Being afterwards summoned, with the other painters, to execute the work that Pope Sixtus IV had undertaken in the Chapel of the Palace, he laboured there in company with Sandro Botticelli, Domenico Ghirlandajo, the Abbot of S. Clemente, Luca da Cortona, and Pietro Perugino, and painted three scenes with his own hand, wherein he depicted the Submersion of Pharaoh in the Red Sea, the Preaching of Christ to the people on the shore of the Sea of Tiberias, and the Last Supper of the Apostles with the Saviour. In this last scene he made an octagonal table drawn in perspective, with the ceiling above it likewise octagonal, the eight angles of which he foreshortened so well as to show that he had as good a knowledge of this art as any of the others. It is said that the Pope had offered a prize, which was to be given to the man who, in the judgment of the Pontiff himself, should turn out to have done the best work in these pictures. The scenes finished, therefore, His Holiness went to see them; and each of the painters had done his utmost to merit the said prize and honour. Cosimo, feeling himself weak in invention and draughtsmanship, had sought to conceal his shortcomings by covering his work with the finest ultramarine blues and other lively colours, and had illuminated his scenes with a plentiful amount of gold, so that there was no tree, or plant, or drapery, or cloud, that was not thus illuminated; for he was convinced that the Pope, like a man who knew little of that art, must therefore give him the prize of victory. When the day arrived on which the works of all were to be unveiled, that of Cosimo was seen with the rest, and was scorned and ridiculed with much laughter and jeering by all the other craftsmen, who all mocked him instead of having compassion on him. But the scorners turned out to be the scorned, for, as Cosimo had foreseen, those colours at the first glance so dazzled the eyes of the Pope, who had little knowledge of such things, although he took no little delight in them, that he judged the work of Cosimo to be much better than that of the others. And so, causing the prize to be given to him, he bade all the others cover their pictures with the best blues that could be found, and to pick them out with gold, to the end that they might be similar to those of Cosimo in colouring and in richness. Whereupon the poor painters, in despair at having to satisfy the small intelligence of the Holy Father, set themselves to spoil all the good work that they had done; and Cosimo laughed at the men who had just been laughing at his methods.

Afterwards, returning to Florence with some money, he set himself to work as usual, living much at his ease, and having as his companion that Piero, his disciple, who was ever called Piero di Cosimo, and who assisted him in his labours in the Sistine Chapel at Rome, and painted there, besides other things, a landscape in the picture of the Preaching of Christ, which landscape is held to be the best thing there. Andrea di Cosimo also worked with him, occupying himself much with grotesques. Finally, having reached the age of sixty-eight, Cosimo died in the year 1484, wasted away by a long infirmity; and he was buried in S. Croce by the Company of Bernardino.

Cosimo took so much delight in alchemy that he wasted therein all that he possessed, as all do who meddle with it, insomuch that it swallowed up all his means and finally reduced him from easy circumstances to the greatest poverty. He was a very good draughtsman, as may be seen in our book, not only from the drawing of the aforesaid story of the Preaching which he painted in the Sistine Chapel, but also from many others made with the style and in chiaroscuro. And in the said book we have his portrait by the hand of Agnolo di Donnino, a painter who was much his friend. This Agnolo showed great diligence in his works, as may be seen, not to mention his drawings, in the loggia of the Hospital of Bonifazio, where, upon the corbel of a vault, there is a Trinity in fresco by his hand; and beside the door of the said hospital, where the foundlings now live, there are certain beggars painted by the same man, with the Director receiving them, all very well wrought, and likewise certain women. This man spent his life labouring and wasting all his time over drawings, without putting them into execution; and at length he died as poor as he could well be. But to return to Cosimo; he left only one son, who was a builder and a passing good architect.



CECCA



CECCA

ENGINEER OF FLORENCE

If necessity had not forced men to exercise their ingenuity for their own advantage and convenience, architecture would not have become so excellent and so marvellous in the minds and in the works of those who have practised it in order to acquire profit and fame, gaining that great honour which is paid to them every day by all who have knowledge of the good. It was necessity that first gave rise to buildings; necessity that created ornaments for them; necessity that led to the various Orders, the statues, the gardens, the baths, and all those other sumptuous adjuncts which all desire but few possess; and it was necessity that excited rivalry and competition in the minds of men with regard not only to buildings, but also to their accessories. For this reason craftsmen have been forced to display industry in inventing appliances for traction, and in making engines of war, waterworks, and all those devices and contrivances which, under the name of mechanical and architectural inventions, confer beauty and convenience on the world, discomfiting their enemies and assisting their friends. And whenever a man has been able to make such things better than his fellows, he has not only raised himself beyond all the anxieties of want, but has also been consummately extolled and prized by all other men.

This was the case in the time of our fathers with the Florentine Cecca, into whose hands there came many highly honourable works in his day; and in these he acquitted himself so well, toiling in the service of his country with economy and with great satisfaction to his fellow-citizens, that his ingenious and industrious labours have made him famous and illustrious among the number of distinguished and renowned craftsmen. It is said that in his youth Cecca was a very good carpenter, and that he had concentrated all his powers on seeking to solve the difficulties connected with engines, and how to make machines for assaulting walls in war—scaling-ladders for climbing into cities, battering-rams for breaching fortifications, defences for protecting soldiers in the attack, and everything that could injure his enemies and assist his friends—wherefore, being a person of the greatest utility to his country, he well deserved the permanent provision that the Signoria of Florence gave him. For this reason, when there was no war going on, he would go through the whole territory inspecting the fortresses and the walls of cities and townships, and, if any were weak, he would provide them with designs for ramparts and everything else that was wanting.

It is said that the Clouds which were borne in procession throughout Florence on the festival of S. John—things truly most ingenious and beautiful—were invented by Cecca, who was much employed in such matters at that time, when the city was greatly given to holding festivals. In truth, although such festivals and representations have now fallen almost entirely out of use, they were very beautiful spectacles, and they were celebrated not only by the Companies, or rather, Confraternities, but also in the private houses of gentlemen, who were wont to form certain associations and societies, and to meet together at certain times to make merry; and among them there were ever many courtly craftsmen, who, besides being fanciful and amusing, served to make the preparations for such festivals. Among others, four most solemn public spectacles took place almost every year, one for each quarter of the city, with the exception of that of S. Giovanni, for the festival of which a most solemn procession was held, as will be told. The quarter of S. Maria Novella kept the feast of S. Ignazio; S. Croce, that of S. Bartholomew, called S. Baccio; S. Spirito, that of the Holy Spirit; and the Carmine, those of the Ascension of Our Lord and of the Assumption of Our Lady. This festival of the Ascension—for of the others of importance an account has been or will be given—was very beautiful, seeing that Christ was uplifted on a cloud covered with angels from a Mount very well made of wood, and was borne upwards to a Heaven, leaving the Apostles on the Mount; and the whole was so well contrived that it was a marvel, above all because the said Heaven was somewhat larger than that of S. Felice in Piazza, although the machinery was almost the same. And since the said Church of the Carmine, where this representation used to take place, is no little broader and higher than that of S. Felice, in addition to the part that supported Christ another Heaven was sometimes erected, according as it was thought advisable, over the chief tribune, wherein were certain great wheels made in the shape of reels, which, from the centres to the edges, moved in most beautiful order ten circles standing for the ten Heavens, which were all full of little lights representing the stars, contained in little copper lamps hanging on pivots, so that when the wheels revolved they remained upright, in the manner of certain lanterns that are now universally used by all. From this Heaven, which was truly a very beautiful thing, there issued two stout ropes fastened to the staging or tramezzo[20] which is in the said church, and over which the representation took place. To these ropes were attached, by each end of a so-called brace-fastening, two little bronze pulleys which supported an iron upright fixed into a level platform, on which stood two angels fastened by their girdles. These angels were kept upright by a counterpoise of lead which they had under their feet, and by another that was under the platform on which they stood; and this also served to make them balanced one with another. The whole was covered with a quantity of cotton-wool, very well arranged in the form of a cloud, which was full of cherubim and seraphim, and similar kinds of angels, varied in colour and very well contrived. These angels, when a little rope was unwound from the Heaven above, came down the two larger ropes on to the said tramezzo, where the representation took place, and announced to Christ that He was to ascend into Heaven, and performed their other functions. And since the iron to which they were bound by the girdle was fixed to the platform on which they stood, in such a way that they could turn round and round, they could make obeisance and turn about both when they had come forth and when they were returning, according as was necessary; wherefore in reascending they turned towards the Heaven, and were then drawn up again as they had come down.

These machines and inventions are said to have been Cecca's, for, although Filippo Brunelleschi had made similar things long before, many additions were made to them with great judgment by Cecca; and it was from these that the thought came to the same man to make those Clouds which were borne in procession through the city every year on S. John's Eve, and the other beautiful things that were made. And this was his charge, because, as it has been said, he was a servant of the public.

Now with this occasion it will not be out of place to describe some of the features of the said festival and procession, to the end that some memory of them may descend to posterity, seeing that they have now for the most part fallen into disuse. First, then, the Piazza di S. Giovanni was all covered over with blue cloth, on which were sewn many large lilies of yellow cloth; and in the middle, on certain circles also of cloth, and ten braccia in diameter, were the arms of the People and Commune of Florence, with those of the Captain of the Guelph party and others; and all around, from the borders of the said canopy, which covered the whole piazza, vast as it is, there hung great banners also of cloth, painted with various devices, with the arms of magisterial bodies and guilds, and with many lions, which form one of the emblems of the city. This canopy, or rather, awning, made thus, was about twenty braccia off the ground, and was supported by very strong ropes fastened to a number of irons, which are still to be seen round the Church of S. Giovanni, on the facade of S. Maria del Fiore, and on the houses that surround the said piazza on every side. Between one rope and another ran cords that likewise supported the awning, which was so well strengthened throughout, particularly at the edges, with ropes, cords, linings, double widths of cloth, and hems of sacking, that it is impossible to imagine anything better. What is more, everything was arranged so well and with such great diligence, that although the awning was often swelled out and shaken by the wind, which is always very powerful in that place, as everyone knows, yet it was never disturbed or damaged in any way whatever. This awning was made of five pieces, to the end that it might be easier to handle, but, when set into place, they were all joined and fastened and sewn together in such a manner that it appeared like one whole. Three pieces covered the piazza and the space that is between S. Giovanni and S. Maria del Fiore; and in the middle piece, in a straight line between the principal doors, were the aforesaid circles containing the arms of the Commune. And the remaining two pieces covered the sides—one towards the Misericordia, and the other towards the Canon's house and the Office of Works of S. Giovanni.

The Clouds, which were made of various kinds and with diverse inventions by the Companies, were generally fashioned in the following manner. A square framework was made of planks, about two braccia in height, with four stout legs at the corners, contrived after the manner of the trestles of a table, and fastened together with cross-pieces. On this framework two panels were laid crosswise, each one braccio wide, with a hole in the middle half a braccio in diameter, in which was fixed a high pole, whereon there was placed a mandorla all covered with cotton-wool, cherubim, lights, and other ornaments, and within this, on a horizontal bar of iron, there sat or stood, according as might be desired, a person representing that Saint whom the particular Company principally honoured as their peculiar patron and protector—to be exact, a Christ, or a Madonna, or a S. John, or some other—and the draperies of this figure covered the iron bar in such a manner that it could not be seen. Round the same pole, lower down, below the mandorla, there radiated four or five iron bars in the manner of the branches of a tree, and at the end of each, attached likewise with irons, stood a little boy dressed like an angel. These boys could move round and round at pleasure on the iron brackets on which their feet rested, for the brackets hung on hinges. And with similar branches there were sometimes made two or three tiers of angels or of saints, according to the nature of the subjects to be represented. The whole of this structure, with the pole and the iron bars (which sometimes represented a lily, sometimes a tree, and often a cloud or some other similar thing), was covered with cotton-wool, and, as has been said, with cherubim, seraphim, golden stars, and other suchlike ornaments. Within were porters or peasants, who carried it on their shoulders, placing themselves round the wooden base that we have called the framework, in which, below the places where the weight rested on their shoulders, were fixed cushions of leather stuffed with down, or cotton-wool, or some other soft and yielding material. All the machinery, steps, and other things were covered, as has been said above, with cotton-wool, which made a beautiful effect; and all these contrivances were called Clouds. Behind them came troops of men on horseback and foot-soldiers of various sorts, according to the nature of the story to be represented, even as in our own day they go behind the cars or other things that are used in place of the said Clouds. Of the form of the latter I have some designs in my book of drawings, very well done by the hand of Cecca, which are truly ingenious and full of beautiful conceptions.

It was from the plans of the same man that those saints were made that went or were carried in processions, either dead or tortured in various ways, for some appeared to be transfixed by a lance or a sword, others had a dagger in the throat, and others had other suchlike weapons in their bodies. With regard to this, it is very well known to-day that it is done with a sword, lance, or dagger broken in half, the pieces of which are held firmly opposite to one another on either side by iron rings, after taking away the proportionate amount that has to appear to be fixed in the person of the sufferer; wherefore I will say no more about them, save that they seem for the most part to have been invented by Cecca.

The giants, likewise, that went about in the said festival, were made in the following manner. Certain men who were very skilful at walking on stilts, or, as they are called in other parts, on wooden legs, had some made five or six braccia high, and, having dressed and decked them with great masks and other ornaments in the way of draperies, and imitations of armour, so that they seemed to have the members and heads of giants, they mounted them and walked dexterously along, appearing truly to be giants. In front of them, however, they had a man who carried a pike, on which the giant leant with one hand, but in such a fashion that the pike appeared to be his own weapon, whether mace, lance, or a great bell-clapper, such as Morgante is said by the poets of romance to have been wont to carry. And even as there were giants, so there were also giantesses, which produced a truly beautiful and marvellous effect.

Different from these, again, were the little phantoms, for these walked on similar stilts five or six braccia high, without anything save their own proper form, in such a manner that they appeared to be true spirits. They likewise had a man in front of them with a pike to assist them; but it is stated that some actually walked very well at so great a height without leaning on anything whatsoever, and I am sure that he who knows what Florentine brains are will in no way marvel at this. For, not to mention that native of Montughi (near Florence) who has surpassed all the masters that ever lived at climbing and dancing on the rope, whoever knew a man called Ruvidino, who died less than ten years ago, remembers that climbing to any height on a rope or cord, leaping from the walls of Florence to the earth, and walking on stilts much higher than those described above, were as easy to him as it is for an ordinary man to walk on the level. Wherefore it is no marvel if the men of those times, who practised suchlike exercises for money or for other reasons, did what has been related above, and even greater things.

I will not speak of certain waxen candles which used to be painted with various fanciful devices, but so rudely that they have given their name to vulgar painters, insomuch that bad pictures are called "candle puppets"; for it is not worth the trouble. I will only say that at the time of Cecca they fell for the most part into disuse, and that in their place were made the cars that are still used to-day, in the form of triumphal chariots. The first of these was the car[21] of the Mint, which was brought to that perfection which is still seen every year when it is sent out for the said festival by the Masters and Lords of the Mint, with a S. John on the highest part and with many other angels and saints around and below him, all represented by living persons. Not long ago it was determined that one should be made for every borough that gave an offering of wax, and ten were made, in order to do magnificent honour to that festival; but the plan was carried no further, by reason of events that supervened no long time after. That first car of the Mint, then, was made under the direction of Cecca by Domenico, Marco, and Giuliano del Tasso, who were among the best master-carpenters, both in squared-work and in carving, who were then working in Florence; and in this car, among other things, no small praise is due to the wheels below it, which are pivoted, in order that the structure may be able to turn sharp corners, and may be managed in such a manner as to shake it as little as possible, particularly for the sake of those who stand fastened upon it.

The same man made a structure for the cleaning and restoration of the mosaics in the tribune of S. Giovanni, which could be turned, raised, lowered, and advanced at pleasure, and that with such ease that two men could handle it; which invention gave Cecca very great repute.

When the Florentine army was besieging Piancaldoli, Cecca ingeniously contrived to enable the soldiers to enter it by means of mines, without striking a blow. Afterwards, continuing to follow the same army to certain other strongholds, his evil fortune would have it that he should be killed while attempting to measure certain heights at a difficult point; for when he had put his head out beyond the wall in order to let a plumb-line down, a priest who was with the enemy (who feared the genius of Cecca more than the might of the whole camp) discharged a catapult at him and fixed a great dart in his head, insomuch that the poor fellow died on the spot. The fate and the loss of Cecca caused great grief to the whole army and to his fellow-citizens; but since there was no remedy, they sent him back in a coffin to Florence, where his sisters gave him honourable burial in S. Piero Scheraggio; and below his portrait in marble there was placed the following epitaph:

FABRUM MAGISTER CICCA, NATUS OPPIDIS VEL OBSIDENDIS VEL TUENDIS, HIC JACET. VIXIT ANN. XXXXI, MENS. IV, DIES XIV. OBIIT PRO PATRIA TELO ICTUS. PIAE SORORES MONUMENTUM FECERUNT MCCCCXCIX.

FOOTNOTES:

[20] See note on p. 57, Vol. I.

[21] The word in the Italian text is not "carro" but "cero," which is obviously an error.



DON BARTOLOMMEO DELLA GATTA



DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE

ILLUMINATOR AND PAINTER

Rarely does it happen that a man of good character and exemplary life fails to be provided by Heaven with the best of friends and with honourable dwellings, or to be held in veneration when alive by reason of the goodness of his ways, and very greatly regretted when dead by all who knew him, as was Don Bartolommeo della Gatta, Abbot of S. Clemente in Arezzo, who was excellent in diverse pursuits and most praiseworthy in all his actions. This man, who was a monk of the Angeli in Florence, a seat of the Order of Camaldoli, was in his youth—perchance for the reasons mentioned above in the Life of Don Lorenzo—a very rare illuminator, and a very able master of design. Of this we have proof in the books that he illuminated for the Monks of SS. Fiore e Lucilla in the Abbey of Arezzo, particularly a missal that was presented to Pope Sixtus, in which, on the first page of the Secret Prayers, there was a very beautiful Passion of Christ. Those are likewise by his hand which are in S. Martino, the Duomo of Lucca.

A little while after these works the said Abbey of S. Clemente in Arezzo was presented to this father by Mariotto Maldoli of Arezzo, General of the Order of Camaldoli, who belonged to the same family from which sprang that Maldolo who gave the site and lands of Camaldoli, then called Campo di Maldolo, to S. Romualdo, the founder of that Order. Don Bartolommeo, in gratitude for that benefice, afterwards executed many works for that General and for his Order. After this there came the plague of 1468, by reason of which the Abbot, like many others, stayed indoors without going about much, and devoted himself to painting large figures; and seeing that he was succeeding as well as he could desire, he began to execute certain works. The first was a S. Rocco that he painted on a panel for the Rectors of the Confraternity of Arezzo, which is now in the Audience Chamber where they assemble. This figure is recommending the people of Arezzo to Our Lady, and in this picture he portrayed the Piazza of the said city and the holy house of that Confraternity, with certain grave-diggers who are returning from burying the dead. He also painted another S. Rocco for the Church of S. Pietro, likewise on a panel, wherein he portrayed the city of Arezzo exactly as it stood at that time, when it was very different from what it is to-day. And he made another, which was much better than the two mentioned above, on a panel which is in the Chapel of the Lippi in the Church of the Pieve of Arezzo; and this S. Rocco is a rare and beautiful figure, almost the best that he ever made, and the head and hands are as beautiful and natural as they could be. In the same city of Arezzo, in S. Pietro, a seat of the Servite Friars, he painted an Angel Raphael on a panel; and in the same place he made a portrait of the Blessed Jacopo Filippo of Piacenza.

Afterwards, being summoned to Rome, he painted a scene in the Chapel of Pope Sixtus, in company with Luca da Cortona and Pietro Perugino. On returning to Arezzo, he painted a S. Jerome in Penitence in the Chapel of the Gozzari in the Vescovado; and this figure, lean and shaven, with the eyes fixed most intently on the Crucifix, and beating his breast, shows very clearly how greatly the passions of love can disturb the chastity even of a body so grievously wasted away. In this work he made an enormous crag, with certain cliffs of rock, among the fissures of which he painted some stories of that Saint, with very graceful little figures. After this, in a chapel in S. Agostino, for the Nuns of the Third Order, as they are called, he wrought in fresco a Coronation of Our Lady, which is very well done and much extolled; and below this, in another chapel, a large panel with an Assumption and certain angels beautifully robed in delicate draperies. This panel, for a work made in distemper, is much extolled, and in truth it was wrought with good design and executed with extraordinary diligence. In the lunette that is over the door of the Church of S. Donato, in the Fortress of Arezzo, the same man painted in fresco a Madonna with the Child in her arms, S. Donatus, and S. Giovanni Gualberto, all very beautiful figures. In the Abbey of S. Fiore in the said city, beside the principal door of entrance into the church, there is a chapel painted by his hand, wherein are S. Benedict and other saints, wrought with much grace, good handling, and sweetness.

For Gentile of Urbino, Bishop of Arezzo, who was much his friend, and with whom he almost always lived, he painted a Dead Christ in a chapel in the Palace of the Vescovado; and in a loggia he portrayed the Bishop himself, his vicar, and Ser Matteo Francini, his court-notary, who is reading a Bull to him; and there he also made his own portrait and those of certain canons of that city. For the same Bishop he designed a loggia which issues from the Palace and leads to the Vescovado, on the same level with both. In the centre of this the Bishop had intended to make a place of burial for himself in the form of a chapel, in which he wished to be interred after his death; and he had carried it well on, when he was overtaken by death, and it remained unfinished, for, although he left orders that it should be completed by his successor, nothing more was done, as generally happens with works of this sort which are left by a man to be finished after his death. For the said Bishop the Abbot painted a large and beautiful chapel in the Duomo Vecchio, but, as it had only a short life, there is no need to say more about it.

Besides this, he made works in various places throughout the whole city, such as three figures in the Carmine, and the Chapel of the Nuns of S. Orsina. At Castiglione Aretino, for the Chapel of the High-Altar in the Pieve of S. Giuliano, he painted a panel in distemper, containing a very beautiful Madonna, S. Julian, and S. Michelagnolo—figures very well wrought and executed, particularly S. Julian, who, with his eyes fixed on the Christ lying in the arms of the Madonna, appears to be much afflicted at having killed his father and mother. In a chapel a little below this, likewise, is a little door painted by his hand (which formerly belonged to an old organ), wherein there is a S. Michael, which is held to be a marvellous thing, with a child in swaddling-clothes, which appears alive, in the arms of a woman. For the Nuns of the Murate at Arezzo he painted the Chapel of the High-Altar, a work which is truly much extolled. At Monte San Savino he painted a shrine opposite to the Palace of Cardinal di Monte, which was held very beautiful. And at Borgo San Sepolcro, where there is now the Vescovado, he decorated a chapel, which brought him very great praise and profit.

Don Clemente was a man of very versatile intelligence, and, besides being a great musician, he made organs of lead with his own hand. In S. Domenico he made one of cardboard, which has ever remained sweet and good; and in S. Clemente there was another, also by his hand, which was placed on high, with the keyboard below on the level of the choir—truly with very beautiful judgment, since, the place being such that the monks were few, he wished that the organist should sing as well as play. And since this Abbot loved his Order, like a true minister and not a squanderer of the things of God, he enriched that place greatly with buildings and pictures, particularly by rebuilding the principal chapel of his church and painting the whole of it; and in two niches, one on either side of it, he painted a S. Rocco and a S. Bartholomew, which were ruined together with the church.

But to return to the Abbot, who was a good and worthy churchman. He left a disciple in painting named Maestro Lappoli, an Aretine, who was an able and practised painter, as is shown by the works from his hand which are in S. Agostino, in the Chapel of S. Sebastiano, where there is that Saint wrought in relief by the same man, with figures round him, in painting, of S. Biagio, S. Rocco, S. Anthony of Padua, and S. Bernardino; while on the arch of the chapel is an Annunciation, and on the vaulting are the four Evangelists, wrought in fresco with a high finish. By the hand of the same man, in another chapel on the left hand as one enters the said church by the side-door, is a Nativity in fresco, with the Madonna receiving the Annunciation from the Angel, in the figure of which Angel he portrayed Giuliano Bacci, then a young man of very beautiful aspect. Over the said door, on the outer side, he made an Annunciation, with S. Peter on one side and S. Paul on the other, portraying in the face of the Madonna the mother of Messer Pietro Aretino, a very famous poet. In S. Francesco, for the Chapel of S. Bernardino, he painted a panel with that Saint, who appears alive, and so beautiful that this is the best figure that he ever made. In the Chapel of the Pietramaleschi in the Vescovado he painted a very beautiful S. Ignazio on a panel in distemper; and in the Pieve, at the entrance of the upper door which opens on the piazza, a S. Andrew and a S. Sebastian. For the Company of the Trinita, by order of Buoninsegna Buoninsegni of Arezzo, he made a work with beautiful invention, which can be numbered among the best that he ever executed, and this was a Crucifix over an altar, with a S. Martin on one side and a S. Rocco on the other, and two figures kneeling at the foot, one in the form of a poor man, lean, emaciated, and wretchedly clothed, from whom there issued certain rays that shone straight on the wounds of the Saviour, while the Saint gazed on him most intently; and the other in the form of a rich man, clothed in purple and fine linen, and all ruddy and cheerful in countenance, whose rays, as he was adoring Christ, although they were issuing from his heart, like those of the poor man, appeared not to shine directly on the wounds of the Crucified Christ, but to stray and spread over certain plains and fields full of grain, green crops, cattle, gardens, and other suchlike things, while some diverged over the sea towards certain boats laden with merchandise; and others, finally, shone on certain money-changers' tables. All these things were wrought by Matteo with judgment, great mastery, and much diligence; but they were thrown to the ground no long time after in the making of a chapel. Beneath the pulpit of the Pieve the same man made a Christ with the Cross for Messer Leonardo Albergotti.

A disciple of the Abbot of S. Clemente, likewise, was a Servite friar of Arezzo, who painted in colours the facade of the house of the Belichini in Arezzo, and two chapels in fresco, one beside the other, in S. Pietro. Another disciple of Don Bartolommeo was Domenico Pecori of Arezzo, who made three figures in distemper on a panel at Sargiano, and painted a very beautiful banner in oil, to be carried in processions, for the Company of S. Maria Maddalena. For Messer Presentino Bisdomini, in the Chapel of S. Andrea in the Pieve, he made a picture of S. Apollonia, similar to that mentioned above; and he finished many works left incomplete by his master, such as the panel of S. Sebastian and S. Fabiano with the Madonna, in S. Pietro, for the family of the Benucci. In the Church of S. Antonio he painted the panel of the high-altar, wherein is a very devout Madonna, with some saints; and since the said Madonna is adoring the Child, whom she has in her lap, he made it appear that a little angel, kneeling behind her, is supporting Our Lord on a cushion, the Madonna not being able to uphold Him because she has her hands clasped in the act of adoration. In the Church of S. Giustino, for Messer Antonio Roselli, he painted a chapel with the Magi in fresco; and for the Company of the Madonna, in the Pieve, he painted a very large panel containing a Madonna in the sky, with the people of Arezzo beneath, in which he made many portraits from the life. In this last work he was helped by a Spanish painter, who painted very well in oil and therein gave assistance to Domenico, who had not as much skill in painting in oil as he had in distemper. With the help of the same man he executed a panel for the Company of the Trinita, containing the Circumcision of Our Lord, which was held a very good work, and a "Noli Me Tangere" in fresco in the garden of S. Fiore. Finally, he painted a panel with many figures in the Vescovado, for Messer Donato Marinelli, Primicere. This work, which then brought him and still continues to bring him very great honour, shows good invention, good design, and strong relief; and in making it, being now very old, he called in the aid of a Sienese painter, Capanna, a passing good master, who painted so many walls in chiaroscuro and so many panels in Siena, and who, if he had lived longer, would have done himself much credit in his art, in so far as one may judge from the little that he executed. Domenico wrought for the Confraternity of Arezzo a baldacchino painted in oil, a rich and costly work, which was lent not many years ago for the holding of a representation in S. Francesco at the festival of S. John and S. Paul, to adorn a Paradise near the roof of the church. A fire breaking out in consequence of the great quantity of lights, this work was burnt, together with the man who was representing God the Father, who, being fastened, could not escape, as the angels did, and many church-hangings were destroyed, while great harm came to the spectators, who, terrified by the fire, struggled furiously to fly from the church, everyone seeking to be the first, so that about eighty were trampled down in the press, which was something very pitiful. This baldacchino was afterwards reconstructed with greater richness, and painted by Giorgio Vasari. Domenico then devoted himself to the making of glass windows, and there were three by his hand in the Vescovado, which were ruined by the artillery in the wars.

Another pupil of the same master was the painter Angelo di Lorentino, who was a man of passing good ability. He painted the arch over the door of S. Domenico, and if he had received assistance he would have become a very good master.

The Abbot died at the age of eighty-three, leaving unfinished the Temple of the Madonna delle Lacrime, for which he had made a model; it was afterwards completed by various masters. He deserves praise, then, as illuminator, architect, painter, and musician. He was given burial by his monks in his Abbey of S. Clemente, and his works have ever been so highly esteemed in the said city that the following verses may be read over his tomb:

PINGEBAT DOCTE ZEUSIS, CONDEBAT ET AEDES NICON, PAN CAPRIPES, FISTULA PRIMA TUA EST. NON TAMEN EX VOBIS MECUM CERTAVERIT ULLUS; QUAE TRES FECISTIS, UNICUS HAEC FACIO.

He died in 1461, having added to the art of illumination that beauty which is seen in all his works, as some drawings by his hand can bear witness which are in our book. His method of working was afterwards imitated by Girolamo Padovano in some books that he illuminated for S. Maria Nuova in Florence; by Gherardo, a Florentine illuminator; (and by Attavante,[22]) who was also called Vante, of whom we have spoken in another place, particularly with regard to those of his works which are in Venice; with respect to which I included word for word a note sent to me by certain gentlemen of Venice, contenting myself, in order to recompense them for the great pains that they had taken to discover all that is to be read there, with relating the whole as they wrote it, since I had no personal knowledge of these works on which to form a judgment of my own.

FOOTNOTES:

[22] The words in brackets have been added to correct an obvious omission in the text. The account of Attavante is to be found at the end of the Life of Fra Giovanni Angelico.



GHERARDO



GHERARDO

ILLUMINATOR OF FLORENCE

It is certain that among all the enduring works that are made in colours there is none that resists the assault of wind and water better than mosaic. And well was this known in his day to the elder Lorenzo de' Medici of Florence, who, like a man of spirit given to investigating the memorials of the ancients, sought to bring back into use what had been hidden for many years, and, since he took great delight in pictures and sculptures, could not fail to take delight also in mosaic. Wherefore, seeing that Gherardo, an illuminator of that time and a man of inquiring brain, was investigating the difficulties of that calling, he showed him great favour, as one who ever assisted those in whom he saw some germ of spirit and intellect. Placing him, therefore, in the company of Domenico del Ghirlandajo, he obtained for him from the Wardens of Works of S. Maria del Fiore a commission for decorating the chapels of the transepts, beginning with that of the Sacrament, wherein lies the body of S. Zanobi. Whereupon Gherardo, growing ever in keenness of intelligence, would have executed most marvellous works in company with Domenico, if death had not intervened, as may be judged from the beginning of that chapel, which remained unfinished.

Gherardo, in addition to his mosaics, was a most delicate illuminator, and he also made large figures on walls. Without the Porta alla Croce there is a shrine in fresco by his hand, and there is another in Florence, much extolled, at the head of the Via Larga. On the facade of the Church of S. Gilio at S. Maria Nuova, beneath the stories painted by Lorenzo di Bicci, wherein is the consecration of that church by Pope Martin V, Gherardo depicted the same Pope conferring the monk's habit and many privileges on the Director of the Hospital. In this scene there were far fewer figures than it appeared to require, because it was cut in half by a shrine containing a Madonna, which has been removed recently by Don Isidoro Montaguto, the present Director of that place, in the reconstructing of a principal door for the building; and Francesco Brini, a young painter of Florence, has been commissioned to paint the rest of the scene. But to return to Gherardo; it would scarcely have been possible for even a well-practised master to accomplish without great fatigue and diligence what he did in that work, which is wrought most excellently in fresco. For the church of the same hospital Gherardo illuminated an infinite number of books, with some for S. Maria del Fiore in Florence, and certain others for Matthias Corvinus, King of Hungary. These last, on the death of the said King, together with some by the hand of Vante and of other masters who worked for that King in Florence, were purchased and taken over by the Magnificent Lorenzo de' Medici, who placed them among those so greatly celebrated which were being collected for the formation of the library afterwards built by Pope Clement VII, which is now being thrown open to the public by order of Duke Cosimo.

Having thus developed, as has been related, from a master of illumination into a painter, in addition to the said works, he made some great figures in a large cartoon for the Evangelists that he had to make in mosaic in the Chapel of S. Zanobi. But before the Magnificent Lorenzo de' Medici had obtained for him the commission for the said chapel, wishing to show that he understood the art of mosaic, and that he could work without a companion, he made a life-size head of S. Zanobi, which remained in S. Maria del Fiore, and on days of the highest solemnity it is set up on the altar of the said Saint, or in some other place, as a rare thing.

The while that Gherardo was labouring at these things, there were brought to Florence certain prints in the German manner wrought by Martin and by Albrecht Duerer; whereupon, being much pleased with that sort of engraving, he set himself to work with the graver and copied some of those plates very well, as may be seen from certain examples that are in our book, together with some drawings by the same man's hand. Gherardo painted many pictures which were sent abroad, one of which is in the Chapel of S. Caterina da Siena in the Church of S. Domenico at Bologna, containing a very good painting of S. Catherine. And in S. Marco at Florence, over the table of Pardons, he painted a lunette full of very graceful figures. But the more he satisfied others the less did he satisfy himself in any of his works, with the exception of mosaic, in which sort of painting he was rather the rival than the companion of Domenico Ghirlandajo; and if he had lived longer he would have become most excellent in that art, for he was very willing to take pains with it, and he had discovered the greater part of its best secrets.

Some declare that Attavante, otherwise Vante, an illuminator of Florence, of whom we have spoken above in more than one place, was a disciple of Gherardo, as was Stefano, likewise a Florentine illuminator; but I hold it as certain, considering that both lived at the same time, that Attavante was rather the friend, companion, and contemporary of Gherardo than his disciple. Gherardo died well advanced in years, leaving everything that he used in his art to his disciple Stefano, who, devoting himself no long time after to architecture, abandoned the art of illuminating, and handed over all his appliances in connection with that profession to the elder Boccardino, who illuminated the greater part of the books that are in the Badia of Florence. Gherardo died at the age of sixty-three, and his works date about the year of our salvation 1470.



DOMENICO GHIRLANDAJO



DOMENICO GHIRLANDAJO

PAINTER OF FLORENCE

Domenico di Tommaso del Ghirlandajo, who, from his talent and from the greatness and the vast number of his works, may be called one of the most important and most excellent masters of his age, was made by nature to be a painter; and for this reason, in spite of the opposition of those who had charge of him (which often nips the finest fruits of our intellects in the bud by occupying them with work for which they are not suited, and by diverting them from that to which nature inclines them), he followed his natural instinct, secured very great honour for himself and profit for his art and for his kindred, and became the great delight of his age. He was apprenticed by his father to his own art of goldsmith, in which Tommaso was a master more than passing good, for it was he who made the greater part of the silver votive offerings that were formerly preserved in the press of the Nunziata, and the silver lamps of the chapel, which were all destroyed in the siege of the city in the year 1529. Tommaso was the first who invented and put into execution those ornaments worn on the head by the girls of Florence, which are called ghirlande;[23] whence he gained the name of Ghirlandajo, not only because he was their first inventor, but also because he made an infinite number of them, of a beauty so rare that none appeared to please save such as came out of his shop.

Being thus apprenticed to the goldsmith's art, but taking no pleasure therein, he was ever occupied in drawing. Endowed by nature with a perfect spirit and with an admirable and judicious taste in painting, although he was a goldsmith in his boyhood, yet, by devoting himself ever to design, he became so quick, so ready, and so facile, that many say that while he was working as a goldsmith he would draw a portrait of all who passed the shop, producing a likeness in a second; and of this we still have proof in an infinite number of portraits in his works, which show a most lifelike resemblance.

His first pictures were in the Chapel of the Vespucci in Ognissanti, where there is a Dead Christ with some saints, and a Misericordia over an arch, in which is the portrait of Amerigo Vespucci, who made the voyages to the Indies; and in the refectory of that place he painted a Last Supper in fresco. In S. Croce, on the right hand of the entrance into the church, he painted the Story of S. Paulino; wherefore, having acquired very great fame and coming into much credit, he painted a chapel in S. Trinita for Francesco Sassetti, with stories of S. Francis. This work was admirably executed by him, and wrought with grace, lovingness, and a high finish; and he counterfeited and portrayed therein the Ponte a S. Trinita, with the Palace of the Spini. On the first wall he depicted the story of S. Francis appearing in the air and restoring the child to life; and here, in those women who see him being restored to life—after their sorrow for his death as they bear him to the grave—there are seen gladness and marvel at his resurrection. He also counterfeited the friars issuing from the church behind the Cross, together with some grave-diggers, to bury him, all wrought very naturally; and there are likewise other figures marvelling at that event which give no little pleasure to the eye, among which are portraits of Maso degli Albizzi, Messer Agnolo Acciaiuoli, and Messer Palla Strozzi, eminent citizens often cited in the history of the city. On another wall he painted S. Francis, in the presence of the vicar, renouncing his inheritance from his father, Pietro Bernardone, and assuming the habit of sackcloth, which he is girding round him with the cord. On the middle wall he is shown going to Rome and having his Rule confirmed by Pope Honorius, and presenting roses in January to that Pontiff. In this scene he depicted the Hall of the Consistory, with Cardinals seated around, and certain steps ascending to it, furnishing the flight of steps with a balustrade, and painting there some half-length figures portrayed from the life, among which is the portrait of the elder Lorenzo de' Medici, the Magnificent; and there he also painted S. Francis receiving the Stigmata. In the last he made the Saint dead, with his friars mourning for him, among whom is one friar kissing his hands—an effect that could not be rendered better in painting; not to mention that a Bishop in full robes, with spectacles on his nose, is chanting the prayers for the dead so vividly, that only the lack of sound shows him to be painted. In one of two pictures that are on either side of the panel he portrayed Francesco Sassetti on his knees, and in the other his wife, Monna Nera, with their children (but these last are in the aforesaid scene of the child being restored to life), and with certain beautiful maidens of the same family, whose names I have not been able to discover, all in the costumes and fashions of that age, which gives no little pleasure. Besides this, he made four Sibyls on the vaulting, and an ornament above the arch on the front wall without the chapel, containing the scene of the Tiburtine Sibyl making the Emperor Octavian adore Christ, which is executed in a masterly manner for a work in fresco, with much vivacity and loveliness in the colours. To this work he added a panel wrought in distemper, also by his hand, containing a Nativity of Christ that should amaze any person of understanding, wherein he portrayed himself and made certain heads of shepherds, which are held to be something divine. Of this Sibyl and of other parts of this work there are some very beautiful drawings in our book, made in chiaroscuro, and in particular the view in perspective of the Ponte a S. Trinita.

For the Frati Ingesuati he painted a panel for their high-altar, with certain Saints kneeling—namely, S. Giusto, Bishop of Volterra, who was the titular Saint of that church; S. Zanobi, Bishop of Florence; an Angel Raphael; a S. Michael, clad in most beautiful armour; and other saints. For this work Domenico truly deserves praise, for he was the first who began to counterfeit with colours certain trimmings and ornaments of gold, which had not been done up to that time; and he swept away in great measure those borders of gilding that were made with mordant or with bole, which were more suitable for church-hangings than for the work of good masters. More beautiful than all the other figures is the Madonna, who has the Child in her arms and four little angels round her. This panel, which is wrought as well as any work in distemper could be, was then placed in the church of those friars without the Porta a Pinti; but since that building, as will be told elsewhere, was destroyed, it is now in the Church of S. Giovannino, within the Porta S. Piero Gattolini, where there is the Convent of the aforesaid Ingesuati.

In the Church of Cestello he painted a panel—afterwards finished by his brothers David and Benedetto—containing the Visitation of Our Lady, with certain most charming and beautiful heads of women. In the Church of the Innocenti he painted the Story of the Magi on a panel in distemper, which is much extolled. In this are heads most beautiful in expression and varied in features, both young and old; and in the head of Our Lady, in particular, are seen all the dignity, beauty, and grace that art can give to the Mother of the Son of God. On the tramezzo[24] of the Church of S. Marco there is another panel, with a Last Supper in the guest-room, both executed with diligence; and in the house of Giovanni Tornabuoni there is a round picture with the Story of the Magi, wrought with diligence. In the Little Hospital, for the elder Lorenzo de' Medici, he painted the story of Vulcan, in which many nude figures are at work with hammers making thunderbolts for Jove. And in the Church of Ognissanti in Florence, in competition with Sandro di Botticello, he painted a S. Jerome in fresco (which is now beside the door that leads to the choir), surrounding him with an infinite number of instruments and books, such as are used by the learned. The friars having occasion to remove the choir from the place where it stood, this picture, together with that of Sandro di Botticello, has been bound round with irons and transported without injury into the middle of the church, at the very time when these Lives are being printed for the second time. He also painted the arch over the door of S. Maria Ughi, and a little shrine for the Guild of Linen-Manufacturers, and likewise a very beautiful S. George, slaying the Dragon, in the same Church of Ognissanti. And in truth he had a very good knowledge of the method of painting on walls, which he did with very great facility, although he was scrupulously careful in the composition of his works.



Being then summoned to Rome by Pope Sixtus IV to paint his chapel, in company with other masters, he painted there Christ calling Peter and Andrew from their nets, and the Resurrection of Jesus Christ, the greater part of which has since been spoilt in consequence of being over the door, on which it became necessary to replace an architrave that had fallen down. There was living in Rome at this same time Francesco Tornabuoni, a rich and honoured merchant, much the friend of Domenico. This man, whose wife had died in childbirth, as is told in the Life of Andrea Verrocchio, desiring to honour her as became their noble station, had caused a tomb to be made for her in the Minerva; and he also wished Domenico to paint the whole wall against which this tomb stood, and likewise to make for it a little panel in distemper. On that wall, therefore, he painted four stories—two of S. John the Baptist and two of the Madonna—which brought him truly great praise at that time. And Francesco took so much pleasure in his dealings with Domenico, that, when the latter returned to Florence rich in honour and in gains, Francesco recommended him by letters to his relative Giovanni, telling him how well the painter had served him in that work, and how well satisfied the Pope had been with his pictures. Hearing this, Giovanni began to contemplate employing him on some magnificent work, such as would honour his own memory and bring fame and profit to Domenico.

Now it chanced that the principal chapel of S. Maria Novella (a convent of Preaching Friars), formerly painted by Andrea Orcagna, was injured in many parts by rain in consequence of the roof of the vaulting being badly covered. For this reason many citizens had wished to restore it, or rather, to have it painted anew; but the owners, who belonged to the family of the Ricci, had never consented to this, being unable to bear so great an expense themselves, and unwilling to allow others to do so, lest they should lose the rights of ownership and the distinction of the arms handed down to them by their ancestors. Giovanni, then, being desirous that Domenico should make him his memorial there, set to work in this matter, trying various ways; and finally he promised the Ricci to bear the whole expense himself, to give them some sort of recompense, and to have their arms placed in the most conspicuous and honourable place in that chapel. And so they came to an agreement, making a contract in the form of a very precise instrument according to the terms described above. Giovanni allotted this work to Domenico, with the same subjects as were painted there before; and they agreed that the price should be 1,200 gold ducats of full weight, with 200 more in the event of the work giving satisfaction to Giovanni. Thereupon Domenico put his hand to the work and laboured without ceasing for four years until he had finished it—which was in 1485—to the very great satisfaction and contentment of Giovanni, who, while admitting that he had been well served, and confessing ingenuously that Domenico had earned the additional 200 ducats, said that he would be pleased if he would be satisfied with the original price. And Domenico, who esteemed glory and honour much more than riches, immediately let him off all the rest, declaring that he set much greater store on having given him satisfaction than on the matter of complete payment.

Giovanni afterwards caused two large coats of arms to be made of stone—one for the Tornaquinci and the other for the Tornabuoni—and placed on the pilasters without the chapel, and in the arch he placed other arms belonging to that family, which is divided into various names and various arms—namely, in addition to the two already mentioned, those of the Ghiachinotti, Popoleschi, Marabottini, and Cardinali. And afterwards, when Domenico painted the altar-panel, he caused to be placed in the gilt ornament, under an arch, as a finishing touch to that panel, a very beautiful Tabernacle of the Sacrament, on the frontal of which he made a little shield a quarter of a braccio in length, containing the arms of the said owners—that is, the Ricci. And a fine jest it was at the opening of the chapel, for these Ricci looked for their arms with much ado, and finally, not being able to find them, went off to the Tribunal of Eight, contract in hand. Whereupon the Tornabuoni showed that these arms had been placed in the most conspicuous and most honourable part of the work; and although the others exclaimed that they were invisible, they were told that they were in the wrong, and that they must be content, since the Tornabuoni had caused them to be placed in so honourable a position as the neighbourhood of the most Holy Sacrament. And so it was decided by that tribunal that they should be left untouched, as they may be seen to-day. Now, if this should appear to anyone to be outside the scope of the Life that I have to write, let him not be vexed, for it all flowed naturally from the tip of my pen. And it should serve, if for nothing else, at least to show how easily poverty falls a prey to riches, and how riches, if accompanied by discretion, achieve without censure anything that a man desires.



But to return to the beautiful works of Domenico; in that chapel, first of all, are the four Evangelists on the vaulting, larger than life; and, on the window-wall, stories of S. Dominic, S. Peter Martyr, S. John going into the Desert, the Madonna receiving the Annunciation from the Angel, and many patron saints of Florence on their knees above the window; while at the foot, on the right hand, is a portrait from life of Giovanni Tornabuoni, with one of his wife on the left, which are both said to be very lifelike. On the right-hand wall are seven scenes—six below, in compartments as large as the wall allows, and the last above, twice as broad as any of the others and bounded by the arch of the vaulting; and on the left-hand wall are also seven scenes from the life of S. John the Baptist. The first on the right-hand wall is the Expulsion of Joachim from the Temple, wherein patience is depicted in his countenance, with that contempt and hatred in the faces of the others which the Jews felt for those who came to the Temple without having children. In this scene, in the part near the window, are four men portrayed from life, one of whom, old, shaven, and wearing a red cap, is Alesso Baldovinetti, Domenico's master in painting and in mosaic. Another, bareheaded, who is holding one hand on his side and is wearing a red mantle, with a blue garment below, is Domenico himself, the master of the work, who portrayed himself in a mirror. The one who has long black locks and thick lips is Bastiano da San Gimignano, his disciple and brother-in-law; and the last, who has his back turned, with a little cap on his head, is the painter David Ghirlandajo, his brother. All these are said, by those who knew them, to be truly vivid and lifelike portraits. In the second scene is the Nativity of Our Lady, executed with great diligence, and, among other notable things that he painted therein, there is in the building (drawn in perspective) a window that gives light to the room, which deceives all who see it. Besides this, while S. Anna is in bed, and certain ladies are visiting her, he painted some women washing the Madonna with great care—one is getting ready the water, another is preparing the swaddling-clothes, a third is busy with some service, a fourth with another, and, while each is attending to her own duty, another woman is holding the little child in her arms and making her laugh by smiling at her, with a womanly grace truly worthy of such a work; besides many other expressions that are in each figure. In the third, which is above the first, is the Madonna ascending the steps of the Temple, with a building which recedes from the eye correctly enough, in addition to a nude figure that brought him praise at that time, when few were to be seen, although it had not that complete perfection which is shown by those painted in our own day, for those masters were not as excellent as ours. Next to this is the Marriage of Our Lady, wherein he represented the unbridled rage of those who are breaking their rods because they do not blossom like that of Joseph; and this scene has an abundance of figures in an appropriate building. In the fifth are seen the Magi arriving in Bethlehem with a great number of men, horses, and dromedaries, and a variety of other things—a scene truly well composed. Next to this is the sixth, showing the impious cruelty practised by Herod against the Innocents, wherein there is seen a most beautiful combat between women and soldiers, with horses that are striking and driving them about; and in truth this is the best of all the stories that are to be seen by his hand, for it is executed with judgment, intelligence, and great art. There may be seen therein the impious resolution of those who, at the command of Herod, without regard for the mothers, are slaying those poor infants, among which is one, still clinging to the breast, that is dying from wounds received in its throat, so that it is sucking, not to say drinking, as much blood as milk from that breast—an effect truly natural, and, being wrought in such a manner as it is, able to kindle a spark of pity in the coldest heart. There is also a soldier who has seized a child by force, and while he runs off with it, pressing it against his breast to kill it, the mother is seen hanging from his hair in the utmost fury, and forcing him to bend his back in the form of an arch, so that three very beautiful effects are shown among them—one in the death of the child, which is seen expiring; the second in the impious rage of the soldier, who, feeling himself drawn backwards so strangely, is shown in the act of avenging himself on the child; and the third is that the mother, seeing the death of her babe, is seeking with fury, grief, and disdain to prevent the villain from going off scathless; and the whole is truly more the work of a philosopher admirable in judgment than of a painter. There are many other emotions depicted, which will demonstrate to him who studies them that this man was without doubt an excellent master in his time. Above this, in the seventh scene, which embraces the space of two, and is bounded by the arch of the vaulting, are the Death and the Assumption of Our Lady, with an infinite number of angels, and innumerable figures, landscapes, and other ornaments, of which he used to paint an abundance in his facile and practised manner.



On the other wall are stories of S. John, and in the first is Zacharias sacrificing in the Temple, when the Angel appears to him and makes him dumb for his unbelief. In this scene, showing how sacrifices in temples are ever attended by a throng of the most distinguished men, and wishing to make it as honourable as he was able, he portrayed a good number of the Florentine citizens who then governed that State, particularly all those of the house of Tornabuoni, both young and old. Besides this, in order to show that his age was rich in every sort of talent, above all in learning, he made a group of four half-length figures conversing together at the foot of the scene, representing the most learned men then to be found in Florence. The first of these, who is wearing the dress of a Canon, is Messer Marsilio Ficino; the second, in a red mantle, with a black band round his neck, is Cristofano Landino; the figure turning towards him is Demetrius the Greek; and he who is standing between them, with one hand slightly raised, is Messer Angelo Poliziano; and all are very lifelike and vivacious. In the second scene, next to this, there follows the Visitation of Our Lady to S. Elizabeth, with a company of many women dressed in costumes of those times, among whom is a portrait of Ginevra de' Benci, then a most beautiful maiden. In the third, above the first, is the birth of S. John, wherein there is a very beautiful scene, for while S. Elizabeth is lying in bed, and certain neighbours come to see her, and the nurse is seated suckling the infant, one woman is joyfully demanding it from her, that she may show to the others what an unexampled feat the mistress of the house has performed in her old age. Finally, there is a woman, who is very beautiful, bringing fruits and flasks from the country, according to the Florentine custom. In the fourth scene, next to this, is Zacharias, still dumb, marvelling—but with undaunted heart—that this child should have been born to him; and while they keep asking him about the name, he is writing on his knee, with his eyes fixed on his son, whom a woman who has knelt down before him is holding reverently in her arms, and he is tracing with his pen on the paper, "John shall be his name," to the no little marvel of many other figures, who appear to be in doubt whether the thing be true or not. There follows in the fifth his preaching to the multitude, in which scene there is shown that attention which the populace ever gives when hearing new things, particularly in the heads of the Scribes, who, while listening to John, appear from a certain expression of countenance to be deriding his law, and even to hate it; and there are seen many men and women, variously attired, both standing and seated. In the sixth S. John is seen baptizing Christ, in whose reverent expression Domenico showed very clearly the faith that should be placed in such a Sacrament. And since this did not fail to achieve a very great effect, he depicted many already naked and barefooted, waiting to be baptized, and revealing faith and willingness carved in their faces; and one among them, who is taking off his shoe, personifies readiness itself. In the last, which is in the arch next to the vaulting, are the sumptuous Feast of Herod and the Dance of Herodias, with an infinite number of servants performing various services in that scene; not to mention the grandeur of an edifice drawn in perspective, which proves the talent of Domenico no less clearly than do the other pictures.

The panel, which stands by itself, he executed in distemper, as he did the other figures in the six pictures. Besides the Madonna, who is seated in the sky with the Child in her arms, and the other saints who are round her, there are S. Laurence and S. Stephen, who are absolutely alive, with S. Vincent and S. Peter Martyr, who lack nothing save speech. It is true that a part of this panel remained unfinished in consequence of his death; but he had carried it so far on that there was nothing left to complete save certain figures on the back, where there is the Resurrection of Christ, with three figures in the other pictures, and the whole was afterwards finished by Benedetto and David Ghirlandajo, his brothers. This chapel was held to be a very beautiful work, grand, ornate, and lovely, through the vivacity of the colours, through the masterly finish in their application on the walls, and because very little retouching was done on the dry, not to mention the invention and the composition of the subjects. And in truth Domenico deserves the greatest praise on all accounts, particularly for the liveliness of the heads, which, being portrayed from nature, present to every eye most lifelike effigies of many distinguished persons.

For the same Giovanni Tornabuoni, at his Villa of Casso Maccherelli, which stands on the River Terzolle at no great distance from the city, he painted a chapel which has since been half destroyed through being too near to the river; but the paintings, although they have been uncovered for many years, continually washed by rain and scorched by the sun, have remained so fresh that one might think they had been covered—so great is the value of working in fresco, when the work is done with care and judgment and not retouched on the dry. He also made many figures of Florentine Saints, with most beautiful adornments, in that hall of the Palace of the Signoria which contains the marvellous clock of Lorenzo della Volpaia. And so great was his love of working and of giving satisfaction to all, that he commanded his lads to accept any work that might be brought to his shop, even hoops for women's baskets, saying that if they would not do them he would paint them himself, to the end that none might leave the shop unsatisfied. But when household cares fell upon him he was troubled, and he therefore laid the charge of all expenditure on his brother David, saying to him, "Leave me to work, and do thou provide, for now that I have begun to understand the methods of this art, it grieves me that they will not commission me to paint the whole circuit of the walls of the city of Florence with stories"; thus revealing a spirit absolutely invincible and resolute in every action.

For S. Martino in Lucca he painted S. Peter and S. Paul on a panel. In the Abbey of Settimo, without Florence, he painted the wall of the principal chapel in fresco, with two panels in distemper in the tramezzo[25] of the church. In Florence, also, he executed many pictures, round, square, and of other kinds, which can only be seen in the houses of individual citizens. In Pisa he painted the recess behind the high-altar of the Duomo, and he worked in many parts of that city, painting, for example, on the front wall of the Office of Works, a scene of King Charles, portrayed from life, making supplication for Pisa; and two panels in distemper, that of the high-altar and another, for the Frati Gesuati in S. Girolamo. In that place there is also a picture of S. Rocco and S. Sebastian by the hand of the same man, which was given by one or other of the Medici to those fathers, who have therefore added to it the arms of Pope Leo X.

He is said to have been so accurate in draughtsmanship, that, when making drawings of the antiquities of Rome, such as arches, baths, columns, colossea, obelisks, amphitheatres, and aqueducts, he would work with the eye alone, without rule, compasses, or measurements; and after he had made them, on being measured, they were found absolutely correct, as if he had used measurements. He drew the Colosseum by the eye, placing at the foot of it a figure standing upright, from the proportions of which the whole edifice could be measured; this was tried by some masters after his death, and found quite correct.

Over a door of the cemetery of S. Maria Nuova he painted a S. Michael in fresco, clad in armour which reflects the light most beautifully—a thing seldom done before his day. At the Abbey of Passignano, a seat of the Monks of Vallombrosa, he wrought certain works in company with his brother David and Bastiano da San Gimignano. Here the two others, finding themselves poorly fed by the monks before the arrival of Domenico, complained to the Abbot, praying him to have them better served, since it was not right that they should be treated like bricklayers' labourers. This the Abbot promised to do, saying in excuse that it was due more to the ignorance of the monks who looked after strangers than to malice. Domenico arrived, but everything continued just the same; whereupon David, seeking out the Abbot once again, declared with due apologies that he was not doing this for his own sake but on account of the merits and talents of his brother. But the Abbot, like the ignorant man that he was, made no other answer. That evening, then, when they had sat down to supper, up came the stranger's steward with a board covered with bowls and messes only fit for a hangman, exactly the same as before. Thereupon David, flying into a rage, upset the soup over the friar, and, seizing the loaf that was on the table, fell upon him with it and belaboured him in such a manner that he was carried away to his cell more dead than alive. The Abbot, who was already in bed, got up and ran to the noise, believing that the monastery was tumbling down; and finding the friar in a sorry plight, he began to upbraid David. Enraged by this, David bade him be gone out of his sight, saying that the talent of Domenico was worth more than all the pigs of Abbots like him that had ever lived in that monastery. Whereupon the Abbot, seeing himself in the wrong, did his utmost from that time onwards to treat them like the important men that they were.

This work finished, Domenico returned to Florence, where he painted a panel for Signor di Carpi, sending another to Rimini for Signor Carlo Malatesta, who had it placed in his chapel in S. Domenico. The latter panel was in distemper, with three very beautiful figures, and with little scenes below; and behind were figures painted to look like bronze, with very great design and art. Besides these, he painted two panels for the Abbey of S. Giusto, a seat of the Order of Camaldoli, without Volterra; these panels, which are wondrously beautiful, he executed at the order of the Magnificent Lorenzo de' Medici, for the reason that the abbey was then held "in commendam" by his son Cardinal Giovanni de' Medici, who was afterwards Pope Leo. This abbey was restored not many years ago by the Very Reverend Messer Giovan Batista Bava of Volterra, who likewise held it "in commendam," to the said Congregation of Camaldoli.

Being then summoned to Siena through the agency of the Magnificent Lorenzo de' Medici, Domenico undertook to adorn the facade of the Duomo with mosaics, Lorenzo acting as surety for him in this work to the extent of 20,000 ducats. And he began the work with much confidence and a better manner, but, being overtaken by death, he left it unfinished; even as, by reason of the death of the aforesaid Magnificent Lorenzo, there remained unfinished at Florence the Chapel of S. Zanobi, on which Domenico had begun to work in mosaic in company with the illuminator Gherardo. By the hand of Domenico is a very beautiful Annunciation in mosaic that is to be seen over that side-door of S. Maria del Fiore which leads to the Servi; and nothing better than this has yet been seen among the works of our modern masters of mosaic. Domenico used to say that painting was mere drawing, and that the true painting for eternity was mosaic.

A pupil of his, who lived with him in order to learn, was Bastiano Mainardi da San Gimignano, who became a very able master of his manner in fresco; wherefore he went with Domenico to San Gimignano, where they painted in company the Chapel of S. Fina, which is a beautiful work. Now the faithful and willing service of Bastiano, who acquitted himself very well, induced Domenico to judge him worthy to have a sister of his own for wife; and so their friendship was changed into relationship—a proof of liberality worthy of a loving master, who was pleased to reward the proficiency that his disciple had acquired by labouring at his art. Domenico caused the said Bastiano to paint a Madonna ascending into Heaven in the Chapel of the Baroncelli and Bandini in S. Croce (although he made the cartoon himself), with S. Thomas below receiving the Girdle—a beautiful work in fresco. In Siena, in an apartment of the Palace of the Spannocchi, Domenico and Bastiano together painted many scenes in distemper, with little figures; and in Pisa, in addition to the aforesaid recess in the Duomo, they filled the whole arch of that chapel with angels, besides painting the folding doors that close the organ, and beginning to overlay the ceiling with gold. Afterwards, just when Domenico was about to put his hand to some very great works both in Pisa and in Siena, he fell sick of a most grievous putrid fever, which cut short his life in five days. As he lay ill, the Tornabuoni sent him a hundred ducats of gold as a gift, proving their regard and particular friendship for Domenico in return for his unceasing labours in the service of Giovanni and of his house. Domenico lived forty-four years, and he was buried with beautiful obsequies in S. Maria Novella by his brothers David and Benedetto and his son Ridolfo, amid much weeping and sorrowful regrets. The loss of so great a man was a great grief to his friends; and many excellent foreign painters, hearing that he was dead, wrote to his relatives lamenting his most untimely death. The disciples that he left were David and Benedetto Ghirlandajo, Bastiano Mainardi da San Gimignano, the Florentine Michelagnolo Buonarroti, Francesco Granaccio, Niccolo Cieco, Jacopo del Tedesco, Jacopo dell' Indaco, Baldino Baldinelli, and other masters, all Florentines. He died in 1495.



Domenico enriched the art of painting by working in mosaic with a manner more modern than was shown by any of the innumerable Tuscans who essayed it, as is proved by the works that he wrought, few though they may be. Wherefore he has deserved to be held in honour and esteem for such rich and undying benefits to art, and to be celebrated with extraordinary praises after his death.

FOOTNOTES:

[23] Garlands.

[24] See note on p. 57, Vol. I.

[25] See note on p. 57, Vol. I.



ANTONIO AND PIERO POLLAIUOLO



LIVES OF ANTONIO AND PIERO POLLAIUOLO

PAINTERS AND SCULPTORS OF FLORENCE

Many men begin in a humble spirit with unimportant works, who, gaining courage from proficiency, grow also in power and ability, in such a manner that they aspire to greater undertakings and almost reach Heaven with their beautiful thoughts. Raised by fortune, they very often chance upon some liberal Prince, who, finding himself well served by them, is forced to remunerate their labours so richly that their descendants derive great benefits and advantages from them. Wherefore such men walk through this life to the end with so much glory, that they leave marvellous memorials of themselves to the world, as did Antonio and Piero del Pollaiuolo, who were greatly esteemed in their day for the rare acquirements that they had made with their industry and labour.

These men were born in the city of Florence, one no long time after the other, from a father of humble station and no great wealth, who, recognizing by many signs the good and acute intelligence of his sons, but not having the means to educate them in letters, apprenticed Antonio to the goldsmith's art under Bartoluccio Ghiberti, a very excellent master in that calling at that time; and Piero he placed under Andrea dal Castagno, who was then the best painter in Florence, to learn painting. Antonio, then, being pushed on by Bartoluccio, not only learnt to set jewels and to fire enamels on silver, but was also held the best master of the tools of that art. Wherefore Lorenzo Ghiberti, who was then working on the doors of S. Giovanni, having observed the manner of Antonio, called him into that work in company with many other young men, and set him to labour on one of the festoons which he then had in hand.

On this Antonio made a quail which is still in existence, so beautiful and so perfect that it lacks nothing but the power of flight. Antonio, therefore, had not spent many weeks over this work before he was known as the best, both in design and in patient execution, of all those who were working there, and as more gifted and more diligent than any other. Whereupon, growing ever both in ability and in fame, he left Bartoluccio and Lorenzo, and opened a fine and magnificent goldsmith's shop for himself in the Mercato Nuovo in that city. And for many years he followed that art, never ceasing to make new designs, and executing in relief wax candles and other things of fancy, which in a short time caused him to be held—as he was—the first master of his calling.

There lived at the same time another goldsmith called Maso Finiguerra, who had an extraordinary fame, and deservedly, since there had never been seen any master of engraving and of niello who could make so great a number of figures as he could, whether in a small or in a large space; as is still proved by certain paxes in the Church of S. Giovanni in Florence, wrought by him with most minutely elaborated stories from the Passion of Christ. This man drew very well and in abundance, and in our book are many of his drawings of figures, both draped and nude, and scenes done in water-colour. In competition with him Antonio executed certain scenes, in which he equalled him in diligence and surpassed him in design; wherefore the Consuls of the Guild of Merchants, seeing the excellence of Antonio, and remembering that there were certain scenes in silver to be wrought for the altar of S. Giovanni, such as it had ever been the custom for various masters to make at different times, determined among themselves that Antonio also should make some. This came to pass; and his works turned out so excellent, that they are recognized as the best among them all. These were the Feast of Herod and the Dance of Herodias; but more beautiful than anything else was the S. John that is in the middle of the altar, a work wrought wholly with the chasing-tool, and much extolled. For this reason he was commissioned by the said Consuls to make the candelabra of silver, each three braccia in height, and the Cross in proportion; which work he brought to such perfection, with such an abundance of carving, that it has ever been esteemed a marvellous thing both by foreigners and by his countrymen.



In this calling he took infinite pains, both with the works that he executed in gold and with those in enamel and silver. Among these are some very beautiful paxes in S. Giovanni, coloured by the action of fire, which are such that they could be scarcely improved with the brush; and some of his marvellous enamels may be seen in other churches in Florence, Rome, and other parts of Italy.

He taught this art to the Florentine Mazzingo and to Giuliano del Facchino, both passing good masters, and to Giovanni Turini of Siena, who surpassed these his companions considerably in that profession, in which, from Antonio di Salvi—who made many good works, such as a large silver Cross for the Badia of Florence, and other things—to our own day, there has been nothing done than can be held in particular account. But of his works and of those of the Pollaiuoli many have been destroyed and melted down to meet the necessities of the city in times of war.

For this reason, recognizing that this art gave no long life to the labours of its craftsmen, and desiring to gain a more lasting memory, Antonio resolved to pursue it no longer. And so, his brother Piero being a painter, he associated himself with him in order to learn the methods of handling and using colours; but it appeared to him an art so different from the goldsmith's, that, if he had not been so hasty in resolving to abandon his own art entirely, it might well have been that he would never have brought himself to turn to the other. However, spurred by fear of shame rather than by hope of profit, in a few months he acquired a practical knowledge of colouring and became an excellent master. He associated himself entirely with Piero, and they made many pictures in company; among others, since they took great delight in colour, a panel in oil in S. Miniato al Monte without Florence, for the Cardinal of Portugal. On this panel, which was placed on the altar of his chapel, they painted S. James the Apostle, S. Eustace, and S. Vincent, which have been much extolled. Piero, in particular, painted certain prophets on the wall in oil (a method that he had learnt from Andrea dal Castagno), in the corners of the angles below the architrave, where the lunettes of the arches run; and in one of the lunettes he painted the Virgin receiving the Annunciation, with three figures. For the Capitani di Parte he painted a Madonna with the Child in her arms in a lunette, with a frieze of seraphim all round, also wrought in oil. They also painted in oil, on canvas, on a pilaster of S. Michele in Orto, an Angel Raphael with Tobias; and they made certain Virtues in the Mercatanzia of Florence, in the very place where that Tribunal holds its sittings. In the Proconsulate Antonio made portraits from life of Messer Poggio, Secretary to the Signoria of Florence, who continued the History of Florence after Messer Leonardo d'Arezzo, and of Messer Giannozzo Manetti, a man of no small learning and repute, in the same place where other masters some time before had made portraits of Zanobi da Strada, a poet of Florence, Donato Acciaiuoli, and others. In the Chapel of the Pucci, in S. Sebastiano de' Servi, he painted the panel of the altar, which is a rare and excellent work, containing marvellous horses, nudes, and very beautiful figures in foreshortening, and S. Sebastian himself portrayed from life—namely, from Gino di Lodovico Capponi. This work received greater praise than any other that Antonio ever made, since, seeking to imitate nature to the utmost of his power, he showed in one of the archers, who is resting his cross-bow against his chest and bending down to the ground in order to load it, all the force that a man of strong arm can exert in loading that weapon, for we see his veins and muscles swelling, and the man himself holding his breath in order to gain more strength. Nor is this the only figure wrought with careful consideration, for all the others in their various attitudes also demonstrate clearly enough the thought and the intelligence that he put into this work, which was certainly appreciated by Antonio Pucci, who gave him 300 crowns for it, declaring that he was barely paying him for the colours. It was finished in the year 1475.



Gaining courage from this, therefore, he painted at S. Miniato fra le Torri, without the Gate, a S. Cristopher ten braccia in height, a very beautiful work executed in a modern manner, the figure being better proportioned than any other of that size that had been made up to that time. He then made a Crucifix with S. Antonino, on canvas, which was placed in the chapel of that Saint in S. Marco. In the Palace of the Signoria of Florence, at the Porta della Catena, he made a S. John the Baptist; and in the house of the Medici he painted for the elder Lorenzo three figures of Hercules in three pictures, each five braccia in height. The first of these, which is slaying Antaeus, is a very beautiful figure, in which the strength of Hercules as he crushes the other is seen most vividly, for the muscles and nerves of that figure are all strained in the struggle to destroy Antaeus. The head of Hercules shows the gnashing of the teeth so well in harmony with the other parts, that even the toes of his feet are raised in the effort. Nor did he take less pains with Antaeus, who, crushed in the arms of Hercules, is seen sinking and losing all his strength, and giving up his breath through his open mouth. The second Hercules, who is slaying the Lion, has the left knee pressed against its chest, and, setting his teeth and extending his arms, and grasping the Lion's jaws with both his hands, he is opening them and rending them asunder by main force, although the beast is tearing his arms grievously with its claws in self-defence. The third picture, wherein Hercules is slaying the Hydra, is something truly marvellous, particularly the serpent, which he made so lively and so natural in colouring that nothing could be made more life-like. In that beast are seen venom, fire, ferocity, rage, and such vivacity, that he deserves to be celebrated and to be closely imitated in this by all good craftsmen.

For the Company of S. Angelo in Arezzo he executed an oil-painting on cloth, with a Crucifix on one side, and on the other S. Michael in combat with the Dragon, as beautiful as any work that there is to be seen by his hand; for the figure of S. Michael, who is bravely confronting the Dragon, setting his teeth and knitting his brows, truly seems to have descended from Heaven in order to effect the vengeance of God against the pride of Lucifer, and it is indeed a marvellous work. He had a more modern grasp of the nude than the masters before his day, and he dissected many bodies in order to study their anatomy. He was the first to demonstrate the method of searching out the muscles, in order that they might have their due form and place in his figures, and he engraved on copper a battle of nude figures all girt round with a chain; and after this one he made other engravings, with much better workmanship than had been shown by the other masters who had lived before him.