Chapter XI: Part 11

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

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

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

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

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

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

FOOTNOTE:

[28] Earnest-money.

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

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

DOMENICO PULIGO

LIFE OF DOMENICO PULIGO

PAINTER OF FLORENCE

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

(_After the panel by =Domenico Puligo= (?). Florence: S. Maria Maddalena de' Pazzi_)

_Alinari_]

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

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

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

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

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

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

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

INDEX

INDEX OF NAMES

OF THE CRAFTSMEN MENTIONED IN VOLUME IV

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

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

Agnolo Gaddi, 52, 54

Agostino Busto, 60

Albertinelli, Biagio di Bindo, 165

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

Albrecht Dürer, 232

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

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

Alessandro Moretto, 60

Alesso Baldovinetti, 82

Alonzo Berughetta, 8

Alunno, Niccolò, 18, 19

Ammanati, 274

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

Andrea dal Castagno (Andrea degl' Impiccati), 82

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

Andrea degl' Impiccati (Andrea dal Castagno), 82

Andrea del Gobbo, 122

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

Andrea di Cosimo, 129

Andrea Luigi (L'Ingegno), 47

Andrea Mantegna, 24, 55, 82

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

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

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

Angelo, Battista d', 61

Antonio (Antoniasso), 6, 7

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

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

Antonio del Ceraiuolo, 280

Antonio di Giorgio, 36

Antonio Filarete, 56

Antonio Montecavallo, 140

Antonio Pollaiuolo, 4, 81, 265

Antonio Rossellino, 275

Apelles, 82, 83, 105

Arezzo, Niccolò d', 55

Aristotile da San Gallo, 212

Avanzi, Jacopo (Jacopo Davanzo), 51, 55

Bacchiaccha, Il (Francesco), 46

Baccio Bandinelli, 204, 274

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

Baccio da Montelupo, 186

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

Baccio Gotti, 280

Baccio Ubertino, 46

Baldassarre Peruzzi, 145, 146, 200

Baldovinetti, Alesso, 82

Bandinelli, Baccio, 204, 274

Barile, Gian, 238

Bartolommeo, Fra (Fra Carnovale da Urbino), 138

Bartolommeo Clemente of Reggio, 60

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

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

Bartolommeo Montagna, 52, 60

Bartolommeo Vivarini, 52, 59

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

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

Bastiano da Monte Carlo, 179

Battista Borro, 262

Battista d' Angelo, 61

Baviera, 232, 233

Bazzi, Giovanni Antonio (Sodoma), 72, 218

Beceri, Domenico, 283

Bellini, Gentile, 57, 59, 109

Bellini, Giovanni, 57, 58, 82, 109

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

Benedetto Buglioni, 155

Benedetto Buonfiglio, 17, 18

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

Benedetto Cianfanini, 162

Benedetto da Maiano, 36, 151, 266, 267

Benedetto da Rovezzano, 155

Benedetto Diana, 52, 60

Benedetto Spadari, 262

Bernardino da Trevio, 138

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

Bertoldo, 185

Berughetta, Alonzo, 8

Biagio di Bindo Albertinelli, 165

Bianco, Simon, 60

Bologna, Il, 237

Bolognese, Marc' Antonio, 232, 233

Boltraffio, Giovanni Antonio, 105

Bonsignori, Francesco, 60

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

Borro, Battista, 262

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

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

Bramantino, 217

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

Bronzino, 179

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

Bugiardini, Giuliano, 154, 161, 170, 186

Buglioni, Benedetto, 155

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

Buonconsigli, Giovanni, 52, 60

Buonfiglio, Benedetto, 17, 18

Busto, Agostino, 60

Cadore, Tiziano da, 114

Campagnola, Girolamo, 51, 55, 56

Campagnola, Giulio, 51, 56, 57

Caparra, Il (Niccolò Grosso), 268, 269

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

Caporali, Giulio, 48

Caradosso, 23, 144

Caravaggio, Polidoro da, 83, 237

Carnovale da Urbino, Fra (Fra Bartolommeo), 138

Caroto, Francesco, 60

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

Carpi, Ugo da, 233

Cartoni, Niccolò (Niccolò Zoccolo), 9, 10

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

Castel Bolognese, Giovanni da, 111

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

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

Catena, Vincenzio, 52, 58

Cecchino del Frate, 162

Ceraiuolo, Antonio del, 280

Cesare Cesariano, 138

Cianfanini, Benedetto, 162

Cimabue, Giovanni, 77

Claudio, Maestro, 254, 255

Conigliano, Giovan Battista da, 52, 58

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

Cordegliaghi, Giovanetto, 52, 58, 59

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

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

Cosimo, Andrea di, 129

Cosimo, Piero di, _Life_, 125-134

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

Credi, Lorenzo di, 153, 186, 280

Cristofano, 55

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

Davanzo, Jacopo (Jacopo Avanzi), 51, 55

Davanzo, Jacopo (of Milan), 60

Diamante, Fra, 3

Diana, Benedetto, 52, 60

Domenico Beceri, 283

Domenico di Paris, 47

Domenico Ghirlandajo, 36, 65, 82, 279

Domenico Pecori, 257

Domenico Puligo, _Life_, 279-283

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

Donato (Donatello), 52, 152, 185

Dürer, Albrecht, 232

Ercole Ferrarese (Ercole da Ferrara), 82

Eusebio San Giorgio, 47

Fabiano di Stagio Sassoli, 256, 257

Ferrara, Stefano da, 56

Ferrarese, Ercole (Ercole da Ferrara), 82

Ferrarese, Galasso (Galasso Galassi), 55

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

Filarete, Antonio, 56

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

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

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

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

Fivizzano, 29

Flore, Jacobello de, 51, 55

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

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

Fra Bartolommeo (Fra Carnovale da Urbino), 138

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

Fra Carnovale da Urbino (Fra Bartolommeo), 138.

Fra Diamante, 3

Fra Filippo Lippi, 3, 5, 9, 185

Fra Giocondo of Verona, 145

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

Fra Giovanni da Verona, 222

Fra Paolo Pistoiese, 162

Fra Sebastiano del Piombo, 84, 114, 240

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

Francesco (Il Bacchiaccha), 46

Francesco (L'Indaco), 66, 67

Francesco, Maestro, 142

Francesco Bonsignori, 60

Francesco Caroto, 60

Francesco da Melzo, 99

Francesco da San Gallo, 134, 203, 204

Francesco Francia, _Life_, 23-29. 82

Francesco Giamberti, 134, 191

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

Francesco Masini, Messer, 227

Francesco Mazzuoli (Parmigiano), 83

Francesco Turbido (Il Moro), 61

Francia, Francesco, _Life_, 23-29. 82

Franciabigio, 170

Francione, 191, 192

Frate, Cecchino del, 162

Gabriele Rustici, 162

Gaddi, Agnolo, 52, 54

Galasso Ferrarese (Galasso Galassi), 55

Galieno, 179

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

Gasparo Misceroni, 60

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

Gentile Bellini, 57, 59, 109

Gerino Pistoiese (Gerino da Pistoia), 18, 46

Gherardo, 36

Ghirlandajo, Domenico, 36, 65, 82, 279

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

Giamberti, Francesco, 134, 191

Gian Barile, 238

Gian Niccola, 47, 48

Giocondo of Verona, Fra, 145

Giorgio, Antonio di, 36

Giorgio Vasari. See Vasari (Giorgio)

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

Giotto, 80

Giovan Battista da Conigliano, 52, 58

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

Giovan Francesco Penni, 237, 247

Giovan Francesco Rustici, 105, 186

Giovanetto Cordegliaghi, 52, 58, 59

Giovanni (Lo Spagna), 46, 47

Giovanni, Maestro, 260

Giovanni Antonio Bazzi (Sodoma), 72, 218

Giovanni Antonio Boltraffio, 105

Giovanni Bellini, 57, 58, 82, 109

Giovanni Buonconsigli. 52. 60

Giovanni Cimabue, 77

Giovanni da Castel Bolognese, 111

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

Giovanni da Udine, 237, 239

Giovanni da Verona, Fra, 222

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

Giovanni Mansueti, 52, 59

Giovanni Pisano, 142

Giovanni Rosto, 46

Girolamo Campagnola, 51, 55, 56

Girolamo Misceroni, 60

Girolamo Romanino, 60

Giromin Morzone, 55, 56

Giuliano Bugiardini, 154, 161, 170, 186

Giuliano da Maiano, 197

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

Giuliano Leno, 147

Giulio Campagnola, 51, 56, 57

Giulio Caporali, 48

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

Giusto (of Padua), 51, 56

Gobbo, Andrea del, 122

Gotti, Baccio, 280

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

Grosso, Niccolò (Il Caparra), 268, 269

Guerriero da Padova, 51, 56

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

Il Bacchiaccha (Francesco), 46

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

Il Bologna, 237

Il Caparra (Niccolò Grosso), 268, 269

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

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

Il Moro (Francesco Turbido), 61

Il Rosso, 84

Imola, Innocenzio da, 170

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

Indaco, L' (Francesco), 66, 67

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

Innocenzio da Imola, 170

Jacobello de Flore, 51, 55

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

Jacopo Avanzi (Jacopo Davanzo), 51, 55

Jacopo Davanzo (of Milan), 60

Jacopo da Pontormo, 179, 246, 260

Lanzilago, Maestro, 6, 7

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

Lazzaro Vasari (the elder), 71, 82

Leno, Giuliano, 147

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

Liberale, Maestro, 54

L'Indaco (Francesco), 66, 67

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

L'Ingegno (Andrea Luigi), 47

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

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

Lo Spagna (Giovanni), 46, 47

Lombardo, Tullio, 60

Lorenzetto, 240

Lorenzo (father of Piero di Cosimo), 125

Lorenzo di Credi, 153, 186, 280

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

Luca della Robbia (the younger), 237

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

Luigi, Andrea (L'Ingegno), 47

Luigi Vivarini, 52

Maestro Claudio, 254, 255

Maestro Francesco, 142

Maestro Giovanni, 260

Maestro Lanzilago, 6, 7

Maestro Liberale, 54

Maestro Zeno, 60

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

Maiano, Giuliano da, 197

Mansueti, Giovanni, 52, 59

Mantegna, Andrea, 24, 55, 82

Marc' Antonio Bolognese, 232, 233

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

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

Marco da Ravenna, 233

Marco Oggioni, 105

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

Masaccio, 3, 185, 215

Masini, Messer Francesco, 227

Maso Papacello, 76

Maso Porro, 262

Masolino da Panicale, 3

Matteo (brother of Cronaca), 275

Maturino, 83

Mazzuoli, Francesco (Parmigiano), 83

Melzo, Francesco da, 99

Messer Francesco Masini, 227

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

Misceroni, Gasparo, 60

Misceroni, Girolamo, 60

Modena, Pellegrino da, 237

Montagna, Bartolommeo, 52, 60

Monte Carlo, Bastiano da, 179

Montecavallo, Antonio, 140

Montelupo, Baccio da, 186

Montevarchi, 46

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

Moreto, Niccolò, 57

Moretto, Alessandro, 60

Moro, Il (Francesco Turbido), 61

Morzone, Giromin, 55, 56

Niccola Pisano, 142

Niccolò Alunno, 18, 19

Niccolò Cartoni (Niccolò Zoccolo), 9, 10

Niccolò d' Arezzo, 55

Niccolò Grosso (Il Caparra), 268, 269

Niccolò Moreto, 57

Niccolò Soggi, 186

Niccolò Zoccolo (Niccolò Cartoni), 9, 10

Nunziata, Toto del, 280

Oggioni, Marco, 105

Orazio di Paris, 47

Padova, Guerriero da, 51, 56

Panicale, Masolino da, 3

Paolo da Verona, 179

Paolo Pistoiese, Fra, 162

Paolo Uccello, 185, 246

Papacello, Maso, 76

Paris, Domenico di, 47

Paris, Orazio di, 47

Parmigiano (Francesco Mazzuoli), 83

Pastorino da Siena, 262

Pecori, Domenico, 257

Pellegrino da Modena, 237

Penni, Giovan Francesco, 237, 247

Perino del Vaga, 84, 237, 254

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

Peruzzi, Baldassarre, 145, 146, 200

Pesello, 82

Pheidias, 105

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

Piero di Cosimo, _Life_, 125-134

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

Pietro Rosselli, 159

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

Piombo, Fra Sebastiano del, 84, 114, 240

Pisano, Giovanni, 142

Pisano, Niccola, 142

Pistoiese, Fra Paolo, 162

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

Polidoro da Caravaggio, 83, 237

Pollaiuolo, Antonio, 4, 81, 265

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

Pontormo, Jacopo da, 179, 246, 260

Porro, Maso, 262

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

Puligo, Domenico, _Life_, 279-283

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

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

Raggio, 4

Ravenna, Marco da, 233

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

Robbia, Luca della (the younger), 237

Rocco Zoppo, 46

Romanino, Girolamo, 60

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

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

Rosselli, Pietro, 159

Rossellino, Antonio, 275

Rosso, Il, 84

Rosto, Giovanni, 46

Rovezzano, Benedetto da, 155

Rustici, Gabriele, 162

Rustici, Giovan Francesco, 105, 186

Salai, 99

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

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

San Gallo, Aristotile da, 212

San Gallo, Francesco da, 134, 203, 204

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

San Gimignano, Vincenzio da, 237

San Giorgio, Eusebio, 47

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

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

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

Santi, 261

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

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

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

Sassoli, Fabiano di Stagio, 256, 257

Sassoli, Stagio, 73, 257

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

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

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

Sebastiano del Piombo, Fra, 84, 114, 240

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

Sebeto da Verona, 51, 55

Siena, Pastorino da, 262

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

Simon Bianco, 60

Simone, 55

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

Sodoma (Giovanni Antonio Bazzi), 72, 218

Soggi, Niccolò, 186

Spadari, Benedetto, 262

Spagna, Lo (Giovanni), 46, 47

Squarcione, 56

Stagio Sassoli, 73, 257

Stefano da Ferrara, 56

Stefano da Zevio (Stefano Veronese), 51-54

Stefano Veronese (Stefano da Zevio), 51-54

Tiziano da Cadore, 114

Tommaso, 76

Torrigiano, _Life_, 183-188

Toto del Nunziata, 280

Trevio, Bernardino da, 138

Tullio Lombardo, 60

Turbido, Francesco (Il Moro), 61

Ubertino, Baccio, 46

Uccello, Paolo, 185, 246

Udine, Giovanni da, 237, 239

Ugo da Carpi, 233

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

Urbino, Fra Carnovale da (Fra Bartolommeo), 138

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

Vaga, Perino del, 84, 237, 254

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

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

Vasari, Lazzaro (the elder), 71, 82

Ventura, 147, 148

Verchio, Vincenzio, 60

Verona, Fra Giovanni da, 222

Verona, Paolo da, 179

Verona, Sebeto da, 51, 55

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

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

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

Vincenzio Catena, 52, 58

Vincenzio da San Gimignano, 237

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

Vincenzio Verchio, 60

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

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

Visino, 170, 171

Vitruvius, 48, 75, 138, 205, 266

Vittore Scarpaccia (Carpaccio), _Life_, 51-61

Vittore Bellini (Belliniano), 52, 59, 60

Vivarini, Bartolommeo, 52, 59

Vivarini, Luigi, 52

Zeno, Maestro, 60

Zeuxis, 82, 83

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

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

Zoccolo, Niccolò (Niccolò Cartoni), 9, 10

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

Zoppo, Rocco, 46

END OF VOL. IV.

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