Chapter III: Part 3

His first work--apart from some things at Siena, not worthy of mention--was in a little chapel near the Porta Fiorentina at Volterra, wherein he executed some figures with such grace, that they led to his forming a friendship with a painter of Volterra, called Piero, who lived most of his time in Rome, and going off with that master to that city, where he was doing some work in the Palace for Alexander VI. But after the death of Alexander, Maestro Piero working no more in that place, Baldassarre entered the workshop of the father of Maturino, a painter of no great excellence, who at that time had always plenty of work to do in the form of commonplace commissions. That painter, then, placing a panel primed with gesso before Baldassarre, but giving him no scrap of drawing or cartoon, told him to make a Madonna upon it. Baldassarre took a piece of charcoal, and in a moment, with great mastery, he had drawn what he wished to paint in the picture; and then, setting his hand to the colouring, in a few days he painted a picture so beautiful and so well finished, that it amazed not only the master of the workshop, but also many painters who saw it; and they, recognizing his ability, contrived to obtain for him the commission to paint the Chapel of the High-Altar in the Church of S. Onofrio, which he executed in fresco with much grace and in a very beautiful manner. After this, he painted two other little chapels in fresco in the Church of S. Rocco a Ripa. Having thus begun to be in good repute, he was summoned to Ostia, where he painted most beautiful scenes in chiaroscuro in some apartments of the great tower of the fortress; in particular, a hand-to-hand battle after the manner in which the ancient Romans used to fight, and beside this a company of soldiers delivering an assault on a fortress, wherein the attackers, covered by their shields, are seen making a beautiful and spirited onslaught and planting their ladders against the walls, while the men within are hurling them back with the utmost fury. In this scene, also, he painted many antique instruments of war, and likewise various kinds of arms; with many other scenes in another hall, which are held to be among the best works that he ever made, although it is true that he was assisted in this work by Cesare da Milano.

After these labours, having returned to Rome, Baldassarre formed a very strait friendship with Agostino Chigi of Siena, both because Agostino had a natural love for every man of talent, and because Baldassarre called himself a Sienese. And thus, with the help of so great a man, he was able to maintain himself while studying the antiquities of Rome, and particularly those in architecture, wherein, out of rivalry with Bramante, in a short time he made marvellous proficience, which afterwards brought him, as will be related, very great honour and profit. He also gave attention to perspective, and became such a master of that science, that we have seen few in our own times who have worked in it as well as he. Pope Julius II having meanwhile built a corridor in his Palace, with an aviary near the roof, Baldassarre painted there, in chiaroscuro, all the months of the year and the pursuits that are practised in each of them. In this work may be seen an endless number of buildings, theatres, amphitheatres, palaces, and other edifices, all distributed with beautiful invention in that place. He then painted, in company with other painters, some apartments in the Palace of S. Giorgio for Cardinal Raffaello Riario, Bishop of Ostia; and he painted a façade opposite to the house of Messer Ulisse da Fano, and also that of the same Messer Ulisse, wherein he executed stories of Ulysses that brought him very great renown and fame.

Even greater was the fame that came to him from the model of the Palace of Agostino Chigi, executed with such beautiful grace that it seems not to have been built, but rather to have sprung into life; and with his own hand he decorated the exterior with most beautiful scenes in terretta. The hall, likewise, is adorned with rows of columns executed in perspective, which, with the depth of the intercolumniation, cause it to appear much larger. But what is the greatest marvel of all is a loggia that may be seen over the garden, painted by Baldassarre with scenes of the Medusa turning men into stone, such that nothing more beautiful can be imagined; and then there is Perseus cutting off her head, with many other scenes in the spandrels of that vaulting, while the ornamentation, drawn in perspective with colours, in imitation of stucco, is so natural and lifelike, that even to excellent craftsmen it appears to be in relief. And I remember that when I took the Chevalier Tiziano, a most excellent and honoured painter, to see that work, he would by no means believe that it was painted, until he had changed his point of view, when he was struck with amazement. In that place are some works executed by Fra Sebastiano Viniziano, in his first manner; and by the hand of the divine Raffaello, as has been related, there is a Galatea being carried off by sea-gods.

(_After_ Baldassarre Peruzzi. _Rome_)

_Alinari_]

Baldassarre also painted, beyond the Campo di Fiore, on the way to the Piazza Giudea, a most beautiful façade in terretta with marvellous perspectives, for which he received the commission from a Groom of the Chamber to the Pope; and it is now in the possession of Jacopo Strozzi, the Florentine. In like manner, he wrought for Messer Ferrando Ponzetti, who afterwards became a Cardinal, a chapel at the entrance of the Church of the Pace, on the left hand, with little scenes from the Old Testament, and also with some figures of considerable size; and for a work in fresco this is executed with much diligence. But even more did he prove his worth in painting and perspective near the high-altar of the same church, where he painted a scene for Messer Filippo da Siena, Clerk of the Chamber, of Our Lady going into the Temple, ascending the steps, with many figures worthy of praise, such as a gentleman in antique dress, who, having dismounted from his horse, with his servants waiting, is giving alms to a beggar, quite naked and very wretched, who may be seen asking him for it with pitiful humility. In this place, also, are various buildings and most beautiful ornaments; and right round the whole work, executed likewise in fresco, are counterfeited decorations of stucco, which have the appearance of being attached to the wall with large rings, as if it were a panel painted in oils.

And in the magnificent festival that the Roman people prepared on the Campidoglio when the baton of Holy Church was given to Duke Giuliano de' Medici, out of six painted scenes which were executed by six different painters of eminence, that by the hand of Baldassarre, twenty-eight braccia high and fourteen broad, showing the betrayal of the Romans by Julia Tarpeia, was judged to be without a doubt better than any of the others. But what amazed everyone most was the perspective-view or scenery for a play, which was so beautiful that it would be impossible to imagine anything finer, seeing that the variety and beautiful manner of the buildings, the various loggie, the extravagance of the doors and windows, and the other architectural details that were seen in it, were so well conceived and so extraordinary in invention, that one is not able to describe the thousandth part.

For the house of Messer Francesco di Norcia, on the Piazza de' Farnesi, he made a very graceful door of the Doric Order; and for Messer Francesco Buzio he executed, near the Piazza degl' Altieri, a very beautiful façade, in the frieze of which he painted portraits from life of all the Roman Cardinals who were then alive, while on the wall itself he depicted the scenes of Cæsar receiving tribute from all the world, and above he painted the twelve Emperors, who are standing upon certain corbels, being foreshortened with a view to being seen from below, and wrought with extraordinary art. For this whole work he rightly obtained vast commendation. In the Banchi he executed the escutcheon of Pope Leo, with three children, that seemed to be alive, so tender was their flesh. For Fra Mariano Fetti, Friar of the Piombo, he made a very beautiful S. Bernard in terretta in his garden at Montecavallo. And for the Company of S. Catherine of Siena, on the Strada Giulia, in addition to a bier for carrying the dead to burial, he executed many other things, all worthy of praise. In Siena, also, he gave the design for the organ of the Carmine; and he made some other works in that city, but none of much importance.

Later, having been summoned to Bologna by the Wardens of Works of S. Petronio, to the end that he might make the model for the façade of that church, he made for this two large ground-plans and two elevations, one in the modern manner and the other in the German; and the latter is still preserved in the Sacristy of the same S. Petronio, as a truly extraordinary work, since he drew that building in such sharply-detailed perspective that it appears to be in relief. In the house of Count Giovan Battista Bentivogli, in the same city, he made several drawings for the aforesaid structure, which were so beautiful, that it is not possible to praise enough the wonderful expedients sought out by this man in order not to destroy the old masonry, but to join it in beautiful proportion with the new. For the Count Giovan Battista mentioned above he made the design of a Nativity with the Magi, in chiaroscuro, wherein it is a marvellous thing to see the horses, the equipage, and the courts of the three Kings, executed with supreme beauty and grace, as are also the walls of the temples and some buildings round the hut. This work was afterwards given to be coloured by the Count to Girolamo Trevigi, who brought it to fine completion. Baldassarre also made the design for the door of the Church of S. Michele in Bosco, a most beautiful monastery of the Monks of Monte Oliveto, without Bologna; and the design and model of the Duomo of Carpi, which was very beautiful, and was built under his direction according to the rules of Vitruvius. And in the same place he made a beginning with the Church of S. Niccola, but it was not finished at that time, because Baldassarre was almost forced to return to Siena in order to make designs for the fortifications of that city, which were afterwards carried into execution under his supervision.

He then returned to Rome, where, after building the house that is opposite to the Farnese Palace, with some others within that city, he was employed in many works by Pope Leo X. That Pontiff wished to finish the building of S. Pietro, begun by Julius II after the design of Bramante, but it appeared to him that the edifice was too large and lacking in cohesion; and Baldassarre made a new model, magnificent and truly ingenious, and revealing such good judgment, that some parts of it have since been used by other architects. So diligent, indeed, was this craftsman, so rare and so beautiful his judgment, and such the method with which his buildings were always designed, that he has never had an equal in works of architecture, seeing that, in addition to his other gifts, he combined that profession with a good and beautiful manner of painting. He made the design of the tomb of Adrian VI, and all that is painted round it is by his hand; and Michelagnolo, a sculptor of Siena, executed that tomb in marble, with the help of our Baldassarre.

When the Calandra, a play by Cardinal Bibbiena, was performed before the same Pope Leo, Baldassarre made the scenic setting, which was no less beautiful--much more so, indeed--than that which he had made on another occasion, as has been related above. In such works he deserved all the greater praise, because dramatic performances, and consequently the scenery for them, had been out of fashion for a long time, festivals and sacred representations taking their place. And either before or after (it matters little which) the performance of the aforesaid Calandra, which was one of the first plays in the vulgar tongue to be seen or performed, in the time of Leo X, Baldassarre made two such scenes, which were marvellous, and opened the way to those who have since made them in our own day. Nor is it possible to imagine how he found room, in a space so limited, for so many streets, so many palaces, and so many bizarre temples, loggie, and various kinds of cornices, all so well executed that it seemed that they were not counterfeited, but absolutely real, and that the piazza was not a little thing, and merely painted, but real and very large. He designed, also, the chandeliers and the lights within that illuminated the scene, and all the other things that were necessary, with much judgment, although, as has been related, the drama had fallen almost completely out of fashion. This kind of spectacle, in my belief, when it has all its accessories, surpasses any other kind, however sumptuous and magnificent.

Afterwards, at the election of Pope Clement VII in the year 1524, he prepared the festivities for his coronation. He finished with peperino-stone the front of the principal chapel, formerly begun by Bramante, in S. Pietro; and in the chapel wherein is the bronze tomb of Pope Sixtus, he painted in chiaroscuro the Apostles that are in the niches behind the altar, besides making the design of the Tabernacle of the Sacrament, which is very graceful.

Then in the year 1527, when the cruel sack of Rome took place, our poor Baldassarre was taken prisoner by the Spaniards, and not only lost all his possessions, but was also much maltreated and outraged, because he was grave, noble, and gracious of aspect, and they believed him to be some great prelate in disguise, or some other man able to pay a fat ransom. Finally, however, those impious barbarians having found that he was a painter, one of them, who had borne a great affection to Bourbon, caused him to make a portrait of that most rascally captain, the enemy of God and man, either letting Baldassarre see him as he lay dead, or giving him his likeness in some other way, with drawings or with words. After this, having slipped from their hands, Baldassarre took ship to go to Porto Ercole, and thence to Siena; but on the way he was robbed of everything and stripped to such purpose, that he went to Siena in his shirt. However, he was received with honour and reclothed by his friends, and a little time afterwards he was given a provision and a salary by the Commonwealth, to the end that he might give his attention to the fortification of that city. Living there, he had two children; and, besides what he did for the public service, he made many designs of houses for his fellow-citizens, and the design for the ornament of the organ, which is very beautiful, in the Church of the Carmine.

(_After_ Baldassarre Peruzzi. _Rome_)

_Anderson_]

Meanwhile, the armies of the Emperor and the Pope had advanced to the siege of Florence, and his Holiness sent Baldassarre to the camp to Baccio Valori, the Military Commissary, to the end that Baccio might avail himself of his services for the purposes of his operations and for the capture of the city. But Baldassarre, loving the liberty of his former country more than the favour of the Pope, and in no way fearing the indignation of so great a Pontiff, would never lend his aid in any matter of importance. The Pope, hearing of this, for a short time bore him no little ill-will; but when the war was finished, Baldassarre desiring to return to Rome, Cardinals Salviati, Trivulzi, and Cesarino, to all of whom he had given faithful service in many works, restored him to the favour of the Pope and to his former appointments. He was thus able to return without hindrance to Rome, where, not many days after, he made for the Signori Orsini the designs of two very beautiful palaces, which were built on the way to Viterbo, and of some other edifices for Apuglia. But meanwhile he did not neglect the studies of astrology, nor those of mathematics and the others in which he much delighted, and he began a book on the antiquities of Rome, with a commentary on Vitruvius, making little by little illustrative drawings beside the writings of that author, some of which are still to be seen in the possession of Francesco da Siena, who was his disciple, and among them some papers with drawings of ancient edifices and of the modern manner of building.

While living in Rome, also, he made the design for the house of the Massimi, drawn in an oval form, with a new and beautiful manner of building; and for the façade he made a vestibule of Doric columns showing great art and good proportion, with a beautiful distribution of detail in the court and in the disposition of the stairs; but he was not able to see this work finished, for he was overtaken by death.

And yet, although the talents and labours of this noble craftsman were so great, they brought much more benefit to others than to himself; for, while he was employed by Popes, Cardinals, and other great and rich persons, not one of them ever gave him any remarkable reward. That this should have happened is not surprising, not so much through want of liberality in such patrons, although for the most part they are least liberal where they should be the very opposite, as through the timidity and excessive modesty, or rather, to be more exact in this case, the lack of shrewdness of Baldassarre. To tell the truth, in proportion as one should be discreet with magnanimous and liberal Princes, so should one always be pressing and importunate with such as are miserly, unthankful, and discourteous, for the reason that, even as in the case of the generous importunate asking would always be a vice, so with the miserly it is a virtue, and with such men it is discretion that would be the vice.

In the last years of his life, then, Baldassarre found himself poor and weighed down by his family. Finally, having always lived a life without reproach, he fell grievously ill, and took to his bed; and Pope Paul III, hearing this, and recognizing too late the harm that he was like to suffer in the loss of so great a man, sent Jacopo Melighi, the accountant of S. Pietro, to give him a present of one hundred crowns, and to make him most friendly offers. However, his sickness increased, either because it was so ordained, or, as many believe, because his death was hastened with poison by some rival who desired his place, from which he drew two hundred and fifty crowns of salary; and, the physicians discovering this too late, he died, very unwilling to give up his life, more on account of his poor family than for his own sake, as he thought in what sore straits he was leaving them. He was much lamented by his children and his friends, and he received honourable burial, next to Raffaello da Urbino, in the Ritonda, whither he was followed by all the painters, sculptors, and architects of Rome, doing him honour and bewailing him; with the following epitaph:

BALTHASARI PERUTIO SENENSI, VIRO ET PICTURA ET ARCHITECTURA
ALIISQUE INGENIORUM ARTIBUS ADEO EXCELLENTI, UT SI PRISCORUM
OCCUBUISSET TEMPORIBUS, NOSTRA ILLUM FELICIUS LEGERENT. VIX.
ANN. LV, MENS. XI, DIES XX.
LUCRETIA ET JO. SALUSTIUS OPTIMO CONJUGI ET PARENTI, NON SINE LACRIMIS
SIMONIS, HONORII, CLAUDII, ÆMILIÆ, AC SULPITIÆ, MINORUM FILIORUM,
DOLENTES POSUERUNT, DIE IIII JANUARII, MDXXXVI.

The name and fame of Baldassarre became greater after his death than they had been during his lifetime; and then, above all, was his talent missed, when Pope Paul III resolved to have S. Pietro finished, because men recognized how great a help he would have been to Antonio da San Gallo. For, although Antonio had to his credit all that is to be seen executed by him, yet it is believed that in company with Baldassarre he would have done more towards solving some of the difficulties of that work. The heir to many of the possessions of Baldassarre was Sebastiano Serlio of Bologna, who wrote the third book on architecture and the fourth on the antiquities of Rome with their measurements; in which works the above-mentioned labours of Baldassarre were partly inserted in the margins, and partly turned to great advantage by the author. Most of these writings of Baldassarre came into the hands of Jacomo Melighino of Ferrara, who was afterwards chosen by Pope Paul as architect for his buildings, and of the aforesaid Francesco da Siena, his former assistant and disciple, by whose hand is the highly renowned escutcheon of Cardinal Trani in Piazza Navona, with some other works. From this Francesco we received the portrait of Baldassarre, and information about some matters which I was not able to ascertain when this book was published for the first time. Another disciple of Baldassarre was Virgilio Romano, who executed a façade with some prisoners in sgraffito-work in the centre of the Borgo Nuovo in his native city, and many other beautiful works. From the same master, also, Antonio del Rozzo, a citizen of Siena and a very excellent engineer, learnt the first principles of architecture; and Baldassarre was followed, in like manner, by Riccio, a painter of Siena, who, however, afterwards imitated to no small extent the manner of Giovanni Antonio Sodoma of Vercelli. And another of his pupils was Giovan Battista Peloro, an architect of Siena, who gave much attention to mathematics and cosmography, and made with his own hand mariner's compasses, quadrants, many irons and instruments for measuring, and likewise the ground-plans of many fortifications, most of which are in the possession of Maestro Giuliano, a goldsmith of Siena, who was very much his friend. This Giovan Battista made for Duke Cosimo de' Medici a plan of Siena, all in relief and altogether marvellous, with the valleys and the surroundings for a mile and a half round--the walls, the streets, the forts, and, in a word, a most beautiful model of the whole place. But, since he was unstable by nature, he left Duke Cosimo, although he had a good allowance from that Prince; and, thinking to do better, he made his way into France, where he followed the Court without any success for a long time, and finally died at Avignon. And although he was an able and well-practised architect, yet in no place are there to be seen any buildings erected by him or after his design, for he always stayed such a short time in any one place, that he could never bring anything to completion; wherefore he consumed all his time with designs, measurements, models, and caprices. Nevertheless, as a follower of our arts, he has deserved to have record made of him.

Baldassarre drew very well in every manner, with great judgment and diligence, but more with the pen, in water-colours, and in chiaroscuro, than in any other way, as may be seen from many drawings by his hand that belong to different craftsmen. Our book, in particular, contains various drawings; and in one of these is a scene full of invention and caprice, showing a piazza filled with arches, colossal figures, theatres, obelisks, pyramids, temples of various kinds, porticoes, and other things, all after the antique, while on a pedestal stands a Mercury, round whom are all sorts of alchemists with bellows large and small, retorts, and other instruments for distilling, hurrying about and giving him a clyster in order to purge his body--an invention as ludicrous as it is beautiful and bizarre.

Friends and intimate companions of Baldassarre, who was always courteous, modest, and gentle with every man, were Domenico Beccafumi of Siena, an excellent painter, and Il Capanna, who, in addition to many other works that he painted in Siena, executed the façade of the house of the Turchi and another that is on the Piazza.

GIOVAN FRANCESCO PENNI OF FLORENCE AND PELLEGRINO DA MODENA

LIVES OF GIOVAN FRANCESCO PENNI OF FLORENCE

[_CALLED IL FATTORE_]

AND OF PELLEGRINO DA MODENA

PAINTERS

Giovan Francesco Penni, called Il Fattore, a painter of Florence, was no less indebted to Fortune than he was to the goodness of his own nature, in that his ways of life, his inclination for painting, and his other qualities brought it about that Raffaello da Urbino took him into his house and educated him together with Giulio Romano, looking on both of them ever afterwards as his children, and proving at his death how much he thought both of the one and of the other by leaving them heirs to his art and to his property alike. Now Giovan Francesco, who began from his boyhood, when he first entered the house of Raffaello, to be called Il Fattore, and always retained that name, imitated in his drawings the manner of Raffaello, and never ceased to follow it, as may be perceived from some drawings by his hand that are in our book. And it is nothing wonderful that there should be many of these to be seen, all finished with great diligence, because he delighted much more in drawing than in colouring.

The first works of Giovan Francesco were executed by him in the Papal Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and other excellent masters; and in these may be seen a marvellous grace, worthy of a master striving at perfection of workmanship. He was very versatile, and he delighted much in making landscapes and buildings. He was a good colourist in oils, in fresco, and in distemper, and made excellent portraits from life; and he was much assisted in every respect by nature, so that he gained great mastery over all the secrets of art without much study. He was a great help to Raffaello, therefore, in painting a large part of the cartoons for the tapestries of the Pope's Chapel and of the Consistory, and particularly the ornamental borders. He also executed many other things from the cartoons and directions of Raffaello, such as the ceiling for Agostino Chigi in the Trastevere, with many pictures, panels, and various other works, in which he acquitted himself so well, that every day he won greater affection from Raffaello. On the Monte Giordano, in Rome, he painted a façade in chiaroscuro, and in S. Maria de Anima, by the side-door that leads to the Pace, a S. Christopher in fresco, eight braccia high, which is a very good figure; and in this work is a hermit with a lantern in his hand, in a grotto, executed with good draughtsmanship, harmony, and grace.

Giovan Francesco then came to Florence, and painted for Lodovico Capponi at Montughi, a place without the Porta a San Gallo, a shrine with a Madonna, which is much extolled.

Raffaello having meanwhile been overtaken by death, Giulio Romano and Giovan Francesco, who had been his disciples, remained together for a long time, and finished in company such of Raffaello's works as had been left unfinished, and in particular those that he had begun in the Vigna of the Pope, and likewise those of the Great Hall in the Palace, wherein are painted by the hands of these two masters the stories of Constantine, with excellent figures, executed in an able and beautiful manner, although the invention and the sketches of these stories came in part from Raffaello. While these works were in progress, Perino del Vaga, a very excellent painter, took to wife a sister of Giovan Francesco; on which account they executed many works in company. And afterwards Giulio and Giovan Francesco, continuing to work together, painted a panel in two parts, containing the Assumption of Our Lady, which went to Monteluci, near Perugia; and also other works and pictures for various places.

(_After the fresco by =Giovanni Francesco Penni [Il Fattore]=. Rome: The Vatican_)

_Anderson_]

Then, receiving a commission from Pope Clement to paint a panel-picture like the one by Raffaello (which is in S. Pietro a Montorio), which was to be sent to France, whither Raffaello had meant to send the first, they began it; but soon afterwards, having fallen out with each other, they divided their inheritance of drawings and everything else left to them by Raffaello, and Giulio went off to Mantua, where he executed an endless number of works for the Marquis. Thither, not long afterwards, Giovan Francesco also made his way, drawn either by love of Giulio or by the hope of finding work; but he received so cold a welcome from Giulio that he soon departed, and, after travelling round Lombardy, he returned to Rome. And from Rome he went to Naples by ship in the train of the Marchese del Vasto, taking with him the now finished copy of the panel-picture of S. Pietro a Montorio, with other works, which he left in Ischia, an island belonging to the Marquis, while the panel was placed where it is at the present day, in the Church of S. Spirito degli Incurabili at Naples. Having thus settled in Naples, where he occupied himself with drawing and painting, Giovan Francesco was entertained and treated with great kindness by Tommaso Cambi, a Florentine merchant, who managed the affairs of that nobleman. But he did not live there long, because, being of a sickly habit of body, he fell ill and died, to the great grief of the noble Marquis and of all who knew him.

He had a brother called Luca, likewise a painter, who worked in Genoa with his brother-in-law Perino, as well as at Lucca and many other places in Italy. In the end he went to England, where, after executing certain works for the King and for some merchants, he finally devoted himself to making designs for copper-plates for sending abroad, which he had engraved by Flemings. Of such he sent abroad a great number, which are known by his name as well as by the manner; and by his hand, among others, is a print wherein are some women in a bath, the original of which, by the hand of Luca himself, is in our book.

A disciple of Giovan Francesco was Leonardo, called Il Pistoia because he came from that city, who executed some works at Lucca, and made many portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he painted another, which was placed on the high-altar, although it was afterwards removed to make room for a new one, similar in subject, by the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from these Neapolitan nobles, but he accumulated little, for he squandered it all as it came to his hand; and finally he died in Naples, leaving behind him the reputation of having been a good colourist, but not of having shown much excellence in draughtsmanship.

Giovan Francesco lived forty years, and his works date about 1528.

A friend of Giovan Francesco, and likewise a disciple of Raffaello, was Pellegrino da Modena, who, having acquired in his native city the name of a man of fine genius for painting, and having heard of the marvels of Raffaello da Urbino, determined, in order to justify by means of labour the hopes already conceived of him, to go to Rome. Arriving there, he placed himself under Raffaello, who never refused anything to men of ability. There were then in Rome very many young men who were working at painting and seeking in mutual rivalry to surpass one another in draughtsmanship, in order to win the favour of Raffaello and to gain a name among men; and thus Pellegrino, giving unceasing attention to his studies, became not only a good draughtsman, but also a well-practised master of the whole of his art. And when Leo X commissioned Raffaello to paint the Loggie, Pellegrino also worked there, in company with the other young men; and so well did he succeed, that Raffaello afterwards made use of him in many other things.

He executed three figures in fresco in S. Eustachio at Rome, over an altar near the entrance into the church; and in the Church of the Portuguese, near the Scrofa, he painted in fresco the Chapel of the High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense having caused a chapel richly adorned with marbles to be erected in S. Jacopo, the Church of the Spanish people, with a S. James of marble by Jacopo Sansovino, four braccia and a half in height, and much extolled, Pellegrino painted there in fresco the stories of that Apostle, giving an air of great sweetness to his figures in imitation of his master Raffaello, and designing the whole composition so well, that the work made him known as an able man with a fine and beautiful genius for painting. This work finished, he made many others in Rome, both by himself and in company with others.

(_After the fresco by =Gaudenzio Milanese [Gaudenzio Ferrari]=. Milan: S. Maria della Passione_)

_Anderson_]

But finally, when death had come upon Raffaello, Pellegrino returned to Modena, where he executed many works; among others, he painted for a Confraternity of Flagellants a panel-picture in oils of S. John baptizing Christ, and another panel for the Church of the Servi, containing S. Cosimo and S. Damiano, with other figures. Afterwards, having taken a wife, he had a son, who was the cause of his death. For this son, having come to words with some companions, young men of Modena, killed one of them; the news of which being carried to Pellegrino, he, in order to help his son from falling into the hands of justice, set out to smuggle him away. But he had not gone far from his house, when he stumbled against the relatives of the dead youth, who were going about searching for the murderer; and they, confronting Pellegrino, who had no time to escape, and full of fury because they had not been able to catch his son, gave him so many wounds that they left him dead on the ground. This event was a great grief to the people of Modena, who knew that by the death of Pellegrino they had been robbed of a spirit truly excellent and rare.

A contemporary of this craftsman was the Milanese Gaudenzio, a resolute, well-practised, and excellent painter, who made many works in fresco at Milan; and in particular, for the Frati della Passione, a most beautiful Last Supper, which remained unfinished by reason of his death. He also painted very well in oils, and there are many highly-esteemed works by his hand at Vercelli and Veralla.

ANDREA DEL SARTO

LIFE OF ANDREA DEL SARTO

A MOST EXCELLENT PAINTER OF FLORENCE

At length, after the Lives of many craftsmen who have been excellent, some in colouring, some in drawing, and others in invention, we have come to the most excellent Andrea del Sarto, in whose single person nature and art demonstrated all that painting can achieve by means of draughtsmanship, colouring, and invention, insomuch that, if Andrea had possessed a little more fire and boldness of spirit, to correspond to his profound genius and judgment in his art, without a doubt he would have had no equal. But a certain timidity of spirit and a sort of humility and simplicity in his nature made it impossible that there should be seen in him that glowing ardour and that boldness which, added to his other qualities, would have made him truly divine in painting; for which reason he lacked those adornments and that grandeur and abundance of manners which have been seen in many other painters. His figures, however, for all their simplicity and purity, are well conceived, free from errors, and absolutely perfect in every respect. The expressions of his heads, both in children and in women, are gracious and natural, and those of men, both young and old, admirable in their vivacity and animation; his draperies are beautiful to a marvel, and his nudes very well conceived. And although his drawing is simple, all that he coloured is rare and truly divine.

Andrea was born in Florence, in the year 1478, to a father who was all his life a tailor; whence he was always called Andrea del Sarto by everyone. Having come to the age of seven, he was taken away from his reading and writing school and apprenticed to the goldsmith's craft. But in this he was always much more willing to practise his hand in drawing, to which he was drawn by a natural inclination, than in using the tools for working in silver or gold; whence it came to pass that Gian Barile, a painter of Florence, but one of gross and vulgar taste, having seen the boy's good manner of drawing, took him under his protection, and, making him abandon his work as goldsmith, directed him to the art of painting. Andrea, beginning with much delight to practise it, recognized that nature had created him for that profession; and in a very short space of time, therefore, he was doing such things with colours as filled Gian Barile and the other craftsmen in the city with marvel. Now after three years, through continual study, he had acquired an excellent mastery over his work, and Gian Barile saw that by persisting in his studies the boy was likely to achieve an extraordinary success. Having therefore spoken of him to Piero di Cosimo, who was held at that time to be one of the best painters in Florence, he placed Andrea with Piero. And Andrea, as one full of desire to learn, laboured and studied without ceasing; while nature, which had created him to be a painter, so wrought in him, that he handled and managed his colours with as much grace as if he had been working for fifty years. Wherefore Piero conceived an extraordinary love for him, feeling marvellous pleasure in hearing that when Andrea had any time to himself, particularly on feast-days, he would spend the whole day in company with other young men, drawing in the Sala del Papa, wherein were the cartoons of Michelagnolo and Leonardo da Vinci, and that, young as he was, he surpassed all the other draughtsmen, both native and foreign, who were always competing there with one another.

(_After the panel by =Andrea del Sarto=. Florence: Uffizi, 93_)

_Alinari_]

Among these young men, there was one who pleased Andrea more than any other with his nature and conversation, namely, the painter Franciabigio; and Franciabigio, likewise, was attracted by Andrea. Having become friends, therefore, Andrea said to Franciabigio that he could no longer endure the caprices of Piero, who was now old, and that for this reason he wished to take a room for himself. Hearing this, Franciabigio, who was obliged to do the same thing because his master Mariotto Albertinelli had abandoned the art of painting, said to his companion Andrea that he also was in need of a room, and that it would be to the advantage of both of them if they were to join forces. Having therefore taken a room on the Piazza del Grano, they executed many works in company; among others, the curtains that cover the panel-pictures on the high-altar of the Servi; for which they received the commission from a sacristan very closely related to Franciabigio. On one of those curtains, that which faces the choir, they painted the Annunciation of the Virgin; and on the other, which is in front, a Deposition of Christ from the Cross, like that of the panel-picture which was there, painted by Filippo and Pietro Perugino.

The men of that company in Florence which is called the Company of the Scalzo used to assemble at the head of the Via Larga, above the houses of the Magnificent Ottaviano de' Medici, and opposite to the garden of S. Marco, in a building dedicated to S. John the Baptist, which had been built in those days by a number of Florentine craftsmen, who had made there, among other things, an entrance-court of masonry with a loggia which rested on some columns of no great size. And some of them, perceiving that Andrea was on the way to becoming known as an excellent painter, and being richer in spirit than in pocket, determined that he should paint round that cloister twelve pictures in chiaroscuro--that is to say, in fresco with terretta--containing twelve scenes from the life of S. John the Baptist. Whereupon, setting his hand to this, he painted in the first the scene of S. John baptizing Christ, with much diligence and great excellence of manner, whereby he gained credit, honour, and fame to such an extent, that many persons turned to him with commissions for works, as to one whom they thought to be destined in time to reach that honourable goal which was foreshadowed by his extraordinary beginnings in his profession.

Among other works that he made in that first manner, he painted a picture which is now in the house of Filippo Spini, held in great veneration in memory of so able a craftsman. And not long after this he was commissioned to paint for a chapel in S. Gallo, the Church of the Eremite Observantines of the Order of S. Augustine, without the Porta a S. Gallo, a panel-picture of Christ appearing in the garden to Mary Magdalene in the form of a gardener; which work, what with the colouring and a certain quality of softness and harmony, is sweetness itself, and so well executed, that it led to his painting two others not long afterwards for the same church, as will be related below. This panel is now in S. Jacopo tra Fossi, on the Canto degli Alberti, together with the two others.

After these works, Andrea and Franciabigio, leaving the Piazza del Grano, took new rooms in the Sapienza, near the Convent of the Nunziata; whence it came about that Andrea and Jacopo Sansovino, who was then a young man and was working at sculpture in the same place under his master Andrea Contucci, formed so warm and so strait a friendship together, that neither by day nor by night were they ever separated one from another. Their discussions were for the most part on the difficulties of art, so that it is no marvel that both of them should have afterwards become most excellent, as is now being shown of Andrea and as will be related in the proper place of Jacopo.

(_After the fresco by =Andrea del Sarto=. Florence: S. Salvi_)

_Anderson_]

There was at this same time in the Convent of the Servi, selling the candles at the counter, a friar called Fra Mariano dal Canto alla Macine, who was also sacristan; and he heard everyone extolling Andrea mightily and saying that he was by way of making marvellous proficience in painting. Whereupon he planned to fulfil a desire of his own without much expense; and so, approaching Andrea, who was a mild and guileless fellow, on the side of his honour, he began to persuade him under the cloak of friendship that he wished to help him in a matter which would bring him honour and profit and would make him known in such a manner, that he would never be poor any more. Now many years before, as has been related above, Alesso Baldovinetti had painted a Nativity of Christ in the first cloister of the Servi, on the wall that has the Annunciation behind it; and in the same cloister, on the other side, Cosimo Rosselli had begun a scene of S. Filippo, the founder of that Servite Order, assuming the habit. But Cosimo had not carried that scene to completion, because death came upon him at the very moment when he was working at it. The friar, then, being very eager to see the rest finished, thought of serving his own ends by making Andrea and Franciabigio, who, from being friends, had become rivals in art, compete with one another, each doing part of the work. This, besides effecting his purpose very well, would make the expense less and their efforts greater. Thereupon, revealing his mind to Andrea, he persuaded him to undertake that enterprise, by pointing out to him that since it was a public and much frequented place, he would become known on account of such a work no less by foreigners than by the Florentines; that he should not look for any payment in return, or even for an invitation to undertake it, but should rather pray to be allowed to do it; and that if he were not willing to set to work, there was Franciabigio, who, in order to make himself known, had offered to accept it and to leave the matter of payment to him. These incitements did much to make Andrea resolve to undertake the work, and the rather as he was a man of little spirit; and the last reference to Franciabigio induced him to make up his mind completely and to come to an agreement, in the form of a written contract, with regard to the whole work, on the terms that no one else should have a hand in it. The friar, then, having thus pledged him and given him money, demanded that he should begin by continuing the life of S. Filippo, without receiving more than ten ducats from him in payment of each scene; and he told Andrea that he was giving him even that out of his own pocket, and was doing it more for the benefit and advantage of the painter than through any want or need of the convent.

Andrea, therefore, pursuing that work with the utmost diligence, like one who thought more of honour than of profit, after no long time completely finished the first three scenes and unveiled them. One was the scene of S. Filippo, now a friar, clothing the naked. In another he is shown rebuking certain gamesters, who blasphemed God and laughed at S. Filippo, mocking at his admonition, when suddenly there comes a lightning-flash from Heaven, which, striking a tree under the shade of which they were sheltering, kills two of them and throws the rest into an incredible panic. Some, with their hands to their heads, cast themselves forward in dismay; others, crying aloud in their terror, turn to flight; a woman, beside herself with fear at the sound of the thunder, is running away so naturally that she appears to be truly alive; and a horse, breaking loose amid this uproar and confusion, reveals with his leaps and fearsome movements what fear and terror are caused by things so sudden and so unexpected. In all this one can see how carefully Andrea looked to variety of incident in the representation of such events, with a forethought truly beautiful and most necessary for one who practises painting. In the third he painted the scene of S. Filippo delivering a woman from evil spirits, with all the most characteristic considerations that could be imagined in such an action. All these scenes brought extraordinary fame and honour to Andrea; and thus encouraged, he went on to paint two other scenes in the same cloister. On one wall is S. Filippo lying dead, with his friars about him making lamentation; and in addition there is a dead child, who, touching the bier on which S. Filippo lies, comes to life again, so that he is first seen dead, and then revived and restored to life, and all with a very beautiful, natural, and appropriate effect. In the last picture on that side he represented the friars placing the garments of S. Filippo on the heads of certain children; and there he made a portrait of Andrea della Robbia, the sculptor, in an old man clothed in red, who comes forward, stooping, with a staff in his hand. There, too, he portrayed Luca, his son; even as in the other scene mentioned above, in which S. Filippo lies dead, he made a portrait of another son of Andrea, named Girolamo, a sculptor and very much his friend, who died not long since in France.

Having thus finished that side of the cloister, and considering that if the honour was great, the payment was small, Andrea resolved to give up the rest of the work, however much the friar might complain. But the latter would not release him from his bond without Andrea first promising that he would paint two other scenes, at his own leisure and convenience, however, and with an increase of payment; and thus they came to terms.

(_After the fresco by =Andrea del Sarto=. Florence: SS. Annunziata_)

_Alinari_]

Having come into greater repute by reason of these works, Andrea received commissions for many pictures and works of importance; among others, one from the General of the Monks of Vallombrosa, for painting an arch of the vaulting, with a Last Supper on the front wall, in the Refectory of the Monastery of S. Salvi, without the Porta alla Croce. In four medallions on that vault he painted four figures, S. Benedict, S. Giovanni Gualberto, S. Salvi the Bishop, and S. Bernardo degli Uberti of Florence, a friar of that Order and a Cardinal; and in the centre he made a medallion containing three faces, which are one and the same, to represent the Trinity. All this was very well executed for a work in fresco, and Andrea, therefore, came to be valued at his true worth in the art of painting. Whereupon he was commissioned at the instance of Baccio d' Agnolo to paint in fresco, in a close on the steep path of Orsanmichele, which leads to the Mercato Nuovo, the Annunciation still to be seen there, executed on a minute scale, which brought him but little praise; and this may have been because Andrea, who worked well without over-exerting himself or forcing his powers, is believed to have tried in this work to force himself and to paint with too much care.

As for the many pictures that he executed after this for Florence, it would take too long to try to speak of them all; and I will only say that among the most distinguished may be numbered the one that is now in the apartment of Baccio Barbadori, containing a full-length Madonna with a Child in her arms, S. Anne, and S. Joseph, all painted in a beautiful manner and held very dear by Baccio. He made one, likewise well worthy of praise, which is now in the possession of Lorenzo di Domenico Borghini, and another of Our Lady for Leonardo del Giocondo, which at the present day is in the hands of Piero, the son of Leonardo. For Carlo Ginori he painted two of no great size, which were bought afterwards by the Magnificent Ottaviano de' Medici; and one of these is now in his most beautiful villa of Campi, while the other, together with many other modern pictures executed by the most excellent masters, is in the apartment of the worthy son of so great a father, Signor Bernardetto, who not only esteems and honours the works of famous craftsmen, but is also in his every action a truly generous and magnificent nobleman.