Part 5

It was ever Pietro's custom on his going and coming between the said Castello and Perugia, like a man who trusted nobody, to carry all the money that he possessed about his person. Wherefore certain men, lying in wait for him at a pass, robbed him, but at his earnest entreaty they spared his life for the love of God; and afterwards, by means of the services of his friends, who were numerous enough, he also recovered a great part of the money that had been taken from him; but none the less he came near dying of vexation. Pietro was a man of very little religion, and he could never be made to believe in the immortality of the soul--nay, with words in keeping with his head of granite, he rejected most obstinately every good suggestion. He placed all his hopes in the goods of fortune, and he would have sold his soul for money. He earned great riches; and he both bought and built houses in Florence, and acquired much settled property both at Perugia and at Castello della Pieve. He took a most beautiful young woman to wife, and had children by her; and he delighted so greatly in seeing her wearing beautiful head-dresses, both abroad and at home, that it is said that he would often tire her head with his own hand. Finally, having reached the age of seventy-eight, Pietro finished the course of his life at Castello della Pieve, where he was honourably buried, in the year 1524.

Pietro made many masters in his own manner, and one among them, who was truly most excellent, devoted himself heart and soul to the honourable studies of painting, and surpassed his master by a great measure; and this was the miraculous Raffaello Sanzio of Urbino, who worked for many years under Pietro in company with his father, Giovanni de' Santi. Another disciple of this man was Pinturicchio, a painter of Perugia, who, as it has been said in his Life, ever held to Pietro's manner. His disciple, likewise, was Rocco Zoppo, a painter of Florence, by whose hand is a very beautiful Madonna in a round picture, which is in the possession of Filippo Salviati; although it is true that it was brought to completion by Pietro himself. The same Rocco painted many pictures of Our Lady, and made many portraits, of which there is no need to speak; I will only say that in the Sistine Chapel in Rome he painted portraits of Girolamo Riario and of F. Pietro, Cardinal of San Sisto. Another disciple of Pietro was Montevarchi, who painted many pictures in San Giovanni di Valdarno; more particularly, in the Madonna, the stories of the Miracle of the Milk. He also left many works in Montevarchi, his birth-place. Likewise a pupil of Pietro's, working with him for no little time, was Gerino da Pistoia, of whom there has been mention in the Life of Pinturicchio; and so also was Baccio Ubertino of Florence, who was most diligent both in colouring and in drawing, for which reason Pietro made much use of him. By this man's hand is a drawing in our book, done with the pen, of Christ being scourged at the Column, which is a very lovely thing.

[Illustration: MADONNA AND CHILD, WITH SAINTS

(_After the panel by =Giovanni (Lo Spagna)=. Assisi: Lower Church_)

_Anderson_]

A brother of this Baccio, and likewise a disciple of Pietro, was Francesco, called Il Bacchiaccha by way of surname, who was a most diligent master of little figures, as may be seen in many works wrought by him in Florence, above all in the house of Giovan Maria Benintendi and in that of Pier Francesco Borgherini. Bacchiaccha delighted in painting grotesques, wherefore he covered a little cabinet belonging to the Lord Duke Cosimo with animals and rare plants, drawn from nature, which are held very beautiful. Besides this, he made the cartoons for many tapestries, which were afterwards woven in silk by the Flemish master, Giovanni Rosto, for the apartments of his Excellency's Palace. Still another disciple of Pietro was the Spaniard Giovanni, called Lo Spagna by way of surname, who was a better colourist than any of the others whom Pietro left behind him at his death; after which this Giovanni would have settled in Perugia, if the envy of the painters of that city, so hostile to strangers, had not persecuted him in such wise as to force him to retire to Spoleto, where, by reason of his excellence and virtue, he obtained a wife of good family and was made a citizen of that city. He made many works in that place, and likewise in all the other cities of Umbria; and at Assisi, in the lower Church of S. Francesco, he painted the panel of the Chapel of S. Caterina, for the Spanish Cardinal Egidio, and also one in S. Damiano. In S. Maria degli Angeli, in the little chapel where S. Francis died, he painted some half-length figures of the size of life--that is, certain companions of S. Francis and other saints--all very lifelike, on either side of a S. Francis in relief.

But the best master among all the aforesaid disciples of Pietro was Andrea Luigi of Assisi, called L'Ingegno, who in his early youth competed with Raffaello da Urbino under the discipline of Pietro, who always employed him in the most important pictures that he made; as may be seen in the Audience Chamber of the Cambio in Perugia, where there are some very beautiful figures by his hand; in those that he wrought at Assisi; and, finally, in the Chapel of Pope Sixtus at Rome. In all these works Andrea gave such proof of his worth, that he was expected to surpass his master by a great measure, and so, without a doubt, it would have come to pass; but fortune, which is almost always pleased to oppose herself to lofty beginnings, did not allow L'Ingegno to reach perfection, for a flux of catarrh fell upon his eyes, whence the poor fellow became wholly blind, to the infinite grief of all who knew him. Hearing of this most pitiful misfortune, Pope Sixtus, like a man who ever loved men of talent, ordained that a yearly provision should be paid to Andrea in Assisi during his lifetime by those who managed the revenues there; and this was done until he died at the age of eighty-six.

Likewise disciples of Pietro, and also natives of Perugia, were Eusebio San Giorgio, who painted the panel of the Magi in S. Agostino; Domenico di Paris, who made many works in Perugia and in the neighbouring townships, being followed by his brother Orazio; and also Gian Niccola, who painted Christ in the Garden on a panel in S. Francesco, the panel of Ognissanti in the Chapel of the Baglioni in S. Domenico, and stories of S. John the Baptist in fresco in the Chapel of the Cambio. Benedetto Caporali, otherwise called Bitti, was also a disciple of Pietro, and there are many pictures by his hand in his native city of Perugia. And he occupied himself so greatly with architecture, that he not only executed many works, but also wrote a commentary on Vitruvius in the manner that all can see, for it is printed; in which studies he was followed by his son Giulio, a painter of Perugia.

But not one out of all these disciples ever equalled Pietro's diligence, or the grace of colouring that he showed in that manner of his own, which pleased his time so much, that many came from France, from Spain, from Germany, and from other lands, to learn it. And a trade was done in his works, as has been said, by many who sent them to diverse places, until there came the manner of Michelagnolo, which, having shown the true and good path to these arts, has brought them to that perfection which will be seen in the Third Part, about to follow, wherein we will treat of the excellence and perfection of art, and show to craftsmen that he who labours and studies continuously, and not in the way of fantasy or caprice, leaves true works behind him and acquires fame, wealth, and friends.

FOOTNOTE:

[4] Exchange or Bank.

VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS

LIVES OF VITTORE SCARPACCIA (CARPACCIO), AND OF OTHER VENETIAN AND LOMBARD PAINTERS

It is very well known that when some of our craftsmen make a beginning in some province, they are afterwards followed by many, one after another; and very often there is an infinite number of them at one and the same time, for the reason that rivalry, emulation, and the fact that they have been dependent on others, one on one excellent master, and one on another, bring it about that the craftsmen seek with all the greater effort to surpass one another, to the utmost of their ability. And even when many depend on one, no sooner do they separate, either at the death of their master or for some other reason, than they straightway also separate in aim; whereupon each seeks to prove his own worth, in order to appear better than the rest and a master by himself.

Of many, then, who flourished almost at one and the same time and in one and the same province, and about whom I have not been able to learn and am not able to write every particular, I will give some brief account, to the end that, now that I find myself at the end of the Second Part of this my work, I may not omit some who have laboured to leave the world adorned by their works. Of these men, I say, besides having been unable to discover their whole history, I have not even been able to find the portraits, excepting that of Scarpaccia, whom for this reason I have made head of the others. Let my readers therefore accept what I can offer in this connection, seeing that I cannot offer what I would wish. There lived, then, in the March of Treviso and in Lombardy, during a period of many years, Stefano Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna, Sebeto da Verona, Jacobello de Flore, Guerriero da Padova, Giusto, Girolamo Campagnola and his son Giulio, and Vincenzio Bresciano; Vittore, Sebastiano,[5] and Lazzaro[5] Scarpaccia, Venetians; Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano, Marco Basarini,[6] Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many others, of whom there is no need to make mention here.

[Illustration: THE MADONNA AND CHILD WITH S. CATHARINE IN A ROSE GARDEN

(_After the panel by =Stefano da Verona (da Zevio)=. Verona: Gallery, 559_)

_Brogi_]

To begin with the first, I start by saying that Stefano Veronese, of whom I gave some account in the Life of Agnolo Gaddi, was a painter more than passing good in his day. And when Donatello was working in Padua, as has been already told in his Life, going on one of several occasions to Verona, he was struck with marvel at the works of Stefano, declaring that the pictures which he had made in fresco were the best that had been wrought in those parts up to that time. The first works of this man were in the tramezzo[7] of the Church of S. Antonio at Verona, at the top of a wall on the left, below the curve of a part of the vaulting; and the subjects were a Madonna with the Child in her arms, and S. James and S. Anthony, one on either side of her. This work is held very beautiful in that city even at the present day, by reason of a certain liveliness that is seen in the said figures, particularly in the heads, which are wrought with much grace. In S. Niccolò, a parish church of that city, likewise, he painted a S. Nicholas in fresco, which is very beautiful. On the front of a house in the Via di S. Polo, which leads to the Porta del Vescovo, he painted the Virgin, with certain very beautiful angels and a S. Christopher; and over the wall of the Church of S. Consolata in the Via del Duomo, in a recess made in the wall, he painted a Madonna and certain birds, in particular a peacock, his emblem. In S. Eufemia, a convent of the Eremite Friars of S. Augustine, he painted over the side-door a S. Augustine with two other saints, and under the mantle of this S. Augustine are many friars and nuns of his Order; but the most beautiful things in this work are two half-length prophets of the size of life, for the reason that they have the most beautiful and most lifelike heads that Stefano ever made; and the colouring of the whole work, having been executed with diligence, has remained beautiful even to our own day, notwithstanding that it has been much exposed to rain, wind, and frost. If this work had been under cover, it would still be as beautiful and fresh as it issued from his hands, for the reason that Stefano did not retouch it on the dry, but used diligence in executing it well in fresco; as it is, it has suffered a little. Within the church, in the Chapel of the Sacrament--namely, round the Tabernacle--he afterwards painted certain angels flying, some of whom are sounding instruments, some singing, and others burning incense before the Sacrament; together with a figure of Jesus Christ, which he painted at the top as a finish to the Tabernacle. Below there are other angels, who are supporting Him, clothed in white garments reaching to their feet, and ending, as it were, in clouds, which was an idea peculiar to Stefano in painting figures of angels, whom he always made most gracious in countenance and very beautiful in expression. In this same work are life-size figures of S. Augustine and S. Jerome, one on either side; and these are supporting with their hands the Church of God, as if to show that both of them defend Holy Church from heretics with their learning, and support her. On a pilaster of the principal chapel in the same church he painted a S. Eufemia in fresco, with a beautiful and gracious expression of countenance; and there he wrote his own name in letters of gold, perchance since it appeared to him to be, as in fact it is, one of the best pictures that he had made; and according to his custom he painted there a very beautiful peacock, and beside it two lion cubs, which are not very beautiful, because at that time he could not see live ones, as he saw the peacock. He also painted for the same place a panel containing, as was the custom in those times, many half-length figures, such as S. Niccola da Tolentino and others; and he filled the predella with scenes in little figures from the life of that Saint. In S. Fermo, a church in the same city belonging to the Friars of S. Francis, he painted, as an ornament for a Deposition from the Cross on the wall opposite to the side-door of entrance, twelve half-length prophets of the size of life, with Adam and Eve lying below them, and his usual peacock, which is almost the hall-mark of pictures executed by him.

In Mantua, at the Martello gate of the Church of S. Domenico, the same Stefano painted a most beautiful Madonna; the head of which Madonna, when they had need to build in that place, those fathers placed with care in the tramezzo[8] of the church--that is, in the Chapel of S. Orsola, which belongs to the Recuperati family, and contains some pictures in fresco by the hand of the same man. And in the Church of S. Francesco, on the right hand as one enters by the principal door, there is a row of chapels formerly built by the noble Della Ramma family, in one of which are seated figures of the four Evangelists, painted on the vaulting by the hand of Stefano; and behind their shoulders, for a background, he made certain espaliers of roses, with a cane trellis-work in a pattern of mandorle, above which are various trees and other greenery full of birds, particularly of peacocks; and there are also some very beautiful angels. In this same church, on a column on the right hand as one enters, he painted a life-size figure of S. Mary Magdalene. And in the same city, on the frontal of a door in the street called Rompilanza, he painted in fresco a Madonna with the Child in her arms, and some angels kneeling before her; and the background he made of trees covered with fruit.

These, then, are the works that are found to have been executed by Stefano, although it may well be believed, since his life was not a short one, that he made many others. But even as I have not been able to discover any more of them, so I have failed to find his surname, his father's name, his portrait, or any other particulars. Some declare that before he came to Florence he was a disciple of Maestro Liberale, a painter of Verona; but this matters nothing. It is enough that he learnt all that there was of the good in him from Agnolo Gaddi in Florence.

[Illustration: PRESENTATION TO THE MADONNA OF THREE KNIGHTS OF THE CAVALLI FAMILY

(_After the fresco by =Aldigieri da Zevio [Altichiero]=. Verona: S. Anastasia_)

_Alinari_]

Of the same city of Verona was Aldigieri da Zevio, who was very much the friend of the Signori della Scala, and who, besides many other works, painted the Great Hall of their Palace (which is now the habitation of the Podestà), depicting therein the War of Jerusalem, according as it is described by Josephus. In this work Aldigieri showed great spirit and judgment, distributing one scene over the walls of that hall on every side, with a single ornament encircling it right round; on the upper part of which ornament, as it were to set it off, he placed a row of medallions, in which it is believed that there are the portraits from life of many distinguished men of those times, particularly of many of those Signori della Scala; but, since the truth about this is not known, I will say no more of it. I must say, indeed, that Aldigieri showed in this work that he had intelligence, judgment, and invention, seeing that he took into consideration all the things that can be taken into consideration in a serious war. Besides this, the colouring has remained very fresh; and among many portraits of men of distinction and learning, there is seen that of Messer Francesco Petrarca.

Jacopo Avanzi, a painter of Bologna, shared the work of this hall with Aldigieri, and below the aforesaid pictures he painted two most beautiful Triumphs, likewise in fresco, with so much art and so good a manner, that Girolamo Campagnola declares that Mantegna used to praise them as pictures of the rarest merit. The same Jacopo, together with Aldigieri and Sebeto da Verona, painted the Chapel of S. Giorgio, which is beside the Church of S. Antonio, in Padua, according to the directions left in the testaments of the Marquesses of Carrara. Jacopo Avanzi painted the upper part; below this were certain stories of S. Lucia, with a Last Supper, by Aldigieri; and Sebeto painted stories of S. John. Afterwards these three masters, having all returned to Verona, joined together to paint a wedding-feast, with many portraits and costumes of those times, in the house of the Counts Serenghi. Now the work of Jacopo Avanzi was held to be the best of all; but, since mention has been made of him in the Life of Niccolò d' Arezzo by reason of the works that he made in Bologna in competition with the painters Simone, Cristofano, and Galasso, I will say no more about him in this place.

A man who was held in esteem at Venice about the same time, although he adhered to the Greek manner, was Jacobello de Flore, who made a number of works in that city; in particular, a panel for the Nuns of the Corpus Domini, which stands on the altar of S. Domenico in their church. A competitor of this master was Giromin Morzone, who painted a number of pictures in Venice and in many cities of Lombardy; but, since he held to the old manner and made all his figures on tiptoe, we will say nothing about him, save that there is a panel by his hand, with many saints, on the Altar of the Assumption in the Church of S. Lena.

A much better master than Morzone was Guerriero, a painter of Padua, who, besides many other works, painted the principal chapel of the Eremite Friars of S. Augustine in Padua, and a chapel for the same friars in the first cloister. He also painted a little chapel in the house of the Urban Prefect, and the Hall of the Roman Emperors, where the students go to dance at the time of the Carnival. He also painted in fresco, in the Chapel of the Podestà of the same city, some scenes from the Old Testament.

Giusto, likewise a painter of Padua, painted in the Chapel of S. Giovanni Battista, without the Church of the Vescovado, not only certain scenes from the Old Testament and the New, but also the Revelations of the Apocalypse of S. John the Evangelist; and in the upper part he made a Paradise containing many choirs of angels and other adornments, wrought with beautiful conceptions. In the Church of S. Antonio he painted in fresco the Chapel of S. Luca; and in a chapel in the Church of the Eremite Friars of S. Augustine he painted the liberal arts, with the virtues and vices beside them, and likewise those who have been celebrated for their virtues, and those who have fallen by reason of their vices into the extreme of misery and into the lowest depth of Hell.

There was working in Padua, in this man's time, Stefano, a painter of Ferrara, who, as has been said elsewhere, adorned with various pictures the chapel and the tomb wherein is the body of S. Anthony, and also painted the Virgin Mary that is called the Vergine del Pilastro.

[Illustration: VITTORE SCARPACCIA (CARPACCIO): THE VISION OF S. URSULA

(_Venice: Accademia, 578. Canvas_)]

Another man who was held in esteem in the same times was Vincenzio, a painter of Brescia, according to the account of Filarete, as was also Girolamo Campagnola, another Paduan painter, and a disciple of Squarcione. Then Giulio, son of Girolamo, made many beautiful works of painting, illumination, and copper-engraving, both in Padua and in other places. In the same city of Padua many things were wrought by Niccolò Moreto, who lived eighty years, and never ceased to exercise his art.

[Illustration: S. GEORGE AND THE DRAGON

(_After the panel by =Vittore Scarpaccia [Carpaccio]=. Venice: S. Giorgio Segli Schiavoni_)

_Anderson_]