Alfonso having come into great repute through the gifts and praises bestowed on him by the Emperor, Cardinal Ippolito de' Medici took him to Rome, where he kept many sculptors and painters about his person, in addition to a vast number of other men of ability; and he commissioned him to make a copy in marble of a very famous antique head of the Emperor Vitellius. In that work Alfonso justified the opinion held of him by the Cardinal and by all Rome, and he was charged by the same patron to make a portrait-bust in marble of Pope Clement VII, after the life, and shortly afterwards one of Giuliano de' Medici, father of the Cardinal; but the latter was left not quite finished. These heads were afterwards sold in Rome, and bought by me at the request of the Magnificent Ottaviano de' Medici, together with some pictures; and in our own day they have been placed by the Lord Duke Cosimo de' Medici in that hall of the new apartments of his palace wherein I have painted, on the ceiling and the walls, all the stories of Pope Leo X; they have been placed, I say, in that hall, over the doors made of that red veined marble which is found near Florence, in company with the heads of other illustrious men of the house of Medici.

But returning to Alfonso; he then went on to execute many works in sculpture for the same Cardinal, but these, being small things, have disappeared. After the death of Clement, when a tomb had to be made for him and also for Leo, the work was allotted by Cardinal de' Medici to Alfonso; whereupon he made a model with figures of wax, which was held to be very beautiful, after some sketches by Michelagnolo Buonarroti, and went off to Carrara with money to have the marble quarried. But not long afterwards the Cardinal, having departed from Rome on his way to Africa, died at Itri, and the work slipped out of the hands of Alfonso, because he was dismissed by its executors, Cardinals Salviati, Ridolfi, Pucci, Cibo, and Gaddi, and it was entrusted by the favour of Madonna Lucrezia Salviati, daughter of the great Lorenzo de' Medici, the elder, and sister of Leo, to Baccio Bandinelli, a sculptor of Florence, who had made models for it during the lifetime of Clement.

For this reason Alfonso, thus knocked off his high horse and almost beside himself, determined to return to Bologna; and, having arrived in Florence, he presented to Duke Alessandro a most beautiful head in marble of the Emperor Charles V, which is now in Carrara, whither it was sent by Cardinal Cibo, who removed it after the death of Duke Alessandro from the guardaroba of that Prince. The Duke, when Alfonso arrived in Florence, was in the humour to have his portrait taken; for it had already been done on medals by Domenico di Polo, a gem-engraver, and by Francesco di Girolamo dal Prato, for the coinage by Benvenuto Cellini, and in painting by Giorgio Vasari of Arezzo and Jacopo da Pontormo, and he wished that Alfonso should likewise portray him. Wherefore he made a very beautiful portrait of him in relief, much better than the one executed by Danese da Carrara, and then, since he was wholly set on going to Bologna, he was given the means to make one there in marble, after the model. And so, having received many gifts and favours from Duke Alessandro, Alfonso returned to Bologna, where, being still far from content on account of the death of the Cardinal, and sorely vexed by the loss of the tombs, there came upon him a pestilent and incurable disease of the skin, which wasted him away little by little, until, having reached the age of forty-nine, he passed to a better life, never ceasing to rail at Fortune, which had robbed him of a patron to whom he might have looked for all the blessings which could make him happy in this life, and saying that she should have closed his own eyes, since she had reduced him to such misery, rather than those of Cardinal Ippolito de' Medici. Alfonso died in the year 1536.

Michelagnolo, a sculptor of Siena, after he had spent the best years of his life in Sclavonia with other excellent sculptors, made his way to Rome on the following occasion. After the death of Pope Adrian, Cardinal Hincfort, who had been the friend and favourite of that Pontiff, determined, as one not ungrateful for the benefits received from him, to erect to him a tomb of marble; and he gave the charge of this to Baldassarre Peruzzi, the painter of Siena. And that master, having made the model, desired that the sculptor Michelagnolo, his friend and compatriot, should undertake the work on his own account. Michelagnolo, therefore, made on that tomb a lifesize figure of Pope Adrian, lying upon the sarcophagus and portrayed from nature, with a scene, also in marble, below him, showing his arrival in Rome and the Roman people going to meet him and to do him homage. Around the tomb, moreover, in four niches, are four Virtues in marble, Justice, Fortitude, Peace, and Prudence, all executed with much diligence by the hand of Michelagnolo after the counsel of Baldassarre. It is true, indeed, that some of the things that are in this work were wrought by the Florentine sculptor, Tribolo, then a very young man, and these were considered the best of all; but Michelagnolo executed the minor details of the work with supreme diligence and subtlety, and the little figures that are in it deserve to be extolled more than all the rest. Among other things, there are some variegated marbles wrought with a high finish, and put together so well that nothing more could be desired. For these labours Michelagnolo received a just and honourable reward from the aforesaid Cardinal, and was treated with much favour by him for the rest of his life; and, in truth, with right good reason, seeing that this tomb and the Cardinal's gratitude have done as much to bring fame to him as did the work to give a name to Michelagnolo in his lifetime and renown after his death. This work finished, no long time elapsed before Michelagnolo passed from this life to the next, at about the age of fifty.

Girolamo Santa Croce of Naples, although he was snatched from us by death in the very prime of life, at a time when greater things were looked for from him, yet showed in the works of sculpture that he made at Naples during his few years, what he would have done if he had lived longer; for the works that he executed in sculpture at Naples were wrought and finished with all the lovingness that could be desired in a young man who wishes to surpass by a great measure those who for many years before his day have held the sovereignty in some noble profession. In S. Giovanni Carbonaro at Naples he built the Chapel of the Marchese di Vico, which is a round temple, partitioned by columns and niches, with some tombs carved with much diligence. And because the altar-piece of this chapel, made of marble in half-relief and representing the Magi bringing their offerings to Christ, is by the hand of a Spaniard, Girolamo executed in emulation of this work a S. John in a niche, so beautifully wrought in full-relief, that it showed that he was not inferior to the Spaniard either in courage or in judgment; on which account he won such a name, that, although Giovanni da Nola was held in Naples to be a marvellous sculptor and better than any other, nevertheless Girolamo worked in competition with him as long as he lived, notwithstanding that his rival was now old and had executed a vast number of works in that city, where it is much the custom to make chapels and altar-pieces of marble. Competing with Giovanni, then, Girolamo undertook to execute a chapel in Monte Oliveto at Naples, just within the door of the church, on the left hand, while Giovanni executed another opposite to his, on the other side, in the same style. In his chapel Girolamo made a lifesize Madonna in the round, which is held to be a very beautiful figure; and since he took infinite pains in executing the draperies and the hands, and in giving bold relief to the marble by undercutting, he brought it to such perfection that it was the general opinion that he had surpassed all those who had handled tools for working marble at Naples in his time. This Madonna he placed between a S. John and a S. Peter, figures very well conceived and executed, and finished in a beautiful manner, as are also some children which are placed above them.

In addition to these, he made two large and most beautiful statues in full-relief for the Church of Capella, a seat of the Monks of Monte Oliveto. He then began a statue of the Emperor Charles V, at the time of his return from Tunis; but after he had blocked it and carved it with the pointed chisel, and even in some places with the broad-toothed chisel, it remained unfinished, because fortune and death, envying the world such excellence, snatched him from us at the age of thirty-five. It was confidently expected that Girolamo, if he had lived, even as he had outstripped all his compatriots in his profession, would also have surpassed all the craftsmen of his time. Wherefore his death was a grievous blow to the Neapolitans, and all the more because he had been endowed by nature not only with a most beautiful genius, but also with as much modesty, sweetness, and gentleness as could be looked for in mortal man; so that it is no marvel if all those who knew him are not able to restrain their tears when they speak of him. His last sculptures were executed in 1537, in which year he was buried at Naples with most honourable obsequies.

Old as he was, Giovanni da Nola, who was a well-practised sculptor, as may be seen from many works made by him at Naples with good skill of hand, but not with much design, still remained alive. Him Don Pedro di Toledo, Marquis of Villafranca, and at that time Viceroy of Naples, commissioned to execute a tomb of marble for himself and his wife; and therein Giovanni made a great number of scenes of the victories obtained by that lord over the Turks, with many statues for the same work, which stands quite by itself, and was executed with much diligence. This tomb was to have been taken to Spain; but, since that nobleman did not do this while he was alive, it remained in Naples. Giovanni died at the age of seventy, and was buried in Naples, in the year 1558.

About the same time that Heaven presented to Ferrara, or rather, to the world, the divine Lodovico Ariosto, there was born in the same city the painter Dosso, who, although he was not as rare among painters as Ariosto among poets, nevertheless acquitted himself in his art in such a manner, that, besides the great esteem wherein his works were held in Ferrara, his merits caused the learned poet, his intimate friend, to honour his memory by mentioning him in his most celebrated writings; so that the pen of Messer Lodovico has given more renown to the name of Dosso than did all the brushes and colours that he used in the whole of his life. Wherefore I, for my part, declare that there could be no greater good-fortune than that of those who are celebrated by such great men, since the might of the pen forces most of mankind to accept their fame, even though they may not wholly deserve it.

Dosso was much beloved by Duke Alfonso of Ferrara: first for his good abilities in the art of painting, and then because he was a very pleasant and amiable person—a manner of man in whom the Duke greatly delighted. Dosso had the reputation in Lombardy of executing landscapes better than any other painter engaged in that branch of the profession, whether in mural painting, in oils, or in gouache; and all the more after the German manner became known. In Ferrara, for the Cathedral Church, he executed a panel-picture with figures in oils, which was held to be passing beautiful; and in the Duke's Palace he painted many rooms, in company with a brother of his, called Battista. These two were always enemies, one against the other, although they worked together by the wish of the Duke. In the court of the said palace they executed stories of Hercules in chiaroscuro, with an endless number of nudes on those walls; and in like manner they painted many works on panel and in fresco throughout all Ferrara. By their hands is a panel in the Duomo of Modena; and they painted many things in the Cardinal's Palace at Trento, in company with other painters.

At this same time the painter and architect, Girolamo Genga, was executing various decorations in the Imperiale Palace, above Pesaro, as will be related in the proper place, for Duke Francesco Maria of Urbino; and among the number of painters who were summoned to that work by order of the same Signor Francesco Maria, invitations were sent to Dosso and Battista of Ferrara, principally for the painting of landscapes; many paintings having been executed long before in that palace by Francesco di Mirozzo[10] of Forlì, Raffaello dal Colle of Borgo a San Sepolcro, and many others. Now, having arrived at the Imperiale, Dosso and Battista, according to the custom of men of their kidney, found fault with most of the paintings that they saw, and promised the Duke that they would do much better work; and Genga, who was a shrewd person, seeing how the matter was likely to end, gave them an apartment to paint by themselves. Thereupon, setting to work, they strove with all labour and diligence to display their worth; but, whatever may have been the reason, never in all the course of their lives did they do any work less worthy of praise, or rather, worse, than that one. It seems often to happen, indeed, that in their greatest emergencies, when most is expected of them, men become blinded and bewildered in judgment, and do worse work than at any other time; which may result, perchance, from their own malign and evil disposition to be always finding fault with the works of others, or from their seeking to force their genius overmuch, seeing that to proceed step by step according to the ruling of nature, yet without neglecting diligence and study, appears to be a better method than seeking to wrest from the brain, as it were by force, things that are not there; and it is a fact that in the other arts as well, but above all in that of writing, lack of spontaneity is only too easily recognized, and also, so to speak, over-elaboration in everything.

Now, when the work of the Dossi was unveiled, it proved to be so ridiculous that they left the service of the Duke in disgrace; and he was forced to throw to the ground all that they had executed, and to have it repainted by others after the designs of Genga.

Finally, they painted a very beautiful panel-picture in the Duomo of Faenza for the Chevalier, M. Giovan Battista de' Buosi, of Christ disputing in the Temple; in which work they surpassed themselves, by reason of the new manner that they used, and particularly in the portraits of that Chevalier and of others. That picture was set up in that place in the year 1536. Ultimately Dosso, having grown old, spent his last years without working, being pensioned until the close of his life by Duke Alfonso. And in the end Battista survived him, executing many works by himself, and maintaining himself in a good condition. Dosso was buried in his native city of Ferrara.

There lived in the same times the Milanese Bernazzano, a very excellent painter of landscapes, herbage, animals, and other things of earth, air, and water. And since, as one who knew himself to have little aptitude for figures, he did not give much attention to them, he associated himself with Cesare da Sesto, who painted them very well and in a beautiful manner. It is said that Bernazzano executed in a courtyard some very beautiful landscapes in fresco, in which he painted a strawberry-bed full of strawberries, ripe, green, and in blossom, and so well imitated, that some peacocks, deceived by their natural appearance, were so persistent in picking at them as to make holes in the plaster.

GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OTHER PAINTERS OF FRIULI

LIVES OF GIOVANNI ANTONIO LICINIO OF PORDENONE, AND OF OTHER PAINTERS OF FRIULI

It would seem, as has been remarked already in the same connection, that Nature, the kindly mother of the universe, sometimes presents the rarest things to certain places that never had any knowledge of such gifts, and that at times she creates in some country men so much inclined to design and to painting, that, without masters, but only by imitating living and natural objects, they become most excellent. And it also happens very often that when one man has begun, many set themselves to work in competition with him, and labour to such purpose, without seeing Rome, Florence, or any other place full of notable pictures, but merely through rivalry one with another, that marvellous works are seen to issue from their hands. All this may be seen to have happened more particularly in Friuli, where, in our own day, in consequence of such a beginning, there has been a vast number of excellent painters—a thing which had not occurred in those parts for many centuries.

While Giovanni Bellini was working in Venice and teaching his art to many, as has been related, he had two disciples who were rivals one with another—Pellegrino da Udine, who, as will be told, was afterwards called Da San Daniele, and Giovanni Martini of Udine. Let us begin, then, by speaking of Giovanni. He always imitated the manner of Bellini, which was somewhat crude, hard, and dry; nor was he ever able to give it sweetness or softness, although he was a diligent and finished painter. This may have happened because he was always making trial of certain reflections, half-lights, and shadows, with which, cutting the relief in the middle, he contrived to define light and shade very abruptly, in such a way that the colouring of all his works was always crude and unpleasant, although he strove laboriously with his art to imitate Nature. By the hand of this master are numerous works in many places in Friuli, particularly in the city of Udine, in the Duomo of which there is a panel-picture executed in oils, of S. Mark seated with many figures round him, which is held to be the best of all that he ever painted. There is another on the altar of S. Ursula in the Church of the Friars of S. Pietro Martire, wherein the first-mentioned Saint is standing with some of her virgins round her, all painted with much grace and beautiful expressions of countenance. This Giovanni, besides being a passing good painter, was endowed by Nature with beauty and grace of features and an excellent character, and, what is most desirable, with such foresight and power of management, that, after his death, in default of heirs male, he left an inheritance of much property to his wife. And she, being, so I have heard, a lady as shrewd as she was beautiful, knew so well how to manage her life after the death of her husband, that she married two very beautiful daughters into the richest and most noble houses of Udine.

Pellegrino da San Daniele, who was a rival of Giovanni, as has been related, and a man of greater excellence in painting, received at baptism the name of Martino. But Giovanni Bellini, judging that he was destined to become, as he afterwards did, a truly rare master of art, changed his name from Martino to Pellegrino.[11] And even as his name was changed, so he may be said by chance to have changed his country, since, living by preference at San Daniele, a township ten miles distant from Udine, and spending most of his time in that place, where he had taken a wife, he was called ever afterwards not Martino da Udine, but Pellegrino da San Daniele. He painted many pictures in Udine, and some may still be seen on the doors of the old organ, on the outer side of which is painted a sunken arch in perspective, containing a S. Peter seated among a multitude of figures and handing a pastoral staff to S. Ermacora the Bishop. On the inner side of the same doors, likewise, in some niches, he painted the four Doctors of the Church in the act of studying. For the Chapel of S. Giuseppe he executed a panel-picture in oils, drawn and coloured with much diligence, in the middle of which is S. Joseph standing in a beautiful attitude, with an air of dignity, and beside him is Our Lord as a little Child, while S. John the Baptist is below in the garb of a little shepherd-boy, gazing intently on his Master. And since this picture is much extolled, we may believe what is said of it—namely, that he painted it in competition with the aforesaid Giovanni, and that he put forward every effort to make it, as it proved to be, more beautiful than that which Giovanni painted of S. Mark, as has been related above. Pellegrino also painted at Udine, for the house of Messer Pre Giovanni, intendant to the illustrious Signori della Torre, a picture of Judith from the waist upwards, with the head of Holofernes in one hand, which is a very beautiful work. By the hand of the same man is a large panel in oils, divided into several pictures, which may be seen on the high-altar of the Church of S. Maria in the town of Civitale, at a distance of eight miles from Udine; and in it are some heads of virgins and other figures with great beauty of expression. And in his township of San Daniele, in a chapel of S. Antonio, he painted in fresco scenes of the Passion of Jesus Christ, and that so finely that he well deserved to be paid more than a thousand crowns for the work. He was much beloved for his talents by the Dukes of Ferrara, and, in addition to other favours and many gifts, he obtained through their good offices two Canonicates in the Duomo of Udine for two of his relatives.

Among his pupils, of whom he had many, making much use of them and rewarding them liberally, was one of Greek nationality, a man of no little ability, who had a very beautiful manner and imitated Pellegrino closely. But Luca Monverde of Udine, who was much beloved by Pellegrino, would have been superior to the Greek, if he had not been snatched from the world prematurely when still a mere lad; although one work by his hand was left on the high-altar of S. Maria delle Grazie in Udine, a panel-picture in oils, his first and last, in which, in a recess in perspective, there is a Madonna seated on high with the Child in her arms, painted by him with a soft gradation of shadow, while on the level surface below there are two figures on either side, so beautiful that they show that if he had lived longer he would have become truly excellent.

Another disciple of the same Pellegrino was Bastianello Florigorio, who painted a panel-picture that is over the high-altar of S. Giorgio in Udine, of a Madonna in the sky surrounded by an endless number of little angels in various attitudes, all adoring the Child that she holds in her arms; while below there is a very well executed landscape. There is also a very beautiful S. John, and a S. George in armour and on horseback, who, foreshortened in a spirited attitude, is slaying the Dragon with his lance; while the Maiden, who is there on one side, appears to be thanking God and the glorious Virgin for the succour sent to her. In the head of the S. George Bastianello is said to have made his own portrait. He also painted two pictures in fresco in the Refectory of the Friars of S. Pietro Martire: in one is Christ seated at table with the two disciples at Emmaus, and breaking the bread with a benediction, and in the other is the death of S. Peter Martyr. The same master painted in fresco in a niche on a corner of the Palace of M. Marguando, an excellent physician, a nude man in foreshortening, representing a S. John, which is held to be a good painting. Finally, he was forced through some dispute to depart from Udine, for the sake of peace, and to live like an exile in Civitale.

Bastianello had a crude and hard manner, because he much delighted in drawing works in relief and objects of Nature by candle-light. He had much beauty of invention, and he took great pleasure in executing portraits from life, making them truly beautiful and very like; and at Udine, among others, he made one of Messer Raffaello Belgrado, and one of the father of M. Giovan Battista Grassi, an excellent painter and architect, from whose loving courtesy we have received much particular information touching our present subject of Friuli. Bastianello lived about forty years.

Another disciple of Pellegrino was Francesco Floriani of Udine, who is still alive and is a very good painter and architect, like his younger brother, Antonio Floriani, who, thanks to his rare abilities in his profession, is now in the service of his glorious Majesty the Emperor Maximilian. Some of the pictures of that same Francesco were to be seen two years ago in the possession of the Emperor, who was then a King; one of these being a Judith who has cut off the head of Holofernes, painted with admirable judgment and diligence. And in the collection of that monarch there is a book of pen-drawings by the same master, full of lovely inventions, buildings, theatres, arches, porticoes, bridges, palaces, and many other works of architecture, all useful and very beautiful.

Gensio Liberale was also a disciple of Pellegrino, and in his pictures, among other things, he imitated every sort of fish excellently well. This master is now in the service of the Archduke Ferdinand of Austria, a splendid position, which he deserves, for he is a very good painter.

But among the most illustrious and renowned painters of the territory of Friuli, the rarest and most famous in our day—since he has surpassed those mentioned above by a great measure in the invention of scenes, in draughtsmanship, in boldness, in mastery over colour, in fresco work, in swiftness of execution, in strength of relief, and in every other department of our arts—is Giovanni Antonio Licinio, called by some Cuticello. This master was born at Pordenone, a township in Friuli, twenty-five miles from Udine; and since he was endowed by nature with a beautiful genius and an inclination for painting, he devoted himself without any teacher to the study of natural objects, imitating the style of Giorgione da Castelfranco, because that manner, seen by him many times in Venice, had pleased him much. Now, having learnt the rudiments of art, he was forced, in order to save his life from a pestilence that had fallen upon his native place, to take to flight; and thus, passing many months in the surrounding country, he executed various works in fresco for a number of peasants, gaining at their expense experience of using colour on plaster. Wherefore, since the surest and best method of learning is practice and a sufficiency of work, it came to pass that he became a well-practised and judicious master of that kind of painting, and learned to make colours produce the desired effect when used in a fluid state, which is done on account of the white, which dries the plaster and produces a brightness that ruins all softness. And so, having mastered the nature of colours, and having learnt by long practice to work very well in fresco, he returned to Udine, where he painted for the altar of the Nunziata, in the Convent of S. Pietro Martire, a panel-picture in oils containing the Madonna at the moment of receiving the Salutation from the Angel Gabriel; and in the sky he made a God the Father surrounded by many little boys, who is sending down the Holy Spirit. This work, which is executed with good drawing, grace, vivacity, and relief, is held by all craftsmen of judgment to be the best that he ever painted.

In the Duomo of the same city, on the balustrade of the organ, below the doors already painted by Pellegrino, he painted a story of S. Ermacora and Fortunatus, also in oils, graceful and well designed. In the same city, in order to gain the friendship of the Signori Tinghi, he painted in fresco the façade of their palace; in which work, wishing to make himself known and to prove what a master he was of architectural invention and of working in fresco, he made a series of compartments and groups of varied ornaments full of figures in niches; and in three great spaces in the centre of the work he painted scenes with figures in colours, two spaces, high and narrow, being on either side, and one square in shape in the middle; and in the latter he painted a Corinthian column planted with its base in the sea, with a Siren on the right hand, holding the column upright, and a nude Neptune on the left supporting it on the other side; while above the capital of the column there is a Cardinal's hat, the device, so it is said, of Pompeo Colonna, who was much the friend of the owners of that palace. In one of the two other spaces are the Giants being slain with thunderbolts by Jove, with some dead bodies on the ground very well painted and most beautifully foreshortened. On the other side is a Heaven full of Gods, and on the earth two Giants who, club in hand, are in the act of striking at Diana, who, defending herself in a bold and spirited attitude, is brandishing a blazing torch as if to burn the arms of one of them.

At Spelimbergo, a large place fifteen miles above Udine, the balustrade and the doors of the organ in the great church are painted by the hand of the same master; on the outer side of one door is the Assumption of Our Lady, and on the inner side S. Peter and S. Paul before Nero, gazing at Simon Magus in the air above; while on the other door there is the Conversion of S. Paul, and on the balustrade the Nativity of Christ.

Through this work, which is very beautiful, and many others, Pordenone came into repute and fame, and was summoned to Vicenza, whence, after having executed some works there, he made his way to Mantua, where he coloured a façade in fresco with marvellous grace for M. Paris, a gentleman of that city. Among other beautiful inventions which are in that work, much praise is due to a frieze of antique letters, one braccio and a half in height, at the top, below the cornice, among which, passing in and out of them, are many little children in various attitudes, all most beautiful.

That work finished, he returned in great credit to Vicenza, and there, besides many other works, he painted the whole of the tribune of S. Maria di Campagna, although by reason of his departure a part remained unfinished, which was afterwards finished with great diligence by Maestro Bernardo da Vercelli. In the same church he painted two chapels in fresco: one with stories of S. Catherine, and the other with the Nativity of Christ and the Adoration of the Magi, both being worthy of the highest praise. He then painted some poetical pictures in the beautiful garden of M. Barnaba dal Pozzo, a doctor; and, in the said Church of S. Maria di Campagna, the picture of S. Augustine, which is on the left hand as one enters the church. All these most beautiful works brought it about that the gentlemen of that city persuaded him to take a wife there, and always held him in vast veneration.

Going afterwards to Venice, where he had formerly executed some works, he painted a wall of S. Geremia, on the Grand Canal, and a panel-picture in oils for the Madonna del Orto, with many figures, making a particular effort to prove his worth in the S. John the Baptist. He also painted many scenes in fresco on the façade of the house of Martin d'Anna on the same Grand Canal; in particular, a Curtius on horseback in foreshortening, which has the appearance of being wholly in the round, like the Mercury flying freely through the air, not to speak of many other things that all prove his ability. That work pleased the whole city of Venice beyond measure, and Pordenone was therefore extolled more highly than any other man who had ever worked in the city up to that time.

Among other reasons that caused him to give an incredible amount of effort to all his works, was his rivalry with the most excellent Tiziano; since, setting himself to compete with him, he hoped by means of continual study and by a bold and resolute method of working in fresco to wrest from the hands of Tiziano that sovereignty which he had gained with so many beautiful works; employing, also, unusual methods outside the field of art, such as that of being obliging and courteous and associating continually and of set purpose with great persons, making his interests universal, and taking a hand in everything. And, in truth, this rivalry was a great assistance to him, for it caused him to devote the greatest zeal and diligence in his power to all his works, so that they proved worthy of eternal praise.

For these reasons, then, he was commissioned by the Wardens of S. Rocco to paint in fresco the chapel of that church, with all the tribune. Setting his hand, therefore, to this work, he painted a God the Father in the tribune, with a vast number of children in various beautiful attitudes, radiating from Him. In the frieze of the same tribune he painted eight figures from the Old Testament, with the four Evangelists in the angles, and the Transfiguration of Christ over the high-altar; and in the two lunettes at the sides are the four Doctors of the Church. By the hand of the same master are two large pictures in the middle of the church: in one is Christ healing an endless number of the sick, all very well painted, and in the other is S. Christopher carrying Jesus Christ on his shoulders. On the wooden tabernacle of the same church, wherein the vessels of silver are kept, he painted a S. Martin on horseback, with many beggars who are bringing votive offerings, in a building in perspective.

This work, which was much extolled and brought him honour and profit, was the reason that M. Jacopo Soranzo, having become his intimate friend, caused him to be commissioned to paint the Sala de' Pregai in competition with Tiziano; and there he executed many pictures with figures seen foreshortened from below, which are very beautiful, together with a frieze of marine monsters painted in oils round that hall. These works made him so dear to the Senate, that as long as he lived he always received an honourable salary from them. And since, out of rivalry, he always sought to do work in places where Tiziano had also worked, he painted for S. Giovanni di Rialto a S. John, as Almoner, giving alms to beggars, and also placed on an altar a picture of S. Sebastian, S. Rocco, and other saints, which was very beautiful, but yet not equal to the work of Tiziano, although many, more out of malignity than out of a love for the truth, exalted that of Giovanni Antonio. The same master painted in the cloister of S. Stefano many scenes in fresco from the Old Testament, and one from the New, divided one from another by various Virtues; and in these figures he displayed amazing foreshortenings, in which method of painting he always delighted, seeking to introduce them into his every composition with no fear of difficulties, and making them more ornate than any other painter.

Prince Doria had built a palace on the seashore in Genoa, and had commissioned Perino del Vaga, a very celebrated painter, to paint halls, apartments, and ante-chambers both in oils and in fresco, which are quite marvellous for the richness and beauty of the paintings. But seeing that Perino was not then giving much attention to the work, and wishing to make him do by the spur of emulation what he was not doing by himself, he sent for Pordenone, who began with an open terrace, wherein, following his usual manner, he executed a frieze of children, who are hurrying about in very beautiful attitudes and unloading a barque full of merchandise. He also painted a large scene of Jason asking leave from his uncle to go in search of the Golden Fleece. But the Prince, seeing the difference that there was between the work of Perino and that of Pordenone, dismissed the latter, and summoned in his place Domenico Beccafumi of Siena, an excellent painter and a rarer master than Pordenone. And he, glad to serve so great a Prince, did not scruple to leave his native city of Siena, where there are so many marvellous works by his hand; but he did not paint more than one single scene in that palace, because Perino brought everything to completion by himself.

Giovanni Antonio then returned to Venice, where he was given to understand that Ercole, Duke of Ferrara, had brought a great number of masters from Germany, and had caused them to begin to make fabrics in silk, gold, floss-silk, and wool, for his own use and pleasure, but that he had no good designers of figures in Ferrara, since Girolamo da Ferrara had more ability for portraits and separate things than for difficult and complicated scenes, which called for great power of art and design; and that he should enter the service of that Prince. Whereupon, desiring to gain fame no less than riches, he departed from Venice, and on reaching Ferrara was received with great warmth by the Duke. But a little time after his arrival, being attacked by a most grievous affliction of the chest, he took to his bed with the doom of death upon him, and, growing continually worse and finding no remedy, within three days or little more he finished the course of his life, at the age of fifty-six. This seemed a strange thing to the Duke, and also to Pordenone's friends; and there were not wanting men who for many months believed that he had died of poison. The body of Giovanni Antonio was buried with honour, and his death was a grief to many, particularly in Venice, for the reason that he was ready of speech and the friend and companion of many, and delighted in music; and his readiness and grace of speech came from his having given attention to the study of Latin. He always made his figures grand, and was very rich in invention, and so versatile that he could imitate everything very well; but he was, above all, resolute and most facile in works in fresco.

A disciple of Pordenone was Pomponio Amalteo of San Vito, who won by his good qualities the honour of becoming the son-in-law of his master. This Pomponio, always following that master in matters of art, has acquitted himself very well in all his works, as may be seen at Udine from the doors of the new organ, painted in oils, on the outer side of which is Christ driving the traders from the Temple, and on the inner side the story of the Pool of Bethesda and the Resurrection of Lazarus. In the Church of S. Francesco, in the same city, there is a panel-picture in oils by the hand of the same man, of S. Francis receiving the Stigmata, with some very beautiful landscapes, and with a sunrise from which, in the midst of some rays of the greatest splendour, there radiates the celestial light, which pierces the hands, feet, and side of S. Francis, who, kneeling devoutly and full of love, receives it, while his companion lies on the ground, in foreshortening, all overcome with amazement. Pomponio also painted in fresco for the Friars of La Vigna, at the end of their refectory, Jesus Christ between the two disciples at Emmaus. In the township of San Vito, his native place, twenty miles distant from Udine, he painted in fresco the Chapel of the Madonna in the Church of S. Maria, in so beautiful a manner, and so much to the satisfaction of all, that he has won from the most reverend Cardinal Maria Grimani, Patriarch of Aquileia and Lord of San Vito, the honour of being enrolled among the nobles of that place.

I have thought it right in this Life of Pordenone to make mention of these excellent craftsmen of Friuli, both because it appears to me that their talents deserve it, and to the end that it may be recognized in the account to be given later how much more excellent are those who, after such a beginning, have lived since that day, as will be related in the Life of Giovanni Ricamatori of Udine, to whom our age owes a very great obligation for his works in stucco and his grotesques.

But returning to Pordenone; after the works mentioned above as having been executed by him at Venice in the time of the most illustrious Gritti, he died, as has been related, in the year 1540. And because he was one of the most able men that our age has possessed, and for the reason, above all, that his figures seem to be in the round and detached from their walls, and almost in relief, he can be numbered among those who have rendered assistance to art and benefit to the world.

GIOVANNI ANTONIO SOGLIANI

LIFE OF GIOVANNI ANTONIO SOGLIANI

PAINTER OF FLORENCE

Very often do we see in the sciences of learning and in the more liberal of the manual arts, that those men who are melancholy are the most assiduous in their studies and show the greatest patience in supporting the burden of their labours; so that there are few of that disposition who do not become excellent in such professions. Even so did Giovanni Antonio Sogliani, a painter of Florence, whose cast of countenance was so cold and woeful that he looked like the image of melancholy; and such was the power of this humour over him that he gave little thought to anything but matters of art, with the exception of his household cares, through which he endured most grievous anxieties, although he had enough to live in comfort. He worked at the art of painting under Lorenzo di Credi for four-and-twenty years, living with him, honouring him always, and rendering him every sort of service. Having become during that time a very good painter, he showed afterwards in all his works that he was a most faithful disciple of his master and a close imitator of his manner. This was seen from his first paintings, in the Church of the Osservanza on the hill of San Miniato without Florence, for which he painted a panel-picture copied from the one that Lorenzo had executed for the Nuns of S. Chiara, containing the Nativity of Christ, and no less excellent than the one of Lorenzo.

Afterwards, having left his master, he painted for the Church of S. Michele in Orto, at the commission of the Guild of Vintners, a S. Martin in oils, robed as a Bishop, which gave him the name of a very good master. And since Giovanni Antonio had a vast veneration for the works and the manner of Fra Bartolommeo di San Marco, and made great efforts to approach that manner in his colouring, it may be seen from a panel which he began but did not finish, not being satisfied with it, how much he imitated that painter. This panel remained in his house during his lifetime as worthless: but after his death it was sold as a piece of old rubbish to Sinibaldo Gaddi, and he had it finished by Santi Titi dal Borgo, then a mere boy, and placed it in a chapel of his own in S. Domenico da Fiesole. In this work are the Magi adoring Jesus Christ, who is in the lap of His Mother, and in one corner is his own portrait from life, which is a passing good likeness.

He then painted for Madonna Alfonsina, the wife of Piero de' Medici, a panel-picture that was placed as a votive offering over the altar of the Chapel of the Martyrs in the Camaldolite Church at Florence: in which picture he painted the Crucifixion of S. Arcadio and other martyrs with their crosses in their arms, and two figures, half covered with draperies and half naked, kneeling with their crosses on the ground, while in the sky are some little angels with palms in their hands. This work, which was painted with much diligence, and executed with good judgment in the colouring and in the heads, which are very lifelike, was placed in the above-mentioned Camaldolite Church; but that monastery was taken on account of the siege of Florence from those Eremite Fathers, who used devoutly to celebrate the Divine offices in the church, and was afterwards given to the Nuns of S. Giovannino, of the Order of the Knights of Jerusalem, and finally destroyed; and the picture, being one which may be numbered among the best works that Sogliani painted, was placed by order of the Lord Duke Cosimo in one of the chapels of the Medici family in S. Lorenzo.

The same master executed for the Nuns of the Crocetta a Last Supper coloured in oils, which was much extolled at that time. And in a shrine in the Via de' Ginori, he painted in fresco for Taddeo Taddei a Crucifix with Our Lady and S. John at the foot, and in the sky some angels lamenting Christ, very lifelike—a picture truly worthy of praise, and a well-executed example of work in fresco. By the hand of Sogliani, also, is a Crucifix in the Refectory of the Abbey of the Black Friars in Florence, with angels flying about and weeping with much grace; and at the foot the Madonna, S. John, S. Benedict, S. Scholastica, and other figures. For the Nuns of the Spirito Santo, on the hill of San Giorgio, he painted two pictures that are in their church, one of S. Francis, and the other of S. Elizabeth, Queen of Hungary and a sister of that Order. For the Company of the Ceppo he painted the banner for carrying in processions, which is very beautiful, representing on the front of it the Visitation of Our Lady, and on the other side S. Niccolò the Bishop, with two children dressed as Flagellants, one of whom holds his book and the other the three balls of gold. On a panel in S. Jacopo sopra Arno he painted the Trinity, with an endless number of little boys, S. Mary Magdalene kneeling, S. Catherine, S. James, and two figures in fresco standing at the sides, S. Jerome in Penitence and S. John; and in the predella he made his assistant, Sandrino del Calzolaio, execute three scenes, which won no little praise.

On the end wall of the Oratory of a Company in the township of Anghiari, he executed on panel a Last Supper in oils, with figures of the size of life; and on one of the two adjoining walls (namely, the sides) he painted Christ washing the feet of the Apostles, and on the other a servant bringing two vessels of water. The work is held in great veneration in that place, for it is indeed a rare thing, and one that brought him both honour and profit. A picture that he executed of a Judith who had cut off the head of Holofernes, being a very beautiful work, was sent to Hungary. And likewise another, in which was the Beheading of S. John the Baptist, with a building in perspective for which he had copied the exterior of the Chapter-house of the Pazzi, which is in the first cloister of S. Croce, was sent as a most beautiful work to Naples by Paolo da Terrarossa, who had given the commission for it. For one of the Bernardi, also, Sogliani executed two other pictures, which were placed in a chapel in the Church of the Osservanza at San Miniato, containing two lifesize figures in oils—S. John the Baptist and S. Anthony of Padua. But as for the panel that was to stand between them, Giovanni Antonio, being dilatory by nature and leisurely over his work, lingered over it so long that he who had given the commission died: wherefore that panel, which was to contain a Christ lying dead in the lap of His Mother, remained unfinished.