Chapter I: Part 1

LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO VASARI:

VOLUME III. FILARETE AND SIMONE TO MANTEGNA 1912

NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED ILLUSTRATIONS: IN TEN VOLUMES

PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON ST. LONDON, W. 1912-14

CONTENTS OF VOLUME III

PAGE

ANTONIO FILARETE AND SIMONE 1

GIULIANO DA MAIANO 9

PIERO DELLA FRANCESCA [PIERO BORGHESE] 15

FRA GIOVANNI DA FIESOLE [FRA ANGELICO] 25

LEON BATISTA ALBERTI 41

LAZZARO VASARI 49

ANTONELLO DA MESSINA 57

ALESSO BALDOVINETTI 65

VELLANO DA PADOVA 71

FRA FILIPPO LIPPI 77

PAOLO ROMANO, MAESTRO MINO [MINO DEL REGNO _OR_ MINO DEL
REAME], AND CHIMENTI CAMICIA 89

ANDREA DAL CASTAGNO OF MUGELLO [ANDREA DEGL' IMPICCATI]
AND DOMENICO VINIZIANO [DOMENICO DA VENEZIA] 95

GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA 107

PESELLO AND FRANCESCO PESELLI [PESELLINO _OR_ FRANCESCO DI
PESELLO] 115

BENOZZO GOZZOLI 119

FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO 127

GALASSO FERRARESE [GALASSO GALASSI] 133

ANTONIO ROSSELLINO [ROSSELLINO DAL PROCONSOLO] AND
BERNARDO HIS BROTHER 137

DESIDERIO DA SETTIGNANO 145

MINO DA FIESOLE [MINO DI GIOVANNI] 151

LORENZO COSTA 159

ERCOLE FERRARESE [ERCOLE DA FERRARA] 165

JACOPO, GIOVANNI, AND GENTILE BELLINI 171

COSIMO ROSSELLI 185

CECCA 191

DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE 201

GHERARDO 211

DOMENICO GHIRLANDAJO 217

ANTONIO AND PIERO POLLAIUOLO 235

SANDRO BOTTICELLI [ALESSANDRO FILIPEPI _OR_ SANDRO DI
BOTTICELLO] 245

BENEDETTO DA MAIANO 255

ANDREA VERROCCHIO 265

ANDREA MANTEGNA 277

INDEX OF NAMES 287

ILLUSTRATIONS TO VOLUME III

PLATES IN COLOUR

FACING PAGE

VINCENZIO DI ZOPPA (FOPPA)
Madonna and Child
Settignano: Berenson Collection 6

PIERO DELLA FRANCESCA
Federigo da Montefeltro, Duke of Urbino, and Battista Sforza,
his Wife
Florence: Uffizi, 1300 18

PIERO DELLA FRANCESCA
The Baptism in Jordan
London: N. G., 665 22

FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
The Annunciation
Cortona: Gesu Gallery 34

ANTONELLO DA MESSINA
Portrait of a Young Man
Berlin: Kaiser Friedrich Museum, 18 62

ANTONELLO DA MESSINA
The Crucifixion
London: N. G., 1166 64

ALESSO BALDOVINETTI
Madonna and Child in a Landscape
Paris: Louvre, 1300B 68

FRA FILIPPO LIPPI
The Annunciation
London: N. G., 666 80

ANDREA DAL CASTAGNO
Dante
Florence: S. Apollonia 102

GENTILE DA FABRIANO
Detail from The Adoration of the Magi: Madonna and Child,
with Three Kings
Florence: Accademia, 165 110

VITTORE PISANELLO
The Vision of S. Eustace
London: N. G., 1436 112

FRANCESCO PESELLI (PESELLINO)
Madonna Enthroned, with Saints and Angels
Empoli: Gallery 118

BENOZZO GOZZOLI
Madonna and Child
Berlin: Kaiser Friedrich Museum, 60B 122

FRANCESCO DI GIORGIO
S. Dorothy
London: N. G., 1682 128

JACOPO BELLINI
Madonna and Child
Florence: Uffizi, 1562 174

GIOVANNI BELLINI
The Doge Leonardo Loredano
London: N. G., 189 174

GIOVANNI BELLINI
Fortuna
Venice: Accademia, 595 178

GIOVANNI BELLINI
The Dead Christ
Milan: Poldi Pezzoli, 624 178

GENTILE BELLINI
S. Dominic
London: N. G., 1440 182

DOMENICO GHIRLANDAJO
The Vision of S. Fina
San Gimignano 224

ANTONIO POLLAIUOLO
David Victor
Berlin: Kaiser Friedrich Museum, 73A 240

SANDRO BOTTICELLI
Pallas and the Centaur
Florence: Pitti Palace 248

SANDRO BOTTICELLI
Giovanna Tornabuoni and the Graces
Paris: Louvre, 1297 248

SANDRO BOTTICELLI
Madonna of the Pomegranate
Florence: Uffizi, 1289 252

ANDREA MANTEGNA
Madonna of the Rocks
Florence: Uffizi, 1025 280

PLATES IN MONOCHROME

FACING PAGE
ANTONIO FILARETE
Bronze Doors
Rome: S. Peter's 4

SIMONE
Tomb of Pope Martin V
Rome: S. Giovanni in Laterano 8

BENEDETTO DA MAIANO
S. Sebastian
Florence: Oratorio della Misericordia 14

PIERO DELLA FRANCESCA
The Resurrection
Borgo S. Sepolcro 20

PIERO DELLA FRANCESCA
The Vision of Constantine
Arezzo: S. Francesco 24

FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
The Transfiguration
Florence: S. Marco 30

FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
S. Stephen Preaching
Rome: The Vatican, Chapel of Nicholas V 32

LEON BATISTA ALBERTI
Facade of S. Andrea
Mantua 46

ALESSO BALDOVINETTI
The Annunciation
Florence: Uffizi, 56 66

GRAFFIONE
The Trinity
Florence: S. Spirito 70

VELLANO DA PADOVA
Jonah Cast into the Sea
Padua: S. Antonio 74

FRA FILIPPO LIPPI
The Virgin Adoring
Florence: Accademia, 79 82

FRA FILIPPO LIPPI
Madonna and Child
Florence: Pitti, 343 86

ANDREA DAL CASTAGNO
The Last Supper
Florence: S. Apollonia 98

DOMENICO VINIZIANO
Madonna and Child
London: N. G., 1215 104

VITTORE PISANELLO
Medals: N. Piccinino and Sigismondo Malatesta
London: British Museum 114

BENOZZO GOZZOLI
Detail: Procession of the Magi
Florence: Palazzo Riccardi 120

BENOZZO GOZZOLI
The Death of S. Augustine
San Gimignano: S. Agostino 124

LORENZO VECCHIETTO
The Risen Christ
Siena: S. Maria della Scala 130

COSME (COSIMO TURA)
The Madonna Enthroned
Berlin: Kaiser Friedrich Museum, 86 136

ANTONIO ROSSELLINO
Tomb of Cardinal Jacopo of Portugal
Florence: S. Miniato 142

BERNARDO ROSSELLINO
Tomb of Leonardo Bruni
Florence: S. Croce 144

DESIDERIO DA SETTIGNANO
Tomb of Carlo Marsuppini
Florence: S. Croce 148

MINO DA FIESOLE
Tomb of Margrave Hugo
Florence: La Badia 154

LORENZO COSTA
The Coronation of the Virgin
Bologna: S. Giovanni in Monte 162

ERCOLE FERRARESE
The Israelites Gathering Manna
London: N. G., 1217 168

GENTILE BELLINI
The Miracle of the True Cross
Venice: Accademia, 568 176

GIOVANNI BELLINI
Madonna and Saints
Venice: S. Francesco della Vigna 180

COSIMO ROSSELLI
Detail: Christ Healing the Leper
Rome: Sistine Chapel 190

DOMENICO GHIRLANDAJO
The Death of S. Francis
Florence: S. Trinita 222

DOMENICO GHIRLANDAJO
The Birth of S. John the Baptist
Florence: S. Maria Novella 226

BASTIANO MAINARDI
The Madonna giving the Girdle to S. Thomas
Florence: S. Croce 232

PIERO POLLAIUOLO
SS. Eustace, James, and Vincent
Florence: Uffizi, 1301 238

ANTONIO POLLAIUOLO
The Martyrdom of S. Sebastian
London: N. G., 292 242

ANTONIO POLLAIUOLO
Tomb of Pope Sixtus IV
Rome: S. Peter's 242

SANDRO BOTTICELLI
The Adoration of the Magi
Florence: Uffizi, 1286 250

SANDRO BOTTICELLI
The Calumny of Apelles
Florence: Uffizi, 1182 254

BENEDETTO DA MAIANO
Pulpit
Florence: S. Croce 258

ANDREA VERROCCHIO
David
Florence: Bargello 266

ANDREA VERROCCHIO
Detail: Corner and Foot of the Medici Sarcophagus
Florence: S. Lorenzo 270

ANDREA VERROCCHIO
Statue of Bartolommeo Colleoni
Venice: Campo SS. Giovanni e Paolo 272

ANDREA MANTEGNA
The Martyrdom of S. James
Padua: Eremitani 278

ANDREA MANTEGNA
Madonna and Angels
Milan: Brera, 198 282

ANDREA MANTEGNA
Judith with the Head of Holofernes
Dublin: N. G. 286

ANTONIO FILARETE AND SIMONE

LIVES OF ANTONIO FILARETE AND SIMONE

SCULPTORS OF FLORENCE

If Pope Eugenius IV, when he resolved to make the bronze door for S. Pietro in Rome, had used diligence in seeking for men of excellence to execute that work (and he would easily have been able to find them at that time, when Filippo di Ser Brunellesco, Donatello, and other rare craftsmen were alive), it would not have been carried out in the deplorable manner which it reveals to us in our own day. But perchance the same thing happened to him that is very often wont to happen to the greater number of Princes, who either have no understanding of such works or take very little delight in them. Now, if they were to consider how important it is to show preference to men of excellence in public works, by reason of the fame that comes from these, it is certain that neither they nor their ministers would be so negligent; for the reason that he who encumbers himself with poor and inept craftsmen ensures but a short life to his works or his fame, not to mention that injury is done to the public interest and to the age in which he was born, for it is firmly believed by all who come after, that, if there had been better masters to be found in that age, the Prince would have availed himself rather of them than of the inept and vulgar.

Now, after being created Pontiff in the year 1431, Pope Eugenius IV, hearing that the Florentines were having the doors of S. Giovanni made by Lorenzo Ghiberti, conceived a wish to try to make one of the doors of S. Pietro in like manner in bronze. But since he had no knowledge of such works, he entrusted the matter to his ministers, with whom Antonio Filarete, then a youth, and Simone, the brother of Donatello, both sculptors of Florence, had so much interest, that the work was allotted to them. Putting their hands to this, therefore, they toiled for twelve years to complete it; and although Pope Eugenius fled from Rome and was much harassed by reason of the Councils, yet those who had charge of S. Pietro contrived to prevent that work from being abandoned. Filarete, then, wrought that door in low-relief, making a simple division, with two upright figures in each part--namely, the Saviour and the Madonna above, and S. Peter and S. Paul below; and at the foot of S. Peter is that Pope on his knees, portrayed from life. Beneath each figure, likewise, there is a little scene from the life of the Saint that is above; below S. Peter, his crucifixion, and below S. Paul, his beheading; and beneath the Saviour and the Madonna, also, some events from their lives. At the foot of the inner side of the said door, to amuse himself, Antonio made a little scene in bronze, wherein he portrayed himself and Simone and their disciples going with an ass laden with good cheer to take their pleasure in a vineyard. But since they were not always at work on the said door during the whole of those twelve years, they also made in S. Pietro some marble tombs for Popes and Cardinals, which were thrown to the ground in the building of the new church.

(_After =Antonio Filarete=. Rome: S. Peter's_)

_Alinari_]

After these works, Antonio was summoned to Milan by Duke Francesco Sforza, then Gonfalonier of Holy Church (who had seen his works in Rome), to the end that there might be made with his design, as it afterwards was, the Albergo de' poveri di Dio,[1] which is a hospital that serves for sick men and women, and for the innocent children born out of wedlock. The division for the men in this place is in the form of a cross, and extends 160 braccia in all directions; and that of the women is the same. The width is 16 braccia, and within the four square sides that enclose the crosses of each of these two divisions there are four courtyards surrounded by porticoes, loggie, and rooms for the use of the director, the officials, the servants, and the nurses of the hospital, all very commodious and useful. On one side there is a channel with water continually running for the service of the hospital and for grinding corn, with no small benefit and convenience for that place, as all may imagine. Between the two divisions of the hospital there is a cloister, 80 braccia in extent in one direction and 160 in the other, in the middle of which is the church, so contrived as to serve for both divisions. In a word, this place is so well built and designed, that I do not believe that there is its like in Europe. According to the account of Filarete himself, the first stone of this building was laid with a solemn procession of the whole of the clergy of Milan, in the presence of Duke Francesco Sforza, the Lady Bianca Maria, and all their children, with the Marquis of Mantua, the Ambassador of King Alfonso of Arragon, and many other lords. On the first stone which was laid in the foundations, as well as on the medals, were these words:

FRANCISCUS SFORTIA DUX IV, QUI AMISSUM PER PRAECESSORUM OBITUM
URBIS IMPERIUM RECUPERAVIT, HOC MUNUS CHRISTI PAUPERIBUS DEDIT
FUNDAVITQUE MCCCCLVII, DIE XII APRIL.

These scenes were afterwards depicted on the portico by Maestro Vincenzio di Zoppa, a Lombard, since no better master could be found in those parts.

A work by the same Antonio, likewise, was the principal church of Bergamo, which he built with no less diligence and judgment than he had shown in the above-named hospital. And because he also took delight in writing, the while that these works of his were in progress he wrote a book divided into three parts. In the first he treats of the measurements of all edifices, and of all that is necessary for the purpose of building. In the second he speaks of the methods of building, and of the manner wherein a most beautiful and most convenient city might be laid out. In the third he invents new forms of buildings, mingling the ancient with the modern. The whole work is divided into twenty-four books, illustrated throughout by drawings from his own hand; but, although there is something of the good to be found in it, it is nevertheless mostly ridiculous, and perhaps the most stupid book that was ever written. It was dedicated by him in the year 1464 to the Magnificent Piero di Cosimo de' Medici, and it is now in the collection of the most Illustrious Lord Duke Cosimo. And in truth, since he put himself to so great pains, the book might be commended in some sort, if he had at least made some records of the masters of his day and of their works; but as there are few to be found therein, and those few are scattered throughout the book without method and in the least suitable places, he has toiled only to beggar himself, as the saying goes, and to be thought a man of little judgment for meddling with something that he did not understand.

But I have said quite enough about Filarete, and it is now time to turn to Simone, the brother of Donato. This man, after the work of the door, made the bronze tomb of Pope Martin. He likewise made some castings that were sent to France, of many of which the fate is not known. For the Church of the Ermini, in the Canto alla Macine in Florence, he wrought a life-size Crucifix for carrying in processions, and to render it the lighter he made it of cork. In S. Felicita he made a terra-cotta figure of S. Mary Magdalene in Penitence, three braccia and a half in height and beautifully proportioned, and revealing the muscles in such a manner as to show that he had a very good knowledge of anatomy. He also wrought a marble tombstone for the Company of the Nunziata in the Church of the Servi, inlaying it with a figure in grey and white marble in the manner of a painting (which was much extolled), like the work already mentioned as having been done by the Sienese Duccio in the Duomo of Siena. At Prato he made the bronze grille for the Chapel of the Girdle. At Forli, over the door of the Canon's house, he wrought a Madonna with two angels in low-relief; and he adorned the Chapel of the Trinita in S. Francesco with work in half-relief for Messer Giovanni da Riolo. In the Church of S. Francesco at Rimini, for Sigismondo Malatesti, he built the Chapel of S. Sigismondo, wherein there are many elephants, the device of that lord, carved in marble. To Messer Bartolommeo Scamisci, Canon of the Pieve of Arezzo, he sent a Madonna with the Child in her arms, made of terra-cotta, with certain angels in half-relief, very well executed; which Madonna is now in the said Pieve, set up against a column. For the baptismal font of the Vescovado of Arezzo, likewise, he wrought, in some scenes in low-relief, a Christ being baptized by S. John. In the Church of the Nunziata in Florence he made a marble tomb for Messer Orlando de' Medici. Finally, at the age of fifty-five, he rendered up his spirit to God who had given it to him. Nor was it long before Filarete, having returned to Rome, died at the age of sixty-nine, and was buried in the Minerva, where he had caused Giovanni Foccora, a painter of no small repute, to make a portrait of Pope Eugenius, while he was staying in Rome in the service of that Pontiff. The portrait of Antonio, by his own hand, is at the beginning of his book, where he gives instructions for building. His disciples were Varrone and Niccolo, both Florentines, who made the marble statue for Pope Pius II near Pontemolle, at the time when he brought the head of S. Andrew to Rome. By order of the same Pope they restored Tigoli almost from the foundations; and in S. Pietro they made the ornament of marble that is above the columns of the chapel wherein the said head of S. Andrew is preserved. Near that chapel is the tomb of the said Pope Pius, made by Pasquino da Montepulciano, a disciple of Filarete, and Bernardo Ciuffagni. This Bernardo wrought a tomb of marble for Gismondo Malatesti in S. Francesco at Rimini, making his portrait there from nature; and he also executed some works, so it is said, in Lucca and in Mantua.

(_Settignano: Berenson Collection. Panel_)]

(_After the bronze relief by =Simone=. Rome: S. Giovanni in Laterano_)

_Anderson_]

FOOTNOTE:

[1] Literally, Hospice for God's poor.

GIULIANO DA MAIANO

LIFE OF GIULIANO DA MAIANO

SCULPTOR AND ARCHITECT

No small error do those fathers of families make who do not allow the minds of their children to run the natural course in their childhood, and do not suffer them to follow the calling that is most in accordance with their taste; for to try to turn them to something for which they have no inclination is manifestly to prevent them from ever being excellent in anything, because we almost always find that those who labour at something that they do not like make little progress in any occupation whatsoever. On the other hand, those who follow the instinct of nature generally become excellent and famous in the arts that they pursue; as was seen clearly in Giuliano da Maiano. The father of this man, after living a long time on the hill of Fiesole, in the part called Maiano, working at the trade of stone-cutter, finally betook himself to Florence, where he opened a shop for the sale of dressed stone, keeping it furnished with the sort of work that is apt very often to be called for without warning by those who are erecting some building. Living in Florence, then, there was born to him a son, Giuliano, whom his father, growing convinced in the course of time that he had a good intelligence, proposed to make into a notary, for it appeared to him that his own occupation of stone-cutting was too laborious and too unprofitable an exercise. But this did not come to pass, because, although Giuliano went to a grammar-school for a little, his thoughts were never there, and in consequence he made no progress; nay, he played truant very often, and showed that he had his mind wholly set on sculpture, although at first he applied himself to the calling of joiner and also gave attention to drawing.

It is said that in company with Giusto and Minore, masters of tarsia,[2] he wrought the seats of the Sacristy of the Nunziata, and likewise those of the choir that is beside the chapel, and many things in the Badia of Florence and in S. Marco; and that, having acquired a name through these works, he was summoned to Pisa, in the Duomo of which he wrought the seat that is beside the high-altar, in which the priest, the deacon, and the sub-deacon sit when Mass is being sung; making in tarsia on the back of this seat, with tinted and shaded woods, the three prophets that are seen therein. In this work he availed himself of Guido del Servellino and Maestro Domenico di Mariotto, joiners of Pisa, to whom he taught the art so well that they afterwards wrought the greater part of that choir both with carvings and with tarsia-work; which choir has been finished in our own day, with a manner no little better, by Batista del Cervelliera of Pisa, a man truly ingenious and fanciful.

But to return to Giuliano; he made the presses of the Sacristy of S. Maria del Fiore, which were held at that time to be admirable examples of tarsia and inlaid-work. Now, while Giuliano thus continued to devote himself to tarsia, to sculpture, and to architecture, Filippo di Ser Brunellesco died; whereupon, being chosen by the Wardens of Works to succeed him, he made the borders, incrusted with black and white marble, which are round the circular windows below the vault of the cupola; and at the corners he placed the marble pilasters on which Baccio d'Agnolo afterwards laid the architrave, frieze, and cornice, as will be told below. It is true that, as it appears from some designs by his hand that are in our book, he wished to make another arrangement of frieze, cornice, and gallery, with pediments on each of the eight sides of the cupola; but he had not time to put this into execution, for, being carried away by an excess of work from one day to another, he died.

Before this happened, however, he went to Naples and designed the architecture of the magnificent Palace at Poggio Reale for King Alfonso, with the beautiful fountains and conduits that are in the courtyard. In the city, likewise, he made designs for many fountains, some for the houses of noblemen and some for public squares, with beautiful and fanciful inventions; and he had the said Palace of Poggio Reale all wrought with paintings by Piero del Donzello and his brother Polito. Working in sculpture, likewise, for the said King Alfonso, then Duke of Calabria, he wrought scenes in low-relief over a door (both within and without) in the great hall of the Castle of Naples; and he made a marble gate for the castle after the Corinthian Order, with an infinite number of figures, giving to that work the form of a triumphal arch, on which stories from the life of that King and some of his victories are carved in marble. Giuliano also wrought the decorations of the Porta Capovana, making therein many varied and beautiful trophies; wherefore he well deserved that great love should be felt for him by that King, who, rewarding him liberally for his labours, enriched his descendants.

Giuliano had taught to his nephew Benedetto the arts of tarsia and architecture, and something about working in marble; and Benedetto was living in Florence, devoting himself to working at tarsia, because this brought him greater gains than the other arts did. Now Giuliano was summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope Paul II, to enter the service of that Pontiff. Having gone thither, he designed the loggie of travertine in the first court of the Palace of S. Pietro, with three ranges of columns, of which the first is on the lowest floor, where there are now the Signet Office and other offices; the second is above this, where the Datary and other prelates live; and the third and last is where those rooms are that look out on the court of S. Pietro, which he adorned with gilded ceilings and other ornaments. From his design, likewise, were made the marble loggie from which the Pope gives his benediction--a very great work, as may still be seen to-day. But the most stupendous and marvellous work that he made was the palace that he built for that Pope, together with the Church of S. Marco in Rome, for which there was used an infinite quantity of travertine blocks, said to have been excavated from certain vineyards near the Arch of Constantine, where they served as buttresses for the foundations of that part of the Colosseum which is now in ruins, perchance because of the weakening of that edifice.

Giuliano was sent by the same Pontiff to the Madonna of Loreto, where he rebuilt the foundations and greatly enlarged the body of the church, which had formerly been small and built over piers in rustic-work. He did not go higher than the string-course that was there already; but he summoned his nephew Benedetto to that place, and he, as will be told, afterwards raised the cupola. Being then forced to return to Naples in order to finish the works that he had begun, Giuliano received a commission from King Alfonso for a gate near the castle, which was to include more than eighty figures, which Benedetto had to execute in Florence; but the whole remained unfinished by reason of the death of that King. There are still some relics of these figures in the Misericordia in Florence, and there were others in our own day in the Canto alla Macine; but I do not know where these are now to be found. Before the death of the King, however, Giuliano died in Naples at the age of seventy, and was greatly honoured with rich obsequies; for the King had fifty men clothed in mourning, who accompanied Giuliano to the grave, and then he gave orders that a marble tomb should be made for him.

The continuation of his work was left to Polito, who completed the conduits for the waters of Poggio Reale. Benedetto, devoting himself afterwards to sculpture, surpassed his uncle Giuliano in excellence, as will be told; and in his youth he was the rival of a sculptor named Modanino da Modena, who worked in terra-cotta, and who wrought for the said Alfonso a Pieta with an infinite number of figures in the round, made of terra-cotta and coloured, which were executed with very great vivacity, and were placed by the King in the Church of Monte Oliveto, a very highly honoured monastery in the city of Naples. In this work the said King is portrayed on his knees, and he appears truly more than alive; wherefore Modanino was remunerated by him with very great rewards. But when the King died, as it has been said, Polito and Benedetto returned to Florence; where, no long time after, Polito followed Giuliano into eternity. The sculptures and pictures of these men date about the year of our salvation 1447.

(_After the marble by =Benedetto da Maiano=. Florence: Oratorio della Misericordia_)

_Alinari_]

FOOTNOTE:

[2] Inlaying with various kinds of coloured wood.

PIERO DELLA FRANCESCA

LIFE OF PIERO DELLA FRANCESCA

[_PIERO BORGHESE_]

PAINTER OF BORGO A SAN SEPOLCRO

Truly unhappy are those who, labouring at their studies in order to benefit others and to make their own name famous, are hindered by infirmity and sometimes by death from carrying to perfection the works that they have begun. And it happens very often that, leaving them all but finished or in a fair way to completion, they are falsely claimed by the presumption of those who seek to conceal their asses' skin under the honourable spoils of the lion. And although time, who is called the father of truth, sooner or later makes manifest the real state of things, it is none the less true that for a certain space of time the true craftsman is robbed of the honour that is due to his labours; as happened to Piero della Francesca of Borgo a San Sepolcro. He, having been held a rare master of the difficulties of drawing regular bodies, as well as of arithmetic and geometry, was yet not able--being overtaken in his old age by the infirmity of blindness, and finally by the close of his life--to bring to light his noble labours and the many books written by him, which are still preserved in the Borgo, his native place. The very man who should have striven with all his might to increase the glory and fame of Piero, from whom he had learnt all that he knew, was impious and malignant enough to seek to blot out the name of his teacher, and to usurp for himself the honour that was due to the other, publishing under his own name, Fra Luca dal Borgo, all the labours of that good old man, who, besides the sciences named above, was excellent in painting.

Piero was born in Borgo a San Sepolcro, which is now a city, although it was not one then; and he was called Della Francesca after the name of his mother, because she had been left pregnant with him at the death of her husband, his father, and because it was she who had brought him up and assisted him to attain to the rank that his good-fortune held out to him. Piero applied himself in his youth to mathematics, and although it was settled when he was fifteen years of age that he was to be a painter, he never abandoned this study; nay, he made marvellous progress therein, as well as in painting. He was employed by Guidobaldo Feltro the elder, Duke of Urbino, for whom he made many very beautiful pictures with little figures, which have been for the most part ruined on the many occasions when that state has been harassed by wars. Nevertheless, there were preserved there some of his writings on geometry and perspective, in which sciences he was not inferior to any man of his own time, or perchance even to any man of any other time; as is demonstrated by all his works, which are full of perspectives, and particularly by a vase drawn in squares and sides, in such a manner that the base and the mouth can be seen from the front, from behind, and from the sides; which is certainly a marvellous thing, for he drew the smallest details therein with great subtlety, and foreshortened the curves of all the circles with much grace. Having thus acquired credit and fame at that Court, he resolved to make himself known in other places; wherefore he went to Pesaro and Ancona, whence, in the very thick of his work, he was summoned by Duke Borso to Ferrara, where he painted many apartments in his palace, which were afterwards destroyed by Duke Ercole the elder in the renovation of the palace, insomuch that there is nothing by the hand of Piero left in that city, save a chapel wrought in fresco in S. Agostino; and even that has been injured by damp. Afterwards, being summoned to Rome, he painted two scenes for Pope Nicholas V in the upper rooms of his palace, in competition with Bramante da Milano; but these also were thrown to the ground by Pope Julius II--to the end that Raffaello da Urbino might paint there the Imprisonment of S. Peter and the Miracle of the Corporale of Bolsena--together with certain others that had been painted by Bramantino, an excellent painter in his day.

(_Florence: Uffizi, 1300. Panel_)]

Now, seeing that I cannot write the life of this man, nor particularize his works, because they have been ruined, I will not grudge the labour of making some record of him, for it seems an apt occasion. In the said works that were thrown to the ground, so I have heard tell, he had made some heads from nature, so beautiful and so well executed that speech alone was wanting to give them life. Of these heads not a few have come to light, because Raffaello da Urbino had them copied in order that he might have the likenesses of the subjects, who were all people of importance; for among them were Niccolo Fortebraccio, Charles VII, King of France, Antonio Colonna, Prince of Salerno, Francesco Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco Spinola, and Battista da Canneto. All these portraits were given to Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and they were placed by Giovio in his museum at Como. Over the door of S. Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by the hand of the same man, in which, although the whole picture is not more than one braccio in height, there is an effect of infinite length, executed with facility and with judgment. By his hand, also, are some apartments and loggie in the house of the Marchesino Ostanesia in the same city, wherein there are many pictures wrought by him that show mastery and very great power in the foreshortening of the figures. And without the Porta Vercellina, near the Castle, in certain stables now ruined and destroyed, he painted some grooms currying horses, among which there was one so lifelike and so well wrought, that another horse, thinking it a real one, lashed out at it repeatedly with its hooves.

(_Florence: Uffizi, 1300. Panel_)]

But to return to Piero della Francesca; his work in Rome finished, he returned to the Borgo, where his mother had just died; and on the inner side of the central door of the Pieve he painted two saints in fresco, which are held to be very beautiful. In the Convent of the Friars of S. Augustine he painted the panel of the high-altar, which was a thing much extolled; and he wrought in fresco a Madonna della Misericordia for a company, or rather, as they call it, a confraternity; with a Resurrection of Christ in the Palazzo de' Conservadori, which is held the best of all the works that are in the said city, and the best that he ever made. In company with Domenico da Vinezia, he painted the beginning of a work on the vaulting of the Sacristy of S. Maria at Loreto; but they left it unfinished from fear of plague, and it was afterwards completed by Luca da Cortona,[3] a disciple of Piero, as will be told in the proper place.

Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that family, the vaulting of which had been already begun by Lorenzo di Bicci. In this work there are Stories of the Cross, from that wherein the sons of Adam are burying him and placing under his tongue the seed of the tree from which there came the wood for the said Cross, down to the Exaltation of the Cross itself performed by the Emperor Heraclius, who, walking barefoot and carrying it on his shoulder, is entering with it into Jerusalem. Here there are many beautiful conceptions and attitudes worthy to be extolled; such as, for example, the garments of the women of the Queen of Sheba, executed in a sweet and novel manner; many most lifelike portraits from nature of ancient persons; a row of Corinthian columns, divinely well proportioned; and a peasant who, leaning with his hands on his spade, stands listening to the words of S. Helena--while the three Crosses are being disinterred--with so great attention, that it would not be possible to improve it. Very well wrought, also, is the dead body that is restored to life at the touch of the Cross, together with the joy of S. Helena and the marvelling of the bystanders, who are kneeling in adoration. But above every other consideration, whether of imagination or of art, is his painting of Night, with an angel in foreshortening who is flying with his head downwards, bringing the sign of victory to Constantine, who is sleeping in a pavilion, guarded by a chamberlain and some men-at-arms who are seen dimly through the darkness of the night; and with his own light the angel illuminates the pavilion, the men-at-arms, and all the surroundings. This is done with very great thought, for Piero gives us to know in this darkness how important it is to copy things as they are and to ever take them from the true model; which he did so well that he enabled the moderns to attain, by following him, to that supreme perfection wherein art is seen in our own time. In this same story he represented most successfully in a battle fear, animosity, dexterity, vehemence, and all the other emotions that can be imagined in men who are fighting, and likewise all the incidents of battle, together with an almost incredible carnage, what with the wounded, the fallen, and the dead. In these Piero counterfeited in fresco the glittering of their arms, for which he deserves no less praise than he does for the flight and submersion of Maxentius painted on the other wall, wherein he made a group of horses in foreshortening, so marvellously executed that they can be truly called too beautiful and too excellent for those times. In the same story he made a man, half nude and half clothed in the dress of a Saracen, riding a lean horse, which reveals a very great mastery of anatomy, a science little known in his age. For this work, therefore, he well deserved to be richly rewarded by Luigi Bacci, whom he portrayed there in the scene of the beheading of a King, together with Carlo and others of his brothers and many Aretines who were then distinguished in letters; and to be loved and revered ever afterwards, as he was, in that city, which he had made so illustrious with his works.

(_After the fresco by =Piero della Francesca=. Borgo San Sepolchro_)

_Alinari_]

In the Vescovado of the same city, also, he made a S. Mary Magdalene in fresco beside the door of the sacristy; and for the Company of the Nunziata he painted the banner that is carried in processions. At the head of a cloister at S. Maria delle Grazie, without that district, he painted S. Donatus in his robes, seated in a chair drawn in perspective, together with certain boys; and in a niche high up on a wall of S. Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful Christ praying by night in the Garden.

In Perugia, also, he wrought many works that are still to be seen in that city; as, for example, a panel in distemper in the Church of the Nuns of S. Anthony of Padua, containing a Madonna with the Child in her lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of Padua. Above these is a most beautiful Annunciation, with an Angel that seems truly to have come out of Heaven; and, what is more, a row of columns diminishing in perspective, which is indeed beautiful. In the predella there are scenes with little figures, representing S. Anthony restoring a boy to life; S. Elizabeth saving a child that has fallen into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene of the Marriage of Our Lady.

Piero, as it has been said, was a very zealous student of art, and gave no little attention to perspective; and he had a very good knowledge of Euclid, insomuch that he understood all the best curves drawn in regular bodies better than any other geometrician, and the clearest elucidations of these matters that we have are from his hand. Now Maestro Luca dal Borgo, a friar of S. Francis, who wrote about the regular geometrical bodies, was his pupil; and when Piero, after having written many books, grew old and finally died, the said Maestro Luca, claiming the authorship of these books, had them printed as his own, for they had fallen into his hands after the death of Piero.

Piero was much given to making models in clay, on which he spread wet draperies with an infinity of folds, in order to make use of them for drawing.

A disciple of Piero was Lorentino d'Angelo of Arezzo, who made many pictures in Arezzo, imitating his manner, and completed those that Piero, overtaken by death, left unfinished. Near the S. Donatus that Piero wrought in the Madonna delle Grazie, Lorentino painted in fresco some stories of S. Donatus, with very many works in many other places both in that city and in the district, partly because he would never stay idle, and partly to assist his family, which was then very poor. In the said Church of the Grazie the same man painted a scene wherein Pope Sixtus IV, between the Cardinal of Mantua and Cardinal Piccolomini (who was afterwards Pope Pius III), is granting an indulgence to that place; in which scene Lorentino portrayed from the life, on their knees, Tommaso Marzi, Piero Traditi, Donato Rosselli, and Giuliano Nardi, all citizens of Arezzo and Wardens of Works for that building. In the hall of the Palazzo de' Priori, moreover, he portrayed from the life Cardinal Galeotto da Pietramala, Bishop Guglielmino degli Ubertini, and Messer Angelo Albergotti, Doctor of Laws; and he made many other works, which are scattered throughout that city.

(_London: National Gallery, 665. Panel_)]

It is said that once, when the Carnival was close at hand, the children of Lorentino kept beseeching him to kill a pig, as it is the custom to do in that district; and that, since he had not the means to buy one, they would say, "What will you do about buying a pig, father, if you have no money?" To which Lorentino would answer, "Some Saint will help us." But when he had said this many times and the season was passing by without any pig appearing, they had lost hope, when at length there arrived a peasant from the Pieve a Quarto, who wished to have a S. Martin painted in fulfilment of a vow, but had no means of paying for the picture save a pig, which was worth five lire. This man, coming to Lorentino, told him that he wished to have the S. Martin painted, but that he had no means of payment save the pig. Whereupon they came to an agreement, and Lorentino painted him the Saint, while the peasant brought him the pig; and so the Saint provided the pig for the poor children of this painter.

Another disciple of Piero was Pietro da Castel della Pieve,[4] who painted an arch above S. Agostino, and a S. Urban for the Nuns of S. Caterina in Arezzo, which has been thrown to the ground in rebuilding the church. His pupil, likewise, was Luca Signorelli of Cortona, who did him more honour than all the others.

Piero Borghese, whose pictures date about the year 1458, became blind through an attack of catarrh at the age of sixty, and lived thus up to the eighty-sixth year of his life. He left very great possessions in the Borgo, with some houses that he had built himself, which were burnt and destroyed in the strife of factions in the year 1536. He was honourably buried by his fellow-citizens in the principal church, which formerly belonged to the Order of Camaldoli, and is now the Vescovado. Piero's books are for the most part in the library of Frederick II, Duke of Urbino, and they are such that they have deservedly acquired for him the name of the best geometrician of his time.

(_After the fresco by =Piero della Francesca=. Arezzo: S. Francesco_)

_Alinari_]

FOOTNOTES:

[3] Luca Signorelli.

[4] Pietro Perugino.

FRA GIOVANNI DA FIESOLE

FRA GIOVANNI DA FIESOLE

[_FRA ANGELICO_]

PAINTER OF THE ORDER OF PREACHING FRIARS

Fra Giovanni Angelico da Fiesole, who was known in the world as Guido, was no less excellent as painter and illuminator than he was upright as churchman, and for both one and the other of these reasons he deserves that most honourable record should be made of him. This man, although he could have lived in the world with the greatest comfort, and could have gained whatever he wished, besides what he possessed, by means of those arts, of which he had a very good knowledge even in his youth, yet resolved, for his own peace and satisfaction, being by nature serious and upright, and above all in order to save his soul, to take the vows of the Order of Preaching Friars; for the reason that, although it is possible to serve God in all walks of life, nevertheless it appears to some men that they can gain salvation in monasteries better than in the world. Now in proportion as this plan succeeds happily for good men, so, on the contrary, it has a truly miserable and unhappy issue for a man who takes the vows with some other end in view.

There are some choral books illuminated by the hand of Fra Giovanni in his Convent of S. Marco in Florence, so beautiful that words are not able to describe them; and similar to these are some others that he left in S. Domenico da Fiesole, wrought with incredible diligence. It is true, indeed, that in making these he was assisted by an elder brother, who was likewise an illuminator and well practised in painting.

One of the first works in painting wrought by this good father was a panel in the Certosa of Florence, which was placed in the principal chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna with the Child in her arms, and with certain very beautiful angels at her feet, sounding instruments and singing; at the sides are S. Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the predella are little stories of these Saints, wrought in little figures with infinite diligence. In the cross of the said chapel are two other panels by the hand of the same man; one containing the Coronation of Our Lady, and the other a Madonna with two saints, wrought with most beautiful ultramarine blues. Afterwards, in the tramezzo[5] of S. Maria Novella, beside the door opposite to the choir, he painted in fresco S. Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little scenes in the Chapel of the Coronation of Our Lady in the said tramezzo. On canvas, fixed to the doors that closed the old organ, he painted an Annunciation, which is now in the convent, opposite to the door of the lower dormitory, between one cloister and the other.

This father was so greatly beloved for his merits by Cosimo de' Medici, that, after completing the construction of the Church and Convent of S. Marco, he caused him to paint the whole Passion of Jesus Christ on a wall in the chapter-house; and on one side all the Saints who have been heads and founders of religious bodies, mourning and weeping at the foot of the Cross, and on the other side S. Mark the Evangelist beside the Mother of the Son of God, who has swooned at the sight of the Saviour of the world Crucified, while round her are the Maries, all grieving and supporting her, with S. Cosimo and S. Damiano. It is said that in the figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d' Antonio di Banco, a sculptor and his friend. Below this work, in a frieze above the panelling, he made a tree with S. Dominic at the foot of it, and, in certain medallions encircled by the branches, all the Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his Order of Preaching Friars had produced up to that time. In this work he made many portraits from nature, being assisted by the friars, who sent for them to various places; and they were the following: S. Dominic in the middle, grasping the branches of the tree; Pope Innocent V, a Frenchman; the Blessed Ugone, first Cardinal of that Order; the Blessed Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence; the Blessed Giordano, a German, and the second General of that Order; the Blessed Niccolo; the Blessed Remigio, a Florentine; and the martyr Boninsegno, a Florentine; all these are on the right hand. On the left are Benedict II[6] of Treviso; Giandomenico, a Florentine Cardinal; Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the Blessed Raimondo di Catalonia, third General of the Order; the Blessed Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza; and the Blessed Bernardo, a Florentine. All these heads are truly gracious and very beautiful. Then, over certain lunettes in the first cloister, he made many very beautiful figures in fresco, and a Crucifix with S. Dominic at the foot, which is much extolled; and in the dormitory, besides many other things throughout the cells and on the surface of the walls, he painted a story from the New Testament, of a beauty beyond the power of words to describe. Particularly beautiful and marvellous is the panel of the high-altar of that church; for, besides the fact that the Madonna rouses all who see her to devotion by her simplicity, and that the Saints that surround her are like her in this, the predella, in which there are stories of the martyrdom of S. Cosimo, S. Damiano, and others, is so well painted, that one cannot imagine it possible ever to see a work executed with greater diligence, or little figures more delicate or better conceived than these are.

In S. Domenico da Fiesole, likewise, he painted the panel of the high-altar, which has been retouched by other masters and injured, perchance because it appeared to be spoiling. But the predella and the Ciborium of the Sacrament have remained in better preservation; and the innumerable little figures that are to be seen there, in a Celestial Glory, are so beautiful, that they appear truly to belong to Paradise, nor can any man who approaches them ever have his fill of gazing on them. In a chapel of the same church is a panel by his hand, containing the Annunciation of Our Lady by the Angel Gabriel, with features in profile, so devout, so delicate, and so well executed, that they appear truly to have been made rather in Paradise than by the hand of man; and in the landscape at the back are Adam and Eve, because of whom the Redeemer was born from the Virgin. In the predella, also, there are some very beautiful little scenes.

But superior to all the other works that Fra Giovanni made, and the one wherein he surpassed himself and gave supreme proof of his talent and of his knowledge of art, was a panel that is beside the door of the same church, on the left hand as one enters, wherein Jesus Christ is crowning Our Lady in the midst of a choir of angels and among an infinite multitude of saints, both male and female, so many in number, so well wrought, and with such variety in the attitudes and in the expressions of the heads, that incredible pleasure and sweetness are felt in gazing at them; nay, one is persuaded that those blessed spirits cannot look otherwise in Heaven, or, to speak more exactly, could not if they had bodies; for not only are all these saints, both male and female, full of life and sweet and delicate in expression, but the whole colouring of that work appears to be by the hand of a saint or an angel like themselves; wherefore it was with very good reason that this excellent monk was ever called Fra Giovanni Angelico. Moreover, the stories of the Madonna and of S. Dominic in the predella are divine in their own kind; and I, for one, can declare with truth that I never see this work without thinking it something new, and that I never leave it sated.

In the Chapel of the Nunziata in Florence which Piero di Cosimo de' Medici caused to be built, he painted the doors of the press (in which the silver is kept) with little figures executed with much diligence. This father painted so many pictures, now to be found in the houses of Florentine citizens, "that I sometimes stand marvelling how one single man could execute so much work to such perfection, even in the space of many years. The Very Reverend Don Vincenzio Borghini, Director of the Hospital of the Innocenti, has a very beautiful little Madonna by the hand of this father; and Bartolommeo Gondi, as devoted a lover of these arts as any gentleman that one could think of, has a large picture, a small one, and a Crucifix, all by the same hand. The pictures that are in the arch over the door of S. Domenico are also by the same man; and in the Sacristy of S. Trinita there is a panel containing a Deposition from the Cross, into which he put so great diligence, that it can be numbered among the best works that he ever made. In S. Francesco, without the Porta a S. Miniato, there is an Annunciation; and in S. Maria Novella, besides the works already named, he painted with little scenes the Paschal candle and some Reliquaries which are placed on the altar in the most solemn ceremonies.

(_After the fresco by =Fra Giovanni da Fiesole= [Fra Angelico]. Florence: S. Marco_)

_Anderson_]