stefano da Zevio), 51-54

Tiziano da Cadore, 114

Tommaso, 76

Torrigiano, Life, 183-188

Toto del Nunziata, 280

Trevio, Bernardino da, 138

Tullio Lombardo, 60

Turbido, Francesco (Il Moro), 61

Ubertino, Baccio, 46

Uccello, Paolo, 185, 246

Udine, Giovanni da, 237, 239

Ugo da Carpi, 233

Urbino, Bramante da, Life, 137-148. 199-202, 216, 217, 223, 232, 237, 254

Urbino, Fra Carnovale da (Fra Bartolommeo), 138

Urbino, Raffaello da (Raffaello Sanzio), Life, 209-250. 13, 28, 29, 44-47, 82, 83, 143, 145, 146, 155-158, 200, 201, 203, 209-250, 255

Vaga, Perino del, 84, 237, 254

Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), Life, 33-48. 13, 15, 18, 33-48, 82, 159, 169, 210-212, 236, 242, 243

Vasari, Giorgio— as art-collector, 6, 13, 46, 58, 67, 90, 91, 95, 113, 118, 132, 138, 143, 161, 170, 175, 187, 262 as author, 7, 9, 17, 19, 26, 28, 33, 36, 38, 39, 46, 48, 51, 52, 54-56, 61, 66, 67, 71, 74-77, 79, 82-85, 91, 98, 99, 111-114, 117, 118, 121, 126-132, 134, 137, 145, 151, 154, 155, 159, 162, 170, 176, 177, 185, 186, 204, 214, 219, 222, 223, 227, 229-231, 233, 236, 242, 244-248, 257, 260, 262, 269, 271, 274, 280, 281 as painter, 231, 262, 273, 274 as architect, 148, 231, 273, 274

Vasari, Lazzaro (the elder), 71, 82

Ventura, 147, 148

Verchio, Vincenzio, 60

Verona, Fra Giovanni da, 222

Verona, Paolo da, 179

Verona, Sebeto da, 51, 55

Veronese, Stefano (Stefano da Zevio), 51-54

Verrocchio, Andrea, 35, 39, 81, 90, 92, 112

Vincenzio Bresciano (Vincenzio Zoppa, or Foppa), 51, 52, 56

Vincenzio Catena, 52, 58

Vincenzio da San Gimignano, 237

Vincenzio Foppa (Vincenzio Bresciano, or Vincenzio Zoppa), 51, 52, 56

Vincenzio Verchio, 60

Vincenzio Zoppa (Vincenzio Bresciano, or Vincenzio Foppa), 51, 52, 56

Vinci, Leonardo da, Life, 89-105. 44, 82, 85, 89-105, 109, 127, 138, 151, 156, 196, 212, 215, 242, 270

Visino, 170, 171

Vitruvius, 48, 75, 138, 205, 266

Vittore Scarpaccia (Carpaccio), Life, 51-61

Vittore Bellini (Belliniano), 52, 59, 60

Vivarini, Bartolommeo, 52, 59

Vivarini, Luigi, 52

Zeno, Maestro, 60

Zeuxis, 82, 83

Zevio, Aldigieri (Altichiero) da, 51, 54, 55

Zevio, Stefano da (Stefano Veronese), 51-54

Zoccolo, Niccolo (Niccolo Cartoni), 9, 10

Zoppa, Vincenzio (Vincenzio Foppa, or Vincenzio Bresciano), 51, 52, 56

Zoppo, Rocco, 46

END OF VOL. IV.

PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI OF THE CHISWICK PRESS, LONDON. THE COLOURED REPRODUCTIONS ENGRAVED AND PRINTED BY HENRY STONE AND SON, LTD., BANBURY