Lives of the Most Eminent Painters Sculptors and Architects, Vol. 03 (of 10) / Filarete and Simone to Mantegna

In this calling he took infinite pains, both with the works that he executed in gold and with those in enamel and silver. Among these are some very beautiful paxes in S. Giovanni, coloured by the action of fire, which are such that they could be scarcely improved with the brush; and some of his marvellous enamels may be seen in other churches in Florence, Rome, and other parts of Italy.

He taught this art to the Florentine Mazzingo and to Giuliano del Facchino, both passing good masters, and to Giovanni Turini of Siena, who surpassed these his companions considerably in that profession, in which, from Antonio di Salvi—who made many good works, such as a large silver Cross for the Badia of Florence, and other things—to our own day, there has been nothing done than can be held in particular account. But of his works and of those of the Pollaiuoli many have been destroyed and melted down to meet the necessities of the city in times of war.

For this reason, recognizing that this art gave no long life to the labours of its craftsmen, and desiring to gain a more lasting memory, Antonio resolved to pursue it no longer. And so, his brother Piero being a painter, he associated himself with him in order to learn the methods of handling and using colours; but it appeared to him an art so different from the goldsmith's, that, if he had not been so hasty in resolving to abandon his own art entirely, it might well have been that he would never have brought himself to turn to the other. However, spurred by fear of shame rather than by hope of profit, in a few months he acquired a practical knowledge of colouring and became an excellent master. He associated himself entirely with Piero, and they made many pictures in company; among others, since they took great delight in colour, a panel in oil in S. Miniato al Monte without Florence, for the Cardinal of Portugal. On this panel, which was placed on the altar of his chapel, they painted S. James the Apostle, S. Eustace, and S. Vincent, which have been much extolled. Piero, in particular, painted certain prophets on the wall in oil (a method that he had learnt from Andrea dal Castagno), in the corners of the angles below the architrave, where the lunettes of the arches run; and in one of the lunettes he painted the Virgin receiving the Annunciation, with three figures. For the Capitani di Parte he painted a Madonna with the Child in her arms in a lunette, with a frieze of seraphim all round, also wrought in oil. They also painted in oil, on canvas, on a pilaster of S. Michele in Orto, an Angel Raphael with Tobias; and they made certain Virtues in the Mercatanzia of Florence, in the very place where that Tribunal holds its sittings. In the Proconsulate Antonio made portraits from life of Messer Poggio, Secretary to the Signoria of Florence, who continued the History of Florence after Messer Leonardo d'Arezzo, and of Messer Giannozzo Manetti, a man of no small learning and repute, in the same place where other masters some time before had made portraits of Zanobi da Strada, a poet of Florence, Donato Acciaiuoli, and others. In the Chapel of the Pucci, in S. Sebastiano de' Servi, he painted the panel of the altar, which is a rare and excellent work, containing marvellous horses, nudes, and very beautiful figures in foreshortening, and S. Sebastian himself portrayed from life—namely, from Gino di Lodovico Capponi. This work received greater praise than any other that Antonio ever made, since, seeking to imitate nature to the utmost of his power, he showed in one of the archers, who is resting his cross-bow against his chest and bending down to the ground in order to load it, all the force that a man of strong arm can exert in loading that weapon, for we see his veins and muscles swelling, and the man himself holding his breath in order to gain more strength. Nor is this the only figure wrought with careful consideration, for all the others in their various attitudes also demonstrate clearly enough the thought and the intelligence that he put into this work, which was certainly appreciated by Antonio Pucci, who gave him 300 crowns for it, declaring that he was barely paying him for the colours. It was finished in the year 1475.

Gaining courage from this, therefore, he painted at S. Miniato fra le Torri, without the Gate, a S. Cristopher ten braccia in height, a very beautiful work executed in a modern manner, the figure being better proportioned than any other of that size that had been made up to that time. He then made a Crucifix with S. Antonino, on canvas, which was placed in the chapel of that Saint in S. Marco. In the Palace of the Signoria of Florence, at the Porta della Catena, he made a S. John the Baptist; and in the house of the Medici he painted for the elder Lorenzo three figures of Hercules in three pictures, each five braccia in height. The first of these, which is slaying Antaeus, is a very beautiful figure, in which the strength of Hercules as he crushes the other is seen most vividly, for the muscles and nerves of that figure are all strained in the struggle to destroy Antaeus. The head of Hercules shows the gnashing of the teeth so well in harmony with the other parts, that even the toes of his feet are raised in the effort. Nor did he take less pains with Antaeus, who, crushed in the arms of Hercules, is seen sinking and losing all his strength, and giving up his breath through his open mouth. The second Hercules, who is slaying the Lion, has the left knee pressed against its chest, and, setting his teeth and extending his arms, and grasping the Lion's jaws with both his hands, he is opening them and rending them asunder by main force, although the beast is tearing his arms grievously with its claws in self-defence. The third picture, wherein Hercules is slaying the Hydra, is something truly marvellous, particularly the serpent, which he made so lively and so natural in colouring that nothing could be made more life-like. In that beast are seen venom, fire, ferocity, rage, and such vivacity, that he deserves to be celebrated and to be closely imitated in this by all good craftsmen.

For the Company of S. Angelo in Arezzo he executed an oil-painting on cloth, with a Crucifix on one side, and on the other S. Michael in combat with the Dragon, as beautiful as any work that there is to be seen by his hand; for the figure of S. Michael, who is bravely confronting the Dragon, setting his teeth and knitting his brows, truly seems to have descended from Heaven in order to effect the vengeance of God against the pride of Lucifer, and it is indeed a marvellous work. He had a more modern grasp of the nude than the masters before his day, and he dissected many bodies in order to study their anatomy. He was the first to demonstrate the method of searching out the muscles, in order that they might have their due form and place in his figures, and he engraved on copper a battle of nude figures all girt round with a chain; and after this one he made other engravings, with much better workmanship than had been shown by the other masters who had lived before him.

For these reasons, then, he became famous among craftsmen, and after the death of Pope Sixtus IV he was summoned by his successor, Pope Innocent, to Rome, where he made a tomb of metal for the said Innocent, wherein he portrayed him from nature, seated in the attitude of giving the Benediction; and this was placed in S. Pietro. That of the said Pope Sixtus, which was finished at very great cost, was placed in the chapel that is called by the name of that Pontiff. It stands quite by itself, with very rich adornments, and on it there lies an excellent figure of the Pope; and the tomb of Innocent stands in S. Pietro, beside the chapel that contains the Lance of Christ. It is said that the same man designed the Palace of the Belvedere for the said Pope Innocent, although, since he had little experience of building, it was erected by others. Finally, after becoming rich, these two brothers died almost at the same time in 1498, and were buried by their relatives in S. Pietro in Vincula; and in memory of them, beside the middle door, on the left as one enters into the church, there were placed two medallions of marble with their portraits and with the following epitaph:

ANTONIUS PULLARIUS PATRIA FLORENTINUS, PICTOR INSIGNIS, QUI
DUORUM PONTIF. XISTI ET INNOCENTII ÆREA MONIMENTA MIRO OPIFIC.
EXPRESSIT, RE FAMIL. COMPOSITA EX TEST. HIC SE CUM PETRO FRATRE
CONDI VOLUIT. VIX. AN. LXXII. OBIIT ANNO SAL. MIID.

The same man made a very beautiful battle of nude figures in low-relief and of metal, which went to Spain; of this every craftsman in Florence has a plaster cast. And after his death there were found the design and model that he had made at the command of Lodovico Sforza for the equestrian statue of Francesco Sforza, Duke of Milan, of which design there are two forms in our book; in one the Duke has Verona beneath him, and in the other he is on a pedestal covered with battle pieces, in full armour, and forcing his horse to leap on a man in armour. But the reason why he did not put these designs into execution I have not yet been able to discover. The same man made some very beautiful medals; among others, one representing the conspiracy of the Pazzi, containing on one side the heads of Lorenzo and Giuliano de' Medici, and on the reverse the choir of S. Maria del Fiore, with the whole event exactly as it happened. He also made the medals of certain Pontiffs, and many other things that are known to craftsmen.

Antonio was seventy-two years of age when he died, and Piero sixty-five. The former left many disciples, among whom was Andrea Sansovino. Antonio had a most fortunate life in his day, finding rich Pontiffs, and his own city at the height of its greatness and delighting in talent, wherefore he was much esteemed; whereas, if he had chanced to live in an unfavourable age, he would not have produced such fruits as he did, since troublous times are deadly enemies to the sciences in which men labour and take delight.

For S. Giovanni in Florence, after the design of this man, there were made two dalmatics, a chasuble, and a cope, of double brocade, all woven in one piece without a single seam; and for these, as borders and ornaments, there were embroidered the stories of the life of S. John, with most delicate workmanship and art, by Paolo da Verona, a divine master of that profession and rare in intelligence beyond all others, who executed the figures no less well with the needle than Antonio would have done them with his brush; wherefore we owe no small obligation to the one for his design and to the other for his patience in embroidering it. This work took twenty-six years to complete; but of these embroideries, which, being made with the close stitch, are not only more durable but also seem like a real painting done with the brush, the good method is now all but lost, since we now use a more open stitch, which is less durable and less lovely to the eye.

SANDRO BOTTICELLI

LIFE OF SANDRO BOTTICELLI

Now in that age there was a very close connection—nay, almost a constant intercourse—between the goldsmiths and the painters; wherefore Sandro, who was a ready fellow and had devoted himself wholly to design, became enamoured of painting, and determined to devote himself to that. For this reason he spoke out his mind freely to his father, who, recognizing the inclination of his brain, took him to Fra Filippo of the Carmine, a most excellent painter of that time, with whom he placed him to learn the art, according to Sandro's own desire. Thereupon, devoting himself heart and soul to that art, Sandro followed and imitated his master so well that Fra Filippo, growing to love him, taught him very thoroughly, so that he soon rose to such a rank as none would have expected for him.

While still quite young, he painted a figure of Fortitude in the Mercatanzia of Florence, among the pictures of Virtues that were wrought by Antonio and Piero del Pollaiuolo. For the Chapel of the Bardi in S. Spirito at Florence he painted a panel, wrought with diligence and brought to a fine completion, which contains certain olive-trees and palms executed with consummate lovingness. He painted a panel for the Convertite Nuns, and another for those of S. Barnaba. In the tramezzo[26] of the Ognissanti, by the door that leads into the choir, he painted for the Vespucci a S. Augustine in fresco, with which he took very great pains, seeking to surpass all the painters of his time, and particularly Domenico Ghirlandajo, who had made a S. Jerome on the other side; and this work won very great praise, for in the head of that Saint he depicted the profound meditation and acute subtlety that are found in men of wisdom who are ever concentrated on the investigation of the highest and most difficult matters. This picture, as was said in the Life of Ghirlandajo, has this year (1564) been removed safe and sound from its original position.

Having thus come into credit and reputation, he was commissioned by the Guild of Porta Santa Maria to paint in S. Marco a panel with the Coronation of Our Lady and a choir of angels, which he designed and executed very well. He made many works in the house of the Medici for the elder Lorenzo, particularly a Pallas on a device of great branches, which spouted forth fire: this he painted of the size of life, as he did a S. Sebastian. In S. Maria Maggiore in Florence, beside the Chapel of the Panciatichi, there is a very beautiful Pietà with little figures. For various houses throughout the city he painted round pictures, and many female nudes, of which there are still two at Castello, a villa of Duke Cosimo's; one representing the birth of Venus, with those Winds and Zephyrs that bring her to the earth, with the Cupids; and likewise another Venus, whom the Graces are covering with flowers, as a symbol of spring; and all this he is seen to have expressed very gracefully. Round an apartment of the house of Giovanni Vespucci, now belonging to Piero Salviati, in the Via de' Servi, he made many pictures which were enclosed by frames of walnut-wood, by way of ornament and panelling, with many most lively and beautiful figures. In the house of the Pucci, likewise, he painted with little figures Boccaccio's tale of Nastagio degli Onesti in four square pictures of most charming and beautiful workmanship, and the Epiphany in a round picture. For a chapel in the Monastery of Cestello he painted an Annunciation on a panel. Near the side-door of S. Pietro Maggiore, for Matteo Palmieri, he painted a panel with an infinite number of figures—namely, the Assumption of Our Lady, with the zones of Heaven as they are represented, and the Patriarchs, the Prophets, the Apostles, the Evangelists, the Martyrs, the Confessors, the Doctors, the Virgins, and the Hierarchies; all from the design given to him by Matteo, who was a learned and able man. This work he painted with mastery and consummate diligence; and at the foot is a portrait of Matteo on his knees, with that of his wife. But for all that the work is most beautiful, and should have silenced envy, nevertheless there were certain malignant slanderers who, not being able to do it any other damage, said that both Matteo and Sandro had committed therein the grievous sin of heresy. As to whether this be true or false, I cannot be expected to judge; it is enough that the figures painted therein by Sandro are truly worthy of praise, by reason of the pains that he took in drawing the zones of Heaven and in the distribution of figures, angels, foreshortenings, and views, all varied in diverse ways, the whole being executed with good design.

At this time Sandro was commissioned to paint a little panel with figures three-quarters of a braccio in length, which was placed between two doors in the principal façade of S. Maria Novella, on the left as one enters the church by the door in the centre. It contains the Adoration of the Magi, and wonderful feeling is seen in the first old man, who, kissing the foot of Our Lord, and melting with tenderness, shows very clearly that he has achieved the end of his long journey. The figure of this King is an actual portrait of the elder Cosimo de' Medici, the most lifelike and most natural that is to be found of him in our own day. The second, who is Giuliano de' Medici, father of Pope Clement VII, is seen devoutly doing reverence to the Child with a most intent expression, and presenting Him with his offering. The third, also on his knees, appears to be adoring Him and giving Him thanks, while confessing that He is the true Messiah; this is Giovanni, son of Cosimo.

It is not possible to describe the beauty that Sandro depicted in the heads that are therein seen, which are drawn in various attitudes, some in full face, some in profile, some in three-quarter face, others bending down, and others, again, in various manners; with different expressions for the young and the old, and with all the bizarre effects that reveal to us the perfection of his skill; and he distinguished the Courts of the three Kings one from another, insomuch that one can see which are the retainers of each. This is truly a most admirable work, and executed so beautifully, whether in colouring, drawing, or composition, that every craftsman at the present day stands in a marvel thereat. And at that time it brought him such great fame, both in Florence and abroad, that Pope Sixtus IV, having accomplished the building of the chapel of his palace in Rome, and wishing to have it painted, ordained that he should be made head of that work; whereupon he painted therein with his own hand the following scenes—namely, the Temptation of Christ by the Devil, Moses slaying the Egyptian, Moses receiving drink from the daughters of Jethro the Midianite, and likewise fire descending from Heaven on the sacrifice of the sons of Aaron, with certain Sanctified Popes in the niches above the scenes. Having therefore acquired still greater fame and reputation among the great number of competitors who worked with him, both Florentines and men of other cities, he received from the Pope a good sum of money, the whole of which he consumed and squandered in a moment during his residence in Rome, where he lived in haphazard fashion, as was his wont.

Having at the same time finished and unveiled the part that had been assigned to him, he returned immediately to Florence, where, being a man of inquiring mind, he made a commentary on part of Dante, illustrated the Inferno, and printed it; on which he wasted much of his time, bringing infinite disorder into his life by neglecting his work. He also printed many of the drawings that he had made, but in a bad manner, for the engraving was poorly done. The best of these that is to be seen by his hand is the Triumph of the Faith effected by Fra Girolamo Savonarola of Ferrara, of whose sect he was so ardent a partisan that he was thereby induced to desert his painting, and, having no income to live on, fell into very great distress. For this reason, persisting in his attachment to that party, and becoming a Piagnone[27] (as the members of the sect were then called), he abandoned his work; wherefore he ended in his old age by finding himself so poor, that, if Lorenzo de' Medici, for whom, besides many other things, he had done some work at the little hospital in the district of Volterra, had not succoured him the while that he lived, as did afterwards his friends and many excellent men who loved him for his talent, he would have almost died of hunger.

In S. Francesco, without the Porta a San Miniato, there is a Madonna in a round picture by the hand of Sandro, with some angels of the size of life, which was held a very beautiful work. Sandro was a man of very pleasant humour, often playing tricks on his disciples and his friends; wherefore it is related that once, when a pupil of his who was called Biagio had made a round picture exactly like the one mentioned above, in order to sell it, Sandro sold it for six florins of gold to a citizen; then, finding Biagio, he said to him, "At last I have sold this thy picture; so this evening it must be hung on high, where it will be seen better, and in the morning thou must go to the house of the citizen who has bought it, and bring him here, that he may see it in a good light in its proper place; and then he will pay thee the money." "O, my master," said Biagio, "how well you have done." Then, going into the shop, he hung the picture at a good height, and went off. Meanwhile Sandro and Jacopo, who was another of his disciples, made eight caps of paper, like those worn by citizens, and fixed them with white wax on the heads of the eight angels that surrounded the Madonna in the said picture. Now, in the morning, up comes Biagio with his citizen, who had bought the picture and was in the secret. They entered the shop, and Biagio, looking up, saw his Madonna seated, not among his angels, but among the Signoria of Florence, with all those caps. Thereupon he was just about to begin to make an outcry and to excuse himself to the man who had bought it, when, seeing that the other, instead of complaining, was actually praising the picture, he kept silent himself. Finally, going with the citizen to his house, Biagio received his payment of six florins, the price for which his master had sold the picture; and then, returning to the shop just as Sandro and Jacopo had removed the paper caps, he saw his angels as true angels, and not as citizens in their caps. All in a maze, and not knowing what to say, he turned at last to Sandro and said: "Master, I know not whether I am dreaming, or whether this is true. When I came here before, these angels had red caps on their heads, and now they have not; what does it mean?" "Thou art out of thy wits, Biagio," said Sandro; "this money has turned thy head. If it were so, thinkest thou that the citizen would have bought the picture?" "It is true," replied Biagio, "that he said nothing to me about it, but for all that it seemed to me strange." Finally, all the other lads gathered round him and wrought on him to believe that it had been a fit of giddiness.

Another time a cloth-weaver came to live in a house next to Sandro's, and erected no less than eight looms, which, when at work, not only deafened poor Sandro with the noise of the treadles and the movement of the frames, but shook his whole house, the walls of which were no stronger than they should be, so that what with the one thing and the other he could not work or even stay at home. Time after time he besought his neighbour to put an end to this annoyance, but the other said that he both would and could do what he pleased in his own house; whereupon Sandro, in disdain, balanced on the top of his own wall, which was higher than his neighbour's and not very strong, an enormous stone, more than enough to fill a wagon, which threatened to fall at the slightest shaking of the wall and to shatter the roof, ceilings, webs, and looms of his neighbour, who, terrified by this danger, ran to Sandro, but was answered in his very own words—namely, that he both could and would do whatever he pleased in his own house. Nor could he get any other answer out of him, so that he was forced to come to a reasonable agreement and to be a good neighbour to Sandro.

It is also related that Sandro, for a jest, accused a friend of his own of heresy before his vicar, and the friend, on appearing, asked who the accuser was and what the accusation; and having been told that it was Sandro, who had charged him with holding the opinion of the Epicureans, and believing that the soul dies with the body, he insisted on being confronted with the accuser before the judge. Sandro therefore appeared, and the other said: "It is true that I hold this opinion with regard to this man's soul, for he is an animal. Nay, does it not seem to you that he is the heretic, since without a scrap of learning, and scarcely knowing how to read, he plays the commentator to Dante and takes his name in vain?"

It is also said that he had a surpassing love for all whom he saw to be zealous students of art; and that he earned much, but wasted everything through negligence and lack of management. Finally, having grown old and useless, and being forced to walk with crutches, without which he could not stand upright, he died, infirm and decrepit, at the age of seventy-eight, and was buried in Ognissanti at Florence in the year 1515.

In the guardaroba of the Lord Duke Cosimo there are two very beautiful heads of women in profile by his hand, one of which is said to be the mistress of Giuliano de' Medici, brother of Lorenzo, and the other Madonna Lucrezia de' Tornabuoni, wife of the said Lorenzo. In the same place, likewise by the hand of Sandro, is a Bacchus who is raising a cask with both his hands, and putting it to his mouth—a very graceful figure. And in the Duomo of Pisa he began an Assumption, with a choir of angels, in the Chapel of the Impagliata; but afterwards, being displeased with it, he left it unfinished. In S. Francesco at Montevarchi he painted the panel of the high-altar; and in the Pieve of Empoli, on the same side as the S. Sebastian of Rossellino, he made two angels. He was among the first to discover the method of decorating standards and other sorts of hangings with the so-called inlaid work, to the end that the colours might not fade and might show the tint of the cloth on either side. By his hand, and made thus, is the baldacchino of Orsanmichele, covered with beautiful and varied figures of Our Lady; which proves how much better such a method preserves the cloth than does the use of mordants, which eat it away and make its life but short, although, being less costly, mordants are now used more than anything else.

Sandro's drawings were extraordinarily good, and so many, that for some time after his death all the craftsmen strove to obtain some of them; and we have some in our book, made with great mastery and judgment. His scenes abounded with figures, as may be seen from the embroidered border of the Cross that the Friars of S. Maria Novella carry in processions, all made from his design. Great was the praise, then, that Sandro deserved for all the pictures that he chose to make with diligence and love, as he did the aforesaid panel of the Magi in S. Maria Novella, which is marvellous. Very beautiful, too, is a little round picture by his hand that is seen in the apartment of the Prior of the Angeli in Florence, in which the figures are small but very graceful and wrought with beautiful consideration. Of the same size as the aforesaid panel of the Magi, and by the same man's hand, is a picture in the possession of Messer Fabio Segni, a gentlemen of Florence, in which there is painted the Calumny of Apelles, as beautiful as any picture could be. Under this panel, which Sandro himself presented to Antonio Segni, who was much his friend, there may now be read the following verses, written by the said Messer Fabio:

INDICIO QUEMQUAM NE FALSO LÆDERE TENTENT
TERRARUM REGES, PARVA TABELLA MONET.
HUIC SIMILEM ÆGYPTI REGI DONAVIT APELLES;
REX FUIT ET DIGNUS MUNERE, MUNUS EO.

BENEDETTO DA MAIANO

LIFE OF BENEDETTO DA MAIANO

Benedetto da Maiano, a sculptor of Florence, who was in his earliest years a wood-carver, was held the most able master of all who were then handling the tools of that profession; and he was particularly excellent as a craftsman in that form of work which, as has been said elsewhere, was introduced at the time of Filippo Brunelleschi and Paolo Uccello—namely, the inlaying of pieces of wood tinted with various colours, in order to make views in perspective, foliage, and many other diverse things of fancy. In this craft, then, Benedetto da Maiano was in his youth the best master that there was to be found, as is clearly demonstrated by many works of his that are to be seen in various parts of Florence, particularly by all the presses in the Sacristy of S. Maria del Fiore, the greater part of which he finished after the death of his uncle Giuliano; these are full of figures executed in inlaid work, foliage, and other devices, all wrought with great expense and craftsmanship. Having gained a very great name through the novelty of this art, he made many works, which were sent to diverse places and to various Princes; and among others King Alfonso of Naples had the furniture for a study, made under the direction of Giuliano, uncle of Benedetto, who was serving that King as architect. Benedetto himself went to join him there; but, being displeased with the position, he returned to Florence, where, no long time after, he made for Matthias Corvinus, King of Hungary, who had many Florentines in his Court and took delight in all rare works, a pair of coffers inlaid in wood with difficult and most beautiful craftsmanship. He then determined, being invited with great favour by that King, to consent to go thither at all costs; and so, having packed up his coffers and embarked with them on board ship, he set off for Hungary. There, after doing obeisance to that King, by whom he was received most graciously, he sent for the said coffers and had them unpacked in the presence of the monarch, who was very eager to see them; whereupon he saw that the damp from the water and the exhalations from the sea had so softened the glue, that, on the opening of the waxed cloths, almost all the pieces which had been attached to the coffers fell to the ground. Whether Benedetto, therefore, in the presence of so many nobles, stood in dumb amazement, everyone may judge for himself. However, putting the work together as well as he was able, he contrived to leave the King well enough satisfied; but in spite of this he took an aversion to that craft and could no longer endure it, through the shame that it had brought upon him.

And so, casting off all timidity, he devoted himself to sculpture, in which art he had already worked at Loreto while living with his uncle Giuliano, making a lavatory with certain angels of marble for the sacristy. Labouring at this art, before he left Hungary he gave that King to know that if he had been put to shame at the beginning, the fault had lain with that craft, which was a mean one, and not with his intellect, which was rare and exalted. Having therefore made in those parts certain works both in clay and in marble, which gave great pleasure to that King, he returned to Florence; and he had no sooner arrived there than he was commissioned by the Signori to make the marble ornament for the door of their Audience Chamber. For this he made some boys supporting with their arms certain festoons, all very beautiful; but the most beautiful part of the work was the figure in the middle, two braccia in height, of a young S. John, which is held to be a thing of rare excellence. And to the end that the whole work might be by his own hand, he made by himself the wood-work that closes the said door, and executed a figure with inlaid woods on either part of it, that is, Dante on one and Petrarca on the other; which two figures are enough to show to any man who may have seen no other work of that kind by the hand of Benedetto, how rare and excellent a master he was of that craft. This Audience Chamber has been painted in our own day by Francesco Salviati at the command of the Lord Duke Cosimo, as will be told in the proper place.

In S. Maria Novella at Florence, where Filippino painted the chapel, Benedetto afterwards made a tomb of black marble, with a Madonna and certain angels in a medallion, with much diligence, for the elder Filippo Strozzi, whose portrait, which he made there in marble, is now in the Strozzi Palace. The same Benedetto was commissioned by the elder Lorenzo de' Medici to make in S. Maria del Fiore a portrait of the Florentine painter Giotto, which he placed over the epitaph, of which enough has been said above in the Life of Giotto himself. This piece of marble sculpture is held to be passing good. Having afterwards gone to Naples by reason of the death of his uncle Giuliano, whose heir he was, Benedetto, besides certain works that he executed for that King, made a marble panel for the Count of Terranuova in the Monastery of the Monks of Monte Oliveto, containing an Annunciation with certain saints, and surrounded by very beautiful boys, who are supporting some festoons; and in the predella of the said work he made many low-reliefs in a good manner. In Faenza he made a very beautiful tomb of marble for the body of S. Savino, and on this he wrought six scenes in low-relief from the life of that Saint, with much invention and design both in the buildings and in the figures; insomuch that both from this work and from others by his hand he was recognized as a man excellent in sculpture. Wherefore, before he left Romagna, he was commissioned to make a portrait of Galeotto Malatesta. He also made one, I know not whether before this or after, of Henry VII, King of England, after a drawing on paper that he had received from some Florentine merchants. The studies for these two portraits, together with many other things, were found in his house after his death.

Having finally returned to Florence, he made in S. Croce, for Pietro Mellini, a citizen of Florence and a very rich merchant at that time, the marble pulpit that is seen there, which is held to be a very rare thing and more beautiful than any other that has ever been executed in that manner, since the marble figures that are to be seen therein, in the stories of S. Francis, are wrought with so great excellence and diligence that nothing more could be looked for in marble. For with great art Benedetto carved there trees, rocks, houses, views in perspective, and certain things in marvellously bold relief; not to mention a projection on the ground below the said pulpit, which serves as a tombstone, wrought with so much design that it is not possible to praise it enough. It is said that in making this work he had some difficulty with the Wardens of Works of S. Croce, because, while he wished to erect the said pulpit against a column that sustains some of the arches which support the roof, and to perforate that column in order to accommodate the steps and the entrance to the pulpit, they would not consent, fearing lest it might be so weakened by the hollow required for the steps as to collapse under the weight above, with great damage to a part of that church. But Mellini having guaranteed that the work would be finished without any injury to the church, they finally consented. Having, therefore, bound the outer side of the column with bands of bronze (the part, namely, from the pulpit downwards, which is covered with hard stone), Benedetto made within it the steps for ascending to the pulpit, and in proportion as he hollowed it out within, so did he strengthen the outer side with the said hard stone, in the manner that is still to be seen. And he brought this work to perfection to the amazement of all who see it, showing in each part and in the whole together the utmost excellence that could be desired in such a work.

Many declare that the elder Filippo Strozzi, when intending to build his palace, sought the advice of Benedetto, who made him a model, according to which it was begun, although it was afterwards carried on and finished by Cronaca on the death of Benedetto. The latter, having acquired enough to live upon, would do no more works in marble after those described above, save that he finished in S. Trinita the S. Mary Magdalene begun by Desiderio da Settignano, and made the Crucifix that is over the altar of S. Maria del Fiore, with certain others like it.

As for architecture, although he put his hand to but few works, yet in these he showed no less judgment than in sculpture; particularly in three ceilings which were made at very great expense, under his guidance and direction, in the Palace of the Signoria at Florence. The first of these was the ceiling of the hall that is now called the Sala de' Dugento, over which it was proposed to make, not a similar hall, but two apartments, that is, a hall and an audience chamber, so that it was necessary to make a wall, and no light one either, containing a marble door of reasonable thickness; wherefore, for the execution of such a work, there was need of intelligence and judgment no less than those possessed by Benedetto.

Benedetto, then, in order not to diminish the said hall and yet divide the space above into two, went to work in the following manner. On a beam one braccio in thickness, and as long as the whole breadth of the hall, he laid another consisting of two pieces, in such a manner that it projected with its thickness to the height of two-thirds of a braccio. At the ends, these two beams, bound and secured together very firmly, gave a height of two braccia at the edge of the wall on each side; and the said two ends were grooved with a claw-shaped cut, in such a way that there could be laid upon them an arch of half a braccio in thickness, made of two layers of bricks, with its flanks resting on the principal walls. These two beams, then, were dove-tailed together with tenon and mortise, and so firmly bound and united with good bands of iron, that out of two there was made one single beam. Besides this, having made the said arch, and wishing that these timbers of the ceiling should have nothing more to sustain than the wall under the arch, and that the arch itself should sustain the rest, he also attached to this arch two great supports of iron, which, being firmly bolted to the said beams below, upheld and still uphold them; while, even if they were not to suffice by themselves, the arch would be able—by means of the said supports which encircle the beams, one on one side of the marble door and one on the other—to support a weight much greater than that of the partition wall, which is made of bricks and half a braccio in thickness. What is more, he had the bricks in the said wall laid on edge and in the manner of an arch, so that the pressure came against the solid part, at the corners, and the whole was thus more stable. In this manner, by means of the good judgment of Benedetto, the said Sala de' Dugento remained as large as before, and over the same space, with a partition wall between, were made the hall that is called the Sala dell' Orivolo[28] and the Audience Chamber wherein is the Triumph of Camillus, painted by the hand of Salviati. The soffit of this ceiling was richly wrought and carved by Marco del Tasso and his brothers, Domenico and Giuliano, who likewise executed that of the Sala dell' Orivolo and that of the Audience Chamber. And since the said marble door had been made double by Benedetto, on the arch of the inner door—we have already spoken of the outer one—he wrought a seated figure of Justice in marble, with the globe of the world in one hand and a sword in the other; and round the arch run the following words:

DILIGITE JUSTITIAM QUI JUDICATIS TERRAM.

The whole of this work was executed with marvellous diligence and art.

For the Church of the Madonna delle Grazie, which is a little distance without the city of Arezzo, the same man made a portico with a flight of steps in front of the door. In making the portico he placed the arches on the columns, and right round alongside the roof he made an architrave, frieze, and great cornice; and in the latter, by way of drip, he placed a garland of rosettes carved in grey-stone, which jut out to the extent of one braccio and a third, insomuch that between the projection of the front of the cyma above to the dentils and ovoli below the drip there is a space of two braccia and a half, which, with the half braccio added by the tiles, makes a projecting roof all round of three braccia in width, beautiful, rich, useful, and ingenious. In this work there is a contrivance worthy to be well considered by craftsmen, for, wishing to give this roof all that projection without modillions or corbels to support it, he made the slabs, on which the rosettes are carved, so large that only the half of their length projected, and the other half was built into the solid wall; wherefore, being thus counterpoised, they were able to support the rest and all that was laid upon them, as they have done up to the present day, without any danger to that building. And since he did not wish this roof to appear to be made, as it was, of pieces, he surrounded it all, piece by piece, with a moulding made of sections well dove-tailed and let into one another, which served as a ground to the garland of rosettes; and this united the whole work together in such a manner that all who see it judge it to be of one piece. In the same place he had a flat ceiling made of gilded rosettes, which is much extolled.

Now Benedetto had bought a farm without Prato, on the road from the Porta Fiorentina in the direction of Florence, and no more than half a mile from that place. On the main road, beside the gate, he built a most beautiful little chapel, with a niche wherein he placed a Madonna with the Child in her arms, so well wrought in terra-cotta, that even as it is, with no other colour, it is as beautiful as if it were of marble. So are two angels that are above by way of ornament, each with a candelabrum in his hand. On the predella of the altar there is a Pietà with Our Lady and S. John, made of marble and very beautiful. At his death he left in his house many things begun both in clay and in marble. Benedetto was a very good draughtsman, as may be seen in certain drawings in our book. Finally he died in 1498, at the age of fifty-four, and was honourably buried in S. Lorenzo; and he left directions that all his property, after the death of certain of his relatives, should go to the Company of the Bigallo.

While Benedetto in his youth was working as a joiner and at the inlaying of wood, he had among his rivals Baccio Cellini, piper to the Signoria of Florence, who made many very beautiful inlaid works in ivory, and among others an octagon of figures in ivory, outlined in black and marvellously beautiful, which is in the guardaroba of the Duke. In like manner, Girolamo della Cecca, a pupil of Baccio and likewise piper to the Signoria, also executed many inlaid works at that same time. A contemporary of these was David Pistoiese, who made a S. John the Evangelist of inlaid work at the entrance to the choir of S. Giovanni Evangelista in Pistoia—a work more notable for great diligence in execution than for any great design. There was also Geri Aretino, who wrought the choir and the pulpit of S. Agostino at Arezzo with figures and views in perspective, likewise of inlaid wood. This Geri was a very fanciful man, and he made with wooden pipes an organ most perfect in sweetness and softness, which is still at the present day over the door of the Sacristy of the Vescovado at Arezzo, with its original goodness as sound as ever—a work worthy of marvel, and first put into execution by him. But not one of these men, nor any other, was as excellent by a great measure as was Benedetto; wherefore he deserves to be ever numbered with praise among the best craftsmen of his professions.

ANDREA VERROCCHIO