Cosimo da Trezzo, also, has executed many works worthy of praise in this profession, and has won much favour on account of his rare gifts from Philip, the great Catholic King of Spain, who retains him about his person, honouring and rewarding him in return for his ability in his vocation of engraving in intaglio and in relief. He has no equal in making portraits from life; and in other kinds of work, as well as in that, his talent is extraordinary.

Of the Milanese Filippo Negrolo, who worked at chasing arms of iron with foliage and figures, I shall say nothing, since copper-engravings of his works, which have given him very great fame, may be seen about. By Gasparo and Girolamo Misuroni, engravers of Milan, have been seen most beautiful vases and tazze of crystal. For Duke Cosimo, in particular, they have executed two that are marvellous; besides which, they have made out of a piece of heliotrope a vase extraordinary in size and admirable for its engraving, and also a large vase of lapis-lazuli, which deserves infinite praise. Jacopo da Trezzo practises the same profession in Milan; and these men, in truth, have brought great beauty and facility to this art. Many masters could I mention who, in executing in incavo heads and reverses for medals, have equalled and even surpassed the ancients; as, for example, Benvenuto Cellini, who, during the time when he exercised the goldsmith's art in Rome under Pope Clement, made two medals with a head of Pope Clement that is a living likeness, and on the reverse of one a figure of Peace that has bound Fury and is burning her arms, and on the other Moses striking the rock and causing water to flow to quench the thirst of his people: beyond which it is not possible to go in that art. And the same might be said of the coins and medals that Benvenuto afterwards made for Duke Alessandro in Florence.

Of the Chevalier, Leone Aretino, who has done equally well in the same art, and of the works that he has made and still continues to make, there will be an account in another place.

The Roman Pietro Paolo Galeotto, also, has executed for Duke Cosimo, as he still does, medals with portraits of that lord, dies for coins, and works in tarsia, imitating the methods of Maestro Salvestro, a most excellent master, who produced marvellous works in that profession at Rome.

Pastorino da Siena, likewise, has executed so many heads from life, that he may be said to have made portraits of every kind of person in the whole world, great nobles, followers of the arts, and many people of low degree. He discovered a kind of hard stucco for making portraits, wherewith he gave them the colouring of nature, with the tints of the beard, hair, and flesh, so that they had the appearance of life itself; but he deserves much more praise for his work in steel, in which he has made excellent dies for medals.

It would take too long if I were to speak of all those who execute portrait-medals of wax, seeing that every goldsmith at the present day makes them, and a number of gentlemen have given their attention to this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso de' Giugni at Florence, and very many others, of whom I shall not now say more. And, to bring this account to conclusion, I return to the steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master of chasing and of copper-engraving, and another, at Florence, is Domenico Poggini, who has made, as he still does, dies for the Mint, with medals of Duke Cosimo, and who also executes statues of marble, imitating, in so far as he is able, the rarest and most excellent masters who have ever produced choice works in these professions.

FOOTNOTE:

[12] Giovanni of the Cornelians.

[13] Domenico of the Cameos.



MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS



LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF PRINTS

Seeing that in the Treatise on the Technique of Painting there was little said of copper-plate engraving, since it was enough at that time to describe the method of engraving silver with the burin, which is a square tool of iron, cut on the slant, with a sharp point, I shall use the occasion of this Life to say as much on that subject as I may consider to be sufficient. The beginning of print-engraving, then, came from the Florentine Maso Finiguerra, about the year of our salvation 1460; for of all the works which that master engraved in silver with designs to be filled up with niello, he took impressions in clay, over which he poured melted sulphur, which reproduced the lines of the design; and these, when filled with smoke-black mixed with oil, produced the same effect as the silver. He also did the same with damped paper and with the same tint, going over the whole with a round and smooth roller, which not only gave the designs the appearance of prints, but they also came out as if drawn with the pen. This master was followed by Baccio Baldini, a goldsmith of Florence, who, not having much power of design, took all that he did from the invention and design of Sandro Botticelli. And this method, coming to the knowledge of Andrea Mantegna in Rome, was the reason that he made a beginning with engraving many of his works, as was said in his Life.

This invention having afterwards passed into Flanders, a certain Martin, who was held to be an excellent painter in Antwerp at that time, executed many works, and sent to Italy a great number of printed designs, which were all signed in the following manner: "M.C." The first of these were the Five Foolish Virgins with their lamps extinguished, the Five Wise Virgins with their lamps burning, and a Christ Crucified, with S. John and the Madonna at the foot of the Cross, which was so good an engraving, that Gherardo, the Florentine illuminator, set himself to copy it with the burin, and succeeded very well; but he went no further with this, for he did not live long. Martin then published four round engravings of the four Evangelists, and Jesus Christ with the twelve Apostles, in small sheets, Veronica with six Saints, of the same size, and some coats of arms of German noblemen, supported by men, both naked and clothed, and also by women. He published, likewise, a S. George slaying the Dragon, a Christ standing before Pilate, who is washing his hands, and a Passing of Our Lady, with all the Apostles, a work of some size, which was one of the best designs that this master ever engraved. In another he represented S. Anthony beaten by Devils, and carried through the air by a vast number of them in the most varied and bizarre forms that could possibly be imagined; which sheet so pleased Michelagnolo, when he was a mere lad, that he set himself to colour it.



After this Martin, Albrecht Duerer began to give attention to prints of the same kind at Antwerp, but with more design and better judgment, and with more beautiful invention, seeking to imitate the life and to draw near to the Italian manners, which he always held in much account. And thus, while still quite young, he executed many works which were considered as beautiful as those of Martin; and he engraved them with his own hand, signing them with his name. In the year 1503 he published a little Madonna, in which he surpassed both Martin and his own self; and afterwards many other sheets with horses, two in each sheet, taken from nature and very beautiful. In another he depicted the Prodigal Son, in the guise of a peasant, kneeling with his hands clasped and gazing up to Heaven, while some swine are eating from a trough; and in this work are some most beautiful huts after the manner of German cottages. He engraved a little S. Sebastian, bound, with the arms upraised; and a Madonna seated with the Child in her arms, with the light from a window falling upon her, a small work, than which there is nothing better to be seen. He also made a Flemish woman on horseback, with a groom at her feet; and on a larger copper-plate he engraved a nymph being carried away by a sea-monster, while some other nymphs are bathing. On a plate of the same size he engraved with supreme delicacy of workmanship, attaining to the final perfection of this art, a Diana beating a nymph, who has fled for protection to the bosom of a satyr; in which sheet Albrecht sought to prove that he was able to make nudes.



But although those masters were extolled at that time in those countries, in ours their works are commended only for the diligent execution of the engraving. I am willing, indeed, to believe that Albrecht was perhaps not able to do better because, not having any better models, he drew, when he had to make nudes, from one or other of his assistants, who must have had bad figures, as Germans generally have when naked, although one sees many from those parts who are fine men when in their clothes. In various little printed sheets he executed figures of peasant men and women in different Flemish costumes, some playing on the bagpipes and dancing, some selling fowls and suchlike things, and others in many other attitudes. He also drew a man sleeping in a bathroom who has Venus near him, leading him into temptation in a dream, while Love is diverting himself by mounting on stilts, and the Devil blows into his ears with a pair of bellows. And he engraved two different figures of S. Christopher carrying the Infant Christ, both very beautiful, and executed with much diligence in the close detail of the hair and in every other respect.



After these works, perceiving how much time he consumed in engraving on copper, and happening to have in his possession a great abundance of subjects drawn in various ways, he set himself to making woodcuts, a method of working in which those who have the greatest powers of design find the widest field wherein to display their ability in its perfection. And in the year 1510 he published two little prints in this manner, in one of which is the Beheading of S. John, and in the other the scene of the head of the same S. John being presented in a charger to Herod, who is seated at table; with other sheets of S. Christopher, S. Sixtus the Pope, S. Stephen, and S. Laurence. Then, having seen that this method of working was much easier than engraving on copper, he pursued it and executed a S. Gregory chanting the Mass, accompanied by the deacon and sub-deacon. And, growing in courage, in the year 1510 he represented on a sheet of royal folio part of the Passion of Christ—that is, he executed four pieces, with the intention of afterwards finishing the whole, these four being the Last Supper, the Taking of Christ by Night in the Garden, His Descent into the Limbo of Hell in order to deliver the Holy Fathers, and His glorious Resurrection. That second piece he also painted in a very beautiful little picture in oils, which is now at Florence, in the possession of Signor Bernardetto de' Medici. As for the eight other parts, although they were afterwards executed and printed with the signature of Albrecht, to us it does not seem probable that they are the work of his hand, seeing that they are poor stuff, and bear no resemblance to his manner, either in the heads, or in the draperies, or in any other respect. Wherefore it is believed that they were executed after his death, for the sake of gain, by other persons, who did not scruple to father them on Albrecht. That this is true is also proved by the circumstance that in the year 1511 he represented the whole life of Our Lady in twenty sheets of the same size, executing it so well that it would not be possible, whether in invention, in the composition of the perspective-views, in the buildings, in the costumes, or in the heads of old and young, to do better. Of a truth, if this man, so able, so diligent, and so versatile, had had Tuscany instead of Flanders for his country, and had been able to study the treasures of Rome, as we ourselves have done, he would have been the best painter of our land, even as he was the rarest and most celebrated that has ever appeared among the Flemings. In the same year, continuing to give expression to his fantasies, Albrecht resolved to execute fifteen woodcuts of the same size, representing the terrible vision that S. John the Evangelist described in his Apocalypse on the Isle of Patmos. And so, setting his hand to the work, with his extravagant imagination, so well suited to such a subject, he depicted all those things both of heaven and of earth so beautifully, that it was a marvel, and with such a variety of forms in those animals and monsters, that it was a great light to many of our craftsmen, who have since availed themselves of the vast abundance of his beautiful fantasies and inventions. By the hand of the same master, also, is a woodcut that is to be seen of a nude Christ, who has round Him the Mysteries of His Passion, and is weeping for our sins, with His hands to His face; and this, for a small work, is not otherwise than worthy of praise.

Then, having grown both in power and in courage, as he saw that his works were prized, Albrecht executed some copper-plates that astonished the world. He also set himself to make an engraving, for printing on a sheet of half-folio, of a figure of Melancholy, with all the instruments that reduce those who use them, or rather, all mankind, to a melancholy humour; and in this he succeeded so well, that it would not be possible to do more delicate engraving with the burin. He executed three small plates of Our Lady, all different one from another, and most subtle in engraving. But it would take too long if I were to try to enumerate all the works that issued from Albrecht's hand; let it be enough for the present to tell that, having drawn a Passion of Christ in thirty-six parts, and having engraved these, he made an agreement with Marc' Antonio Bolognese that they should publish the sheets in company; and thus, arriving in Venice, this work was the reason that marvellous prints of the same kind were afterwards executed in Italy, as will be related below.

While Francesco Francia was working at his painting in Bologna, there was among his many disciples a young man called Marc' Antonio, who, being more gifted than the others, was much brought forward by him, and, from having been many years with Francia and greatly beloved by him, acquired the surname of De' Franci. This Marc' Antonio, who was more able in design than his master, handled the burin with facility and grace, and executed in niello girdles and many other things much in favour at that time, which were very beautiful, for the reason that he was indeed most excellent in that profession. Having then been seized, as happens to many, with a desire to go about the world and see new things and the methods of other craftsmen, with the gracious leave of Francia he went off to Venice, where he was well received by the craftsmen of that city. About the same time there arrived in Venice some Flemings with many copper-plate engravings and woodcuts by Albrecht Duerer, which were seen by Marc' Antonio on the Piazza di S. Marco; and he was so amazed at the manner and method of the work of Albrecht, that he spent on those sheets almost all the money that he had brought from Bologna. Among other things, he bought the Passion of Jesus Christ, which had been engraved on thirty-six wood-blocks and printed not long before on sheets of quarter-folio by the same Albrecht. This work began with the Sin of Adam and the scene of the Angel expelling him from Paradise, and continued down to the Descent of the Holy Spirit.

Marc' Antonio, having considered what honour and profit might be acquired by one who should apply himself to that art in Italy, formed the determination to give his attention to it with all possible assiduity and diligence. He thus began to copy those engravings by Albrecht Duerer, studying the manner of each stroke and every other detail of the prints that he had bought, which were held in such estimation on account of their novelty and their beauty, that everyone sought to have some. Having then counterfeited on copper, with engraving as strong as that of the woodcuts that Albrecht had executed, the whole of the said Life and Passion of Christ in thirty-six parts, he added to these the signature that Albrecht used for all his works, which was "A.D.," and they proved to be so similar in manner, that, no one knowing that they had been executed by Marc' Antonio, they were ascribed to Albrecht, and were bought and sold as works by his hand. News of this was sent in writing to Albrecht, who was in Flanders, together with one of the counterfeit Passions executed by Marc' Antonio; at which he flew into such a rage that he left Flanders and went to Venice, where he appeared before the Signoria and laid a complaint against Marc' Antonio. But he could obtain no other satisfaction but this, that Marc' Antonio should no longer use the name or the above-mentioned signature of Albrecht on his works.



After this affair, Marc' Antonio went off to Rome, where he gave his whole attention to design; and Albrecht returned to Flanders, where he found that another rival had already begun to execute many most delicate engravings in competition with him. This was Lucas of Holland,[14] who, although he was not as fine a master of design as Albrecht, was yet in many respects his equal with the burin. Among the many large and beautiful works that Lucas executed, the first were two in 1509, round in shape, in one of which is Christ bearing the Cross, and in the other His Crucifixion. Afterwards he published a Samson, a David on horseback, and a S. Peter Martyr, with his tormentors; and then he made a copper-plate engraving of Saul seated with the young David playing in his presence. And not long after, having made a great advance, he executed a very large plate with the most delicate engraving, of Virgil suspended from the window in the basket, with some heads and figures so marvellous, that they were the reason that Albrecht, growing more subtle in power through this competition, produced some printed sheets of such excellence, that nothing better could be done. In these, wishing to display his ability, Albrecht made an armed man on horseback, representing Human Strength, which is so well finished, that one can see the lustre of the arms and of the black horse's coat, which is a difficult thing to reproduce in design. This stalwart horseman had Death, hour-glass in hand, beside him, and the Devil behind. There was also a long-haired dog, executed with the most subtle delicacy that can possibly be achieved in engraving. In the year 1512 there issued from the hand of the same master sixteen little scenes of the Passion of Jesus Christ, engraved so well on copper, that there are no little figures to be seen that are more beautiful, sweet, and graceful, nor any that are stronger in relief.

Spurred likewise by rivalry, the same Lucas of Holland executed twelve similar plates, very beautiful, and yet not so perfect in engraving and design; and, in addition to these, a S. George who is comforting the Maiden, who is weeping because she is destined to be devoured by the Dragon; and also a Solomon, who is worshipping idols; the Baptism of Christ; Pyramus and Thisbe; and Ahasuerus with Queen Esther kneeling before him. Albrecht, on his part, not wishing to be surpassed by Lucas either in the number or in the excellence of his works, engraved a nude figure on some clouds, and a Temperance with marvellous wings, holding a cup of gold and a bridle, with a most delicate little landscape; and then a S. Eustachio kneeling before the stag, which has the Crucifix between its horns, a sheet which is amazing, and particularly for the beauty of some dogs in various attitudes, which could not be more perfect. Among the many children of various kinds that he made for the decoration of arms and devices, he engraved some who are holding a shield, wherein is a Death with a cock for crest, the feathers of which are rendered in such detail, that it would be impossible to execute anything more delicate with the burin.

Finally, he published the sheet with S. Jerome in the habit of a Cardinal, writing, with the Lion sleeping at his feet. In this work Albrecht represented a room with windows of glass, through which stream the rays of the sun, falling on the place where the Saint sits writing, with an effect so natural, that it is a marvel; besides which, there are books, timepieces, writings, and so many other things, that nothing more and nothing better could be done in this field of art. Not long afterwards, in the year 1523, he executed a Christ with the twelve Apostles, in little figures, which was almost the last of his works. There may also be seen prints of many heads taken from life by him, such as that of Erasmus of Rotterdam, that of Cardinal Albrecht of Brandenburg, Elector of the Empire, and also his own. Nor, with all the engravings that he produced, did he ever abandon painting; nay, he was always executing panels, canvases, and other paintings, all excellent, and, what is more, he left many writings on matters connected with engraving, painting, perspective, and architecture.



But to return to the subject of engraving: the works of Albrecht Duerer induced Lucas of Holland to follow in his steps to the best of his power. After the works already mentioned, Lucas engraved on copper four scenes from the life of Joseph, and also the four Evangelists, the three Angels who appeared to Abraham in the Valley of Mamre, Susannah in the Bath, David praying, Mordecai riding in Triumph on Horseback, Lot made drunk by his Daughters, the Creation of Adam and Eve, God commanding them that they shall not eat of the Fruit from the Tree that He points out to them, and Cain killing his brother Abel; all which sheets were published in the year 1529. But that which did more than anything else to bring renown and fame to Lucas, was a large sheet in which he represented the Crucifixion of Jesus Christ; with another wherein Pilate is showing Him to the people, saying, "Ecce Homo!" These sheets, which are large, and contain a great number of figures, are held to be excellent; as are, likewise, one with a Conversion of S. Paul, and another showing him being led, blind, into Damascus. And let these works suffice to prove that Lucas may be numbered among those who have handled the burin with ability.

The scenes of Lucas are very happy in composition, being executed with such clearness and so free from confusion, that it seems certain that the action represented could not have taken place in any other way; and they are arranged more in accordance with the rules of art than those of Albrecht. Besides this, it is evident that he used a wise discretion in the engraving of his works, for the reason that all those parts which recede little by little into the distance are less strongly defined in proportion as they are lost to view, even as natural objects become less clear to the eye when seen from afar. Indeed, he executed them with such thoughtful care, and made them so soft and well blended, that they would not be better in colour; and his judicious methods have opened the eyes of many painters. The same master engraved many little plates: various figures of Our Lady, the twelve Apostles with Christ, many Saints, both male and female; arms and helmet-crests, and other suchlike things. Very beautiful is a peasant who is having a tooth drawn, and is feeling such pain, that he does not notice that meanwhile a woman is robbing his purse. All these works of Albrecht and Lucas have brought it about that many other Flemings and Germans after them have printed similar sheets of great beauty.

But returning to Marc' Antonio: having arrived in Rome, he engraved on copper a most lovely drawing by Raffaello da Urbino, wherein was the Roman Lucretia killing herself, which he executed with such diligence and in so beautiful a manner, that Raffaello, to whom it was straightway carried by some friends, began to think of publishing in engravings some designs of works by his hand, and then a drawing that he had formerly made of the Judgment of Paris, wherein, to please himself, he had drawn the Chariot of the Sun, the nymphs of the woods, those of the fountains, and those of the rivers, with vases, the helms of ships, and other beautiful things of fancy all around; and when he had made up his mind, these were engraved by Marc' Antonio in such a manner as amazed all Rome. After them was engraved the drawing of the Massacre of the Innocents, with most beautiful nudes, women and children, which was a rare work; and then the Neptune, with little stories of AEneas around it, the beautiful Rape of Helen, also after a drawing by Raffaello, and another design in which may be seen the death of S. Felicita, who is being boiled in oil, while her sons are beheaded. These works acquired such fame for Marc' Antonio, that his engravings were held in much higher estimation, on account of their good design, than those of the Flemings; and the merchants made very large profits out of them.

Raffaello had kept an assistant called Baviera for many years to grind his colours; and since this Baviera had a certain ability, Raffaello ordained that he should attend to the printing of the engravings executed by Marc' Antonio, to the end that all his compositions might thus be finished, and then sold in gross and in detail to all who desired them. And so, having set to work, they printed a vast number, which brought very great profit to Raffaello; and all the plates were signed by Marc' Antonio with the following signatures, "R.S." for the name of Raffaello Sanzio of Urbino, and "M.F." for that of Marc' Antonio. Among these works were a Venus embraced by Love, after a drawing by Raffaello, and a scene in which God the Father is blessing the seed of Abraham, with the handmaiden and two children. Next were engraved all the round pictures that Raffaello had painted in the apartments of the Papal Palace, such as the Universal Knowledge, Calliope with the musical instrument in her hand, Foresight, and Justice; and then, after a small drawing, the scene which Raffaello had painted in the same apartment, of Mount Parnassus, with Apollo, the Muses, and the Poets; and also that of AEneas carrying Anchises on his back while Troy is burning, of which Raffaello had made the drawing in order to paint a little picture. After this they engraved and printed another work of Raffaello, Galatea in a car drawn over the sea by Dolphins, with some Tritons who are carrying off a Nymph.

These works finished, Marc' Antonio engraved many separate figures, likewise on copper, and after drawings by Raffaello; an Apollo with a lyre in his hand; a figure of Peace, to whom Love is offering an olive-branch; the three Theological and the four Moral Virtues, and a Jesus Christ with the twelve Apostles, of the same size; a half-folio plate of the Madonna that Raffaello had painted in the altar-piece of the Araceli, and likewise one of that which went to S. Domenico in Naples, with Our Lady, S. Jerome, the Angel Raphael, and Tobias; and a little plate of Our Lady seated on a chair and embracing the Infant Christ, who is half clothed, with many other figures of the Madonna copied from the pictures which Raffaello had painted for various persons. After these he engraved a young S. John the Baptist, seated in the desert, and then the picture which Raffaello executed for S. Giovanni in Monte, of S. Cecilia with other Saints, which was held to be a most beautiful sheet. When Raffaello had finished all the cartoons of the tapestries for the Papal Chapel, which were afterwards woven in silk and gold, with stories of S. Paul, S. Peter, and S. Stephen, Marc' Antonio engraved the Preaching of S. Paul, the Stoning of S. Stephen, and the Blind Man receiving his Sight; which plates, what with the invention of Raffaello, the grace of the design, and the diligent engraving of Marc' Antonio, were so beautiful, that there was nothing better to be seen. He then engraved, after the invention of the same Raffaello, a most beautiful Deposition from the Cross, with a Madonna in a swoon, who is marvellous; and not long afterwards a plate, which is very beautiful, of that picture by Raffaello which went to Palermo, of a Christ who is bearing the Cross, and also one of a drawing that Raffaello had executed of a Christ in the air, with Our Lady, S. John the Baptist, and S. Catharine kneeling on the ground, and S. Paul the Apostle standing, which was a large and very lovely engraving. This and the others, after becoming spoiled and almost worn out through being too much used, were carried away by Germans and others in the sack of Rome.

The same Marc' Antonio engraved the portrait of Pope Clement VII in profile, with the face shaved, in the form of a medallion; one of the Emperor Charles V at the time when he was a young man, and another of him at a riper age; and also one of Ferdinand, King of the Romans, who afterwards succeeded Charles V as Emperor. He also made in Rome a portrait from life of Messer Pietro Aretino, a very famous poet, which was the most beautiful that Marc' Antonio ever executed; and, not long afterwards, portraits of the twelve ancient Emperors in medallions. Of these sheets Raffaello sent some into Flanders to Albrecht Duerer, who praised Marc' Antonio highly, and sent in return to Raffaello, in addition to many other sheets, his own portrait, which was held to be a miracle of beauty.

Now, the fame of Marc' Antonio having grown very great, and the art of engraving having come into credit and repute, many disciples had placed themselves under him in order to learn it. And of their number, two who made great proficience were Marco da Ravenna, who signed his plates with the signature of Raffaello, "R.S.," and Agostino Viniziano, who signed his works in the following manner: "A.V." These two engraved and printed many designs by Raffaello, such as one of Our Lady with Christ lying dead at full length, and at His feet S. John, the Magdalene, Nicodemus, and the other Maries; and they engraved another plate of greater size, in which is a Madonna, with the arms outstretched and the eyes raised towards Heaven, in an attitude of supreme pity and sorrow, with Christ, in like manner, lying dead at full length.

Agostino afterwards engraved a large plate of the Nativity, with the Shepherds and Angels about the hut, and God the Father above; and he executed many vases, both ancient and modern, and also a censer, or rather, two women with a vase perforated at the top. He engraved a plate with a man transformed into a wolf, who is stealing towards a bed in order to kill one who is sleeping in it. And he also executed one of Alexander with Roxana, to whom that Prince is presenting a royal crown, while some Loves are hovering about her and adorning her head, and others are playing with the arms of Alexander.



The same masters together engraved the Last Supper of Christ with the twelve Apostles, on a plate of some size, and an Annunciation, all after the designs of Raffaello; and then two stories of the Marriage of Psyche, which had been painted by Raffaello not long before. In the end, Agostino and the above-mentioned Marco between them engraved almost all the works that Raffaello ever drew or painted, and made prints of them; and also many of the pictures painted by Giulio Romano, after copies drawn for that purpose. And to the end that there might remain scarcely a single work of Raffaello that had not been engraved by them, they finally made engravings of the scenes that Giulio had painted in the Loggie after the designs of Raffaello.

There may still be seen some of the first plates, with the signature "M.R." for Marco Ravignano, and others with the signature "A.V." for Agostino Viniziano, re-engraved by others after them, such as the Creation of the World, and God forming the Animals; the Sacrifices of Cain and Abel, and the Death of Abel; Abraham sacrificing Isaac; Noah's Ark, the Deluge, and the Animals afterwards issuing from the Ark; the Passage of the Red Sea; the Delivery of the Laws from Mount Sinai through Moses, and the Manna; David slaying Goliath, already engraved by Marc' Antonio; Solomon building the Temple; the Judgment of the same Solomon between the two women, and the Visit of the Queen of Sheba; and, from the New Testament, the Nativity and the Resurrection of Christ, and the Descent of the Holy Spirit. All these were engraved and printed during the lifetime of Raffaello.

After the death of Raffaello, Marco and Agostino separated, and Agostino was retained by Baccio Bandinelli, the Florentine sculptor, who caused him to engrave after his design an anatomical figure that he had formed out of lean bodies and dead men's bones; and then a Cleopatra. Both these were held to be very good plates. Whereupon, growing in courage, Baccio drew, and caused Agostino to engrave, a large plate—one of the largest, indeed, that had ever been engraved up to that time—full of women clothed, and of naked men who are slaughtering the little innocents by command of King Herod.

Marc' Antonio, meanwhile, continuing to work at engraving, executed some plates with small figures of the twelve Apostles, in various manners, and many Saints, both male and female, to the end that the poor painters who were weak in design might be able to avail themselves of these in their need. He also engraved a nude young man, who has a lion at his feet, and is seeking to furl a large banner, which is swollen out by the wind in a direction contrary to his purpose; another who is carrying a pedestal on his back; and a little S. Jerome who is meditating on death, placing a finger in the hollow of a skull that he has in his hand, the invention and design of which were by Raffaello. Then he executed a figure of Justice, which he copied from the tapestries of the Chapel; and afterwards an Aurora, drawn by two horses, on which the Hours are placing bridles. He also copied the Three Graces from the antique; and he engraved a scene of Our Lady ascending the steps of the Temple.

After these things, Giulio Romano, who in his modesty would never have any of his works engraved during the lifetime of his master Raffaello, lest he should seem to wish to compete with him, caused Marc' Antonio, after the death of Raffaello, to engrave two most beautiful battles of horsemen on plates of some size, and all the stories of Venus, Apollo, and Hyacinthus, which he had painted in the bathroom that is at the villa of Messer Baldassarre Turini da Pescia. And he did the same with the four stories of the Magdalene and the four Evangelists that are in the vaulting of the chapel of the Trinita, which were executed for a courtezan, although the chapel now belongs to Messer Agnolo Massimi. By the same master was drawn and reproduced in engraving a very beautiful ancient sarcophagus containing a lion-hunt, which was formerly at Maiano, and is now in the court of S. Pietro; as well as one of the ancient scenes in marble that are under the Arch of Constantine; and, finally, many scenes that Raffaello had designed for the corridor and Loggie of the Palace, which have since been engraved once more by Tommaso Barlacchi, together with those of the tapestries that Raffaello executed for the public Consistory.



After this, Giulio Romano caused Marc' Antonio to engrave twenty plates showing all the various ways, attitudes, and positions in which licentious men have intercourse with women; and, what was worse, for each plate Messer Pietro Aretino wrote a most indecent sonnet, insomuch that I know not which was the greater, the offence to the eye from the drawings of Giulio, or the outrage to the ear from the words of Aretino. This work was much censured by Pope Clement; and if, when it was published, Giulio had not already left for Mantua, he would have been sharply punished for it by the anger of the Pope. And since some of these sheets were found in places where they were least expected, not only were they prohibited, but Marc' Antonio was taken and thrown into prison; and he would have fared very badly if Cardinal de' Medici and Baccio Bandinelli, who was then at Rome in the service of the Pope, had not obtained his release. Of a truth, the gifts of God should not be employed, as they very often are, in things wholly abominable, which are an outrage to the world.

Released from prison, Marc' Antonio finished engraving for Baccio Bandinelli a large plate that he had previously begun, with a great number of nude figures engaged in roasting S. Laurence on the gridiron, which was held to be truly beautiful, and was indeed engraved with incredible diligence, although Bandinelli, complaining unjustly of Marc' Antonio to the Pope while that master was executing it, said that he was committing many errors. But for this sort of gratitude Bandinelli received the reward that his lack of courtesy deserved, for Marc' Antonio, having heard the whole story, and having finished the plate, went, without Baccio being aware of it, to the Pope, who took infinite delight in the arts of design; and he showed him first the original drawing by Bandinelli, and then the printed engraving, from which the Pope recognized that Marc' Antonio not only had committed no errors, but had even corrected with great judgment many committed by Bandinelli, which were of no small importance, and had shown more knowledge and craftsmanship in his engraving than had Baccio in his drawing. Wherefore the Pope commended him greatly and ever afterwards received him with favour; and it is believed that he might have done much for him, but the sack of Rome supervening, Marc' Antonio became little less than a beggar, seeing that, besides losing all his property, he was forced to disburse a good ransom in order to escape from the hands of the Spaniards. Which done, he departed from Rome, never to return; and there are few works to be seen which were executed by him after that time. Our arts are much indebted to Marc' Antonio, in that he made a beginning with engraving in Italy, to the advantage and profit of art and to the convenience of her followers, in consequence of which others have since executed the works that will be described hereafter.

Now Agostino Viniziano, of whom we have already spoken, came to Florence, after the circumstances described above, with the intention of attaching himself to Andrea del Sarto, who was held to be about the best painter in Italy after Raffaello. And so Andrea, persuaded by this Agostino to have his works engraved, made a drawing of a Dead Christ supported by three Angels; but since the attempt did not succeed exactly according to his fancy, he would never again allow any work of his to be engraved. After his death, however, certain persons published engravings of the Visitation of S. Elizabeth and of the Baptism of the people by S. John, taken from the work in chiaroscuro that Andrea painted in the Scalzo at Florence. Marco da Ravenna, likewise, in addition to the works already mentioned, which he executed in company with Agostino, also engraved many others by himself, which are all good and worthy of praise, and are known by his signature, which has been described above. Many others, also, have there been after these, who have worked very well at engraving, and have brought it about that every country has been able to see and enjoy the honoured labours of the most excellent masters.

Nor has there been wanting one who has had the enterprise to execute with wood-blocks prints that possess the appearance of having been made with the brush after the manner of chiaroscuro, which is an ingenious and difficult thing. This was Ugo da Carpi, who, although he was a mediocre painter, was nevertheless a man of most subtle wit in strange and fanciful inventions. He it was, as has been related in the thirtieth chapter of the Treatise on Technique, who first attempted, and that with the happiest result, to work with two blocks, one of which he used for hatching the shadows, in the manner of a copper-plate, and with the other he made the tint of colour, cutting deeply with the strokes of the engraving, and leaving the lights so bright, that when the impression was pulled off they appeared to have been heightened with lead-white. Ugo executed in this manner, after a design drawn by Raffaello in chiaroscuro, a woodcut in which is a Sibyl seated who is reading, with a clothed child giving her light with a torch. Having succeeded in this, Ugo took heart and attempted to make prints with wood-blocks of three tints. The first gave the shadow; the second, which was lighter in tone, made the middle tint, and the third, cut deeply, gave the higher lights of the ground and left the white of the paper. And the result of this, also, was so good, that he executed a woodcut of AEneas carrying Anchises on his back, while Troy is burning. He then made a Deposition from the Cross, and the story of Simon Magus, which had been used by Raffaello for the tapestries of the above-mentioned Chapel; and likewise David slaying Goliath, and the Flight of the Philistines, of which Raffaello had prepared the design in order to paint it in the Papal Loggie. And after many other works in chiaroscuro, he executed in the same manner a Venus, with many Loves playing about her.

Now since, as I have said, he was a painter, I must not omit to tell that he painted in oils, without using a brush, but with his fingers, and partly, also, with other bizarre instruments of his own, an altar-piece which is on the altar of the Volto Santo in Rome. Upon this altar-piece, being one morning with Michelagnolo at that altar to hear Mass, I saw an inscription saying that Ugo da Carpi had painted it without a brush; and I laughed and showed the inscription to Michelagnolo, who answered, also with a laugh, that it would have been better if he had used a brush, for then he might have done it in a better manner.

The method of executing these two kinds of woodcuts, in imitation of chiaroscuro, thus invented by Ugo da Carpi, was the reason that, many following in his steps, a great number of most beautiful prints were produced by others. For after him Baldassarre Peruzzi, the painter of Siena, made a similar woodcut in chiaroscuro, which was very beautiful, of Hercules driving Avarice, a figure laden with vases of gold and silver, from Mount Parnassus, on which are the Muses in various lovely attitudes. And Francesco Parmigiano engraved a Diogenes for a sheet of royal folio laid open, which was a finer print than any that Ugo ever produced. The same Parmigiano, having shown the method of making prints from three blocks to Antonio da Trento, caused him to execute a large sheet in chiaroscuro of the Beheading of S. Peter and S. Paul. And afterwards he executed another, but with two blocks only, of the Tiburtine Sibyl showing the Infant Christ in the lap of the Virgin to the Emperor Octavian; a nude man seated, who has his back turned in a beautiful attitude; and likewise an oval print of the Madonna lying down, with many others by his hand that may be seen in various places, printed after his death by Joannicolo Vicentino. But the most beautiful were executed later by Domenico Beccafumi of Siena, after the death of Parmigiano, as will be related at greater length in the Life of Domenico.

Not otherwise than worthy of praise, also, is the method that has been invented of making engravings more easily than with the burin, although they do not come out so clear—that is, with aquafortis, first laying on the copper a coat of wax, varnish, or oil-colour, and then drawing the design with an iron instrument that has a sharp point to cut through the wax, varnish, or colour, whichever it may be, after which one pours over it the aquafortis, which eats into the copper in such a manner that it leaves the lines of the design hollow, and impressions can be taken from it. With this method Francesco Parmigiano executed many little things, which are full of grace, such as the Nativity of Christ, a Dead Christ with the Maries weeping over Him, and one of the tapestries executed for the Chapel after the designs of Raffaello, with many other works.

After these masters, fifty sheets with varied and beautiful landscapes were produced by Battista, a painter of Vicenza, and Battista del Moro of Verona. In Flanders, Hieronymus Cock has executed engravings of the liberal arts; and in Rome, engravings have been done of the Visitation in the Pace, painted by Fra Sebastiano Viniziano, of that by Francesco Salviati in the Misericordia, and of the Feast of Testaccio; besides many works that have been engraved in Venice by the painter Battista Franco, and by many other masters.

But to return to the simple copper-plate engravings; after Marc' Antonio had executed the many works that have been mentioned above, Rosso arrived in Rome, and Baviera persuaded him that he should have some of his works engraved; wherefore he commissioned Gian Jacopo Caraglio of Verona, who was one of the most skilful craftsmen of that day, and who sought with all diligence to imitate Marc' Antonio, to engrave a lean anatomical figure of his own, which holds a death's head in the hand, and is seated on a serpent, while a swan is singing. This plate succeeded so well, that the same Rosso afterwards caused engravings to be made, on plates of considerable size, of some of the Labours of Hercules: the Slaying of the Hydra, the Combat with Cerberus, the Killing of Cacus, the Breaking of the Bull's Horns, the Battle with the Centaurs, and the Centaur Nessus carrying off Deianira. And these plates proved to be so beautiful and so well engraved, that the same Jacopo executed, likewise after the design of Rosso, the story of the daughters of Pierus, who, for seeking to contend with the Muses and to sing in competition with them, were transformed into crows.

Baviera having then caused Rosso to draw twenty Gods in niches, with their attributes, for a book, these were engraved by Gian Jacopo Caraglio in a very beautiful and graceful manner; and also, not long afterwards, their Transformations; but of these Rosso did not make the drawings, save only of two, for he had a difference with Baviera, and Baviera had ten of them executed by Perino del Vaga. The two by Rosso were the Rape of Proserpine and the Transformation of Philyra into a horse; and all were engraved with such diligence by Caraglio, that they have always been prized. Caraglio afterwards began for Rosso the Rape of the Sabines, which would have been a very rare work, but, the sack of Rome supervening, it could not be finished, for Rosso went away, and the plates were all lost. And although this work has since come into the hands of the printers, it has proved a miserable failure, for the engraving has been done by one who had no knowledge of the art, and thought only of making money.

After this, Caraglio engraved for Francesco Parmigiano a plate of the Marriage of Our Lady, and other works by the same master; and then another plate for Tiziano Vecelli, which was very beautiful, of a Nativity that Tiziano had formerly painted. This Gian Jacopo Caraglio, after having executed many copper-plates, being an ingenious spirit, gave his attention to engraving cameos and crystals, in which he became no less excellent than he had been in the engraving of copper-plates. And since then, having entered the service of the King of Poland, he has occupied himself no longer with engraving on copper, now in his opinion a mean art, but with the cutting of gems, with working in incavo, and with architecture; for which having been richly rewarded by the liberality of that King, he has spent large sums in investments in the territory of Parma, in order to be able to retire in his old age to the enjoyment of his native country among his friends and disciples, after the labours of so many years.

After these masters came another excellent copper-plate engraver, Lamberto Suave,[15] by whose hand are thirteen plates of Christ and the twelve Apostles, in which the execution of the engraving is perfect in its delicacy. If Lamberto had possessed a more thorough mastery of design in addition to the industry, patience, and diligence that he showed in all other points, he would have been marvellous in every respect; as may be perceived clearly from a little sheet of S. Paul writing, and from a larger sheet with the story of the Raising of Lazarus, in which there are most beautiful things to be seen. Worthy of note, in particular, are the hollow rock in the cavern which he represented as the burial-place of Lazarus, and the light that falls upon some figures, all of which is executed with beautiful and fanciful invention.

No little ability, likewise, has been shown in this profession by Giovan Battista Mantovano, a disciple of Giulio Romano; among other works, in a Madonna who has the Child in her arms and the moon under her feet, and in some very beautiful heads with helmet-crests after the antique; in two sheets, in which are a captain of mercenaries on foot and one on horseback, and also in a sheet wherein is a Mars in armour, who is seated upon a bed, while Venus gazes on a Cupid whom she is suckling, which has in it much that is good. Very fanciful, also, are two large sheets by the hand of the same master, in which is the Burning of Troy, executed with extraordinary invention, design, and grace. These and many other sheets by the same hand are signed with the letters "J.B.M."

And no less excellent than any of those mentioned above has been Enea Vico of Parma, who engraved the well-known copper-plate of the Rape of Helen by Rosso, and also another plate after the design of the same painter, of Vulcan with some Loves, who are fashioning arrows at his forge, while the Cyclopes are also at work, which was truly a most beautiful engraving. He executed the Leda of Michelagnolo on another, and also an Annunciation after the design of Tiziano, the story of Judith that Michelagnolo painted in the Chapel, the portrait of Duke Cosimo de' Medici as a young man, in full armour, after the drawing by Bandinelli, and likewise the portrait of Bandinelli himself; and then the Contest of Cupid and Apollo in the presence of all the Gods. And if Enea had been maintained and rewarded for his labours by Bandinelli, he would have engraved many other beautiful plates for him. Afterwards, Francesco, a protege of the Salviati, and an excellent painter, being in Florence, and assisted by the liberality of Duke Cosimo, commissioned Enea to engrave the large plate of the Conversion of S. Paul, full of horses and soldiers, which was held to be very beautiful, and gave Enea a great name. The same Enea then executed the portrait of Signor Giovanni de' Medici, father of Duke Cosimo, with an ornament full of figures. He engraved, also, the portrait of the Emperor Charles V, with an ornament covered with appropriate Victories and trophies, for which he was rewarded by His Majesty and praised by all; and on another plate, very well engraved, he represented the victory that the Emperor gained on the Elbe. For Doni he executed some heads from nature in the manner of medallions, with beautiful ornaments: King Henry of France, Cardinal Bembo, Messer Lodovico Ariosto, the Florentine Gello, Messer Lodovico Domenichi, Signora Laura Terracina, Messer Cipriano Morosino, and Doni himself. He also engraved for Don Giulio Clovio, a most excellent illuminator, a plate of a S. George on horseback who is slaying the Dragon, in which, although it was, one might say, one of the first works that he engraved, he acquitted himself very well.

Afterwards, being a man of lofty genius, and desiring to pass on to greater and more honourable undertakings, Enea applied himself to the study of antiquities, and in particular of ancient medals, of which he has published several books in engraving, wherein are the true effigies of many Emperors and their wives, with every kind of inscription and reverse that could bring all who delight in them to a clear understanding of their stories; for which he has rightly won great praise, as he still does. And those who have found fault with him for his books of medals have been in the wrong, for whoever shall consider the labours that he has performed, and how useful and beautiful these are, must perforce excuse him, even though he may have erred in a few matters of little importance; and such errors, which are not committed save from faulty information, from a too ready credulity, or from having opinions differing from others with some show of reason, are worthy to be excused, seeing that Aristotle, Pliny, and many others have been guilty of the like.

Enea also designed to the common satisfaction and benefit of all mankind fifty costumes of different nations, such as were worn by men and women, peasants and citizens, in Italy, in France, in Spain, in Portugal, in England, in Flanders, and in other parts of the world; which was an ingenious work, both fanciful and beautiful. He executed, also, a genealogical tree of all the Emperors, which was a thing of great beauty. And finally, after much toil and travailing, he now lives in repose under the shadow of Alfonso II, Duke of Ferrara, for whom he has made a genealogical tree of all the Marquises and Dukes of the House of Este. For all these works and many others that he has executed, as he still continues to do, I have thought it right to make this honourable record of him among so many other men of the arts.

Many others have occupied themselves with copper-plate engraving, who, although they have not attained to such perfection, have none the less benefited the world with their labours, by bringing many scenes and other works of excellent masters into the light of day, and by thus giving the means of seeing the various inventions and manners of the painters to those who are not able to go to the places where the principal works are, and conveying to the ultramontanes a knowledge of many things that they did not know. And although many plates have been badly executed through the avarice of the printers, eager more for gain than for honour, yet in certain others, besides those that have been mentioned, there may be seen something of the good; as in the large design of the Last Judgment of Michelagnolo Buonarroti on the front wall of the Papal Chapel, engraved by Giorgio Mantovano, and in the engravings by Giovan Battista de' Cavalieri of the Crucifixion of S. Peter and the Conversion of S. Paul painted in the Pauline Chapel at Rome. This Giovan Battista has also executed copper-plate engravings, besides other designs, of the Meditation of S. John the Baptist, of the Deposition from the Cross that Daniello Ricciarelli of Volterra painted in a chapel in the Trinita at Rome, of a Madonna with many Angels, and of a vast number of other works. Moreover, many things taken from Michelagnolo have been engraved by others at the commission of Antonio Lanferri, who has employed printers for the same purpose. These have published books of all the kinds of fishes, and also the Phaethon, the Tityus, the Ganymede, the Archers, the Bacchanalia, the Dream, the Pieta, and the Crucifix, all done by Michelagnolo for the Marchioness of Pescara; and, in addition, the four Prophets of the Chapel and other scenes and drawings have been engraved and published, but executed so badly, that I think it well to be silent as to the names of those engravers and printers.

But I must not be silent about the above-mentioned Antonio Lanferri and Tommaso Barlacchi, for they, as well as others, have employed many young men to engrave plates after original drawings by the hands of a vast number of masters, insomuch that it is better to say nothing of these works, lest it should become wearisome. And in this manner have been published, among other plates, grotesques, ancient temples, cornices, bases, capitals, and many other suchlike things, with all their measurements.

Seeing everything reduced to a miserable manner, and moved by compassion, Sebastiano Serlio, an architect of Bologna, has engraved on wood and copper two books of architecture, in which, among other things, are thirty doors of the Rustic Order, and twenty in a more delicate style; which book is dedicated to King Henry of France. Antonio L'Abacco, likewise, has published plates in a beautiful manner of all the notable antiquities of Rome, with their measurements, executed with great mastery and with very subtle engraving by ... Perugino. Nor has less been accomplished in this field by the architect Jacopo Barozzo of Vignola, who in a book of copper-plate engravings has shown with simple rules how to enlarge or to diminish in due proportion every part of the five Orders of Architecture, a work most useful in that art, for which we are much indebted to him; even as we are to Giovanni Cugini[16] of Paris for his engravings and writings on architecture.

In Rome, besides the masters named above, Niccolo Beatricio[17] of Lorraine has given so much attention to engraving with the burin, that he has executed many plates worthy of praise; such as two pieces of sarcophagi with battles of horsemen, engraved on copper, and other plates full of various animals very well executed, and a scene showing the Widow's Daughter being restored to life by Jesus Christ, engraved in a bold manner from the design of Girolamo Mosciano, a painter of Brescia. The same master has engraved an Annunciation from a drawing by the hand of Michelagnolo, and has also executed prints of the Navicella of mosaic that Giotto made in the portico of S. Pietro.

From Venice, likewise, have come many most beautiful engravings on wood and on copper; on wood, after Tiziano, many landscapes, a Nativity of Christ, a S. Jerome, and a S. Francis; and on copper the Tantalus, the Adonis, and many other plates, which have been engraved by Giulio Bonasone of Bologna, together with some others by Raffaello, by Giulio Romano, by Parmigiano, and by all the other masters whose drawings he has been able to obtain. And Battista Franco, a painter of Venice, has engraved, partly with the burin and partly with aquafortis, many works by the hands of various masters, such as the Nativity of Christ, the Adoration of the Magi, the Preaching of S. Peter, some plates from the Acts of the Apostles, and many stories from the Old Testament. So far, indeed, has this practice of making prints been carried, that those who make a profession of it keep draughtsmen continually employed in copying every beautiful work as it appears, and put it into prints. Wherefore there came from France, after the death of Rosso, engravings of all the work by his hand that could be found, such as Clelia with the Sabine women passing the river; some masks after the manner of the Fates, executed for King Francis; a bizarre Annunciation; a Dance of ten women; and King Francis advancing alone into the Temple of Jupiter, leaving behind him Ignorance and other similar figures, which were executed during the lifetime of Rosso by the copper-plate engraver Renato.[18] And many more have been drawn and engraved since Rosso's death; among many other works, all the stories of Ulysses, and, to say nothing of the rest, vases, chandeliers, candelabra, salt-cellars, and a vast number of other suchlike things made in silver after designs of Rosso.

Luca Penni, also, has published engravings of two Satyrs giving drink to a Bacchus, a Leda taking the arrows from the quiver of a Cupid, Susannah in the Bath, and many other plates copied from the designs of the same Rosso and of Francesco Primaticcio of Bologna, now Abbot of S. Martin in France. And among these engravings are the Judgment of Paris, Abraham sacrificing Isaac, a Madonna, Christ marrying S. Catharine, Jove changing Callisto into a bear, the Council of the Gods, Penelope weaving with her women, and other things without number, engraved on wood, and executed for the most part with the burin; by reason of which the wits of the craftsmen have become very subtle, insomuch that little figures have been engraved so well, that it would not be possible to give them greater delicacy. And who can see without marvelling the works of Francesco Marcolini of Forli? Who, besides other things, printed the book of the Garden of Thoughts from wood-blocks, placing at the beginning an astrologer's sphere and a head of himself after the design of Giuseppe Porta of Castelnuovo della Garfagnana; in which book are various fanciful figures, such as Fate, Envy, Calamity, Timidity, Praise, and many others of the same kind, which were held to be most beautiful. Not otherwise than praiseworthy, also, were the figures that Gabriele Giolito, a printer of books, placed in the Orlando Furioso, for they were executed in a beautiful manner of engraving. And even such, likewise, were the eleven large anatomical plates that were done by Andrea Vessalio after the drawings of Johann of Calcar, a most excellent Flemish painter, which were afterwards copied on smaller sheets and engraved on copper by Valverde, who wrote on anatomy after Vessalio.

Next, among the many plates that have issued from the hands of Flemings within the last ten years, very beautiful are some drawn by one Michele,[19] a painter, who worked for many years in two chapels that are in the Church of the Germans at Rome. These plates contain the story of Moses and the Serpents, and thirty-two stories of Psyche and Love, which are held to be most beautiful. Hieronymus Cock, also a Fleming, has engraved a large plate after the invention and design of Martin Heemskerk, of Delilah cutting off the locks of Samson; and not far away is the Temple of the Philistines, in which, the towers having fallen, one sees ruin and destruction in the dead, and terror in the living, who are taking to flight. The same master has executed in three smaller plates the Creation of Adam and Eve, the Eating of the Fruit, and the Angel driving them out of Paradise; and in four other plates of the same size, in the first the Devil imprinting avarice and ambition into the heart of man, and in the others all the passions that result from those two. There may also be seen twenty-seven plates of the same size by his hand, with stories from the Old Testament after the expulsion of Adam from Paradise, drawn by Martin in a bold, well-practised, and most resolute manner, which is very similar to the Italian. Hieronymus afterwards engraved six round plates with the history of Susannah, and twenty-three other stories from the Old Testament, similar to those of Abraham already mentioned—namely, six plates with the story of David, eight plates with that of Solomon, four with that of Balaam, and five with those of Judith and Susannah. And from the New Testament he engraved twenty-nine plates, beginning with the Annunciation of the Virgin, and continuing down to the whole Passion and Death of Jesus Christ. He also engraved, after the drawings of the same Martin, the seven Works of Mercy, and the story of the rich Lazarus and the poor Lazarus, and four plates with the Parable of the Samaritan wounded by thieves, with four other plates of the Parable of the Talents, written by S. Matthew in his eighteenth chapter.

At the time when Hans Liefrinck executed in competition with him ten plates of the Life and Death of S. John the Baptist, he engraved the Twelve Tribes on an equal number of plates; Reuben upon a hog, representing Sensuality; Simeon with a sword as a symbol of Homicide; and in like manner the other heads of Tribes with attributes appropriate to the nature of each. He then executed ten plates, engraved with greater delicacy, with the stories and acts of David, from the time of his being anointed by Samuel to his going before Saul; and he engraved six other plates with the story of how Amnon became enamoured of his sister Tamar and ravished her, and the death of that same Amnon. And not long afterwards he executed ten plates of similar size with the history of Job; and from thirteen chapters of the Proverbs of Solomon he drew subjects for five plates of the same kind. He also engraved the story of the Magi; and then, on six plates, the Parable that is in the twelfth chapter of S. Matthew, of those who for various reasons refused to go to the King's Feast, and of him who went without having a wedding-garment; and six plates of equal size with some of the acts of the Apostles. And in eight similar plates he engraved figures of women of perfect excellence, in various costumes: six from the Old Testament—Jael, Ruth, Abigail, Judith, Esther, and Susannah; and two from the New—Mary the Virgin, Mother of Jesus Christ, and Mary Magdalene.

After these works he carried out the engraving of the Triumphs of Patience in six plates, with various things of fancy. In the first, in a chariot, is Patience, who has in her hand a standard, on which is a rose among thorns. In the second may be seen a burning heart, beaten by three hammers, upon an anvil; and the chariot of this second plate is drawn by two figures—namely, by Desire, who has wings upon the shoulders, and by Hope, who has an anchor in the hand, and behind them Fortune, with her wheel broken, is led as a prisoner. In the next plate is Christ on a chariot, with the standard of the Cross and of His Passion, with the Evangelists at the corners in the form of animals; and this chariot is drawn by two lambs, and has behind it four prisoners—the Devil, the World, or rather, the Flesh, Sin, and Death. In another Triumph is Isaac, nude, upon a camel; on the banner that he holds in his hand are a pair of prisoner's irons; and behind him is drawn the altar with the ram, the knife, and the fire. In the next plate he made Joseph riding in triumph on an ox crowned with ears of corn and fruits, with a standard on which is a bee-hive; and the prisoners that are led behind him are Anger and Envy, who are devouring a heart. He engraved in another Triumph David on a lion, with the harp, and with a standard in his hand, on which is a bit; and behind him is Saul as a prisoner, and Shimei, with his tongue protruding. In another plate is Tobias riding in triumph on an ass, and holding in his hand a banner, on which is a fountain; and behind him Poverty and Blindness, bound, are led as prisoners. And in the last of the six Triumphs is S. Stephen the Proto-martyr, who is riding in triumph on an elephant, and has a standard with a figure of Charity; and the prisoners behind him are his persecutors. All these were inventions full of fancy, and very ingenious; and they were all engraved by Hieronymus Cock, whose hand is very bold, sure, and resolute.

The same master engraved a plate of Fraud and Avarice, fantastic and beautiful, and another very lovely plate of a Feast of Bacchanals, with children dancing. On another he represented Moses passing across the Red Sea, according as it had been painted by Agnolo Bronzino, a painter of Florence, in the upper chapel in the Palace of the Duke of Florence; and in competition with him, also after the design of Bronzino, Giorgio Mantovano engraved a Nativity of Jesus Christ, which was very beautiful. After these works, Hieronymus engraved twelve plates of the victories, battles, and deeds of arms of Charles V, for him who was the inventor of the subjects; and for Verese, a painter and a great master of perspective in those parts, twenty plates with various buildings. For Hieronymus Bosch he executed a plate of S. Martin, with a barque full of Devils in the most bizarre forms. And he made another of an alchemist who loses all his possessions, distilling away his brains and consuming all that he has in various ways, insomuch that in the end he takes refuge in the hospital with his wife and children; which plate was designed for him by a painter, who caused him to engrave the Seven Mortal Sins, with Demons of various forms, which was a fantastic and laughable work. He also engraved a Last Judgment; an old man who is seeking with a lantern for peace among the wares of the world, and finds it not; likewise a great fish that is devouring some little fishes; a figure of Carnival enjoying the pleasures of the table with many others, and driving Lent away, and another of Lent driving away Carnival; and so many other whimsical and fantastic inventions, that it would be wearisome to attempt to speak of them all.

Many other Flemings have imitated the manner of Albrecht Duerer with the greatest care and subtlety, as may be seen from their engravings, and in particular from those of ...[20] who has engraved in little figures four stories of the Creation of Adam, four of the lives of Abraham and of Lot, and four others of Susannah, which are very beautiful. In like manner, G... P...[21] has engraved the Seven Works of Mercy in seven small round plates, eight stories taken from the Books of Kings, Regulus placed in the barrel filled with nails, and an Artemisia, which is a plate of great beauty. J... B...[22] has executed figures of the four Evangelists, which are so small that it seems scarcely possible that he could have done them; and also five other very fine plates, in the first of which is a Virgin drawn into the grave by Death in all the freshness of her youth, and in the second is Adam, in the third a peasant, in the fourth a Bishop, and in the fifth a Cardinal, each, like the Virgin, called by Death to his last account. And in some others are many Germans going on parties of pleasure with their wives, and some beautiful and fantastic Satyrs. By ... are plates of the four Evangelists, engraved with great care, and no less beautiful than are twelve stories of the Prodigal Son executed with much diligence by the hand of M.... And, finally, Franz Floris, a painter famous in those parts, has produced a great number of works and drawings which have since been engraved, for the most part by Hieronymus Cock, such as ten plates of the Labours of Hercules, a large plate with all the activities of the life of man, another with the Horatii and Curiatii engaged in combat in the lists, the Judgment of Solomon, and the Battle between Hercules and the Pygmies. The same master, also, has engraved a Cain who has killed Abel, over whose body Adam and Eve are weeping; an Abraham who is about to sacrifice Isaac on the altar, and a vast number of other plates, so full of variety and invention, that it is indeed marvellous to think of all that has been done in engravings on copper and wood. Lastly, it is enough to draw attention to the engravings of the portraits of the Painters, Sculptors, and Architects in this our book, which were drawn by Giorgio Vasari and his pupils, and engraved by Maestro Cristofano ...,[23] who has executed in Venice, as he still continues to do, a vast number of works worthy of record.

In conclusion, for all the assistance that the ultramontanes have received from seeing the various Italian manners by means of engravings, and that the Italians have received from having seen those of the ultramontanes and foreigners, thanks should be rendered, for the most part, to Marc' Antonio Bolognese, in that, besides the circumstance that he played a great part in the beginning of this profession, as has been related, there has not as yet been one who has much surpassed him, although some few have equalled him in certain points. This Marc' Antonio died at Bologna, not long after his departure from Rome. In our book are some drawings of Angels by his hand, done with the pen, and some other very beautiful sheets drawn from the apartments that Raffaello da Urbino painted. In one of these apartments Marc' Antonio, as a young man, was portrayed by Raffaello in one of those grooms who are carrying Pope Julius II, in that part where the High-Priest Onias is praying.

And let this be the end of the Lives of Marc' Antonio Bolognese and of all the other engravers of prints mentioned above, of whom I have thought it right to give this long but necessary account, in order to satisfy not only the students of our arts, but also all those who delight in works of that kind.

FOOTNOTE:

[14] Luca di Leyden.

[15] Lambert Zutmann.

[16] Jean Cousin.

[17] Nicolas Beautrizet.

[18] Rene Boyvin.

[19] Michael Coxie.

[20] Albrecht Aldegrever.

[21] Georg Pencz.

[22] Hans Beham.

[23] Cristofano Coriolano.



ANTONIO DA SAN GALLO (THE YOUNGER)



LIFE OF ANTONIO DA SAN GALLO (THE YOUNGER)

ARCHITECT OF FLORENCE

How many great and illustrious Princes, abounding with infinite wealth, would leave behind them a name renowned and glorious, if they possessed, together with their store of the goods of Fortune, a mind filled with grandeur and inclined to those things that not only embellish the world, but also confer vast benefit and advantage on the whole race of men! And what works can or should Princes and great persons undertake more readily than noble and magnificent buildings and edifices, both on account of the many kinds of men that are employed upon them in the making, and because, when made, they endure almost to eternity? For of all the costly enterprises that the ancient Romans executed at the time when they were at the supreme height of their greatness, what else is there left to us save those remains of buildings, the everlasting glory of the Roman name, which we revere as sacred things and strive to imitate as the sole patterns of the highest beauty? And how much these considerations occupied the minds of certain Princes who lived in the time of the Florentine architect, Antonio da San Gallo, will now be seen clearly in the Life of him that we are about to write.

Antonio, then, was the son of Bartolommeo Picconi of Mugello, a maker of casks; and after having learned the joiner's craft in his boyhood, hearing that his uncle, Giuliano da San Gallo, was working at Rome in company with his brother Antonio, he set out from Florence for that city. And there, having devoted himself to the matters of the art of architecture with the greatest possible zeal, and pursuing that art, he gave promise of those achievements that we see in such abundance throughout all Italy, in the vast number of works executed by him at a more mature age. Now it happened that Giuliano was forced by the torment that he suffered from the stone to return to Florence; and Antonio, having become known to the architect Bramante of Castel Durante, began to give assistance to that master, who, being old and crippled in the hands by palsy, was not able to work as before in the preparation of his designs. And these Antonio executed with such accuracy and precision that Bramante, finding that they were correct and true in all their measurements, was constrained to leave to him the charge of a great number of works that he had on his hands, only giving him the order that he desired and all the inventions and compositions that were to be used in each work. In these he found himself served by Antonio with so much judgment, diligence, and expedition, that in the year 1512 he gave him the charge of the corridor that was to lead to the ditches of the Castello di S. Angelo; for which he began to receive a salary of ten crowns a month; but the death of Julius II then took place, and the work was left unfinished. However, the circumstance that Antonio had already acquired a name as a person of ability in architecture, and one who had a very good manner in matters of building, was the reason that Alessandro, who was first Cardinal Farnese, and afterwards Pope Paul III, conceived the idea of commissioning him to restore the old palace in the Campo di Fiore, in which he lived with his family; and for that work Antonio, desiring to grow in reputation, made several designs in different manners. Among which, one that was arranged with two apartments was that which pleased his very reverend Highness, who, having two sons, Signor Pier Luigi and Signor Ranuccio, thought that he would leave them well accommodated by such a building. And, a beginning having been made with that work, a certain portion was constructed regularly every year.

At this time a church dedicated to S. Maria di Loreto was being built at the Macello de' Corbi, near the Column of Trajan, in Rome, and it was brought to perfection by Antonio, with decorations of great beauty. After this, Messer Marchionne Baldassini caused a palace to be erected from the model and under the direction of Antonio, near S. Agostino, which is arranged in such a manner that, small though it may be, it is held to be, as indeed it is, the finest and most convenient dwelling in Rome; and in it the staircases, the court, the loggie, the doors, and the chimney-pieces, are all executed with consummate grace. With which Messer Marchionne being very well satisfied, he determined that Perino del Vaga, the Florentine painter, should decorate one of the halls in colour, with scenes and other figures, as will be related in his Life; which decorations have given it infinite grace and beauty. And near the Torre di Nona Antonio directed and finished the building of the house of the Centelli, which is small, but very convenient.

No long time passed before he went to Gradoli, a place in the dominions of the very reverend Cardinal Farnese, where he caused a most beautiful and commodious palace to be erected for that Cardinal. On that journey he did a work of great utility in restoring the fortress of Capo di Monte, which he surrounded with low and well-shaped walls; and at the same time he made the design of the fortress of Caprarola. And the very reverend Monsignor Farnese, finding himself served by Antonio in all these works in a manner so satisfactory, was constrained to wish him well, and, coming to love him more and more, he showed him favour in his every enterprise whenever he was able. After this, Cardinal Alborense, wishing to leave a memorial of himself in the church of his nation, caused a chapel of marble, with a tomb for himself, to be erected and brought to completion by Antonio in S. Jacopo degli Spagnuoli; which chapel, as has been related, was all painted in the spaces between the pilasters by Pellegrino da Modena, and on the altar stood a most beautiful S. James of marble executed by Jacopo Sansovino. This is a work of architecture that is held to be truly worthy of the highest praise, since the marble ceiling is divided very beautifully into octagonal compartments. Nor was it long before M. Bartolommeo Ferratino, for his own convenience and for the benefit of his friends, and also in order to leave an honourable and enduring memorial of himself, commissioned Antonio to build a palace on the Piazza d' Amelia, which is a beautiful and most imposing work; whereby Antonio acquired no little fame and profit. During this time Antonio di Monte, Cardinal of Santa Prassedia, was in Rome, and he desired that the same architect should build for him the palace that he afterwards occupied, looking out upon the Agone, where there is the statue of Maestro Pasquino; and in the centre, which looks over the Piazza, he wished to erect a tower. This was planned and brought to completion for him by Antonio with a most beautiful composition of pilasters and windows from the first floor to the third—a good and graceful design; and it was adorned both within and without by Francesco dell' Indaco with figures and scenes in terretta. And Antonio having meanwhile become the devoted servant of the Cardinal of Arimini, that lord caused him to erect a palace at Tolentino in the March, for which, in addition to the rewards that Antonio received, the Cardinal ever afterwards held himself indebted to him.

While these matters were in progress, and the fame of Antonio was growing and spreading abroad, it happened that old age and various infirmities made Bramante a citizen of the other world; at which three architects were appointed straightway by Pope Leo for the building of S. Pietro—Raffaello da Urbino, Giuliano da San Gallo, the uncle of Antonio, and Fra Giocondo of Verona. But no long time passed before Fra Giocondo departed from Rome, and Giuliano, being old, received leave to return to Florence. Whereupon Antonio, who was in the service of the very reverend Cardinal Farnese, besought him very straitly that he should make supplication to Pope Leo, to the end that he might grant the place of his uncle Giuliano to him, which proved to be a thing very easy to obtain, first because of the abilities of Antonio, which were worthy of that place, and then by reason of the cordial relations between the Pope and the very reverend Cardinal Farnese. And thus, in company with Raffaello da Urbino, he continued that building, but coldly enough.

The Pope then went to Civita Vecchia, in order to fortify it, and in his company were many lords; among others, Giovan Paolo Baglioni and Signor Vitello, and such persons of ability as Pietro Navarra and Antonio Marchissi, the architect for fortifications at that time, who had come from Naples at the command of the Pope. Discussions arising as to the fortification of that place, many and various were the opinions about this, one man making one design, and another a different one; but among so many, Antonio displayed before them a plan which was approved by the Pope and by those lords and architects as superior to all the others in strength and beauty and in the handsome and useful character of its arrangements; wherefore Antonio came into very great credit with the Court. After this, the genius of Antonio repaired a great mischief brought about in the following manner: Raffaello da Urbino, in executing the Papal Loggie and the apartments that are over the foundations, had left many empty spaces in the masonry in order to oblige some friends, to the serious damage of the whole building, by reason of the great weight that had to be supported above them; and the edifice was already beginning to show signs of falling, on account of the weight being too great for the walls. And it would certainly have fallen down but for the genius of Antonio, who filled up those little chambers with the aid of props and beams, and refounded the whole fabric, thus making it as firm and solid as it had ever been in the beginning.

Meanwhile the Florentine colony had begun their church in the Strada Giulia, behind the Banchi, from the design of Jacopo Sansovino. But they had chosen a site that extended too far into the river, so that, compelled by necessity, they spent twelve thousand crowns on foundations in the water, which were executed in a very secure and beautiful manner by Antonio, who found the way after Jacopo had failed to discover it; and several braccia of the edifice were built over the water. Antonio made a model so excellent, that, if the work had been carried to completion, it would have been something stupendous. Nevertheless, it was a great error, giving proof of little judgment, on the part of those who were at that time the heads of that colony in Rome, for they should never have allowed the architects to found so large a church in so terrible a river, for the sake of gaining twenty braccia of length, and to throw away so many thousands of crowns on foundations, only to be compelled to contend with that river for ever; particularly because, by bringing that church forward and giving it another form, they might have built it on solid ground, and, what is more, might have carried the whole to completion with almost the same expense. And if they trusted in the riches of the merchants of that colony, it was seen afterwards how fallacious such a hope was, for in all the years that the pontificate was held by Leo and Clement of the Medici family, by Julius III, and by Marcellus, who all came from Florentine territory, although the last-named lived but a short time, and for all the greatness of so many Cardinals and the riches of so many merchants, it remained, as it still does, in the same condition in which it was left by our San Gallo. It is clear, therefore, that architects and those who cause buildings to be erected should look well to the end and to every matter, before setting their hands to works of importance.

But to return to Antonio: the fortress of Monte Fiascone had been formerly built by Pope Urban, and he restored it at the commission of the Pope, who took him to those parts one summer in his train. And at the request of Cardinal Farnese he built two little temples on the island of Visentina in the Lake of Bolsena, one of which was constructed as an octagon without and round within, and the other was square on the outer side and octagonal on the inner, with four niches in the walls at the corners, one to each; which two little temples, executed in so beautiful a manner, bore testimony to the skill with which Antonio was able to give variety to the details of architecture. While these temples were building, Antonio returned to Rome, where he made a beginning with the Palace of the Bishop of Cervia, which was afterwards left unfinished, on the Canto di S. Lucia, where the new Mint stands. He built the Church of S. Maria di Monferrato, which is held to be very beautiful, near the Corte Savella, and likewise the house of one Marrano, which is behind the Cibo Palace, near the houses of the Massimi.

Meanwhile Leo died, and with him all the fine and noble arts, which had been restored to life by him and by his predecessor, Julius II; and his successor was Adrian VI, in whose pontificate all arts and talents were so crushed down, that, if the government of the Apostolic Seat had remained long in his hands, that fate would have come upon Rome under his rule which fell upon her on another occasion, when all the statues saved from the destruction of the Goths, both the good and the bad, were condemned to be burned. Adrian, perhaps in imitation of the Pontiffs of those former times, had already begun to speak of intending to throw to the ground the Chapel of the divine Michelagnolo, saying that it was a bagnio of nudes; and he despised all good pictures and statues, calling them vanities of the world, and shameful and abominable things, which circumstance was the reason that not only Antonio, but all the other beautiful intellects were kept idle, insomuch that, not to mention other works, scarcely anything was done in the time of that Pontiff on the building of S. Pietro, to which at least he should have been friendly, since he wished to prove himself so much the enemy of worldly things.

For that reason, therefore, attending under that Pontiff to works of no great importance, Antonio restored the aisles of the Church of S. Jacopo degli Spagnuoli, and furnished the facade with most beautiful windows. He also caused a tabernacle of travertine to be constructed for the Imagine di Ponte, which, although small, is yet very graceful; and in it Perino del Vaga afterwards executed a beautiful little work in fresco.

The poor arts had already come to an evil pass through the life of Adrian, when Heaven, moved to pity for them, resolved by the death of one to give new life to thousands; wherefore it removed him from the world and caused him to surrender his place to one who would fill that position more worthily and would govern the affairs of the world in a different spirit. And thus a new Pope was elected in Clement VII, who, being a man of generous mind, and desiring to follow in the steps of Leo and of the other members of his illustrious family who had preceded him, bethought himself that, even as he had created beautiful memorials of himself as Cardinal, so as Pope he should surpass all others in restoring and adorning buildings. That election, then, brought consolation to many men of talent, and infused a potent and heaven-sent breath of life in those ingenious but timid spirits who had sunk into abasement; and they, thus revived, afterwards executed the beautiful works that we see at the present day. And first, having been set to work at the commission of His Holiness, Antonio straightway reconstructed a court in front of the Loggie, which had been painted previously under the direction of Raffaello, in the Palace; which court was a vast improvement in beauty and convenience, for it was formerly necessary to pass through certain narrow and tortuous ways, and Antonio, widening these and giving them better form, made them spacious and beautiful. But this part is not now in the condition in which Antonio left it, for Pope Julius III took away the columns of granite that were there, in order to adorn his villa with them, and altered everything. Antonio also executed the facade of the old Mint of Rome, a work of great beauty and grace, in the Banchi, making a rounded corner, which is held to be a difficult and even miraculous thing; and in that work he placed the arms of the Pope. And he refounded the unfinished part of the Papal Loggie, which had remained incomplete at the death of Pope Leo, and had not been continued, or even touched, through the negligence of Adrian. And thus, at the desire of Clement, they were carried to their final completion.

His Holiness then resolving to fortify Parma and Piacenza, after many designs and models had been made by various craftsmen, Antonio was sent to those places, and with him Giuliano Leno, the supervisor of those fortifications. When they had arrived there, Antonio having with him his pupil L'Abacco, Pier Francesco da Viterbo, a very able engineer, and the architect Michele San Michele of Verona, all of them together carried the designs of those fortifications into execution. Which done, the others remaining, Antonio returned to Rome, where Pope Clement, since the Palace was poorly supplied in the matter of apartments, ordained that Antonio should begin those in which the public consistories are held, above the Ferraria, which were executed in such a manner, that the Pontiff was well satisfied with them, and caused other apartments to be constructed above them for the Chamberlains of His Holiness. Over the ceilings of those apartments, likewise, Antonio made others which were very commodious—a work which was most dangerous, because it necessitated so much refounding. In this kind of work Antonio was in truth very able, seeing that his buildings never showed a crack; nor was there ever among the moderns any architect more cautious or more skilful in joining walls.