Chapter X: Part 10

In the year 1433, when Cosimo was driven into exile, Michelozzo, who loved him very greatly and was most faithful to him, accompanied him of his own free will to Venice and insisted on remaining with him all the time that he stayed there; and in that city, besides many designs and models that he made for private dwellings and public buildings and decorations for the friends of Cosimo and for many gentlemen, he built, at the command and expense of Cosimo, the library of the Monastery of S. Giorgio Maggiore, a seat of the Black Friars of S. Justina; and this was not only finished with regard to walls, book-shelves, wood-work, and other adornments, but was also filled with many books. Such was the occupation and amusement of Cosimo during that exile, from which he was recalled to his country in the year 1434; whereupon he returned almost in triumph, and Michelozzo with him. Now, while Michelozzo was in Florence, the Palazzo Pubblico della Signoria began to threaten to collapse, for some columns in the courtyard were giving way, either because there was too much weight pressing on them, or because their foundations were weak and awry, or even perchance because they were made of pieces badly joined and put together. Whatever may have been the reason, the matter was put into the hands of Michelozzo, who accepted the undertaking willingly, because he had provided against a similar peril near S. Barnaba in Venice, in the following manner. A gentleman had a house that was in danger of falling down, and he entrusted the matter to Michelozzo; wherefore he--according to what Michelagnolo Buonarroti once told me--caused a column to be made in secret, and prepared a number of props; and hiding everything in a boat, into which he entered together with some builders, in one night he propped up the house and replaced the column. Michelozzo, therefore, emboldened by this experience, averted the danger from the palace, doing honour both to himself and to those by whose favour he had received such a charge; and he refounded and rebuilt the columns in the manner wherein they stand to-day. First he made a stout framework of props and thick beams standing upright to support the centres of the arches, made of nut-wood, and upholding the vaulting, so that this came to support equally the weight that was previously borne by the columns; then, little by little removing those that were made of pieces badly joined together, he replaced them with others made of pieces and wrought with diligence, in such a manner that the building did not suffer in any way and has never moved a hair's breadth. And in order that his columns might be known from the others, he made some of them at the corners with eight sides, with capitals that have the foliage carved in the modern fashion, and some round; and all are very easily distinguished from the old columns that Arnolfo made formerly. Afterwards, by the advice of Michelozzo, it was ordained by those who then governed the city that the arches of those columns should be unburdened and relieved of the weight of the walls that rested upon them; that the whole courtyard should be rebuilt from the arches upwards, with a row of windows in modern fashion, similar to those that he had made for Cosimo in the courtyard of the Palace of the Medici; and that designs in rustic-work should be carved on the walls, for the reception of those golden lilies that are still seen there at the present day. All this Michelozzo did with great promptitude; and on the second tier, directly above the windows of the said courtyard, he made some round windows (so as to have them different from the aforesaid windows), to give light to the rooms on that floor, which are over those of the first floor, where there is now the Sala de' Dugento. The third floor, where the Signori and the Gonfalonier lived, he made more ornate, and on the side towards S. Piero Scheraggio he arranged a series of apartments for the Signori, who had previously slept all together in one and the same room. These apartments consisted of eight for the Signori and a larger one for the Gonfalonier, and they all opened on a corridor which had windows overlooking the courtyard. Above this he made another series of commodious rooms for the household of the Palace, in one of which, used to-day as the Treasury, there is a portrait by the hand of Giotto of Charles, Duke of Calabria, son of King Robert, kneeling before a Madonna. There, also, he made apartments for the bailiffs, ushers, trumpeters, musicians, pipers, mace-bearers, court-servants, and heralds, with all the other apartments that are required in such a palace. On the upper part of the gallery, moreover, he made a stone cornice that went right round the courtyard, and beside it a water-cistern that was filled by the rains, to make some artificial fountains play at certain times. Michelozzo also directed the restoration of the chapel wherein Mass is heard, and beside it many rooms, with very rich ceilings painted with golden lilies on a ground of blue. He had other ceilings made both for the upper and the lower rooms of the Palace, covering up all the old ceilings that had been made before in the ancient manner. In short, he gave it all the perfection that was demanded by so great a building; and he contrived to convey the water from the wells right up to the highest floor, to which it could be drawn up by means of a wheel more easily than was usual. One thing alone the genius of Michelozzo could not remedy, namely, the public staircase, because it was badly conceived from the beginning, badly situated, awkwardly built, steep, and without lights, while from the first floor upwards the steps were of wood. He laboured to such purpose, however, that he made a flight of round steps at the entrance of the courtyard, and a door with pilasters of hard-stone and most beautiful capitals carved by his hand, besides a well-designed cornice with a double architrave, in the frieze of which he placed all the arms of the Commune. And what is more, he made the whole staircase of hard-stone up to the floor where the Signori lived, fortifying it at the top and half-way up with a portcullis at each point, in case of tumults; and at the head of the staircase he made a door which was called the "catena,"[23] beside which there was ever standing an usher, who opened or closed it according as he was commanded by those in authority. He strengthened the tower of the campanile, which had cracked by reason of the weight of that part which stands out over space on corbels on the side towards the Piazza, with very stout bands of iron. Finally, he improved and restored that Palace so greatly, that he was therefore commended by the whole city and made, besides other rewards, a member of the College, which is one of the most honourable magistracies in Florence. And if it should appear to anyone that I have perchance spoken at greater length about this building than was needful, I deserve to be excused, because--after having shown in the Life of Arnolfo, in connection with its original erection, which was in the year 1298, that it was built out of the square and wholly wanting in reasonable proportion, with unequal columns in the courtyard, arches both large and small, inconvenient stairs, and rooms awry and badly proportioned--it was necessary for me to show also to what condition it was brought by the intellect and judgment of Michelozzo; although even he did not arrange it in such a manner that it could be inhabited comfortably, without very great inconvenience and discomfort. Finally, when the Lord Duke Cosimo came to occupy it in the year 1538, his Excellency began to bring it into better form; but since those architects who served the Duke for many years in that work were never able to grasp or to carry out his conception, he determined to see whether he could effect the restoration without spoiling the old part, in which there was no little of the good; giving better order, convenience, and proportion, according to the plan that he had in mind, to the awkward and inconvenient stairs and apartments.

[Footnote 23: Chain.]

Sending to Rome, therefore, for Giorgio Vasari, painter and architect of Arezzo, who was working for Pope Julius III, he commissioned him not only to put in order the rooms that he had caused to be begun in the upper part of the side opposite to the Corn Market, which were out of the straight with regard to the ground-plan, but also to consider whether the interior of the Palace could not, without spoiling the work already done, be brought to such a form that it might be possible to go all over it, from one part to another and from one apartment to another, by means of staircases both secret and public, with an ascent as easy as possible. Thereupon, while the said rooms, already begun, were being adorned with gilded ceilings and scenes painted in oil, and with pictures in fresco on the walls, and others were being wrought in stucco, Giorgio took a tracing of the ground-plan right round the whole of the Palace, both the new part and the old; and then, having arranged with no small labour and study for the execution of all that he intended to do, he began to bring it little by little into a good form, and to unite, almost without spoiling any of the work already done, the disconnected rooms, which previously varied in height even on the same floor, some being high and others low. But in order that the Duke might see the design of the whole, in the space of six months he had made a well-proportioned wooden model of the whole of that pile, which has the form and extent rather of a fortress than of a palace. According to this model, which gained the approval of the Duke, the building was united and many commodious rooms were made, as well as convenient staircases, both public and secret, which give access to all the floors; and in this manner a burden was removed from the halls, which were formerly like public streets, for it had been impossible to ascend to the upper floors without passing through them. The whole was magnificently adorned with varied and diverse pictures, and finally the roof of the Great Hall was raised twelve braccia above its former height; insomuch that if Arnolfo, Michelozzo, and the others who laboured on the building from its first foundation onwards, were to return to life, they would not recognize it--nay, they would believe that it was not theirs but a new erection and a different edifice.

(_After_ Michelozzo Michelozzi. _Florence_)

_Alinari_]

But let us now return to Michelozzo; the Church of S. Giorgio had just been given to the Friars of S. Domenico da Fiesole, but they only remained there from about the middle of July to the end of January, for Cosimo de' Medici and his brother Lorenzo obtained for them from Pope Eugenius the Church and Convent of S. Marco, which was previously the seat of Silvestrine Monks, to whom the said S. Giorgio was given in exchange. And Cosimo and Lorenzo, being very devoted to religion and to divine service and worship, ordained that the said Convent of S. Marco should be rebuilt entirely anew after the design and model of Michelozzo, and should be made very vast and magnificent, with all the conveniences that the said friars could possibly desire. This work was begun in the year 1437, and the first part to be built was that opening out above the old refectory, opposite to the ducal stables, which Duke Lorenzo de' Medici formerly caused to be built. In this place twenty cells were built, the roof was put on, and the wooden furniture was made for the refectory, the whole being finished in the manner wherein it still stands to-day. But for some time the work was carried no further, for they had to wait to see what would be the end of a law-suit that one Maestro Stefano, General of the said Silvestrines, had brought against the Friars of S. Marco with regard to that convent. This suit having concluded in favour of the said Friars of S. Marco, the building was once more continued. But since the principal chapel, which had been built by Ser Pino Bonaccorsi, had afterwards come into the hands of a lady of the Caponsacchi family, and from her to Mariotto Banchi, some law-suit was fought out over this, and Mariotto, having upheld his rights and having taken the said chapel from Agnolo della Casa, to whom the said Silvestrines had given or sold it, presented it to Cosimo de' Medici, who gave Mariotto 500 crowns in return for it. Later, after Cosimo had likewise bought from the Company of the Spirito Santo the site where the choir now stands, the chapel, the tribune, and the choir were built under the direction of Michelozzo, and completely furnished in the year 1439. Afterwards the library was made, eighty braccia in length and eighteen in breadth, and vaulted both above and below, with sixty-four shelves of cypress wood filled with most beautiful books. After this the dormitory was finished, being brought to a square shape; and finally the cloister was completed, together with all the truly commodious apartments of that convent, which is believed to be the best designed, the most beautiful, and the most commodious that there is in Italy, thanks to the talent and industry of Michelozzo, who delivered it completely finished in the year 1452. It is said that Cosimo spent 36,000 ducats on this fabric, and that while it was building he gave the monks 366 ducats every year for their maintenance. Of the construction and consecration of this holy place we read in an inscription on marble over the door that leads into the sacristy, in the following words:

CUM HOC TEMPLUM MARCO EVANGELISTAE DICATUM MAGNIFICIS SUMPTIBUS
CL. V. COSMI MEDICIS TANDEM ABSOLUTUM ESSET, EUGENIUS QUARTUS
ROMANUS PONTIFEX MAXIMA CARDINALIUM, ARCHIEPISCOPORUM, EPISCOPORUM,
ALIORUMQUE SACERDOTUM FREQUENTIA COMITATUS, ID CELEBERRIMO
EPIPHANIAE DIE, SOLEMNI MORE SERVATO, CONSECRAVIT. TUM
ETIAM QUOTANNIS OMNIBUS, QUI EODEM DIE FESTO ANNUAS STATASQUE
CONSECRATIONIS CEREMONIAS CASTE PIEQUE CELEBRARINT VISERINTVE,
TEMPORIS LUENDIS PECCATIS SUIS DEBITI SEPTEM ANNOS TOTIDEMQUE
QUADRAGESIMAS APOSTOLICA REMISIT AUCTORITATE, A. MCCCCXLII.

In like manner, Cosimo erected from the design of Michelozzo the noviciate of S. Croce in Florence, with the chapel of the same, and the entrance that leads from the church to the sacristy, to the said noviciate, and to the staircase of the dormitory. These works are not inferior in beauty, convenience, and adornment to any building whatsoever of all those which the truly magnificent Cosimo de' Medici caused to be erected, or which Michelozzo carried into execution; and besides other parts, the door that leads from the church to the said places, which he made of grey-stone, was much extolled in those times by reason of its novelty and of its beautifully made frontal, for it was then very little the custom to imitate the good manner of antique work, as this door does. Cosimo de' Medici also built, with the advice and design of Michelozzo, the Palace of Cafaggiuolo in Mugello, giving it the form of a fortress with ditches round it; and he laid out farms, roads, gardens, fountains with groves round them, fowling-places, and other appurtenances of a villa, all very splendid; and at a distance of two miles from the said palace, in a place called the Bosco a' Frati, with the advice of Michelozzo, he carried out the building of a convent for the Frati de' Zoccoli of the Order of S. Francis, which is something very beautiful. At Trebbio, likewise, he made many other improvements which are still to be seen; and at a distance of two miles from Florence, also, he built the palatial Villa of Careggi, which was very rich and magnificent; and thither Michelozzo brought the water for the fountain that is seen there at the present day. For Giovanni, son of Cosimo de' Medici, the same master built another magnificent and noble palace at Fiesole, sinking the foundations for the lower part in the brow of the hill, at great expense but not without great advantage, for in that lower part he made vaults, cellars, stables, vat-stores, and many other beautiful and commodious offices; and above, besides the chambers, halls, and other ordinary rooms, he made some for books and certain others for music. In short, Michelozzo showed in this building how great was his skill in architecture, for, besides what has been mentioned, it was constructed in such a manner that, although it stands on that hill, it has never moved a hair's breadth. This palace finished, he built above it, almost on the summit of the hill, the Church and Convent of the Friars of S. Girolamo, at the expense of the same man. The same Michelozzo made the design and model which Cosimo sent to Jerusalem for the hospice that he caused to be erected there, for the pilgrims who visit the Sepulchre of Christ. He also sent the design for six windows in the facade of S. Pietro in Rome, which were made there afterwards with the arms of Cosimo de' Medici; but three of them were removed in our own day and replaced by Pope Paul III with others bearing the arms of the house of Farnese. After this, hearing that there was a lack of water at S. Maria degli Angeli in Assisi, to the very great discomfort of the people who go there every year on August 1 to receive Absolution, Cosimo sent thither Michelozzo, who brought the water of a spring, which rose half-way up the brow of the hill, to the fountain, which he covered with a very rich and lovely loggia resting on some columns made of separate pieces and bearing the arms of Cosimo. Within the convent, also at the commission of Cosimo, he made many useful improvements for the friars; and these the magnificent Lorenzo de' Medici afterwards renewed with more adornment and at greater expense, besides presenting to that Madonna the image of her in wax which is still to be seen there. Cosimo also caused the road that leads from the said Madonna degli Angeli to the city to be paved with bricks; nor did Michelozzo take his leave of those parts before he had made the design for the old Citadel of Perugia. Having finally returned to Florence, he built a house on the Canto de' Tornaquinci for Giovanni Tornabuoni, similar in almost every way to the palace that he had made for Cosimo, save that the facade is not in rustic-work and has no cornices above, but is quite plain.

After the death of Cosimo, by whom Michelozzo had been loved as much as a dear friend can be loved, his son Piero caused him to build the marble Chapel of the Crucifix in S. Miniato sul Monte; and in the half-circle of the arch at the back of the said chapel Michelozzo carved in low-relief a Falcon with the Diamond (the emblem of Cosimo, father of Piero), which was truly a very beautiful work. After these things, the same Piero de' Medici, intending to build the Chapel of the Nunziata, in the Church of the Servi, entirely of marble, besought Michelozzo, now an old man, to give him his advice in the matter, both because he greatly admired his talents and because he knew how faithful a friend and servant he had been to his father Cosimo. This Michelozzo did, and the charge of constructing it was given to Pagno di Lapo Partigiani, a sculptor of Fiesole, who, as one who wished to include many things in a small space, showed many ideas in this work. This chapel is supported by four marble columns about nine braccia high, made with double flutings in the Corinthian manner, with the bases and capitals variously carved and with double members. On the columns rest the architrave, frieze, and cornice, likewise with double members and carvings and wrought with various things of fancy, and particularly with foliage and the emblems and arms of the Medici. Between these and other cornices made for another range of lights, there is a large inscription, very beautifully carved in marble. Below, between the four columns, forming the ceiling of the chapel, there is a coffer-work canopy of marble all carved, full of enamels fired in a furnace and of various fanciful designs in mosaic wrought with gold colour and precious stones. The surface of the pavement is full of porphyry, serpentine, variegated marbles, and other very rare stones, put together and distributed with beautiful design. The said chapel is enclosed by a grille made of bronze ropes, with candelabra above fixed into an ornament of marble, which makes a very beautiful finish to the bronze and to the candelabra; and the door which closes the chapel in front is likewise of bronze and very well contrived. Piero left orders that the chapel should be lighted all round by thirty silver lamps, and this was done. Now, as these were ruined during the siege, the Lord Duke gave orders many years ago that new ones should be made, and the greater part of them are already finished, while the work still goes on; but in spite of this there has never been a moment when there has not been that full number of lamps burning, according to the instructions of Piero, although, from the time when they were destroyed, they have not been of silver. To these adornments Pagno added a very large lily of copper, issuing from a vase which rests on the corner of the gilt and painted cornice of wood which holds the lamps; but this cornice does not support so great a weight by itself, for the whole is sustained by two branches of the lily, which are of iron painted green, and are fixed with lead into the corner of the marble cornice, holding those that are of copper suspended in the air. This work was truly made with judgment and invention; wherefore it is worthy of being much extolled as something beautiful and bizarre. Beside this chapel, he made another on the side towards the cloister, which serves as a choir for the friars, with windows which take their light from the court and give it both to the said chapel and also (since they stand opposite to two similar windows) to the room containing the little organ, which is by the side of the marble chapel. On the front of this choir there is a large press, in which the silver vessels of the Nunziata are kept; and on all these ornaments and throughout the whole are the arms and emblem of the Medici. Without the Chapel of the Nunziata and opposite to it, the same man made a large chandelier of bronze, five braccia in height, as well as the marble holy-water font at the entrance of the church, and a S. John in the centre, which is a very beautiful work. Above the counter where the friars sell the candles, moreover, he made a half-length Madonna of marble with the Child in her arms, in half-relief, of the size of life and very devout; and a similar work in the Office of the Wardens of Works of S. Maria del Fiore.

Pagno also wrought some figures in S. Miniato al Tedesco in company with his master Donato, while a youth; and he made a tomb of marble in the Church of S. Martino in Lucca, opposite to the Chapel of the Sacrament, for Messer Piero di Nocera, who is portrayed there from nature. Filarete relates in the twenty-fifth book of his work that Francesco Sforza, fourth Duke of Milan, presented a very beautiful palace in Milan to the Magnificent Cosimo de' Medici, and that Cosimo, in order to show the Duke how pleased he was with such a gift, not only adorned it richly with marbles and with carved wood-work, but also enlarged it under the direction of Michelozzo, making it eighty-seven braccia and a half, whereas it had previously been only eighty-four braccia. Besides this, he had many pictures painted there, particularly the stories of the life of the Emperor Trajan in a loggia, wherein, among certain decorations, he caused Francesco Sforza himself to be portrayed, with the Lady Bianca, his consort, Duchess of Milan, and also their children, with many other noblemen and great persons, and likewise the portraits of eight Emperors; and to these portraits Michelozzo added that of Cosimo, made by his own hand. Throughout all the apartments he placed the arms of Cosimo in diverse fashions, with his emblem of the Falcon and Diamond. The said pictures were all by the hand of Vincenzio di Zoppa, a painter of no small repute at that time and in that country.

It is recorded that the money that Cosimo spent in the restoration of this palace was paid by Pigello Portinari, a citizen of Florence, who then directed the bank and the accounts of Cosimo in Milan and lived in the said palace. There are some works in marble and bronze by the hand of Michelozzo in Genoa, and many others in other places, which are all known by the manner; but what we have already said about him must suffice. He died at the age of sixty-eight, and he was buried in his own tomb in S. Marco at Florence. His portrait, by the hand of Fra Giovanni, is in the Sacristy of S. Trinita, in the figure of an old man with a cap on his head, representing Nicodemus, who is taking Christ down from the Cross.

INDEX

INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME II

Agnolo (of Siena), 81, 94, 95

Agnolo Gaddi, 15, 25

Agostino (of Siena), 81, 94, 95

Agostino della Robbia, 123-125

Alberti, Leon Batista, 227

Albertinelli, Mariotto, 190

Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), 190

Alesso Baldovinetti, 190

Alonso Spagnuolo, 190

Alvaro di Piero, 64

Ammanati, Bartolommeo, 228

Andrea dal Castagno (called Andrea degli Impiccati), 190

Andrea del Sarto, 190

Andrea della Robbia, 125-127, 175

Andrea di Cione Orcagna, 91

Andrea Mantegna, 138

Andrea Pisano, 50, 81, 83, 91, 93, 120, 145, 147, 154, 160, 200

Andrea Verrocchio, 190, 243, 248

Angeli, Don Lorenzo degli (Don Lorenzo Monaco), _Life_, 55-58. 171

Angelico, Fra (Fra Giovanni da Fiesole), 190, 271

Antignano, Segna d', 26

Antonio da Verzelli, 218

Antonio Filarete, 159, 270

Antonio Fiorentino, 236

Antonio (or Vittore) Pisanello, 187

Antonio Pollaiuolo, 159

Antonio Rossellino, 253

Antonio Viniziano, _Life_, 15-20. 37, 43, 83

Antonio Vite, 45, 58

Apelles, 80, 120, 191

Arca, Niccolo dell' (Niccolo Bolognese), 97

Aretino, Niccolo (Niccolo d'Arezzo, Niccolo di Piero Lamberti), _Life_,
101-104. 145, 146, 159, 200

Aretino, Spinello, _Life_, 29-39. 25, 26, 29-39, 67, 83, 179

Arezzo, Niccolo d' (Niccolo Aretino, Niccolo di Piero Lamberti), _Life_,
101-104. 145, 146, 159, 200

Arnolfo di Lapo (Arnolfo Lapo, Arnolfo Lapi), 80, 202, 203, 262,
264, 265

Asciano, Giovanni da, 5

Baccio Bandinelli, 127, 190

Baccio della Porta (Fra Bartolommeo di San Marco), 190, 249

Baldovinetti, Alesso, 190

Banco, Nanni d'Antonio di, _Life_, 113-115. 253

Bandinelli, Baccio, 127, 190

Bartoli, Domenico, 63, 64

Bartoli, Taddeo, _Life_, 61-64

Bartolo di Maestro Fredi, 61

Bartolommeo Ammanati, 228

Bartolommeo di San Marco, Fra (called Baccio della Porta), 190, 249

Bartoluccio Ghiberti, 144-146, 155, 161, 162

Beccafumi, Domenico, 96

Berna, _Life_, 3-5

Bernardetto di Mona Papera, 248

Bernardo Daddi, 25, 26

Bertoldo, 249, 253, 254

Bicci, Lorenzo di, _Life_, 67-73

Bicci di Lorenzo, 72

Bologna, Galante da, 51

Bolognese, Niccolo (called Niccolo dell'Arca), 97

Bonaccorso Ghiberti, 160

Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), 190

Bronzi, Simone de' (Simone da Colle), 145, 146, 200

Brunelleschi, Filippo (Filippo di Ser Brunellesco), _Life_, 195-236.
84-86, 93, 95, 124, 139, 143-147, 150, 159, 161, 183, 185, 188, 190,
195-236, 240-243, 259, 260

Buffalmacco, Buonamico, 68

Buggiano, Il, 235

Bugiardini, Giuliano, 138

Buonaiuti, Corsino, 26

Buonarroti, Michelagnolo, 159, 162, 187, 190, 191, 221, 255, 261

Buschetto, 80

Calamis, 80

Campagnola, Girolamo, 138

Canachus, 80

Casentino, Jacopo di, _Life_, 23-26. 29, 33, 83

Castagno, Andrea dal (called Andrea degli Impiccati), 190

Castel della Pieve, Pietro da (Pietro Vannucci, or Pietro Perugino), 190

Cenni, Pasquino, 26

Cennini, Cennino di Drea, 109

Cimabue, Giovanni, 25, 82, 161, 202

Cini, Simone, 36

Cinuzzi, Vanni, 26

Colle, Simone da (called Simone de' Bronzi), 145, 146, 200

Consiglio Gherardi, 26

Corsino Buonaiuti, 26

Cosme, 104

Credi, Lorenzo di, 190

Cremona, Geremia da, 236

Cristofano, 104

Daddi, Bernardo, 25, 26

Dalmasi, Lippo, 51

Dello, _Life_, 107-110. 136

Desiderio da Settignano, 253

Domenico Bartoli, 63, 64

Domenico Beccafumi, 96

Domenico dal Lago di Lugano, 236

Domenico Ghirlandajo, 190

Domenico Pucci, 26

Don Jacopo, 57

Don Lorenzo Monaco (Don Lorenzo degli Angeli), _Life_, 55-58. 171

Don Silvestro, 57

Donato (Donatello), _Life_, 239-255. 72, 86, 93, 95, 101, 109,
113-115, 120, 121, 123, 126, 132, 133, 138-140, 143-147, 151,
161, 183, 185, 188, 197, 199-204, 213, 225, 239-255, 259, 260,
270

Duccio, _Life_, 9-11

Erion, 80

Fabriano, Gentile da, 187

Fancelli, Luca, 227

Fiesole, Fra Giovanni da (called Fra Angelico), 190, 271

Filarete, Antonio, 159, 270

Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), 190

Filippo Brunelleschi (Filippo di Ser Brunellesco), _Life_, 195-236.
84-86, 93, 95, 124, 139, 143-147, 150, 159, 161, 183, 185, 188, 190,
195-236, 240-243, 259, 260

Filippo Lippi, Fra, 187, 190

Filippo Lippi (called Filippino), 189, 190

Fiorentino, Antonio, 236

Fiorentino, Francesco, 58

Fiorentino, Niccolo, 236

Fonte, Jacopo della (Jacopo della Quercia), _Life_, 91-97. 86, 87,
91-97, 145, 146, 151, 200

Forzore di Spinello, 39, 177

Fra Angelico (Fra Giovanni da Fiesole), 190, 271

Fra Bartolommeo di San Marco (called Baccio della Porta), 190, 249

Fra Filippo Lippi, 187, 190

Fra Giovanni da Fiesole (called Fra Angelico), 190, 271

Francesco della Luna, 223, 232

Francesco di Giorgio, 10, 85

Francesco di Valdambrina, 145, 146, 200

Francesco Fiorentino, 58

Francesco Granacci (Il Granaccio), 190

Franciabigio, 190

Fredi, Bartolo di Maestro, 61

Gabriello Saracini, 36

Gaddi, Agnolo, 15, 25

Gaddi, Taddeo, 23, 56, 83, 199, 240

Galante da Bologna, 51

Galasso Galassi, 104

Gentile da Fabriano, 187

Geremia da Cremona, 236

Gherardi, Consiglio, 26

Gherardo, Starnina, _Life_, 43-46. 20, 43-46, 58, 83, 165

Ghiberti, Bartoluccio, 144-146, 155, 161, 162

Ghiberti, Bonaccorso, 160

Ghiberti, Lorenzo (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio
Ghiberti), _Life_, 143-162. 4, 9, 86, 95, 143-162, 165, 171, 183, 200,
201, 204, 213-218, 234

Ghiberti, Vittorio, 160, 162

Ghirlandajo, Domenico, 190

Ghirlandajo, Ridolfo, 185, 190

Giorgio, Francesco di, 10, 85

Giorgio Vasari, see Vasari

Giottino (Tommaso or Maso), 83

Giotto, 23, 30, 35, 37, 73, 80-83, 86, 120, 131, 139, 147, 150, 161,
162, 166, 171, 195, 202, 250, 262

Jacopo (Jacopo Avanzi), 104

Jacopo, Don, 57

Jacopo da Pontormo, 190

Jacopo della Quercia (or della Fonte), _Life_, 91-97. 86, 87, 91-97,
145, 146, 151, 200

Jacopo di Casentino, _Life_, 23-26. 29, 33, 83

Jacopo Sansovino, 127

Lamberti, Niccolo di Piero (Niccolo d'Arezzo, Niccolo Aretino), _Life_,
101-104. 145, 146, 159, 200

Lapo, Arnolfo di (Arnolfo Lapo, Arnolfo Lapi), 80, 202, 203, 262, 264,
265

Lapo Gucci, 26

Laurati, Pietro (called Lorenzetti), 18

Leon Batista Alberti, 227

Leonardo da Vinci, 190

Leonardo di Ser Giovanni, 119

Lippi, Filippo (called Filippino), 189, 190

Lippi, Fra Filippo, 187, 190

Lippo, _Life_, 49-51. 83

Lippo Dalmasi, 51

Lorenzetti, Pietro (Pietro Laurati), 18

Lorenzo, Bicci di, 72

Lorenzo, Neri di, 72, 73

Lorenzo di Bicci, _Life_, 67-73

Lorenzo di Credi, 190

Lorenzo Ghiberti (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio
Ghiberti), _Life_, 143-162. 4, 9, 86, 95, 143-162, 165, 171, 183, 200,
201, 204, 213-218, 234

Lorenzo Monaco, Don (Don Lorenzo degli Angeli), _Life_, 55-58. 171

Lorenzo Vecchietto, 151

Luca della Robbia, _Life_, 119-128. 175, 213

Luca della Robbia (the younger), 126, 127

Luca di Tome, 5

Luca Fancelli, 227

Lugano, Domenico dal Lago di, 236

Luna, Francesco della, 223, 232

Mantegna, Andrea, 138

Marco da Montepulciano, 72, 179

Mariotto Albertinelli, 190

Martini, Simone (Memmi or Sanese), 16, 37, 83

Masaccio, _Life_, 183-191. 86, 87, 133, 183-191, 198

Maso (or Tommaso, called Giottino), 83

Masolino da Panicale, _Life_, 165-167. 46, 159, 165-167, 171, 185,
187-189

Matteo (of Lucca), 96, 97

Memmi, Simone (Martini or Sanese), 16, 37, 83

Michelagnolo Buonarroti, 159, 162, 187, 190, 191, 221, 255, 261

Michelozzo Michelozzi, _Life_, 259-271. 241

Milano, Giovanni da, 23

Moccio, 4, 10, 11, 101

Mona Papera, Bernardetto di, 248

Monaco, Don Lorenzo (Don Lorenzo degli Angeli), _Life_, 55-58. 171

Montepulciano, Marco da, 72, 179

Myron, 80

Nanni d'Antonio di Banco, _Life_, 113-115. 253

Neri di Lorenzo, 72, 73

Niccola Pisano, 97

Niccolo Aretino (Niccolo d'Arezzo, Niccolo di Piero Lamberti), _Life_,
101-104. 145, 146, 159, 200

Niccolo Bolognese (called Niccolo dell'Arca), 97

Niccolo Fiorentino, 236

Nicomachus, 80

Nino Pisano, 81, 83

Nunziata, Toto del, 190

Orcagna, Andrea di Cione, 91

Ottaviano della Robbia, 123-125

Padova, Vellano da, 253

Pagno di Lapo Partigiani, 269, 270

Panicale, Masolino da, _Life_, 165-167. 46, 159, 165-167, 171,
185, 187-189

Paolo Schiavo, 166

Paolo Uccello, _Life_, 131-140. 20, 110, 131-140, 159, 183, 184, 253

Parri Spinelli, _Life_, 171-179. 36, 39, 83, 125, 159, 171-179

Partigiani, Pagno di Lapo, 269, 270

Pasquino Cenni, 26

Perino (or Pierino) del Vaga, 190

Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), 190

Pheidias, 120

Piero, Alvaro di, 64

Pietro Laurati (called Lorenzetti), 18

Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), 190

Pisanello (Vittore or Antonio), 187

Pisano, Andrea, 50, 81, 83, 91, 93, 120, 145, 147, 154, 160, 200

Pisano, Niccola, 97

Pisano, Nino, 81, 83

Polycletus, 80, 160

Polygnotus, 80

Pollaiuolo, Antonio, 159

Pontormo, Jacopo da, 190

Porta, Baccio della (Fra Bartolommeo di San Marco), 190, 249

Protogenes, 80

Pucci, Domenico, 26

Quercia, Jacopo della (or della Fonte), _Life_, 91-97. 86, 87, 91-97,
145, 146, 151, 200

Raffaello Sanzio (Raffaello da Urbino), 126, 190

Ridolfo Ghirlandajo, 185, 190

Robbia, Agostino della, 123-125

Robbia, Andrea della, 125-127, 175

Robbia, Giovanni della, 126

Robbia, Girolamo della, 126, 127

Robbia, Luca della, _Life_, 119-128. 175, 213

Robbia, Luca della (the younger), 126, 127

Robbia, Ottaviano della, 123-125

Rossellino, Antonio, 253

Rosso, Il, 190

San Marco, Fra Bartolommeo di (called Baccio della Porta), 190, 249

Sandro Botticelli (Sandro di Botticello, or Alessandro Filipepi), 190

Sanese, Simone (Martini or Memmi), 16, 37, 83

Sanese, Ugolino (Ugolino da Siena,) 62

Sansovino, Jacopo, 127

Sanzio, Raffaello (Raffaello da Urbino), 126, 190

Saracini, Gabriello, 36

Sarto, Andrea del, 190

Schiavo, Paolo, 166

Segna d'Antignano, 26

Ser Giovanni, Leonardo di, 119

Settignano, Desiderio da, 253

Siena, Ugolino da (Ugolino Sanese), 62

Silvestro, Don, 57

Simone, 104

Simone (brother of Donatello), 251

Simone (pupil of Filippo Brunelleschi), 236

Simone Cini, 36

Simone da Colle (called Simone de' Bronzi), 145, 146, 200

Spagnuolo, Alonso, 190

Spinelli, Parri, _Life_, 171-179. 36, 39, 83, 125, 159, 171-179

Spinello, Forzore di, 39, 177

Spinello Aretino, _Life_, 29-39. 25, 26, 29-39, 67, 83, 179

Starnina, Gherardo, _Life_, 43-46. 20, 43-46, 58, 83, 165

Stefano, 83

Taddeo Bartoli, _Life_, 61-64

Taddeo Gaddi, 23, 56, 83, 199, 240

Timanthes, 80

Tome, Luca di, 5

Tommaso (or Maso, called Giottino), 83

Toto del Nunziata, 190

Uccello, Paolo, _Life_, 131-140. 20, 110, 131-140, 159, 183, 184, 253

Ugolino Sanese (Ugolino da Siena), 62

Urbino, Raffaello da (Raffaello Sanzio), 126, 190

Vaga, Perino (or Pierino) del, 190

Valdambrina, Francesco di, 145, 146, 200

Vanni Cinuzzi, 26

Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), 190

Vasari, Giorgio--
as art-collector, 5, 20, 26, 39, 46, 51, 58, 64, 96, 104, 109, 110,
128, 135, 139, 162, 178, 179, 227, 253
as author, 3, 5, 10, 31, 55, 57, 71-73, 77-87, 94-96, 104, 113, 119,
125-127, 136, 138, 139, 147, 160-162, 165, 166, 172, 178, 184, 187,
188, 190, 202, 208, 228, 229, 234, 250, 252-254, 263, 264
as painter, 32, 39
as architect, 173, 233, 264, 265

Vecchietto, Lorenzo, 151

Vellano da Padova, 253

Verrocchio, Andrea, 190, 243, 248

Verzelli, Antonio da, 218

Vincenzio di Zoppa, 271

Vinci, Leonardo da, 190

Viniziano, Antonio, _Life_, 15-20. 37, 43, 83

Vite, Antonio, 45, 58

Vittorio Ghiberti, 160, 162

Vittore (or Antonio) Pisanello, 187

Zeuxis, 80

Zoppa, Vincenzio di, 271

END OF VOL. II.

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