Chapter II: Part 2

Then, in the year 1505, being sent for by Messer Geronimo Sagrato, a gentleman of Ferrara, who was living in Rome, Benvenuto returned there with the greatest willingness, and particularly from a desire to see the miracles that were being related of Raffaello da Urbino and of the Chapel of Julius painted by Buonarroti. But when Benvenuto had arrived in Rome, he was struck with amazement, and almost with despair, by seeing the grace and vivacity that the pictures of Raffaello revealed, and the depth in the design of Michelagnolo. Wherefore he cursed the manners of Lombardy, and that which he had learned with so much study and effort at Mantua, and right willingly, if he had been able, would he have purged himself of all that knowledge; but he resolved, since there was no help for it, that he would unlearn it all, and, after the loss of so many years, change from a master into a disciple. And so he began to draw from such works as were the best and the most difficult, and to study with all possible diligence those greatly celebrated manners, and gave his attention to scarcely any other thing for a period of two whole years; by reason of which he so changed his method, transforming his bad manner into a good one, that notice was taken of him by the craftsmen. And, what was more, he so went to work with humility and every kind of loving service, that he became the friend of Raffaello da Urbino, who, being very courteous and not ungrateful, taught Benvenuto many things, and always assisted and favoured him.

If Benvenuto had pursued his studies in Rome, without a doubt he would have done things worthy of his beautiful genius; but he was constrained, I know not by what cause, to return to his own country. In taking leave of Raffaello, he promised that he would, as that master advised him, return to Rome, where Raffaello assured him that he would give him more than enough in the way of work, and that in honourable undertakings. Having then arrived in Ferrara, Benvenuto settled the affairs and despatched the business that had caused him to return; and he was preparing himself to make his way back to Rome, when the Lord Duke Alfonso of Ferrara set him to decorate a little chapel in the Castle, in company with other Ferrarese painters. That work finished, his departure was again delayed by the great courtesy of M. Antonio Costabili, a Ferrarese gentleman of much authority, who gave him an altar-piece to paint in oils for the high-altar of the Church of S. Andrea; which finished, he was forced to execute another for S. Bartolo, a convent of Cistercian Monks, wherein he painted the Adoration of the Magi, which was beautiful and much extolled. He then painted another for the Duomo, full of figures many and various, and two others that were placed in the Church of S. Spirito, in one of which is the Virgin in the air with the Child in her arms, and some other figures below, and in the other the Nativity of Jesus Christ.

(_After the painting by =Benvenuto Garofalo=. Ferrara: Pinacoteca, 1519_)

_Alinari_]

In executing those works, remembering at times how he had turned his back on Rome, he felt the bitterest regret; and he had resolved at all costs to return thither, when, his father Piero's death taking place, all his plans were broken off; for, finding himself burdened with a sister ready for a husband and a brother fourteen years of age, and his affairs in disorder, he was forced to compose his mind and resign himself to live in his native place. And so, after parting company with the Dossi, who had worked with him up to that time, he painted by himself in the Church of S. Francesco, in a little chapel, the Raising of Lazarus, a work filled with a variety of good figures, and pleasant in colouring, with attitudes spirited and vivacious, which brought him much commendation. In another chapel in the same church he painted the Massacre of the Innocents, cruelly done to death by Herod, so well and with such spirited movements in the soldiers and other figures, that it was a marvel. Very well depicted, in addition, are different expressions in the great variety of heads, such as terror in the mothers and nurses, death in the infants, and cruelty in the slayers, and many other things, which gave infinite satisfaction. It is worthy of remark that in executing that work Benvenuto did a thing that up to that time had never been done in Lombardy--namely, he made models of clay, the better to see the shadows and lights, and availed himself of a figure-model made of wood, jointed in such a way that the limbs moved in every direction, which he arranged as he wished, in various attitudes, with draperies over it. But what is most important is that he copied every least detail from life and nature, as one who knew that the true way is to observe and imitate the reality. For the same church he executed the altar-piece of a chapel; and on a wall he painted in fresco Christ taken by the multitude in the Garden.

For S. Domenico, in the same city, he painted two altar-pieces in oils; in one is the Miracle of the Cross and S. Helen, and in the other is S. Peter Martyr with a good number of very beautiful figures, wherein it is evident that Benvenuto departed considerably from his first manner, making it bolder and less laboured. For the Nuns of S. Salvestro he painted an altar-picture of Christ praying to His Father on the Mount, while the three Apostles are lower down, sleeping. For the Nuns of S. Gabriello he executed an Annunciation, and for those of S. Antonio, in the altar-piece of their high-altar, the Resurrection of Christ. For the high-altar of the Frati Ingesuati, in the Church of S. Girolamo, he painted Jesus Christ in the Manger, with a choir of Angels on a cloud, held to be very beautiful. In S. Maria del Vado, in an altar-piece by the same hand, very well conceived and coloured, is Christ ascending into Heaven, with the Apostles standing in contemplation of Him. For the Church of S. Giorgio, a seat of the Monks of Monte Oliveto, without the city, he painted an altar-piece in oils of the Magi adoring Christ and offering to Him myrrh, incense, and gold; and this is one of the best works that Benvenuto ever executed in all his life.

All these works much pleased the people of Ferrara, by reason of which he executed pictures almost without number for their houses, and many others for monasteries and for the townships and villas round about the city; and, among others, he painted the Resurrection of Christ in an altar-piece for Bondeno. And, finally, he executed in fresco with beautiful and fantastic invention, in the Refectory of S. Andrea, many figures that are bringing the Old Testament into accord with the New. But, since the works of this master are numberless, let it be enough to have spoken of those that are the best.

Girolamo da Carpi having received his first instructions in painting from Benvenuto, as will be related in his Life, they painted in company the facade of the house of the Muzzarelli, in the Borgo Nuovo, partly in chiaroscuro and partly in colours, with some things done in imitation of bronze. They painted together, likewise, both within and without, the Palace of Coppara, a place of recreation belonging to the Duke of Ferrara; for which lord Benvenuto executed many other works, both by himself and in company with other painters.

Then, having lived a long time in the determination that he would not take a wife, in the end, after separating from his brother and growing weary of living alone, at the age of forty-eight he took one; but he had scarcely had her a year, when, falling grievously ill, he lost the sight of his right eye, and was in fear and peril of the other. However, having recommended himself to God and made a vow that he would always dress in grey, as he afterwards did, by the grace of God he preserved the sight of the other eye, insomuch that the works executed by him at the age of sixty-five were so well done, and with such diligence and finish, that it was a marvel. Wherefore on one occasion, when the Duke of Ferrara showed to Pope Paul III a Triumph of Bacchus in oils, five braccia in length, and the Calumny of Apelles, painted by Benvenuto at that age after the designs of Raffaello da Urbino, which pictures are now over certain chimney-pieces belonging to his Excellency, that Pontiff was struck with astonishment that an old man of such an age, with only one eye, should have executed works so large and so beautiful.

On every feast-day for twenty whole years Benvenuto worked for the love of God in the Convent of the Nuns of S. Bernardino, where he executed many works of importance in oils, in distemper, and in fresco; which was certainly a marvellous thing, and a great proof of his true and good nature, for in that place he had no competition, and nevertheless put no less study and diligence into his labour than he would have done at any other more frequented place. Those works are passing good in composition, with beautiful expressions in the heads, not confused, and executed in a truly sweet and good manner.

For all the disciples that Benvenuto had, although he taught them everything that he knew with no ordinary willingness, in order to make some of them excellent masters, he never had any success with a single one of them, and, in place of being rewarded by them for his lovingness at least with gratitude of heart, he never received anything from them save vexations; wherefore he used to say that he had never had any enemies but his own disciples and assistants. In the year 1550, being now old, and the malady returning to his eye, he became wholly blind, and he lived thus for nine years; which misfortune he bore with a patient mind, resigning himself completely to the will of God. Finally, when he had come to the age of seventy-eight, thinking at last that he had lived too long in that darkness, and rejoicing in death, in the hope of going to enjoy eternal light, he finished the course of his life on the 6th of September in the year 1559, leaving a son called Girolamo, who is a very gentle person, and a daughter.

Benvenuto was a very honest creature, fond of a jest, pleasant in his conversation, patient and calm in all his adversities. As a young man he delighted in fencing and playing the lute, and in his friendships he was loving beyond measure and prodigal with his services. He was the friend of the painter Giorgione da Castelfranco, Tiziano da Cadore, and Giulio Romano, and most affectionate towards all the men of art in general; and to this I can bear witness, for on the two occasions when I was at Ferrara in his time I received from him innumerable favours and courtesies. He was buried with honour in the Church of S. Maria del Vado, and was celebrated in verse and prose by many choice spirits no less than his talents deserved. But it has not been possible to obtain Benvenuto's portrait, and therefore there has been placed at the head of these Lives of the Lombard painters that of Girolamo da Carpi, whose Life we are now about to write.

(_After the painting by =Benvenuto Garofalo=. Ferrara: Pinacoteca, 1537_)

_Alinari_]

Girolamo, then, called Da Carpi, who was a Ferrarese and a disciple of Benvenuto, was employed at first by his father Tommaso, who was a kind of house-painter, in his workshop, to paint strong-boxes, stools, mouldings, and other suchlike commonplace things. After Girolamo had made some proficience under the discipline of Benvenuto, he began to think that he should be removed by his father from those base labours; but Tommaso, as one who had need of money, would do nothing of the kind, and Girolamo resolved at all costs to leave him. And so he went to Bologna, where he received no little favour from the gentlemen of that city; wherefore, having made some portraits, which were passing good likenesses, he acquired so much credit that he earned much money and assisted his father more while living at Bologna than he had done when staying in Ferrara. At that time there was brought to the house of the noble Counts Ercolani at Bologna a picture by the hand of Antonio da Correggio, in which Christ is appearing to Mary Magdalene in the form of a gardener, executed with incredible softness and excellence; and that manner so took possession of Girolamo's heart, that, not content with having copied that picture, he went to Modena to see the other works by the hand of Correggio. Having arrived there, besides being filled with marvel at the sight of them, one among them in particular struck him with amazement, and that was the great picture, a divine work, in which is the Madonna, with the Child in her arms marrying S. Catharine, a S. Sebastian, and other figures, with an air of such beauty in the heads, that they appear as if made in Paradise; nor is it possible to find more beautiful hair, more lovely hands, or any colouring more pleasing and natural. Having then received permission to copy it from the owner of the picture, Messer Francesco Grillenzoni, a doctor, who was much the friend of Correggio, Girolamo copied it with the greatest diligence that it is possible to imagine. After that he did the same with the altar-picture of S. Peter Martyr, which Correggio had painted for a Company of Secular Priests, who hold it in very great price, as it deserves, there being in it, in particular, besides other figures, an Infant Christ in the lap of His Mother, who appears as if breathing, and a most beautiful S. Peter Martyr; and another little altar-piece by the same hand, painted for the Company of S. Bastiano, and no less beautiful than the other. All these works, thus copied by Girolamo, were the reason that he so improved his manner, that it did not appear like his original manner, or in any way the same thing.

From Modena Girolamo went to Parma, where he had heard that there were some works by the same Correggio, and he copied some of the pictures in the tribune of the Duomo, considering them extraordinary works, particularly the beautiful foreshortening of the Madonna, who is ascending into Heaven, surrounded by a multitude of Angels, with the Apostles, who are standing gazing on her as she ascends, and four Saints, Protectors of that city, who are in the niches--S. John the Baptist, who is holding a lamb; S. Joseph, the husband of Our Lady; S. Bernardo degli Uberti the Florentine, a Cardinal and Bishop of Florence; and another Bishop. Girolamo likewise studied the figures by the hand of the same Correggio in the recess of the principal chapel in S. Giovanni Evangelista--namely, the Coronation of the Madonna, with S. John the Evangelist, the Baptist, S. Benedict, S. Placido, and a multitude of Angels who are about them; and the marvellous figures that are in the Chapel of S. Gioseffo in the Church of S. Sepolcro--a divine example of panel-painting.

Now, since it is inevitable that those who are pleased to follow some particular manner, and who study it with lovingness, should acquire it--at least, in some degree (whence it also happens that many become more excellent than their masters)--Girolamo caught not a little of Correggio's manner; wherefore, after returning to Bologna, he imitated him always, not studying any other thing but that manner and that altar-piece by the hand of Raffaello da Urbino which we mentioned as being in that city. And all these particulars I heard from Girolamo da Carpi, who was much my friend, at Rome in the year 1550; and he lamented very often to me that he had consumed his youth and his best years in Ferrara and Bologna, and not in Rome or some other place, where, without a doubt, he would have made much greater proficience. No little harm, also, did Girolamo suffer in matters of art from his having given too much attention to amorous delights and to playing the lute at the time when he might have been making progress in painting.

Having returned, then, to Bologna, he made a portrait, among others, of Messer Onofrio Bartolini, a Florentine, who was then in that city for his studies, and afterwards became Archbishop of Pisa; and that head, which is now in the possession of the heirs of that Messer Noferi, is very beautiful and in a manner full of grace. There was working in Bologna at this time a certain Maestro Biagio, a painter, who, perceiving that Girolamo was coming into good repute, began to be afraid lest he might outstrip him and deprive him of all his profits. Wherefore, seizing a good occasion, he established a friendship with Girolamo, with the intention of hindering him in his work, and became his intimate companion to such purpose, that they began to work in company; and so they continued for a while. This friendship was harmful to Girolamo, not only in the matter of his earnings, but likewise with respect to art, for the reason that he followed in the footsteps of Maestro Biagio (who worked by rule of thumb, and took everything from the designs of one master or another), and he, also, put no more diligence into his pictures.

Now in the monastery of S. Michele in Bosco, without Bologna, a certain Fra Antonio, a monk of that convent, had painted a S. Sebastian of the size of life, besides executing an altar-piece in oils for a convent of the same Order of Monte Oliveto at Scaricalasino, and some figures in fresco in the Chapel of S. Scholastica, in the garden of Monte Oliveto Maggiore, and Abbot Ghiaccino, who had compelled him to stay that year in Bologna, desired that he should paint the new sacristy of his church there. But Fra Antonio, who did not feel it in him to do so great a work, and perchance was not very willing to undergo such fatigue, as is often the case with that kind of man, so contrived that the work was allotted to Girolamo and Maestro Biagio, who painted it all in fresco. In the compartments of the vaulting they executed some little boys and Angels, and at the head, in large figures, the story of the Transfiguration of Christ, availing themselves of the design of that which Raffaello da Urbino painted for S. Pietro in Montorio at Rome; and on the other walls they painted some Saints, in which, to be sure, there is something of the good. But Girolamo, having recognized that to stay in company with Maestro Biagio was not the course for him, and, indeed, that it was his certain ruin, broke up the partnership when that work was finished, and began to work for himself.

The first work that he executed on his own account was an altar-piece for the Chapel of S. Bastiano in the Church of S. Salvadore, in which he acquitted himself very well. But then, having heard of the death of his father, he returned to Ferrara, where for a time he did nothing save some portraits and works of little importance. Meanwhile, Tiziano Vecelli went to Ferrara to execute certain things for Duke Alfonso, as will be related in his Life, in a little closet, or rather, study, where Giovanni Bellini had already painted some pictures, and Dosso a Bacchanal rout of men which was so good, that, even if he had never done any other thing, for that alone he would deserve praise and the name of an excellent painter; and Girolamo, by means of Tiziano and others, began to have dealings with the Court of the Duke. And so, as it were to give a proof of his powers before he should do anything else, he copied the head of Duke Ercole of Ferrara from one by the hand of Tiziano, and counterfeited it so well, that it seemed the same as the original; wherefore it was sent, as a work worthy of praise, into France. Afterwards, having taken a wife and had children by her, sooner, perchance, than he should have done, Girolamo painted in S. Francesco at Ferrara, in the angles of the vaulting, the four Evangelists in fresco, which were passing good figures. In the same place he executed a frieze right round the church, which was a very large and abundant work, being full of half-length figures and little boys linked together in a very pleasing manner; and for that church, also, he painted an altar-picture of S. Anthony of Padua, with other figures, and another altar-piece of Our Lady in the air with two Angels, which was placed on the altar of Signora Giulia Muzzarelli, whose portrait was executed very well therein by Girolamo.

At Rovigo, in the Church of S. Francesco, the same master painted the Holy Spirit appearing in Tongues of Fire, which was a work worthy of praise for the composition and for the beauty of the heads. At Bologna, for the Church of S. Martino, he painted an altar-piece of the three Magi, with most beautiful heads and figures; and at Ferrara, in company with Benvenuto Garofalo, as has been related, the facade of the house of Signor Battista Muzzarelli, and also the Palace of Coppara, a villa of the Duke's, distant twelve miles from Ferrara; and, again, in Ferrara, the facade of Piero Soncini in the Piazza near the Fishmarket, painting there the Taking of Goletta by the Emperor Charles V. The same Girolamo painted for S. Polo, a church of the Carmelite Friars in the same city, a little altar-piece in oils of S. Jerome with two other Saints, of the size of life; and for the Duke's Palace a great picture with a figure large as life, representing Opportunity, and executed with beautiful vivacity, movement and grace, and fine relief. He also painted a nude Venus, life-size and recumbent, with Love beside her, which was sent to Paris for King Francis of France; and I, who saw it at Ferrara in the year 1540, can with truth affirm that it was very beautiful. He also made a beginning with the decorations in the Refectory of S. Giorgio, a seat of the Monks of Monte Oliveto at Ferrara, and executed a great part of them; but he left the work unfinished, and it has been completed in our own day by Pellegrino Pellegrini, a painter of Bologna.

(_After the painting by =Niccolo [Niccolo dell'Abate]=. Modena: R. Galleria Estense_)

_Alinari_]

Now, if we were to seek to make particular mention of the pictures that Girolamo executed for many lords and gentlemen, the story would be longer than is our desire, and I shall speak of two only, which are most beautiful. From a picture by the hand of Correggio that the Chevalier Baiardo has at Parma, beautiful to a marvel, in which Our Lady is putting a shirt on the Infant Christ, Girolamo made a copy so like it that it seems the very same picture, and he made another copy from one by the hand of Parmigiano, which is in the cell of the Vicar in the Certosa at Pavia, doing this so well and with such diligence, that there is no miniature to be seen that is wrought with more subtlety; and he executed innumerable others with great care. And since Girolamo delighted in architecture, and also gave his attention to it, in addition to many designs of buildings that he made for private persons, he served in that art, in particular, Cardinal Ippolito of Ferrara, who, having bought the garden at Monte Cavallo in Rome which had formerly belonged to the Cardinal of Naples, with many vineyards belonging to individuals around it, took Girolamo to Rome, to the end that he might serve him not only in the buildings, but also in the truly regal ornaments of woodwork in that garden. In this he acquitted himself so well, that everyone was struck with astonishment; and, indeed, I know not what other man could have done better than he did in executing in woodwork--which has since been covered with most beautiful verdure--works so fine and so pleasingly designed in various forms and in different kinds of temples, in which there may now be seen arranged the richest and most beautiful ancient statues that there are in Rome, some whole and some restored by Valerio Cioli, a Florentine sculptor, and by others.

By these works Girolamo came into very great credit in Rome, and in the year 1550 he was introduced by the above-named Cardinal, his lord, who loved him dearly, into the service of Pope Julius III, who made him architect over the works of the Belvedere, giving him rooms in that place and a good salary. But, since that Pontiff could never be satisfied in such matters, and, to make it worse, was hindered by understanding very little of design, and would not have in the evening a thing that had pleased him in the morning, and also because Girolamo had to be always contending with certain old architects, to whom it seemed strange to see a new man of little reputation preferred to themselves, he resolved, having perceived their envy and possible malignity, and also being rather cold by nature than otherwise, to retire. And so he chose, as the better course, to return to the service of the Cardinal at Monte Cavallo; for which action Girolamo was much commended, for it is too wretched a life to have to be always contending all day long and on every least detail with one person or another, and, as he used to say, it is at times better to enjoy peace of mind on bread and water than to sweat and strive amid grandeur and honours. Wherefore, after Girolamo had executed for his lord the Cardinal a very beautiful picture, which, when I saw it, pleased me very much, being now weary, he returned with him to Ferrara, to enjoy the peace of his home with his wife and children, leaving the hopes and rewards of fortune in the possession of his adversaries, who received from that Pope the same as he had done, neither more nor less.

While he was living thus at Ferrara, a part of the Castle was burned, I know not by what mischance, and Duke Ercole gave the charge of restoring it to Girolamo, who did it very well, adorning it as much as is possible in that district, which suffers from a great dearth of stone wherewith to make carvings and ornaments; for which he well deserved to be always held dear by that lord, who rewarded him liberally for his labours. Finally, after having executed these and many other works, Girolamo died in the year 1556, at the age of fifty-five, and was buried in the Church of the Angeli, beside his wife. He left two daughters, and also three sons, Giulio, Annibale, and another.

Girolamo was a blithe spirit, very sweet and pleasing in his conversation, and in his work somewhat slow and dilatory. He was of middle stature, and he delighted beyond measure in music, and more in the pleasures of love than was perhaps expedient. The buildings of his patrons have been carried on since his death by the Ferrarese architect Galasso, a man of the most beautiful genius, and of such judgment in matters of architecture, that, in so far as may be seen from the ordering of his designs, he would have demonstrated his worth much more than he has done, if he had been employed in works of importance.

An excellent sculptor, and likewise a Ferrarese, has been Maestro Girolamo, who, living at Recanati, has executed many works in marble at Loreto after his master, Andrea Contucci, and has made many of the ornaments round that Chapel or House of the Madonna. This master--since the departure from that place of Tribolo, who was the last there, after he had finished the largest scene in marble, which is at the back of the chapel, wherein are the Angels carrying that house from Sclavonia into the forest of Loreto--has laboured there continually from 1534 to the year 1560, executing many works. The first of these was a seated figure of a Prophet of three braccia and a half, which, being good and beautiful, was placed in a niche that is turned towards the west; which statue, having given satisfaction, was the reason that he afterwards made all the other Prophets, with the exception of one, that facing towards the east on the outer side, over against the altar, which is by the hand of Simone Cioli of Settignano, likewise a disciple of Andrea Sansovino. The rest of those Prophets, I say, are by the hand of Maestro Girolamo, and are executed with much diligence and study and good skill of hand. For the Chapel of the Sacrament the same master has made the candelabra of bronze about three braccia in height, covered with foliage and figures cast in the round, which are so well wrought that they are things to marvel at. And a brother of Maestro Girolamo's, who is an able master in similar works of casting, has executed many things in company with him at Rome, and in particular a very large tabernacle of bronze for Pope Paul III, which was to be placed in the chapel that is called the Pauline in the Palace of the Vatican.

Among the Modenese, also, there have been at all times craftsmen excellent in our arts, as has been said in other places, and as may be seen from four panel-pictures, of which no mention was made in the proper place because the master was not known; which pictures were executed in distemper a hundred years ago in that city, and, for those times, they are painted with diligence and very beautiful. The first is on the high-altar of S. Domenico, and the others in the chapels that are in the tramezzo[1] of that church. And there is living in the same country at the present day a painter called Niccolo, who in his youth painted many works in fresco about the Beccherie, which have no little beauty, and for the high-altar of S. Piero, a seat of the Black Friars, in an altar-piece, the Beheading of S. Peter and S. Paul, imitating in the soldier who is cutting off their heads a similar figure by the hand of Antonio da Correggio, much renowned, which is in S. Giovanni Evangelista at Parma. Niccolo has been more excellent in fresco-painting than in the other fields of painting, and, in addition to many works that he has executed at Modena and Bologna, I understand that he has painted some very choice pictures in France, where he still lives, under Messer Francesco Primaticcio, Abbot of S. Martin, after whose designs Niccolo has painted many works in those parts, as will be related in the Life of Primaticcio.

[Footnote 1: See note on p. 57, Vol. I.]

Giovan Battista, also, a rival of that Niccolo, has executed many works in Rome and elsewhere, and in particular he has painted at Perugia, in the Chapel of Signor Ascanio della Cornia, in S. Francesco, many pictures of the life of S. Andrew the Apostle, in which he has acquitted himself very well. In competition with the above-named Niccolo, the Fleming Arrigo, a master of glass windows, has painted in the same place an altar-piece in oils, containing the story of the Magi, which would be beautiful enough if it were not somewhat confused and overloaded with colours, which conflict with one another and destroy all the gradation; but he has acquitted himself better in a window of glass designed and painted by himself, and executed for the Chapel of S. Bernardino in S. Lorenzo, in the same city. But to return to Giovan Battista; having gone back after the above-named works to Modena, he has executed in the same S. Piero, for which Niccolo painted the altar-piece, two great scenes at the sides, of the actions of S. Peter and S. Paul, in which he has acquitted himself with no ordinary excellence.

In the same city of Modena there have also been some sculptors worthy to be numbered among the good craftsmen, for, in addition to Modanino, of whom mention has been made in another place, there has been a master called Il Modena, who has executed most beautiful works in figures of terra-cotta, of the size of life and even larger; among others, those of a chapel in S. Domenico at Modena, and for the centre of the dormitory of S. Piero (a monastery of Black Friars, likewise in Modena), a Madonna, S. Benedict, S. Giustina, and another Saint. To all these figures he has given so well the colour of marble, that they appear as if truly of that stone; not to mention that they all have beautiful expressions of countenance, lovely draperies, and admirable proportions. The same master has executed similar figures for the dormitory of S. Giovanni Evangelista at Parma; and he has made a good number of figures in the round and of the size of life for many niches on the outer side of S. Benedetto at Mantua, in the facade and under the portico, which are so fine that they have the appearance of marble.

(_After the terra-cotta by =Il Modena [Antonio Begarelli]=. Modena: Museo Civico_)

_Alinari_]

In like manner Prospero Clemente, a sculptor of Modena, has been, and still is, an able man in his profession, as is evident from the tomb of Bishop Rangone, by his hand, in the Duomo of Reggio, wherein is a seated statue of that prelate, as large as life, with two little boys, all very well executed; which tomb he made at the commission of Signor Ercole Rangone. In the Duomo of Parma, likewise, in the vaults below, there is by the hand of Prospero the tomb of the Blessed Bernardo degli Uberti, the Florentine, Cardinal and Bishop of that city, which was finished in the year 1548, and much extolled.

Parma, also, has had at various times many excellent craftsmen and men of fine genius, as has been said above, for, besides one Cristofano Castelli, who painted a very beautiful altar-piece for the Duomo in the year 1499, and Francesco Mazzuoli, whose Life has been written, there have been many other able men in that city. Mazzuoli, as has been related, executed certain works in the Madonna della Steccata, but left that undertaking unfinished at his death, and Giulio Romano, having made a coloured design on paper, which may be seen in that place by everyone, directed that a certain Michelagnolo Anselmi, a Sienese by origin, but a citizen of Parma by adoption, being a good painter, should carry that cartoon into execution, wherein is the Coronation of Our Lady. This he did excellently well, in truth, so that he well deserved that there should be allotted to him a great niche--one of four very large niches that are in that temple--opposite to that in which he had executed the above-mentioned work after the design of Giulio. Whereupon, setting his hand to this, he carried well on towards completion there the Adoration of the Magi, with a good number of beautiful figures, making on the flat arch, as was related before in the Life of Mazzuoli, the Wise Virgins and the design of copper rosettes; but, when about a third of that work remained for him to do, he died, and so it was finished by Bernardo Soiaro of Cremona, as we shall relate in a short time. By the hand of that Michelagnolo is the Chapel of the Conception in S. Francesco, in the same city; and a Celestial Glory in the Chapel of the Cross in S. Pier Martire.

Girolamo Mazzuoli, the cousin of Francesco, as has been told, continuing the work in that Church of the Madonna, left unfinished by his kinsman, painted an arch with the Wise Virgins and adorned it with rosettes. Then, in the recess at the end, opposite to the principal door, he painted the Holy Spirit descending in Tongues of Fire on the Apostles, and in the last of the flat arches the Nativity of Jesus Christ, which, although not yet uncovered, he has shown to us this year of 1566, to our great pleasure, since it is a truly beautiful example of work in fresco. The great central tribune of the same Madonna della Steccata, which is being painted by Bernardo Soiaro, the painter of Cremona, will also be, when finished, a rare work, and able to compare with the others that are in that place. But of all these it cannot be said that the cause has been any other than Francesco Mazzuoli, who was the first who with beautiful judgment began the magnificent ornamentation of that church, which, so it is said, was built after the designs and directions of Bramante.

(_After =Begarelli=. Modena: S. Pietro_)

_Anderson_]

As for the masters of our arts in Mantua, besides what has been said of them up to the time of Giulio Romano, I must say that he sowed the seeds of his art in Mantua and throughout all Lombardy in such a manner that there have been able men there ever since, and his own works are every day more clearly recognized as good and worthy of praise. And although Giovan Battista Bertano, the principal architect for the buildings of the Duke of Mantua, has constructed in the Castle, over the part where there are the waters and the corridor, many apartments that are magnificent and richly adorned with stucco-work and pictures, executed for the most part by Fermo Ghisoni, the disciple of Giulio, and by others, as will be related, nevertheless he has not equalled those made by Giulio himself. The same Giovan Battista has caused Domenico Brusciasorzi to execute after his design for S. Barbara, the church of the Duke's Castle, an altar-piece in oils truly worthy to be praised, in which is the Martyrdom of that Saint. And, in addition, having studied Vitruvius, he has written and published a work on the Ionic volute, showing how it should be turned, after that author; and at the principal door of his house at Mantua he has placed a complete column of stone, and the flat module of another, with all the measurements of that Ionic Order marked, and also the palm, inch, foot, and braccio of the ancients, to the end that whoever so desires may be able to see whether those measurements are correct or not. In the Church of S. Piero, the Duomo of Mantua, which was the work and architecture of the above-named Giulio Romano, since in renovating it he gave it a new and modern form, the same Bertano has caused an altar-piece to be executed for each chapel by the hands of various painters; and two of these he has had painted after his own designs by the above-mentioned Fermo Ghisoni, one for the Chapel of S. Lucia, containing that Saint and two children, and the other for that of S. Giovanni Evangelista. Another similar picture he caused to be executed by Ippolito Costa of Mantua, in which is S. Agata with the hands bound and between two soldiers, who are cutting and tearing away her breasts. Battista d'Agnolo del Moro of Verona painted for the same Duomo, as has been told, the altar-piece that is on the altar of S. Maria Maddalena, and Girolamo Parmigiano that of S. Tecla. Paolo Farinato of Verona Bertano commissioned to execute the altar-piece of S. Martino, and the above-named Domenico Brusciasorzi that of S. Margherita; and Giulio Campo of Cremona painted that of S. Gieronimo. And one that was better than any other, although all are very beautiful, in which is S. Anthony the Abbot beaten by the Devil in the form of a woman, who tempts him, is by the hand of Paolo Veronese. But of all the craftsmen of Mantua, that city has never had a more able master in painting than Rinaldo, who was a disciple of Giulio. By his hand is an altar-piece in S. Agnese in that city, wherein is Our Lady in the air, with S. Augustine and S. Jerome, which are very good figures; but him death snatched from the world before his time.

In a very beautiful antiquarium and study made by Signor Cesare Gonzaga, which is full of ancient statues and heads of marble, that lord has had the genealogical tree of the House of Gonzaga painted, in order to adorn it, by Fermo Ghisoni, who has acquitted himself very well in everything, and especially in the expressions of the heads. The same Signor Cesare has placed there, in addition, some pictures that are certainly very rare, such as that of the Madonna with the Cat which Raffaello da Urbino painted, and another wherein Our Lady with marvellous grace is washing the Infant Jesus. In another little cabinet made for medals, which has been beautifully wrought in ebony and ivory by one Francesco da Volterra, who has no equal in such works, he has some little antique figures in bronze, which could not be more beautiful than they are.

In short, between the last time that I saw Mantua and this year of 1566, when I have revisited that city, it has become so much more beautiful and ornate, that, if I had not seen it for myself, I would not believe it; and, what is more, the craftsmen have multiplied there, and they still continue to multiply. Thus, to that Giovan Battista Mantovano, an excellent sculptor and engraver of prints, of whom we have spoken in the Life of Giulio Romano and in that of Marc'Antonio Bolognese, have been born two sons, who engrave copper-plates divinely well, and, what is even more astonishing, a daughter, called Diana, who also engraves so well that it is a thing to marvel at; and I who saw her, a very gentle and gracious girl, and her works, which are most beautiful, was struck with amazement.

Nor will I omit to say that in S. Benedetto, a very celebrated monastery of Black Friars at Mantua, renovated by Giulio Romano after a most beautiful design, are many works executed by the above-named craftsmen of Mantua and other Lombards, in addition to those described in the Life of the same Giulio. There are, then, works by Fermo Ghisoni, such as a Nativity of Christ, two altar-pieces by Girolamo Mazzuoli, three by Lattanzio Gambara of Brescia, and three others by Paolo Veronese, which are the best. In the same place, at the head of the refectory, by the hand of a certain Fra Girolamo, a lay-brother of S. Dominic, as has been related elsewhere, is a picture in oils which is a copy of the very beautiful Last Supper that Leonardo painted in S. Maria delle Grazie at Milan, and copied so well, that I was amazed by it. Of which circumstance I make mention again very willingly, having seen Leonardo's original in Milan, this year of 1566, reduced to such a condition, that there is nothing to be seen but a mass of confusion; wherefore the piety of that good father will always bear testimony in that respect to the genius of Leonardo da Vinci. By the hand of the same monk I have seen in the above-named house of the Mint, at Milan, a picture copied from one by Leonardo, in which are a woman that is smiling and S. John the Baptist as a boy, counterfeited very well.

(_After the fresco by =Giulio Campi=. Cremona: S. Margherita_)

_Alinari_]

Cremona, as was said in the Life of Lorenzo di Credi and in other places, has had at various times men who have executed in painting works worthy of the highest praise. And we have already related that when Boccaccio Boccaccino was painting the great recess of the Duomo at Cremona and the stories of Our Lady throughout the church, Bonifazio Bembi was also a good painter, and Altobello executed in fresco many stories of Jesus Christ with much more design than have those of Boccaccino. After these works Altobello painted in fresco a chapel in S. Agostino of the same city, in a manner full of beauty and grace, as may be seen by everyone. At Milan, in the Corte Vecchia--that is, the courtyard, or rather, piazza of the Palace--he painted a standing figure armed in the ancient fashion, much better than any of the others that were executed there by many painters about the same time. After the death of Bonifazio, who left unfinished the above-mentioned stories of Christ in the Duomo of Cremona, Giovanni Antonio Licinio of Pordenone, called in Cremona De' Sacchi, finished those stories begun by Bonifazio, painting there in fresco five scenes of the Passion of Christ with a grand manner in the figures, bold colouring, and foreshortenings that have vivacity and force; all which things taught the good method of painting to the Cremonese, and not in fresco only, but likewise in oils, for the reason that in the same Duomo, placed against a pilaster in the centre of the church, is an altar-piece by the hand of Pordenone that is very beautiful. Camillo, the son of Boccaccino, afterwards imitated that manner in painting in fresco the principal chapel of S. Gismondo, without the city, and in other works, and so succeeded much better than his father had done. That Camillo, however, being slow and even dilatory in his work, did not paint much save small things and works of little importance.

But he who imitated most the good manners, and who profited most by the competition of the above-named masters, was Bernardo de' Gatti, called Il Soiaro, of whom mention has been made in speaking of Parma. Some say that he was of Verzelli, and others of Cremona; but, wherever he may have come from, he painted a very beautiful altar-piece for the high-altar of S. Piero, a church of the Canons Regular, and in their refectory the story of the miracle that Jesus Christ performed with the five loaves and two fishes, satisfying an infinite multitude, although he retouched it so much "a secco," that it has since lost all its beauty. That master also executed under a vault in S. Gismondo, without Cremona, the Ascension of Jesus Christ into Heaven, which was a pleasing work and very beautiful in colouring. In the Church of S. Maria di Campagna at Piacenza, in competition with Pordenone and opposite to the S. Augustine that has been mentioned, he painted in fresco a S. George in armour and on horseback, who is killing the Serpent, with spirit, movement, and excellent relief. That done, he was commissioned to finish the tribune of that church, which Pordenone had left unfinished, wherein he painted in fresco all the life of the Madonna; and although the Prophets and Sibyls that Pordenone executed there, with some children, are beautiful to a marvel, nevertheless Soiaro acquitted himself so well, that the whole of that work appears as if all by one and the same hand. In like manner, some little altar-pieces that he has executed at Vigevano are worthy of considerable praise for their excellence. Finally, after he had betaken himself to Parma to work in the Madonna della Steccata, the great niche and the arch that were left incomplete through the death of Michelagnolo of Siena were finished by the hands of Soiaro. And to him, from his having acquitted himself well, the people of Parma have since given the charge of painting the great tribune that is in the centre of that church, where he is now constantly occupied in executing in fresco the Assumption of Our Lady, which, it is hoped, is to prove a most admirable work.

(_After the panel by =Sofonisba Anguisciola=. Vienna: Imperial Gallery, 109_)

_Bruckmann_]

While Boccaccino was still alive, but old, Cremona had another painter, called Galeazzo Campo, who painted the Rosary of the Madonna in a large chapel in the Church of S. Domenico, and the facade at the back of S. Francesco, with other works and altar-pieces by his hand that are in Cremona, all passing good. To him were born three sons, Giulio, Antonio, and Vincenzio; but Giulio, although he learned the first rudiments of art from his father Galeazzo, nevertheless afterwards followed the manner of Soiaro, as being better, and studied much from some canvases executed in colours at Rome by the hand of Francesco Salviati, which were painted for the weaving of tapestries, and sent to Piacenza to Duke Pier Luigi Farnese. The first works that this Giulio executed in his youth at Cremona were four large scenes in the choir of the Church of S. Agata, containing the martyrdom of that virgin, which proved to be such, that a well-practised master might perhaps not have done them so well. Then, after executing some works in S. Margherita, he painted many facades of palaces in chiaroscuro, with good design. For the Church of S. Gismondo, without the city, he painted in oils the altar-piece of the high-altar, which was very beautiful on account of the diversity and multitude of the figures that he executed in it, in competition with the many painters who had worked in that place before him. After the altar-piece he painted there many things in fresco on the vaulting, and in particular the Descent of the Holy Spirit on the Apostles, who are foreshortened to be seen from below, with beautiful grace and great artistry. At Milan, for the Church of the Passione, a convent of Canons Regular, he painted a Christ Crucified on a panel in oils, with some Angels, the Madonna, S. John the Evangelist, and the other Maries. In the Nunnery of S. Paolo, a convent also in Milan, he executed four scenes, with the Conversion and other acts of that Saint. In that work he was assisted by Antonio Campo, his brother, who also painted for the Nunnery of S. Caterina at the Porta Ticinese, likewise in Milan, for a chapel in the new church, the architecture of which is by Lombardino, a picture in oils of S. Helen directing the search for the Cross of Christ, which is a passing good work. And Vincenzio, likewise, the third of those three brothers, having learned much from Giulio, as Antonio has also done, is a young man of excellent promise.

To the same Giulio Campo have been disciples not only his two above-named brothers, but also Lattanzio Gambara and others; but most excellent in painting, doing him more honour than any of the rest, has been Sofonisba Anguisciuola of Cremona, with her three sisters, which most gifted maidens are the daughters of Signor Amilcare Anguisciuola and Signora Bianca Punzona, both of whom belong to the most noble families in Cremona. Speaking, then, of Signora Sofonisba, of whom we said but little in the Life of Properzia of Bologna, because at that time we knew no more, I must relate that I saw this year in the house of her father at Cremona, in a picture executed with great diligence by her hand, portraits of her three sisters in the act of playing chess, and with them an old woman of the household, all done with such care and such spirit, that they have all the appearance of life, and are wanting in nothing save speech. In another picture may be seen, portrayed by the same Sofonisba, her father Signor Amilcare, who has on one side one of his daughters, her sister, called Minerva, who was distinguished in painting and in letters, and on the other side Asdrubale, their brother, the son of the same man; and these, also, are executed so well, that they appear to be breathing and absolutely alive. At Piacenza, in the house of the reverend Archdeacon of the principal church, are two very beautiful pictures by the same hand: in one is the portrait of the Archdeacon, and in the other that of Sofonisba herself, and each of those figures lacks nothing save speech. That lady, having been brought afterwards by the Duke of Alva, as was related above, into the service of the Queen of Spain, in which she still remains at the present day with a handsome salary and much honour, has executed a number of portraits and pictures that are things to marvel at. Moved by the fame of which works, Pope Pius IV had Sofonisba informed that he desired to have from her hand the portrait of her serene Highness the Queen of Spain; wherefore, having executed it with all the diligence in her power, she sent it to Rome to be presented to him, writing to his Holiness a letter in the precise form given below:

(_After the painting by =Girolamo Romanino=. Brescia: S. Francesco_)

_Alinari_]

"HOLY FATHER,