Truly unhappy are those who, labouring at their studies in order to benefit others and to make their own name famous, are hindered by infirmity and sometimes by death from carrying to perfection the works that they have begun. And it happens very often that, leaving them all but finished or in a fair way to completion, they are falsely claimed by the presumption of those who seek to conceal their asses' skin under the honourable spoils of the lion. And although time, who is called the father of truth, sooner or later makes manifest the real state of things, it is none the less true that for a certain space of time the true craftsman is robbed of the honour that is due to his labours; as happened to Piero della Francesca of Borgo a San Sepolcro. He, having been held a rare master of the difficulties of drawing regular bodies, as well as of arithmetic and geometry, was yet not able—being overtaken in his old age by the infirmity of blindness, and finally by the close of his life—to bring to light his noble labours and the many books written by him, which are still preserved in the Borgo, his native place. The very man who should have striven with all his might to increase the glory and fame of Piero, from whom he had learnt all that he knew, was impious and malignant enough to seek to blot out the name of his teacher, and to usurp for himself the honour that was due to the other, publishing under his own name, Fra Luca dal Borgo, all the labours of that good old man, who, besides the sciences named above, was excellent in painting.
Piero was born in Borgo a San Sepolcro, which is now a city, although it was not one then; and he was called Della Francesca after the name of his mother, because she had been left pregnant with him at the death of her husband, his father, and because it was she who had brought him up and assisted him to attain to the rank that his good-fortune held out to him. Piero applied himself in his youth to mathematics, and although it was settled when he was fifteen years of age that he was to be a painter, he never abandoned this study; nay, he made marvellous progress therein, as well as in painting. He was employed by Guidobaldo Feltro the elder, Duke of Urbino, for whom he made many very beautiful pictures with little figures, which have been for the most part ruined on the many occasions when that state has been harassed by wars. Nevertheless, there were preserved there some of his writings on geometry and perspective, in which sciences he was not inferior to any man of his own time, or perchance even to any man of any other time; as is demonstrated by all his works, which are full of perspectives, and particularly by a vase drawn in squares and sides, in such a manner that the base and the mouth can be seen from the front, from behind, and from the sides; which is certainly a marvellous thing, for he drew the smallest details therein with great subtlety, and foreshortened the curves of all the circles with much grace. Having thus acquired credit and fame at that Court, he resolved to make himself known in other places; wherefore he went to Pesaro and Ancona, whence, in the very thick of his work, he was summoned by Duke Borso to Ferrara, where he painted many apartments in his palace, which were afterwards destroyed by Duke Ercole the elder in the renovation of the palace, insomuch that there is nothing by the hand of Piero left in that city, save a chapel wrought in fresco in S. Agostino; and even that has been injured by damp. Afterwards, being summoned to Rome, he painted two scenes for Pope Nicholas V in the upper rooms of his palace, in competition with Bramante da Milano; but these also were thrown to the ground by Pope Julius II—to the end that Raffaello da Urbino might paint there the Imprisonment of S. Peter and the Miracle of the Corporale of Bolsena—together with certain others that had been painted by Bramantino, an excellent painter in his day.
Now, seeing that I cannot write the life of this man, nor particularize his works, because they have been ruined, I will not grudge the labour of making some record of him, for it seems an apt occasion. In the said works that were thrown to the ground, so I have heard tell, he had made some heads from nature, so beautiful and so well executed that speech alone was wanting to give them life. Of these heads not a few have come to light, because Raffaello da Urbino had them copied in order that he might have the likenesses of the subjects, who were all people of importance; for among them were Niccolò Fortebraccio, Charles VII, King of France, Antonio Colonna, Prince of Salerno, Francesco Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco Spinola, and Battista da Canneto. All these portraits were given to Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and they were placed by Giovio in his museum at Como. Over the door of S. Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by the hand of the same man, in which, although the whole picture is not more than one braccio in height, there is an effect of infinite length, executed with facility and with judgment. By his hand, also, are some apartments and loggie in the house of the Marchesino Ostanesia in the same city, wherein there are many pictures wrought by him that show mastery and very great power in the foreshortening of the figures. And without the Porta Vercellina, near the Castle, in certain stables now ruined and destroyed, he painted some grooms currying horses, among which there was one so lifelike and so well wrought, that another horse, thinking it a real one, lashed out at it repeatedly with its hooves.
But to return to Piero della Francesca; his work in Rome finished, he returned to the Borgo, where his mother had just died; and on the inner side of the central door of the Pieve he painted two saints in fresco, which are held to be very beautiful. In the Convent of the Friars of S. Augustine he painted the panel of the high-altar, which was a thing much extolled; and he wrought in fresco a Madonna della Misericordia for a company, or rather, as they call it, a confraternity; with a Resurrection of Christ in the Palazzo de' Conservadori, which is held the best of all the works that are in the said city, and the best that he ever made. In company with Domenico da Vinezia, he painted the beginning of a work on the vaulting of the Sacristy of S. Maria at Loreto; but they left it unfinished from fear of plague, and it was afterwards completed by Luca da Cortona,[3] a disciple of Piero, as will be told in the proper place.
Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that family, the vaulting of which had been already begun by Lorenzo di Bicci. In this work there are Stories of the Cross, from that wherein the sons of Adam are burying him and placing under his tongue the seed of the tree from which there came the wood for the said Cross, down to the Exaltation of the Cross itself performed by the Emperor Heraclius, who, walking barefoot and carrying it on his shoulder, is entering with it into Jerusalem. Here there are many beautiful conceptions and attitudes worthy to be extolled; such as, for example, the garments of the women of the Queen of Sheba, executed in a sweet and novel manner; many most lifelike portraits from nature of ancient persons; a row of Corinthian columns, divinely well proportioned; and a peasant who, leaning with his hands on his spade, stands listening to the words of S. Helena—while the three Crosses are being disinterred—with so great attention, that it would not be possible to improve it. Very well wrought, also, is the dead body that is restored to life at the touch of the Cross, together with the joy of S. Helena and the marvelling of the bystanders, who are kneeling in adoration. But above every other consideration, whether of imagination or of art, is his painting of Night, with an angel in foreshortening who is flying with his head downwards, bringing the sign of victory to Constantine, who is sleeping in a pavilion, guarded by a chamberlain and some men-at-arms who are seen dimly through the darkness of the night; and with his own light the angel illuminates the pavilion, the men-at-arms, and all the surroundings. This is done with very great thought, for Piero gives us to know in this darkness how important it is to copy things as they are and to ever take them from the true model; which he did so well that he enabled the moderns to attain, by following him, to that supreme perfection wherein art is seen in our own time. In this same story he represented most successfully in a battle fear, animosity, dexterity, vehemence, and all the other emotions that can be imagined in men who are fighting, and likewise all the incidents of battle, together with an almost incredible carnage, what with the wounded, the fallen, and the dead. In these Piero counterfeited in fresco the glittering of their arms, for which he deserves no less praise than he does for the flight and submersion of Maxentius painted on the other wall, wherein he made a group of horses in foreshortening, so marvellously executed that they can be truly called too beautiful and too excellent for those times. In the same story he made a man, half nude and half clothed in the dress of a Saracen, riding a lean horse, which reveals a very great mastery of anatomy, a science little known in his age. For this work, therefore, he well deserved to be richly rewarded by Luigi Bacci, whom he portrayed there in the scene of the beheading of a King, together with Carlo and others of his brothers and many Aretines who were then distinguished in letters; and to be loved and revered ever afterwards, as he was, in that city, which he had made so illustrious with his works.
In the Vescovado of the same city, also, he made a S. Mary Magdalene in fresco beside the door of the sacristy; and for the Company of the Nunziata he painted the banner that is carried in processions. At the head of a cloister at S. Maria delle Grazie, without that district, he painted S. Donatus in his robes, seated in a chair drawn in perspective, together with certain boys; and in a niche high up on a wall of S. Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful Christ praying by night in the Garden.
In Perugia, also, he wrought many works that are still to be seen in that city; as, for example, a panel in distemper in the Church of the Nuns of S. Anthony of Padua, containing a Madonna with the Child in her lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of Padua. Above these is a most beautiful Annunciation, with an Angel that seems truly to have come out of Heaven; and, what is more, a row of columns diminishing in perspective, which is indeed beautiful. In the predella there are scenes with little figures, representing S. Anthony restoring a boy to life; S. Elizabeth saving a child that has fallen into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene of the Marriage of Our Lady.
Piero, as it has been said, was a very zealous student of art, and gave no little attention to perspective; and he had a very good knowledge of Euclid, insomuch that he understood all the best curves drawn in regular bodies better than any other geometrician, and the clearest elucidations of these matters that we have are from his hand. Now Maestro Luca dal Borgo, a friar of S. Francis, who wrote about the regular geometrical bodies, was his pupil; and when Piero, after having written many books, grew old and finally died, the said Maestro Luca, claiming the authorship of these books, had them printed as his own, for they had fallen into his hands after the death of Piero.
Piero was much given to making models in clay, on which he spread wet draperies with an infinity of folds, in order to make use of them for drawing.
A disciple of Piero was Lorentino d'Angelo of Arezzo, who made many pictures in Arezzo, imitating his manner, and completed those that Piero, overtaken by death, left unfinished. Near the S. Donatus that Piero wrought in the Madonna delle Grazie, Lorentino painted in fresco some stories of S. Donatus, with very many works in many other places both in that city and in the district, partly because he would never stay idle, and partly to assist his family, which was then very poor. In the said Church of the Grazie the same man painted a scene wherein Pope Sixtus IV, between the Cardinal of Mantua and Cardinal Piccolomini (who was afterwards Pope Pius III), is granting an indulgence to that place; in which scene Lorentino portrayed from the life, on their knees, Tommaso Marzi, Piero Traditi, Donato Rosselli, and Giuliano Nardi, all citizens of Arezzo and Wardens of Works for that building. In the hall of the Palazzo de' Priori, moreover, he portrayed from the life Cardinal Galeotto da Pietramala, Bishop Guglielmino degli Ubertini, and Messer Angelo Albergotti, Doctor of Laws; and he made many other works, which are scattered throughout that city.
It is said that once, when the Carnival was close at hand, the children of Lorentino kept beseeching him to kill a pig, as it is the custom to do in that district; and that, since he had not the means to buy one, they would say, "What will you do about buying a pig, father, if you have no money?" To which Lorentino would answer, "Some Saint will help us." But when he had said this many times and the season was passing by without any pig appearing, they had lost hope, when at length there arrived a peasant from the Pieve a Quarto, who wished to have a S. Martin painted in fulfilment of a vow, but had no means of paying for the picture save a pig, which was worth five lire. This man, coming to Lorentino, told him that he wished to have the S. Martin painted, but that he had no means of payment save the pig. Whereupon they came to an agreement, and Lorentino painted him the Saint, while the peasant brought him the pig; and so the Saint provided the pig for the poor children of this painter.
Another disciple of Piero was Pietro da Castel della Pieve,[4] who painted an arch above S. Agostino, and a S. Urban for the Nuns of S. Caterina in Arezzo, which has been thrown to the ground in rebuilding the church. His pupil, likewise, was Luca Signorelli of Cortona, who did him more honour than all the others.
Piero Borghese, whose pictures date about the year 1458, became blind through an attack of catarrh at the age of sixty, and lived thus up to the eighty-sixth year of his life. He left very great possessions in the Borgo, with some houses that he had built himself, which were burnt and destroyed in the strife of factions in the year 1536. He was honourably buried by his fellow-citizens in the principal church, which formerly belonged to the Order of Camaldoli, and is now the Vescovado. Piero's books are for the most part in the library of Frederick II, Duke of Urbino, and they are such that they have deservedly acquired for him the name of the best geometrician of his time.
Fra Giovanni Angelico da Fiesole, who was known in the world as Guido, was no less excellent as painter and illuminator than he was upright as churchman, and for both one and the other of these reasons he deserves that most honourable record should be made of him. This man, although he could have lived in the world with the greatest comfort, and could have gained whatever he wished, besides what he possessed, by means of those arts, of which he had a very good knowledge even in his youth, yet resolved, for his own peace and satisfaction, being by nature serious and upright, and above all in order to save his soul, to take the vows of the Order of Preaching Friars; for the reason that, although it is possible to serve God in all walks of life, nevertheless it appears to some men that they can gain salvation in monasteries better than in the world. Now in proportion as this plan succeeds happily for good men, so, on the contrary, it has a truly miserable and unhappy issue for a man who takes the vows with some other end in view.
There are some choral books illuminated by the hand of Fra Giovanni in his Convent of S. Marco in Florence, so beautiful that words are not able to describe them; and similar to these are some others that he left in S. Domenico da Fiesole, wrought with incredible diligence. It is true, indeed, that in making these he was assisted by an elder brother, who was likewise an illuminator and well practised in painting.
One of the first works in painting wrought by this good father was a panel in the Certosa of Florence, which was placed in the principal chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna with the Child in her arms, and with certain very beautiful angels at her feet, sounding instruments and singing; at the sides are S. Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the predella are little stories of these Saints, wrought in little figures with infinite diligence. In the cross of the said chapel are two other panels by the hand of the same man; one containing the Coronation of Our Lady, and the other a Madonna with two saints, wrought with most beautiful ultramarine blues. Afterwards, in the tramezzo[5] of S. Maria Novella, beside the door opposite to the choir, he painted in fresco S. Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little scenes in the Chapel of the Coronation of Our Lady in the said tramezzo. On canvas, fixed to the doors that closed the old organ, he painted an Annunciation, which is now in the convent, opposite to the door of the lower dormitory, between one cloister and the other.
This father was so greatly beloved for his merits by Cosimo de' Medici, that, after completing the construction of the Church and Convent of S. Marco, he caused him to paint the whole Passion of Jesus Christ on a wall in the chapter-house; and on one side all the Saints who have been heads and founders of religious bodies, mourning and weeping at the foot of the Cross, and on the other side S. Mark the Evangelist beside the Mother of the Son of God, who has swooned at the sight of the Saviour of the world Crucified, while round her are the Maries, all grieving and supporting her, with S. Cosimo and S. Damiano. It is said that in the figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d' Antonio di Banco, a sculptor and his friend. Below this work, in a frieze above the panelling, he made a tree with S. Dominic at the foot of it, and, in certain medallions encircled by the branches, all the Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his Order of Preaching Friars had produced up to that time. In this work he made many portraits from nature, being assisted by the friars, who sent for them to various places; and they were the following: S. Dominic in the middle, grasping the branches of the tree; Pope Innocent V, a Frenchman; the Blessed Ugone, first Cardinal of that Order; the Blessed Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence; the Blessed Giordano, a German, and the second General of that Order; the Blessed Niccolò; the Blessed Remigio, a Florentine; and the martyr Boninsegno, a Florentine; all these are on the right hand. On the left are Benedict II[6] of Treviso; Giandomenico, a Florentine Cardinal; Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the Blessed Raimondo di Catalonia, third General of the Order; the Blessed Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza; and the Blessed Bernardo, a Florentine. All these heads are truly gracious and very beautiful. Then, over certain lunettes in the first cloister, he made many very beautiful figures in fresco, and a Crucifix with S. Dominic at the foot, which is much extolled; and in the dormitory, besides many other things throughout the cells and on the surface of the walls, he painted a story from the New Testament, of a beauty beyond the power of words to describe. Particularly beautiful and marvellous is the panel of the high-altar of that church; for, besides the fact that the Madonna rouses all who see her to devotion by her simplicity, and that the Saints that surround her are like her in this, the predella, in which there are stories of the martyrdom of S. Cosimo, S. Damiano, and others, is so well painted, that one cannot imagine it possible ever to see a work executed with greater diligence, or little figures more delicate or better conceived than these are.
In S. Domenico da Fiesole, likewise, he painted the panel of the high-altar, which has been retouched by other masters and injured, perchance because it appeared to be spoiling. But the predella and the Ciborium of the Sacrament have remained in better preservation; and the innumerable little figures that are to be seen there, in a Celestial Glory, are so beautiful, that they appear truly to belong to Paradise, nor can any man who approaches them ever have his fill of gazing on them. In a chapel of the same church is a panel by his hand, containing the Annunciation of Our Lady by the Angel Gabriel, with features in profile, so devout, so delicate, and so well executed, that they appear truly to have been made rather in Paradise than by the hand of man; and in the landscape at the back are Adam and Eve, because of whom the Redeemer was born from the Virgin. In the predella, also, there are some very beautiful little scenes.
But superior to all the other works that Fra Giovanni made, and the one wherein he surpassed himself and gave supreme proof of his talent and of his knowledge of art, was a panel that is beside the door of the same church, on the left hand as one enters, wherein Jesus Christ is crowning Our Lady in the midst of a choir of angels and among an infinite multitude of saints, both male and female, so many in number, so well wrought, and with such variety in the attitudes and in the expressions of the heads, that incredible pleasure and sweetness are felt in gazing at them; nay, one is persuaded that those blessed spirits cannot look otherwise in Heaven, or, to speak more exactly, could not if they had bodies; for not only are all these saints, both male and female, full of life and sweet and delicate in expression, but the whole colouring of that work appears to be by the hand of a saint or an angel like themselves; wherefore it was with very good reason that this excellent monk was ever called Fra Giovanni Angelico. Moreover, the stories of the Madonna and of S. Dominic in the predella are divine in their own kind; and I, for one, can declare with truth that I never see this work without thinking it something new, and that I never leave it sated.
In the Chapel of the Nunziata in Florence which Piero di Cosimo de' Medici caused to be built, he painted the doors of the press (in which the silver is kept) with little figures executed with much diligence. This father painted so many pictures, now to be found in the houses of Florentine citizens, "that I sometimes stand marvelling how one single man could execute so much work to such perfection, even in the space of many years. The Very Reverend Don Vincenzio Borghini, Director of the Hospital of the Innocenti, has a very beautiful little Madonna by the hand of this father; and Bartolommeo Gondi, as devoted a lover of these arts as any gentleman that one could think of, has a large picture, a small one, and a Crucifix, all by the same hand. The pictures that are in the arch over the door of S. Domenico are also by the same man; and in the Sacristy of S. Trinita there is a panel containing a Deposition from the Cross, into which he put so great diligence, that it can be numbered among the best works that he ever made. In S. Francesco, without the Porta a S. Miniato, there is an Annunciation; and in S. Maria Novella, besides the works already named, he painted with little scenes the Paschal candle and some Reliquaries which are placed on the altar in the most solemn ceremonies.
Over a door of the cloister of the Badia in the same city he painted a S. Benedict, who is making a sign enjoining silence. For the Linen-manufacturers he painted a panel that is in the Office of their Guild; and in Cortona he painted a little arch over the door of the church of his Order, and likewise the panel of the high-altar. At Orvieto, on a part of the vaulting of the Chapel of the Madonna in the Duomo, he began certain prophets, which were finished afterwards by Luca da Cortona. For the Company of the Temple in Florence he painted a Dead Christ on a panel; and in the Church of the Monks of the Angeli he made a Paradise and a Hell with little figures, wherein he showed fine judgment by making the blessed very beautiful and full of jubilation and celestial gladness, and the damned all ready for the pains of Hell, in various most woeful attitudes, and bearing the stamp of their sins and unworthiness on their faces. The blessed are seen entering the gate of Paradise in celestial dance, and the damned are being dragged by demons to the eternal pains of Hell. This work is in the aforesaid church, on the right hand as one goes towards the high-altar, where the priest sits when Mass is sung. For the Nuns of S. Piero Martire—who now live in the Monastery of S. Felice in Piazza, which used to belong to the Order of Camaldoli—he painted a panel with Our Lady, S. John the Baptist, S. Dominic, S. Thomas, and S. Peter Martyr, and a number of little figures. And in the tramezzo[7] of S. Maria Nuova there may also be seen a panel by his hand.
These many labours having made the name of Fra Giovanni illustrious throughout all Italy, Pope Nicholas V sent for him and caused him to adorn that chapel of his Palace in Rome wherein the Pope hears Mass with a Deposition from the Cross and some very beautiful stories of S. Laurence, and also to illuminate some books, which are most beautiful. In the Minerva he painted the panel of the high-altar, and an Annunciation that is now set up against a wall beside the principal chapel. He also painted for the said Pope in the Palace the Chapel of the Sacrament, which was afterwards destroyed by Paul III in the making of a staircase through it. In that work, which was an excellent example of his manner, he had wrought in fresco some scenes from the life of Jesus Christ, and he had made therein many portraits from life of distinguished persons of those times, which would probably now be lost if Giovio had not caused the following among them to be preserved for his museum—namely, Pope Nicholas V; the Emperor Frederick, who came to Italy at that time; Frate Antonino, who was afterwards Archbishop of Florence; Biondo da Forlì; and Ferrante of Arragon. Now Fra Giovanni appeared to the Pope to be, as indeed he was, a person of most holy life, peaceful and modest; and, since the Archbishopric of Florence was at that time vacant, the Pope had judged him worthy of that rank; but the said friar, hearing this, implored His Holiness to find another man, for the reason that he did not feel himself fitted for ruling others, whereas his Order contained a brother most learned and well able to govern, a Godfearing man and a friend of the poor, on whom that dignity would be conferred much more fittingly than on himself. The Pope, hearing this and remembering that what he said was true, granted him the favour willingly; and thus the Archbishopric of Florence was given to Frate Antonino of the Order of Preaching Friars, a man truly very famous both for sanctity and for learning, and of such a character, in short, that he was deservedly canonized in our own day by Adrian VI.
Great excellence was that of Fra Giovanni, and a thing truly very rare, to resign a dignity and honour and charge so important, offered to himself by a Supreme Pontiff, in favour of the man whom he, with his singleness of eye and sincerity of heart, judged to be much more worthy of it than himself. Let the churchmen of our own times learn from this holy man not to take upon themselves charges that they cannot worthily carry out, and to yield them to those who are most worthy of them. Would to God, to return to Fra Giovanni (and may this be said without offence to the upright among them), that all churchmen would spend their time as did this truly angelic father, seeing that he spent every minute of his life in the service of God and in benefiting both the world and his neighbour. And what can or ought to be desired more than to gain the kingdom of Heaven by living a life of holiness, and to win eternal fame in the world by labouring virtuously? And in truth a talent so extraordinary and so supreme as that of Fra Giovanni could not and should not descend on any save a man of most holy life, for the reason that those who work at religious and holy subjects should be religious and holy men; for it is seen, when such works are executed by persons of little faith who have little esteem for religion, that they often arouse in men's minds evil appetites and licentious desires; whence there comes blame for the evil in their works, with praise for the art and ability that they show. Now I would not have any man deceive himself by considering the rude and inept as holy, and the beautiful and excellent as licentious; as some do, who, seeing figures of women or of youths adorned with loveliness and beauty beyond the ordinary, straightway censure them and judge them licentious, not perceiving that they are very wrong to condemn the good judgment of the painter, who holds the Saints, both male and female, who are celestial, to be as much more beautiful than mortal man as Heaven is superior to earthly beauty and to the works of human hands; and, what is worse, they reveal the unsoundness and corruption of their own minds by drawing evil and impure desires out of works from which, if they were lovers of purity, as they seek by their misguided zeal to prove themselves to be, they would gain a desire to attain to Heaven and to make themselves acceptable to the Creator of all things, in whom, as most perfect and most beautiful, all perfection and beauty have their source. What would such men do if they found themselves, or rather, what are we to believe that they do when they actually find themselves, in places containing living beauty, accompanied by licentious ways, honey-sweet words, movements full of grace, and eyes that ravish all but the stoutest of hearts, if the very image of beauty, nay, its mere shadow, moves them so profoundly? However, I would not have any believe that I approve of those figures that are painted in churches in a state of almost complete nudity, for in these cases it is seen that the painter has not shown the consideration that was due to the place; because, even although a man has to show how much he knows, he should proceed with due regard for circumstances and pay respect to persons, times, and places.
Fra Giovanni was a man of great simplicity, and most holy in his ways; and his goodness may be perceived from this, that, Pope Nicholas V wishing one morning to entertain him at table, he had scruples of conscience about eating meat without leave from his Prior, forgetting about the authority of the Pontiff. He shunned the affairs of the world; and, living a pure and holy life, he was as much the friend of the poor as I believe his soul to be now the friend of Heaven. He was continually labouring at his painting, and he would never paint anything save Saints. He might have been rich, but to this he gave no thought; nay, he used to say that true riches consist only in being content with little. He might have ruled many, but he would not, saying that it was less fatiguing and less misleading to obey others. He had the option of obtaining dignities both among the friars and in the world, but he despised them, declaring that he sought no other dignity save that of seeking to avoid Hell and draw near to Paradise. And what dignity, in truth, can be compared to that which all churchmen, nay, all men, should seek, and which is to be found only in God and in a life of virtue? He was most kindly and temperate; and he lived chastely and withdrew himself from the snares of the world, being wont very often to say that he who pursued such an art had need of quiet and of a life free from cares, and that he whose work is connected with Christ must ever live with Christ. He was never seen in anger among his fellow-friars, which is a very notable thing, and almost impossible, it seems to me, to believe; and it was his custom to admonish his friends with a simple smile. With incredible sweetness, if any sought for works from him, he would say that they had only to gain the consent of the Prior, and that then he would not fail them. In short, this never to be sufficiently extolled father was most humble and modest in all his works and his discourse, and facile and devout in his pictures; and the Saints that he painted have more the air and likeness of Saints than those of any other man. It was his custom never to retouch or improve any of his pictures, but to leave them ever in the state to which he had first brought them; believing, so he used to say, that this was the will of God. Some say that Fra Giovanni would never have taken his brushes in his hand without first offering a prayer. He never painted a Crucifix without the tears streaming down his cheeks; wherefore in the countenances and attitudes of his figures one can recognize the goodness, nobility, and sincerity of his mind towards the Christian religion.
He died in 1455 at the age of sixty-eight, and left disciples in Benozzo, a Florentine, who ever imitated his manner, and Zanobi Strozzi, who painted pictures and panels throughout all Florence for the houses of citizens, and particularly a panel that is now in the tramezzo[8] of S. Maria Novella, beside that by Fra Giovanni, and one in S. Benedetto, a monastery of the Monks of Camaldoli without the Porta a Pinti, now in ruins. The latter panel is at present in the little Church of S. Michele in the Monastery of the Angeli, before one enters the principal church, set up against the wall on the right as one approaches the altar. There is also a panel in the Chapel of the Nasi in S. Lucia, and another in S. Romeo; and in the guardaroba of the Duke there is the portrait of Giovanni di Bicci de' Medici, with that of Bartolommeo Valori, in one and the same picture by the hand of the same man. Another disciple of Fra Giovanni was Gentile da Fabriano, as was also Domenico di Michelino, who painted the panel for the altar of S. Zanobi in S. Apollinare at Florence, and many other pictures.
Fra Giovanni was buried by his fellow-friars in the Minerva in Rome, near the lateral door beside the sacristy, in a round tomb of marble, with himself, portrayed from nature, lying thereon. The following epitaph may be read, carved in the marble:
NON MIHI SIT LAUDI, QUOD ERAM VELUT ALTER APELLES,
SED QUOD LUCRA TUIS OMNIA, CHRISTE, DABAM;
ALTERA NAM TERRIS OPERA EXTANT, ALTERA CŒLO.
URBS ME JOANNEM FLOS TULIT ETRURIÆ.
In S. Maria del Fiore are two very large books illuminated divinely well by the hand of Fra Giovanni, which are held in great veneration and richly adorned, nor are they ever seen save on days of the highest solemnity.
A celebrated and famous illuminator at the same time as Fra Giovanni was one Attavante, a Florentine, of whom I know no other name. This man, among many other works, illuminated a Silius Italicus, which is now in S. Giovanni e Polo in Venice; of which work I will not withhold certain particulars, both because they are worthy of the attention of craftsmen, and because, to my knowledge, no other work by this master is to be found; nor should I know even of this one, had it not been for the affection borne to these noble arts by the Very Reverend Maestro Cosimo Bartoli, a gentleman of Florence, who gave me information about it, to the end that the talent of Attavante might not remain, as it were, buried out of sight.
In the said book, then, the figure of Silius has on the head a helmet with a crest of gold and a chaplet of laurel; he is wearing a blue cuirass picked out with gold in the ancient manner, while he is holding a book in his right hand, and the left he has on a short sword. Over the cuirass he has a red chlamys, fastened in front with a knot, and fringed with gold, which hangs down from his shoulders. The inside of this chlamys is seen to be of changing colours and embroidered with gold. His buskins are yellow, and he is standing on his right foot in a niche. The next figure in this work represents Scipio Africanus. He is wearing a yellow cuirass, and his sword-belt and sleeves, which are blue in colour, are all embroidered with gold. On his head he has a helmet with two little wings and a fish by way of crest. The young man's countenance is fair and very beautiful; and he is raising his right arm proudly, holding in that hand a naked sword, while in the left hand he has the scabbard, which is red and embroidered with gold. The hose are green in colour and plain; and the chlamys, which is blue, has a red lining with a fringe of gold all round, and it is fastened at the throat, leaving the front quite open, and falling behind with beautiful grace. This young man, who stands in a niche of mixed green and grey marble, with blue buskins embroidered with gold, is looking with indescribable fierceness at Hannibal, who faces him on the opposite page of the book. This figure of Hannibal is that of a man about thirty-six years of age; he is frowning, with two furrows in his brow expressive of impatience and anger, and he, too, is looking fixedly at Scipio. On his head he has a yellow helmet, with a green and yellow dragon for crest and a serpent for chaplet. He is standing on his left foot and raising his right arm, with which he holds the shaft of an ancient javelin, or rather, of a little partisan. His cuirass is blue, his sword-belt partly blue and partly yellow, his sleeves of changing blue and red, and his buskins yellow. His chlamys, of changing red and yellow, is fastened on the right shoulder and lined with green; and, holding his left hand on his sword, he is standing in a niche of varicoloured marbles, yellow, white, and changing. On another page is Pope Nicholas V, portrayed from the life, with a mantle of changing purple and red and all embroidered with gold. He is without a beard and in full profile, and he is looking towards the beginning of the book, which is opposite to him; and he is pointing to it with his right hand, as though in a marvel. The niche is green, white, and red. Then in the border there are certain little half-length figures in an ornament composed of ovals and circles, and other things of that kind, together with an infinite number of little birds and children, so well wrought that nothing more could be desired. Close to this, in like manner, are Hanno the Carthaginian, Hasdrubal, Laelius, Massinissa, C. Salinator, Nero, Sempronius, M. Marcellus, Q. Fabius, the other Scipio, and Vibius. At the end of the book there is seen a Mars in an antique chariot drawn by two reddish horses. On his head he has a helmet of red and gold, with two little wings; on his left arm he has an antique shield, which he holds before him, and in his right hand a naked sword. He is standing on his left foot only, holding the other in the air. He has a cuirass in the antique manner, all red and gold, as are his hose and his buskins. His chlamys is blue without, and within all green and embroidered with gold. The chariot is covered with red cloth embroidered with gold, with a border of ermine all round; and it stands in a verdant and flowery champaign country, surrounded by cliffs and rocks; while landscapes and cities are seen in the distance, with a sky of a most marvellous blue. On the opposite page is a young Neptune, whose clothing is in the shape of a long shirt, embroidered all round with the colour formed from terretta verde. The flesh-colour is very pale. In his right hand he is holding a little trident, and with his left he is raising his dress. He is standing with both feet on the chariot, which has a covering of red, embroidered with gold and fringed all round with sable. This chariot has four wheels, like that of Mars, but it is drawn by four dolphins, and accompanied by three sea-nymphs, two boys, and a great number of fishes, all wrought with a water-colour similar to the terretta, and very beautiful in expression. After these is seen Carthage in despair, in the form of a woman standing upright with dishevelled hair. Her upper garment is green, and it is open from the waist downwards, being lined with red cloth embroidered in gold; and through this opening there may be seen another garment, delicate and of changing purple and white colour. The sleeves are red and gold, with certain puffs and floating folds made by the upper garment, and she is stretching out her left hand towards Rome, who is opposite to her, as though saying, "What is thy wish? I have my answer ready;" and in her right hand she holds a naked sword, with an air of frenzy. Her buskins are blue, and she is standing on a rock in the middle of the sea, surrounded by a very beautiful sky. Rome is a maiden as beautiful as it is possible for man to imagine, with dishevelled hair and certain tresses wrought with infinite grace. Her clothing is pure red, with only an embroidered border at the foot; the lining of her robe is yellow, and the garment beneath, which is seen through the opening, is of changing purple and white. Her buskins are green; in her right hand she has a sceptre, in her left a globe; and she, too, is standing on a rock, in the midst of a sky that could not be more beautiful than it is. Now, although I have striven to the best of my power to show with what great art these figures were wrought by Attavante, let no one believe that I have said more than a very small part of what might be said about their beauty, seeing that, considering the time, there are no better examples of illumination to be seen, nor any work wrought with more invention, judgment, and design; and the colours, above all, could not be more beautiful or laid in their places more delicately, so perfect is their grace.
Very great is the advantage bestowed by learning, without exception, on all those craftsmen who take delight in it, but particularly on sculptors, painters, and architects, for it opens up the way to invention in all the works that are made; not to mention that a man cannot have a perfect judgment, be his natural gifts what they may, if he is deprived of the complemental advantage of being assisted by learning. For who does not know that it is necessary, in choosing sites for buildings, to show enlightenment in the avoidance of danger from pestiferous winds, insalubrious air, and the smells and vapours of impure and unwholesome waters? Who is ignorant that a man must be able, in whatever work he is seeking to carry out, to reject or adopt everything for himself after mature consideration, without having to depend on help from another man's theory? For theory, when separated from practice, is generally of very little use; but when the two chance to come together, there is nothing that is more helpful to our life, both because art becomes much richer and more perfect by the aid of science, and because the counsels and the writings of learned craftsmen have in themselves greater efficacy and greater credit than the words or works of those who know nothing but mere practice, whether they do it well or ill. And that all this is true is seen manifestly in Leon Batista Alberti, who, having studied the Latin tongue, and having given attention to architecture, to perspective, and to painting, left behind him books written in such a manner, that, since not one of our modern craftsmen has been able to expound these matters in writing, although very many of them in his own country have excelled him in working, it is generally believed—such is the influence of his writings over the pens and speech of the learned—that he was superior to all those who were actually superior to him in work. Wherefore, with regard to name and fame, it is seen from experience that writings have greater power and longer life than anything else; for books go everywhere with ease, and everywhere they command belief, if only they be truthful and not full of lies. It is no marvel, then, if the famous Leon Batista is known more for his writings than for the work of his hands.
This man, born in Florence of the most noble family of the Alberti, of which we have spoken in another place, devoted himself not only to studying geography and the proportions of antiquities, but also to writing, to which he was much inclined, much more than to working. He was excellent in arithmetic and geometry, and he wrote ten books on architecture in the Latin tongue, which were published by him in 1481, and may now be read in a translation in the Florentine tongue made by the Reverend Maestro Cosimo Bartoli, Provost of S. Giovanni in Florence. He wrote three books on painting, now translated into the Tuscan tongue by Messer Lodovico Domenichi; he composed a treatise on traction and on the rules for measuring heights, as well as the books on the "Vita Civile," and some erotic works in prose and verse; and he was the first who tried to reduce Italian verse to the measure of the Latin, as is seen in the following epistle by his pen:
Questa per estrema miserabile pistola mando
A te, che spregi miseramente noi.
Arriving at Rome in the time of Nicholas V, who had turned the whole of Rome upside down with his manner of building, Leon Batista, through the agency of Biondo da Forlì, who was much his friend, became intimate with that Pope, who had previously carried out all his building after the advice of Bernardo Rossellino, a sculptor and architect of Florence, as will be told in the Life of his brother Antonio. This man, having put his hand to restoring the Pope's Palace and to certain works in S. Maria Maggiore, thenceforward, according to the will of the Pope, ever sought the advice of Leon Batista. Wherefore, using one of them as adviser and the other as executor, the Pope carried out many useful and praiseworthy works, such as the restoring of the conduit of the Acqua Vergine, which was in ruins; and there was made the fountain on the Piazza de' Trevi, with those marble ornaments that are seen there, on which are the arms of that Pontiff and of the Roman people.
Afterwards, having gone to Signor Sigismondo Malatesti of Rimini, he made for him the model of the Church of S. Francesco, and in particular that of the façade, which was made of marble; and likewise the side facing towards the south, which was built with very great arches and with tombs for the illustrious men of that city. In short, he brought that building to such a form that in point of solidity it is one of the most famous temples in Italy. Within it are six most beautiful chapels, one of which, dedicated to S. Jerome, is very ornate; and in it are preserved many relics brought from Jerusalem. In the same chapel are the tombs of the said Signor Sigismondo and of his wife, constructed very richly of marble in the year 1450; on one there is the portrait of Sigismondo himself, and in another part of the work there is that of Leon Batista.
After this, in the year 1457, when the very useful method of printing books was discovered by Johann Gutenberg the German, Leon Batista, working on similar lines, discovered a way of tracing natural perspectives and of effecting the diminution of figures by means of an instrument, and likewise the method of enlarging small things and reproducing them on a greater scale; all ingenious inventions, useful to art and very beautiful.
In Leon Batista's time Giovanni di Paolo Rucellai wished to build the principal façade of S. Maria Novella entirely of marble at his own expense, and he spoke of this to Leon Batista, who was very much his friend; and having received from him not only counsel, but the actual model, Giovanni resolved to have the work executed at all costs, in order to leave it behind him as a memorial of himself. A beginning having been made, therefore, it was finished in the year 1477, to the great satisfaction of all the city, which was pleased with the whole work, but particularly with the door, from which it is seen that Leon Batista took more than ordinary pains. For Cosimo Rucellai, likewise, he made the design for the palace which that man built in the street which is called La Vigna, and that for the loggia which is opposite to it. In the latter, having turned his arches over columns close together, both in the front and at the ends, since he wished to adhere to this plan and not to make one single arch, he had a certain space left over on each side; wherefore he was forced to make certain projections at the inner corners. And then, when he wished to turn the arch of the inner vaulting, having seen that he could not give it the shape of a half-circle, which would have been flat and awkward, he resolved to turn certain small arches at the corners from one projection to another; and this lack of judgment in design gives us to know clearly that practice is necessary as well as science, for the judgment can never become perfect unless science attains to experience by actual work.
It is said that the same man made the design for the house and garden of these Rucellai in the Via della Scala. This house is built with much judgment and very commodious, for, besides many other conveniences, it has two loggie, one facing south and the other west, both very beautiful, and made without arches on the columns, which is the true and proper method that the ancients used, for the reason that the architraves which are placed on the capitals of the columns lie level, whereas a four-sided thing like a curving arch cannot rest on a round column without the corners jutting out over space. The good method, therefore, demands that architraves should rest on columns, and that, when arches are to be turned, pilasters and not columns should be made.
For the same Rucellai Leon Batista made a chapel in the same manner in S. Pancrazio, which rests on great architraves placed on two columns and two pilasters, piercing the wall of the church below; which is a difficult thing, but safe; wherefore this work is one of the best that this architect ever made. In the middle of this chapel is a tomb of marble, wrought very well in the form of a rather long oval, and similar, as may be read on it, to the Sepulchre of Jesus Christ in Jerusalem.