Part 6

Besides these there were many others, who were connected with Gentile and Giovanni Bellini; but Vittore Scarpaccia was truly the first among them who made works of importance. His first works were in the Scuola of S. Orsola, where he painted on canvas the greater part of the stories that are there, representing the life and death of that Saint; the labours of which pictures he contrived to carry out so well and with such great diligence and art, that he acquired thereby the name of a very good and practised master. This, so it is said, was the reason that the people of Milan caused him to paint a panel in distemper with many figures for the Friars Minor, in their Chapel of S. Ambrogio. On the altar of the Risen Christ in the Church of S. Antonio he painted the scene of Christ appearing to the Magdalene and the other Maries, in which he made a very beautiful view in perspective of a landscape receding into the distance; and in another chapel he painted the story of the Martyrs--that is, their crucifixion--in which work he made more than three hundred figures, what with the large and the small, besides a number of horses and trees, an open Heaven, figures both nude and clothed in diverse attitudes, many foreshortenings, and so many other things, that it can be seen that he did not execute it without extraordinary labour. For the altar of the Madonna, in the Church of S. Giobbe in Canareio, he painted her presenting the Infant Christ to Simeon, and depicted the Madonna herself standing, and Simeon in his cope between two ministers clothed as Cardinals; behind the Virgin are two women, one of whom has two doves, and below are three boys, who are playing on a lute, a serpent, and a lyre, or rather a viol; and the colouring of the whole panel is very charming and beautiful. And, in truth, Vittore was a very diligent and practised master, and many pictures by his hand that are in Venice, both portraits from life and other kinds, are much esteemed for works wrought in those times. He taught his art to two brothers of his own, who imitated him closely, one being Lazzaro, and the other Sebastiano; and by their hand is a panel on the altar of the Virgin in the Church of the Nuns of the Corpus Domini, showing her seated between S. Catherine and S. Martha, with other female saints, two angels who are sounding instruments, and a very beautiful view of buildings in perspective as a background to the whole work, of which we have the original drawings, by the hand of these men, in our book.

Another passing good painter in the time of these masters was Vincenzio Catena, who occupied himself much more with making portraits from the life than with any other sort of painting; and, in truth, some that are to be seen by his hand are marvellous--among others, that of a German of the Fugger family, a man of rank and importance, who was then living in the Fondaco de' Tedeschi at Venice, was painted with great vivacity.

Another man who made many works in Venice, about the same time, was a disciple of Giovanni Bellini, Giovan Battista da Conigliano, by whose hand is a panel on the altar of S. Pietro Martire in the aforesaid Church of the Nuns of the Corpus Domini, containing the said Saint, S. Nicholas, and S. Benedict, with landscapes in perspective, an angel tuning a cithern, and many little figures more than passing good. And if this man had not died young, it may be believed that he would have equalled his master.

The name of a master not otherwise than good, likewise, in the same art and at the same time, was enjoyed by Marco Basarini, who, painting in Venice, where he was born from a Greek father and mother, executed in S. Francesco della Vigna a panel with a Deposition of Christ from the Cross, and another panel in the Church of S. Giobbe, representing Christ in the Garden, and below Him the three Apostles, who are sleeping, and S. Francis, S. Dominic, and two other saints; but what was most praised in this work was a landscape with many little figures wrought with good grace. In that same church the same Marco painted S. Bernardino on a rock, with other saints.

[Illustration: VINCENZIO CATENA (DI BIAGIO): S. JEROME IN HIS STUDY

(_London: National Gallery, 694. Panel_)]

Giovanetto Cordegliaghi made an infinity of devotional pictures in the same city; nay, he scarcely worked at anything else, and, in truth, he had in this sort of painting a very delicate and sweet manner, no little better than that of the aforesaid masters. In S. Pantaleone, in a chapel beside the principal one, this man painted S. Peter making disputation with two other saints, who are wearing most beautiful draperies, and are wrought with a beautiful manner.

[Illustration: GIOVAN BATTISTA DA CONIGLIANO (CIMA): TOBIT AND THE ANGEL (DETAIL)

(_Venice: Accademia, 592. Panel transferred to Canvas_)]

Marco Bassiti was in good repute almost at the same time, and by his hand is a large panel in the Church of the Carthusian Monks at Venice, in which he painted Christ between Peter and Andrew on the Sea of Tiberias, with the sons of Zebedee; making therein an arm of the sea, a mountain, and part of a city, with many persons in the form of little figures. Many other works by this man could be enumerated, but let it be enough to have spoken of this one, which is the best.

Bartolommeo Vivarini of Murano also acquitted himself very well in the works that he made, as may be seen, besides many other examples, in the panel that he executed for the altar of S. Luigi in the Church of SS. Giovanni e Polo; in which panel he portrayed the said S. Luigi seated, wearing the cope, with S. Gregory, S. Sebastian, and S. Dominic on one side of him, and on the other side S. Nicholas, S. Jerome, and S. Rocco, and above them half-length figures of other saints.

Another man who executed his pictures very well, taking much delight in counterfeiting things of nature, figures, and distant landscapes, was Giovanni Mansueti, who, imitating the works of Gentile Bellini not a little, made many pictures in Venice. At the upper end of the Audience Chamber of the Scuola of S. Marco he painted a S. Mark preaching on the Piazza; in which picture he painted the façade of the church, and, among the multitude of men and women who are listening to the Saint, Turks, Greeks, and the faces of men of diverse nations, with bizarre costumes. In the same place, in another scene wherein he painted S. Mark healing a sick man, he made a perspective view of two staircases and many loggie. In another picture, near to that one, he made a S. Mark converting an infinite multitude to the faith of Christ; in this he made an open temple, with a Crucifix on an altar, and throughout the whole work there are diverse persons with a beautiful variety of expression, dress, and features.

The work in the same place was continued after him by Vittore Bellini, who made a view of buildings in perspective, which is passing good, in a scene wherein S. Mark is taken prisoner and bound, with a number of figures, in which he imitated his predecessors. After these men came Bartolommeo Montagna of Vicenza, a passing good painter, who lived ever in Venice and made many pictures there; and he painted a panel in the Church of S. Maria d' Artone at Padua. Benedetto Diana, likewise, was a painter no less esteemed than the masters mentioned above, as is proved, to say nothing of his other works, by those from his hand that are in S. Francesco della Vigna at Venice, where, for the altar of S. Giovanni, he painted that Saint standing between two other saints, each of whom has a book in his hand.

Another man who was accounted a good master was Giovanni Buonconsigli, who painted a picture in the Church of SS. Giovanni e Polo for the altar of S. Tommaso d' Aquino, showing that Saint surrounded by many figures, to whom he is reading the Holy Scriptures; and he made therein a perspective view of buildings, which is not otherwise than worthy of praise. There also lived in Venice throughout almost the whole course of his life the Florentine sculptor, Simon Bianco, as did Tullio Lombardo, an excellent master of intaglio.

In Lombardy, likewise, there were excellent sculptors in Bartolommeo Clemente of Reggio and Agostino Busto; and, in intaglio, Jacopo Davanzo of Milan, with Gasparo and Girolamo Misceroni. In Brescia there was a man who was able and masterly at working in fresco, called Vincenzio Verchio, who acquired a very great name in his native place by reason of his beautiful works. The same did Girolamo Romanino, a fine master of design, as is clearly demonstrated by the works made by him in Brescia and in the neighbourhood for many miles around. And not inferior to these--nay, even superior--was Alessandro Moretto, who was very delicate in his colouring, and much the friend of diligence, as the works made by him demonstrate.

[Illustration: CHRIST ON THE MOUNT OF OLIVES

(_After the panel by =Marco Bassiti [Basaiti]=. Venice: Accademia, 69_)

_Anderson_]

But to return to Verona, in which city there have flourished excellent craftsmen, even as they flourish more than ever to-day; there, in times past, were excellent masters in Francesco Bonsignori and Francesco Caroto, and afterwards Maestro Zeno of Verona, who painted the panel of S. Marino in Rimini, with two others, all with much diligence. But the man who surpassed all others in making certain marvellous figures from life was Il Moro of Verona, or rather, as others called him, Francesco Turbido, by whose hand is a portrait now in the house of Monsignor de' Martini at Venice, of a gentleman of the house of Badovaro, painted in the character of a shepherd; which portrait appears absolutely alive, and can challenge comparison with any of the great number that have been seen in these parts. Battista d' Angelo, son-in-law of this Francesco, is also so lovely in colouring and so masterly in drawing, that he is rather superior than inferior to his father-in-law. But since it is not my intention to speak at present of the living, it must suffice me to have spoken in this place of some with regard to whose lives, as I said at the beginning of this Life, I have not been able to discover every particular with equal minuteness, to the end that their talents and merits may receive from me at least all that little which I, who would fain make it much, am able to give them.

[Illustration: PIETÀ

(_After the panel by =Giovanni Buonconsigli=. Vincenza: Pinacoteca, 22_)

_Alinari_]

FOOTNOTE:

[5] It is now generally accepted that these two men are one, under the name of Lazzaro Bastiani.

[6] This master has been identified with Il Bassiti, under the name of Basaiti.

[7] See note on p. 57, Vol. I.

[8] See note on p. 57, Vol. I.

JACOPO, CALLED L'INDACO

LIFE OF JACOPO, CALLED L'INDACO

PAINTER

Jacopo, called L'Indaco, who was a disciple of Domenico del Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing good master in his day; and although he did not make many works, yet those that he did make are worthy of commendation. Nor is there any need to marvel that only very few works issued from his hands, for the reason that, being a gay and humorous fellow and a lover of good cheer, he harboured but few thoughts and would never work save when he could not help it; and so he used to say that doing nothing else but labour, without taking a little pleasure in the world, was no life for a Christian. He lived in close intimacy with Michelagnolo, for when that craftsman, supremely excellent beyond all who have ever lived, wished to have some recreation after his studies and his continuous labours of body and mind, no one was more pleasing to him for the purpose or more suited to his humour than this man.

Jacopo worked for many years in Rome, or, to be more precise, he lived many years in Rome, working very little. By his hand, in that city, is the first chapel on the right hand as one enters the Church of S. Agostino by the door of the façade; on the vaulting of which chapel are the Apostles receiving the Holy Spirit, and on the wall below are two stories of Christ--in one His taking Peter and Andrew from their nets, and in the other the Feast of Simon and the Magdalene, in which there is a ceiling of planks and beams, counterfeited very well. In the panel of the same chapel, which he painted in oil, is a Dead Christ, wrought and executed with much mastery and diligence. In the Trinità at Rome, likewise, there is a little panel by his hand with the Coronation of Our Lady. But what need is there to say more about this man? What more, indeed, is there to say? It is enough that he loved gossiping as much as he always hated working and painting.

Now seeing that, as has been said, Michelagnolo used to take pleasure in this man's chattering and in the jokes that he was ever making, he kept him almost always at his table; but one day Jacopo wearied him--as such fellows more often than not do come to weary their friends and patrons with their incessant babbling, so often ill-timed and senseless; babbling, I call it, for reasonable talk it cannot be called, since for the most part there is neither reason nor judgment in such people--and Michelagnolo, who, perchance, had other thoughts in his mind at the time and wished to get rid of him, sent him to buy some figs; and no sooner had Jacopo left the house than Michelagnolo bolted the door behind him, determined not to open to him when he came back. L'Indaco, then, on returning from the market-square, perceived, after having knocked at the door for a time in vain, that Michelagnolo did not intend to open to him; whereupon, flying into a rage, he took the figs and the leaves and spread them all over the threshold of the door. This done, he went his way and for many months refused to speak to Michelagnolo; but at last, becoming reconciled with him, he was more his friend than ever. Finally, having reached the age of sixty-eight, he died in Rome.

Not unlike Jacopo was a younger brother of his, whose proper name was Francesco, although he too was afterwards called L'Indaco by way of surname; and he, likewise, was a painter, and more than passing good. He was not unlike Jacopo--I mean, in his unwillingness to work (to say the least), and in his love of talking--but in one respect he surpassed Jacopo, for he was ever speaking evil of everyone and decrying the works of every craftsman. This man, after having wrought certain things in Montepulciano both in painting and in clay, painted a little panel for the Audience Chamber of the Company of the Nunziata in Arezzo, containing an Annunciation, and a God the Father in Heaven surrounded by many angels in the form of children. And in the same city, on the first occasion when Duke Alessandro went there, he made a most beautiful triumphal arch, with many figures in relief, at the gate of the Palazzo de' Signori; and also, in competition with other painters who executed a number of other works for the entry of the said Duke, the scenery for the representation of a play, which was held to be very beautiful. Afterwards, having gone to Rome at the time when the Emperor Charles V was expected there, he made some figures in clay, and a coat of arms in fresco for the Roman people on the Campidoglio, which was much extolled. But the best work that ever issued from the hands of this master, and the most highly praised, was a little study wrought in stucco for the Duchess Margherita of Austria in the Palace of the Medici at Rome--a thing so beautiful and so ornate that there is nothing better to be seen; nor do I believe that it is possible, in a certain sense, to do with silver what L'Indaco did in this work with stucco. From these things it may be judged that if this man had taken pleasure in work and had made use of his intelligence, he would have become excellent.

Francesco drew passing well, but Jacopo much better, as may be seen in our book.

LUCA SIGNORELLI OF CORTONA

LIFE OF LUCA SIGNORELLI OF CORTONA

[_LUCA DA CORTONA_]

PAINTER

Luca Signorelli, an excellent painter, of whom, according to the order of time, we have now to speak, was more famous throughout Italy in his day, and his works were held in greater price than has ever been the case with any other master at any time whatsoever, for the reason that in the works that he executed in painting he showed the true method of making nudes, and how they can be caused, although only with art and difficulty, to appear alive. He was a pupil and disciple of Piero dal Borgo a San Sepolcro, and greatly did he strive in his youth to imitate his master, and even to surpass him; and the while that he was working with Piero at Arezzo, living in the house of his uncle Lazzaro Vasari, as it has been told, he imitated the manner of the said Piero so well that the one could scarcely be distinguished from the other.

The first works of Luca were in S. Lorenzo at Arezzo, where he painted the Chapel of S. Barbara in fresco in the year 1472; and he painted for the Company of S. Caterina, on cloth and in oil, the banner that is borne in processions, and likewise that of the Trinità, although this does not appear to be by the hand of Luca, but by Piero dal Borgo himself. In S. Agostino in the same city he painted the panel of S. Niccola da Tolentino, with most beautiful little scenes, executing the work with good drawing and invention; and in the same place, in the Chapel of the Sacrament, he made two angels wrought in fresco. In the Chapel of the Accolti in the Church of S. Francesco, for Messer Francesco, Doctor of Laws, he painted a panel in which he portrayed the said Messer Francesco with some of his relatives. In this work is a S. Michael weighing souls, who is admirable; and in him there is seen the knowledge of Luca, both in the splendour of his armour and in the reflected lights, and, in short, throughout the whole work. In his hands he placed a pair of scales, in which are nude figures, very beautifully foreshortened, one going up and the other down; and among other ingenious things that are in this picture is a nude figure most skilfully transformed into a devil, with a lizard licking the blood from a wound in its body. Besides this, there is a Madonna with the Child on her lap, with S. Stephen, S. Laurence, S. Catherine, and two angels, of whom one is playing on a lute and the other on a rebec; and all these figures are draped and adorned so beautifully that it is a marvel. But the most miraculous part of this panel is the predella, which is full of Friars of the said S. Catherine in the form of little figures.

[Illustration: LUCA SIGNORELLI: PAN

(_Berlin: Kaiser Friedrich Museum, 79A. Canvas_)

In Perugia, also, he made many works; among others, a panel in the Duomo for Messer Jacopo Vannucci of Cortona, Bishop of that city; in which panel are Our Lady, S. Onofrio, S. Ercolano, S. John the Baptist, and S. Stephen, with a most beautiful angel, who is tuning a lute. At Volterra, over the altar of a Company in the Church of S. Francesco, he painted in fresco the Circumcision of Our Lord, which is considered beautiful to a marvel, although the Infant, having been injured by damp, was restored by Sodoma and made much less beautiful than before. And, in truth, it would be sometimes better to leave works half spoilt, when they have been made by men of excellence, rather than to have them retouched by inferior masters. In S. Agostino in the same city he painted a panel in distemper, and the predella of little figures, with stories of the Passion of Christ; and this is held to be extraordinarily beautiful. At S. Maria a Monte he painted a Dead Christ on a panel for the monks of that place; and at Città di Castello a Nativity of Christ in S. Francesco, with a S. Sebastian on another panel in S. Domenico. In S. Margherita, a seat of the Frati del Zoccolo in his native city of Cortona, he painted a Dead Christ, one of the rarest of his works; and for the Company of the Gesù, in the same city, he executed three panels, of which the one that is on the high-altar is marvellous, showing Christ administering the Sacrament to the Apostles, and Judas placing the Host into his wallet. In the Pieve, now called the Vescovado, in the Chapel of the Sacrament, he painted some life-size prophets in fresco; and round the tabernacle are some angels who are opening out a canopy, with S. Jerome and S. Thomas Aquinas at the sides. For the high-altar of the said church he painted a panel with a most beautiful Assumption, and he designed the pictures for the principal round window of the same church; which pictures were afterwards executed by Stagio Sassoli of Arezzo. In Castiglione Aretino he made a Dead Christ, with the Maries, over the Chapel of the Sacrament; and in S. Francesco, at Lucignano, he painted the folding-doors of a press, wherein there is a tree of coral surmounted by a cross. At Siena, in the Chapel of S. Cristofano in S. Agostino, he painted a panel with some saints, in the midst of whom is a S. Cristopher in relief.