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LIVES  OF  THE  MOST  EMINENT 
PAINTERS  SCULPTORS  AND 
ARCHITECTS  BY  GIORGIO  VASARI 
VOLUME  X.  BRONZING  TO 
VASARI  &  GENERAL  INDEX 

1915 


IVES  OF  THE  MOST 
EMINENT  PAINTERS 

SCULPTORS  &  ARCHITECTS 

BY  GIORGIO  VAS ARI : 

NEWLY  TRANSLATED  BY  GASTON 
Du  C.  DE  VERB. WITH  FIVE  HUNDRED 
ILLUSTRATIONS:  IN  TEN  VOLUMES 


1511-1574 


PHILIP  LEE  WARNER,  PUBLISHER 
TO  THE  MEDICI  SOCIETY,  LIMITED 
7  GRAFTON  ST.  LONDON,  W.  1912-15 


II4  OF  THE  ACADEMICIANS 

and  so  sweet,  that  there  were  seen  drawn  from  the  eyes  of  more  than 
one  person  tears  that  were  not  feigned.  Which  finished,  and  each  figure 
having  taken  her  serpent  on  her  shoulders,  there  was  seen,  with  no  less 
terror  among  the  spectators,  a  new  and  very  large  opening  appearing 
in  the  floor,  from  which  issued  a  thick  and  continuous  stream  of  flame 
and  smoke,  and  an  awful  barking  was  heard,  and  there  was  seen  to  issue 
from  the  hole  the  infernal  Cerberus  with  his  three  heads,  to  whom,  in 
accordance  with  the  fable,  Psyche  was  seen  to  throw  one  of  the  two  flat 
cakes  that  she  had  in  her  hand;  and  shortly  afterwards  there  was  seen 
likewise  to  appear,  together  with  various  monsters,  old  Charon  with 
his  customary  barque,  into  which  the  despairing  Psyche  having  entered, 
the  four  tormentors  described  above  kept  her  unwelcome  and  displeasing 

company. 

Fuggi,  speme  mia,  fuggi, 

E  fuggi  per  non  far  piii  mai  ritorno; 

Sola  tu,  che  distruggi 

Ogni  mia  pace,  a  far  vienne  soggiorno, 

Invidia,  Gelosia,  Pensiero  e  Scorno 

Meco  nel  cieco  Inferno 

Ove  1*  aspro  martir  mio  viva  eterno. 

LAST  INTERLUDE. 

The  sixth  and  last  interlude  was  all  joyous,  for  the  reason  that,  the 
comedy  being  finished,  there  was  seen  to  issue  in  an  instant  from  the  floor 
of  the  stage  a  verdant  mound  all  adorned  with  laurels  and  different 
flowers,  which,  having  on  the  summit  the  winged  horse  Pegasus,  was 
soon  recognized  to  be  the  Mount  of  Helicon,  from  which  were  seen  de- 
scending one  by  one  that  most  pleasing  company  of  little  Cupids  already 
described,  and  with  them  Zephyr,  Music,  and  Cupid,  all  joining  hands, 
and  Psyche  also,  all  joyful  and  merry  now  that  she  was  safe  returned 
from  Hell,  and  that  by  the  prayers  of  her  husband  Cupid,  at  the  inter- 
cession of  Jove,  after  such  mighty  wrath  in  Venus,  there  had  been  won  for 
her  grace  and  pardon.  With  these  were  Pan  and  nine  other  Satyrs, 
with  various  pastoral  instruments  in  their  hands,  under  which  other 
musical  instruments  were  concealed;  and  all  descending  from  the  mound 


OF  THE  ACADEMICIANS  115 

described  above,  they  were  seen  bringing  with  them  Hymen,  God  of 
nuptials,  in  whose  praise  they  sang  and  played,  as  in  the  following 
canzonets,  and  performed  in  the  second  a  novel,  most  merry  and  most 
graceful  dance,  giving  a  gracious  conclusion  to  the  festival: 

Dal  bel  monte  Elicona 

Ecco  Imeneo  che  scende, 

E  gia  la  face  accende,  e  s'  incorona; 
Di  persa  s'  incorona, 

Odorata  e  soave, 

Onde  il  mondo  ogni  grave  cura  scaccia. 
Dunque  e  tu,  Psiche,  scaccia 

L'  aspra  tua  fera  doglia, 

E  sol  gioia  s'  accoglia  entro  al  tuo  seno. 
Amor  dentro  al  suo  seno 

Pur  lieto  albergo  datti, 

E  con  mille  dolci  atti  ti  consola. 
Ne  men  Giove  consola 

II  tuo  passato  pianto, 

Ma  con  riso  e  con  canto  al  Ciel  ti  chiede. 
Imeneo  dunque  ognun  chiede, 

Imeneo  vago  ed  adorno, 

Deh  che  lieto  e  chiaro  giorno, 

Imeneo,  teco  oggi  riede  ! 
Imeneo,  per  T  alma  e  diva 

Sua  Giovanna  ogn'  or  si  sente 

Del  gran  Ren  ciascuna  riva 

Risonar  soavemente ; 

E  non  men  T  Arno  lucente 

Pel  gratioso,  inclito  e  pio 

Suo  Francesco  aver  desio 

D'  Imeneo  lodar  si  vede. 

Imeneo  ecc. 
Flora  lieta,  Arno  beato, 

Arno  umil,  Flora  cortese, 

Deh  qual  piu  felice  stato 

Mai  si  vide,  mai  s'  intese  ? 

Fortunate  almo  paese, 

Terra  in  Ciel  gradita  e  cara, 

A  cui  coppia  cosi  rara 

Imeneo  benigno  diede. 
Imeneo  ecc. 


SEEN  BY 

PRESERVATION 

SERVICES 


F6R  USE  IN 
LIBRARY  ONLY 


A/ 


CONTENTS   OF  VOLUME   X 

PAGE 

ACADEMICIANS   OF   DESIGN,  PAINTERS,    SCULPTORS,   AND  ARCHI- 

TECTS     ........        ...  3 

DESCRIPTION  OF  THE  FESTIVE  PREPARATIONS  FOR  THE  NUPTIALS 

OF  THE  PRINCE  DON  FRANCESCO  OF  TUSCANY     ...          37 

GIORGIO  VASARI    ..........        171 

TO      lrt£       CRAP*?  'Alt'  A/     f?       &£&£/&*>  j2  \ 


INDEX  OF  NAMES  ...        ......        .227 

GENERAL  INDEX,  VOLUMES  I  TO  X      ......        233 


ILLUSTRATIONS   TO   VOLUME   X 


PLATES    IN     MONOCHROME 


AGNOLO  BRONZING 
AGNOLO  BRONZING 

AGNOLO  BRONZING 
ALESSANDRO  ALLORI 
BENVENUTO  CELLINI 
GIOVANNI  BOLOGNA 
GIOVANNI  BOLOGNA 
VINCENZIO  DANTI 
VINCENZIO  DANTI 
GIORGIO  VASARI 

GIORGIO  VASARI- 


Bartolommeo   Panciatichi 

Eleanora   de   Toledo  and 
her  Son 

Christ  in  Limbo 

Giuliano  de'  Medici  - 

Perseus 

Fountain  of  Neptune 

Mercury    - 

The  Brazen  Serpent 

Bronze  Relief   - 

Lorenzo    the    Magnificent 
and  the  Ambassadors 

Fresco    in    the    Hall    of 
Lorenzo  the  Magnificent 


Florence:  Uffizi,  159 
Florence:  Uffizi,  172 


FACING  PAGE 

4 
6 


Florence:  Uffizi,  1271  8 

Florence:  Uffizi,  193  12 

Florence:  Loggia  de' Lanzi  22 

Bologna  24 

Florence :  Museo  Nazionale  26 

Florence:  Museo  Nazionale  28 

Florence:  Museo  Nazionale  30 

Florence  :  Palazzo  Vecchio  208 

Florence :  Palazzo  Vecchio  214 


vn 


OF  THE  ACADEMICIANS  OF 
DESIGN,  PAINTERS,  SCULPTORS, 
AND  ARCHITECTS,  AND  OF 
THEIR  WORKS,  AND  FIRST  OF 
BRONZING 


X. 


OF  THE  ACADEMICIANS  OF  DESIGN,  PAINTERS, 
SCULPTORS,  AND  ARCHITECTS,  AND  OF  THEIR  WORKS,  AND 

FIRST  OF  BRONZING 

HAVING  written  hitherto  of  the  lives  and  works  of  the  most  excellent 
painters,  sculptors,  and  architects,  from  Cimabue  down  to  the  present 
day,  who  have  passed  to  a  better  life,  and  having  spoken  with  the  oppor- 
tunities that  came  to  me  of  many  still  living,  it  now  remains  that  I  say 
something  of  the  craftsmen  of  our  Academy  of  Florence,  of  whom  up 
to  this  point  I  have  not  had  occasion  to  speak  at  sufficient  length.  And 
beginning  with  the  oldest  and  most  important,  I  shall  speak  first  of 
Agnolo,  called  Bronzino,  a  Florentine  painter  truly  most  rare  and  worthy 
of  all  praise. 

Agnolo,  then,  having  been  many  years  with  Pontormo,  as  has  been 
told,  caught  his  manner  so  well,  and  so  imitated  his  works,  that  their 
pictures  have  been  taken  very  often  one  for  the  other,  so  similar  they 
were  for  a  time.  And  certainly  it  is  a  marvel  how  Bronzino  learned  the 
manner  of  Pontormo  so  well,  for  the  reason  that  Jacopo  was  rather 
strange  and  shy  than  otherwise  even  with  his  dearest  disciples,  being 
such  that  he  would  never  let  anyone  see  his  works  save  when  completely 
finished.  But  notwithstanding  this,  so  great  were  the  patience  and 
lovingness  of  Agnolo  towards  Pontormo,  that  he  was  forced  always  to 
look  kindly  upon  him,  and  to  love  him  as  a  son.  The  first  works  of 
account  that  Bronzino  executed,  while  still  a  young  man,  were  in  the 
Certosa  of  Florence,  over  a  door  that  leads  from  the  great  cloister  into 
the  chapter-house,  on  two  arches,  one  within  and  the  other  without.  On 
that  without  is  a  Piet£,  with  two  Angels,  in  fresco,  and  on  that  within  is 
a  nude  S.  Laurence  upon  the  gridiron,  painted  in  oil-colours  on  the  wall; 

3 


4  AGNOLO  BRONZING 

which  works  were  a  good  earnest  of  the  excellence  that  has  been  seen 
since  in  the  works  of  this  painter  in  his  mature  years.  In  the  Chapel  of 
Lodovico  Capponi,  in  S.  Felicita  at  Florence,  Bronzino,  as  has  been  said 
in  another  place,  painted  two  Evangelists  in  two  round  pictures  in  oils, 
and  on  the  vaulting  he  executed  some  figures  in  colour.  In  the  Abbey 
of  the  Black  Friars  at  Florence,  in  the  upper  cloister,  he  painted  in  fresco 
a  story  from  the  life  of  S.  Benedict,  when  he  throws  himself  naked  on  the 
thorns,  which  is  a  very  good  picture.  In  the  garden  of  the  Sisters  called 
the  Poverine,  he  painted  in  fresco  a  most  beautiful  tabernacle,  wherein 
is  Christ  appearing  to  the  Magdalene  in  the  form  of  a  gardener.  And 
in  S.  Trinita,  likewise  in  Florence,  may  be  seen  a  picture  in  oils  by  the 
same  hand,  on  the  first  pilaster  at  the  right  hand,  of  the  Dead  Christ, 
Our  Lady,  S.  John,  and  S.  Mary  Magdalene,  executed  with  much  diligence 
and  in  a  beautiful  manner.  And  during  that  time  when  he  executed  these 
works,  he  also  painted  many  portraits  of  various  persons,  and  other 
pictures,  which  gave  him  a  great  name. 

Then,  the  siege  of  Florence  being  ended  and  the  settlement  made,  he 
went,  as  has  been  told  elsewhere,  to  Pesaro,  where  under  the  protection 
of  Guidobaldo,  Duke  of  Urbino,  besides  the  above-mentioned  harpsichord- 
case  full  of  figures,  which  was  a  rare  thing,  he  executed  the  portrait  of 
that  lord  and  one  of  a  daughter  of  Matteo  Sofferoni,  which  was  a  truly 
beautiful  picture  and  much  extolled.  He  also  executed  at  the  Imperiale, 
a  villa  of  the  said  Duke,  some  figures  in  oils  on  the  spandrels  of  a  vault; 
and  more  of  these  he  would  have  done  if  he  had  not  been  recalled  to 
Florence  by  his  master,  Jacopo  Pontormo,  that  he  might  assist  him  to 
finish  the  Hall  of  Poggio  a  Caiano.  And  having  arrived  in  Florence,  he 
painted  as  it  were  by  way  of  pastime,  for  Messer  Giovanni  de  Statis, 
Auditor  to  Duke  Alessandro,  a  little  picture  of  Our  Lady  which  was  a 
much  extolled  work,  and  shortly  afterwards,  for  Monsignor  Giovio,  his 
friend,  the  portrait  of  Andrea  Doria;  and  for  Bartolommeo  Bettini,  to 
fill  certain  lunettes  in  a  chamber,  the  portraits  of  Dante,  Petrarca,  and 
Boccaccio,  half-length  figures  of  great  beauty.  Which  pictures  finished, 
he  made  portraits  of  Bonaccorso  Pinadori,  Ugolino  Martelli,  Messer 
Lorenzo  Lenzi,  now  Bishop  of  Fermo,  and  Pier  Antonio  Bandini  and 


Alinari 


BARTOLOMMEO  PANCIATICHI 

(After  the  painting  by  Angelo  Bronzino.     Florence:    Uffizi,  IS9) 


AGNOLO  BRONZING  5 

his  wife,  with  so  many  others,  that  it  would  be  a  long  work  to  seek  to 
make  mention  of  them  all;  let  it  suffice  that  they  were  all  very  natural, 
executed  with  incredible  diligence,  and  finished  so  well,  that  nothing  more 
could  be  desired.  For  Bartolommeo  Panciatichi  he  painted  two  large 
pictures  of  Our  Lady,  with  other  figures,  beautiful  to  a  marvel  and  exe- 
cuted with  infinite  diligence,  and,  besides  these,  portraits  of  him  and  his 
wife,  so  natural  that  they  seem  truly  alive,  and  nothing  is  wanting  in 
them  save  breath.  For  the  same  man  he  has  painted  a  picture  of  Christ 
on  the  Cross,  which  is  executed  with  much  study  and  pains,  insomuch 
that  it  is  clearly  evident  that  he  copied  it  from  a  real  dead  body  fixed  on 
a  cross,  such  is  the  supreme  excellence  and  perfection  of  every  part. 
For  Matteo  Strozzi  he  painted  in  fresco,  in  a  tabernacle  at  his  villa  of 
S.  Casciano,  a  Pieta  with  some  Angels,  which  was  a  very  beautiful  work. 
For  Filippo  d'Averardo  Salviati  he  executed  a  Nativity  of  Christ  in  a 
small  picture  with  little  figures,  of  such  beauty  that  it  has  no  equal, 
as  everyone  knows,  that  work  being  now  in  engraving;  and  for  Maestro 
Francesco  Montevarchi,  a  most  excellent  physicist,  he  painted  a  very 
beautiful  picture  of  Our  Lady  and  some  other  little  pictures  full  of  grace. 
And  he  assisted  his  master  Pontormo,  as  was  said  above,  to  execute  the 
work  of  Careggi,  where  on  the  spandrels  of  the  vaults  he  painted  with  his 
own  hand  five  figures,  Fortune,  Fame,  Peace,  Justice,  and  Prudence, 
with  some  children,  all  wrought  excellently  well. 

Duke  Alessandro  being  then  dead  and  Cosimo  elected,  Bronzino 
assisted  the  same  Pontormo  in  the  work  of  the  Loggia  of  Castello.  For 
the  nuptials  of  the  most  illustrious  Lady,  Leonora  di  Toledo,  the  wife  of 
Duke  Cosimo,  he  painted  two  scenes  in  chiaroscuro  in  the  court  of  the 
Medici  Palace,  and  on  the  base  that  supported  the  horse  made  by  Tribolo, 
as  was  related,  some  stories  of  the  actions  of  Signor  Giovanni  de'  Medici, 
in  imitation  of  bronze;  all  which  were  the  best  pictures  that  were  executed 
in  those  festive  preparations.  Wherefore  the  Duke,  having  recognized 
the  ability  of  this  man,  caused  him  to  set  his  hand  to  adorning  a  chapel 
of  no  great  size  in  the  Ducal  Palace  for  the  said  Lady  Duchess,  a  woman 
of  true  worth,  if  ever  any  woman  was,  and  for  her  infinite  merits  worthy 
of  eternal  praise.  In  that  chapel  Bronzino  made  on  the  vault  some  com- 


6  AGNOLO  BRONZING 

partments  with  very  beautiful  children  and  four  figures,  each  of  which  has 
the  feet  turned  towards  the  walls — S.  Francis,  S.  Jerome,  S.  Michelagnolo, 
and  S.  John;  all  executed  with  the  greatest  diligence  and  lovingness. 
And  on  the  three  walls,  two  of  which  are  broken  by  the  door  and  the 
window,  he  painted  three  stories  of  Moses,  one  on  each  wall.  Where  the 
door  is,  he  painted  the  story  of  the  snakes  or  serpents  raining  down  upon 
the  people,  with  many  beautiful  considerations  in  figures  bitten  by  them, 
some  of  whom  are  dying,  some  are  dead,  and  others,  gazing  on  the 
Brazen  Serpent,  are  being  healed.  On  another  wall,  that  of  the  window, 
is  the  Rain  of  Manna;  and  on  the  unbroken  wall  the  Passing  of  the  Red 
Sea,  and  the  Submersion  of  Pharaoh;  which  scene  has  been  printed  in 
engraving  at  Antwerp.  In  a  word,  this  work,  executed  as  it  is  in  fresco, 
has  no  equal,  and  is  painted  with  the  greatest  possible  diligence  and 
study.  In  the  altar-picture  of  this  chapel,  painted  in  oils,  which  was 
placed  over  the  altar,  was  Christ  taken  down  from  the  Cross,  in  the  lap 
of  His  Mother;  but  it  was  removed  from  there  by  Duke  Cosimo  for  sending 
as  a  present,  as  a  very  rare  work,  to  Granvella,  who  was  once  the  greatest 
man  about  the  person  of  the  Emperor  Charles  V.  In  place  of  that  altar- 
piece  the  same  master  has  painted  another  like  it,  which  was  set  over 
the  altar  between  two  pictures  not  less  beautiful  than  the  altar-piece, 
in  which  pictures  are  the  Angel  Gabriel  and  the  Virgin  receiving  from 
him  the  Annunciation;  but  instead  of  these,  when  the  first  altar-picture 
was  removed,  there  were  a  S.  John  the  Baptist  and  a  S.  Cosimo,  which 
were  placed  in  the  guardaroba  when  the  Lady  Duchess,  having  changed 
her  mind,  caused  the  other  two  to  be  painted. 

The  Lord  Duke,  having  seen  from  these  and  other  works  the  excellence 
of  this  painter,  and  that  it  was  his  particular  and  peculiar  field  to  portray 
from  life  with  the  greatest  diligence  that  could  be  imagined,  caused  him 
to  paint  a  portrait  of  himself,  at  that  time  a  young  man,  fully  clad  in 
bright  armour,  and  with  one  hand  upon  his  helmet;  in  another  picture 
the  Lady  Duchess,  his  consort,  and  in  yet  another  picture  the  Lord  Don 
Francesco,  their  son  and  Prince  of  Florence.  And  no  long  time  passed 
before  he  portrayed  the  same  Lady  Duchess  once  again,  to  do  her  pleasure, 
in  a  different  manner  from  the  first,  with  the  Lord  Don  Giovanni,  her  son, 


ELEANORA  DE  TOLEDO  AND  HER  SON 
(After  the  painting  by  Angelo  Bronzino.     Florence:    Uffizi,  172) 


AGNOLO  BRONZING  7 

beside  her.  He  also  made  a  portrait  of  La  Bia,  a  young  girl,  the  natural 
daughter  of  the  Duke;  and  afterwards  all  the  Duke's  children,  some  for 
the  first  time  and  others  for  the  second — the  Lady  Donna  Maria,  a  very 
tall  and  truly  beautiful  girl,  the  Prince  Don  Francesco,  the  Lord  Don 
Giovanni,  Don  Garzia,  and  Don  Ernando,  in  a  number  of  pictures  which 
are  all  in  the  guardaroba  of  his  Excellency,  together  with  the  portraits 
of  Don  Francesco  di  Toledo,  Signora  Maria,  mother  of  the  Duke,  and 
Ercole  II,  Duke  of  Ferrara,  with  many  others.  About  the  same  time, 
also,  he  executed  in  the  Palace  for  the  Carnival,  two  years  in  suc- 
cession, two  scenic  settings  and  prospect- views  for  comedies,  which  were 
held  to  be  very  beautiful.  And  he  painted  a  picture  of  singular  beauty 
that  was  sent  to  King  Francis  in  France,  wherein  was  a  nude  Venus,  with 
a  Cupid  who  was  kissing  her,  and  Pleasure  on  one  side  with  Play  and 
other  Loves,  and  on  the  other  side  Fraud  and  Jealousy  and  other  passions 
of  love.  The  Lord  Duke  had  caused  to  be  begun  by  Pontormo  the 
cartoons  of  the  tapestries  in  silk  and  gold  for  the  Sala  del  Consiglio  de' 
Dugento;  and,  having  had  two  stories  of  the  Hebrew  Joseph  executed  by 
the  said  Pontormo,  and  one  by  Salviati,  he  gave  orders  that  Bronzino 
should  do  the  rest.  Whereupon  he  executed  fourteen  pieces  with  the 
excellence  and  perfection  which  everyone  knows  who  has  seen  them; 
but  since  this  was  an  excessive  labour  for  Bronzino,  who  was  losing  too 
much  time  thereby,  he  availed  himself  in  the  greater  part  of  these  cartoons, 
himself  making  the  designs,  of  Raffaello  dal  Colle,  the  painter  of  Borgo  a 
San  Sepolcro,  who  acquitted  himself  excellently  well. 

Now  Giovanni  Zanchini  had  built  a  chapel  very  rich  in  carved  stone, 
with  his  family  tombs  in  marble,  opposite  to  the  Chapel  of  the  Dini  in 
S.  Croce  at  Florence,  on  the  front  wall,  on  the  left  hand  as  one  enters  the 
church  by  the  central  door;  and  he  allotted  the  altar-piece  to  Bronzino, 
to  the  end  that  he  might  paint  in  it  Christ  descended  into  the  Limbo  of 
Hell  in  order  to  deliver  the  Holy  Fathers.  Agnolo,  then,  having  set  his 
hand  to  it,  executed  that  work  with  the  utmost  possible  diligence  that 
one  can  use  who  desires  to  acquire  glory  by  such  a  labour;  wherefore  there 
are  in  it  most  beautiful  nudes,  men,  women,  and  children,  young  and  old, 
with  different  features  and  attitudes,  and  portraits  of  men  that  are  very 


8  AGNOLO  BRONZING 

natural,  among  which  are  Jacopo  da  Pontormo,  Giovan  Battista  Gello, 
a  passing  famous  Academician  of  Florence,  and  the  painter  Bacchiacca,  of 
whom  we  have  spoken  above.  And  among  the  women  he  portrayed 
there  two  noble  and  truly  most  beautiful  young  women  of  Florence, 
worthy  of  eternal  praise  and  memory  for  their  incredible  beauty  and 
virtue,  Madonna  Costanza  da  Sommaia,  wife  of  Giovan  Battista  Doni, 
who  is  still  living,  and  Madonna  Camilla  Tedaldi  del  Corno,  who  has  now 
passed  to  a  better  life.  Not  long  afterwards  he  executed  another  large 
and  very  beautiful  altar-picture  of  the  Resurrection  of  Jesus  Christ, 
which  was  placed  in  the  Chapel  of  Jacopo  and  Filippo  Guadagni  beside 
the  choir  in  the  Church  of  the  Servites — that  is,  the  Nunziata.  And  at 
this  same  time  he  painted  the  altar-piece  that  was  placed  in  the  chapel 
of  the  Palace,  whence  there  had  been  removed  that  which  was  sent  to 
Granvella;  which  altar-piece  is  certainly  a  most  beautiful  picture,  and 
worthy  of  that  place.  Bronzino  then  painted  for  Signor  Alamanno 
Salviati  a  Venus  with  a  Satyr  beside  her,  so  beautiful  as  to  appear  in  truth 
Venus  Goddess  of  Beauty. 

Having  then  gone  to  Pisa,  whither  he  was  summoned  by  the  Duke, 
he  executed  some  portraits  for  his  Excellency;  and  for  Luca  Martini,  who 
was  very  much  his  friend,  and  not  of  him  only,  but  also  attached  with 
true  affection  to  all  men  of  talent,  he  painted  a  very  beautiful  picture  of 
Our  Lady,  in  which  he  portrayed  that  Luca  with  a  basket  of  fruits,  from 
his  having  been  the  minister  and  proveditor  for  the  said  Lord  Duke  in  the 
draining  of  the  marshes  and  other  waters  that  rendered  unhealthy  the 
country  round  Pisa,  and  for  having  made  it  in  consequence  fertile  and 
abundant  in  fruits.  Nor  did  Bronzino  depart  from  Pisa  before  there  was 
allotted  to  him  at  the  instance  of  Martini,  by  Raffaello  del  Setaiuolo, 
the  Warden  of  Works  of  the  Duomo,  the  altar-picture  for  one  of  the 
chapels  in  that  Duomo,  wherein  he  painted  a  nude  Christ  with  the  Cross, 
and  about  Him  many  Saints,  among  whom  is  a  S.  Bartholomew  flayed, 
which  has  the  appearance  of  a  true  anatomical  subject  and  of  a  man 
flayed  in  reality,  so  natural  it  is  and  imitated  with  such  diligence  from 
an  anatomical  subject.  That  altar-picture,  which  is  beautiful  in  every 
part,  was  placed,  as  I  have  said,  in  a  chapel  from  which  they  removed 


A  nderson 

CHRIST  IN  LIMBO 
(After  the  panel  by  Angelo  Bronzino.     Florence :   Uffizi,  I2JI) 


AGNOLO  BRONZING  9 

another  by  the  hand  of  Benedetto  da  Pescia,  a  disciple  of  Giulio  Romano. 
Bronzino  then  made  for  Duke  Cosimo  a  full-length  portrait  of  the  dwarf 
Morgante,  nude,  and  in  two  ways — namely,  on  one  side  of  the  picture 
the  front,  and  on  the  other  the  back,  with  the  bizarre  and  monstrous 
members  which  that  dwarf  has;  which  picture,  of  its  kind,  is  beautiful  and 
marvellous.  For  Ser  Carlo  Gherardi  of  Pistoia,  who  from  his  youth  was 
a  friend  of  Bronzino,  he  executed  at  various  times,  besides  the  portrait 
of  Ser  Carlo  himself,  a  very  beautiful  Judith  placing  the  head  of  Holo- 
fernes  in  a  basket,  and  on  the  cover  that  protects  that  picture,  in  the 
manner  of  a  mirror,  a  Prudence  looking  at  herself;  and  for  the  same  man 
a  picture  of  Our  Lady,  which  is  one  of  the  most  beautiful  things  that  he 
has  ever  done,  because  it  has  extraordinary  design  and  relief.  And  the 
same  Bronzino  executed  the  portrait  of  the  Duke  when  his  Excellency 
was  come  to  the  age  of  forty,  and  also  that  of  the  Lady  Duchess,  both 
of  which  are  as  good  likenesses  as  could  be.  After  Giovan  Battista 
Cavalcanti  had  caused  a  chapel  to  be  built  in  S.  Spirito,  at  Florence,  with 
most  beautiful  variegated  marbles  conveyed  from  beyond  the  sea  at  very 
great  cost,  and  had  laid  there  the  remains  of  his  father  Tommaso,  he 
had  the  head  and  bust  of  the  father  executed  by  Fra  Giovanni  Agnolo 
Montorsoli,  and  the  altar-piece  Bronzino  painted,  depicting  in  it  Christ 
appearing  to  Mary  Magdalene  in  the  form  of  a  gardener,  and  more  distant 
two  other  Maries,  all  figures  executed  with  incredible  diligence. 

Jacopo  da  Pontormo  having  left  unfinished  at  his  death  the  chapel 
in  S.  Lorenzo,  and  the  Lord  Duke  having  ordained  that  Bronzino  should 
complete  it,  he  finished  in  the  part  where  the  Deluge  is  many  nudes  that 
were  wanting  at  the  foot,  and  gave  perfection  to  that  part,  and  in  the 
other,  where  at  the  foot  of  the  Resurrection  of  the  Dead  many  figures 
were  wanting  over  a  space  about  one  braccio  in  height  and  as  wide  as 
the  whole  wall,  he  painted  them  all  in  the  manner  wherein  they  are  to 
be  seen,  very  beautiful;  and  between  the  windows,  at  the  foot,  in  a  space 
that  remained  there  unpainted,  he  depicted  a  nude  S.  Laurence  upon 
a  gridiron,  with  some  little  Angels  about  him.  In  that  whole  work  he 
demonstrated  that  he  had  executed  his  paintings  in  that  place  with  much 
better  judgment  than  his  master  Pontormo  had  shown  in  his  pictures 

x.  2 


io  AGNOLO  BRONZING 

in  the  work;  the  portrait  of  which  Pontormo  Bronzino  painted  with  his 
own  hand  in  a  corner  of  that  chapel,  on  the  right  hand  of  the  S.  Laurence. 
The  Duke  then  gave  orders  to  Bronzino  that  he  should  execute  two  large 
altar-pictures,  one  containing  a  Deposition  of  Christ  from  the  Cross  with 
a  good  number  of  figures,  for  sending  to  Porto  Ferraio  in  the  Island  of 
Elba,  for  the  Convent  of  the  Frati  Zoccolanti,  built  by  his  Excellency  in 
the  city  of  Cosmopolis;  and  another  altar-piece,  in  which  Bronzino 
painted  the  Nativity  of  Our  Lord  Jesus  Christ,  for  the  new  Church  of  the. 
Knights  of  S.  Stephen,  which  has  since  been  built  in  Pisa,  together  with 
their  Palace  and  Hospital,  after  the  designs  and  directions  of  Giorgio 
Vasari.  Both  these  pictures  have  been  finished  with  such  art,  diligence, 
design,  invention,  and  supreme  loveliness  of  colouring,  that  it  would  not 
be  possible  to  go  further;  and  no  less,  indeed,  was  required  in  a  church 
erected  by  so  great  a  Prince,  who  has  founded  and  endowed  that  Order 
of  Knights. 

On  some  little  panels  made  of  sheet-tin,  and  all  of  one  same  size, 
the  same  Bronzino  has  painted  all  the  great  men  of  the  House  of  Medici, 
beginning  with  Giovanni  di  Bicci  and  the  elder  Cosimo  down  to  the 
Queen  of  France,  in  that  line,  and  in  the  other  from  Lorenzo,  the  brother 
of  the  elder  Cosimo,  down  to  Duke  Cosimo  and  his  children;  all  which 
portraits  are  set  in  order  behind  the  door  of  a  little  study  that  Vasari 
has  caused  to  be  made  in  the  apartment  of  new  rooms  in  the  Ducal 
Palace,  wherein  is  a  great  number  of  antique  statues  of  marble  and 
bronzes  and  little  modern  pictures,  the  rarest  miniatures,  and  an  infinity 
of  medals  in  gold,  silver,  and  bronze,  arranged  in  very  beautiful  order. 
These^gortraits  of  the  illustrious  men  of  the  House  of  Medici  are  all  natural 
and  vivacious,  and  most  faithful  likenesses. 

It  is  a  notable  thing  that  whereas  many  are  wont  in  their  last  years 
to  do  less  well  than  they  have  done  in  the  past,  Bronzino  does  as  well  and 
even  better  now  than  when  he  was  in  the  flower  of  his  manhood,  as  the 
works  demonstrate  that  he  is  executing  every  day.  Not  long  ago  he 
painted  for  Don  Silvano  Razzi,  a  Camaldolite  monk  in  the  Monastery  of 
the  Angeli  at  Florence,  who  is  much  his  friend,  a  picture  about  one  braccio 
and  a  half  high  of  a  S.  Catharine,  so  beautiful  and  well  executed,  that  it  is 


AGNOLO  BRONZING  n 

not  inferior  to  any  other  picture  by  the  hand  of  this  noble  craftsman; 
insomuch  that  nothing  seems  to  be  wanting  in  her  save  the  spirit  and 
that  voice  which  confounded  the  tyrant  and  confessed  Christ  her  well- 
beloved  spouse  even  to  the  last  breath;  and  that  father,  like  the  truly 
gentle  spirit  that  he  is,  has  nothing  that  he  esteems  and  holds  in  price 
more  than  that  picture.  Agnolo  made  a  portrait  of  the  Cardinal,  Don 
Giovanni  de'  Medici,  the  son  of  Duke  Cosimo,  which  was  sent  to  the 
Court  of  the  Emperor  for  Queen  Joanna;  and  afterwards  that  of  the  Lord 
Don  Francesco,  Prince  of  Florence,  which  was  a  picture  very^like  the 
reality,  and  executed  with  such  diligence  that  it  has  the  appearance  of  a 
miniature.  For  the  nuptials  of  Queen  Joanna  of  Austria,  wife  of  that 
Prince,  he  painted  in  three  large  canvases  which  were  placed  at  the  Ponte 
alia  Carraia,  as  will  be  described  at  the  end,  some  scenes  of  the  Nuptials 
of  Hymen,  of  such  beauty  that  they  appeared  not  things  for  a  festival, 
but  worthy  to  be  set  in  some  honourable  place  for  ever,  so  finished  they 
were  and  executed  with  such  diligence.  For  the  same  Lord  Prince  he 
painted  a  few  months  ago  a  small  picture  with  little  figures  which  has 
no  equal,  and  it  may  be  said  that  it  is  truly  a  miniature.  And  since  at 
this  his  present  age  of  sixty-five  he  is  no  less  enamoured  of  the  matters 
of  art  than  he  was  as  a  young  man,  he  has  undertaken  recently,  according 
to  the  wishes  of  the  Duke,  to  execute  two  scenes  in  fresco  on  the  wall 
beside  the  organ  in  the  Church  of  S.  Lorenzo,  in  which  there  is  not  a 
doubt  that  he  will  prove  the  excellent  Bronzino  that  he  has  always  been. 
This  master  has  delighted  much,  and  still  delights,  in  poetry;  where- 
fore he  has  written  many  capitoli  and  sonnets,  part  of  which  have  been 
printed.  But  above  all,  with  regard  to  poetry,  he  is  marvellous  in  the 
style  of  his  capitoli  after  the  manner  of  Berni,  insomuch  that  at  the 
present  day  there  is  no  one  who  writes  better  in  that  kind  of  verse,  nor 
things  more  fanciful  and  bizarre,  as  will  be  seen  one  day  if  all  his  works, 
as  is  believed  and  hoped,  come  to  be  printed.  Bronzino  has  been  and 
still  is^most  gentle  and  a  very  courteous  friend,  agreeable  in  his  con- 
versation and  in  all  his  affairs,  and  much  honoured;  and  as  loving  and 
liberal  with  his  possessions  as  a  noble  craftsman  such  as  he  is  could  well 
be.  He  has  been  peaceful  by  nature,  and  has  never  done  an  injury  to 


12  ALESSANDRO  ALLORI 

any  man,  and  he  has  always  loved  all  able  men  in  his  profession,  as  I 
know,  who  have  maintained  a  strait  friendship  with  him  for  three-and- 
forty  years,  that  is,  from  1524  down  to  the  present  year,  ever  since  I 
began  to  know  and  to  love  him  in  that  year  of  1524,  when  he  was  working 
at  the  Certosa  with  Pontormo,  whose  works  I  used  as  a  youth  to  go  to 
draw  in  that  place. 

Many  have  been  the  pupils  and  disciples  of  Bronzino,  but  the  first 
(to  speak  now  of  our  Academicians)  is  Alessandro  Allori,  who  has  been 
loved  always  by  his  master,  not  as  a  disciple,  but  as  his  own  son,  and  they 
have  lived  and  still  live  together  with  the  same  love,  one  for  another,  that 
there  is  between  a  good  father  and  his  son.     Alessandro  has  shown  in 
many  pictures  and  portraits  that  he  has  executed  up  to  his  present  age 
of  thirty,  that  he  is  a  worthy  disciple  of  so  great  a  master,  and  that  he  is 
seeking  by  diligence  and  continual  study  to  arrive  at  that  rarest  perfection 
which  is  desired  by  beautiful  and  exalted  intellects.     He  has  painted  and 
executed  all  with  his  own  hand  the  Chapel  of  the  Montaguti  in  the  Church 
of  the  Nunziata — namely,  the  altar-piece  in  oils,  and  the  walls  and  vaulting 
in  fresco.     In  the  altar-piece  is  Christ  on  high,  and  the  Madonna,  in  the 
act  of  judging,  with  many  figures  in  various  attitudes  and  executed  very 
,  well,  copied  from  the  Judgment  of  Michelagnolo  Buonarroti.     About 
that  altar-piece,  on  the  same  wall,  are  four  large  figures  in  the  forms  of 
Prophets,  or  rather,  Evangelists,  two  above  and  two  below;  and  on  the 
vaulting  are  some  Sibyls  and  Prophets  executed  with  great  pains,  study, 
and  diligence,  he  having  sought  in  the  nudes  to  imitate  Michelagnolo. 
On  the  wall  which  is  at  the  left  hand  looking  towards  the  altar,  is  Christ 
as  a  boy  disputing  in  the  midst  of  the  Doctors  in  the  Temple;  which  boy 
is  seen  in  a  fine  attitude  answering  their  questions,  and  the  Doctors,  and 
others  who  are  there  listening  attentively  to  him,  are  all  different  in 
features,  attitudes,  and  vestments,  and  among  them  are  portraits  from 
life  of  many  of  Alessandro's  friends,  which  are  good  likenesses.     Opposite 
to  that,  on  the  other  wall,  is  Christ  driving  from  the  Temple  those  who 
with  their  buying  and  selling  were  making  it  a  house  of  traffic  and  a 
market-place;  with  many  things  worthy  of  consideration  and  praise. 
Over  those  two  scenes  are  some  stories  of  the  Madonna,  and  on  the 


Alinari 


GIULIANO  DE'  MEDICI 

(After  the  painting  by  Alessandro  Allori.     Florence :    Uffizi, 


ALESSANDRO  ALLORI  AND  OTHERS  13 

vaulting  figures  that  are  of  no  great  size,  but  passing  graceful;  with  some 
buildings  and  landscapes,  which  in  their  essence  show  the  love  that  he 
bears  to  art,  and  how  he  seeks  the  perfection  of  design  and  invention. 
And  opposite  to  the  altar-piece,  on  high,  is  a  story  of  Ezekiel,  when  he  saw 
a  great  multitude  of  bones  reclothe  themselves  with  flesh  and  take  to 
themselves  their  members;  in  which  this  young  man  has  demonstrated 
how  much  he  desires  to  master  the  anatomy  of  the  human  body,  and  how 
he  has  studied  it  and  given  it  his  attention.  And,  in  truth,  in  this  his  first 
work  of  importance,  as  also  in  the  nuptials  of  his  Highness,  with  figures 
in  relief  and  stories  in  painting,  he  has  proved  himself  and  given  great 
signs  and  promise,  as  he  continues  to  do,  that  he  is  like  to  become  an 
excellent  painter;  and  not  in  this  only,  but  in  some  other  smaller  works, 
and  recently  in  a  small  picture  full  of  little  figures  in  the  manner  of 
miniature,  which  he  has  executed  for  Don  Francesco,  Prince  of  Florence, 
a  much-extolled  work;  and  other  pictures  and  portraits  he  has  painted 
with  great  study  and  diligence,  in  order  to  become  practised  and  to  acquire 
ajprand  manner. 

Another  young  man,  likewise  a  pupil  of  Bronzino  and  one  of  our 
Academicians,  called  Giovan  Maria  Butteri,  has  shown  good  mastery 
and  much  dexterity  in  what  he  did,  besides  many  other  smaller  pictures 
and  other  works,  for  the  obsequies  of  Michelagnolo  and  for  the  coming  of 
the  above-named  most  illustrious  Queen  Joanna  to  Florence. 

And  another  disciple,  first  of  Pontormo  and  then  of  Bronzino,  has 
been  Cristofano  deir  Altissimo,  a  painter,  who,  after  having  executed  in 
his  youth  many  pictures  in  oils  and  some  portraits,  was  sent  by  the  Lord 
Duke  Cosimo  to  Como,  to  copy  many  pictures  of  illustrious  persons  in 
the  Museum  of  Monsignor  Giovio,  out  of  the  vast  number  which  that 
man,  so  distinguished  in  our  times,  collected  in  that  place.  Many  others, 
also,  the  Lord  Duke  has  obtained  by  the  labours  of  Vasari;  and  of  all  these 
portraits  a  list  *  will  be  made  in  the  index  of  this  book,  in  order  not  to 
occupy  too  much  space  in  this  discourse.  In  the  work  of  these  portraits 
Cristofano  has  exerted  himself  with  such  diligence  and  pains,  that  those 
which  he  has  copied  up  to  the  present  day,  and  which  are  in  three  friezes 

*  Given  in  the  original  Italian  edition  of  1568. 


14  BATTISTA  NALD1NI  AND  OTHERS 

in  a  guardaroba  of  the  said  Lord  Duke,  as  will  be  described  elsewhere  in 
speaking  of  the  decorations  of  that  place,  are  more  than  two  hundred  and 
eighty  in  number,  what  with  Pontiffs,  Emperors,  Kings,  Princes,  Captains 
of  armies,  men  of  letters,  and,  in  short,  all  men  for  some  reason  illustrious 
and  renowned.  And,  to  tell  the  truth,  we  owe  a  great  obligation  to  this 
zeal  and  diligence  of  Giovio  and  of  the  Duke,  for  the  reason  that  not  only 
the  apartments  of  Princes,  but  also  those  of  many  private  persons,  are 
now  being  adorned  with  portraits  of  one  or  other  of  those  illustrious  men, 
according  to  the  country,  family,  and  particular  affection  of  each  person. 
Cristofano,  then,  having  established  himself  in  this  manner  of  painting, 
which  is  suited  to  his  genius,  or  rather,  inclination,  has  done  little  else, 
as  one  who  is  certain  to  derive  from  it  honour  and  profit  in  abundance. 

Pupils  of  Bronzino,  also,  are  Stefano  Pieri  and  Lorenzo  della  Sciorina, 
who  have  so  acquitted  themselves,  both  the  one  and  the  other,  in  the 
obsequies  of  Michelagnolo  and  in  the  nuptials  of  his  Highness,  that  they 
have  been  admitted  among  the  number  of  our  Academicians. 

From  the  same  school  of  Pontormo  and  Bronzino  has  issued  also 

Battista  Naldini,   of   whom  we  have  spoken  in  another  place.     This 

Battista,  after  the  death  of  Pontormo,  having  been  some  time  in  Rome  and 

having  applied  himself  with  much  study  to  art,  has  made  much  pro- 

ficience  and  become  a  bold  and  well-practised  painter,  as  many  works 

demonstrate  that  he  has  executed  for  the  very  reverend  Don  Vincenzio 

Borghini,  who  has  made  great  use  of  him  and  assisted  him,  together  with 

Francesco  da  Poppi,  a  young  man  of  great  promise  and  one  of    our 

Academicians,  who  has  acquitted  himself  well  in  the  nuptials  of  his 

Highness,  and  other  young  men,  whom  Don  Vincenzio  is  continually 

employing  and  assisting.    Of  this  Battista,  Vasari  has  made  use  for  more 

than  two  years,  as  he  still  does,  in  the  works  of  the  Ducal  Palace  of 

Florence,  where,  by  the  emulation  of  many  others  who  were  working  in 

the  same  place,  he  has  made  much  progress,  insomuch  that  at  the  present 

day  he  is  equal  to  any  other  young  man  of  our  Academy;  and  that  which 

much  pleases  those  who  are  good  judges  is  that  he  is  expeditious,  and 

does  his  work  without  effort.     Battista  has  painted  in  an  altar-picture 

in  oils  that  is  in  a  chapel  of  the  Black  Friars'  Abbey  of  Florence,  a  Christ 


MASO  MANZUOLI  AND  OTHERS  15 

who  is  bearing  the  Cross,  in  which  work  are  many  good  figures;  and  he 
has  other  works  constantly  in  hand,  which  will  make  him  known  as  an 
able  man. 

Not  inferior  to  any  of  these  named  above  in  talent,  art,  and  merit, 
is  Maso  Manzuoli,  called  Maso  da  San  Friano,  a  young  man  of  about 
thirty  or  thirty- two  years,  who  had  his  first  principles  from  Pier  Francesco 
di  Jacopo  di  Sandro,  one  of  our  Academicians,  of  whom  we  have  spoken 
in  another  place.  This  Maso,  I  say,  besides  having  shown  how  much  he 
knows  and  how  much  may  be  expected  of  him  in  many  pictures  and 
smaller  paintings,  has  demonstrated  this  recently  in  two  altar-pictures 
with  much  honour  to  himself  and  full  satisfaction  to  everyone,  having 
displayed  in  them  invention,  design,  manner,  grace,  and  unity  in  the 
colouring.  In  one  of  these  altar-pieces,  which  is  in  the  Church  of  S. 
Apostolo  at  Florence,  is  the  Nativity  of  Jesus  Christ,  and  in  the  other, 
which  is  placed  in  the  Church  of  S.  Pietro  Maggiore,  and  is  as  beautiful 
as  an  old  and  well-practised  master  could  have  made  it,  is  the  Visitation 
of  Our  Lady  to  S.  Elizabeth,  executed  with  judgment  and  with  many 
fine  considerations,  insomuch  that  the  heads,  the  draperies,  the  attitudes, 
the  buildings,  and  all  the  other  parts  are  full  of  loveliness  and  grace. 
This  man  acquitted  himself  with  no  ordinary  excellence  in  the  obsequies 
of  Buonarroti,  as  an  Academician  and  very  loving,  and  then  in  some 
scenes  for  the  nuptials  of  Queen  Joanna. 

Now,  since  not  only  in  the  Life  of  Ridolfo  Ghirlandajo  I  have  spoken 
of  his  disciple  Michele  and  of  Carlo  da  Loro,  but  also  in  other  places,  I 
shall  say  nothing  more  of  them  here,  although  they  are  of  our  Academy, 
enough  having  been  said  of  them.  But  I  will  not  omit  to  tell  that  other 
disciples  and  pupils  of  Ghirlandajo  have  been  Andrea  del  Minga,  like- 
wise one  of  our  Academicians,  who  has  executed  many  works,  as  he  still 
does;  Girolamo  di  Francesco  Crocifissaio,  a  young  man  of  twenty-six, 
and  Mirabello  di  Salincorno,  both  painters,  who  have  done  and  continue 
to  do  such  works  of  painting  in  oils  and  in  fresco,  and  also  portraits,  that 
a  most  honourable  result  may  be  expected  from  them.  These  two 
executed  together,  now  several  years  ago,  some  pictures  in  fresco  in  the 
Church  of  the  Capuchins  without  Florence,  which  are  passing  good;  and 


16  FEDERIGO  DI  LAMBERTO  AND  OTHERS 

in  the  obsequies  of  Michelagnolo  and  the  above-mentioned  nuptials,  also 
they  did  themselves  much  honour.    Mirabello  has  painted  many  portraits, 
and  in  particular  that  of  the  most  illustrious  Prince  more  than  once,  and 
many  others  that  are  in  the  hands  of  various  gentlemen  of  Florence. 

Another,  also,  who  has  done  much  honour  to  our  Academy  and  to 
himself,  is  Federigo  di  Lamberto  of  Amsterdam,  a  Fleming,  the  son-in- 
law  of  the  Paduan  Cartaro,  working  in  the  said  obsequies  and  in  the  festive 
preparations  for  the  nuptials  of  the  Prince,  and  besides  this  he  has  shown 
in  many  pictures  painted  in  oils,  both  large  and  small,  and  in  other  works 
that  he  has  executed,  a  good  manner  and  good  design  and  judgment. 
And  if  he  has  merited  praise  up  to  the  present,  he  will  merit  even  more 
in  the  future,  for  he  is  labouring  constantly  with  much  advantage  in 
Florence,  which  he  appears  to  have  chosen  as  his  country,  that  city  being 
one  where  young  men  derive  much  benefit  from  competition  and 
emulation. 

A  beautiful  genius,  also,  universal  and  abundant  in  fine  fantasies, 
has  been  shown  by  Bernardo  Timante  Buontalenti,  who  had  his  first 
principles  of  painting  in  his  youth  from  Vasari,  and  then,  continuing,  has 
made  so  much  proficiency  that  he  has  now  served  for  many  years,  and 
still  serves  with  much  favour,  the  most  illustrious  Lord  Don  Francesco  de' 
Medici,  Prince  of  Florence.  That  lord  has  kept  him  continually  at  work; 
and  he  has  executed  for  his  Excellency  many  works  in  miniature  after 
the  manner  of  Don  Giulio  Clovio,  such  as  many  portraits  and  scenes  with 
little  figures,  painted  with  much  diligence.  The  same  Bernardo  has 
made  with  a  beautiful  architectural  design,  by  order  of  the  said  Prince, 
a  cabinet  with  compartments  of  ebony  and  columns  of  heliotrope,  oriental 
jasper,  and  lapis-lazuli,  which  have  bases  and  capitals  of  chased  silver; 
and  besides  this  he  has  filled  the  whole  surface  of  the  work  with  jewels 
and  most  lovely  ornaments  of  silver  and  beautiful  little  figures,  within 
which  ornaments  are  to  be  miniatures,  and,  between  terminals  placed  in 
pairs,  figures  of  silver  and  gold  in  the  round,  separated  by  other  com- 
partments of  agate,  jasper,  heliotrope,  sardonyx,  cornelian,  and  others 
of  the  finest  stones,  to  describe  all  which  here  would  make  a  very  long 
story.  It  is  enough  that  in  this  work,  which  is  near  completion,  Bernardo 


BERNARDO  TIMANTE  BUONTALENTI  AND  OTHERS       17 

has  displayed  a  most  beautiful  genius,  equal  to  any  work.  Thus  that 
lord  makes  use  of  him  for  many  ingenious  fantasies  of  his  own  of  cords 
for  drawing  weights,  of  windlasses,  and  of  lines;  besides  that  he  has 
discovered  a  method  of  fusing  rock-crystal  with  ease  and  of  purifying  it, 
and  has  made  with  it  scenes  and  vases  of  several  colours;  for  Bernardo 
occupies  himself  with  everything.  This,  also,  will  be  seen  in  a  short  time 
in  the  making  of  vases  of  porcelain  with  all  the  perfection  of  the  most 
ancient  and  most  perfect;  in  which  at  the  present  day  a  most  excellent 
master  is  Giulio  da  Urbino,  who  is  in  the  service  of  the  most  illustrious 
Duke  Alfonso  II  of  Ferrara,  and  does  stupendous  things  in  the  way  of 
vases  with  several  kinds  of  clay,  and  to  those  in  porcelain  he  gives  the 
most  beautiful  shapes,  besides  fashioning  with  the  same  earth  little 
squares,  octagons,  and  rounds,  hard  and  with  an  extraordinary  polish, 
for  making  pavements  counterfeiting  the  appearance  of  variegated 
marbles;  of  all  which  things  our  Prince  has  the  methods  of  making  them. 
His  Excellency  has  also  caused  a  beginning  to  be  made  with  the  executing 
of  a  study-table  with  precious  stones,  richly  adorned,  as  an  accompani- 
ment to  another  belonging  to  his  father,  Duke  Cosimo.  And  not  long 
ago  he  had  one  finished  after  the  design  of  Vasari,  which  is  a  rare  work, 
being  of  oriental  alabaster  all  inlaid  with  great  pieces  of  jasper,  heliotrope, 
cornelian,  lapis-lazuli,  and  agate,  with  other  stones  and  jewels  of  price 
that  are  worth  twenty  thousand  crowns.  This  study-table  has  been 
executed  by  Bernardino  di  Porfirio  of  Leccio  in  the  neighbourhood  of 
Florence,  who  is  excellent  in  such  work,  and  who  made  for  Messer  Bindo 
Altoviti  an  octagon  of  ebony  and  ivory  inlaid  likewise  with  jaspers,  after 
the  design  of  the  same  Vasari;  which  Bernardino  is  now  in  the  service  of 
their  Excellencies.  But  to  return  to  Bernardo :  in  painting,  also,  beyond 
the  expectation  of  many,  he  showed  that  he  is  able  to  execute  large  figures 
no  less  well  than  the  small,  when  he  painted  for  the  obsequies  of  Michel- 
agnolo  that  great  canvas  of  which  we  have  spoken.  Bernardo  was 
employed,  also,  with  much  credit  to  him,  for  the  nuptials  of  his  and  our 
Prince,  in  certain  masquerades,  in  the  Triumph  of  Dreams,  as  will  be  told, 
and  in  the  interludes  of  the  comedy  that  was  performed  in  the  Palace, 
has  been  described  exhaustively  by  others.  And  if  this  man,  when  he 
*•  3 


i8  GIOVANNI  BELLA  STRADA 

was  a  youth  (although  even  now  he  is  not  past  thirty),  had  given  his 
attention  to  the  studies  of  art  as  he  gave  it  to  the  methods  of  fortification, 
in  which  he  spent  no  little  time,  he  would  be  perchance  now  at  such  a 
height  of  excellence  as  would  astonish  everyone;  none  the  less,  it  is 
believed  that  he  is  bound  for  all  that  to  achieve  the  same  end,  although 
something  later,  for  the  reason  that  he  is  all  genius  and  art,  to  which  is 
added  this  also,  that  he  is  continually  employed  and  exercised  by  his 
sovereign,  and  in  the  most  honourable  works. 

Of  our  Academy,  also,  is  Giovanni  della  Strada,  a  Fleming,  who  has 
good  design,  the  finest  fantasy,  much  invention,  and  a  good  manner  of 
colouring;  and,  having  made  much  proficience  during  the  ten  years  that 
he  has  worked  in  the  Palace  in  distemper,  fresco,  and  oils,  after  the  designs 
and  directions  of  Giorgio  Vasari,  he  can  bear  comparison  with  any  of  the 
many  painters  that  the  said  Lord  Duke  has  in  his  service.  But  at  the 
present  day  the  principal  task  of  this  man  is  to  make  cartoons  for  various 
arras- tapestries  that  the  Duke  and  the  Prince  are  having  executed, 
likewise  under  the  direction  of  Vasari,  of  divers  kinds  in  accordance  with 
the  stories  in  painting  that  are  on  high  in  the  rooms  and  chambers 
painted  by  Vasari  in  the  Palace,  for  the  adornment  of  which  they  are 
being  made,  to  the  end  that  the  embellishment  of  tapestries  below  may 
correspond  to  the  pictures  above.  For  the  chambers  of  Saturn,  Ops, 
Ceres,  Jove,  and  Hercules,  he  has  made  most  lovely  cartoons  for  about 
thirty  pieces  of  tapestry;  and  for  the  upper  chambers  where  the  Princess 
has  her  habitation,  which  are  four,  dedicated  to  the  virtues  of  woman, 
with  stories  of  Roman,  Hebrew,  Greek,  and  Tuscan  women  (namely,  the 
Sabines,  Esther,  Penelope,  and  Gualdrada),  he  has  made,  likewise,  very 
beautiful  cartoons  for  tapestries.  In  like  manner,  he  has  done  the  same 
for  ten  pieces  of  tapestry  in  a  hall,  in  which  is  the  Life  of  Man;  and  also 
for  the  five  lower  rooms  where  the  Prince  dwells,  dedicated  to  David, 
Solomon,  Cyrus,  and  others.  And  for  twenty  rooms  in  the  Palace  of 
Poggio  a  Caiano,  for  which  the  tapestries  are  even  now  being  woven,  he 
has  made  after  the  inventions  of  the  Duke  cartoons  of  the  hunting  of 
every  kind  of  animal,  and  the  methods  of  fowling  and  fishing,  with  the 
strangest  and  most  beautiful  inventions  in  the  world;  in  which  variety 


GIOVANNI  BELLA  STRADA  AND  OTHERS  19 

of  animals,  birds,  fishes,  landscapes,  and  vestments,  with  huntsmen  on 
foot  and  on  horseback,  fowlers  in  various  habits,  and  nude  fishermen, 
he  has  shown  and  still  shows  that  he  is  a  truly  able  man,  and  that  he  has 
learned  well  the  Italian  manner,  being  minded  to  live  and  die  in  Florence 
in  the  service  of  his  most  illustrious  lords,  in  company  with  Vasari  and 
the  other  Academicians. 

Another  pupil  of  Vasari,  likewise,  and  also  an  Academician,  is 
Jacopo  di  Maestro  Piero  Zucca,  a  young  Florentine  of  twenty-five  or 
twenty-six  years,  who,  having  assisted  Vasari  to  execute  the  greater  part 
of  the  works  in  the  Palace,  and  in  particular  the  ceiling  of  the  Great  Hall, 
has  made  so  much  proficience  in  design  and  in  the  handling  of  colours, 
labouring  with  much  industry,  study,  and  assiduity,  that  he  can  now  be 
numbered  among  the  first  of  the  young  painters  in  our  Academy.  And 
the  works  that  he  has  done  by  himself  alone  in  the  obsequies  of  Michel- 
agnolo,  in  the  nuptials  of  the  most  illustrious  Lord  Prince,  and  at  other 
times  for  various  friends,  in  which  he  has  shown  intelligence,  boldness, 
diligence,  grace,  and  good  judgment,  have  made  him  known  as  a  gifted 
youth  and  an  able  painter;  but  even  more  will  those  make  him  known 
that  may  be  expected  from  him  in  the  future,  doing  as  much  honour  to 
his  country  as  has  been  done  to  her  by  any  painter  at  any  time. 

In  like  manner,  among  other  young  painters  of  the  Academy,  Santi 
Titi  may  be  called  ingenious  and  able,  who,  as  has  been  told  in  other 
places,  after  having  practised  for  many  years  in  Rome,  has  returned 
finally  to  enjoy  Florence,  which  he  regards  as  his  country,  although  his 
elders  are  of  Borgo  a  San  Sepolcro  and  of  a  passing  good  family  in  that  city. 
This  Santi  acquitted  himself  truly  excellently  in  the  works  that  he 
executed  for  the  obsequies  of  Buonarroti  and  the  above-mentioned 
nuptials  of  the  most  illustrious  Princess,  but  even  more,  after  great  and 
almost  incredible  labours,  in  the  scenes  that  he  painted  in  the  theatre 
which  he  made  for  the  same  nuptials  on  the  Piazza  di  S.  Lorenzo,  for  the 
most  illustrious  Lord  Paolo  Giordano  Orsino,  Duke  of  Bracciano;  wherein 
he  painted  in  chiaroscuro,  on  several  immense  pieces  of  canvas,  stories  of 
the  actions  of  various  illustrious  men  of  the  Orsini  family.  But  how  able 
he  is  can  be  perceived  best  from  two  altar-pieces  by  his  hand  that  are  to 


20  SANTI  TITI  AND  OTHERS 

be  seen,  one  of  which  is  in  Ognissanti,  or  rather,  S.  Salvadore  di  Fiorenza 
(as  it  is  now  called),  once  the  church  of  the  Padri  Umiliati,  and  now  of  the 
Zoccolanti,  and  contains  the  Madonna  on  high  and  at  the  foot  S.  John, 
S.  Jerome,  and  other  Saints;  and  in  the  other,  which  is  in  S.  Giuseppe, 
behind  S.  Croce,  in  the  Chapel  of  the  Guardi,  is  a  Nativity  of  Our  Lord 
executed  with  much  diligence,  with  many  portraits  from  life.  Not  to 
speak  of  many  pictures  of  Our  Lady  and  various  portraits  that  he  has 
painted  in  Rome  and  in  Florence,  and  pictures  executed  in  the  Vatican, 
as  has  been  related  above. 

There  are  also  certain  other  young  painters  of  the  same  Academy 
who  have  been  employed  in  the  above-mentioned  decorations,  some  of 
Florence  and  some  of  the  Florentine  States.  Alessandro  del  Barbiere,  a 
young  Florentine  of  twenty-five,  besides  many  other  works,  painted  for 
the  said  nuptials  in  the  Palace,  after  the  designs  and  directions  of  Vasari, 
the  canvases  of  the  walls  in  the  Great  Hall,  wherein  were  depicted  the 
squares  of  all  the  cities  in  the  dominion  of  the  Lord  Duke;  in  which  he 
certainly  acquitted  himself  very  well,  and  proved  himself  a  young  man 
of  judgment  and  likely  to  achieve  any  success.  In  like  manner,  Vasari 
has  been  assisted  in  these  and  other  works  by  many  other  disciples 
and  friends;  Domenico  Benci,  Alessandro  Fortori  of  Arezzo,  his  cousin 
Stefano  Veltroni,  and  Orazio  Porta,  both  of  Monte  Sansovino,  and  Tom- 
maso  del  Verrocchio. 

In  the  same  Academy  there  are  also  many  excellent  craftsmen  who 
are  strangers,  of  whom  we  have  spoken  at  length  in  various  places  above; 
and  therefore  it  shall  suffice  here  to  make  known  their  names,  to  the  end 
that  they  may  be  numbered  in  this  part  among  the  other  Academicians. 
These,  then,  are  Federigo  Zucchero;  Prospero  Fontana  and  Lorenzo 
Sabatini,  of  Bologna;  Marco  da  Faenza,  Tiziano  Vecelli,  Paolo  Veronese, 
Giuseppe  Salviati,  Tintoretto,  Alessandro  Vittoria,  the  sculptor  Danese, 
the  painter  Battista  Farinato  of  Verona,  and  the  architect  Andrea 
PaUadio. 

Now,  to  say  something  also  of  the  sculptors  in  our  Academy  and  of 
their  works,  although  I  do  not  intend  to  speak  of  them  at  any  length, 
because  they  are  alive  and  for  the  most  part  most  illustrious  in  name  and 


BENVENUTO  CELLINI  21 

fame,  I  say  that  BenvgnutojC^          a  citizen  of  Florence,  who  is  now  a 
sculptor  (to  begin  with  the  oldest  and  most  honoured),  had  no  peer  in 
his  youth  when  he  was  a  goldsmith,  nor  perhaps  had  he  for  many  years 
any  equal  in  that  profession  and  in  making  most  beautiful  figures  in  the 
round  and  in  low-relief,  and  all  the  other  works  of  that  craft.     He  set 
jewels,  and  adorned  them  with  marvellous  collets  and  with  little  figures 
so  well  wrought,  and  at  times  so  bizarre  and  fantastic,  that  it  is  not 
possible  to  imagine  anything  finer  or  better.     And  the  medals  that  he 
made  in  his  youth,  of  silver  and  gold,  were  executed  with  incredible 
diligence,  nor  can  they  ever  be  praised  enough.     He  made  in  Rome  for 
Pope  Clement  VII  a  very  beautiful  morse  for  a  pluvial,  setting  in  it 
excellently  well  a  pointed  diamond  surrounded  by  some  children  made 
of  gold  plate,  and  a  God  the  Father  marvellously  wrought;  wherefore, 
besides  his  payment,  he  received  as  a  gift  from  that  Pope  an  office  of 
mace-bearer.     Being  then  commissioned  by  the  same  Pontiff  to  make  a 
chalice  of  gold,  the  cup  of  which  was  to  be  supported  by  figures  representing 
the  Theological  Virtues,  he  carried  it  near  completion  with  most  mar- 
vellous artistry.     In  these  same  times  there  was  no  one  who  made  the 
medals  of  that  Pope  better  than  he  did,  among  the  many  who  essayed  it, 
as  those  well  know  who  saw  his  medals  and  possess  them;  and  since  for 
these  reasons  he  received  the  charge  of  making  the  dies  for  the  Mint  of 
Rome,  no  more  beautiful  coins  have  ever  been  seen  than  were  struck  in 
Rome  at  that  time.     Wherefore  Benvenuto,  after  the  death  of  Clement, 
having  returned  to  Florence,  likewise  made  dies  with  the  head  of  Duke 
Alessandro  for  the  coins  of  the  Mint  of  Florence,  so  beautiful  and  wrought 
with  such  diligence,  that  some  of  them  are  now  preserved  as  if  they  were 
most  beautiful  antique  medals,  and  that  rightly,  for  the  reason  that  in 
these  he  surpassed  himself.    Having  finally  given  himself  to  sculpture 
and  to  the  work  of  casting,  Benvenuto  executed  in  France  many  works 
in  bronze,  silver,  and  gold,  while  he  was  in  the  service  of  King  Francis  in 
that  kingdom.     Then,  having  returned  to  his  own  country  and  entered 
the  service  of  Duke  Cosimo,  he  was  first  employed  in  some  goldsmiths' 
work,  and  in  the  end  was  given  some  works  of  sculpture;  whereupon  he 
executed  in  metal  the  statue  of  the  Perseus  that  has  cut  off  the  head  of 


22    BENVENUTO  CELLINI  AND  FRANCESCO  DA  SAN  GALLO 

Medusa,  which  is  in  the  Piazza  del  Duca,  near  the  door  of  the  Ducal 
Palace,  upon  a  base  of  marble  with  some  very  beautiful  figures  in  bronze, 
each  about  one  braccio  and  a  third  in  height.  This  whole  work  was 
carried  to  perfection  with  the  greatest  possible  study  and  diligence,  and 
set  up  in  the  above-named  place  as  a  worthy  companion  to  the  Judith 
by  the  hand  of  Donato,  that  famous  and  celebrated  sculptor.  And 
certainly  it  was  a  marvel  that  Benvenuto,  after  being  occupied  for  so 
many  years  in  making  little  figures,  executed  so  great  a  statue  with  such 
excellence.  The  same  master  has  made  a  Crucifix  of  marble,  in  the  round 
and  large  as  life,  which  of  its  kind  is  the  rarest  and  most  beautiful  piece 
of  sculpture  that  there  is  to  be  seen.  Wherefore  the  Lord  Duke  keeps 
it,  as  a  thing  most  dear  to  him,  in  the  Pitti  Palace,  intending  to  place  it 
in  the  chapel,  or  rather,  little  church,  that  he  is  building  in  that  place; 
which  little  church  could  not  have  in  these  times  anything  more  worthy 
of  itself  and  of  so  great  a  Prince.  In  short,  it  is  not  possible  to  praise 
this  work  so  much  as  would  be  sufficient.  Now,  although  I  could  enlarge 
at  much  greater  length  on  the  works  of  Benvenuto,  who  has  been  in  his 
every  action  spirited,  proud,  vigorous,  most  resolute,  and  truly  terrible, 
and  a  person  who  has  been  only  too  well  able  to  speak  for  himself  with 
Princes,  no  less  than  to  employ  his  hand  and  brain  in  matters  of  art,  I 
shall  say  nothing  more  of  him  here,  seeing  that  he  has  written  of  his  own 
life  and  works,  and  a  treatise  on  the  goldsmith's  arts,  and  on  founding 
and  casting  in  metal,  with  other  things  pertaining  to  such  arts,  and  also 
of  sculpture,  with  much  more  eloquence  and  order  than  I  perchance 
would  be  able  to  use  here;  as  for  him,  therefore,  I  must  be  content  with 
this  short  summary  of  the  rarest  of  his  principal  works. 

Francesco  di  Giuliano  da  San  Gallo,  sculptor,  architect,  and  Acade- 
mician, and  now  a  man  seventy  years  of  age,  has  executed  many  works 
of  sculpture,  as  has  been  related  in  the  Life  of  his  father  and  elsewhere; 
the  three  figures  of  marble,  somewhat  larger  than  life,  which  are  over  the 
altar  of  the  Church  of  Orsanmichele,  S.,Anne,  the  Virgin,  and  the  Child 
Christ,  figures  which  are  much  extolled;  certain  other  statues,  also  in 
marble,  for  the  tomb  of  Piero  de'  Medici  at  Monte  Cassino;  the  tomb  of 
Bishop  de'  Marzi,  which  is  in  the  Nunziata,  and  that  of  Monsignor  Giovio, 


Brogi 

PERSEUS 

(After  the  bronze  by  Benvenuto  Cellini.     Florence:   Loggia  de*  Lanzi) 


FRANCESCO  DA  SAN  GALLO  AND  OTHERS  23 

the  writer  of  the  history  of  his  own  times.  In  architecture,  likewise,  the 
same  Francesco  has  executed  many  good  and  beautiful  works  in  Florence 
and  elsewhere;  and  he  has  well  deserved,  both  for  his  own  good  qualities 
and  for  the  services  of  his  father  Giuliano,  to  be  always  favoured  by  the 
house  of  Medici  as  their  protege,  on  which  account  Duke  Cosimo,  after 
the  death  of  Baccio  d'Agnolo,  gave  him  the  place  which  that  master  had 
held  as  architect  to  the  Duomo  of  Florence. 

Of  Ammanati,  who  is  also  among  the  first  of  our  Academicians, 
enough  having  been  said  of  him  in  the  description  of  the  works  of  Jacopo 
Sansovino,  there  is  no  need  to  speak  further  here.  But  I  will  record  that 
disciples  of  his,  and  also  Academicians,  are  Andrea  Calamech  of  Carrara, 
a  well-practised  sculptor,  who  executed  many  figures  under  Ammanati, 
and  was  invited  to  Messina  after  the  death  of  the  above-named  Martino 
to  take  the  position  which  Fra  Giovanni  Agnolo  had  once  held,  in  which 
place  he  died;  and  Battista  di  Benedetto,  a  young  man  who  has  given 
promise  of  becoming,  as  he  will,  an  excellent  master,  having  demon- 
strated already  by  many  works  that  he  is  not  inferior  to  the  above-named 
Andrea  or  to  any  other  of  the  young  sculptors  of  our  Academy,  in  beauty 
of  genius  and  judgment. 

Vincenzio  de'  Rossi  of  Fiesole,  likewise  a  sculptor,  architect,  and 
Academician  of  Florence,  is  worthy  to  have  some  record  made  of  him 
in  this  place,  in  addition  to  what  has  been  said  of  him  in  the  Life  of 
Baccio  Bandinelli,  whose  disciple  he  was.  After  he  had  taken  leave  of 
Baccio,  then,  he  gave  a  great  proof  of  his  powers  in  Rome,  although  he 
was  young  enough,  in  the  statue  that  he  made  for  the  Ritonda,  of  a  S. 
Joseph  with  Christ  as  a  boy  of  ten  years,  both  figures  wrought  with  good 
mastery  and  a  beautiful  manner.  He  then  executed  two  tombs  in  the 
Church  of  S.  Maria  della  Pace,  with  the  effigies  of  those  who  are  within 
them  on  the  sarcophagi,  and  on  the  front  without  some  Prophets  of 
marble  in  half-relief  and  large  as  life,  which  acquired  for  him  the  name  of 
an  excellent  sculptor.  Whereupon  there  was  allotted  to  him  by  the 
Roman  people  the  statue  of  Pope  Paul  IV,  which  was  placed  on  the 
Campidoglio;  and  he  executed  it  excellently  well.  But  that  work  had 
a  short  life,  for  the  reason  that  after  the  death  of  the  Pope  it  was  thrown 


24  VINCENZIO  DE'  ROSSI  AND  OTHERS 

to  the  ground  and  destroyed  by  the  populace,  which  persecutes  fiercely 
one  day  the  very  men  whom  it  has  exalted  to  the  heavens  the  day  before. 
After  that  figure  Vincenzio  made  from  one  block  of  marble  two  statues  a 
little  larger  than  life,  a  Theseus,  King  of  Athens,  who  has  carried  off 
Helen  and  holds  her  in  his  arms  in  the  act  of  knowing  her,  with  a  Troy 
beneath  his  feet;  than  which  figures  it  is  not  possible  to  make  any  with 
more  diligence,  study,  labour,  and  grace.  Wherefore  when  Duke  Cosimo 
de'  Medici,  having  journeyed  to  Rome,  and  going  to  see  the  modern  works 
worthy  to  be  seen  no  less  than  the  antiques,  saw  those  statues,  Vincenzio 
himself  showing  them  to  him,  he  extolled  them  very  highly,  as  they 
deserved ;  and  then  Vincenzio,  who  is  a  gentle  spirit,  courteously  presented 
them  to  him,  and  at  the  same  time  freely  offered  him  his  services.  But 
his  Excellency,  having  conveyed  them  not  long  afterwards  to  his  Palace 
of  the  Pitti  in  Florence,  paid  him  a  good  price  for  them;  and,  having 
taken  Vincenzio  himself  with  him,  he  commissioned  him  after  no  long 
time  to  execute  the  Labours  of  Hercules  in  figures  of  marble  larger  than 
life  and  in  the  round.  On  these  Vincenzio  is  now  spending  his  time,  and 
already  he  has  carried  to  completion  the  Slaying  of  Cacus  and  the  Combat 
with  the  Centaur;  which  whole  work,  even  as  it  is  most  exalted  in  subject 
and  also  laborious,  so  it  is  hoped  that  it  will  prove  excellent  in  artistry, 
Vincenzio  being  a  man  of  very  beautiful  genius  and  much  judgment,  and 
prodigal  of  thought  in  all  his  works  of  importance. 

Nor  must  I  omit  to  say  that  under  his  discipline  Ilarione  Ruspoli, 
a  young  citizen  of  Florence,  gives  his  attention  with  much  credit  to 
sculpture;  which  Ilarione,  no  less  than  his  peers  in  our  Academy,  showed 
that  he  had  knowledge,  design,  and  a  good  mastery  in  the  making  of 
statues,  when  he  had  occasion  together  with  the  others  in  the  obsequies 
of  Michelagnolo  and  in  the  festive  preparations  for  the  nuptials  named 
above. 

Francesco  Camilliani,  a  sculptor  and  Academician  of  Florence,  who 
was  a  disciple  of  Baccio  Bandinelli,  after  having  given  in  many  works 
proof  of  being  a  good  sculptor,  has  consumed  fifteen  years  in  making  orna- 
ments for  fountains;  and  of  such  there  is  one  most  stupendous,  which  the 
Lord  Don  Luigi  di  Toledo  has  caused  to  be  executed  for  his  garden  in 


JUlil 


A I  in  art 


FOUNTAIN  OF  NEPTUNE 
(After  Giovanni  Bologna.     Bologna) 


FRANCESCO  CAMILLIANI  AND  GIOVAN  BOLOGNA          25 

Florence.  The  ornaments  about  that  garden  are  various  statues  of  men 
and  animals  in  divers  manners,  all  rich  and  truly  regal,  and  wrought 
without  sparing  of  expense;  and  among  other  statues  that  Francesco  has 
made  for  that  place,  two  larger  than  life,  which  represent  the  Rivers  Arno 
and  Mugnone,  are  of  supreme  beauty,  and  particularly  the  Mugnone, 
which  can  bear  comparison  with  no  matter  what  statue  by  an  excellent 
master.  In  short,  all  the  architecture  and  ornamentation  of  that  garden 
are  the  work  of  Francesco,  who  by  the  richness  of  the  various  fountains 
has  made  it  such,  that  it  has  no  equal  in  Florence,  and  perhaps  not  in 
Italy.  And  the  principal  fountain,  which  is  even  now  being  carried  to 
completion,  will  be  the  richest  and  most  sumptuous  to  be  seen  in  any 
place,  with  its  wealth  of  the  richest  and  finest  ornaments  that  can  be 
imagined,  and  the  great  abundance  of  waters  that  will  be  there,  flowing 
without  fail  at  every  season. 

Also  an  Academician,  and  much  in  favour  with  our  Princes  for  his 
talents,  is  Giovan  Bologna  of  Douai,  a  Flemish  sculptor  and  a  young 
man  truly  of  the  rarest,  who  has  executed  with  most  beautiful  ornaments 
of  metal  the  fountain  that  has  been  made  recently  on  the  Piazza  di  S. 
Petronio  in  Bologna,  opposite  to  the  Palazzo  de'  Signori,  in  which  there 
are,  besides  other  ornaments,  four  very  beautiful  Sirens  at  the  corners, 
with  various  children  all  around,  and  masks  bizarre  and  extraordinary. 
But  the  most  notable  thing  is  a  figure  that  he  has  made  and  placed  over 
the  centre  of  that  fountain,  a  Neptune  of  six  braccia,  which  is  a  most 
beautiful  casting  and  a  statue  studied  and  wrought  to  perfection.  The 
same  master — not  to  speak  at  present  of  all  the  works  that  he  has  executed 
in  clay,  terracotta,  wax,  and  other  mixtures — has  made  a  very  beautiful 
Venus  in  marble,  and  has  carried  almost  to  completion  for  the  Lord 
Prince  a  Samson  large  as  life,  who  is  combating  on  foot  with  two  Philis- 
tines. And  in  bronze  he  has  made  a  statue  of  Bacchus,  larger  than  life 
and  in  the  round,  and  a  Mercury  in  the  act  of  flying,  a  very  ingenious 
figure,  the  whole  weight  resting  on  one  leg  and  on  the  point  of  the  foot, 
which  has  been  sent  to  the  Emperor  Maximilian,  as  a  thing  that  is  indeed 
most  rare.  But  if  up  to  the  present  he  has  executed  many  works,  he  will 
do  many  more  in  the  future,  and  most  beautiful,  for  recently  the  Lord 
x.  4 


26  GIOVAN  BOLOGNA  AND  VINCENZIO  DANTI 

Prince  has  had  him  provided  with  rooms  in  the  Palace,  and  has  com- 
missioned him  to  make  a  statue  of  a  Victory  of  five  braccia,  with  a  captive, 
which  is  going  into  the  Great  Hall,  opposite  another  by  the  hand  of 
Michelagnolo ;  and  he  will  execute  for  that  Prince  large  and  important 
works,  in  which  he  will  have  an  ample  field  to  show  his  worth.  Many 
works  by  his  hand,  and  very  beautiful  models  of  various  things,  are  in 
the  possession  of  M.  Bernardo  Vecchietti,  a  gentleman  of  Florence,  and 
Maestro  Bernardo  di  Mona  Mattea,  builder  to  the  Duke,  who  has  con- 
structed with  great  excellence  all  the  fabrics  designed  by  Vasari. 

Not  less  than  this  Giovan  Bologna  and  his  friends  and  other  sculptors 
of  our  Academy,  Vincenzio  Danti  of  Perugia,  who  under  the  protection 
of  Duke  Cosimo  has  adopted  Florence  as  his  country,  is  a  young  man  truly 
rare  and  of  fine  genius.  Vincenzio,  when  a  youth,  worked  as  a  goldsmith, 
and  executed  in  that  profession  things  beyond  belief;  and  afterwards, 
having  applied  himself  to  the  work  of  casting,  he  had  the  courage  at 
the  age  of  twenty  to  cast  in  bronze  a  statue  of  Pope  Julius  III,  four 
braccia  high,  seated  and  giving  the  Benediction;  which  statue,  a  very 
creditable  work,  is  now  in  the  Piazza  of  Perugia.  Then,  having  come  to 
Florence  to  serve  Duke  Cosimo,  he  made  a  very  beautiful  model  in  wax, 
larger  than  life,  of  a  Hercules  crushing  Antaeus,  in  order  to  cast  from  it  a 
figure  in  bronze,  which  was  to  be  placed  over  the  principal  fountain  in  the 
garden  of  Castello,  a  villa  of  the  said  Lord  Duke.  But,  having  made  the 
mould  upon  that  model,  in  seeking  to  cast  it  in  bronze  it  did  not  succeed, 
although  he  returned  twice  to  the  work ;  either  by  bad  fortune,  or  because 
the  metal  was  burnt,  or  for  some  other  reason.  Having  then  turned,  in 
order  not  to  subject  his  labours  to  the  whim  of  chance,  to  working  in 
marble,  he  executed  in  a  short  time  from  one  single  piece  of  marble  two 
figures,  Honour  with  Deceit  beneath  it,  and  with  such  diligence,  that  it 
seemed  as  if  he  had  never  done  anything  but  handle  the  hammer  and 
chisels;  and  on  the  head  of  Honour,  which  is  beautiful,  he  made  the  hair 
curling  and  so  well  pierced  through,  that  it  seems  real  and  natural,  besides 
displaying  a  very  good  knowledge  of  the  nude.  That  statue  is  now  in  the 
courtyard  of  the  house  of  Signor  Sforza  Almeni  in  the  Via  de'  Servi.  And 
at  Fiesole,  for  the  same  Signor  Sforza,  he  made  many  ornaments  in  his 


Anderson 

MERCURY 

(After  the  bronze  by  Giovanni  Bologna.     Florence:   Museo  Nazionale) 


VINCENZIO  DANTI  27 

garden  and  around  certain  fountains.     Afterwards  he  executed  for  the 
Lord  Duke  some  low-reliefs  in  marble  and  in  bronze,  which  were  held  to 
be  very  beautiful,  for  in  that  manner  of  sculpture  he  is  perhaps  not 
inferior  to  any  other  master.     He  then  cast,  also  in  bronze,  the  grating 
of  the  chapel  built  in  the  new  apartments  of  the  Palace,  which  were 
painted  by  Giorgio  Vasari,  and  with  it  a  panel  with  many  figures  in  low- 
relief,  which  serves  to  close  a  press  wherein  the  Duke  keeps  writings  of 
importance;  and  another  panel  one  braccio  and  a  half  in  height  and  two 
and  a  half  in  breadth,  representing  how  Moses,  in  order   to  heal  the 
Hebrew  people  from  the  bites  of  the  serpents,  placed  one  upon  a  pole. 
All  these  things  are  in  the  possession  of  that  lord,  by  order  of  whom  he 
made  the  door  of  the  sacristy  in  the  Pieve  of  Prato,  and  over  it  a  sarco- 
phagus of  marble,  with  a  Madonna  three  braccia  and  a  half  high,  and 
beside  her  the  Child  nude,  and  two  little  children  that  are  one  on  either 
side  of  a  head  in  low-relief  of  Messer  Carlo  de'  Medici,  the  natural  son 
of  the  elder  Cosimo,  and  once  Provost  of  Prato,  whose  bones,  after  having 
long  been  in  a  tomb  of  brick,  Duke  Cosimo  has  caused  to  be  laid  in  the 
above-named    sarcophagus,    thus    giving    him    honourable    sepulture; 
although  it  is  true  that  the  said  Madonna  and  the  head  in  low-relief 
(which  is  very  beautiful),  being  in  a  bad  light,  do  not  show  up  by  a  great 
measure  as  they  should.     The  same  Vincenzio  has  since  made,  in  order 
to  adorn  the  residence  of  the  Magistrates  of  the  Mint,  on  the  head-wall 
over  the  loggia  that  is  on  the  River  Arno,  an  escutcheon  of  the  Duke  with 
two  nude  figures,  larger  than  life,  on  either  side  of  it,  one  representing 
Equity  and  the  other  Rigour;  and  from  hour  to  hour  he  is  expecting  the 
marble  to  make  the  statue  of  the  Lord  Duke  himself,  considerably  larger 
than  life,  of  which  he  has  made  a  model;  and  that  statue  is  to  be  placed 
seated  over  the  escutcheon,  as  a  completion  to  the  work,  which  is  to  be 
built  shortly,  together  with  the  rest  of  the  fa$ade,  which  Vasari,  who  is 
the  architect  of  that  fabric,  is  even  now  superintending.     He  has  also  in 
hand,  and  has  carried  very  near  completion,  a  Madonna  of  marble  larger 
than  life,  standing  with  Jesus,  a  Child  of  three  months,  in  her  arms; 
which  will  be  a  very  beautiful  work.     All  these  works,  together  with 
others,  he  is  executing  in  the  Monastery  of  the  Angeli  in  Florence,  where 


28  VINCENZIO  AhD  IGNAZIO  DANTI 

he  lives  quietly  in  company  with  these  monks,  who  are  much  his  friends, 
in  the  rooms  that  were  once  occupied  there  by  Messer  Benedetto  Varchi, 
of  whom  the  same  Vincenzio  is  making  a  portrait  in  low-relief,  which 
will  be  very  beautiful. 

Vincenzio  has  a  brother  in  the  Order  of  Preaching  Friars,  called  Fra 
Ignazio  Danti,  who  is  very  excellent  in  matters  of  cosmography,  and  of  a 
rare  genius,  insomuch  that  Duke  Cosimo  de'  Medici  is  causing  him  to 
execute  a  work  than  which  none  greater  or  more  perfect  has  ever  been  done 
at  any  time  in  that  profession;  which  is  as  follows.     His  Excellency,  under 
the  direction  of  Vasari,  has  built  a  new  hall  of  some  size  expressly  as  an 
addition  to  the  guardaroba,  on  the  second  floor  of  the  apartments  in  the 
Ducal  Palace;  and  this  he  has  furnished  all  around  with  presses  seven 
braccia  high,  with  rich  carvings  of  walnut- wood,  in  order  to  deposit  in 
them  the  most  important,  precious,  and  beautiful  things  that  he  possesses. 
Over  the  doors  of  those  presses,  within  their  ornaments,  Fra  Ignazio  has 
distributed  fifty-seven  pictures  about  two  braccia  high  and  wide  in  pro- 
portion, in  which  are  painted  in  oils  on  the  wood  with  the  greatest  dili- 
gence, after  the  manner  of  miniatures,  the  Tables  of  Ptolemy,  all  measured 
with  perfect  accuracy  and  corrected  after  the  most  recent  authorities, 
with  exact  charts  of  navigation  and  their  scales  for  measuring  and 
degrees,  done  with  supreme  diligence;  and  with  these  are  all  the  names, 
both  ancient  and  modern.     His  distribution  of  these  pictures  is  on  this 
wise.     At  the  principal  entrance  of  the  hall,  on  the  transverse  surfaces 
of  the  thickness  of  the  presses,  in  four  pictures,  are  four  half-spheres  in 
perspective;  in  the  two  below  is  the  Universe  of  the  Earth,  and  in  the 
two  above  is  the  Universe  of  the  Heavens,  with  its  signs  and  celestial 
figures.     Then  as  one  enters,  on  the  right  hand,  there  is  all  Europe  in 
fourteen  tables  and  pictures,  one  after  another,  as  far  as  the  centre  of 
the  wall  that  is  at  the  head,  opposite  to  the  principal  door;  in  which 
centre  is  placed  the  clock  with  the  wheels  and  with  the  spheres  of  the 
planets  that  every  day  go  through  their  motions,  which  is  that  clock,  so 
famous  and  renowned,  made  by  the  Florentine  Lorenzo  della  Volpaia. 
Above  these  tables  is  Africa  in  eleven  tables,  as  far  as  the  said  clock;  and 
then,  beyond  that  clock,  Asia  in  the  lower  range,  which  continues  likewise 


IGNAZIO  DAMTI  29 

in  fourteen  tables  as  far  as  the  principal  door.  Above  these  tables  of 
Asia,  in  fourteen  other  tables,  there  follow  the  West  Indies,  beginning 
like  the  others  from  the  clock,  and  continuing  as  far  as  the  same  principal 
door;  and  thus  there  are  in  all  fifty-seven  tables.  In  the  base  at  the 
foot,  in  an  equal  number  of  pictures  running  right  round,  which  will  be 
exactly  in  line  with  those  tables,  are  to  be  all  the  plants  and  all  the 
animals  copied  from  nature,  according  to  the  kinds  that  those  countries 
produce.  Over  the  cornice  of  the  presses,  which  is  the  crown  of  the  whole, 
there  are  to  be  some  projections  separating  the  pictures,  and  upon  these 
are  to  be  placed  such  of  the  antique  heads  in  marble  as  are  in  existence  of 
the  Emperors  and  Princes  who  have  possessed  those  lands;  and  on  the 
plain  walls  up  to  the  cornice  of  the  ceiling,  which  is  all  of  carved  wood 
and  painted  in  twelve  great  pictures,  each  with  four  celestial  signs, 
making  in  all  forty-eight,  and  little  less  than  life-size,  with  their  stars — 
there  are  beneath,  as  I  have  said,  on  those  walls,  three  hundred  portraits 
from  life  of  distinguished  persons  for  the  last  five  hundred  years  or  more, 
painted  in  pictures  in  oils  (and  a  note  will  be  made  of  them  in  the  table  of 
portraits,  in  order  not  to  make  too  long  a  story  here  with  their  names), 
all  of  one  size,  and  with  one  and  the  same  ornament  of  carved  walnut- 
wood — a  very  rare  effect.  In  the  two  compartments  in  the  centre  of  the 
ceiling,  each  four  braccia  wide,  where  there  are  the  celestial  signs,  which 
open  with  ease  without  revealing  the  secret  of  the  hiding-place,  in  a  part 
after  the  manner  of  a  heaven,  will  be  accommodated  two  large  globes, 
each  three  braccia  and  a  half  in  height.  In  one  of  them  will  be  the  whole 
earth,  marked  distinctly,  and  this  will  be  let  down  by  a  windlass  that  will 
not  be  seen,  down  to  the  floor,  and  will  rest  on  a  balanced  pedestal,  so 
that,  when  fixed,  there  will  be  seen  reflected  all  the  tables  that  are  right 
round  in  the  pictures  of  the  presses,  and  they  will  have  a  countermark  in 
the  globe  wherewith  to  find  them  with  ease.  In  the  other  globe  will  be 
the  forty-eight  celestial  signs  arranged  in  such  a  manner,  that  it  will  be 
possible  with  it  to  perform  all  the  operations  of  the  Astrolabe  to  per- 
fection. This  fanciful  invention  came  from  Duke  Cosimo,  who  wished 
to  put  together  once  and  for  all  these  things  both  of  heaven  and  of  earth, 
absolutely  exact  and  without  errors,  so  that  it  might  be  possible  to  see 


30  ANTONIO  DI  GINO  LORENZI  AND  OTHERS 

and  measure  them  separately  and  all  together,  according  to  the  pleasure 
of  those  who  delight  in  this  most  beautiful  profession  and  study  it;  of 
which,  as  a  thing  worthy  to  be  recorded,  it  has  seemed  to  me  my  duty 
to  make  mention  in  this  place  on  account  of  the  art  of  Fra  Ignazio  and 
the  greatness  of  the  Prince,  who  holds  us  worthy  to  enjoy  such  honourable 
labours,  and  also  to  the  end  that  it  may  be  known  throughout  the  whole 
world. 

And  now  to  return  to  the  men  of  our  Academy;  although  I  have 
spoken  in  the  Life  of  Tribolo  of  Antonio  di  Gino  Lorenzi,  a  sculptor  of 
Settignano,  I  must  record  here  with  better  order,  as  in  the  proper  place, 
that  he  executed  under  his  master  Tribolo  the  statue  of  ^sculapius 
described  above,  which  is  at  Castello,  and  four  children  that  are  in  the 
great  fountain  of  that  place;  and  since  then  he  has  made  some  heads  and 
ornaments  that  are  about  the  new  fish-pond  of  Castello,  which  is  high 
up  there  in  the  midst  of  various  kinds  of  trees  of  perpetual  verdure. 
Recently  he  has  made  in  the  lovely  garden  of  the  stables,  near  S.  Marco, 
most  beautiful  ornaments  for  an  isolated  fountain,  with  many  very  fine 
aquatic  animals  of  white  and  variegated  marble;  and  in  Pisa  he  once 
executed  under  the  direction  of  the  above-named  Tribolo  the  tomb  of 
Corte,  a  most  excellent  philosopher  and  physician,  with  his  statue  and 
two  very  beautiful  children  of  marble.  In  addition  to  these,  he  is  even 
now  executing  new  works  for  the  Duke,  of  animals  and  birds  in  variegated 
marble  for  fountains,  works  of  the  greatest  difficulty,  which  make  him 
well  worthy  to  be  in  the  number  of  these  our  Academicians. 

In  like  manner,  a  brother  of  Antonio,  called  Stoldo  di  Gino  Lorenzi,  a 
young  man  thirty  years  of  age,  has  acquitted  himself  in  such  a  manner  up 
to  the  present  in  many  works  of  sculpture,  that  he  may  now  be  numbered 
with  justice  among  the  first  of  the  young  men  in  his  profession,  and  set 
in  the  most  honourable  place  in  their  midst.  At  Pisa  he  has  executed  in 
marble  a  Madonna  receiving  the  Annunciation  from  the  Angel,  which  has 
made  him  known  as  a  young  man  of  beautiful  judgment  and  genius;  and 
Luca  Martini  caused  him  to  make  another  very  lovely  statue  in  Pisa, 
which  was  presented  afterwards  by  the  Lady  Duchess  Leonora  to  the 
Lord  Don  Garzia  di  Toledo,  her  brother,  who  has  placed  it  in  his  garden 


Alinari 


BRONZE  RELIEF 

(After  Vincenzo  Danti.     Florence:   Museo  Nazionale) 


STOLDO  DI  GINO  LORENZI  AND  OTHERS  31 

on  the  Chiaia  at  Naples.  The  same  Stoldo  has  made,  under  the  direction 
of  Vasari,  in  the  centre  of  the  facade  of  the  Palace  of  the  Knights  of 
S.  Stephen  at  Pisa,  over  the  principal  door,  a  very  large  escutcheon  in 
marble  of  the  Lord  Duke,  their  Grand  Master,  between  two  statues  in  the 
round,  Religion  and  Justice,  which  are  truly  most  beautiful  and  highly 
extolled  by  all  those  who  are  good  judges.  The  same  lord  has  since 
caused  him  to  execute  a  fountain  for  his  garden  of  the  Pitti,  after  the 
likeness  of  the  beautiful  Triumph  of  Neptune  that  was  seen  in  the  superb 
masquerade  which  his  Excellency  held  for  the  above-mentioned  nuptials 
of  the  most  illustrious  Lord  Prince.  And  let  this  suffice  for  Stoldo 
Lorenzi,  who  is  young  and  is  constantly  working  and  acquiring  more  and 
more  fame  and  honour  among  his  companions  of  the  Academy. 

Of  the  same  family  of  the  Lorenzi  of  Settignano  is  Battista,  called 
Battista  del  Cavaliere  from  his  having  been  a  disciple  of  the  Chevalier 
Baccio  Bandinelli;  who  has  executed  in  marble  three  statues  of  the  size 
of  life,  which  Bastiano  del  Pace,  a  citizen  of  Florence,  has  caused  him 
to  make  for  the  Guadagni,  who  live  in  France,  and  who  have  placed  them 
in  a  garden  that  belongs  to  them.  These  are  a  nude  Spring,  a  Summer, 
and  a  Winter,  which  are  to  be  accompanied  by  an  Autumn;  which 
statues  have  been  held  by  many  who  have  seen  them,  to  be  beautiful 
and  executed  with  no  ordinary  excellence.  Wherefore  Battista  has  well 
deserved  to  be  chosen  by  the  Lord  Duke  to  make  the  sarcophagus, 
with  the  ornaments,  and  one  of  the  three  statues  that  are  to  be  on  the 
tomb  of  Michelagnolo  Buonarroti,  which  his  Excellency  and  Leonardo 
Buonarroti  are  carrying  out  after  the  design  of  Giorgio  Vasari;  which 
work,  as  may  be  seen,  Battista  is  carrying  to  completion  excellently 
well,  with  certain  little  boys,  and  the  figure  of  Buonarroti  himself  from 
the  breast  upwards. 

The  second  of  these  three  figures  that  are  to  be  on  that  sepulchre, 
which  are  to  be  Painting,  Sculpture,  and  Architecture,  has  been  allotted 
to  Giovanni  di  Benedetto  of  Castello,  a  disciple  of  Baccio  Bandinelli  and 
an  Academician,  who  is  executing  for  the  Wardens  of  S.  Maria  del  Fiore 
the  works  in  low-relief  that  are  going  round  the  choir,  which  is  now  near 
completion.  In  these  he  is  closely  imitating  his  master,  and  acquitting 


32  VALERIC  CIOLI  AND  OTHERS 

himself  in  such  a  manner  that  an  excellent  result  is  expected  of  him;  nor 
will  it  fall  out  otherwise,  seeing  that  he  is  very  assiduous  in  his  work  and 
in  the  studies  of  his  profession. 

The  third  figure  has  been  allotted  to  Valerio  Cioli  of  Settignano,  a 
sculptor  and  Academician,  for  the  reason  that  the  other  works  that  he 
has  executed  up  to  the  present  have  been  such,  that  it  is  thought  that  the 
said  figure  must  prove  to  be  so  good  as  to  be  not  otherwise  than  worthy 
to  be  placed  on  the  tomb  of  so  great  a  man.  Valerio,  who  is  a  young  man 
twenty-six  years  of  age,  has  restored  many  antique  statues  of  marble 
in  the  garden  of  the  Cardinal  of  Ferrara  at  Monte  Cavallo  in  Rome, 
making  for  some  of  them  new  arms,  for  some  new  feet,  and  for  others 
other  parts  that  were  wanting;  and  he  has  since  done  the  same  for  many 
statues  in  the  Pitti  Palace,  which  the  Duke  has  conveyed  there  for  the 
adornment  of  a  great  hall.  The  Duke  has  also  caused  the  same  Valerio 
to  make  a  nude  statue  of  the  dwarf  Morgante  in  marble,  which  has  proved 
so  beautiful  and  so  like  the  reality,  that  probably  there  has  never  been 
seen  another  monster  so  well  wrought,  nor  one  executed  with  such  dili- 
gence, lifelike  and  faithful  to  nature.  In  like  manner,  he  has  caused  him 
to  execute  the  statue  of  Pietro,  called  Barbino,  a  gifted  dwarf,  well- 
lettered  and  a  very  gentle  spirit,  and  a  favourite  of  our  Duke.  For  all 
these  reasons,  I  say,  Valerio  has  well  deserved  that  there  should  be  allotted 
to  him  by  his  Excellency  the  statue  that  is  to  adorn  the  tomb  of  Buonar- 
roti, the  one  master  of  all  these  able  men  of  the  Academy. 

As  for  Francesco  Moschino,  a  sculptor  of  Florence,  enough  having 
been  spoken  of  him  in  another  place,  it  suffices  here  to  say  that  he  also  is 
an  Academician,  that  under  the  protection  of  Duke  Cosimo  he  is  constantly 
at  work  in  the  Duomo  of  Pisa,  and  that  among  the  festive  preparations 
for  the  nuptials  he  acquitted  himself  excellently  well  in  the  decorations 
of  the  principal  door  of  the  Ducal  Palace. 

Of  Domenico  Poggini,  likewise,  having  said  above  that  he  is  an  able 
sculptor  and  that  he  has  executed  an  infinity  of  medals  very  faithful  to 
the  reality,  and  some  works  in  marble  and  in  casting,  I  shall  say  nothing 
more  of  him  here,  save  that  he  is  deservedly  one  of  our  Academicians, 
that  for  the  above-named  nuptials  he  made  some  very  beautiful  statues, 


GIOVANNI  FANCELLI  AND  OTHERS  33 

which  were  placed  upon  the  Arch  of  Religion  at  the  Canto  della  Paglia, 
and  that  recently  he  has  executed  a  new  medal  of  the  Duke,  very  true  to 
the  life  and  most  beautiful;  and  he  is  still  continually  at  work. 

Giovanni  Fancelli,  or  rather,  as  others  call  him,  Giovanni  di  Stocco, 
an  Academician,  has  executed  many  works  in  marble  and  stone,  which 
have  proved  good  sculptures ;  among  others,  much  extolled  is  an  escutcheon 
of  balls  with  two  children  and  other  ornaments,  placed  on  high  over  the 
two  knee-shaped  windows  of  the  f  agade  of  Ser  Giovanni  Conti  in  Florence. 
And  the  same  I  say  of  Zanobi  Lastricati,  who,  as  a  good  and  able  sculptor, 
has  executed  and  is  still  executing  many  works  in  marble  and  in  casting, 
which  have  made  him  well  worthy  to  be  in  the  Academy  in  company  with 
those  named  above;  and,  among  his  works,  much  praised  is  a  Mercury  of 
bronze  that  is  in  the  court  of  the  Palace  of  M.  Lorenzo  Ridolfi,  for  it  is  a 
figure  wrought  with  all  the  considerations  that  are  requisite. 

Finally,  there  have  been  accepted  into  the  Academy  some  young 
sculptors  who  executed  honourable  and  praiseworthy  works  in  the  above- 
named  preparations  for  the  nuptials  of  his  Highness;  and  these  were  Fra 
Giovanni  Vincenzio  of  the  Servites,  a  disciple  of  Fra  Giovanni  Agnolo; 
Ottaviano  del  Collettaio,  a  pupil  of  Zanobi  Lastricati,  and  Pompilio 
Lancia,  the  'son  of  Baldassarre  da  Urbino,  architect  and  pupil  of  Girolamo 
Genga;  which  Pompilio,  in  the  masquerade  called  the  Genealogy  of  the 
Gods,  arranged  for  the  most  part,  and  particularly  the  mechanical  con- 
trivances, by  the  said  Baldassarre,  his  father,  acquitted  himself  in  certain 
things  excellently  well. 

In  these  last  pages  we  have  shown  at  some  length  what  kind  of  men, 
and  how  many  and  how  able,  have  been  gathered  together  to  form  so 
noble  an  Academy,  and  we  have  touched  in  part  on  the  many  and  honour- 
able occasions  obtained  by  them  from  their  most  liberal  lords,  wherein 
to  display  their  capacity  and  ability.  Nevertheless,  to  the  end  that  this 
may  be  the  better  understood,  although  those  first  learned  writers,  in 
their  descriptions  of  the  arches  and  of  the  various  spectacles  represented 
in  those  splendid  nuptials,  made  it  very  well  known,  yet,  since  there  has 
been  given  into  my  hands  the  following  little  work,  written  by  way  of 
exercise  by  a  person  of  leisure  who  delights  not  a  little  in  our  profession, 
x.  5 


34  THE  ACADEMICIANS  OF  DESIGN 

to  a  dear  and  close  friend  who  was  not  able  to  see  those  festivities,  forming 
the  most  brief  account  and  comprising  everything  in  one,  it  has  seemed 
to  me  my  duty,  for  the  satisfaction  of  my  brother-craftsmen,  to  insert  it 
in  this  volume,  adding  to  it  a  few  words,  to  the  end  that  it  may  be  more 
easy,  by  thus  uniting  rather  than  separating  it,  to  preserve  an  honourable 
record  of  their  noble  labours. 


OF  THE  ACADEMICIANS 


OF  THE  ACADEMICIANS 
DESCRIPTION  OF  THE  FESTIVE  PREPARATIONS  FOR  THE  NUPTIALS 

OF  THE  PRINCE  DON  FRANCESCO  OF  TUSCANY 

DESCRIPTION  OF  THE  PORTA  AL  PRATO 

WE  will  describe,  then,  with  the  greatest  clearness  and  brevity  that  may 
be  permitted  by  the  abundance  of  our  material,  how  the  intention  in  all 
these  decorations  was  to  represent  by  the  vast  number  of  pictures  and 
sculptures,  as  if  in  life,  all  those  ceremonies,  effects,  and  pomps  that 
appeared  to  be  proper  to  the  reception  and  the  nuptials  of  so  great  a 
Princess,  forming  of  them  poetically  and  ingeniously  a  whole  so  well 
proportioned,  that  with  judgment  and  grace  it  might  achieve  the  result 
designed.  First  of  all,  therefore,  at  the  Gate  that  is  called  the  Porta  al 
Prato,  by  which  her  Highness  was  to  enter  the  city,  there  was  built  with 
dimensions  truly  heroic,  which  well  showed  ancient  Rome  risen  again  in 
her  beloved  daughter  Florence,  a  vast,  most  ornate,  and  very  ingeniously 
composed  ante-port  of  Ionic  architecture,  which,  surpassing  by  a  good 
measure  the  height  of  the  walls,  which  are  there  very  lofty,  presented  a 
marvellous  and  most  superb  view  not  only  to  those  entering  the  city,  but 
even  at  a  distance  of  several  miles.  And  this  arch  was  dedicated  to 
Florence,  who — standing  between  two  figures,  as  it  were  her  beloved 
companions,  of  Fidelity  and  Affection,  virtues  which  she  has  always  shown 
towards  her  Lords — in  the  form  of  a  young  and  most  beautiful  woman, 
smiling  and  all  adorned  with  flowers,  had  been  set,  as  was  her  due,  in  the 
most  important  and  most  honourable  place,  nearest  to  the  Gate,  as  if 
she  sought  to  receive,  introduce,  and  accompany  her  new  Lady;  having 
brought  with  her,  as  it  were  as  her  minister  and  companion,  and  as  the 
symbol  of  those  of  her  sons  who  in  the  art  of  war,  among  other  arts,  have 

37 


38  OF  THE  ACADEMICIANS 

rendered  her  illustrious,  Mars,  their  leader  and  master,  and  in  a  certain 
sense  the  first  father  of  Florence  herself,  in  that  under  his  auspices  and 
by  martial  men,  who  were  descended  from  Mars,  was  made  her  first 
foundation.     His  statue,  dread  and  terrible,  could  be  seen  on  the  right 
in  the  part  farthest  from  her,  sword  in  hand,  as  if  he  sought  to  use  it  in 
the  service  of  his  new  Lady;  he  likewise  having  as  it  were  brought  with 
him  to  accompany  his  Florence,  in  a  very  large  and  very  beautiful  canvas 
painted  in  chiaroscuro   that  was  beneath  his  feet  (very  similar  to  the 
whitest  marble,  as  were  all  the  other  works  that  were  in  these  decorations), 
some  of  the  men  of  that  invincible  Martian  Legion  so  dear  to  the  first 
and  second  Caesar,  her  first  founders,  and  some  of  those  born  from  her, 
who  afterwards  followed  her  discipline  so  gloriously.     Many  of  these 
could  be  seen  issuing  full  of  gladness  from  his  temple,  which  is  now 
dedicated  to  S.  John  in  the  name  of  the  Christian  religion;  and  in  the 
farthest  distance  were  placed  those  who  were  thought  to  have  had  a  name 
only  for  bodily  valour,  in  the  central  space  those  others  who  had  become 
famous  by  their  counsel  and  industry,  such  as  commissaries  or  proveditors 
(to  call  them  by  their  Venetian  name),  and  in  the  front  part  nearest  to 
the  eye,  in  the  most  honourable  places,  as  being  the  most  worthy  of 
honour,  were  painted  the  captains  of  armies  and  those  who  had  acquired 
illustrious  renown  and  immortal  fame  by  valour  of  the  body  and  mind 
together.     Among  these,  as  the  first  and  perhaps  the  most  honourable, 
could  be  seen  on  horseback,  like  many  others,  the  glorious  Signor  Giovanni 
de'  Medici  portrayed  from  life,  that  rare  master  of  Italian  military  dis- 
cipline, and  the  illustrious  father  of  the  great  Cosimo  whom  we  honour 
as  our  excellent  and  most  valorous  Duke;  and  with  him  Filippo  Spano, 
terror  of  the  barbarous  Turks,  and   M.  Farinata   degli  Uberti,  great- 
hearted saviour  of  his  native  Florence.     There,  also,  was  M.  Buonaguisa 
della  Pressa,  who,  at  the  head  of  the  valiant  youth  of  Florence,  winning 
the  first  and  glorious  mural  crown  at  Damiata,  acquired  so  great  a  name; 
and  the  Admiral  Federigo  Folchi,  Knight  of  Rhodes,  who  with  his  two 
sons  and  eight  nephews  performed  so  many  deeds  of  prowess  against  the 
Saracens.     There  were  M.  Nanni  Strozzi,  M.  Manno  Donati,  Meo  Altoviti, 
and  Bernardo  Ubaldini,  called  Della  Carda,  father  of  Federigo,  Duke  of 


OF  THE  ACADEMICIANS  39 

Urbino,  that  most  excellent  captain  of  our  times.  There,  likewise,  was 
the  Great  Constable,  M.  Niccola  Acciaiuoli,  he  who  it  may  be  said  pre- 
served for  Queen  Joanna  and  King  Louis,  his  Sovereigns,  the  troubled 
kingdom  of  Naples,  and  who  always  bore  himself  both  there  and  in  Sicily 
with  such  loyalty  and  valour.  There  were  another  Giovanni  de'  Medici 
and  Giovanni  Bisdomini,  most  illustrious  in  the  wars  with  the  Visconti, 
and  the  unfortunate  but  valorous  Francesco  Ferrucci;  and  among  those 
more  ancient  were  M.  Forese  Adimari,  M.  Corso  Donati,  M.  Vieri  de' 
Cerchi,  M.  Bindaccio  da  Ricasoli,  and  M.  Luca  da  Panzano.  Among  the 
commissaries,  not  less  faithfully  portrayed  from  life,  could  be  seen  there 
Gino  Capponi,  with  Neri  his  son,  and  Piero  his  grand-nephew,  he  who, 
tearing  so  boldly  the  insolent  proposals  of  Charles  VIII,  King  of  France, 
to  his  immortal  honour,  caused  the  voice  of  a  Capon  (Cappon),  as  the  witty 
poet  said  so  well,  to  sound  so  nobly  among  so  many  Cocks  (Galli).  There 
were  Bernardetto  de'  Medici,  Luca  di  Maso  degli  Albizzi,  Tomrnaso  di 
M.  Guido,  now  called  Del  Palagio,  Piero  Vettori,  so  celebrated  in  the  wars 
with  the  Aragonese,  and  the  so  greatly  and  so  rightly  renowned  Antonio 
Giacomini,  with  M.  Antonio  Ridolfi  and  many  others  of  this  and  other 
orders,  who  would  make  too  long  a  story.  All  these  appeared  to  be  filled 
with  joy  that  they  had  raised  their  country  to  such  a  height,  auguring  for 
her,  in  the  coming  of  that  new  Lady,  increase,  felicity,  and  greatness; 
which  was  expressed  excellently  well  in  the  four  verses  that  were  to  be 
seen  written  on  the  architrave  above: 

Hanc  peperere  suo  patriam  qui  sanguine  nobis 
Aspice  magnanimos  heroas ;  nunc  et  ovantes 
Et  laeti  incedant,  felicem  terque  quaterque 
Certatimque  vocent  tali  sub  Principe  Floram. 

Not  less  gladness  could  be  seen  in  the  beautiful  statue  of  one  of  the 
nine  Muses,  which  was  placed  as  a  complement  opposite  to  that  of  Mars, 
nor  less,  again,  in  the  figures  of  the  men  of  science  in  the  painted  canvas 
that  was  to  be  seen  at  her  feet,  of  the  same  size  and  likewise  as  the  comple- 
ment of  the  men  of  Mars  opposite,  by  which  it  was  sought  to  signify  that 
even  as  the  men  of  war,  so  also  the  men  of  learning,  of  whom  Florence 
had  always  a  great  abundance  and  in  no  way  less  renowned  (in  that,  as 


40  OF  THE  ACADEMICIANS 

all  men  admit,  it  was  there  that  learning  began  to  revive),  had  likewise 
been  brought  by  Florence  under  the  guidance  of  their  Muse  to  receive 
and  honour  the  noble  bride.  Which  Muse,  clad  in  a  womanly,  graceful, 
and  seemly  habit,  with  a  book  in  the  right  hand  and  a  flute  in  the  left, 
seemed  with  a  certain  loving  expression  to  wish  to  invite  all  beholders  to 
apply  their  minds  to  true  virtue;  and  on  the  canvas  beneath  her,  executed, 
like  all  the  others,  in  chiaroscuro,  could  be  seen  painted  a  great  and  rich 
Temple  of  Minerva,  whose  statue  crowned  with  olive,  with  the  shield  of 
the  Gorgon  (as  is  customary),  was  placed  without;  and  before  the  temple 
and  at  the  sides,  within  an  enclosure  of  balusters  made  as  it  were  for  a 
promenade,  could  be  seen  a  great  throng  of  grave  and  solemn  men,  who, 
although  all  rejoicing  and  making  merry,  yet  retained  in  their  aspect  a 
certain  something  of  the  venerable,  and  these,  also,  were  portrayed  from 
life.  For  Theology  and  Sanctity  there  was  the  famous  Fra  Antonino, 
Archbishop  of  Florence,  for  whom  a  little  Angel  was  holding  the  episcopal 
mitre,  and  with  him  was  seen  Giovanni  Domenici,  first  Friar  and  then 
Cardinal;  and  with  them  Don  Ambrogio,  General  of  Camaldoli,  and  M. 
Ruberto  de'  Bardi,  Maestro  Luigi  Marsili,  Maestro  Leonardo  Dati,  and 
many  others.  Even  so,  in  another  part — and  these  were  the  Philosophers 
— were  seen  the  Platonist  M.  Marsilio  Ficino,  M.  Francesco  Cattani  da 
Diacceto,  M.  Francesco  Verini  the  elder,  and  M.  Donato  Acciaiuoli;  and 
for  Law  there  were,  with  the  great  Accursio,  Francesco  his  son,  M. 
Lorenzo  Ridolfi,  M.  Dino  Rossoni  di  Mugello,  and  M.  Forese  da  Rabatta. 
The  Physicians,  also,  had  their  portraits;  and  among  them  Maestro 
Taddeo  Dino  and  Tommaso  del  Garbo,  with  Maestro  Torrigian  Valori  and 
Maestro  Niccolo  Falcucci,  had  the  first  places.  Nor  did  the  Mathema- 
ticians, likewise,  fail  to  be  painted  there;  and  of  these,  besides  the  ancient 
Guido  Bonatto,  were  seen  Maestro  Paolo  del  Pozzo  and  the  very  acute, 
ingenious,  and  noble  Leon  Batista  Alberti,  and  with  them  Antonio 
Manetti  and  Lorenzo  della  Volpaia,  he  by  whose  hand  we  have  that  first 
and  marvellous  clock  of  the  planets,  the  wonder  of  our  age,  which  is  now 
to  be  seen  in  the  guardaroba  of  our  most  excellent  Duke.  For  Naviga- 
tion, also,  there  was  Amerigo  Vespucci,  most  experienced  and  most  fortu- 
nate of  men,  in  that  so  great  a  part  of  the  world,  having  been  discovered 


OF  THE  ACADEMICIANS  41 

by  him,  retains  because  of  him  the  name  of  America.  For  Learning, 
various  and  elegant,  there  was  Messer  Agnolo  Poliziano,  to  whom  how 
much  is  owed  by  the  Latin  and  Tuscan  tongues,  which  began  to  revive 
in  him,  I  believe  is  sufficiently  well  known  to  all  the  world.  With  him 
were  Pietro  Crinito,  Giannozzo  Manetti,  Francesco  Pucci,  Bartolommeo 
Fonzio,  Alessandro  de'  Pazzi,  and  Messer  Marcello  Vergilio  Adriani, 
father  of  the  most  ingenious  and  most  learned  M.  Giovan  Battista,  now 
called  II  Marcellino,  who  is  still  living  and  giving  public  lectures  with  so 
much  honour  in  our  Florentine  University,  and  who  at  the  commission 
of  their  illustrious  Excellencies  has  been  writing  anew  the  History  of 
Florence;  and  there  were  also  M.  Cristofano  Landini,  M.  Coluccio  Salutati, 
and  Ser  Brunetto  Latini,  the  master  of  Dante.  Nor  were  there  wanting 
certain  Poets  who  had  written  in  Latin,  such  as  Claudian,  and  among  the 
more  modern  Carlo  Marsuppini  and  Zanobi  Strada.  Of  the  Historians, 
then,  were  seen  M.  Francesco  Guicciardini,  Niccolo  Macchiavelli,  M. 
Leonardo  Bruni,  M.  Poggio,  Matteo  Palmieri,  and,  among  the  earliest, 
Giovanni  and  Matteo  Villani  and  the  very  ancient  Ricordano  Malespini. 
All  these,  or  the  greater  part,  for  the  satisfaction  of  all  beholders,  had 
each  his  name  or  that  of  his  most  famous  works  marked  on  the  scrolls  or 
on  the  covers  of  the  books  that  they  held,  placed  there  as  if  by  chance; 
and  with  all  of  them,  as  with  the  men  of  war,  to  demonstrate  what  they 
were  come  there  to  do,  the  four  verses  that  were  painted  on  the  architrave, 
as  with  the  others,  made  it  clearly  manifest,  saying : 

Artibus  egregiis  Latiae  Graiaeque  Minervas 

Florentes  semper  quis  non  miretur  Etruscos  ? 
Sed  magis  hoc  illos  aevo  florere  necesse  est 
Et  Cosmo  genitore  et  Cosmi  prole  fa  vent  e. 

Next,  beside  the  statue  of  Mars,  and  somewhat  nearer  to  that  of 
Florence — and  here  it  must  be  noted  with  what  singular  art  and  judgment 
every  least  thing  was  distributed,  in  that,  the  intention  being  to  accom- 
pany Florence  with  six  Deities,  so  to  speak,  for  the  potency  of  whom  she 
could  right  well  vaunt  herself,  the  two  hitherto  described,  Mars  and  the 
Muse,  because  other  cities  could  perhaps  no  less  than  she  lay  claim  to 
them,  as  being  the  least  peculiar  to  her,  were  placed  less  near  to  her  than 
x.  6 


42  OF  THE  ACADEMICIANS 

the  others;  and  so  for  the  spacious  vestibule  or  passage,  as  it  were, 
formed  before  the  gate  by  the  four  statues  to  follow,  the  two  already 
described  were  used  as  wings  or  head-pieces,  being  placed  at  the  entrance, 
one  turned  towards  the  Castle  and  the  other  towards  the  Arno,  but  the 
next  two,  which  formed  the  beginning  of  the  vestibule,  for  the  reason 
that  they  are  shared  by  her  with  few  other  cities,  came  to  be  placed  some- 
what nearer  to  her,  even  as  the  last  two,  because  they  are  entirely  peculiar 
to  her  and  shared  with  no  other  city,  or,  to  speak  more  exactly,  because 
no  other  can  compare  with  her  in  them  (and  may  this  be  said  without 
offence  to  any  other  Tuscan  people,  which,  when  it  shall  have  a  Dante,  a 
Petrarca,  and  a  Boccaccio  to  put  forward,  may  perchance  be  able  to  come 
into  dispute  with  her),  were  placed  in  close  proximity  to  her,  and  nearer 
than  any  of  the  others — now,  to  go  back,  I  say  that  beside  the  statue 
of  Mars  had  been  placed  a  Ceres,  Goddess  of  Cultivation  and  of  the  fields, 
not  less  beautiful  and  good  to  look  upon  than  the  others;  which  pursuit, 
how  useful  it  is  and  how  worthy  of  honour  for  a  well-ordered  city,  was 
taught  in  ancient  times  by  Rome,  who  had  enrolled  all  her  nobility 
among  the  rustic  tribes,  as  Cato  testifies,  besides  many  others,  calling  it 
the  nerve  of  that  most  puissant  Republic,  and  as  Pliny  affirms  no  less 
strongly  when  he  says  that  the  fields  had  been  tilled  by  the  hands  of 
Imperatores,  and  that  it  may  be  believed  that  earth  rej  oiced  to  be  ploughed 
by  the  laureate  share  and  by  the  triumphant  ploughman.     That  Ceres 
was  crowned,  as  is  customary,  with  ears  of  various  kinds  of  corn,  having 
in  the  right  hand  a  sickle  and  in  the  left  a  bunch  of  similar  ears.     Now, 
how  much  Florence  can  vaunt  herself  in  this  respect,  whoever  may  be  in 
any  doubt  of  it  may  enlighten  himself  by  regarding  her  most  ornate  and 
highly  cultivated  neighbourhood,  for,  leaving  on  one  side  the  vast  number 
of  most  superb  and  commodious  palaces  that  may  be  seen  dispersed  over 
its  surface,  it  is  such  that  Florence,  although  among  the  most  beautiful 
cities  of  which  we  have  any  knowledge  she  might  be  said  to  carry  off  the 
palm,  yet  remains  by  a  great  measure  vanquished  and  surpassed  by  it, 
insomuch  that  it  may  rightly  claim  the  title  of  the  garden  of  Europe; 
not  to  speak  of  its  fertility,  as  to  which,  although  it  is  for  the  most  part 
mountainous  and  not  very  large,  nevertheless  the  diligence  that  is  used 


OF  THE  ACADEMICIANS  43 

in  it  is  such,  that  it  not  only  feeds  bountifully  its  own  vast  population 
and  the  infinite  multitude  of  strangers  who  flock  to  it,  but  very  often 
gives  courteous  succour  to  other  lands  both  near  and  far.  In  the  canvas 
(to  return  to  our  subject)  which  was  to  be  seen  in  like  fashion  beneath  her 
statue,  in  the  same  manner  and  of  the  same  size,  the  excellent  painter  had 
figured  a  most  beautiful  little  landscape  adorned  with  an  infinite  variety 
of  trees,  in  the  most  distant  part  of  which  was  seen  an  ancient  and  very 
ornate  little  temple  dedicated  to  Ceres,  in  which,  since  it  was  open  and 
raised  upon  colonnades,  could  be  perceived  many  who  were  offering 
religious  sacrifices.  On  the  other  side,  in  a  part  somewhat  more  solitary, 
Nymphs  of  the  chase  could  be  seen  standing  about  a  shady  and  most 
limpid  fount,  gazing  as  it  were  in  marvel  and  offering  to  the  new  bride  of 
those  pleasures  and  delights  that  are  found  in  their  pursuits,  in  which 
Tuscany  is  perhaps  not  inferior  to  any  other  part  of  Italy.  In  another 
part,  with  many  countrymen  bringing  various  animals  both  wild  and 
domestic,  were  seen  also  many  country-girls,  young  and  beautiful,  and 
adorned  in  a  thousand  rustic  but  graceful  manners,  and  likewise  come — 
weaving  the  while  garlands  of  flowers  and  bearing  various  fruits — to  see 
and  honour  their  Lady.  And  the  verses  which  were  over  this  scene  as 
with  the  others,  taken  from  Virgil,  to  the  great  glory  of  Tuscany,  ran  thus : 

Hanc  olim  veteres  vitam  coluere  Sabini, 

Hanc  Remus  et  frater,  sic  fortis  Etruria  crevit, 
Scilicet  et  rerum  facta  est  pulcherrima  Flora, 
Urbs  antiqua,  potens  armis  atque  ubere  glebae. 

Next,  opposite  to  the  above-described  statue  of  Ceres,  was  seen  that 
of  Industry;  and  I  do  not  speak  merely  of  that  industry  which  is  seen 
used  by  many  in  many  places  in  matters  of  commerce,  but  of  a  certain 
particular  excellence  and  ingenious  virtue  which  the  men  of  Florence 
employ  in  everything  to  which  they  deign  to  apply  themselves,  on  which 
account  many,  and  in  particular  the  Poet  of  supreme  judgment  (and 
rightly,  as  is  evident),  give  them  the  title  of  Industrious.  How  great  a 
benefit  this  industry  has  been  to  Florence,  and  in  what  great  account  it 
has  always  been  held  by  her,  is  seen  from  this,  that  upon  it  she  formed  her 
body  corporate,  decreeing  that  none  could  become  one  of  her  citizens 


44  OF  THE  ACADEMICIANS 

who  was  not  entered  under  the  name  of  some  Guild,  and  thus  recognizing 
that  by  that  industry  she  had  risen  to  no  small  power  and  greatness. 
Now  Industry  was  figured  as  a  woman  in  a  light  and  easy  habit,  holding 
a  sceptre,  at  the  head  of  which  was  a  hand  with  an  eye  in  the  centre  of 
the  palm,  and  with  two  little  wings,  whereby  with  the  sceptre  there  was 
achieved  a  certain  sort  of  resemblance  to  the  Caduceus  of  Mercury;  and 
in  the  canvas  that  was  beneath  her,  as  with  the  other  statues,  was  seen  a 
vast  and  most  ornate  portico  or  forum,  very  similar  to  the  place  where 
our  merchants  resort  to  transact  their  business,  called  the  Mercato  Nuovo, 
which  was  made  even  clearer  by  the  boy  that  was  to  be  seen  striking  the 
hours  on  one  of  the  walls.  And  on  one  side,  their  particular  Gods  having 
been  ingeniously  placed  there  (in  one  part,  namely,  the  statue  of  Fortune 
seated  on  a  wheel,  and  in  another  part  Mercury  with  the  Caduceus  and 
with  a  purse  in  the  hand),  were  seen  assembled  many  of  the  most  noble 
artificers,  those,  namely,  who  exercise  their  arts  with  perhaps  greater 
excellence  in  Florence  than  in  any  other  place;  and  of  such,  with  their 
wares  in  their  hands,  as  if  they  were  seeking  to  offer  them  to  the  incoming 
Princess,  some  were  to  be  seen  with  cloth  of  gold  or  of  silk,  some  with 
the  finest  draperies,  and  others  with  most  beautiful  and  marvellous 
embroideries,  and  all  with  expressions  of  joy.  Even  so,  in  another  part, 
some  were  seen  in  various  costumes  trafficking  as  they  walked,  and  others 
of  lower  degree  with  various  most  beautiful  wood-carvings  and  works  in 
tarsia,  and  some  again  with  balls,  masks,  and  rattles,  and  other  childish 
things,  all  in  the  same  manner  showing  the  same  gladness  and  content- 
ment. All  which,  and  the  advantage  of  these  things,  and  the  profit  and 
glory  that  have  come  from  them  to  Florence,  was  made  manifest  by  the 
four  verses  that  were  placed  above  them,  as  with  the  others,  saying : 

Quas  artes  pariat  solertia,  nutriat  usus, 

Aurea  monstravit  quondam  Florentia  cunctis. 
Pandere  namque  acri  ingenio  atque  enixa  labore  est 
Prsestanti,  unde  paret  vitam  sibi  quisque  beatam. 

Of  the  two  last  Deities  or  Virtues,  seeing  that,  as  we  have  said,  by 
reason  of  the  number  and  excellence  in  them  of  her  sons  they  are  so 


OF  THE  ACADEMICIANS  45 

peculiar  to  Florence  that  she  may  well  consider  herself  glorious  in  them 
beyond  any  other  city,  there  was  placed  on  the  right  hand,  next  to  the 
statue  of  Ceres,  that  of  Apollo,  representing  that  Tuscan  Apollo  who 
infuses  Tuscan  verse  in  Tuscan  poets.     Under  his  feet,  as  in  the  other 
canvases,  there  was  painted  on  the  summit  of  a  most  lovely  mountain, 
recognized  as  that  of  Helicon  by  the  horse  Pegasus,  a  very  spacious  and 
beautiful  meadow,  in  the  centre  of  which  rose  the  sacred  Fount  of 
Aganippe,  likewise  recognized  by  the  nine  Muses,  who  stood  around  it 
in  pleasant  converse,  and  with  them,  and  in  the  shade  of  the  verdant 
laurels  with  which  the  whole  mount  was  covered,  were  seen  various 
poets  in  various  guise  seated  or  discoursing  as  they  walked,  or  singing  to 
the  sound  of  the  lyre,  while  a  multitude  of  little  Loves  were  playing 
above  the  laurels,  some  of  them  shooting  arrows,  and  some  appeared  to 
be  throwing  down  crowns  of  laurel.     Of  these  poets,  in  the  most  honour- 
able place  were  seen  the  profound  Dante,  the  gracious  Petrarca,  and 
the  fecund  Boccaccio,  who  with  smiling  aspect  appeared  to  be  promising 
to  the  incoming  Lady,  since  a  subject  so  noble  had  not  fallen  to  them, 
to  infuse  in  the  intellects  of  Florence  such  virtue  that  they  would  be 
able  to  sing  worthily  of  her;  to  which  with  the  exemplar  of  their  writings, 
if  only  there  may  be  found  one  able  to  imitate  them,  they  have  opened 
a  broad  and  easy  way.     Near  them,  as  if  discoursing  with  them,  and  all, 
like  the  rest,  portrayed  from  life,  were  seen  M.  Cino  da  Pistoia,  Monte- 
magno,  Guido  Cavalcanti,  Guittone  d'Arezzo,  and  Dante  da  Maiano, 
who  lived  in  the  same  age  and  were  poets  passing  gracious  for  those 
times.     In  another  part  were  Monsignor  Giovanni  della  Casa,   Luigi 
Alamanni,  and  Lodovico  Martelli,  with  Vincenzio  at  some  distance  from 
him,  and  with  them  Messer  Giovanni  Rucellai,  the  writer  of  the  tragedies, 
and  Girolamo  Benivieni;  among  whom,  if  he  had  not  been  living  at  that 
time,  a  well-merited  place  would  have  been  given  also  to  the  portrait  of 
M.  Benedetto  Varchi,  who  shortly  afterwards  made  his  way  to  a  better 
life.     In  another  part,  again,  were  seen  Franco  Sacchetti,  who  wrote  the 
three  hundred  Novelle,  and  other  men,  who,  although  at  the  present  day 
they  have  no  great  renown,  yet,  because  in  their  times  they  made  no 
small  advance  in  romances,  were  judged  to  be  not  unworthy  of  that 


46  OF  THE  ACADEMICIANS 

place — Luigi  Pulci,  with  his  ^brothers  Bernardo  and  Luca,  and  also  Ceo 
and  Altissimo.  Berni,  also,  the  inventor  and  father  (and  excellent 
father)  of  Tuscan  burlesque  poetry,  with  Burchiello,  with  Antonio  Ala- 
manni,  and  with  Unico  Accolti  (who  were  standing  apart),  appeared  to 
be  showing  no  less  joy  than  any  of  the  others;  while  Arno,  leaning  in  his 
usual  manner  on  his  Lion,  with  two  children  that  were  crowning  him  with 
laurel,  and  Mugnone,  known  by  the  Nymph  that  stood  over  him  crowned 
with  stars,  with  the  moon  on  her  brow,  in  allusion  to  the  daughters  of 
Atlas,  and  representing  Fiesole,  appeared  likewise  to  be  expressing  the 
same  gladness  and  contentment.  All  which  conception  described  above 
was  explained  excellently  well  by  the  four  verses  that  were  placed  in  the 
architrave,  as  with  the  others,  which  ran  thus : 

Musaram  hie  regnat  chorus,  atque  Helicone  virente 
Posthabito,  venere  tibi  Florentia  vates 
Eximii,  quoniam  celebrare  haec  regia  digno 
Non  potuere  suo  et  connubia  carmine  sacro. 

Opposite  to  this,  placed  on  the  left  hand,  and  perhaps  not  less  peculiar 
to  the  Florentine  genius  than  the  last-named,  was  seen  the  statue  of 
Design,  the  father  of  painting,  sculpture,  and  Architecture,  who,  if  not 
born  in  Florence,  as  may  be  seen  in  the  past  writings,  may  be  said  to 
have  been  born  again  there,  and  nourished  and  grown  as  in  his  own  nest. 
He  was  figured  by  a  statue  wholly  nude,  with  three  similar  heads  for 
the  three  arts  that  he  embraces,  each  holding  in  the  hand  some  instru- 
ment, but  without  any  distinction;  and  in  the  canvas  that  was  beneath 
him  was  seen  painted  a  vast  courtyard,  for  the  adornment  of  which  were 
placed  in  various  manners  a  great  quantity  of  statues  and  of  pictures  in 
painting,  both  ancient  and  modern,  which  could  be  seen  in  process  of 
being  designed  and  copied  by  divers  masters  in  divers  ways.  In  one 
part  was  being  prepared  an  anatomical  study,  and  many  could  be  seen 
observing  it,  and  likewise  drawing,  very  intently.  Others,  again,  con- 
sidering tjie  fabric  and  rules  of  architecture,  appeared  to  be  seeking  to 
measure  certain  things  with  great  minuteness,  the  while  that  the  divine 
Michelagnolo  Buonarroti,  prince  and  monarch  of  them  all,  with  the  three 


OF  THE  ACADEMICIANS  47 

circlets  in  his  hand  (his  ancient  device),  making  signs  to  Andrea  del  Sarto, 
Leonardo  da  Vinci,  Pontormo,  Rosso,  Perino  del  Vaga,  Francesco  Sal- 
viati,  Antonio  da  San  Gallo,  and  Rustici,  who  were  gathered  with  great 
reverence  about  him,  was  pointing  out  with  supreme  gladness  the  pom- 
pous entrance  of  the  noble  Lady.  The  ancient  Cimabue,  standing  in 
another  part,  was  doing  as  it  were  the  same  service  to  certain  others, 
at  whom  Giotto  appeared  to  be  smiling,  having  taken  from  him,  as  Dante 
said  so  well,  the  field  of  painting  which  he  thought  to  hold;  and  Giotto 
had  with  him,  besides  the  Gaddi,  Buffalmacco  and  Benozzo,  with  many 
others  of  that  age.  In  another  part,  again,  placed  in  another  fashion 
and  all  rejoicing  as  they  conversed,  were  seen  those  who  conferred  such 
benefits  on  art,  and  to  whom  these  new  masters  owed  so  much ;  the  great 
Donatello,  Filippo  di  Ser  Brunellesco,  Lorenzo  Ghiberti,  Fra  Filippo, 
the  excellent  Masaccio,  Desiderio,  and  Verrocchio,  with  many  others, 
portrayed  from  life,  whom,  since  I  have  spoken  of  them  in  the  previous 
books,  I  will  pass  by  without  saying  more  about  them,  thus  avoiding 
the  tedium  that  might  come  upon  my  readers  by  repetition.  Who  they 
were,  and  what  they  were  come  thither  to  do,  was  explained,  as  with 
the  others,  by  four  verses  written  above  them : 

Non  pictura  satis,  non  possunt  marmora  et  aera 
Tuscaque  non  arcus  testari  ingentia  facta, 
Atque  ea  praecipue  quae  mox  ventura  trahuntur; 
Quis  nunc  Praxiteles  caelet,  quis  pingat  Apelles  ? 

Now  in  the  base  of  all  these  six  vast  and  most  beautiful  canvases 
was  seen  painted  a  gracious  throng  of  children,  each  occupying  himself  in 
the  profession  appropriate  to  the  canvas  placed  above,  who,  besides  the 
adornment,  were  seen  to  be  demonstrating  with  great  accuracy  with 
what  beginnings  one  arrived  at  the  perfection  of  the  men  painted  above; 
even  as  with  much  judgment  and  singular  art  the  same  canvases  were 
also  divided  and  adorned  by  round  and  very  tall  columns  and  by  pilasters, 
and  by  various  ornaments  of  trophies  all  in  keeping  with  the  subjects  to 
which  they  were  near.  But,  above  all,  graceful  and  lovely  in  appearance 
were  the  ten  devices,  or,  to  speak  more  precisely,  the  ten  reverses  (as  it 


48  OF  THE  ACADEMICIANS 

were)  of  medals,  partly  long  established  in  the  city  and  partly  newly  intro- 
duced, which  were  painted  in  the  compartments  over  the  columns,  serving 
to  divide  the  statues  already  described,  and  accompanying  very  appro- 
priately their  inventions;  the  first  of  which  was  the  Deduction  of  a 
Colony,  represented  by  a  bull  and  a  cow  together  in  a  yoke,  and  behind 
them  the  ploughman  with  the  head  veiled,  as  the  ancient  Augurs  are 
depicted,  with  the  crooked  lituus  in  the  hand,  and  with  a  motto,  which 
said:  COL.  JUL.  FLORENTIA.  The  second — and  this  is  very  ancient  in 
the  city,  and  the  one  wherewith  public  papers  are  generally  sealed — was 
Hercules  with  the  Club  and  with  the  skin  of  the  Nemaean  Lion,  but 
without  any  motto.  The  third  was  the  horse  Pegasus,  which  with  the 
hind  feet  was  smiting  the  urn  held  by  Arno,  in  the  manner  that  is  told 
of  the  Fount  of  Helicon ;  whence  were  issuing  waters  in  abundance,  which 
formed  a  river,  crystal-clear,  that  was  all  covered  with  swans;  but  this, 
also,  was  without  any  motto.  So,  likewise,  was  the  fourth,  which  was 
composed  of  a  Mercury  with  the  Caduceus  in  the  hand,  the  purse,  and  the 
cock,  such  as  is  seen  in  many  ancient  cornelians.  But  the  fifth,  in  accord 
with  that  Affection  which,  as  was  said  at  the  beginning,  was  given  to 
Florence  as  a  companion,  was  a  young  woman  receiving  a  crown  of 
laurel  from  two  figures,  one  on  either  side  of  her,  which,  clad  in  the 
military  paludament  and  likewise  crowned  with  laurel,  appeared  to  be 
Consuls  or  Imperatores;  with  words  that  ran:  GLORIA  POP.  FLOREN.  So 
also  the  sixth,  in  like  manner  in  accord  with  Fidelity,  likewise  the  com- 
panion of  Florence,  was  also  figured  by  a  woman  seated,  with  an  altar 
near  her,  upon  which  she  was  seen  to  be  laying  one  of  her  hands,  and 
with  the  other  uplifted,  holding  the  second  finger  raised  in  the  manner 
wherein  one  generally  sees  an  oath  taken,  she  was  seen  to  declare  her 
intention  with  the  inscription:  FIDES.  POP.  FLOR.  This,  also,  did  the 
picture  of  the  seventh,  without  any  inscription;  which  was  the  two 
horns  of  plenty  filled  with  ears  of  corn  intertwined  together.  And  the 
eighth,  likewise  without  any  inscription,  did  the  same  with  the  three 
Arts  of  Painting,  Sculpture,  and  Architecture,  which,  after  the  manner 
of  the  three  Graces,  with  hands  linked  to  denote  the  interdependence  of 
one  art  with  another,  were  placed  no  less  gracefully  than  the  others  upon 


OF  THE  ACADEMICIANS  49 

a  base  in  which  was  seen  carved  a  Capricorn.  And  so,  also,  did  the  ninth 
(placed  more  towards  the  Arno),  which  was  the  usual  Florence  with  her 
Lion  beside  her,  to  whom  various  boughs  of  laurel  were  offered  by  certain 
persons  standing  around  her,  as  it  were  showing  themselves  grateful  for 
the  benefits  received  from  her,  in  that  there,  as  has  been  told,  letters  began 
to  revive.  And  the  tenth  and  last  did  the  same  with  its  inscription 
that  ran  thus,  TRIBU  SCAPTIA,  written  upon  a  shield  held  by  a  Lion; 
which  tribe  was  that  of  Augustus,  her  founder,  and  the  one  in  which  in 
ancient  times  Florence  used  to  be  enrolled. 

But  the  finest  ornament — besides  the  beautiful  shields  on  which  were 
the  arms  of  their  Excellencies,  both  the  one  and  the  other,  and  of  the 
most  illustrious  Princess,  and  the  device  of  the  city,  and  besides  the  great 
Ducal  crown  of  gold,  which  Florence  was  in  the  act  of  presenting — was 
the  principal  device,  set  over  all  the  shields,  and  placed  there  in  allusion 
to  the  city;  which  was  composed  of  two  halcyons  making  their  nest  in  the 
sea  at  the  beginning  of  winter.  This  was  made  clear  by  the  part  of  the 
Zodiac  that  was  painted  there,  wherein  the  Sun  was  seen  at  the  point  of 
entering  into  the  Sign  of  Capricorn,  with  a  motto  that  said,  HOC  FIDUNT, 
signifying  that  even  as  the  halcyons,  by  the  grace  of  Nature,  at  the  time 
when  the  Sun  is  entering  into  the  said  Sign  of  Capricorn,  which  renders 
the  sea  smooth  and  tranquil,  are  able  to  make  their  nests  there  in  security 
(whence  such  days  are  called  "  halcyon  days  "),  so  also  Florence,  with 
Capricorn  in  the  ascendant,  which  is  therefore  the  ancient  and  most 
honourable  device  of  her  excellent  Duke,  is  able  in  whatever  season  the 
world  may  bring  her  to  flourish  in  the  greatest  felicity  and  peace,  as  she 
does  right  well.  And  all  this,  with  all  the  other  conceptions  given 
above,  was  declared  in  great  part  by  the  inscription  which,  addressed 
to  the  exalted  bride,  was  written  appropriately  in  a  most  ornate  and 
beautiful  place,  saying: 

INGREDERE  URBEM  FELICISSIMO  CONJUGIO  FACTAM  TUAM,  AUGUSTISSIMA 
VIRGO,  FIDE,  INGENIIS,  ET  OMNI  LAUDE  PR^ESTANTEM;  OPTATAQUE  PRJE- 
SENTIA  TUA,  ET  EXIMIA  VIRTUTE,  SPERATAQUE  FECUNDITATE,  OPTIMORUM 
PRINCIPUM  PATERNAM  ET  AVITAM  CLARITATEM,  FIDELISSIMORUM  CIVIUM 
L^TITIAM,  FLORENTIS  URBIS  GLORIAM  ET  FELICITATEM  AUGE. 

X.  7 


50  OF  THE  ACADEMICIANS 

OF  THE  ENTRANCE  TO  BORG'  OGNISSANTI. 

Proceeding,  then,  towards  Borg'  Ognissanti,  a  street,  as  everyone 
knows,  most  beautiful,  spacious,  and  straight,  there  were  at  the  entrance 
two  very  large  colossal  figures,  one  representing  Austria,  as  a  young  woman 
in  full  armour  after  the  antique,  with  a  sceptre  in  the  hand,  signifying  her 
military  power  as  embodied  in  the  Imperial  dignity,  which  now  has  its 
residence  in  that  nation  and  appears  to  be  entirely  concentrated  there; 
and  the  other  representing  Tuscany,  apparelled  in  religious  vestments 
and  with  the  sacerdotal  lituus  in  the  hand,  which  in  like  manner  demon- 
strated the  excellence  that  the  Tuscan  nation  has  always  displayed  from 
the  most  ancient  times  in  the  Divine  cult,  insomuch  that  even  at  the 
present  day  it  is  seen  that  the  Pontiffs  and  the  Holy  Roman  Church  have 
chosen  to  establish  their  principal  seat  in  Tuscany.  Each  of  these  had 
at  her  side  a  nude  and  gracious  little  Angel,  one  of  whom  was  seen  guarding 
the  Imperial  crown,  and  the  other  the  crown  that  the  Pontiffs  are  wont 
to  use;  and  one  figure  was  shown  offering  her  hand  most  lovingly  to  the 
other,  almost  as  if  Austria,  with  her  most  noble  cities  (which  were  depicted 
under  various  images  in  the  vast  canvas  that  was  as  an  ornament  and 
head-piece,  at  the  entrance  to  that  street,  facing  towards  the  Porta  al 
Prato),  wished  to  signify  that  she  was  come  parentally  to  take  part  in  the 
rejoicings  and  festivities  in  honour  of  the  illustrious  bridal  pair,  and  to 
meet  and  embrace  her  beloved  Tuscany,  thus  in  a  certain  sort  uniting 
together  the  two  most  mighty  powers,  the  spiritual  and  the  temporal. 
All  which  was  declared  excellently  well  in  the  six  verses  that  were  written 
in  a  suitable  place,  saying : 

Augustse  en  adsum  sponsae  comes  Austria;  magni 

Caesaris  haec  nata  est,  Caesaris  atque  soror. 
Carolus  est  patruus,  gens  et  faecunda  triumphis, 

Imperio  fulget,  regibus  et  proa  vis. 
Laetitiam  et  pacem  adferimus  dulcesque  Hymeneos 

Et  placidam  requiem,  Tuscia  clara,  tibi. 

Even  as  on  the  other  side  Tuscany,  having  yielded  the  first  plac< 
at  the  first  Gate  to  Florence,  her  Lady  and  her  Queen,  was  seen  with  an 


OF  THE  ACADEMICIANS  51 

aspect  all  full  of  joy  at  receiving  so  great  a  Princess;  having  likewise  in 
company  with  her,  in  a  similar  painted  canvas  beside  her,  Fiesole,  Pisa, 
Siena,  and  Arezzo,  with  the  most  famous  of  her  other  cities,  and  with  the 
Ombrone,  the  Arbia,  the  Serchio,  and  the  Chiana,  all  depicted  in  various 
forms  according  to  custom;  and  expressing  her  contentment  in  the  six 
following  verses,  written  in  a  way  similar  to  the  others,  and  in  a  suitable 

place: 

Ominibus  faustis  et  laetor  imagine  reram, 

Virginis  aspectu  Caesareaeque  fraor. 
Hae  nostrae  insignes  urbes,  haec  oppida  et  agri, 

Haec  tua  sunt  ;  illis  tu  dare  jura  potes. 
Audis  ut  resonet  laetis  clamoribus  aether, 

Et  plausu  et  hidis  Austria  cuncta  fremat  ? 

OF   THE    PONTE   ALLA   CARRAIA. 

And  to  the  end  that  the  splendid  nuptials  might  be  celebrated  with 
all  the  most  favourable  auspices,  at  the  Palazzo  de'  Ricasoli,  which,  as 
everyone  knows,  is  situated  at  the  beginning  of  the  Ponte  alia  Carraia, 
there  was  erected  in  the  Doric  Order  of  composition  the  third  ornament, 
dedicated  to  Hymen,  their  God;  and  this  consisted  —  in  addition  to  a 
head-piece  of  singular  beauty,  on  which  the  eyes  of  all  who  came  through 
Borg'Ognissanti  feasted  with  marvellous  delight  —  of  two  very  lofty  and 
most  magnificent  portals,  between  which  it  stood,  and  over  one  of  these, 
which  gave  access  to  those  passing  into  the  street  called  La  Vigna,  was 
placed  with  much  judgment  the  statue  of  Venus  Genetrix,  perhaps 
alluding  to  the  House  of  the  Caesars,  which  had  its  origin  from  Venus, 
or  perchance  auguring  generation  and  fecundity  for  the  bridal  pair;  with 
a  motto  taken  from  the  Epithalamium  of  Theocritus,  saying  : 


Se,  ®ea  Kvrrpis,  Icroi>  tpacrOcu  a\\d\a>v. 

And  over  the  other,  giving  access  along  the  bank  of  the  Arno,  through 
which  the  procession  passed,  was  the  statue  of  the  Nurse  Latona,  per- 
chance to  ward  off  sterility  or  the  jealous  interference  of  Juno,  and  like- 
wise with  a  motto  that  ran  : 

Aaro>  //,€*>  80117,  ACLTOJ 


52  OF  THE  ACADEMICIANS 

As  a  complement  to  these,  executed  with  singular  artistry,  upon  a 
great  base  attached  to  one  of  the  portals,  there  was  seen  on  one  side, 
as  it  were  newly  issued  from  the  water,  and  in  the  form  of  a  most  beautiful 
giant  with  a  garland  of  lilies,  the  River  Arno,  who,  as  if  he  wished  to  give 
an  example  of  nuptial  bliss,  was  locked  in  embrace  with  his  Sieve,  who 
had  likewise  a  garland  of  leaves  and  apples ;  which  apples,  alluding  to  the 
balls  of  the  Medici,  of  which  they  were  the  origin,  would  have  been  rosy, 
if  the  colour  had  been  in  keeping  with  the  white  marble.  And  Arno,  all 
rejoicing,  was  shown  speaking  to  his  new  Lady  in  the  manner  expressed 
by  the  following  verses : 

In  mare  nunc  auro  flaventes  Arnus  arenas 

Volvam,  atque  argento  purior  unda  fluet. 
Etruscos  nunc  invictis  comitantibus  armis 

Caesareis,  tollam  sidera  ad  alta  caput. 
Nunc  mihi  fama  etiam  Tibrim  fulgoreque  rerum 

Tantarum  longe  vincere  fata  dabunt. 

And  on  the  other  side,  as  a  complement  to  Arno,  on  a  similar  base 
attached  in  a  similar  way  to  the  other  portal  (the  two  being  turned,  as 
it  were,  like  wings  one  towards  the  other),  and  almost  in  the  same  form, 
were  seen  the  Danube  and  the  Drava  likewise  in  a  close  embrace,  and, 
even  as  the  others  had  the  Lion,  so  they  had  the  Eagle  as  emblem  and 
support;  and  these,  crowned  also  with  roses  and  with  a  thousand  varieties 
of  little  flowers,  were  shown  speaking  to  Florence,  even  as  the  others  were 
speaking  to  themselves,  the  following  verses: 

Quamvis  Flora  tuis  celeberrima  finibus  errem, 

Sum  septemgeminus  Danubiusque  ferox; 
Virginis  Augustas  comes,  et  vestigia  lustro, 

Ut  reor,  et  si  quod  flumina  numen  habent, 
Conjugium  faustum  et  foecundum  et  Nestoris  annos, 

Tuscorum  et  late  nuntio  regna  tibi. 

Then  at  the  summit  of  the  head-piece,  in  the  place  of  honour,  and 
with  a  close  resemblance  to  the  whitest  marble,  was  seen  the  statue 
of  the  young  Hymen,  with  a  garland  of  flowering  marjoram  and  the 


OF  THE  ACADEMICIANS  53 

torch  and  veil,  and  at  his  feet  this  inscription:  BONI  CONJUGATOR  AMORIS. 
On  one  side  of  him  was  Love,  who  lay  all  languid  under  one  of  his  flanks ; 
and  on  the  other  side  was  Conjugal  Fidelity,  who  was  holding  one  arm 
supported  under  the  other;  which  was  all  so  pleasing,  so  full  of  charm, 
so  beautiful,  and  so  well  distributed  before  the  eyes  of  all  beholders, 
that  in  truth  it  is  not  to  be  expressed  in  words.  As  the  principal  crown 
of  that  ornament — for  on  them  all  there  was  placed  a  principal  crown 
and  a  principal  device — there  were  formed  in  the  hands  of  the  Hymen 
described  above  two  garlands  of  the  same  marjoram  that  crowned  his 
head,  which,  as  he  held  them,  he  appeared  to  be  about  to  present  to  the 
happy  pair.  But  most  lovely  and  beautiful  of  all,  and  best  executed, 
were  the  three  spacious  pictures,  separated  by  double  columns,  into 
which  the  whole  of  that  vast  fagade  was  divided,  placed  with  supreme 
beauty  at  the  feet  of  Hymen ;  for  in  them  were  depicted  all  the  advantages, 
all  the  delights,  and  all  the  desirable  things  that  are  generally  found  in 
nuptials;  those  displeasing  and  vexatious  being  driven  away  from  them 
with  a  certain  subtle  grace.  And  thus  in  one  of  these,  that  in  the  centre 
namely,  were  seen  the  Three  Graces  painted  in  the  manner  that  is  cus- 
tomary, all  full  of  joy  and  gladness,  who  appeared  to  be  singing  with  a 
certain  soft  harmony  the  verses  written  over  them,  saying: 

Quae  tarn  praeclara  nascetur  stirpe  parentum 

Inclita  progenies,  digna  atavisque  suis  ? 
Etrusca  attollet  se  quantis  gloria  rebus 

Conjugio  Austriacae  Mediceaeque  Domus  ? 
Vivite  f elices ;  non  est  spes  irrita,  namque 

Divina  Charites  talia  voce  canunt. 

These  had  on  one  side,  forming  as  it  were  a  choir  about  them,  and 
coupled  becomingly  together,  Youth  and  Delight,  and  Beauty  with 
Contentment  in  her  embrace,  and  on  the  other  side,  in  like  fashion, 
Gladness  with  Play,  and  Fecundity  with  Repose,  all  in  attitudes  most 
graceful  and  in  keeping  with  their  characters,  and  so  well  distinguished  by 
the  able  painter,  that  they  could  be  recognized  with  ease.  In  the  picture 
that  was  on  the  right  of  that  one,  there  were  seen,  besides  Love  and 
Fidelity,  the  same  Gladness,  Contentment,  Delight,  and  Repose,  with 


54  OF  THE  ACADEMICIANS 

lighted  torches  in  their  hands,  who  were  chasing  from  the  world  and 
banishing  to  the  nethermost  abyss  Jealousy,  Contention,  Affliction, 
Sorrow,  Lamentation,  Deceit,  Sterility,  and  other  vexatious  and  dis- 
pleasing things  of  that  kind,  which  are  wont  so  often  to  disturb  the  minds 
of  human  creatures.  And  in  the  other,  on  the  left  hand,  were  seen  the 
same  Graces  in  company  with  Juno,  Venus,  Concord,  Love,  Fecundity, 
Sleep,  Pasithea,  and  Thalassius,  setting  the  genial  bed  in  order  with  those 
ancient  religious  ceremonies  of  torches,  incense,  garlands,  and  flowers, 
which  were  customary;  of  which  last  a  number  of  little  Loves,  playing  in 
their  flight,  were  scattering  no  small  quantity  over  the  bed.  Above  these, 
then,  were  two  other  pictures  distributed  in  very  beautiful  compartments, 
one  on  either  side  of  the  statue  of  Hymen,  and  somewhat  smaller  than 
those  described;  in  one  of  which,  in  imitation  of  the  ancient  custom  so 
well  described  by  Catullus,  was  seen  the  illustrious  Princess  portrayed 
from  life  in  the  midst  of  a  gracious  little  company  of  most  beautiful 
maidens  in  virginal  dress,  all  crowned  with  flowers,  and  with  lighted 
torches  in  their  hands,  who  were  pointing  towards  the  Evening  Star, 
which  was  seen  appearing,  and,  as  if  set  in  motion  by  them,  seemed  in  a 
certain  gracious  manner  to  move  and  to  advance  towards  Hymen;  with 
the  motto :  o  DIGNA  CONJUNCTA  VIRO.  Even  as  in  the  other  picture,  on 
the  other  side,  was  seen  the  excellent  Prince  in  the  midst  of  many  young 
men  likewise  crowned  with  garlands  and  burning  with  love,  not  less  eager 
than  the  maidens  in  lighting  the  nuptial  torches,  and  pointing  no  less 
towards  the  newly-appeared  star,  and  giving  signs,  in  advancing  towards 
it,  of  equal  or  even  greater  desire;  likewise  with  a  motto  that  said: 
o  T^DIS  FELICIBUS  AUCTE.  Above  these,  arranged  in  a  very  graceful 
manner,  there  was  seen  as  the  principal  device,  which,  as  has  been  told, 
was  placed  over  all  the  arches,  a  gilded  chain  all  composed  of  marriage- 
rings  with  their  stones,  which,  hanging  down  from  Heaven,  appeared  to  be 
sustaining  this  terrestrial  World;  alluding  in  a  certain  sense  to  the 
Homeric  Chain  of  Jove,  and  signifying  that  by  virtue  of  nuptials,  the 
heavenly  causes  being  wedded  with  terrestrial  matter,  Nature  and  the 
aforesaid  terrestrial  World  are  preserved  and  rendered  as  it  were  eternal ; 
with  a  motto  that  said:  NATURA  SEQUITUR  CUPIDE.  And  then  a  quantity 


OF  THE  ACADEMICIANS  55 

of  little  Angels  and  Loves,  all  gracious  and  merry,  and  all  set  in  fitting- 
places,  were  seen  dispersed  among  the  bases,  the  pilasters,  the  festoons, 
and  the  other  ornaments,  which  were  without  number;  and  all,  with  a 
certain  gladness,  appeared  to  be  either  scattering  flowers  and  garlands, 
or  sweetly  singing  the  following  ode,  from  among  the  spaces  between  the 
double  columns  that  divided,  as  has  been  told,  the  great  pictures  and 
the  great  f agade,  which  was  arranged  in  a  lovely  and  gracious  manner : 

August!  soboles  regia  Csesaris, 

Summo  nupta  viro  Principi  Etruriae, 
Faustis  auspiciis  deseruit  vagum 
1st  rum  regnaque  patria. 

Cui  frater,  genitor,  patruus,  atque  avi 
Fulgent  innumeri  stemmate  nobiles 
Prseclaro  Imperil,  prisca  ab  origine 
Digno  nomine  Caesares. 

Ergo  magnanimse  virgini  et  inclytae 

Jam  nunc  Arne  pater  suppliciter  manus 
Libes,  et  violis  versicoloribus 
Pulchram  Flora  premas  comam. 

Assurgant  proceres,  ac  velut  aureum 
Et  caeleste  jubar  rite  colant  earn. 
Omnes  accumulent  templa  Deum,  et  piis 
Aras  muneribus  sacras. 

Tali  conjugio  Pax  hilaris  redit, 

Fruges  alma  Ceres  porrigit  uberes, 
Saturni  remeant  aurea  saecula, 
Orbis  laetitia  fremit. 

Quin  dirse  Eumenides  monstraque  Tartari 
His  longe  duce  te  finibus  exulant. 
Bellorum  rabies  hinc  abit  effera, 
Mavors  sanguineus  fugit. 

Sed  jam  nox  ruit  et  sidera  concidunt; 

Et  nymphae  adveniunt,  Junoque  pronuba 
Arridet  pariter,  blandaque  Gratia 
Nudis  juncta  sororibus. 


56  OF  THE  ACADEMICIANS 

Msec  cingit  niveis  tempora  liliis, 

Haec  e  purpureis  serta  gerit  rosis, 
Huic  molles  violae  et  suavis  amaracus 
Nectunt  virgineum  caput. 

Lusus,  laeta  Quies  cernitur  et  Decor ; 

Quos  circum  volitat  turba  Cupidinum, 
Et  plaudens  recinit  haec  Hymeneus  ad 
Regalis  thalami  fores. 

Quid  statis  juvenes  tarn  genialibus 

Indulgere  toris  immemores  ?     Joci 
Cessent  et  choreae ;  ludere  vos  simul 
Poscunt  tempora  mollius. 

Non  vincant  hederae  bracchia  flexiles, 
Conchae  non  superent  oscula  dulcia, 
Emanet  pariter  sudor  et  ossibus 
Grato  murmure  ab  intimis. 

Det  summum  imperium  regnaque  Juppiter, 
Det  Latona  parem  progeniem  patri; 
Ardorem  unanimem  det  Venus,  atque  Amor 
Aspirans  face  mutua. 

OF  THE  PALAZZO  DEGLI  SPINI. 

And  to  the  end  that  no  part  of  either  dominion  might  be  left  without 
being  present  at  those  happy  nuptials,  at  the  Ponte  a  S.  Trinita  and 
also  at  the  Palazzo  degli  Spini,  which  is  to  be  seen  at  the  beginning  of 
that  bridge,  there  was  the  fourth  ornament,  of  an  architecture  not  less 
magnificent  in  composition,  and  consisting  of  a  head-piece  with  three 
facades,  one  of  which,  turning  to  face  towards  the  Ponte  alia  Carraia, 
became  joined  to  that  in  the  centre,  which  was  somewhat  bent  and 
likewise  attached  to  that  which  in  like  manner  turned  to  face  towards 
the  Palazzo  degli  Spini  and  S.  Trinita;  whence  it  appeared  to  have  been 
contrived  principally  for  the  point  of  view  both  from  the  one  street  and 
from  the  other,  insomuch  that  both  from  the  one  and  from  the  other  it 
presented  itself  complete  to  the  eyes  of  all  beholders — a  thing  of  singular 
artifice  for  him  who  well  considers  it,  which  rendered  that  street,  which 


OF  THE  ACADEMICIANS  57 

is  in  itself  as  imposing  and  magnificent  as  any  other  that  is  to  be  found 
in  Florence,  even  more  imposing  and  more  beautiful  than  could  be 
believed.  In  the  fagade  that  came  in  the  centre,  there  had  been  formed 
upon  a  great  base  two  Giants,  immense  and  most  superb  to  behold, 
supported  by  two  great  monsters  and  by  other  extravagant  fishes  that 
appeared  to  be  swimming  in  the  sea,  and  accompanied  by  two  sea-nymphs. 
These  represented,  one  the  great  Ocean  and  the  other  the  Tyrrhenian 
Sea,  and,  half  reclining,  they  appeared  to  be  seeking  to  present  to  the 
most  illustrious  pair,  with  a  certain  affectionate  liberality,  not  only  many 
most  beautiful  branches  of  coral  and  immense  shells  of  mother-of-pearl, 
and  others  of  their  sea-riches  that  they  held  in  their  hands,  but  also  new 
islands,  new  lands,  and  new  dominions,  which  were  seen  led  thither  in 
their  train.  Behind  them,  making  that  whole  ornament  lovely  and 
imposing,  were  seen  rising  little  by  little,  from  their  socles  that  rested 
upon  the  base,  two  vast  half-columns,  upon  which  rested  cornice,  frieze, 
and  architrave,  leaving  behind  the  Sea-Gods  already  described,  almost 
in  the  form  of  a  triumphal  arch,  a  very  spacious  square;  and  over  the 
two  columns  and  the  architrave  rose  two  very  well-formed  pilasters 
covered  with  creepers,  from  which  sprang  two  cornices,  forming  at  the 
summit  a  superb  and  very  bold  frontispiece,  at  the  top  of  which,  and 
above  the  creepers  of  the  pilasters  already  described,  were  seen  placed 
three  very  large  vases  of  gold,  all  filled  to  overflowing  with  thousands  and 
thousands  of  different  riches  of  the  sea;  and  in  the  space  that  remained 

itween  the  architrave  and  the  point  of  the  frontispiece,  there  was  seen 
lying  with  rare  dignity  a  masterly  figure  of  a  Nymph,  representing 
'ethys,  or  Amphitrite,  Goddess  and  Queen  of  the  Sea,  who  with  a  very 

:ave  gesture  was  presenting  as  the  principal  crown  of  that  place  a 
rostral  crown,  such  as  was  generally  given  to  the  victors  in  naval  battles, 
with  her  motto,  VINCE  MARI,  and  as  it  were  adding  that  which  follows: 
JAM  TERRA  TUA  EST.  Even  as  in  the  picture  and  the  facade  behind  the 
Giants,  in  a  very  large  niche  that  had  the  appearance  of  a  real  and  natural 
cavern  or  grotto,  there  was  painted  among  many  other  monsters  of  the 
sea  the  Proteus  of  Virgil's  Georgics,  bound  by  Aristaeus,  who,  pointing 
with  his  finger  towards  the  verses  written  above  him,  appeared  to  wish 
x.  8 


58  OF  THE  ACADEMICIANS 

to  announce  in  prophecy  to  the  well-united  pair  good  fortune,  victories, 
and  triumphs  in  maritime  affairs,  saying : 

Germana  adveniet  felici  cum  alite  virgo, 

Flora,  tibi,  adveniet  soboles  Augusta,  Hymenei 
Cui  pulcher  Juvenis  jungatur  fcedere  certo 
Regius  Italiae  columen,  bona  quanta  sequentur 
Conjugium  ?     Pater  Arne  tibi,  et  tibi  Florida  Mater, 
Gloria  quanta  aderit  ?     Protheum  nil  postera  fallunt. 

And  since,  as  has  been  told,  this  facade  of  the  cavern  stood  between 
the  two  other  fagades,  one  of  which  was  turned  towards  S.  Trinita  and 
the  other  towards  the  Ponte  alia  Carraia,  both  these,  which  were  of  the 
same  size  and  height,  were  likewise  bordered  in  a  similar  manner  by  two 
similar  half-columns,  which  in  like  manner  supported  their  architrave, 
frieze,  and  cornice  in  a  quarter-round,  upon  which,  both  on  the  one  side 
and  on  the  other,  were  seen  three  statues  of  boys  on  three  pedestals, 
who  were  upholding  certain  very  rich  festoons  of  gold,  composed 
in  a  most  masterly  fashion  of  conches,  shells,  coral,  sword-grass, 
and  sea-weed,  by  which  a  no  less  graceful  finish  was  given  to  the  whole 
structure. 

But  to  return  to  the  space  of  the  fagade  which,  turning  from  the 
straight,  was  supported  against  the  Palazzo  degli  Spini.  In  it  was  seen, 
painted  in  chiaroscuro,  a  Nymph  all  unadorned  and  little  less  than  nude, 
placed  between  many  new  kinds  of  animals,  who  stood  for  the  new  land 
of  Peru,  with  the  other  new  West  Indies,  discovered  and  ruled  for  the 
most  part  under  the  auspices  of  the  most  fortunate  House  of  Austria. 
She  was  turned  towards  a  figure  of  Jesus  Christ  Our  Lord,  who,  painted 
all  luminous  in  a  Cross  in  the  air  (alluding  to  the  four  exceeding  bright 
stars  which  form  the  semblance  of  a  Cross,  newly  discovered  among  those 
peoples),  appeared  in  the  manner  of  a  Sun  piercing  some  thick  clouds 
with  most  resplendent  rays,  for  which  she  seemed  in  a  certain  sense  to 
be  rendering  much  thanks  to  that  house,  in  that  by  their  means  she  was 
seen  converted  to  the  Divine  worship  and  to  the  true  Christian  Religion, 
with  the  verses  written  below : 


OF  THE  ACADEMICIANS  59 

Di  tibi  pro  meritis  tantis,  Augusta  propago, 

Praemia  digna  ferant,  quae  vinctam  mille  catenis 
Heu  duris  solvis,  quae  clarum  cernere  solem 
E  tenebris  tantis  et  Christum  noscere  donas. 

Even  as  on  the  base  which  supported  that  whole  facade,  and  which, 
although  on  a  level  with  that  of  the  Giants,  yet  did  not  like  that  one 
project  outwards,  there  was  seen,  painted  as  it  were  by  way  of  allegory, 
the  fable  of  Andromeda  delivered  by  Perseus  from  the  cruel  Monster  of 
the  sea.  And  in  that  which,  turning,  faced  towards  the  Arno  and  the 
Ponte  alia  Carraia,  there  was  seen  in  like  manner  painted  the  small  but 
famous  Island  of  Elba,  in  the  form  of  an  armed  warrior  seated  upon  a 
great  rock,  with  the  Trident  in  her  right  hand,  having  on  one  side  of  her 
a  little  boy  who  was  seen  sporting  playfully  with  a  dolphin,  and  on  the 
other  side  another  like  him,  who  was  upholding  an  anchor,  with  many 
galleys  that  were  shown  circling  about  her  port,  which  was  painted 
iere.  At  her  feet,  on  her  base,  and  corresponding  in  like  manner  to 
te  fagade  painted  above,  was  seen  likewise  the  fable  that  is  given  by 
Strabo,  when  he  relates  that  the  Argonauts,  returning  from  the  acquisition 
of  the  Golden  Fleece,  and  arriving  with  Medea  in  Elba,  raised  altars  there 
and  made  sacrifice  to  Jove  upon  them;  perhaps  foreseeing  or  auguring 
that  at  another  time  our  present  glorious  Duke,  being  as  it  were  of 
their  company  by  virtue  of  the  Order  of  the  Golden  Fleece,  was  to  fortify 
tat  island  and  to  safeguard  distressed  mariners,  thus  reviving  their 
icient  and  glorious  memory.  Which  was  expressed  excellently  well  by 
the  four  verses  written  there  in  a  suitable  place,  saying: 

Evenere  olim  Heroes  qui  littore  in  isto 

Magnanimi  votis  petiere.     En  Ilva  potentis 
Auspiciis  Cosmi  multa  munita  opera  ac  vi ; 
Pacatum  pelagus  securi  currite  nautae. 

But  the  most  beautiful  effect,  the  most  bizarre,  the  most  fantastic, 
and  the  most  ornate — besides  the  various  devices  and  trophies,  and  Arion, 
who  was  riding  pleasantly  through  the  sea  on  the  back  of  the  swimming 
dolphin — came  from  an  innumerable  quantity  of  extravagant  fishes  of 


60  OF  THE  ACADEMICIANS 

the  sea,  Nereids,  and  Tritons,  which  were  distributed  among  the  friezes, 
pedestals,  and  bases,  and  wherever  a  space  or  the  beauty  of  the  place 
required  them.  Even  as  at  the  foot  of  the  great  base  of  the  Giants  there 
was  another  gracious  effect  in  the  form  of  a  most  beautiful  Siren  seated 
upon  the  head  of  a  very  large  fish,  from  whose  mouth  at  times,  at  the 
turning  of  a  key,  not  without  laughter  among  the  expectant  bystanders, 
a  rushing  jet  of  water  was  seen  pouring  upon  such  as  were  too  eager  to 
drink  the  white  and  red  wine  that  flowed  in  abundance  from  the  breasts 
of  the  Siren  into  a  very  capacious  and  most  ornate  basin.  And  since 
the  bend  of  the  facade  where  Elba  was  painted  was  the  first  thing  to  strike 
the  eyes  of  those  who  came,  as  did  the  procession,  from  the  Ponte  alia 
Carraia  along  the  Arno  towards  the  Palazzo  degli  Spini,  it  seemed  good 
to  the  inventor  to  hide  the  ugliness  of  the  scaffolding  and  woodwork 
that  were  necessarily  placed  behind,  by  raising  to  the  same  height 
another  new  fagade  similar  to  the  three  described,  which  might,  as  it 
did,  render  that  whole  vista  most  festive  and  ornate.  And  in  it,  within 
a  large  oval,  it  appeared  to  him  that  it  was  well  to'place  the  principal 
device,  embracing  the  whole  conception  of  the  structure;  and  to  that 
end,  therefore,  there  was  seen  figured  a  great  Neptune  on  his  usual  Car, 
with  the  usual  Trident,  as  he  is  described  by  Virgil,  chasing  away  the 
troublesome  winds,  and  using  as  a  motto  the  very  same  words,  MATURATE 
FUGAM  ;  as  if  he  wished  to  promise  to  the  fortunate  pair  happiness,  peace, 
and  tranquillity  in  his  realm. 

OF  THE  COLUMN. 

Opposite  to  the  graceful  Palace  of  the  Bartolini  there  had  been 
erected  a  short  time  before,  as  a  more  stable  and  enduring  ornament, 
not  without  singular  ingenuity,  that  ancient  and  immense  column  of 
oriental  granite  which  had  been  taken  from  the  Baths  of  Antoninus  in 
Rome,  and  granted  by  Pius  IV  to  our  glorious  Duke,  and  by  him  con- 
veyed, although  at  no  little  expense,  to  Florence,  and  magnanimously 
presented  to  her  as  a  courteous  gift  for  her  public  adornment.  Upon 
that  column,  over  its  beautiful  capital,  which  had,  like  the  base,  the 


OF  THE  ACADEMICIANS  61 

appearance  of  bronze,  and  which  is  now  being  made  of  real  bronze,  there 
was  placed  a  statue  (of  clay,  indeed,  but  in  the  colour  of  porphyry, 
because  even  so  it  is  to  be),  very  large  and  very  excellent,  of  a  woman  in 
full  armour,  with  a  helmet  on  the  head,  and  representing,  by  the  sword 
in  the  right  hand  and  by  the  scales  in  the  left,  an  incorruptible  and 
most  valorous  Justice. 

OF  THE  CANTO  DE'  TORNAQUINCI. 

The  sixth  ornament  was  erected  at  the  Canto  de'  Tornaquinci;  and 
here  I  must  note  a  thing  which  would  appear  incredible  to  one  who  had 
not  seen  it — namely,  that  this  ornament  was  so  magnificent,  so  rich  in 
pomp,  and  fashioned  with  so  much  art  and  grandeur,  that,  although  it 
was  conjoined  with  the  superb  Palace  of  the  Strozzi,  which  is  such  as  to 
make  the  greatest  things  appear  as  nothing,  and  although  on  a  site 
altogether  disastrous  by  reason  of  the  uneven  ends  of  the  streets  that  run 
together  there,  and  certain  other  inconvenient  circumstances,  neverthe- 
less such  was  the  excellence  of  the  craftsman,  and  so  well  conceived  the 
manner  of  the  work,  that  it  seemed  as  if  all  those  difficulties  had  been 
brought  together  there  for  the  purpose  of  rendering  it  the  more  admirable 
and  the  more  beautiful;  that  most  lovely  palace  being  so  well  accom- 
panied by  the  richness  of  the  ornaments,  the  height  of  the  arches,  the 
grandeur  of  the  columns,  all  intertwined  with  arms  and  trophies,  and 
the  great  statues  that  towered  over  the  summit  of  the  whole  structure, 
that  anyone  would  have  judged  that  neither  that  ornament  required 
any  other  accompaniment  than  that  of  such  a  palace,  nor  such  a  palace 
required  any  other  ornament.  And  to  the  end  that  all  may  be  the  better 
understood,  and  in  order  to  show  more  clearly  and  distinctly  in  what 
manner  the  work  was  constructed,  it  is  necessary  that  some  measure  of 
pardon  should  be  granted  to  us  by  those  who  are  not  of  our  arts,  if  for  the 
sake  of  those  who  delight  in  them  we  proceed,  more  minutely  than  might 
appear  proper  to  the  others,  to  describe  the  nature  of  the  sites  and  the 
forms  of  the  arches ;  and  this  in  order  to  demonstrate  how  noble  intellects 
accommodate  ornaments  to  places  and  inventions  to  sites  with  grace 
and  beauty.  We  must  relate,  then,  that  since  the  street  which  runs 


62  OF  THE  ACADEMICIANS 

from  the  Column  to  the  Tornaquinci  is,  as  everyone  knows,  very  wide, 
and  since  it  was  necessary  to  pass  from  there  into  the  street  of  the  Torna- 
buoni,  which  by  its  narrowness  brought  it  about  that  the  eyes  of  those 
thus  passing  fell  for  the  most  part  on  the  not  very  ornate  Tower  of  the 
Tornaquinci,  which  occupies  more  than  half  the  street,  it  was  thought 
expedient,  in  order  to  obviate  that  difficulty  and  to  make  the  effect 
more  pleasing,  to  construct  in  the  width  of  the  above-named  street, 
in  a  Composite  Order,  two  arches  divided  by  a  most  ornate  column,  one 
of  which  gave  free  passage  to  the  procession,  which  proceeded  through 
the  said  street  of  the  Tornabuoni,  and  the  other,  concealing  the  view 
of  the  tower,  appeared,  by  virtue  of  an  ingenious  prospect-scene  that 
was  painted  there,  to  lead  into  another  street  similar  to  the  said  street 
of  the  Tornabuoni,  wherein  with  most  pleasing  illusion  were  seen  not 
only  the  houses  and  windows  adorned  with  tapestries  and  full  of  men  and 
women  who  were  all  intent  on  gazing  at  the  spectacle,  but  also  the 
gracious  sight  of  a  most  lovely  maiden  on  a  white  palfrey,  accompanied 
by  certain  grooms,  who  appeared  to  be  coming  from  there  towards  those 
approaching,  insomuch  that  both  on  the  day  of  the  procession  and  all 
the  time  afterwards  that  she  remained  there,  she  roused  in  more  than 
one  person,  by  a  gracious  deception,  a  desire  either  to  go  to  meet  her  or 
to  wait  until  she  should  have  passed.  These  two  arches,  besides  the 
above-mentioned  column  that  divided  them,  were  bordered  by  other 
columns  of  the  same  size,  which  supported  architraves,  friezes,  and 
cornices;  and  over  each  arch  was  seen  a  lovely  ornament  in  the  form 
of  a  most  beautiful  picture,  in  which  were  seen  painted,  likewise  in 
chiaroscuro,  the  stories  of  which  we  shall  speak  in  a  short  time.  The 
whole  work  was  crowned  above  by  an  immense  cornice  with  ornaments 
corresponding  to  the  loveliness,  grandeur,  and  magnificence  of  the  rest, 
upon  which,  then,  stood  the  statues,  which,  although  they  were  at  a 
height  of  a  good  twenty-five  braccia  from  the  level  of  the  ground,  never- 
theless were  wrought  with  such  proportion  that  the  height  did  not  take 
away  any  of  their  grace,  nor  the  distance  any  of  the  effect  of  any  detail 
of  their  adornment  and  beauty.  There  stood  in  the  same  manner,  as  it 
were  as  wings  to  those  two  main  arches,  on  the  one  side  and  on  the 


OF  THE  ACADEMICIANS  63 

other,  two  other  arches,  one  of  which,  attached  to  the  Palace  of  the 
Strozzi,  and  leading  to  the  above-mentioned  Tower  of  the  Tornaquinci, 
gave  passage  to  those  who  wished  to  turn  towards  the  Mercato  Vecchio, 
even  as  the  other,  placed  on  the  other  side,  did  the  same  service 
to  those  who  might  desire  to  go  towards  the  street  called  La  Vigna; 
wherefore  the  Via  di  S.  Trinita,  which,  as  has  been  told,  is  so  broad, 
terminating  thus  in  the  four  arches  described,  came  to  present  such 
loveliness  and  a  view  so  beautiful  and  so  heroic,  that  it  appeared  impos- 
sible to  afford  greater  satisfaction  to  the  eyes  of  the  spectators.  And 
this  was  the  front  part,  composed,  as  has  been  described,  of  four  arches; 
of  two  main  arches,  namely,  one  false,  and  one  real,  which  led  into  the 
Via  de'  Tornabuoni,  and  of  two  others  at  the  sides,  in  the  manner  of 
wings,  which  were  turned  towards  the  two  cross-streets.  Now  since, 
entering  into  the  said  street  of  the  Tornabuoni  on  the  left  side,  beside  the 
Vigna,  there  debouches  (as  everyone  knows)  the  Strada  di  S.  Sisto,  which 
likewise  of  necessity  strikes  the  flank  of  the  same  Tower  of  the  Torna- 
quinci, it  was  made  to  appear,  in  order  to  hide  the  same  ugliness  in  a 
similar  manner  with  the  same  illusion  of  a  similar  prospect-scene,  that 
that  side  also  passed  into  a  similar  street  of  various  houses  placed  in  the 
same  way,  with  an  ingenious  view  of  a  very  ornate  fountain  overflowing 
with  crystal-clear  waters,  from  which  a  woman  with  a  child  was  repre- 
sented as  drawing  some,  so  that  one  who  was  at  no  great  distance  would 
certainly  have  declared  that  she  was  real  and  by  no  means  simulated. 
Now  these  four  arches — to  return  to  those  in  front — were  supported  and 
divided  by  five  columns  adorned  in  the  manner  described,  forming  as  it 
were  a  rectangular  piazza;  and  in  a  line  with  each  of  those  columns,  above 
the  final  cornice  and  the  summit  of  the  edifice,  there  was  a  most  beautiful 
seat,  while  in  the  same  manner  four  others  were  placed  over  the  centre 
of  each  arch,  which  in  all  came  to  the  number  of  nine.  In  eight  of  these 
was  seen  seated  in  each  a  statue  of  most  imposing  appearance,  some 
shown  in  armour,  some  in  the  garb  of  peace,  and  others  in  the  imperator's 
paludament,  according  to  the  characters  of  those  who  were  portrayed  in 
them;  and  in  place  of  the  ninth  seat  and  the  ninth  statue,  above  the 
column  in  the  centre,  was  seen  placed  an  immense  escutcheon,  supported 


64  OF  THE  ACADEMICIANS 

by  two  great  Victories  with  the  Imperial  Crown  of  the  House  of  Austria, 
to  which  that  structure  was  dedicated;  which  was  made  manifest  by  a 
very  large  epitaph,  which  was  seen  placed  with  much  grace  and  beauty 
below  the  escutcheon,  saying: 

VIRTUTI   FELICITATIQUE   INVICTISSIM^   DOMUS  AUSTRIA,    MAJESTATIQUE 

TOT  ET  TANTORUM  IMPERATORUM  AC  REGUM,   QUI  IN  IPSA  FLORUERUNT 

ET  NUNC  MAXIME  FLORENT,   FLORENTIA  AUGUSTO  CONJUGIO  PARTICEPS 

ILLIUS   FELICITATIS,  GRATO  PIOQUE  ANIMO  DICAT. 

The  intention  had  been,  after  bringing  to  those  most  splendid 
nuptials  the  Province  of  Austria,  with  her  cities  and  rivers  and  with  her 
ocean-sea,  and  after  having  caused  her  to  be  received  by  Tuscany  with 
her  cities,  the  Arno,  and  the  Tyrrhenian  Sea,  as  has  been  related,  to 
bring  then  her  great  and  glorious  Caesars,  all  magnificent  in  adornment 
and  pomp,  as  is  the  general  custom  in  taking  part  in  nuptials;  as  if  they, 
having  conducted  thither  with  them  the  illustrious  bride,  were  come 
before  to  have  the  first  meeting  of  kinsmen  with  the  House  of  Medici, 
and  to  prove  of  what  stock,  and  how  glorious,  was  the  noble  virgin  that 
they  sought  to  present  to  them.  And  so,  of  the  eight  above-mentioned 
statues  placed  upon  the  eight  seats,  representing  eight  Emperors  of  that 
august  house,  there  was  seen  on  the  right  hand  of  the  above-named 
escutcheon,  over  the  arch  through  which  the  procession  passed,  that  of 
Maximilian  II,  the  present  magnanimous  and  excellent  Emperor,  and 
brother  of  the  bride;  below  whom,  in  a  very  spacious  picture,  there  was 
seen  painted  with  most  beautiful  invention  his  marvellous  assumption 
to  the  Empire,  himself  being  seated  in  the  midst  of  the  Electors,  both 
spiritual  and  temporal,  the  first  being  recognized — besides  their  long 
vestments — by  a  Faith  that  was  to  be  seen  at  their  feet,  and  the  others 
by  a  Hope  in  a  like  position.  In  the  air,  also,  over  his  head,  were  seen 
certain  little  Angels  that  seemed  to  be  chasing  many  malign  spirits  out 
of  certain  thick  and  dark  clouds ;  these  being  intended  either  to  suggest 
the  hope  which  is  felt  that  at  some  time,  in  that  all-conquering  and  most 
constant  nation,  men  will  contrive  to  dissipate  and  clear  away  the  clouds 
of  those  many  disturbances  that  have  occurred  there  in  matters  of 
religion,  and  restore  her  to  her  pristine  purity  and  serenity  of  tranquil 


OF  THE  ACADEMICIANS  65 

concord;  or  rather,  that  in  that  act  all  dissensions  had  flown  away,  and 
showing  how  marvellously,  and  with  what  unanimous  consent  of  all 
Germany,  amid  that  great  variety  of  minds  and  religions,  that  assumption 
had  taken  place,  which  was  explained  by  the  words  that  were  placed 
above,  saying: 

MAXIMILIANUS    II    SALUTATUR    IMP.    MAGNO     CONSENSU     GERMANORUM, 
ATQUE    INGENTI   L^ETITIA   BONORUM   OMNIUM,    ET   CHRISTIANA   PIETATIS 

FELICITATE. 

Then,  next  to  the  statue  of  the  said  Maximilian,  in  a  place  corre- 
sponding to  the  column  at  the  corner,  was  seen  that  of  the  truly  invincible 
Charles  V;  even  as  over  the  arch  of  that  wing,  which  commanded  the 
Via  della  Vigna,  there  was  that  of  the  second  Albert,  a  man  of  most 
resolute  valour,  although  he  reigned  but  a  short  time.  Above  the  column 
at  the  head  was  placed  that  of  the  great  Rudolph,  who,  the  first  of  that 
name,  was  also  the  first  to  introduce  into  that  most  noble  house  the 
Imperial  dignity,  and  the  first  to  enrich  her  with  the  great  Archduchy 
of  Austria;  when,  having  reverted  to  the  Empire  for  lack  of  a  successor, 
he  invested  with  it  the  first  Albert,  his  son,  whence  the  House  of  Austria 
has  since  taken  its  name.  All  which,  in  memory  of  an  event  so  important, 
was  seen  painted  in  a  most  beautiful  manner  in  the  frieze  above  that 
arch,  with  an  inscription  at  the  foot  that  said: 

RODULPHUS  PRIMUS    EX   HAG  FAMILIA  IMP.  ALBERTUM  PRIMUM  AUSTRIA 

PRINCIPATU   DONAT. 

But  to  return  to  the  part  on  the  left,  beginning  with  the  same  place 
in  the  centre;  beside  the  escutcheon,  and  over  the  false  arch  that  covered 
the  Tower  of  the  Tornaquinci,  was  seen  the  statue  of  the  most  devout 
Ferdinand,  father  of  the  bride,  beneath  whose  feet  was  seen  painted  the 
valorous  resistance  made  by  his  efforts  in  the  year  1529  in  the  defence 
of  Vienna  against  the  terrible  assault  of  the  Turks ;  demonstrated  by  the 
inscription  written  above,  which  said: 

FERDINANDUS   PRIMUS   IMP.,    INGENTIBUS   COPIIS   TURCORUM   CUM   REGE 
IPSORUM  PULSIS,  VIENNAM  NOBILEM  URBEM  FORTISSIME  FELICISSIMEQUE 

DEFENDIT. 
X. 


66  OF  THE  ACADEMICIANS 

Even  as  at  the  corner  there  was  the  statue  of  the  first  and  most 
renowned  Maximilian,  and  over  the  arch  that  inclined  towards  the  Palace 
of  the  Strozzi  that  of  the  pacific  Frederick,  father  of  that  same  Maximilian, 
leaning  against  an  olive- trunk.  Above  the  last  column,  which  was 
attached  to  the  above-named  Palace  of  the  Strozzi,  was  seen  that  of  the 
first  Albert  mentioned  above,  who,  as  has  been  told,  was  first  invested  by 
his  father  Rudolph  with  the  sovereignty  of  Austria,  and  gave  to  that 
most  noble  house  the  arms  that  are  still  to  be  seen  at  the  present  day. 
Those  arms  used  formerly  to  be  five  little  larks  on  a  gold  ground,  whereas 
the  new  arms,  which,  as  everyone  may  see,  are  all  red  with  a  white  band 
that  divides  them,  are  said  to  have  been  introduced  by  him  in  that  form 
because,  as  was  seen  painted  there  in  a  great  picture  beneath  his  feet, 
he  found  himself  not  otherwise  in  that  most  bloody  battle  fought  by  him 
with  Adolf,  who  had  been  first  deposed  from  the  Imperial  throne,  when 
the  said  Albert  was  seen  to  slay  Adolf  valorously  with  his  own  hand  and 
to  win  from  him  the  Spolia  Opima;  and  since,  save  for  the  middle  of 
his  person,  which  was  white  on  account  of  his  armour,  over  all  the  rest  he 
found  himself  on  that  day  all  stained  and  dabbled  with  blood,  he  ordained 
that  in  memory  of  that  his  arms  should  be  painted  in  the  same  manner 
both  of  form  and  colour,  and  that  they  should  be  preserved  gloriously 
after  him  by  his  successors  in  that  house;  and  beneath  the  picture,  as 
with  the  others,  there  was  to  be  read  a  similar  inscription  that  said : 

ALBERTUS  I  IMP.  ADOLPHUM,  CUI  LEGIBUS  IMPERIUM  ABROGATUM  FUERAT, 
MAGNO  PROBLIO  VINCIT  ET  SPOLIA  OPIMA  REFERT. 

And  since  each  of  the  eight  above-mentioned  Emperors,  besides  the 
arms  common  to  their  whole  house,  also  used  during  his  lifetime  arms 
private  and  peculiar  to  himself,  for  that  reason,  in  order  to  make  it  more 
manifest  to  the  beholders  which  Emperor  each  of  the  statues  represented, 
there  were  also  placed  beneath  their  feet,  on  most  beautiful  shields,  the 
particular  arms  that  each,  as  has  been  told,  had  borne.  All  which, 
together  with  some  pleasing  and  well-accommodated  little  scenes  that 
were  painted  on  the  pedestals,  made  a  magnificent,  heroic,  and  very 
ornate  effect;  even  as  not  less  was  done,  on  the  columns  and  in  all  the 


OF  THE  ACADEMICIANS  67 

parts  where  ornaments  could  be  suitably  placed,  in  addition  to  trophies 
and  the  arms,  by  the  Crosses  of  S.  Andrew,  the  Fusils,  and  the  Pillars  of 
Hercules,  with  the  motto,  PLUS  ULTRA,  the  principal  device  of  that 
arch,  and  many  others  like  it  used  by  the  men  of  that  Imperial  family. 

Such,  then,  was  the  principal  view  which  presented  itself  to  those 
who  chose  to  pass  by  the  direct  way  with  the  procession;  but  for  those 
who  came  from  the  opposite  direction,  from  the  Via  de'  Tornabuoni 
towards  the  Tornaquinci,  there  appeared,  with  an  ornamentation  perhaps 
not  less  lovely,  in  so  far  as  the  narrowness  of  the  street  permitted,  a 
similar  spectacle  arranged  in  due  proportion.     For  on  that  side,  which 
we  will  call  the  back,  there  was  formed,  as  it  were,  another  structure 
similar  to  that  already  described,  save  that  on  account  of  the  narrowness 
of  the  street,  whereas  the  first  was  seen  composed  of  four  arches,  the 
other  was  of  three  only;  one  of  which  being  joined  with  friezes  and 
cornices  to  that  upon  which,  as  has  been  told,  was  placed  the  statue  of 
the  second  Maximilian,  now  Emperor,  and  thus  making  it  double,  and 
another  likewise  attached  to  the  above-described  prospect-scene  which 
concealed  the  tower,  brought  it  about  that  the  third,  leaving  also  behind 
it  a  little  quadrangular  piazza,  remained  as  the  last  for  one  coming  with 
the  procession,  and  appeared  as  the  first  for  one  approaching,  on  the 
contrary,  from  the  street  of  the  Tornabuoni ;  and  upon  that  last,  which 
was  in  the  same  form  as  those  described,  even  as  upon  them  were  the 
Emperors,  so  upon  it  were  seen  towering,  but  standing  on  their  feet, 
the  two  Kings  Philip,  one  the  father  and  the  other  the  son  of  the  great 
Charles  V,  the  first  Philip,  namely,  and  also  the  second,  so  filled  with 
liberality  and  justice,  whom  at  the  present  day  we  honour  as  the  great 
and  puissant  King  of  so  many  most  noble  realms.     Between  him  and 
the  statue  of  his  grandfather  there  was  seen  painted  in  the  circumambient 
frieze  that  same  Philip  II  seated  in  majesty,  and  standing  before  him  a 
tall  woman  in  armour,  recognized  by  the  white  cross  that  she  had  on 
the  breast  as  being  Malta,  delivered  by  him  through  the  valour  of  the 
most  illustrious  Lord  Don  Garzia  di  Toledo,  who  was  portrayed  there, 
from  the  siege  of  the  Turks;  and  she  appeared  to  be  seeking,  as  one 
grateful  for  that  great  service,  to  offer  to  him  the  obsidional  crown  of 


68  OF  THE  ACADEMICIANS 

dog's  grass,  which  was  made  manifest  by  the  inscription  written  beneath, 
which  said: 

MELITA,    EREPTA    E    FAUCIBUS    IMMANISSIMORUM    HOSTIUM    STUDIO    ET 
AUXILIIS    PIISSIMI     REGIS    PHILIPPI,      CONSERVATOREM     SUUM     CORONA 

GRAMINEA   DONAT. 

And  to  the  end  that  the  part  turned  towards  the  Strada  della  Vigna 
might  have  likewise  some  adornment,  it  was  thought  a  fitting  thing  to 
declare  the  conception  of  the  whole  vast  structure  by  a  great  inscription 
between  the  final  cornice,  where  the  statues  stood,  and  the  arch,  which 
was  a  large  space,  saying : 

IMPERIO  LATE  FULGENTES  ASPICE   REGESJ 

AUSTRIACA  HOS   OMNES   EDIDIT  ALTA  DOMUS. 

HIS   INVICTA  FUIT  VIRTUS,   HIS   CUNCTA   SUBACTA, 

HIS  DOMITA  EST  TELLUS,    SERVIT  ET  OCEANUS. 

Even  as  was  done  in  the  same  manner  and  for  the  same  reason  towards 
the  Mercato  Vecchio,  in  another  inscription,  saying : 

IMPERIIS  GENS  NATA  BONIS  ET  NATA  TRIUMPHIS, 

QUAM   GENUS   E   CCELO   DUCERE   NEMO   NEGET; 
TUQUE  NITENS   GERMEN  DIVINE  STIRPIS  ETRUSCIS 

TRADITUM   AGRIS   NITIDIS,    UT   SOLA  CULTA  BEES; 
SI   MIHI   CONTINGAT  VESTRO   DE   SEMINE   FRUCTUM 

CARPERE   ET   IN   NATIS   CERNERE   DETUR   AVOS, 
O   FORTUNATAM  !   VERO  TUNC  NOMINE  FLORENS 

URBS  FERAR,    IN  QUAM   FORS  CONGERAT   OMNE  BONUM. 


OF  THE  CANTO  DE'  CARNESECCHI. 

Now  it  appeared  a  fitting  thing,  having  brought  the  triumphant 
Caesars  to  the  place  described  above,  to  bring  the  magnanimous  Medici, 
also,  with  all  their  pomp,  to  the  corner  that  is  called  the  Canto  de'  Carne- 
secchi,  which  is  not  far  distant  from  it;  as  if,  reverently  receiving  the 
Caesars,  as  is  the  custom,  they  were  come  to  hold  high  revel  and  to  do 


OF  THE  ACADEMICIANS  69 

honour  to  the  new-come  bride,  so  much  desired.  And  here,  no  less  than 
in  some  of  the  passages  to  follow,  it  will  be  necessary  that  I  should  be 
pardoned  by  those  who  are  not  of  our  arts  for  describing  minutely  the 
nature  of  the  site  and  the  form  of  the  arches  and  other  ornaments,  for 
the  reason  that  it  is  my  intention  to  demonstrate  not  less  the  excellence  of 
the  hands  and  brushes  of  the  craftsmen  who  executed  the  works,  than 
the  fertility  and  acuteness  of  brain  of  him  who  was  the  author  of  the 
stories  and  of  the  whole  invention;  and  particularly  because  the  site  in 
that  place  was  perhaps  more  disastrous  and  more  difficult  to  accom- 
modate than  any  of  the  others  described  or  about  to  be  described.  For 
there  the  street  turns  towards  S.  Maria  del  Fiore,  inclining  to  somewhat 
greater  breadth,  and  comes  to  form  the  angle  that  by  those  of  our  arts 
is  called  obtuse;  and  that  was  the  side  on  the  right.  Opposite,  and  on 
the  left-hand  side,  there  is  a  little  piazza  into  which  two  streets  lead, 
one  that  comes  from  the  great  Piazza  di  S.  Maria  Novella,  and  the  other 
likewise  from  another  piazza  called  the  Piazza  Vecchia.  In  that  little 
piazza,  which  is  in  truth  very  ill  proportioned,  there  was  built  over  all 
the  lower  part  a  structure  in  the  form  of  an  octagonal  theatre,  the  doors 
of  which  were  rectangular  and  in  the  Tuscan  Order;  and  over  each  of 
them  was  seen  a  niche  between  two  columns,  with  cornices,  architraves, 
and  other  ornaments,  rich  and  imposing,  of  Doric  architecture,  and  then, 
rising  higher,  there  was  formed  the  third  range,  wherein  was  seen  above 
the  niches,  in  each  space,  a  compartment  with  most  beautiful  ornaments 
in  painting.  Now  it  is  but  proper  to  remark  that  although  it  has  been 
said  that  the  doors  below  were  rectangular  and  Tuscan,  nevertheless  the 
two  by  which  the  principal  road  entered  and  issued  forth,  and  by  which 
the  procession  was  to  pass,  were  made  in  the  semblance  of  arches,  and 
projected  for  no  small  distance  in  the  manner  of  vestibules,  one  towards 
the  entrance  and  the  other  towards  the  exit,  both  the  one  and  the  other 
having  been  made  as  rich  and  ornate  on  the  outer  fa$ade  as  was  required 
for  the  sake  of  proportion. 

Having  thus  described  the  general  form  of  the  whole  edifice,  let  us 
come  down  to  the  details,  beginning  with  the  front  part,  which  presented 
itself  first  to  the  eyes  of  passers-by  and  was  after  the  manner  of  a 


70  OF  THE  ACADEMICIANS 

triumphal  arch,  as  has  been  told,  in  the  Corinthian  Order.  That  arch  was 
seen  bordered  on  one  side  and  on  the  other  by  two  most  warlike  statues 
in  armour,  each  of  which,  resting  upon  a  graceful  little  door,  was  seen 
likewise  coming  forth  from  the  middle  of  a  niche  placed  between  two  well- 
proportioned  columns.  Of  these  statues,  that  which  was  to  be  seen  on 
the  right  hand  represented  Duke  Alessandro,  the  son-in-law  of  the  most 
illustrious  Charles  V,  a  Prince  spirited  and  bold,  and  of  most  gracious 
manners,  holding  in  one  hand  his  sword,  and  in  the  other  the  Ducal 
baton,  with  a  motto  placed  at  his  feet,  which  said,  on  account  of  his 
untimely  death:  si  FATA  ASPERA  RUMPAS,  ALEXANDER  ERIS.  On  the  left 
hand  was  seen,  portrayed  like  all  the  others  from  life,  the  most  valorous 
Signor  Giovanni,  with  the  butt  of  a  broken  lance  in  the  hand,  and  like- 
wise with  his  motto  at  his  feet:  ITALUM  FORTISS.  DUCTOR.  And  since 
over  the  architraves  of  those  four  columns  already  described  there  were 
placed  very  spacious  friezes  in  due  proportion,  in  the  width  covered  by 
the  niches  there  was  seen  above  each  of  the  statues  a  compartment 
between  two  pilasters;  in  that  above  Duke  Alessandro  was  seen  in 
painting  the  device  of  a  rhinoceros,  used  by  him,  with  the  motto  :NON 
BUELVO  SIN  VENCER;  and  above  the  statue  of  Signor  Giovanni,  in  the 
same  fashion,  his  flaming  thunderbolt.  Above  the  arch  in  the  centre, 
which,  being  more  than  seven  braccia  in  width  and  more  than  two 
squares  in  height,  gave  ample  room  for  the  procession  to  pass,  and  above 
the  cornice  and  the  frontispieces,  there  was  seen  seated  in  majestic  beauty 
that  of  the  wise  and  valorous  Duke  Cosimo,  the  excellent  father  of  the 
fortunate  bridegroom,  likewise  with  his  motto  at  his  feet,  which  said: 
PIETATE  INSIGNIS  ET  ARMIS  ;  and  with  a  She-Wolf  and  a  Lion  on  either 
side  of  him,  representing  Siena  and  Florence,  which,  supported  and 
regarded  lovingly  by  him,  seemed  to  be  reposing  affectionately  together. 
That  statue  was  seen  set  in  the  frieze,  exactly  in  a  line  with  the  arch, 
and  between  the  pictures  with  the  devices  described;  and  in  that  same 
width,  above  the  crowning  cornice,  there  rose  on  high  another  painted 
compartment,  with  pilasters  in  due  proportion,  cornice,  and  other  embel- 
lishments, wherein  with  great  fitness,  alluding  to  the  election  of  the 
above-named  Duke  Cosimo,  was  seen  represented  the  story  of  the  young 


OF  THE  ACADEMICIANS  71 

David  when  he  was  anointed  King  by  Samuel,  with  his  motto :  A  DOMINO 
FACTUM  EST  isxuD.  And  then,  above  that  last  cornice,  which  was  raised 
a  very  great  distance  from  the  ground,  was  seen  the  escutcheon  of  that 
most  adventuresome  family,  which,  large  and  magnificent  as  was  fitting, 
was  likewise  supported,  with  the  Ducal  Crown,  by  two  Victories  also  in 
imitation  of  marble;  and  over  the  principal  entrance  of  the  arch,  in  the 
most  becoming  place,  was  the  inscription,  which  said: 

VIRTUTI    FELICITATIQUE    ILLUSTRISSIM2E   MEDICE^E    FAMILY,    QILE    FLOS 

ITALLE,    LUMEN    ETRURLE,    DECUS    PATRLE    SEMPER   FUIT,    NUNC   ASCITA 

SIBI     (wESAREA     SOBOLE     CIVIBUS    SECURITATEM    ET    OMNI    SUO    IMPERIO 

DIGNITATEM  AUXIT,  GRATA  PATRIA  DICAT. 

Entering  within  that  arch,  one  found  a  kind  of  loggia,  passing 
spacious  and  long,  with  the  vaulting  above  all  painted  and  embellished 
with  the  most  bizarre  and  beautiful  ornaments  and  with  various  devices. 
After  which,  in  two  pilasters  over  which  curved  an  arch,  through  which 
was  the  entrance  into  the  above-mentioned  theatre,  there  were  seen 
opposite  to  one  another  two  most  graceful  niches,  as  it  were  conjoined 
with  that  second  arch;  between  which  niches  and  the  arch  first  described 
there  were  seen  on  the  counterfeit  walls  that  supported  the  loggia  two 
spacious  painted  compartments,  the  stories  of  which  accompanied 
becomingly  each  its  statue.  Of  these  statues,  that  on  the  right  hand  was 
made  to  represent  the  great  Cosimo,  called  the  Elder,  who,  although  there 
had  been  previously  in  the  family  of  the  Medici  many  men  noble  and  dis- 
tinguished in  arms  and  in  civil  actions,  was  nevertheless  the  first  founder 
of  its  extraordinary  greatness,  and  as  it  were  the  root  of  that  plant  which 
has  since  grown  so  happily  to  such  magnificence.  In  his  picture  was 
seen  painted  the  supreme  honour  conferred  upon  him  by  his  native 
Florence,  when  he  was  acclaimed  by  the  public  Senate  as  Pater  Patriae; 
which  was  declared  excellently  well  in  the  inscription  that  was  seen 
below,  saying: 


COSMUS   MEDICES,    VETERE    HONESTISSIMO    OMNIUM    SENATUS    CONSULTO 
RENOVATO,    PARENS   PATRICE   APPELLATUR. 


72  OF  THE  ACADEMICIANS 

In  the  upper  part  of  the  same  pilaster  in  which  was  placed  the  niche, 
there  was  a  little  picture  in  due  proportion  wherein  was  portrayed  his 
son,  the  magnificent  Piero,  father  of  the  glorious  Lorenzo,  likewise  called 
the  Elder,  the  one  and  true  Maecenas  of  his  times,  and  the  magnanimous 
preserver  of  the  peace  of  Italy,  whose  statue  was  seen  in  the  other  above- 
mentioned  niche,  corresponding  to  that  of  the  Elder  Cosimo.  In  the 
little  picture,  which  he  in  like  manner  had  over  his  head,  was  painted  the 
portrait  of  his  brother,  the  magnificent  Giuliano,  the  father  of  Pope 
Clement;  and  in  the  large  picture,  corresponding  to  that  of  Cosimo,  was 
the  public  council  held  by  all  the  Italian  Princes,  wherein  was  seen 
formed,  by  the  advice  of  Lorenzo,  that  so  stable  and  so  prudent  union 
by  which,  as  long  as  he  was  alive  and  it  endured,  Italy  was  seen  brought 
to  the  height  of  felicity,  whereas  afterwards,  Lorenzo  dying  and  that 
union  perishing,  she  was  seen  precipitated  into  such  conflagrations, 
calamities,  and  ruin;  which  was  demonstrated  no  less  clearly  by  the 
inscription  that  was  beneath,  saying : 

LAURENTIUS  MEDICES,  BELLI  ET  PACIS  ARTIBUS  EXCELLENS,  DIVING  SUO 

CONSILIO  CONJUNCTIS  ANIMIS  ET  OPIBUS  PRINCIPUM  ITALORUM  ET  INGENTI 

ITALLE  TRANQUILLITATE  PARTA,  PARENS  OPTIMI  S^ECULI  APPELLATUR. 

Now,  coming  to  the  little  piazza  in  which,  as  has  been  told,  was 
placed  the  octagonal  theatre,  as  I  shall  call  it,  and  beginning  from  that 
first  entrance  to  go  round  on  the  right  hand,  let  me  say  that  the  first 
part  was  occupied  by  that  arch  of  the  entrance,  above  which,  in  a  frieze 
corresponding  in  height  to  the  third  and  last  range  of  the  theatre,  were 
seen  in  four  ovals  the  portrait  of  Giovanni  di  Bicci,  father  of  Cosimo  the 
Elder,  and  that  of  his  son  Lorenzo,  brother  of  the  same  Cosimo,  from 
whom  this  fortunate  branch  of  the  Medici  now  reigning  had  its  origin; 
with  that  of  Pier  Francesco,  son  of  the  above-named  Lorenzo,  and  like- 
wise that  of  another  Giovanni,  father  of  the  warlike  Signor  Giovanni 
mentioned  above.  In  the  second  fagade  of  the  octagon,  which  was 
joined  to  the  entrance,  there  was  seen  between  two  most  ornate  columns, 
seated  in  a  great  niche,  with  the  royal  staff  in  the  hand,  a  figure  in  marble, 
like  all  the  other  statues,  of  Caterina,  the  valorous  Queen  of  France, 


OF  THE  ACADEMICIANS  73 

with  all  the  other  ornaments  that  are  required  in  architecture  both  lovely 
and  heroic.  And  in  the  third  range  above,  where,  as  has  been  said,  the 
painted  compartments  came,  there  was  figured  for  her  scene  the  same 
Queen  seated  in  majesty,  who  had  before  her  two  most  beautiful  women 
in  armour,  one  of  whom,  representing  France,  and  kneeling  before  her, 
was  shown  presenting  to  her  a  handsome  boy  adorned  with  a  royal  crown, 
even  as  the  other,  who  was  Spain,  standing,  was  shown  in  like  manner 
presenting  to  her  a  most  lovely  girl ;  the  boy  being  intended  for  the  most 
Christian  Charles  IX,  who  is  now  revered  as  King  of  France,  and  the  girl 
the  most  noble  Queen  of  Spain,  wife  of  the  excellent  King  Philip.  Then, 
about  the  same  Caterina,  were  seen  standing  with  much  reverence  some 
other  smaller  boys,  representing  her  other  most  gracious  little  children, 
for  whom  a  Fortune  appeared  to  be  holding  sceptres,  crowns,  and  realms. 
And  since  between  that  niche  and  the  arch  of  the  entrance,  on  account 
of  the  disproportion  of  the  site,  there  was  some  space  left  over,  caused 
by  the  desire  to  make  the  arch  not  ungracefully  awry,  but  well-propor- 
tioned and  straight,  for  that  reason  there  was  placed  there,  as  it  were  in 
a  niche,  a  painted  picture  wherein  by  means  of  a  Prudence  and  a  Liber- 
ality, who  stood  clasped  in  a  close  embrace,  it  was  shown  very  ingeniously 
with  what  guides  the  House  of  Medici  had  come  to  such  a  height;  having 
above  them,  painted  in  a  little  picture  equal  in  breadth  to  the  others  of 
the  third  range,  a  Piety  humble  and  devout,  recognized  by  the  stork  that 
was  beside  her,  round  whom  were  seen  many  little  Angels  that  were 
showing  to  her  various  designs  and  models  of  the  many  churches,  monas- 
teries, and  convents  built  by  that  magnificent  and  religious  family. 
Now,  proceeding  to  the  third  side  of  the  octagon,  where  there  was  the 
arch  by  which  one  issued  from  the  theatre,  over  the  frontispiece  of  that 
arch  was  placed,  as  the  heart  of  so  many  noble  members,  the  statue  of 
the  most  excellent  and  amiable  Prince  and  Spouse,  and  at  his  feet  the 
motto:  SPES  ALTERA  FLOR^.  In  the  frieze  above — meaning,  as  before, 
that  this  came  to  the  height  of  the  third  range — to  correspond  to  the 
other  arch,  where,  as  has  been  told,  four  portraits  had  been  placed,  in 
that  part,  also,  were  four  other  similar  portraits  of  his  illustrious  brothers, 
accommodated  in  a  similar  manner;  those,  namely,  of  the  two  very 
x.  10 


74  OF  THE  ACADEMICIANS 

reverend  Cardinals,  Giovanni  of  revered  memory  and  the  most  gracious 
Ferdinando,  and  those  of  the  handsome  Signor  Don  Garzia  and  the 
amiable  Signor  Don  Pietro.  Then,  to  go  on  to  the  fourth  face,  since  the 
corner  of  the  houses  that  are  there,  not  giving  room  for  the  hollow  of 
any  recess,  did  not  permit  of  the  usual  niche  being  made  there,  in  its 
stead  was  seen  accommodated  with  beautiful  artifice,  corresponding  to 
the  niches,  a  very  large  inscription  that  said : 

HI,    QUOS   SACRA  VIDES   REDIMITOS  TEMPORA  MITRA 
PONTIFICES   TRIPLICI,    ROMAM  TOTUMQUE   PIORUM 
CONCILIUM   REXERE   PIi;    SED   QUI    PROPE   FULGENT 
ILLUSTRI   E   GENTE   INSIGNES   SAGULISVE   TOGISVE 
HEROES,    CLARAM   PATRIAM   POPULUMQUE   POTENTEM 
IMPERIIS  AUXERE   SUIS   CERTAQUE   SALUTE. 
NAM    SEMEL   ITALIAM   DONARUNT  AUREA   S^ECLA, 
CONJUGIO   AUGUSTO   DECORANT   NUNC   ET  MAGE   FIRMANT. 

Above  it,  in  place  of  scene  and  picture,  there  were  painted  in  two  ovals 

the  two  devices,  one  of  the  fortunate  Duke,  the  Capricorn  with  the  seven 

Stars  and  with  the  motto,  FIDUCIA  FATI  ;  and  the  other  of  the  excellent 

Prince,  the  Weasel,  with  the  motto,  AMAT  VICTORIA  CURAM.    Then  in  the 

three  niches  that  came  in  the  three  following  facades  were  the  statues 

of  the  three  Supreme  Pontiffs  who  have  come  from  that  family;  all 

rejoicing,  likewise,   to  lend    their  honourable  presence  to  so  great  a 

festival,  as  if  every  favour  human  and  divine,  every  excellence  in  arms, 

letters,   wisdom,   and  religion,   and  every  kind  of  sovereignty,    were 

assembled  together  to  vie  in  rendering  those  splendid  nuptials  august 

and  happy.     Of  those  Pontiffs  one  was  Pius  IV,  departed  a  short  time 

before  to  a  better  life,  over  whose  head,  in  his  picture,  was  seen  painted 

how,  after  the  intricate  disputes  were  ended  at  Trent  and  the  sacrosanct 

Council  was  finished,  the  two  Cardinal  Legates  presented  to  him  its 

inviolable  decrees;  even  as  in  that  of  Leo  X  was  seen  the  conference 

held  by  him  with  Francis  I,  King  of  France,  whereby  with  prudent 

counsel  he  bridled  the  vehemence  of  that  bellicose  and  victorious  Prince, 

so  that  he  did  not  turn  all  Italy  upside  down,  as  he  might  perchance  have 

done,  and  as  he  was  certainly  able  to  do;   and  in  that  of  Clement  VII 


OF  THE  ACADEMICIANS  75 

was  the  Coronation,  performed  by  him  in  Bologna,  of  the  great  Charles  V. 
But  in  the  last  fagade,  which  hit  against  the  acute  angle  of  the  houses 
of  the  Carnesecchi,  by  which  the  straight  line  of  that  facade  of  the  octagon 
was  no  little  interrupted,  nevertheless  there  was  made  with  gracious  and 
pleasing  artifice  another  masterly  inscription,  after  the  likeness  of  the 
other,  but  curving  somewhat  outwards,  which  said: 

PONTIFICES   SUMMOS   MEDICUM   DOMUS   ALTA   LEONEM, 

CLEMENTEM    DEINCEPS,    EDIDIT   INDE   PIUM.  . 

QUID   TOT   NUNC   REFERAM   INSIGNES   PIETATE   VEL   ARMIS 
MAGNANIMOSQUE   DUCES   EGREGIOSQUE   VIROS  ? 

GALLORUM   INTER   QUOS   LATE   REGINA  REFULGET, 
H^EC   REGIS   CONJUNX,    ILEC   EADEM   GENITRIX. 

Such,  as  a  whole,  was  the  interior  of  the  theatre  described  above; 
but  although  it  may  appear  to  have  been  described  minutely  enough, 
it  is  none  the  less  true  that  an  infinity  of  other  ornaments,  pictures, 
devices,  and  a  thousand  most  bizarre  and  most  beautiful  fantasies 
which  were  placed  throughout  the  Doric  cornices  and  many  spaces 
according  to  opportunity,  making  a  very  rich  and  gracious  effect, 
have  been  omitted  as  not  being  essential,  in  order  not  to  weary  the 
perhaps  already  tired  reader;  and  anyone  who  delights  in  such  things 
may  imagine  that  no  part  was  left  without  being  finished  with  supreme 
mastery,  consummate  judgment,  and  infinite  loveliness.  And  a  most 
pleasing  and  beautiful  finish  was  given  to  the  highest  range  by  the 
many  arms  that  were  seen  distributed  there  in  due  proportion,  which 
were  Medici  and  Austria  for  the  illustrious  Prince,  the  bridegroom, 
and  her  Highness;  Medici  and  Toledo  for  the  Duke,  his  father;  Medici 
and  Austria  again,  recognized  by  the  three  feathers  as  belonging  to  his 
predecessor  Alessandro;  Medici  and  Boulogne  in  Picardy  for  Lorenzo, 
Duke  of  Urbino;  Medici  and  Savoy  for  Duke  Giuliano;  Medici  and  Orsini 
for  the  double  kinship  of  the  Elder  Lorenzo  and  his  son  Piero;  Medici 
and  the  Viper  for  the  above-named  Giovanni,  husband  of  Caterina 
Sforza;  Medici  and  Salviati  for  the  glorious  Signor  Giovanni,  his  son; 
France  and  Medici  for  her  most  serene  Highness  the  Queen;  Ferraraand 
Medici  for  the  Duke,  with  one  of  the  sisters  of  the  most  excellent  bride- 


76  OF  THE  ACADEMICIANS 

groom;  and  Orsini  and  Medici  for  the  other  most  gentle  sister,  married  to 
the  illustrious  Signor  Paolo  Giordano,  Duke  of  Bracciano. 

It  now  remains  for  us  to  describe  the  last  part  of  the  theatre  and 
the  exit,  which,  corresponding  in  size,  in  proportion,  and  in  every  other 
respect  to  the  entrance  already  described,  there  will  be  little  labour,  I 
believe,  in  making  known  to  the  intelligent  reader;  save  only  that  the 
arch  which  formed  the  facade  there,  facing  towards  S.  Maria  del  Fiore, 
had  "been  constructed,  as  a  part  less  important,  without  statues  and 
with  somewhat  less  magnificence,  and  in  their  stead  there  had  been 
placed  over  that  arch  a  very  large  inscription,  which  said: 

VIRTUS   KARA   TIBI,    STIRPS  ILLUSTRISSIMA,    QUONDAM 

CLARUM   TUSCORUM   DETULIT   IMPERIUM; 
QUOD   COSMUS   FORTI   PR^EFUNCTUS  MUNERE   MARTIS 

PROTULIT   ET   JUSTA  CUM   DITIONE   REGIT* 
NUNC   EADEM   MAJOR   DIVINA  E   GENTE   JOANNAM 

ALLICIT  IN    REGNUM  CONCILIATQUE   TORO. 
QU-E   SI   CRESCET  ITEM   VENTURA  IN   PROLE   NEPOTES, 

AUREA   GENS   TUSCIS   EXORIETUR  AGRIS. 

In  the  two  pilasters  that  were  at  the  beginning  of  the  passage,  or 
vestibule,  as  we  have  called  it  (over  which  pilasters  rose  the  arch  of  the 
exit,  upon  which  was  the  statue  of  the  illustrious  bridegroom),  were  seen 
two  niches,  in  one  of  which  was  placed  the  statue  of  the  most  gentle 
Giuliano,  Duke  of  Nemours,  the  younger  brother  of  Leo  and  Gonfalonier 
of  Holy  Church,  who  had  likewise  in  the  little  picture  that  was  above  him 
the  portrait  of  the  magnanimous  Cardinal  Ippolito,  his  son,  and,  in  the 
picture  that  stretched  towards  the  exit,  the  scene  of  the  Capitoline 
Theatre,  dedicated  to  him  by  the  Roman  people  in  the  year  1513,  with 
an  inscription  to  make  this  known,  which  said: 

JULIANUS  MEDICES  EXIMLE  VIRTUTIS  ET  PROBITATIS  ERGO  SUMMIS  A  POP. 
ROM.    HONORIBUS    DECORATUR,    RENOVATA   SPECIE  ANTIQU2E   DIGNITATIS 

AC   L.ETITLE. 

In  the  other  niche,  corresponding  to  the  first  statue,  and,  like  it,  standing 
and  in  armour,  was  seen  the  statue  of  Lorenzo  the  Younger,  Duke  of 


OF  THE  ACADEMICIANS  77 

Urbino,  with  a  sword  in  the  hand;  and  in  the  little  picture  above  him  he 
had  the  portrait  of  his  father  Piero,  and  in  the  other  picture  the  scene 
when  the  general's  baton  was  given  to  him  with  such  happy  augury  by 
his  native  Florence,  likewise  with  an  inscription  to  explain  it,  which  said : 

LAURENTIUS  MED.  JUNIOR  MAXIMA  INVICT^  VIRTUTIS  INDOLE,   SUMMUM 
IN   RE  MILITARI  IMPERIUM  MAXIMO  SUORUM  CIVIUM  AMORE  ET  SPE  ADI- 

PISCITUR. 

OF  THE  CANTO  ALLA  PAGLIA. 

At  the  corner  which  from  the  straw  that  is  constantly  sold  there  is 
called  the  Canto  alia  Paglia,  there  was  made  another  arch  of  great  beauty 
and  not  less  rich  and  imposing  than  any  of  the  others.  Now  it  may 
perchance  appear  to  some,  for  the  reason  that  all  or  the  greater  part  of 
those  ornaments  have  been  extolled  by  us  as  in  the  highest  rank  of 
beauty  and  excellence  of  artistry,  pomp,  and  richness,  that  this  has  been 
done  by  reason  of  a  certain  manner  of  writing  inclined  to  overmuch 
praise  and  exaggeration.  But  everyone  may  take  it  as  very  certain  that 
those  works,  besides  leaving  a  long  way  behind  them  all  things  of  that 
kind  as  were  ever  executed  in  that  city,  and  perhaps  in  any  other  place, 
were  also  such,  and  ordained  with  such  grandeur,  magnificence,  and 
liberality  by  those  magnanimous  Lords,  and  executed  in  such  a  manner 
by  the  craftsmen,  that  they  surpassed  by  a  great  measure  every  expecta- 
tion, and  took  away  from  no  matter  what  writer  all  force  and  power  to 
attain  with  the  pen  to  the  excellence  of  the  reality. 

Now,  to  return,  I  say  that  in  that  place — in  that  part,  namely, 
where  the  street  that  leads  from  the  Archbishop's  Palace  into  the  Borgo 
S.  Lorenzo,  dividing  the  above-named  Strada  della  Paglia,  forms  a 
perfect  crossing  of  the  ways,  was  made  the  ornament  already  mentioned, 
much  after  the  likeness  of  the  ancient  four-fronted  Temple  of  Janus; 
and,  for  the  reason  that  from  there  the  Cathedral  Church  could  be  seen, 
it  was  ordained  by  those  truly  religious  Princes  that  it  should  be  dedicated 
to  sacrosanct  Religion,  in  which  how  eminent  all  Tuscany,  and  Florence 
in  particular,  has  been  at  all  times,  I  do  not  believe  that  it  is  necessary 
for  me  to  take  much  pains  to  demonstrate.  And  therein  the  intention 


78  OF  THE  ACADEMICIANS 

was  that  since  Florence  had  brought  with  her,  as  was  told  at  the  beginning, 
as  her  hand-maids  and  companions,  to  give  the  first  welcome  to  the  new 
bride,  some  of  the  virtues  or  attributes  that  had  raised  her  to  greatness, 
and  in  which  she  could  well  vaunt  herself,  the  intention,  I  say,  was  to 
show  that  there  also,  for  a  no  less  necessary  office,  she  had  left  Religion, 
that  she,  awaiting  the  bride,  might  in  a  certain  manner  introduce  her 
into  the  vast  and  most  ornate  church  so  near  at  hand.  That  arch,  then, 
which  was  in  a  very  broad  street,  as  has  been  told,  was  seen  formed  of  four 
very  ornate  f  agades,  the  first  of  which  presented  itself  to  the  eyes  of  one 
going  in  the  direction  of  the  Carnesecchi,  and  another,  following  the 
limb  of  the  cross,  faced  towards  S.  Giovanni  and  the  Duomo  of  S.  Maria 
del  Fiore,  leaving  two  other  fagades  on  the  cross-limb  of  the  cross,  one 
of  which  looked  towards  S.  Lorenzo  and  the  other  towards  the  Arch- 
bishop's Palace.  And  now,  to  describe  in  order  and  with  as  much 
clearness  as  may  be  possible  the  composition  and  the  beauty  of  the 
whole,  I  say — beginning  again  with  the  front  part,  to  which  that  at  the 
back  was  wholly  similar  in  the  composition  of  the  ornaments,  without 
failing  in  any  point — that  in  the  centre  of  the  wide  street  was  seen  the 
very  broad  entrance  of  the  arch,  which  rose  to  a  beautifully  proportioned 
height,  and  on  either  side  of  it  were  seen  two  immense  niches  bordered  by 
two  similar  Corinthian  columns,  all  painted  with  sacred  books,  mitres, 
thuribles,  chalices,  and  other  sacerdotal  instruments,  in  place  of  trophies 
and  spoils.  Above  these,  and  above  the  regular  cornices  and  friezes, 
which  projected  somewhat  further  outwards  than  those  which  came 
over  the  arch  in  the  centre,  but  were  exactly  equal  to  them  in  height, 
was  seen  another  cornice,  as  of  a  door  or  window,  curving  between  the 
one  column  and  the  other  in  a  quarter-round,  which,  seeming  to  form  a 
separate  niche,  made  an  effect  as  graceful  and  lovely  as  could  well  be 
imagined.  Above  that  last  cornice,  then,  rose  a  frieze  of  a  height  and 
magnificence  in  accord  with  the  proportions  of  so  great  a  beginning,  with 
certain  great  consoles,  carved  and  overlaid  with  gold,  which  came  exactly 
in  perpendicular  lines  with  the  columns  already  described;  and  upon 
them  rested  another  magnificent  and  very  ornate  cornice,  with  four  very 
large  candelabra  likewise  overlaid  with  gold  and,  like  all  the  columns, 


OF  THE  ACADEMICIANS 


79 


bases,  capitals,  cornices,  architraves,  and  every  other  thing,  picked  out 
with  various  carvings  and  colours,  and  also  standing  in  line  with  the  great 
consoles  and  the  columns  above  described.  Now  in  the  centre,  springing 
above  the  said  consoles,  two  cornices  were  seen  rising,  and  little  by  little 
forming  an  angle,  and  finally  uniting  as  a  frontispiece,  over  which,  upon 
a  very  rich  and  beautiful  base,  was  seated  an  immense  statue  with  a  Cross 
in  the  hand,  representing  the  most  holy  Christian  Religion,  at  whose  feet, 
one  on  either  side  of  her,  were  seen  two  other  similar  statues  which 
seemed  to  be  lying  upon  the  cornice  of  the  above-named  frontispiece, 
one  of  which,  that  on  the  right  hand,  with  three  children  about  her, 
represented  Charity,  and  the  other  Hope.  Then  in  the  space,  or,  to  speak 
more  precisely,  in  the  angle  of  the  frontispiece,  there  was  seen  as  the 
principal  device  of  that  arch  the  ancient  Labarum  with  the  Cross,  and 
with  the  motto,  IN  HOC  VINCES,  sent  to  Constantine;  beneath  which  was 
seen  set  with  beautiful  grace  a  very  large  escutcheon  of  the  Medici  with 
three  Papal  crowns,  in  keeping  with  the  idea  of  Religion,  for  the  three 
Pontiffs  whom  she  has  had  from  that  house.  And  on  the  first  level 
cornice,  on  either  side,  was  seen  a  statue  corresponding  to  the  niche 
already  described  which  came  between  the  two  columns;  one  of  which, 
that  on  the  right  hand,  was  a  most  beautiful  young  woman  in  full  armour, 
with  the  spear  and  shield,  such  as  Minerva  used  to  be  represented  in 
ancient  times,  save  that  in  place  of  the  head  of  Medusa  there  was  seen 
a  great  red  cross  on  her  breast,  which  caused  her  to  be  recognized  with 
ease  as  the  new  Order  of  S.  Stephen,  founded  so  devoutly  by  our  glorious 
and  magnanimous  Duke.  The  other  on  the  left  hand  was  seen  all  adorned 
with  sacerdotal  and  civil  vestments  in  place  of  arms,  and  with  a  great 
:ross  in  the  hand  in  place  of  a  spear;  and  these,  towering  over  the  whole 
structure  in  most  beautiful  accord  with  the  others,  made  a  very  imposing 
and  marvellous  effect.  Next,  in  the  frieze  that  came  between  that  last 
cornice  and  the  architrave  that  rested  upon  the  columns,  where  according 
to  the  order  of  the  composition  there  came  three  compartments,  were 
m  painted  the  three  kinds  of  true  religion  that  have  been  from  the 
creation  of  the  world  down  to  the  present  day.  In  the  first  of  these, 
came  on  the  right  hand  beneath  the  armed  statue,  was  seen  painted 


80  OF  THE  ACADEMICIANS 

that  kind  of  religion  which  reigned  in  the  time  of  natural  law,  in  those 
few  who  had  it  true  and  good,  although  they  had  not  a  perfect  knowledge 
of  God,  wherefore  there  was  seen  figured  Melchizedek  offering  bread  and 
wine  and  other  fruits  of  the  earth.  Even  so,  in  the  picture  on  the  left 
hand,  which  came  in  like  manner  beneath  the  statue  of  peaceful  Religion, 
was  seen  the  other  religion,  ordained  by  God  through  the  hands  of  Moses, 
and  more  perfect  than  the  first,  but  all  so  veiled  with  images  and  figures, 
that  these  did  not  permit  the  final  and  perfect  clearness  of  Divine  worship 
to  be  fully  revealed;  to  signify  which  there  were  seen  Moses  and  Aaron 
sacrificing  the  Paschal  Lamb  to  God.  But  in  the  central  picture,  which 
came  exactly  beneath  the  large  and  above-described  statues  of  Religion, 
Charity,  and  Hope,  and  over  the  principal  arch,  and  which  in  proportion 
with  the  greater  space  was  much  larger,  there  was  seen  figured  an  altar, 
and  upon  it  a  Chalice  with  the  Host,  which  is  the  true  and  evangelic 
Sacrifice;  about  which  were  seen  some  figures  kneeling,  and  over  it  a 
Holy  Spirit  in  the  midst  of  many  little  Angels,  who  were  holding 
in  their  hands  a  scroll  in  which  was  written,  IN  SPIRITU  ET  VERITATE; 
so  that  it  appeared  that  they  were  repeating  those  words  in  song, 
Spiritus  meaning  all  that  concerns  the  sacrifice  natural  and  corporeal, 
and  Veritas  all  that  appertains  to  the  legal;  which  was  all  by  way  of 
image  and  figure.  Beneath  the  whole  scene  was  a  most  beautiful  in- 
scription, which,  supported  by  two  other  Angels,  rested  on  the  cornice 
of  the  central  arch,  saying: 

VERJB  RELIGIONI,  QILE  VIRTUTUM  OMNIUM  FUNDAMENTUM,  PUBLICARUM 
RERUM  FIRMAMENTUM,  PRIVATARUM  ORNAMENTUM,  ET  HUMANE  TOTIUS 
VIT2E  LUMEN  CONTINET,  ETRURIA  SEMPER  DUX  ET  MAGISTRA  ILLIUS 
HABITA,  ET  EADEM  NUNC  ANTIQUA  ET  SUA  PROPRIA  LAUDE  MAXIME 
FLORENS,  LIBENTISSIME  CONSECRAVIT. 

But  coming  to  the  lower  part,  and  returning  to  the  niche  which  came 
on  the  right  hand,  between  the  two  columns  and  beneath  the  armed 
Religion,  and  which,  although  in  painting,  by  reason  of  the  chiaroscuro 
appeared  as  if  in  relief;  there,  I  say,  was  seen  the  statue  of  our  present 
most  pious  Duke  in  the  habit  of  a  Knight  of  S.  Stephen,  with  the  cross 


OF  THE  ACADEMICIANS  81 

in  his  hand,  and  with  the  following  inscription,  which  had  the  appearance 
of  real  carving,  over  his  head  and  above  the  niche,  saying : 


COSMUS  MEDIC.  FLOREN.  ET  SENAR.  DUX  II,   SACRAM  D.  STEPHANI  MILI- 
TIAM  CHRISTIANA  PIETATIS  ET  BELLICjE  VIRTUTIS  DOMICILIUM  FUNDAVIT, 

ANNO   MDLXI. 

Even  as  on  the  base  of  the  same  niche,  between  the  two  pedestals 
of  the  columns,  which  were  fashioned  in  the  Corinthian  proportions, 
there  was  seen  painted  the  Taking  of  Damiata,  achieved  by  the  prowess 
of  the  valiant  knights  of  Florence;  as  it  were  auguring  for  those  his 
new  knights  similar  glory  and  valour.  And  in  the  lunette  or  semi- 
circle which  came  above  the  two  columns,  there  was  seen  his  private  and 
particular  escutcheon  of  balls,  which,  by  the  red  cross  that  was  added 
to  it  with  beautiful  grace,  made  it  clearly  manifest  that  it  was  that  of 
the  Grand  Master  and  Chief  of  the  Order. 

Now,  for  the  public  and  universal  satisfaction,   and  in  order  to 
revive  the  memory  of  those  who,  born  in  that  city  or  that  province, 
became  illustrious  for  integrity  of  character  and  for  sanctity  of  life,  and 
founders  of  some  revered  Order,  and  also  to  kindle  the  minds  of  all  be- 
holders to  imitation  of  their  goodness  and  perfection,  it  was  thought 
right  and  proper,  since  there  had  been  placed  on  the  right  hand,  as  has 
been  related,  the  statue  of  the  Duke,  founder  of  the  holy  military  Order 
of  S.  Stephen,  to  set  on  the  other  side  that  of  S.  Giovanni  Gualberto,  who 
was  likewise  a  knight  of  the  household,  according  to  the  custom  of  those 
times,  and  the  first  founder  and  father  of  the  Order  of  Vallombrosa. 
Most  fittingly,  even  as  the  Duke  was  beneath  the  armed  statue,  in  like 
manner  he  was  seen  standing  beneath  the  sacerdotal  statue  of  Religion, 
in  the  habit  of  a  knight,  pardoning  his  enemy;  having  in  the  frontispiece 
over  the  niche  a  similar  escutcheon  of  the  Medici,  with  three  Cardinal's 
hats,  and  on  the  base  the  story  of  the  miracle  that  took  place  at  Badia  di 
Settimo,  when  the  friar,  by  the  command  of  the  above-named  S.  Giovanni 
Gualberto,  to  the  confusion  of  the  heretics  and  simonists,  passed  with 
his  benediction  and  with  a  cross  in  his  hand  through  the  midst  of  a  raging 
x.  ii 


82  OF  THE  ACADEMICIANS 

fire;  with  the  inscription  likewise  in  a  little  tablet  above  him,  which  made 
all  that  manifest,  saying : 

JOANNES     GUALBERTUS,    EQUES    NOBILISS.     FLOREN.,    VALLIS    UMBROS^ 
FAMILY    AUCTOR    FUIT,    ANNO  MLXI. 

With  which  was  terminated  that  most  ornate  and  beautiful  principal 
fa$ade. 

Entering  beneath  the  arch,  one  saw  there  a  passing  spacious  loggia, 
or  passage,  or  vestibule,  whichever  we  may  choose  to  call  it;  and  in 
exactly  the  same  manner  were  seen  formed  the  three  other  entrances, 
which,  being  joined  together  at  the  intersection  of  the  two  streets,  left 
in  the  centre  a  space  about  eight  braccia  square.  There  the  four  arches 
rose  to  the  height  of  those  without,  and  the  pendentives  curved  in  the 
manner  of  a  vault  as  if  a  little  cupola  were  to  spring  over  them;  but 
when  these  had  reached  the  cornice  curving  right  round,  at  the  point 
where  the  vault  of  the  cupola  would  have  had  to  begin  to  rise,  there 
sprang  a  gallery  of  gilded  balusters,  above  which  was  seen  a  choir  of 
most  beautiful  Angels,  dancing  most  gracefully  in  a  ring  and  singing  in 
sweetest  harmony;  while  for  greater  grace,  and  to  the  end  that  there 
might  be  light  everywhere  beneath  the  arch,  in  place  of  a  cupola  there 
was  left  the  free  and  open  sky.  And  in  the  spaces  or  spandrels,  which- 
ever they  may  be  called,  of  the  four  angles,  which  of  necessity,  narrow 
at  their  springing,  opened  out  as  they  rose  nearer  to  the  cornice  in  accord- 
ance with  the  curve  of  the  arch,  were  painted  with  no  less  grace  in  four 
rounds  the  four  beasts  mystically  imagined  by  Ezekiel  and  by  John  the 
Divine  for  the  four  writers  of  the  holy  Evangel.  But  to  return  to  the 
first  of  those  four  loggie  or  vestibules,  as  we  have  called  them;  the  vaults  ! 
there  were  seen  distributed  with  very  graceful  and  lovely  divisions,  and 
all  adorned  and  painted  with  various  little  scenes  and  with  the  arms  and 
devices  of  those  religious  Orders  which  were  above  or  beside  them,  and  ' 
in  whose  service,  principally,  they  were  there.  Thus  on  the  fa9ade  of  , 
that  first  one  on  the  right  hand,  which  was  joined  to  the  Duke's  niche,  j 
there  was  seen  painted  in  a  spacious  picture  the  same  Duke  giving  the 
habit  to  his  knights,  with  those  observances  and  ceremonies  that  are 
customary  with  them;  in  the  most  distant  part,  which  represented  Pisa, 


OF  THE  ACADEMICIANS  83 

could  be  perceived  the  noble  building  of  their  palace,  church,  and  hos- 
>ital,  and  on  the  base,  in  an  inscription  for  the  explanation  of  the  scene, 
could  be  read  these  words: 

COSMUS  MED.  FLOR.  ET  SENAR.  DUX  II,  EQUITIBUS  SUIS  DIVINO  CONSILIO 
CREATIS  MAGNIFICE  PIEQUE  INSIGNIA  ET  SEDEM  PR^EBET  LARGEQUE  REBUS 

OMNIBUS   INSTRUIT. 

Even  as  in  the  other  on  the  opposite  side,  attached  to  the  niche  of  S.  Gio- 
ranni  Gualberto,  was  seen  how  that  same  Saint  founded  his  first  and 
>rincipal  monastery  in  the  midst  of  the  wildest  forests;  with  an  inscription 
:ewise  on  the  base,  which  said: 

S.  JO.  GUALBERTUS  IN  VALLOMBROSIANO  MONTE,  AB  INTERVENTORIBUS  ET 
ILLECEBRIS    OMNIBUS    REMOTO    LOCO,    DOMICILIUM    PONIT    SACRIS     SUIS 

SODALIBUS. 

Now,  having  despatched  the  front  fagade,  and  passing  to  that  at  the 
>ack,  and  describing  it  in  the  same  manner,  the  less  to  hinder  a  clear 
understanding,  we  shall  say,  as  has  also  been  said  before,  that  in  height, 
in  size,  in  the  compartments,  in  the  columns,  and,  finally,  in  every  other 
ornament,  it  corresponded  completely  to  that  already  described,  save 
that  whereas  the  first  had  on  the  highest  summit  in  the  centre  the  three 
great  statues  described  above,  Religion,  Charity,  and  Hope,  the  other  had 
in  place  of  these  only  a  most  beautiful  altar  all  composed  and  adorned  after 
the  ancient  use,  upon  which,  even  as  one  reads  of  Vesta,  was  seen  burning 
a  very  bright  flame.  On  the  right  hand,  towards  S.  Giovanni,  there  was 
seen  standing  a  great  statue  in  becoming  vestments  and  gazing  intently 
on  Heaven,  representing  the  Contemplative  Life,  which  came  exactly 
in  a  perpendicular  line  over  the  great  niche  between  the  two  columns, 
as  has  been  described  in  the  other  fagade;  and  on  the  other  side  another 
great  statue  like  it,  but  very  active,  with  the  arms  bare  and  with  the  head 
crowned  with  flowers,  representing  the  Active  Life;  in  which  statues 
were  comprised  very  fittingly  all  the  qualities  that  appertain  to  the 
Christian  Religion.  In  the  frieze  between  the  one  cornice  and  the 
other,  which  corresponded  to  that  of  the  other  part,  and  which  was  like- 
wise divided  into  three  compartments,  there  were  seen  in  the  largest, 


84  OF  THE  ACADEMICIANS 

which  was  in  the  centre,  three  men  in  Roman  dress  presenting  twelve 
little  children  to  some  old  and  venerable  Tuscans,  to  the  end  that  these, 
being  instructed  by  them  in  their  religion,  might  demonstrate  in  what 
repute  the  Tuscan  religion  was  held  in  ancient  times  among  the  Romans 
and  all  other  nations:  with  a  motto  to  explain  this,  taken  from  that  per- 
fect law  of  Cicero,  which  said:  ETRURIA  PRINCIPES  DISCIPLINAM  DOCETO. 
Beneath  which  was  the  inscription,  similar  and  corresponding  to  that 
already  given  from  the  other  f agade,  which  said : 

FRUGIBUS   INVENTIS   DOCTyE    CELEBRANTUR   ATHENE, 

ROMA   FEROX   ARMIS   IMPERIOQUE   POTENS. 
AT   NOSTRA   tf;EC  MITIS   PROVINCIA  ETRURIA  RITU 

DIVING   ET   CULTU   NOBILIORE   DEI, 
UNAM   QUAM   PERHIBENT  ARTES   TENUISSE   PIANDI 

NUMINIS,    ET   RITUS   EDOCUISSE   SACROS; 
NUNC   EADEM   SEDES   VER.E   EST   PIETATIS,    ET  ILLI 

HOS   NUMQUAM   TITULOS   AUFERET   ULLA   DIES. 

In  one  of  the  two  smaller  pictures,  that  which  came  on  the  right  hand, 
since  it  is  thought  that  the  ancient  religion  of  the  Gentiles  (which  not 
without  reason  was  placed  on  the  west)  is  divided  into  two  parts,  and 
consists,  above  all,  of  augury  and  sacrifice,  there  was  seen  painted 
according  to  that  use  an  ancient  priest  who  with  marvellous  solicitude 
was  standing  all  intent  on  considering  the  entrails  of  the  animals  sacri- 
ficed, which  were  placed  before  him  in  a  great  basin  by  the  ministeis  of 
the  sacrifice;  and  in  the  other  picture  an  augur  like  him  with  the  crooked 
lituus  in  the  hand,  drawing  in  the  sky  the  regions  proper  for  taking 
auguries  from  certain  birds  that  were  shown  flying  above. 

Now,  descending  lower,  and  coming  to  the  niches;  in  that,  I  say, 
which  was  on  the  right  hand,  was  seen  S.  Romualdo,  who  in  this  our 
country,  a  land  set  apart,  as  it  were,  by  Nature  for  religion  and  sanctity, 
founded  on  the  wild  Apennine  mountains  the  holy  Hermitage  of  Camal- 
doli,  whence  that  Order  had  its  origin  and  name;  with  the  inscription 
over  the  niche,  which  said: 

ROMUALDUS  IN  HAC  NOSTRA  PLENA  SANCTITATIS  TERRA,  CAMALDULENSIUM 
ORDINEM   COLLOCAVIT  ANNO   MXII. 


OF  THE  ACADEMICIANS  85 

And  on  the  base  the  story  of  the  sleeping  hermit  who  saw  in  a  dream 
the  staircase  similar  to  that  of  Jacob,  which,  passing  beyond  the  clouds, 
ascended  even  to  Heaven.  On  the  fagade  which  was  joined  to  the  niche, 
and  which  passed,  as  was  said  of  the  other,  under  the  vestibule,  was  seen 
painted  the  building  of  the  above-named  hermitage  in  that  wild  place, 
carried  out  with  marvellous  care  and  magnificence;  with  the  inscription, 
which  in  explanation  said: 

SANCTUS    ROMUALDUS    IN    CAMALDULENSI    SYLVESTRI    LOCO,    DIVINITUS 

SIBI  OSTENSO  ET  DIVIN^E  CONTEMPLATION!  APTISSIMO,    SUO  GRAVISSIMO 

COLLEGIO   SEDES   QUIETISSIMAS   EXTRUIT. 

In  the  niche  on  the  left  hand  was  seen  the  Blessed  Filippo  Benizi, 
one  of  our  citizens,  who  was  little  less  than  the  founder  of  the  Servite 
Order,  and  without  a  doubt  its  first  ordinator;  and  he,  although  he  was 
accompanied  by  seven  other  noble  Florentines,  the  one  niche  not  being 
large  enough  to  contain  them  all,  was  placed  therein  alone,  as  the  most 
worthy;  with  the  inscription  above,  which  said: 

PHILIPPUS  BENITIUS  CIVIS  NOSTER  INSTITUIT  ET  REBUS  OMNIBUS  ORNAVIT 
SERVORUM   FAMILIAM,    ANNO   MCCLXXXV. 

With  the  story  of  the  Annunciation,  likewise,  on  the  base,  wherein  was 
the  Virgin  supported  by  many  little  Angels,  with  one  among  them  who 
was  shown  scattering  a  beautiful  vase  of  flowers  over  a  vast  multitude 
that  stood  there  in  supplication;  representing  the  innumerable  graces 
that  are  seen  bestowed  daily  by  her  intercession  on  the  faithful  who 
with  devout  zeal  commend  themselves  to  her.  In  the  other  scene,  in 
the  great  picture  that  came  in  the  passage  below,  were  the  same  S.  Filippo 
and  the  seven  above-mentioned  noble  citizens  throwing  off  the  civil  habit 
of  Florence  and  assuming  that  of  the  Servite  Order,  and  shown  all 
occupied  with  directing  the  building  of  their  beautiful  monastery,  which 
is  now  to  be  seen  in  Florence,  but  was  then  without  the  city,  and  the 
venerable  and  most  ornate  Church  of  the  Annunziata,  so  celebrated 
throughout  the  whole  world  for  innumerable  miracles,  which  has  been 
since  the  head  of  that  Order;  with  the  inscription,  which  said: 

SEPTEM   NOBILES  GIVES   NOSTRI   IN   SACELLO  NOSTR^E   URBIS,  TOTO  NUNC 

ORBE  RELIGIONIS  ET  SANCTITATIS  FAMA  CLARISSIMO,  SE  TOTOS  RELIGIONI 

DEDUNT   ET   SEMINA   JACIUNT   ORDINIS   SERVORUM    D.   MARLE   VIRG. 


86  OF  THE  ACADEMICIANS 

There  remain  the  two  fagades  which  formed  as  it  were  arms,  as 
has  been  told,  to  the  straight  limb  of  the  cross.  These  were  smaller 
than  those  already  described,  which  was  caused  by  the  narrowness  of 
the  two  streets  that  begin  there;  wherefore,  since  less  space  came  to  be 
left  for  the  magnificence  of  the  work,  in  order  consequently  not  to  depart 
from  the  due  proportion  of  height  in  their  much  smaller  size,  with  much 
judgment  the  arch  which  gave  passage  there  had  on  either  side  not  a 
niche  but  a  single  column;  over  which  rose  a  frieze  in  due  proportion,  in 
the  centre  of  which  was  a  painted  picture  that  crowned  the  ornamentation 
of  that  fagade,  but  not  without  an  infinity  of  such  other  embellishments, 
devices,  and  pictures  as  were  thought  to  be  proper  in  such  a  place.  Now, 
that  whole  structure  being  dedicated  to  the  glory  and  power  of  the  true 
Religion  and  to  the  memory  of  her  glorious  victories,  they  chose  the  two 
most  noble  and  most  important  victories,  won  over  two  most  powerful 
and  particular  adversaries,  human  wisdom  namely,  under  which  are 
comprised  philosophers  and  heretics,  and  worldly  power:  and  on  the 
part  facing  towards  the  Archbishop's  Palace  was  seen  depicted  how 
S.  Peter  and  S.  Paul  and  the  other  Apostles,  filled  with  the  divine  spirit, 
disputed  with  a  great  number  of  philosophers  and  many  others  full  of 
human  wisdom,  some  of  whom,  those  most  confused,  were  seen  throwing 
away  or  tearing  up  the  books  that  they  held  in  their  hands,  and  others, 
such  as  Dionysius  the  Areopagite,  Justinus,  Pantaenus,  and  the  like, 
were  coming  towards  them,  all  humble  and  devout,  in  token  of  having 
recognized  and  accepted  the  Evangelic  truth ;  with  the  motto  in  explana- 
tion of  this,  which  said:  NON  EST  SAPIENTIA,  NON  EST  PRUDENTIA.  In  the 
other  scene  towards  the  Archbishop's  Palace,  on  the  other  side  from  the 
first,  were  seen  the  same  S.  Peter  and  S.  Paul  and  the  others  in  the  presence 
of  Nero  and  many  of  his  armed  satellites,  boldly  and  freely  preaching 
the  truth  of  the  Evangel;  with  the  motto — NON  EST  FORTITUDO,  NON  EST 
POTENTIA,  referring  to  that  which  follows  in  Solomon,  whence  the  motto 
is  taken — CONTRA  DOMINUM.  Of  the  fagades  which  came  under  the 
two  vaults  of  those  two  arches,  in  one,  on  the  side  towards  the  Arch- 
bishop's Palace,  was  seen  the  Blessed  Giovanni  Colombini,  an  honoured 
citizen  of  Siena,  making  a  beginning  with  the  Company  of  the  Ingesuati 


OF  THE  ACADEMICIANS  87 

by  throwing  off  the  citizen's  habit  on  the  Campo  di  Siena  and  assuming 
that  of  a  miserable  beggar,  and  giving  the  same  habit  to  many  who 
with  great  zeal  were  demanding  it  from  him;  with  the  inscription, 
which  said: 

ORIGO  COLLEGII  PAUPERUM,  QUI  AB  JESU  COGNOMEN  ACCEPERUNT; 
CUJUS  ORDINIS  PRINCEPS  FUIT  JOANNES  COLOMBINUS,  DOMO  SENENSIS, 

ANNO  MCCCLI. 

And  in  the  other,  on  the  opposite  side,  were  seen  other  gentlemen,  like- 
wise of  Siena,  before  Guido  Pietramalesco,  Bishop  of  Arezzo,  to  whom  a 
commission  had  been  given  by  the  Pope  that  he  should  inquire  into  their 
lives;  and  they  were  all  intent  on  making  manifest  to  him  the  wish  and 
desire  that  they  had  to  create  the  Order  of  Monte  Oliveto,  which  was 
seen  approved  by  that  Bishop,  exhorting  them  to  put  into  execution  the 
building  of  that  vast  and  most  holy  monastery,  which  they  erected 
afterwards  at  Monte  Oliveto  in  the  district  of  Siena,  and  of  which 
they  were  shown  to  have  brought  thither  a  model ;  with  the  inscription, 
which  said: 

INSTITUITUR  SACER  ORDO  MONACORUM  QUI  AB  OLIVETO  MONTE  NOMIN- 
ATUR,    AUCTORIBUS   NOBILIBUS   CIVIBUS   SENENSIBUS,   ANNO  MCCCXIX. 

On  the  side  towards  S.  Lorenzo  was  seen  the  building  of  the  most 
famous  Oratory  of  La  Vernia,  at  the  expense  in  great  part  of  the  devout 
Counts  Guidi,  at  that  time  lords  of  that  country,  and  by  the  agency  of 
the  glorious  S.  Francis,  who,  moved  by  the  solitude  of  the  place,  made 
his  way  thither,  and  was  visited  there  by  Our  Lord  the  Crucified  Jesus 
Christ  and  marked  with  the  Stigmata;  with  the  inscription  that  explained 
all  this,  saying: 

ASPERRIMUM  AGRI  NOSTRI  MONTEM  DIVUS  FRANCISCUS  ELEGIT,  IN  QUO 
SUMMO  ARDORE  DOMINI  NOSTRI  SALUTAREM  NECEM  CONTEMPLARETUR, 
ISQUE  NOTIS  PLAGARUM  IN  CORPORE  IPSIUS  EXPRESSIS  DIVINITUS 

CONSERVATUR. 

Even  as  on  the  opposite  side  was  seen  the  Celebration  held  in  Florence 
of  the  Council  under  Eugenius  IV,  when  the  Greek  Church,  so  long  at 
discord  with  the  Latin,  was  reunited  with  her,  and  the  true  Faith,  it  may 


88  OF  THE  ACADEMICIANS 

be  said,  was  restored  to  her  pristine  clearness  and  purity;  which  was 
likewise  made  manifest  by  the  inscription,  saying : 

NUMINE  DEI  OPTIMI  MAX.  ET  SINGULARI  CIVIUM  NOSTRORUM  RELIGIONIS 
STUDIO,  ELIGITUR  URBS  NOSTRA  IN  QUA  GR/ECIA,  AMPLISSIMUM  MEM- 
BRUM  A  CHRISTIANA  PIETATE  DISJUNCTUM,  RELIQUO  ECCLESLE  CORPORI 

CONJUNGERETUR. 

OF  S.  MARIA  DEL  FIORE. 

As  for  the  Cathedral  Church,  the  central  Duomo  of  the  city,  although 
it  is  in  itself  stupendous  and  most  ornate,  nevertheless,  since  the  new 
Lady  was  to  halt  there,  met  by  all  the  clergy,  as  she  did,  it  was  thought 
well  to  embellish  it  with  all  possible  pomp  and  show  of  religion,  and  with 
lights,  festoons,  shields,  and  a  vast  and  very  well  distributed  quantity 
of  banners.  At  the  principal  door,  in  particular,  there  was  made  in  the 
Ionic  Order  of  composition  a  marvellous  and  most  graceful  ornament, 
in  which,  in  addition  to  the  rest,  which  was  in  truth  excellently  well 
conceived,  rich  and  rare  beyond  all  else  appeared  ten  little  stories  of  the 
actions  of  the  glorious  Mother  of  Our  Lord  Jesus  Christ,  executed  in 
low-relief,  which,  since  they  were  judged  by  all  who  saw  them  to  be  of 
admirable  artistry,  it  is  hoped  that  some  day  they  may  be  seen  in  bronze 
in  competition  with  the  marvellous  and  stupendous  gates  of  the  Temple 
of  S.  Giovanni,  and  even,  as  in  a  more  favoured  age,  more  pleasing  and 
more  beautiful;  but  at  that  time,  although  of  clay,  they  were  seen  all 
overlaid  with  gold,  and  were  let  in  a  graceful  pattern  of  compartments 
into  the  wooden  door,  which  likewise  had  the  appearance  of  gold.  Above 
which,  besides  an  immense  escutcheon  of  the  Medici  with  the  Papal 
Keys  and  Crown,  supported  by  Operation  and  Grace,  were  seen  painted 
in  a  very  beautiful  canvas  all  the  tutelary  Saints  of  the  city,  who,  turned 
towards  a  Madonna  and  the  Child  that  she  was  holding  in  her  arms, 
appeared  to  be  praying  to  her  for  the  welfare  and  felicity  of  Florence; 
even  as  over  all,  as  the  principal  device,  and  with  most  lovely  invention, 
was  seen  a  little  ship  which,  with  the  aid  of  a  favourable  wind,  appeared 
to  be  speeding  with  full  sail  towards  a  most  tranquil  port,  signifying 
that  Christian  actions  are  in  need  of  the  divine  grace,  but  that  it  is  also 


OF  THE  ACADEMICIANS  89 

necessary  on  our  part  to  add  to  them,  as  not  being  passive,  good  dispo- 
sition and  activity.  Which  was  likewise  made  clearly  manifest  by  the 
motto,  which  said,  ^vv  @eoJ;  and  even  more  by  the  very  short  inscrip- 
tion that  was  seen  beneath,  saying: 

CONFIRMA  HOC  DEUS  QUOD  OPERATUS  ES  IN  NOBIS. 


OF  THE  HORSE. 

On  the  Piazza  di  S.  Pulinari,  not  in  connection  with  the  tribunal 
that  was  near  there,  but  to  the  end  that  the  great  space  between  the 
Duomo  and  the  next  arch  might  not  remain  empty,  although  the  street 
is  very  beautiful,  there  was  made  with  marvellous  artistry  and  subtle 
invention  the  figure  of  an  immense,  very  excellent,  very  fiery  and  well- 
executed  horse,  more  than  nine  braccia  in  height,  which  was  rearing  up 
on  the  hind-legs;  and  upon  it  was  seen  a  young  hero  in  full  armour  and 
in  aspect  all  filled  with  valour,  who  had  just  wounded  to  death  with  his 
spear,  the  butt  of  which  was  seen  at  his  feet,  a  vast  monster  that  was 
stretched  all  limp  beneath  his  horse,  and  already  he  had  laid  his  hand  on 
a  glittering  sword,  as  if  about  to  smite  him  again,  and  seemed  to  marvel 
to  what  straits  the  monster  had  been  reduced  by  the  first  blow.  That 
hero  represented  the  true  Herculean  Virtue,  which,  as  Dante  said  so  well, 
chased  through  every  town  and  banished  to  Hell  the  dissipatrix  of 
kingdoms  and  republics,  the  mother  of  discord,  injury,  rapine,  and  in- 
justice, that  evil  power,  finally,  that  is  commonly  called  Vice  or  Fraud, 
hidden  under  the  form  of  a  woman  young  and  fair,  but  with  a  great  scor- 
pion's tail ;  and,  slaying  her,  he  seemed  to  have  restored  the  city  to  the 
tranquillity  and  peace  in  which  she  is  seen  at  the  present  day,  thanks 
to  her  excellent  Lords,  reposing  and  flourishing  so  happily.  Which  was 
demonstrated  in  a  manner  no  less  masterly  by  the  device,  placed  fittingly 
on  the  great  base,  in  which,  in  the  centre  of  an  open  temple  supported  by 
many  columns,  upon  a  sacred  altar,  was  seen  the  Egyptian  Ibis,  which 
was  shown  tearing  with  the  beak  and  with  the  claws  some  serpents  that 
were  wound  round  its  legs;  with  a  motto  that  said  aptly: 

DIGNA. 

x.  12 


go  OF  THE  ACADEMICIANS 

OF  THE  BORGO  DE'  GRECI. 

Even  so,  also,  at  the  corner  of  the  Borgo  de'  Greci,  to  the  end  that 
in  the  turn  that  was  made  in  going  towards  the  Dogana,  the  eyes  might 
have  something  on  which  to  feast  with  delight,  it  was  thought  well  to 
form  a  little  closed  arch  of  Doric  architecture,  dedicating  it  to  Public 
Merriment;  which  was  demonstrated  by  the  statue  of  a  woman  crowned 
with  a  garland  and  all  joyous  and  smiling,  which  was  in  the  principal 
place,  with  a  motto  in  explanation,  saying:  HILARITAS  P.P.  FLORENT. 
Below  her,  in  the  midst  of  many  grotesques  and  many  graceful  little 
stories  of  Bacchus,  were  seen  two  most  charming  little  Satyrs,  which 
with  two  skins  that  they  held  on  their  shoulders  were  pouring  into  a 
very  beautiful  fountain,  as  was  done  in  the  other,  white  and  red  wine; 
and  as  in  the  other  the  fish,  so  in  this  one  two  swans  that  were  under  the 
boys,  played  a  trick  on  him  who  drank  too  much  by  means  of  jets  of 
water  that  at  times  spurted  with  force  from  the  vase;  with  a  graceful 
motto  that  said:  ABITE  LYMPHS  VINI  PERNICIES.  Above  and  around 
the  large  statue  were  seen  many  others,  both  Satyrs  and  Bacchanals, 
who,  shown  in  a  thousand  pleasing  ways  drinking,  dancing,  singing, 
and  playing  all  those  pranks  that  the  drunken  are  wont  to  play,  seemed 
as  if  chanting  the  motto  written  above  them : 

NUNC  EST  BIBENDUM,    NUNC  PEDE  LIBERO  PULSANDA  TELLUS. 

OF  THE  ARCH  OF  THE  DOGANA. 

It  appeared,  among  the  many  prerogatives,  excellences,  and  graces 
with  which  fair  Florence  adorned  herself,  distributing  them  over  various 
places,  as  has  been  shown,  to  receive  and  accompany  her  illustrious 
Princess,  it  appeared,  I  say,  that  the  sole  sovereign  and  head  of  them  all, 
Civil  Virtue  or  Prudence,  queen  and  mistress  of  the  art  of  ruling  and 
governing  well  peoples  and  states,  had  been  passed  over  up  to  this  point 
without  receiving  any  attention;  as  to  which  Prudence,  although  to  the 
great  praise  and  glory  of  Florence  it  could  be  demonstrated  amply  in 
many  of  her  children  in  past  times,  nevertheless,  having  at  the  present 


OF  THE  ACADEMICIANS  91 

time  in  her  most  excellent  Lords  the  most  recent,  the  most  true,  and 
without  a  doubt  the  most  splendid  example  that  has  ever  been  seen  in 
her  up  to  our  own  day,  it  was  thought  that  their  magnanimous  actions 
were  best  fitted  to  express  and  demonstrate  that  virtue.  And  with  what 
good  reason,  and  how  clearly  without  any  taint  of  adulation,  but  only 
by  the  grateful  minds  of  the  best  citizens,  this  honour  was  paid  to  them, 
anyone  who  is  not  possessed  by  blind  envy  (by  whose  venomous  bite 
whoever  has  ruled  at  any  time  has  always  been  molested),  may  judge 
with  ease,  looking  not  only  at  the  pure  and  upright  government  of  their 
happily  adventuresome  State  and  at  its  preservation  among  difficulties, 
but  also  at  its  memorable,  ample,  and  glorious  increase,  brought  about 
certainly  not  less  by  the  infinite  fortitude,  constancy,  patience,  and  vigil- 
ance of  its  most  prudent  Duke,  than  by  the  benign  favour  of  prosperous 
Fortune.  All  which  came  to  be  expressed  excellently  well  in  the  inscrip- 
tion set  with  most  beautiful  grace  in  a  fitting  place,  embracing  the  whole 
conception  of  the  whole  ornament,  and  saying: 

REBUS  URBANIS  CONSTITUTIS,  FINIB.  IMPERII  PROPAGATIS,  RE  MILITARI 
ORNATA,  PACE  UBIQUE  PARTA,  CIVITATIS  IMPERIIQUE  DIGNITATE  AUCTA, 
MEMOR  TANTORUM  BENEFICIORUM  PATRIA  PRUDENTLE  DUCIS  OPT. 

DEDICAVIT. 

At  the  entrance  of  the  public  and  ducal  Piazza,  then,  and  attached  on 
one  side  to  the  public  and  ducal  Palace,  and  on  the  other  to  those  buildings 
in  which  salt  is  distributed  to  the  people,  there  was  dedicated  well  and 
fittingly  to  that  same  Civil  Virtue  or  Prudence  an  arch  marvellous  and 
grand  beyond  all  the  others,  similar  and  conforming  in  every  part, 
although  more  lofty  and  more  magnificent,  to  that  of  Religion  already 
described,  which  was  placed  on  the  Canto  alia  Paglia.  In  that  arch, 
above  four  vast  Corinthian  columns,  in  the  midst  of  which  space  was 
left  for  the  procession  to  pass,  and  above  the  usual  architrave,  cornice, 
and  frieze  of  projections — as  was  said  of  the  other — divided  into  three 
compartments,  and  upon  a  second  great  cornice  that  crowned  the  whole 
work,  there  was  seen  in  grave  and  heroic  majesty,  seated  in  the  semblance 
of  a  Queen  with  a  sceptre  in  the  right  hand  and  resting  the  left  on  a  great 
globe,  an  immense  woman  adorned  with  a  royal  crown,  who  could  be 


92  OF  THE  ACADEMICIANS 

recognized  with  ease  as  being  that  Civil  Virtue.     There  remained  below, 
between  one  column  and  another,  as  much  space  as  accommodated  with- 
out difficulty  a  deep  and  spacious  niche,  in  each  of  which  was  demon- 
strated very  aptly  of  what  other  virtues  that  Civil  Virtue  is  composed; 
and,  rightly  giving  the  first  place  to  the  military  virtues,  there  was  seen 
in  the  niche  on  the  right  hand,  with  heroic  and  most  beautiful  compo- 
sition, the  statue  of  Fortitude,  the  first  principle  of  all  magnanimous  and 
generous  actions,  even  as  on  the  left  hand  in  like  manner  was  seen  placed 
that  of   Constancy,  who  best  guides  and  executes  them.     And  since 
between  the  frontispieces  of  the  two  niches  and  the  cornice  that  went 
right  round  there  was  left  some  space,  to  the  end  that  the  whole  might 
be  adorned,  there  were  counterfeited  there  two  rounds  in  the  colour  of 
bronze,  in  one  of  which  was  depicted  with  a  fine  fleet  of  galleys  and  other 
ships  the  diligence  and  solicitude  of  our  most  shrewd  Duke  in  maritime 
affairs,  and  in  the  other,  as  is  often  found  in  ancient  medals,  was  seen 
the  same  Duke  going  around  on  horseback  to  visit  his  fortunate  States 
and  to  provide  for  their  wants.     Next,  over  the  crowning  cornice,  where, 
as  has  been  told,  the  masterly  statue  of  Civil  Prudence  was  seated,  con- 
tinuing to  show  of  what  parts  she  is  composed,  and  exactly  in  a  line  with 
the  Fortitude  already  described,  and  separated  from  her  by  some  mag- 
nificent vases,  was  seen  Vigilance,  so  necessary  in  every  human  action; 
even  as  above  Constancy  was  seen  in  like  manner  Patience,  and  I  do  not 
speak  of  that  patience  to  which  meek  minds,  tolerating  injuries,  have 
given  the  name  of  virtue,  but  of  that  which  won  so  much  honour  for  the 
ancient  Fabius  Maximus,  and  which,  awaiting  opportune  moments  with 
prudence  and  mature  reflection,  and  void  of  all  rash  vehemence,  executes 
every  action  with  reason  and  advantage.     In  the  three  pictures,  then, 
into  which,  as  was  said,  the  frieze  was  divided,  and  which  were  separated 
by  medallions  and  pilasters  that  sprang  in  a  line  with  the  columns  and 
extended  with  supreme  beauty  as  far  as  the  great  cornice;  in  that  in  the 
centre,  which  came  above  the  portal  of  the  arch  and  beneath  the  Sovereign 
Prudence,  was  seen  painted  the  generous  Duke  with  prudent  and  loving 
counsel  handing  over  to  the  worthy  Prince  the  whole  government  of  his 
spacious  States,  which  was  expressed  by  a  sceptre  upon  a  stork,  which 


OF  THE  ACADEMICIANS  93 

he  was  shown  offering  to  his  son,  and  it  was  being  accepted  with  great 
reverence  by  the  obedient  Prince;  with  a  motto  that  said:  REGET  PATRIIS 
VIRTUTIBUS.  Even  as  in  that  on  the  right  hand  was  seen  the  same  most 
valiant  Duke  with  courageous  resolution  sending  forth  his  people,  and 
the  first  fort  of  Siena  occupied  by  them — no  slight  cause,  probably,  of 
their  victory  in  that  war.  And  in  that  on  the  left  hand,  in  like  manner, 
was  painted  his  joyful  entry  into  that  most  noble  city  after  the  winning 
of  the  victory.  But  behind  the  great  statue  of  Sovereign  Prudence  — 
and  in  this  alone  was  that  front  part  dissimilar  to  the  Arch  of  Religion  — 
was  seen  raised  on  high  a  base  beautifully  twined  with  cartouches  and 
square,  although  at  the  foot,  not  without  infinite  grace,  it  was  something 
wider  than  at  the  top;  upon  which,  reviving  the  ancient  use,  was  seen  a 
most  beautiful  triumphal  chariot  drawn  by  four  marvellous  coursers,  not 
inferior,  perchance,  to  any  of  the  ancient  in  beauty  and  grandeur.  In 
that  chariot  was  seen  held  suspended  in  the  air  by  two  lovely  little  Angels 
the  principal  crown  of  the  arch,  composed  of  civic  oak,  and,  in  the  like- 
ness of  that  of  the  first  Augustus,  attached  to  two  tails  of  Capricorns; 
with  the  same  motto  that  was  once  used  with  it  by  him,  saying:  OB 
GIVES  SERVATOS.  And  in  the  spaces  that  remained  between  the  pictures, 
statues,  columns,  and  niches,  all  was  filled  up  with  richness  and  grace 
by  an  infinite  wealth  of  Victories,  Anchors,  Tortoises  with  the  Sail, 
Diamonds,  Capricorns,  and  other  suchlike  devices  of  those  magnanimous 
Lords. 

Now,  passing  to  the  part  at  the  back,  facing  towards  the  Piazza, 
which  we  must  describe  as  being  in  every  way  similar  to  the  front,  ex- 
cepting that  in  place  of  the  statue  of  Sovereign  Prudence,  there  was  seen 
in  a  large  oval  corresponding  to  the  great  pedestal  that  supported  the 
great  chariot  described  above,  which,  with  ingenious  artifice,  after  the 
passing  of  the  procession,  was  turned  in  a  moment  towards  the  Piazza; 
there  was  seen,  I  say,  as  the  principal  device  of  the  arch,  a  celestial 
Capricorn  with  its  stars,  which  was  shown  holding  with  the  paws  a  royal 
sceptre  with  an  eye  at  the  top,  such  as  it  is  said  that  the  ancient  and  most 
just  Osiris  used  once  to  carry,  with  the  ancient  motto  about  it,  saying: 
NULLUM  NUMEN  ABEST;  as  if  adding,  as  the  first  author  said:  si  SIT  PRU- 


94  OF  THE  ACADEMICIANS 

DENTIA.  In  the  lower  part,  we  have  to  relate  as  a  beginning — because 
that  fagade  was  made  to  represent  the  actions  of  peace,  which  are  perhaps 
no  less  necessary  to  the  human  race — that  in  the  niche  on  the  right  hand, 
as  with  those  of  the  other  fagade  already  described,  there  was  seen 
placed  a  statue  of  a  woman,  representing  Reward  or  Remuneration,  and 
called  Grace,  such  as  wise  Princes  are  wont  to  confer  for  meritorious 
works  upon  men  of  excellence  and  worth,  even  as  on  the  left  hand,  in 
a  threatening  aspect,  with  a  sword  in  the  hand,  in  the  figure  of  Nemesis, 
was  seen  Punishment,  for  the  vicious  and  criminal;  with  which  figures 
were  comprised  the  two  principal  pillars  of  Justice,  without  both  which 
no  State  ever  had  stability  or  firmness,  or  was  anything  but  imperfect 
and  maimed.  In  the  two  ovals,  then,  always  corresponding  to  those 
of  the  other  fa$ade,  and  like  them  also  counterfeited  in  bronze,  in  one 
were  seen  the  fortifications  executed  with  much  forethought  in  many 
places  by  the  prudent  Duke,  and  in  the  other  his  marvellous  care  and 
diligence  in  achieving  the  common  peace  of  Italy,  as  has  been  seen  in 
many  of  his  actions,  but  particularly  at  that  moment  when  by  his  agency 
was  extinguished  the  terrible  and  so  dangerous  conflagration  fanned 
with  little  prudence  by  one  who  should  rather  have  assured  the  public 
welfare  of  the  Christian  people;  which  was  represented  by  various  Fetiales, 
altars,  and  other  suchlike  instruments  of  peace,  and  by  the  words  custo- 
mary in  medals  placed  over  them,  saying:  PAX  AUGUSTA.  Over  these, 
and  over  the  two  above-described  statues  of  the  niches,  similar  to  those 
of  the  other  side,  were  seen  on  the  right  hand  Facility  and  on  the  left 
Temperance  or  Goodness,  as  we  would  rather  call  her;  signifying  by  the 
first  an  external  courtesy  and  affability  in  deigning  to  listen  and  hearken 
and  answer  graciously  to  everyone,  which  keeps  the  people  marvellously 
well  contented,  and  by  the  other  that  temperate  and  benign  nature 
which  renders  the  Prince  amiable  and  loving  with  his  confidants  and 
intimates,  and  with  his  subjects  easy  and  gracious.  In  the  frieze,  cor- 
responding to  that  of  the  front  part,  and  like  it  divided  into  three  pic- 
tures, was  likewise  seen  in  that  of  the  centre,  as  the  thing  of  most  import- 
ance, the  conclusion  of  the  happy  marriage  contracted  between  the  most 
illustrious  Prince  and  the  most  serene  Queen  Joanna  of  Austria,  with  so 


OF  THE  ACADEMICIANS  95 

much  satisfaction  and  benefit  to  his  fortunate  people,  and  bringing  peace 
and  repose  to  everyone;  with  a  motto  saying:  FAUSTO  CUM  SIDERE. 
Even  as  in  another,  on  the  right  hand,  was  seen  the  loving  Duke  holding 
by  the  hand  the  excellent  Duchess  Leonora,  his  consort,  a  woman  of 
virile  and  admirable  worth  and  wisdom,  with  whom  while  she  was  alive 
he  was  joined  by  such  a  love,  that  they  could  well  be  called  the  bright 
mirror  of  conjugal  fidelity.  On  the  left  hand  was  seen  the  same  gracious 
Duke  listening  with  marvellous  courtesy,  as  he  has  been  wont  always  to 
do,  to  many  who  were  shown  seeking  to  speak  with  him.  And  such  was 
all  that  part  which  faced  towards  the  Piazza. 

Beneath  the  spacious  arch  and  within  the  wide  passage  through 
which  the  procession  passed,  on  one  of  the  walls  that  supported  the 
vaulting,  was  seen  painted  the  glorious  Duke  in  the  midst  of  many  vener- 
able old  men,  with  whom  he  was  taking  counsel,  and  he  appeared  to  be 
giving  to  many  various  laws  and  statutes  written  on  divers  sheets,  signi- 
fying the  innumerable  laws  so  wisely  amended  or  newly  decreed  by  him; 
with  the  motto:  LEGIBUS  EMENDES.  Even  as  in  the  other,  demonstrating 
his  most  useful  resolve  to  set  in  order  and  increase  his  valorous  militia, 
was  seen  the  same  valiant  Duke  standing  upon  a  military  tribune  and 
engaged  in  addressing  a  great  multitude  of  soldiers  who  stood  around 
him,  as  we  see  in  many  ancient  medals;  with  a  motto  above  him  that 
said:  ARMIS  TUTERIS.  And  so  on  the  great  vault,  which  was  divided  into 
six  compartments,  there  was  seen  in  each  of  these,  in  place  of  the  rosettes 
that  are  generally  put  there,  a  device,  or,  to  speak  more  correctly,  the 
reverse  of  a  medal  in  keeping  with  the  two  above-described  scenes  of 
the  walls.  In  one  of  these  were  painted  various  curule  chairs  with 
various  consular  fasces,  and  in  another  a  woman  with  the  balance,  repre- 
senting Equity;  these  two  being  intended  to  signify  that  just  laws  must 
always  unite  with  the  severity  of  the  supreme  power  the  equity  of  the 
discerning  judge.  The  next  two  were  concerned  with  military  life, 
demonstrating  the  virtues  of  soldiers  and  the  fidelity  incumbent  on  them ; 
for  the  first  of  these  things  there  was  seen  painted  a  woman  armed  in 
:he  ancient  fashion,  and  for  the  other  many  soldiers  who,  laying  one  hand 
upon  an  altar,  were  shown  presenting  the  other  to  their  captain.  In 


96  OF  THE  ACADEMICIANS 

the  two  that  remained,  representing  the  just  and  desired  fruits  of  all 
these  fatigues,  namely,  Victory,  the  whole  was  seen  fully  expressed, 
as  is  customary,  by  the  figures  of  two  women,  one  standing  in  one  of  the 
pictures  upon  a  great  chariot,  and  the  other  in  the  other  picture  upon  a 
great  ship's  beak;  and  both  were  seen  holding  in  one  of  the  hands  a 
branch  of  glorious  palm,  and  in  the  other  a  verdant  crown  of  triumphal 
laurel.  And  in  the  encircling  frieze  that  ran  right  round  the  vaulting, 
the  front  and  the  back,  there  followed  the  third  part  of  the  motto  already 
begun,  saying:  MORIBUS  ORNES. 


OF  THE  PIAZZA,  AND  OF  THE  NEPTUNE. 

Next,  all  the  most  noble  magistrates  of  the  city,  distributing  them- 
selves one  by  one  over  the  whole  circuit  of  the  great  Piazza,  each  with 
his  customary  devices  and  with  very  rich  tapestries  divided  evenly  by 
most  graceful  pilasters,  had  rendered  it  all  magnificently  imposing  and 
ornate;  and  there  in  those  days  great  care  and  diligence  were  devoted 
to  hastening  the  erecting  in  its  place,  at  the  beginning  of  the  Ringhiera, 
of  that  Giant  in  the  finest  white  marble,  so  marvellous  and  so  stupendous 
in  grandeur,  in  beauty,  and  in  every  part,  which  is  still  to  be  seen  there 
at  the  present  day;  although  it  had  been  ordained  as  a  permanent  and 
enduring  ornament.  That  Giant  is  known  by  the  trident  that  he  has  in 
the  hand,  by  the  crown  of  pine,  and  by  the  Tritons  that  are  at  his  feet, 
sounding  their  trumpets,  to  be  Neptune,  God  of  the  sea;  and,  riding  in 
a  graceful  car  adorned  with  various  products  of  the  sea  and  two  ascendant 
Signs,  Capricorn  for  the  Duke  and  Aries  for  the  Prince,  and  drawn  by 
four  Sea-horses,  he  appears  in  the  guise  of  a  benign  protector  to  be  promis- 
ing tranquillity,  felicity,  and  victory  in  the  affairs  of  the  sea.  At  the 
foot  of  this,  in  order  to  establish  it  more  securely  and  more  richly,  there 
was  made  at  that  time  in  a  no  less  beautiful  manner  an  immense  and  most 
lovely  octagonal  fountain,  gracefully  supported  by  some  Satyrs,  who, 
holding  in  their  hands  little  baskets  of  various  wild  fruits  and  prickly 
shells  of  chestnuts,  and  divided  by  some  little  scenes  in  low-relief  and  by 
some  festoons  in  which  were  interspersed  sea-shells,  crabs,  and  other 


OF  THE  ACADEMICIANS  97 

suchlike  things,  seemed  as  they  danced  to  be  expressing  great  j  oy  in  their 
new  Lady;  even  as  with  no  less  joy  and  no  less  grace  there  were  seen 
lying  on  the  sides  of  the  four  principal  faces  of  the  fountain,  likewise 
with  certain  great  shells  in  their  hands  and  with  some  children  in  their 
arms,  two  nude  women  and  two  most  beautiful  youths,  who  in  a  certain 
gracious  attitude,  as  if  they  were  on  the  sea-shore,  appeared  to  be  playing 
and  sporting  gracefully  with  some  dolphins  that  were  there,  likewise  in 
low-relief. 

OF  THE   DOOR   OF  THE   PALACE. 

Now,  having  caused  the  serene  Princess  to  be  received,  as  has  been 
told  in  the  beginning  of  this  description,  by  Florence,  accompanied  by 
the  followers  of  Mars,  of  the  Muses,  of  Ceres,  of  Industry,  and  of  Tuscan 
Poetry  and  Design,  and  then  triumphant  Austria  by  Tuscany,  and  the 
Drava  by  Arno,  and  Ocean  by  the  Tyrrhenian  Sea,  with  Hymen  promising 
her  happy  and  prosperous  nuptials,  and  the  parental  meeting  of  her 
august  and  glorious  Emperors  with  the  illustrious  Medici,  and  then  all 
passing  through  the  Arch  of  Sacrosanct  Religion  and  fulfilling  and  accom- 
plishing their  vows  at  the  Cathedral  Church,  and  having  seen  Heroic  Virtue 
in  triumph  over  Vice,  and  with  what  public  rejoicing  her  entry  was 
celebrated  by  Civil  Virtue,  and  how,  finally,  she  was  welcomed  by  the 
magistrates  of  the  city,  with  Neptune  promising  her  a  tranquil  sea,  it 
was  determined  judiciously  to  bring  her  at  the  last  into  the  port  of  peaceful 
Security,  who  was  seen  figured  over  the  door  of  the  Ducal  Palace,  in  a 
place  marvellously  appropriate,  in  the  form  of  a  very  tall,  most  beautiful, 
and  most  joyous  woman  crowned  with  laurel  and  olive,  who  was  shown 
seated  in  an  easy  attitude  upon  a  stable  pedestal  and  leaning  against  a 
great  column;  demonstrating  by  means  of  her  the  desired  end  of  all 
human  affairs,  deservedly  acquired  for  Florence,  and  in  consequence  for 
the  happy  bride,  by  the  sciences,  arts,  and  virtues  of  which  we  have 
spoken  above,  but  particularly  by  her  most  prudent  and  most  fortunate 
Lords,  who  had  prepared  to  receive  and  accommodate  her  there  as  in  a 
place  secure  beyond  all  others,  wherein  she  might  enjoy  unceasingly  in 
glory  and  splendour  the  benefits  human  and  divine  displayed  before  her 

x.  13 


g8  OF  THE  ACADEMICIANS 

in  the  ornaments  that  she  had  passed;  which  was  explained  very  aptly 
both  by  the  inscription  that  came  with  most  beautiful  grace  over  the 
door,  saying: 

INGREDERE  OPTIMIS  AUSPICIIS  FORTUNATAS  ^DES  TUAS  AUGUSTA  VIRGO, 
ET  PR^STANTISSIMI  SPONSI  AMORE,  CLARISS.  DUCIS  SAPIENTIA,  CUM 
BONIS  OMNIBUS  DELICIISQUE  SUMMA  ANIMI  SECURITATE  DIU  FELIX  ET 
L^ETA  PERFRUERE,  ET  DIVINE  TU^E  VIRTUTIS,  SUAVITATIS,  FECUNDITATIS 
FRUCTIBUS  PUBLICAM  HILARITATEM  CONFIRMA. 

And  also  by  the  principal  device,  which  was  seen  painted  in  a  great  oval 
in  the  highest  part,  over  the  statue  of  Security  already  described;  and 
this  was  the  military  Eagle  of  the  Roman  Legions  upon  a  laureate  staff, 
which  was  shown  to  have  been  planted  firmly  in  the  earth  by  the  hand 
of  the  standard-bearer;  with  the  motto  of  such  happy  augury  from  Livy, 
from  whom  the  whole  device  is  taken,  saying :  me  MANEBIMUS  OPTUME. 
The  ornament  of  the  door,  which  was  attached  to  the  wall,  was  con- 
trived in  such  a  manner,  and  conceived  so  well,  that  it  would  serve  ex- 
cellently well  if  at  any  time,  in  order  to  adorn  the  simple  but  magnificent 
roughness  of  past  ages,  it  were  determined  to  build  it  in  marble  or  some 
other  finer  stone  as  more  stable  and  enduring,  and  more  in  keeping  with 
our  more  cultured  age.  Beginning  with  the  lowest  part,  I  say,  upon  two 
great  pedestals  that  rested  on  the  level  of  the  ground  and  stood  one  on 
either  side  of  the  true  door  of  the  Palace,  were  seen  two  immense  captives, 
one  male,  representing  Fury,  and  one  female,  with  vipers  and  horned 
snakes  for  hair,  representing  Discord,  his  companion;  which,  as  it  were 
vanquished,  subjugated,  and  bound  with  chains,  and  held  down  by  the 
Ionic  capital  and  by  the  architrave,  frieze,  and  cornice  that  pressed 
upon  them  from  above,  seemed  in  a  certain  sort  to  be  unable  to  breathe 
by  reason  of  the  great  weight,  revealing  only  too  well  in  their  faces,  which 
were  most  beautiful  in  their  ugliness,  Anger,  Rage,  Venom,  Violence, 
and  Fraud,  their  peculiar  and  natural  passions.  Above  that  cornice  was 
seen  formed  a  frontispiece,  in  which  was  placed  a  very  rich  and  very 
large  escutcheon  of  the  Duke,  bordered  by  the  usual  Fleece,  with  the 
Ducal  Mazzocchio  supported  by  two  very  beautiful  boys.  And  lest  this 
single  ornament,  which  exactly  covered  the  jambs  of  the  true  door,  might 


OF  THE  ACADEMICIANS  99 

have  a  poor  effect  in  so  great  a  palace,  it  was  thought  right  to  place  on 
either  side  of  it  four  half-columns  set  two  on  one  side  and  two  on  the 
other,  which,  coming  to  the  same  height,  and  furnished  with  the  same 
cornice  and  architrave,  should  form  a  quarter-round  which  the  other 
frontispiece,  pointed  but  rectilinear,  might  embrace,  with  its  projections 
and  with  all  its  appurtenances  set  in  the  proper  places.  And  above  this 
was  formed  a  very  beautiful  base,  where  there  was  seen  the  above- 
described  statue  of  Security,  set  in  position,  as  has  been  told,  with  most 
beautiful  grace.  But  to  return  to  the  four  half-columns  below;  for  the 
sake  of  greater  magnificence,  beauty,  and  proportion,  I  say,  there  had 
been  left  so  much  space  at  either  side,  between  column  and  column,  that 
there  was  ample  room  for  a  large  and  beautiful  picture  painted  there  in 
place  of  a  niche.  In  one  of  these,  that  which  was  placed  nearest  to  the 
divine  statue  of  the  gentle  David,  were  seen  in  the  forms  of  three  women, 
who  were  shown  full  of  joy  advancing  to  meet  their  desired  Lady,  Nature, 
with  her  towers  on  her  head,  as  is  customary,  and  with  her  many  breasts, 
signifying  the  happy  multitude  of  her  inhabitants,  and  Concord  with  the 
Caduceus  in  her  hand,  even  as  in  the  third  was  seen  figured  Minerva, 
the  inventress  and  mistress  of  the  liberal  arts  and  of  civil  and  refined 
customs.  In  the  other,  which  faced  towards  the  proud  statue  of  Hercules, 
was  seen  Amaltheia,  with  the  usual  horn  of  plenty,  overflowing  with  fruits 
and  flowers,  in  her  arms,  and  at  her  feet  the  corn-measure  brimming  and 
adorned  with  ears  of  corn,  signifying  the  abundance  and  fertility  of  the 
earth;  there,  also,  was  Peace  crowned  with  flowered  and  fruitful  olive, 
with  a  branch  of  the  same  in  the  hand,  and  finally  there  was  seen,  with 
an  aspect  grave  and  venerable,  Majesty  or  Reputation;  demonstrating 
ingeniously  with  all  these  things  how  in  well-ordered  cities,  abundant  in 
men,  copious  in  riches,  adorned  by  arts,  filled  with  sciences,  and  illustrious 
in  majesty  and  reputation,  one  lives  happily  and  in  peace,  quietness,  and 
contentment.  Then  in  line  with  the  four  half -columns  already  described, 
above  the  cornice  and  frieze  of  each,  was  seen  fixed  in  a  manner  no  less 
beautiful  a  socle  with  a  pedestal  in  proportion,  upon  which  rested  some 
statues;  and  since  the  two  in  the  centre  embraced  also  the  width  of  the 
two  terminals  described,  upon  each  of  these  were  placed  two  statues 


ioo  OF  THE  ACADEMICIANS 

embracing  one  another — Virtue,  namely,  who  was  shown  holding  Fortune 
in  a  strait  and  loving  embrace,  with  a  motto  on  the  base  saying,  VIRTU- 
TEM  FORTUNA  SEQUETUR;  as  if  to  demonstrate  that,  whatever  many  may 
say,  where  virtue  is  fortune  is  never  wanting;  and  upon  the  other  Fatigue 
or  Diligence,  who  in  like  manner  was  shown  in  the  act  of  embracing 
Victory,  with  a  motto  at  her  feet  saying:  AM  AT  VICTORIA  CURAM.  And 
above  the  half-columns  that  were  at  the  extremities,  and  upon  which 
the  pedestals  were  narrower,  adorning  each  of  them  with  a  single  statue, 
on  one  there  was  seen  Eternity  as  she  is  figured  by  the  ancients,  with  the 
heads  of  Janus  in  her  hands,  and  with  the  motto,  NEC  FINES  NEC  TEM- 
PORA;  and  on  the  other  Fame  figured  in  the  usual  manner,  likewise  with 
a  motto  saying:  TERMINAT  ASTRIS.  Between  one  and  the  other  of  these, 
there  was  placed  with  ornate  and  beautiful  composition,  so  as  to  have  the 
above-named  escutcheon  of  the  Duke  exactly  in  the  middle,  on  the  right 
hand  that  of  the  most  excellent  Prince  and  Princess,  and  on  the  other 
that  which  the  city  has  been  accustomed  to  use  from  ancient  times. 


OF  THE  COURT  OF  THE  PALACE. 

I  thought,  when  I  first  resolved  to  write,  that  it  would  take  much 
less  work  to  bring  me  to  the  end  of  the  description  given  above,  but  the 
abundance  of  the  inventions,  the  magnificence  of  the  things  done,  and  the 
desire  to  satisfy  the  curiosity  of  craftsmen,  for  whose  particular  benefit, 
as  has  been  told,  this  description  is  written,  have  in  some  way,  I  know  not 
how,  carried  me  to  a  length  which  might  perchance  appear  to  some  to 
be  excessive,  but  which  is  nevertheless  necessary  for  one  who  proposes 
to  render  everything  distinct  and  clear.  But  now  that  I  find  myself  past 
the  first  part  of  my  labours,  although  I  hope  to  treat  with  more  brevity, 
and  with  perhaps  no  less  pleasure  for  my  readers,  the  remainder  of  the 
description  of  the  spectacles  that  were  held,  in  which,  no  less  than  the 
liberality  of  our  magnanimous  Lords,  and  no  less  than  the  lively  dexterity 
of  the  ingenious  inventors,  there  appeared  rare  and  excellent  the  industry 
and  art  of  the  same  craftsmen,  yet  it  should  not  be  thought  a  thing 
beside  the  mark  or  altogether  unworthy  of  consideration,  if,  before 


OF  THE  ACADEMICIANS  101 

going  any  further,  we  say  something  of  the  aspect  of  the  city  while  the 
festivities  for  the  nuptials  were  being  prepared  and  after  they  were 
finished,  for  the  reason  that  in  the  city,  to  the  infinite  entertainment  of 
all  beholders,  were  seen  many  streets  redecorated  both  within  and  with- 
out, the  Ducal  Palace  (as  will  be  described)  embellished  with  extra- 
ordinary rapidity,  the  fabric  of  the  long  corridor  (which  leads  from  that 
Palace  to  that  of  the  Pitti)  flying,  as  it  were,  with  wings,  the  column, 
the  fountain,  and  all  the  arches  described  above  springing  in  a  certain 
sense  out  of  the  ground,  and  all  the  other  festive  preparations  in  progress, 
but  in  particular  the  comedy,  which  was  to  appear  first,  and  the  two 
grand  masquerades,  which  had  need  of  most  labour,  and,  finally,  all  the 
other  things  being  prepared  according  to  the  time  at  which  they  were  to 
be  represented,  some  quickly  and  others  more  slowly;  the  two  Lords, 
Duke  and  Prince,  after  the  manner  of  the  ancient  ^Ediles,  having  dis- 
tributed them  between  themselves,  and  having  undertaken  to  execute 
each  his  part  in  generous  emulation.  Nor  was  less  solicitude  or  less 
rivalry  seen  among  the  gentlemen  and  ladies  of  the  city,  and  among  the 
strangers,  of  whom  a  vast  number  had  flocked  thither  from  all  Italy, 
vying  one  with  another  in  the  pomp  of  vestments,  and  not  less  in  their 
own  than  in  the  liveries  of  their  attendants,  male  and  female,  in  festivals 
private  and  public,  and  in  the  sumptuous  banquets  that  were  given  in 
constant  succession,  now  in  one  place  and  now  in  another;  so  that  there 
could  be  seen  at  one  and  the  same  moment  leisure,  festivity,  delight, 
spending,  and  pomp,  and  also  commerce,  industry,  patience,  labour,  and 
grateful  gain,  with  which  all  the  craftsmen  named  above  were  filled,  all 
working  their  effect  in  liberal  measure. 

Now,  to  come  to  the  court  of  the  Ducal  Palace,  into  which  one 
entered  by  the  door  already  described;  in  order  not  to  pass  it  by  without 
saying  anything  about  it,  we  must  relate  that,  although  it  seemed  dark 
and  inconvenient,  and  almost  incapable  of  receiving  any  kind  of  orna- 
mentation, nevertheless  with  marvellous  novelty  and  with  incredible 
rapidity  it  was  carried  to  that  perfection  of  beauty  and  loveliness  in  which 
it  may  be  seen  by  everyone  at  the  present  day.  In  addition  to  the  graceful 
fountain  of  hardest  porphyry  that  is  placed  in  the  centre,  and  the  lovely 


102  OF  THE  ACADEMICIANS 

boy  that  pours  water  into  it  from  the  dolphin  held  in  his  arms,  in  an  instant 
the  nine  columns  were  fluted  and  shaped  in  a  most  beautiful  manner  in 
the  Corinthian  Order,  which  surround  the  square  court  named  above, 
and  which  support  on  one  side  the  encircling  loggie  constructed  very 
roughly  of  hard-stone,  according  to  the  custom  of  those  times;  over- 
laying the  ground  of  those  columns  almost  entirely  with  gold,  and  filling 
them  with  most  graceful  foliage  over  the  flutings,  and  shaping  their  bases 
and  capitals  together  according  to  the  good  ancient  custom.  Within 
the  loggie,  the  vaults  of  which  were  all  filled  and  adorned  with  most 
bizarre  and  extravagant  grotesques,  there  were  seen  represented,  as  in 
many  medallions  made  for  the  same  purpose,  some  of  the  glorious  deeds 
of  the  magnanimous  Duke,  which — if  smaller  things  may  be  compared 
with  greater — I  have  considered  often  in  my  own  mind  to  be  so  similar 
to  those  of  the  first  Octavianus  Augustus,  that  it  would  be  difficult  to 
find  any  greater  resemblance;  for  the  reason  that — not  to  mention  that 
both  the  one  and  the  other  were  born  under  one  and  the  same  ascendant 
of  Capricorn,  and  not  to  mention  that  both  were  raised  almost  unexpec- 
tedly to  the  sovereignty  at  the  same  immature  age,  and  not  to  speak 
of  the  most  important  victories  gained  both  by  the  one  and  by  the  other 
in  the  first  days  of  August,  and  of  their  having  similar  constitutions  and 
natures  in  their  private  and  intimate  lives,  and  of  their  singular  affection 
for  their  wives,  save  that  in  his  children,  in  the  election  to  the  princi- 
pality, and  perhaps  in  many  other  things,  I  believe  that  our  fortunate 
Duke  might  be  esteemed  more  blessed  than  Augustus — is  there  not  seen 
both  in  the  one  and  in  the  other  a  most  ardent  and  most  extraordinary 
desire  to  build  and  embellish,  and  to  contrive  that  others  should  build 
and  embellish  ?  Insomuch  that,  if  the  first  said  that  he  found  Rome  built 
of  bricks  and  left  her  built  of  solid  stone,  the  second  will  be  able  to  say 
not  less  truthfully  that  he  received  Florence  already  of  stone,  indeed, 
ornate  and  beautiful,  but  leaves  her  to  his  successors  by  a  great  measure 
more  ornate  and  more  beautiful,  increased  and  magnified  by  every  kind 
of  convenient,  lovely,  and  magnificent  adornment. 

To  represent  these  matters,  in  each  lunette  of  the  above-named 
loggie  there  was  seen  an  oval  accommodated  with  suitable  ornaments, 


OF  THE  ACADEMICIANS  103 

and  with  singular  grace;  in  one  of  which  there  could  be  seen  the  fortifi- 
cation of  Porto  Ferrajo  in  Elba,  a  work  of  such  importance,  with  many 
ships  and  galleys  that  were  shown  lying  there  in  safety,  and  the  glorious 
building  of  the  city  in  the  same  place,  called  after  its  founder  Cosmopolis ; 
with  a  motto  within  the  oval,  saying:  ILVA  RENASCENS;  and  another 
in  the  encircling  scroll,  which  said:  TUSCORUM  ET  LIGURUM  SECURITATI. 
Even  as  in  the  second  was  seen  that  most  useful  and  handsome  building 
wherein  the  greater  part  of  the  most  noble  magistrates  are  to  be  accommo- 
dated, which  is  being  erected  by  his  command  opposite  to  the  Mint,  and 
which  may  be  seen  already  carried  near  completion ;  and  over  it  stretches 
that  long  and  convenient  corridor  of  which  mention  has  been  made 
above,  built  with  extraordinary  rapidity  in  these  days  by  order  of  the 
same  Duke;  likewise  with  a  motto  that  said:  PUBLICS  COMMODITATI. 
And  so,  also,  in  the  third  was  seen  Concord,  with  the  usual  horn  of  plenty 
in  the  left  hand,  and  with  an  ancient  military  ensign  in  the  right,  at  whose 
feet  a  Lion  and  a  She- Wolf,  the  well-known  emblems  of  Florence  and 
Siena,  were  shown  lying  in  peaceful  tranquillity;  with  a  motto  suited 
to  the  matter,  and  saying:  ETRURIA  PACATA.  In  the  fourth  was  seen 
depicted  the  above-described  oriental  column  of  granite,  with  Justice 
on  the  summit,  which  under  his  happy  sceptre  may  well  be  said  to  be 
preserved  inviolate  and  impartial;  with  a  motto  saying:  JUSTITIA  VICTRIX. 
Even  as  in  the  fifth  was  seen  a  ferocious  bull  with  both  the  horns  broken, 
intended  to  signify,  as  has  been  told  already  of  the  Achelous,  the  straight- 
ening of  the  River  Arno  in  many  places,  carried  out  with  such  advantage 
by  the  Duke;  with  the  motto:  IMMINUTUS  CREVIT.  In  the  sixth,  then, 
was  seen  that  most  superb  palace  which  was  begun  formerly  by  M.  Luca 
Pitti  with  a  magnificence  so  marvellous  in  a  private  citizen,  and  with 
truly  regal  spirit  and  grandeur,  and  which  at  the  present  day  our  most 
magnanimous  Duke  is  causing  with  incomparable  artistry  and  care  to 
be  not  only  carried  to  completion,  but  also  to  be  increased  and  beautified 
in  a  glorious  and  marvellous  manner,  with  architecture  heroic  and  stu- 
pendous, and  also  with  very  large  and  very  choice  gardens  full  of  most 
abundant  fountains,  and  with  a  vast  quantity  of  most  noble  statues, 
ancient  and  modern,  which  he  has  caused  to  be  collected  from  all  over 


104  OF  THE  ACADEMICIANS 

the  world;  which  was  explained  by  the  motto,  saying:  PULCHRIORA 
LATENT.  In  the  seventh,  within  a  great  door,  were  seen  many  books 
arranged  in  various  manners,  with  a  motto  in  the  scroll,  saying,  PUBLICS 
UTILITATI;  intended  to  signify  the  glorious  solicitude  shown  by  many  of 
the  Medici  family,  and  particularly  by  our  most  liberal  Duke,  in  collecting 
and  preserving  with  such  diligence  a  marvellous  quantity  of  the  rarest 
books  in  every  tongue,  recently  placed  in  the  beautiful  Library  of 
S.  Lorenzo,  which  was  begun  by  Clement  VII  and  finished  by  his  Excel- 
lency. Even  as  in  the  eighth,  under  the  figure  of  two  hands  that  appeared 
to  become  more  firmly  bound  together  the  more  they  strove  to  undo  a 
certain  knot,  there  was  denoted  the  abdication  lovingly  performed  by 
him  in  favour  of  the  most  amiable  Prince,  and  how  difficult,  or,  we  should 
rather  say,  how  impossible  it  is  for  one  who  has  once  set  himself  to  the 
government  of  a  State,  to  disengage  himself;  which  was  explained  by 
the  motto,  saying:  EXPLICANDO  IMPLICATUR.  In  the  ninth  was  seen  the 
above- described  Fountain  of  the  Piazza,  with  that  rare  statue  of  Neptune, 
and  with  the  motto,  OPTABILIOR  QUO  MELIOR;  signifying  not  only  the 
adornment  of  the  immense  statue  and  fountain  named  above,  but  also 
the  profit  and  advantage  that  will  accrue  in  a  short  time  to  the  city  from 
the  waters  that  the  Duke  is  constantly  engaged  in  bringing  to  her.  In 
the  tenth,  then,  was  seen  the  magnanimous  creation  of  the  new  Order 
of  S.  Stephen,  represented  by  the  figure  of  the  same  Duke  in  armour, 
who  was  shown  offering  a  sword  with  one  hand  over  an  altar  to  an  armed 
knight,  and  with  the  other  one  of  their  crosses;  with  a  motto  saying: 
VICTOR  VINCITUR.  And  in  the  eleventh,  likewise  under  the  figure  of  the 
same  Duke,  who  was  addressing  many  soldiers  according  to  the  ancient 
custom,  there  was  represented  the  militia  so  well  ordained  and  preserved 
by  him  in  his  valorous  companies;  with  a  motto  that  explained  it,  saying: 
RES  MILITARIS  CONSTITUTA.  In  the  twelfth,  with  the  sole  words,  MUNITA 
TUSCIA,  and  without  any  further  representation,  were  demonstrated  the 
many  fortifications  made  by  our  most  prudent  Duke  in  the  most  im- 
portant places  in  the  State;  adding  in  the  scroll,  with  fine  morality: 
SINE  JUSTITIA  IMMUNITA.  Even  as  in  the  thirteenth,  in  like  manner 
without  any  other  representation,  there  could  be  read,  SICCATIS  MARI- 


OF  THE  ACADEMICIANS  105 

TIMIS  PALUDIBUS;  as  may  be  seen  to  his  infinite  glory  in  many  places, 
but  above  all  in  the  fertile  country  of  Pisa.  And  in  order  not  to  pass 
over  completely  in  silence  the  praise  due  to  him  for  having  brought  back 
and  restored  so  gloriously  to  his  native  Florence  the  artillery  and  the 
ensigns  lost  at  other  times,  in  the  fourteenth  and  last  were  seen  some 
soldiers  returning  to  him  laden  with  these,  all  dancing  and  joyful;  with  a 
motto  in  explanation,  which  said:  SIGNIS  RECEPTIS.  And  then,  for  the 
satisfaction  of  the  strangers,  and  particularly  the  many  German  lords 
who  had  come  thither  in  vast  numbers  in  honour  of  her  Highness,  with 
the  most  excellent  Duke  of  Bavaria,  the  younger,  her  kinsman,  there 
were  seen  under  the  above  -  described  lunettes,  beautifully  distributed 
in  compartments  and  depicted  with  all  the  appearance  of  reality,  many 
of  the  principal  cities  of  Austria,  Bohemia,  Hungary,  the  Tyrol,  and  the 
other  States  subject  to  her  august  brother. 


OF  THE  HALL,  AND  OF  THE  COMEDY. 

Now,  ascending  by  the  most  commodious  staircase  to  the  Great 
Hall,  where  the  principal  and  most  important  festivities  and  the  principal 
banquet  of  the  nuptials  were  celebrated  (forbearing  to  speak  of  the  mag- 
nificent and  stupendous  ceiling,  marvellous  in  the  variety  and  multitude 
of  the  rare  historical  paintings,  and  marvellous  also  in  the  ingenuity  of 
the  inventions,  in  the  richness  of  the  partitions,  and  in  the  infinite  quantity 
of  gold  with  which  the  whole  is  seen  to  shine,  but  most  marvellous  in 
that  it  has  been  executed  in  an  incredibly  short  time  by  the  industry  of 
a  single  painter;  and  treating  of  the  other  things  pertaining  only  to  this 
place),  I  must  say  that  truly  I  do  not  believe  that  in  these  our  parts  we 
have  any  information  of  any  other  hall  that  is  larger  or  more  lofty;  but 
to  find  one  more  beautiful,  more  rich,  more  ornate,  or  arranged  with  more 
convenience  than  that  hall  as  it  wras  seen  on  the  day  when  the  comedy 
was  performed,  that  I  believe  would  be  absolutely  impossible.  For,  in 
addition  to  the  immense  walls,  on  which  with  graceful  partitions,  and  not 
without  poetical  invention,  were  seen  portrayed  from  the  reality  the 
principal  squares  of  the  most  noble  cities  of  Tuscany,  and  in  addition  to 
x.  14 


io6  OF  THE  ACADEMICIANS 

the  vast  and  most  lovely  canvas  painted  with  various  animals  hunted 
and  taken  in  various  ways,  which,  upheld  by  a  great  cornice,  and  con- 
cealing the  prospect-scene,  served  so  well  as  one  of  the  end-walls,  that 
the  Great  Hall  appeared  to  have  its  due  proportions,  such,  in  addition, 
and  so  well  arranged,  were  the  tiers  of  seats  that  ran  right  round,  and  so 
lovely  on  that  day  the  sight  of  the  handsome  ladies  who  had  been  invited 
there  in  great  numbers  from  among  the  most  beautiful,  the  most  noble, 
and  the  richest,  and  of  the  many  lords,  chevaliers,  and  other  gentlemen 
who  had  been  accommodated  above  them  and  throughout  the  rest  of 
the  room,  that  without  a  doubt,  when  the  fantastic  lights  were  lit,  at  the 
fall  of  the  canvas  described  above,  the  luminous  prospect-scene  being  re- 
vealed, it  appeared  in  truth  as  if  Paradise  with  all  the  Choirs  of  the  Angels 
had  been  thrown  open  at  that  instant;  which  illusion  was  increased 
marvellously  by  a  very  soft,  full,  and  masterly  concert  of  instruments 
and  voices,  which  very  soon  afterwards  was  heard  to  come  forth  from 
that  direction.     In  that  prospect-scene  the  most  distant  part  was  made 
to  recede  most  ingeniously  along  the  line  of  the  bridge,  terminating  in 
the  end  of  the  street  that  is  called  the  Via  Maggio,  and  in  the  nearest 
part  was  represented  the  beautiful  street  of  S.  Trinita;  and  when  the 
eyes  of  the  spectators  had  been  allowed  to  sate  themselves  for  some  time 
with  that  and  the  many  other  marvellous  things,  the  desired  and  welcome 
beginning  was  made  with  the  first  interlude  of  the  comedy,  which  was 
taken,  like  all  the  others,  from  that  touching  story  of  Psyche  and  Cupid 
so  delicately  narrated  by  Apuleius  in  his  Golden  Ass.     From  it  were 
taken  the  parts  that  appeared  the  most  important,  and  these  were  accom- 
modated with  the  greatest  possible  dexterity  to  the  comedy,  so  that, 
having  made,  as  it  were,  an  ingenious  composition  from  the  one  fable 
and  the  other,  it  might  appear  that  what  the  Gods  did  in  the  fable  of  the 
interludes  was  done  also  by  mankind  in  the  fable  of  the  comedy,  as  if 
constrained  by  a  superior  power.     In  the  hollow  sky  of  the  above-named 
prospect-scene,  which  opened  out  all  of  a  sudden,  there  was  seen  to  appear 
another  sky  contrived  with  great  artifice,  from  which  was  seen  issuing 
little  by  little  a  white  and  very  naturally  counterfeited  cloud,  upon  which, 
with  an  effect  of  singular  beauty,  a  gilded  and  jewelled  car  appeared  to 


OF  THE  ACADEMICIANS  107 

be  resting,  recognized  as  that  of  Venus,  because  it  was  drawn  by  two 
snow-white  swans,  and  in  it,  as  its  mistress  and  guide,  could  be  perceived 
likewise  that  most  beautiful  Goddess,  wholly  nude  and  crowned  with  roses 
and  myrtle,  seated  with  great  majesty  and  holding  the  reins.     She  had 
in  her  company  the  three  Graces,  likewise  recognized  by  their  being 
shown  wholly  nude,  by  their  blonde  tresses,  which  fell  all  loose  over  their 
shoulders,  and  even  more  by  the  manner  in  which  they  were  standing 
linked  hand  to  hand;  and  also  the  four  Hours,  who  had  the  wings  all 
painted  after  the  likeness  of  butterflies,  and,  not  without  reason,  were 
distinguished  in  certain  particulars  according  to  the  four  seasons  of  the 
year.     Thus  one  of  them,  who  had  the  head  and  the  buskins  all  adorned 
with  various  little  flowers,  and  the  dress  of  changing  colours,  was  intended 
to  represent  the  varied  and  flowering  Spring;  even  as  the  second,  with 
the  garland  and  the  buskins  woven  of  pale  ears  of  corn,  and  the  yellow 
draperies  wherewith  she  was  adorned,  was  intended  to  signify  the  heat 
of  Summer,  and  the  third,  representing  Autumn,  and  all  clothed  in  red 
draperies,  signifying  the  maturity  of  fruits,  was  seen  likewise  all  covered 
and  adorned  with  those  same  fruits,  vine-leaves,  and  grapes;  and  the 
fourth  and  last,  who  represented  the  white  and  snowy  Winter,  besides 
her  dress  of  turquoise-blue  all  sprinkled  with  flakes  of  snow,  had  the  hair 
and  the  buskins  likewise  covered  with  similar  snow,  hoar-frost,  and  ice. 
And  all,  as  followers  and  handmaidens  of  Venus,  being  grouped  around 
the  car  on  the  same  cloud  with  singular  artistry  and  most  beautiful 
composition,  were  seen — leaving  behind  them  Jove,  Juno,  Saturn,  Mars, 
Mercury,  and  the  other  Gods,  from  whom  appeared  to  be  issuing  the  soft 
harmony  described  above — to  sink  gradually  with  most  beautiful  grace 
towards  the  earth,  and  by  their  coming  to  fill  the  scene  and  the  whole 
hall  with  a  thousand  sweet  and  precious  odours;  while  from  another  part, 
with  an  aspect  no  less  gracious,  but  appearing  to  walk  on  earth,  was  seen 
to  come  the  nude  and  winged  Cupid,  likewise  accompanied  by  those  four 
Passions  that  seem  so  often  to  be  wont  to  disturb  his  unrestful  kingdom; 
Hope,  namely,  all  clothed  in  green,  with  a  little  flowering  branch  on  the 
head;  Fear,  recognized,  in  addition  to  his  pale  garment,  by  the  rabbits 
that  he  had  on  his  hair  and  his  buskins;  Joy,  likewise  clothed  in  white 


io8  OF  THE  ACADEMICIANS 

and  orange  and  a  thousand  glad  colours,  and  with  a  plant  of  flowering 
borage  on  the  hair,  and  Sorrow,  all  in  black  and  in  aspect  all  weeping 
and  sad;  of  whom,  as  his  ministers,  one  carried  the  bow,  another  the 
quiver  and  the  arrows,  another  the  nets,  and  yet  another  the  lighted 
torch.  And  while  the  above-described  Hours  and  Graces,  having 
descended  from  the  cloud,  went  slowly  towards  their  mother's  car, 
now  arrived  on  earth,  and,  having  grouped  themselves  reverently 
in  a  most  graceful  choir  around  the  lovely  Venus,  seemed  all  intent 
on  singing  in  harmony  with  her,  she,  turning  towards  her  son  with 
rare  and  infinite  grace,  and  making  manifest  to  him  the  cause  of  her 
displeasure,  when  those  in  Heaven  were  silent,  sang  the  two  following 
stanzas,  the  first  of  the  ballad,  saying : 

A  me,  che  fatta  son  negletta  e  sola, 
Non  phi  gli  altar  ne  i  voti, 
Ma  di  Psiche  devoti 
A  lei  sola  si  danno,  ella  gl'  invola; 

Dunque,  se  mai  di  me  ti  calse  o  cale, 
Figlio,  T  armi  tue  prendi, 
E  questa  folle  accendi 
Di  vilissimo  amor  d'  uomo  mortale. 

Which  being  finished,  and  each  of  her  handmaidens  having  returned  to 
her  own  place,  while  they  kept  continually  throwing  down  various  delicate 
and  lovely  garlands  of  flowers  upon  the  assembled  spectators,  the  cloud 
and  the  car,  as  if  the  beautiful  guide  had  satisfied  her  desire,  were  seen  to 
move  slowly  and  to  go  back  towards  the  heaven;  and  when  they  had 
arrived  there,  and  the  heaven  was  closed  again  in  an  instant,  without 
a  single  sign  remaining  from  which  one  might  have  guessed  by  which 
part  the  cloud  and  so  many  other  things  had  come  forth  and  returned, 
everyone,  it  appeared,  was  left  all  amazed  with  a  sort  of  novel  and  pleasing 
marvel.  But  the  obedient  Cupid,  while  that  was  being  done,  making  a 
sign,  as  it  were,  to  his  mother  that  her  command  would  be  fulfilled,  and 
crossing  the  stage,  continued — with  his  companions,  who  were  presenting 
him  his  arms,  and  who,  likewise  singing,  kept  in  harmony  with  him — 
the  following  stanza,  the  last,  saying : 


OF  THE  ACADEMICIANS  109 

Ecco  madre,  andiam  noi;  chi  1'  arco  dammi  ? 
Chi  le  saette  ?  ond'  io 
Con  T  alto  valor  mio 
Tutti  i  cor  vinca,  leghi,  apra,  ed  innammi. 

And  he,  also,  as  he  sang  this,  kept  shooting  arrows,  many  and  various, 
at  those  listening  to  him,  whereby  he  gave  reason  to  believe  that  the 
lovers  who  were  about  to  perform  their  parts,  stung,  as  it  were,  by  them, 
were  giving  birth  to  the  comedy  about  to  follow. 


SECOND  INTERLUDE. 

The  first  act  being  finished,  and  Cupid  having  been  taken  in  his 
own  snare — at  the  moment  when  he  thought  to  take  the  lovely  Psyche — 
by  reason  of  her  infinite  beauty,  it  became  necessary  to  represent  those 
mysterious  voices  which,  as  may  be  read  in  the  fable,  had  been  intended 
by  him  to  serve  her;  and  so  there  was  seen  to  issue  by  one  of  the  four 
passages  that  had  been  left  on  the  stage  for  the  use  of  the  performers, 
first  a  little  Cupid  who  was  carrying  in  his  arms  what  seemed  to  be  a 
graceful  swan,  with  which,  since  it  concealed  an  excellent  bass-viol, 
while  he  appeared  to  be  diverting  himself  with  a  wand  of  marsh-grass 
that  served  him  as  a  bow,  he  proceeded  to  play  most  sweet  airs.  After 
him,  four  others  were  seen  to  come  at  one  and  the  same  moment  by  the 
four  passages  of  the  stage  already  described;  by  one  the  amorous  Zephyr, 
all  merry  and  smiling,  who  had  wings,  garments,  and  buskins  woven 
of  various  flowers;  by  another  Music,  known  by  the  tuning  instrument 
that  she  had  on  the  head,  by  her  rich  dress  covered  with  her  various 
instruments  and  with  various  scrolls  wherein  were  marked  all  her  notes 
and  all  her  times,  and  even  more  because  she  likewise  was  seen  playing 
with  most  sweet  harmony  upon  a  great  and  beautiful  lyra-viol;  and  by 
the  other  two,  also,  Play  and  Laughter  were  seen  to  appear  in  the  form 
of  two  little  Cupids,  playing  and  laughing.  After  these,  while  they  were 
going  on  their  way  to  their  destined  places,  four  other  Cupids  were  seen 
to  issue  by  the  same  passages,  in  the  same  guise,  and  at  the  same  time, 
and  to  proceed  likewise  to  play  most  graciously  on  four  most  ornate 


no  OF  THE  ACADEMICIANS 

lutes;  and  after  them  four  other  similar  little  Cupids,  two  of  whom,  with 
fruits  in  their  hands,  were  seen  playing  together,  and  two  seemed  to  be 
seeking  to  shoot  one  another  in  the  breast  with  their  bows  and  arrows, 
in  a  quaint  and  playful  fashion.  All  these  gathered  in  a  graceful  circle, 
and,  singing  in  most  harmonious  concert  the  following  madrigal,  with 
the  lutes  and  with  many  other  instruments  concealed  within  the  scenery 
accompanying  the  voices,  they  appeared  to  make  this  whole  conception 
manifest  enough,  saying : 

O  altero  miracolo  novello  ! 

Visto  T  abbiam  !  ma  chi  sia  che  eel  creda  ? 

Ch'  amor,  d'  amor  ribello, 

Di  se  stesso  e  di  Psiche  oggi  sia  preda  ? 

Dunque  a  Psiche  conceda 

Di  belta  pur  la  palma  e  di  valore 

Ogn'  altra  bella,  ancor  che  pel  timore 

Ch'  ha  del  suo  prigionier  dogliosa  stia; 

Ma  seguiam  noi  T  incominciata  via, 

Andiam  Gioco,  andiam  Riso, 

Andiam  dolce  armonia  di  Paradiso, 

E  facciam  che  i  tormenti 

Suoi  dolci  sien  co'  tuoi  dolci  concenti. 


THIRD  INTERLUDE. 

Not  less  festive  was  the  third  Interlude,  because,  as  is  narrated  in 
the  fable,  Cupid  being  occupied  with  the  love  of  his  beautiful  Psyche,  and 
not  caring  any  more  to  kindle  the  customary  flames  in  the  hearts  of 
mortals,  and  using  with  others,  as  others  with  him,  fraud  and  deceit, 
it  was  inevitable  that  among  those  same  mortals,  who  were  living  without 
love,  there  should  arise  at  the  same  time  a  thousand  frauds  and  a  thousand 
deceits.  And  therefore  it  was  made  to  appear  that  the  floor  of  the  stage 
swelled  up,  and  finally  that  it  was  changed  into  seven  little  mounds 
from  which  there  were  seen  to  issue,  as  things  evil  and  hurtful,  first  seven 
Deceits,  and  then  seven  others,  which  could  be  recognized  as  such  with 
ease,  for  the  reason  that  not  only  the  bust  of  each  was  all  spotted,  after 
the  likeness  of  a  leopard,  and  the  thighs  and  legs  like  serpents,  but  their 


OF  THE  ACADEMICIANS  in 

locks  were  seen  all  composed  of  malicious  foxes  in  most  fantastic  forms 
and  very  beautiful  attitudes;  and  in  their  hands,  not  without  laughter 
from  the  bystanders,  some  were  holding  traps,  some  hooks,  and  others 
guileful  crooks  and  grapnels,  under  which  had  been  concealed  with 
singular  dexterity  some  musical  serpents,  for  the  sake  of  the  music  that 
they  had  to  make.  These,  expressing  thus  the  conception  described 
above,  after  they  had  first  most  sweetly  sung,  and  then  sung  and  played, 
the  following  madrigal,  went  with  very  beautiful  order  (providing  material 
for  the  deceptions  of  the  comedy)  their  several  ways  along  the  four 
above-mentioned  passages  of  the  stage: 

S'  amor  vinto  e  prigion,  posto  in  oblio 
L'  arco  e  1'  ardente  face, 
Delia  madre  ingannar  nuovo  desio 
Lo  punge,  e  s'  a  lui  Psiche  inganno  face, 
E  se  T  empia  e  fallace 
Coppia  d'  invide  suore  inganno  e  froda 
Sol  pensa,  or  chi  nel  mondo  oggi  piu  sia 
Che  'I  regno  a  noi  non  dia  ? 
D'  inganni  dunque  goda 
Ogni  saggio,  e  se  speme  altra  1'  invita 
Ben  la  strada  ha  smarrita. 


FOURTH  INTERLUDE. 

Now,  deceits  giving  rise  to  affronts,  and  affronts  to  dissensions  and 
quarrels  and  a  thousand  other  suchlike  evils,  since  Cupid,  by  reason  of 
the  hurt  received  from  the  cruel  lamp,  was  not  able  to  attend  to  his 
customary  office  of  inflaming  the  hearts  of  living  mortals,  in  the  fourth 
interlude,  in  place  of  the  seven  mounds  that  had  been  shown  on  the  stage 
the  time  before,  there  were  seen  to  appear  in  this  one  (to  give  material 
for  the  disturbances  of  the  comedy)  seven  little  abysses,  from  which 
there  first  came  a  black  smoke,  and  then,  little  by  little,  was  seen  to 
appear  Discord  with  an  ensign  in  the  hand,  recognized,  besides  her  arms, 
by  the  torn  and  varied  dress  and  by  the  tresses,  and  with  her  Rage,  also 
recognized,  besides  the  arms,  by  the  buskins  in  the  form  of  claws,  and  by 
the  bear's  head  in  place  of  a  helmet,  from  which  poured  a  constant  stream 


H2  OF  THE  ACADEMICIANS 

of  smoke  and  flame;  and  Cruelty,  with  the  great  scythe  in  her 
known  by  the  helmet  in  the  likeness  of  a  tiger's  head  and  by  the  buskins 
after  the  manner  of  the  feet  of  a  crocodile;  and  Rapine,  also,  with  the 
pruning-hook  in  her  hand,  with  the  bird  of  prey  on  the  helmet,  and  with 
the  feet  in  the  likeness  of  an  eagle ;  and  Vengeance,  with  a  bloody  scimitar 
in  the  hand,  and  with  buskins  and  helmet  all  woven  of  vipers;  and  two 
Anthropophagi,  or  Lestrigonians,  as  we  would  rather  call  them,  who, 
sounding  two  trombones  in  the  form  of  ordinary  trumpets,  appeared  to 
be  seeking  with  a  certain  bellicose  movement  (besides  the  sound)  to  excite 
the  audience  of  bystanders  to  combat.  Each  of  these  was  between  two 
Furies,  horrible  companions,  furnished  with  drums,  whips  of  iron,  and 
various  arms,  beneath  which  with  the  same  dexterity  had  been  hidden 
various  musical  instruments.  The  above-named  Furies  could  be  recog- 
nized by  the  wounds  wherewith  their  whole  persons  were  covered,  from 
which  were  seen  pouring  flames  of  fire,  by  the  serpents  with  which  they 
were  all  encircled  and  bound,  by  the  broken  chains  that  hung  from  their 
legs  and  arms,  and  by  the  fire  and  smoke  that  issued  from  their  hair. 
And  all  these,  having  sung  the  following  madrigal  all  together  with  a 
certain  fiery  and  warlike  harmony,  performed  in  the  manner  of  com- 
batants a  novel,  bold,  and  most  extravagant  Moorish  dance;  at  the  end 
of  which,  running  here  and  there  in  confusion  about  the  stage,  they  were 
seen  finally  to  take  themselves  in  a  horrible  and  fearsome  rout  out  of  the 
sight  of  the  spectators: 

In  bando  itene,  vili 

Inganni;  il  mondo  solo  ira  e  furore 
Sent*  oggi;  audaci  voi,  spirti  gentili, 
Venite  a  dimostrar  vostro  valore; 
Che  se  per  la  lucerna  or  langue  amore, 
Nostro  convien,  non  che  lor  sia  T  impero. 
Su  dunque  ogni  piu  fero 
Cor  surga;  il  nostro  bellicose  carme 
Guerra,  guerra  sol  grida,  e  solo  arm',  arme. 


OF  THE  ACADEMICIANS  113 


FIFTH  INTERLUDE. 

Poor  simple  Psyche,  having  (as  has  been  hinted  in  the  last  interlude) 
injured  her  beloved  spouse  with  the  torch  by  her  rash  and  eager  curiosity, 
and  being  abandoned  by  him,  and  having  finally  fallen  into  the  hands  of 
angry  Venus,  provided  most  convenient  material  for  the  fifth  and  most 
sorrowful  interlude,  accompanying  the  sadness  of  the  fourth  act  of  the 
comedy;  for  it  was  feigned  that  she  was  sent  by  that  same  Venus  to  the 
infernal  Proserpine,  whence  she  should  never  be  able  to  return  among 
living  creatures.     And  so,  wrapped  in  despair  and  very  sad,  she  was  seen 
approaching  by  one  of  the  passages,  accompanied  by  hateful  Jealousy, 
who  had  an  aspect  all  pallid  and  afflicted,  like  her  other  followers,  and 
was  known  by  the  four  heads  and  by  the  dress  of  turquoise-blue  all  inter- 
woven with  eyes  and  ears;  by  Envy,  known  likewise  by  the  serpents 
that  she  was  devouring;  by  Thought,  Care,  or  Solicitude,  whichever  we 
may  choose  to  call  her,  known  by  the  raven  that  she  had  on  the  head, 
and  by  the  vulture  that  was  tearing  her  entrails;  and  by  Scorn,  or  Dis- 
dain (to  make  it  a  woman's  name),  who  could  be  recognized  not  only 
by  the  owl  that  she  had  on  the  head,  but  also  by  the  ill-made,  ill-fitting 
and  tattered  dress.     When  these  four,  beating  and  goading  her,  had  made 
their  way  near  the  middle  of  the  stage,  in  an  instant  the  ground  opened 
in  four  places  with  fire  and  smoke,  and  they,  as  if  they  sought  to  defend 
themselves,  seized  hold  of  four  most  horrible  serpents  that  were  seen 
without  any  warning  to  issue  from  below,  and  struck  them  a  thousand 
different  blows  with  their  thorny  staves,  under  which  were  concealed  four 
little  bows,  until  in  the  end,  after  much  terror  in  the  bystanders,  it  ap- 
peared that  the  serpents  had  been  torn  open  by  them;  and  then,  striking 
again  in  the  blood-stained  bellies  and  entrails,  all  at  once  there  was  heard 
to  issue — Psyche  singing  the  while  the  madrigal  given  below — a  mournful 
but  most  delicate  and  sweet  harmony;  for  in  the  serpents  were  concealed 
with  singular  artifice  four  excellent  bass-viols,   which,   accompanying 
(together  with  four  trombones  that  sounded  behind  the  stage)  the  single 
plaintive  and  gracious  voice  of  Psyche,  produced  an  effect  at  once  so  sad 
x.  15 


H4  OF  THE  ACADEMICIANS 

and  so  sweet,  that  there  were  seen  drawn  from  the  eyes  of  more  than 
one  person  tears  that  were  not  feigned.  Which  finished,  and  each  figure 
having  taken  her  serpent  on  her  shoulders,  there  was  seen,  with  no  less 
terror  among  the  spectators,  a  new  and  very  large  opening  appearing 
in  the  floor,  from  which  issued  a  thick  and  continuous  stream  of  flame 
and  smoke,  and  an  awful  barking  was  heard,  and  there  was  seen  to  issue 
from  the  hole  the  infernal  Cerberus  with  his  three  heads,  to  whom,  in 
accordance  with  the  fable,  Psyche  was  seen  to  throw  one  of  the  two  flat 
cakes  that  she  had  in  her  hand;  and  shortly  afterwards  there  was  seen 
likewise  to  appear,  together  with  various  monsters,  old  Charon  with 
his  customary  barque,  into  which  the  despairing  Psyche  having  entered, 
the  four  tormentors  described  above  kept  her  unwelcome  and  displeasing 

company. 

Fuggi,  speme  mia,  fuggi, 

E  fuggi  per  non  far  piu  mai  ritorno; 

Sola  tu,  che  distruggi 

Ogni  mia  pace,  a  far  vienne  soggiorno, 

Invidia,  Gelosia,  Pensiero  e  Scorno 

Meco  nel  cieco  Inferno 

Ove  1'  aspro  martir  mio  viva  eterno. 

LAST  INTERLUDE. 

The  sixth  and  last  interlude  was  all  joyous,  for  the  reason  that,  the 
comedy  being  finished,  there  was  seen  to  issue  in  an  instant  from  the  floor 
of  the  stage  a  verdant  mound  all  adorned  with  laurels  and  different 
flowers,  which,  having  on  the  summit  the  winged  horse  Pegasus,  was 
soon  recognized  to  be  the  Mount  of  Helicon,  from  which  were  seen  de- 
scending one  by  one  that  most  pleasing  company  of  little  Cupids  already 
described,  and  with  them  Zephyr,  Music,  and  Cupid,  all  joining  hands, 
and  Psyche  also,  all  joyful  and  merry  now  that  she  was  safe  returned 
from  Hell,  and  that  by  the  prayers  of  her  husband  Cupid,  at  the  inter- 
cession of  Jove,  after  such  mighty  wrath  in  Venus,  there  had  been  won  for 
her  grace  and  pardon.  With  these  were  Pan  and  nine  other  Satyrs, 
with  various  pastoral  instruments  in  their  hands,  under  which  other 
musical  instruments  were  concealed;  and  all  descending  from  the  mound 


OF  THE  ACADEMICIANS  115 

described  above,  they  were  seen  bringing  with  them  Hymen,  God  of 
nuptials,  in  whose  praise  they  sang  and  played,  as  in  the  following 
canzonets,  and  performed  in  the  second  a  novel,  most  merry  and  most 
graceful  dance,  giving  a  gracious  conclusion  to  the  festival : 

Dal  bel  monte  Elicona 

Ecco  Imeneo  che  scende, 

E  gia  la  face  accende,  e  s'  incorona; 
Di  persa  s'  incorona, 

Odorata  e  soave, 

Onde  il  mondo  ogni  grave  cura  scaccia. 
Dunque  e  tu,  Psiche,  scaccia 

L'  aspra  tua  fera  doglia, 

E  sol  gioia  s'  accoglia  entro  al  tuo  seno. 
Amor  dentro  al  suo  seno 

Pur  lieto  albergo  datti, 

E  con  mille  dolci  atti  ti  consola. 
Ne  men  Giove  consola 

II  tuo  passato  pianto, 

Ma  con  riso  e  con  canto  al  Ciel  ti  chiede. 
Imeneo  dunque  ognun  chiede, 

Imeneo  vago  ed  adorno, 

Deh  che  lieto  e  chiaro  giorno, 

Imeneo,  teco  oggi  riede  ! 
Imeneo,  per  1'  alma  e  diva 

Sua  Giovanna  ogn'  or  si  sente 

Del  gran  Ren  ciascuna  riva 

Risonar  soavemente ; 

E  non  men  T  Arno  lucente 

Pel  gratioso,  inclito  e  pio 

Suo  Francesco  aver  desio 

D'  Imeneo  lodar  si  vede. 

Imeneo  ecc. 
Flora  lieta,  Arno  beato, 

Arno  umil,  Flora  cortese, 

Deh  qua!  piu  felice  stato 

Mai  si  vide,  mai  s'  intese  ? 

Fortunate  almo  paese, 

Terra  in  Ciel  gradita  e  cara, 

A  cui  coppia  cosl  rara 

Imeneo  benigno  diede. 
Imeneo  ecc. 


n6  OF  THE  ACADEMICIANS 

Lauri  or  dunque,  olive  e  palme 
E  corone  e  scettri  e  regni 
Per  le  due  si  felici  alme, 
Flora,  in  te  sol  si  disegni; 
Tutti  i  vili  atti  ed  indegni 
Lungi  stien ;  sol  pace  vera 
E  diletto  e  primavera 
Abbia  in  te  perpetua  sede. 

And  all  the  rich  vestments  and  all  the  other  things,  which  one  might 
think  it  impossible  to  make,  were  executed  by  the  ingenious  craftsmen 
with  such  dexterity,  loveliness  and  grace,  and  made  to  appear  so  natural, 
real,  and  true,  that  it  seemed  that  without  a  doubt  the  real  action 
could  surpass  the  counterfeited  spectacle  by  but  a  little. 


OF  THE  TRIUMPH  OF  DREAMS  AND  OTHER  FESTIVITIES. 

Now  after  this,  although  every  square  and  every  street,  as  has  been 
told,  resounded  with  music  and  song,  merriment  and  festivity,  our  mag- 
nanimous Lords,  distributing  everything  most  prudently,  to  the  end  that 
excessive  abundance  might  not  produce  excessive  satiety,  had  ordained 
that  one  of  the  principal  festivals  should  be  performed  on  each  Sunday, 
and  for  this  reason,  and  for  the  greater  convenience  of  the  spectators, 
they  had  caused  the  sides  of  the  most  beautiful  squares  of  S.  Croce  and 
S.  Maria  Novella  to  be  furnished  after  the  likeness  of  a  theatre,  with  very 
strong  and  very  capacious  tribunes.  And  since  within  these  there  were 
held  games,  in  which  the  young  noblemen  played  a  greater  part  by  their 
exercises  than  did  our  craftsmen  by  attiring  them,  I  shall  treat  of  them 
briefly,  saying  that  on  one  occasion  there  was  presented  therein  by  our 
most  liberal  Lords,  with  six  companies  of  most  elegant  cavaliers,  eight 
to  a  company,  the  play  of  the  canes  and  the  carousel,  so  celebrated  among 
the  Spaniards,  each  of  the  companies,  which  were  all  resplendent  in 
cloth  of  gold  and  silver,  being  distinguished  from  the  rest,  one  in  the 
ancient  habit  of  the  Castilians,  another  in  the  Portuguese,  another  in 
the  Moorish,  a  fourth  in  the  Hungarian,  a  fifth  in  the  Greek,  and  the  last 
in  the  Tartar;  and  finally,  after  a  perilous  combat,  partly  with  assegais 


OF  THE  ACADEMICIANS  117 

and  horses  likewise  in  the  Spanish  manner,  and  partly  with  men  on  foot 
and  dogs,  some  most  ferocious  bulls  were  killed.  Another  time,  renewing 
the  ancient  pomp  of  the  Roman  chase,  there  was  seen  a  beautifully 
ordered  spectacle  of  certain  elegant  huntsmen  and  a  good  quantity  of 
various  dogs,  chasing  forth  from  a  little  counterfeited  wood  and  slaying 
an  innumerable  multitude  of  animals,  which  came  out  in  succession  one 
kind  after  another,  first  rabbits,  hares,  roebucks,  foxes,  porcupines,  and 
badgers,  and  then  stags,  boars,  and  bears,  and  even  some  savage  horses 
all  burning  with  love;  and  in  the  end,  as  the  most  noble  and  most  superb 
chase  of  all,  after  they  had  sought  several  times  by  means  of  an  immense 
turtle  and  a  vast  and  most  hideous  mask  of  a  monster,  which  were  full 
of  men  and  were  made  to  move  hither  and  thither  with  various  wheels, 
to  incite  a  most  fierce  lion  to  do  battle  with  a  very  valiant  bull;  finally, 
since  that  could  not  be  achieved,  both  the  animals  were  seen  struck  down 
and  slain,  not  without  a  long  and  bloody  struggle,  by  the  multitude  of 
dogs  and  huntsmen.  Besides  this,  every  evening  the  noble  youth  of  the 
city  exercised  themselves  with  most  elegant  dexterity  and  valour,  accord- 
ing to  their  custom,  at  the  game  of  football,  the  peculiar  and  particular 
sport  of  that  people,  with  which  finally  there  was  given  on  one  of  those 
Sundays  one  of  the  most  agreeable  and  most  graceful  spectacles  that 
anyone  could  ever  behold,  in  very  rich  costumes  of  cloth  of  gold  in  red 
and  green  colours,  with  all  the  rules,  which  are  many  and  beautiful. 

But  since  variety  seems  generally  to  enhance  the  pleasure  of  most 
things,  another  time  the  illustrious  Prince  sought  with  a  different  show 
to  satisfy  the  expectant  people  by  means  of  his  so  much  desired  Triumph 
of  Dreams.  The  invention  of  this,  although,  since  he  went  to  Germany 
to  see  his  exalted  bride  and  to  do  reverence  to  the  most  august  Emperor 
Maximilian  and  to  his  other  illustrious  kinsmen,  it  was  arranged  and 
composed  by  others  with  great  learning  and  diligence,  may  yet  be  said 
to  have  been  born  in  the  beginning  from  his  most  noble  genius,  so  com- 
petent in  no  matter  how  subtle  and  exacting  a  task;  and  with  it  he  who 
afterwards  executed  the  work,  and  was  the  composer  of  the  song,  sought 
to  demonstrate  that  moral  opinion  expressed  by  Dante  when  he  says 
that  innumerable  errors  arise  among  living  mortals  because  many  are  set 


n8  OF  THE  ACADEMICIANS 

to  do  many  things  for  which  they  do  not  seem  to  have  been  born  fitted 
by  nature,  deviating,  on  the  other  hand,  from  those  for  which,  following 
their  natural  inclination,  they  might  be  very  well  adapted.     This  he 
also  strove  to  demonstrate  with  five  companies  of  masks  led  by  five  of 
those  human  desires  that  were  considered  by  him  the  greatest;  by  Love, 
namely,  behind  whom  followed  the  lovers;  by  Beauty,  figured  under  the 
form  of  Narcissus,  and  followed  by  those  who  strive  too  much  to  appear 
beautiful;  by  Fame,  who  had  as  followers  those  too  hungry  for  glory; 
by  Pluto,  signifying  Riches,  behind  whom  were  seen  those  eager  and 
greedy   for  them,   and    by  Bellona,   who  was  followed    by  the    men 
enamoured  of  war;   contriving  that  the  sixth   company,   which  com- 
prised all  the  five  described  above,  and  to  which  he  wished  that  they 
should  all  be  referred,  should  be  guided  by  Madness,  likewise  with  a  good 
number  of  her  followers  behind  her,  signifying  that  he  who  sinks  himself 
too  deep  and  against  the  inclination  of  Nature  in  the  above-named 
desires,  which  are  in  truth  dreams  and  spectres,  comes  in  the  end  to  be 
seized  and  bound  by  Madness.     And  then  this  judgment,  turning,  as  a 
thing  of  feast  and  carnival,  to  the  amorous,  announces  to  young  women 
that  the  great  father  Sleep  is  come  with  all  his  ministers  and  companions 
in  order  to  show  to  them  with  his  matutinal  dreams,  which  are  reputed 
as  true  (comprised,  as  has  been  told,  in  the  first  five  companies),  that  all 
the  above-named  things  that  are  done  by  us  against  Nature,  are  to  be 
considered,  as  has  been  said,  as  dreams  and  spectres;  and  therefore, 
exhorting  them  to  pursue  that  to  which  their  nature  inclines  them,  it 
appears  that  in  the  end  he  wishes,  as  it  were,  to  conclude  that  if  they 
feel  themselves  by  nature  inclined  to  be  loved,  they  should  not  seek  to 
abstain  from  that  natural  desire;  nay,  despising  any  other  counsel  as 
something  vain  and  mad,  they  should  dispose  themselves  to  follow  the 
wise,  natural,  and  true.     And  then,  around  the  Car  of  Sleep  and  the 
masks  that  were  to  express  this  conception,  were  accommodated  and 
placed  as  ornaments  those  things  that  are  judged  to  be  in  keeping  with 
sleep   and  with   dreams.     There  was  seen,   therefore,   after  two  most 
beautiful  Sirens,  who,  blowing  two  great  trumpets  in  place  of  two  trum- 
peters, preceded  all  the  rest,  and  after  two  extravagant  masks,  the  guides 


OF  THE  ACADEMICIANS  119 

of  all  the  others,  by  which,  mingling  white,  yellow,  red,  and  black  over 
their  cloth  of  silver,  were  demonstrated  the  four  humours  of  which 
bodies  are  composed,  and  after  the  bearer  of  a  large  red  ensign  adorned 
with  various  poppies,  on  which  was  painted  a  great  gryphon,  with  three 
verses  that  encircled  it,  saying : 

Non  solo  aquila  e  questo,  e  non  leone, 

Ma  1'  uno  e  1'  altro;  cosl  '1  Sonno  ancora 
Ed  humana  e  divina  ha  condizione. 

There  was  seen  coming,  I  say,  as  has  been  told  above,  the  joyous  Love, 
figured  as  is  customary,  and  accompanied  on  one  side  by  ever- verdant 
Hope,  who  had  a  chameleon  on  the  head,  and  on  the  other  by  pallid 
Fear,  with  the  head  likewise  adorned  by  a  timorous  deer;  and  he  was 
seen  followed  by  the  lovers,  his  captives  and  slaves,  dressed  for  the  most 
part  with  infinite  grace  and  richness  in  draperies  of  flaming  gold,  for 
the  flames  wherewith  they  are  ever  burning,  and  all  girt  and  bound  with 
most  delicate  gilded  chains.     After  these  (to  avoid  excessive  minuteness) 
there  was  seen  coming,  to  represent  Beauty,  in  a  graceful  habit  of  tur- 
quoise-blue all  interwoven  with  his  own  flowers,  the  beautiful  Narcissus, 
likewise  accompanied,  as  was  said  of  Love,  on  one  side  by  Youth  adorned 
with  flowers  and  garlands,  and  dressed  all  in  white,  and  on  the  other 
by  Proportion,  adorned  with  draperies  of  turquoise-blue,  and  recognized 
by  the  spectators  by  an  equilateral  triangle  that  was  upon  the  head. 
After  these  were  seen  those  who  seek  to  be  esteemed  for  the  sake  of  their 
beauty,  and  who  appeared  to  be  following  their  guide  Narcissus;  and  they, 
also,  were  of  an  aspect  youthful  and  gracious,  and  had  the  same  narcissus- 
blooms  most  beautifully  embroidered  upon  the  cloth  of  silver  wherein 
they  were  robed,  with  their  blonde  and  curly  locks  all  crowned  in  lovely 
fashion  with  the  same  flowers.     And  after  them  was  seen  approaching 
Fame,  who  seemed  to  be  sounding  a  great  trumpet  that  had  three  mouths, 
with  a  globe  on  her  head  that  represented  the  world,  and  with  immense 
wings  of  peacock's  feathers;  having  in  her  company  Glory,  who  had  a 
head-dress  fashioned  likewise  of  a  peacock,  and  Reward,  who  in  like 
manner  carried  a  crowned  eagle  on  the  head;  and  her  followers,  who  were 


120  OF  THE  ACADEMICIANS 

divided  into  three  companies,  Emperors,  Kings,  and  Dukes,  although 
they  were  all  dressed  in  gold  with  the  richest  embroideries  and  pearls, 
and  although  they  all  presented  an  aspect  of  singular  grandeur  and 
majesty,  nevertheless  were  distinguished  very  clearly  one  from  another 
by  the  forms  of  the  different  crowns  that  they  wore  on  their  heads,  each 
in  accord  with  his  rank.     Then  the  blind  Pluto,  the  God  (as  has  been 
told)  of  Riches,  who  followed  after  these  with  rods  of  gold  and  silver  in 
the  hands,  was  seen,  like  the  others,  accompanied  on  either  side  by 
Avarice  dressed  in  yellow,  with  a  she-wolf  on  the  head,  and  by  Rapacity 
robed  in  red  draperies,  who  had  a  falcon  on  the  head  to  make  her  known; 
but  it  would  be  a  difficult  thing  to  seek  to  describe  the  quantity  of  gold, 
pearls,  and  other  precious  gems,  and  the  various  kinds   of  draperies 
with   which   his   followers  were  covered   and   adorned.     And   Bellona, 
Goddess  of  War,  most  richly  robed  in  many  parts  with  cloth  of  silver 
in  place  of  arms,  and  crowned  with  a  garland  of  verdant  laurel,  with  all 
the  rest  of  her  habit  composed  in  a  thousand  rich  and  gracious  ways, 
was  seen  likewise  coming  after  them  with  a  large  and  warlike  horn  in 
the  hand,  and  accompanied,  like  the  others,  by  Terror,  known  by  the 
cuckoo  in  the  head-dress,  and  by  Boldness,  also  known  by  the  lion's  head 
worn  in  place  of  a  cap;  and  with  her  the  military  men  in  her  train  were 
seen  following  her  in  like  manner  with  swords  and  iron-shod  maces  in 
their  hands,  and  draperies  of  gold  and  silver  arranged  most  fancifully 
in  the  likeness  of  armour  and  helmets.     These  and  all  the  others  in  the 
other  companies  had  each,  to  demonstrate  that  they  represented  dreams, 
a  large,  winged,  and  very  well  fashioned  bat  of  grey  cloth  of  silver  fitted 
on  the  shoulders,  and  forming  a  sort  of  little  mantle;  which,  besides  the 
necessary  significance,  gave  to  all  the  companies  (which,  as  has  been 
shown,  were  all  different)  the  necessary  unity,  and  also  grace  and  beauty 
beyond  measure.     And  all  this  left  in  the  minds  of  the  spectators  a  firm 
belief  that  there  had  never  been  seen  in  Florence,  and  perhaps  elsewhere, 
any  spectacle  so  rich,  so  gracious,  and  so  beautiful;  for,  in  addition  to 
all  the  gold,  the  pearls,  and  the  other  most  precious  gems  wherewith  the 
embroideries,  which  were  very  fine,  were  made,  all  the  dresses  were 
executed  with  such  diligence,  design,  and  grace,  that  they  seemed  to  be 


OF  THE  ACADEMICIANS  121 

costumes  fashioned  not  for  masquerades,  but  enduring  and  permanent, 
and  worthy  to  be  used  only  by  great  Princes. 

There  followed  Madness,  the  men  of  whose  company  alone,  for  the 
reason  that  she  had  to  be  shown  not  as  a  dream  but  as  real  in  those  who 
sought  against  the  inclination  of  nature  to  pursue  the  things  described 
above,  were  seen  without  the  bat  upon  the  shoulders ;  and  she  was  dressed 
in  various  colours,  but  all  put  together  most  inharmoniously  and  without 
any  manner  of  grace,  while  upon  her  dishevelled  tresses,  to  demonstrate 
her  disordered  thoughts,  were  seen  a  pair  of  gilded  spurs  with  the  rowels 
turned  upwards,  and  on  either  side  of  her  were  a  Satyr  and  a  Bacchante 
Her  followers,  then,  in  the  semblance  of  lunatics  and  drunkards,  were 
seen  dressed  most  extravagantly  in  cloth  of  gold,  embroidered  with 
varied  boughs  of  ivy  and  vine-leaves  with  their  little  bunches  of  ripe 
grapes.  And  these  and  all  the  others  in  the  companies  already  described, 
besides  a  good  number  of  grooms,  likewise  very  richly  and  ingeniously 
dressed  according  to  the  company  wherein  they  were  serving,  had  horses 
of  different  colours  distributed  among  them,  a  particular  colour  to  each 
company,  so  that  one  had  dappled  horses,  another  sorrel,  a  third  black, 
a  fourth  peach-coloured,  another  bay,  and  yet  another  of  a  varied  coat, 
according  as  the  invention  required.  And  to  the  end  that  the  above- 
described  masques,  which  were  composed  almost  entirely  of  the  most 
noble  lords,  might  not  be  constrained  to  carry  the  customary  torches  at 
night,  forty-eight  different  witches — who  during  the  day  preceded  in 
most  beautiful  order  all  those  six  companies,  guided  by  Mercury  and 
Diana,  who  had  each  three  heads  to  signify  their  three  powers ;  being  them- 
selves also  divided  into  six  companies,  and  each  particular  company 
being  ruled  by  two  dishevelled  and  barefooted  priestesses — when  night 
came,  went  in  due  order  on  either  side  of  the  particular  company  of 
dreams  to  which  they  were  assigned,  and,  with  the  lighted  torches  which 
they  and  the  grooms  bore,  rendered  it  abundantly  luminous  and  clear. 
These  witches,  besides  their  different  faces,  all  old  and  hideous,  and 
besides  the  different  colours  of  the  rich  draperies  wherewith  they  were 
clothed,  were  known  in  particular,  and  one  company  distinguished  from 
another,  by  the  animals  that  they  had  upon  their  heads,  into  the  shapes 

x.  16 


122  OF  THE  ACADEMICIANS 

of  which,  so  men  say  and  believe,  they  transform  themselves  often  by 
their  incantations;  for  some  had  upon  the  cloth  of  silver  that  served  as 
kerchief  for  their  heads  a  black  bird,  with  wings  and  claws  outspread, 
and  with  two  little  phials  about  the  head,  signifying  their  maleficent  dis- 
tillations; and  some  had  cats,  others  black  and  white  dogs,  and  others, 
by  their  false  blonde  tresses  and  by  the  natural  white  hair  that  could  be 
seen,  as  it  were  against  their  will,  beneath  them,  betrayed  their  vain 
desire  to  appear  young  and  beautiful  to  their  lovers. 

The  immense  car,  drawn  by  six  large  and  shaggy  bears  crowned  with 
poppies,  which  came  at  the  end  after  all  that  lovely  train,  was  without 
a  doubt  the  richest,  the  most  imposing,  and  the  most  masterly  in  execu- 
tion that  has  ever  been  seen  for  a  long  time  back.  That  car  was  guided 
by  Silence,  a  figure  adorned  with  grey  draperies  and  with  the  customary 
shoes  of  felt  upon  the  feet,  who,  placing  a  finger  on  the  mouth,  appeared 
to  be  making  sign  to  the  spectators  that  they  should  be  silent;  and  with 
him  were  three  women,  representing  Quiet,  plump  and  full  in  counte- 
nance, and  dressed  in  rich  robes  of  azure-blue,  and  each  with  a  tortoise 
upon  the  head,  who  appeared  to  be  seeking  to  assist  that  same  Silence 
to  guide  those  bears.  The  car  itself,  resting  upon  a  graceful  hexagonal 
platform,  was  shaped  in  the  form  of  a  vast  head  of  an  elephant,  within 
which,  also,  there  was  represented  as  the  house  of  Sleep  a  fantastic 
cavern,  wherein  the  great  father  Sleep  was  likewise  seen  lying  at  his 
ease,  fat  and  ruddy,  and  partly  nude,  with  a  garland  of  poppies,  and  with 
his  cheek  resting  upon  one  of  his  arms;  having  about  him  Morpheus, 
Icelus,  Phantasus,  and  his  other  sons,  figured  in  various  extravagant 
and  bizarre  forms.  At  the  summit  of  the  same  cavern  was  seen  the 
white,  luminous,  and  beautiful  Dawn,  with  her  blonde  tresses  all  soft 
and  moist  with  dew;  and  at  the  foot  of  the  cavern,  with  a  badger  that 
served  her  for  a  pillow,  was  dark  Night,  who,  being  held  to  be  the  mother 
of  true  dreams,  was  thought  likely  to  lend  no  little  faith  to  the  words  of 
the  dreams  described  above.  For  the  adornment  of  the  car,  then,  were 
seen  some  most  lovely  little  stories,  accommodated  to  the  invention 
and  distributed  with  so  much  diligence,  delicacy,  and  grace,  that  it 
appeared  impossible  for  anything  more  to  be  desired.  In  the  first  of 


OF  THE  ACADEMICIANS  123 

these  was  seen  Bacchus,  the  father  of  Sleep,  upon  a  car  wreathed  in  vine- 
leaves  and  drawn  by  two  spotted  tigers,  with  a  verse  to  make  him  known, 
which  said: 

Bacco,  del  Sonno  sei  tu  vero  padre. 

Even  as  in  another  was  seen  Ceres,  the  mother  of  the  same  Sleep,  crowned 
with  the  customary  ears  of  corn,  and  likewise  with  a  verse  placed  there 
for  the  same  reason,  which  said: 

Cerer  del  dolce  Sonno  e  dolce  madre. 

And  in  a  third  was  seen  Pasithea,  wife  of  the  same  Sleep,  who,  seeming 
to  fly  over  the  earth,  appeared  to  have  infused  most  placid  sleep  in  the 
animals  that  were  dispersed  among  the  trees  and  upon  the  earth;  like- 
wise with  her  motto  which  made  her  known,  saying: 

Sposa  del  Sonno  questa  e  Pasitea. 

On  the  other  side  was  seen  Mercury,  president  of  Sleep,  infusing  slumber 
in  the  many-eyed  Argus;  also  with  his  motto,  saying: 

Creare  il  sonno  puo  Mercuric  ancora. 

And  there  was  seen,  to  express  the  nobility  and  divinity  of  the  same 
Sleep,  an  ornate  little  temple  of  ^Esculapius,  in  which  many  men,  emaci- 
ated and  infirm,  sleeping,  appeared  to  be  winning  back  their  lost  health ; 
likewise  with  a  verse  signifying  this,  and  saying: 

Rende  gl'  uomini  sani  il  dolce  Sonno. 

Even  as  in  another  place  there  was  seen  Mercury  pointing  towards  some 
Dreams  that  were  shown  flying  through  the  air  and  speaking  in  the  ears 
of  King  Latinus,  who  was  asleep  in  a  cave;  his  verse  saying: 

Spesso  in  sogno  parlar  lece  con  Dio. 

Orestes,  then,  spurred  by  the  Furies,  was  seen  alone  taking  some  rest 
amid  such  travail  by  the  help  of  the  Dreams,  who  were  shown  driving 
away  those  Furies  with  certain  bunches  of  poppies;  with  his  verse  that  said : 

Fuggon  pel  sonno  i  piu  crudi  pensieri. 


124  OF  THE  ACADEMICIANS 

And  there  was  the  wretched  Hecuba  likewise  dreaming  in  a  vision  that 
a  lovely  hind  was  rapt  from  her  bosom  and  strangled  by  a  fierce  wolf ; 
this  being  intended  to  signify  the  piteous  fate  that  afterwards  befell  her 
hapless  daughter;  with  a  motto  saying: 

Quel  ch'  esser  deve,  il  sogno  scuopre  e  dice. 
Even  as  in  another  place,  with  a  verse  that  said: 

Fanno  gli  Dei  saper  lor  voglie  in  sogno, 

there  was  seen  Nestor  appearing  to  Agamemnon,  and  revealing  to  him  the 
will  of  almighty  Jove.  And  in  the  seventh  and  last  was  depicted  the 
ancient  usage  of  making  sacrifice,  as  to  a  revered  deity,  to  Sleep  in  com- 
pany with  the  Muses,  represented  by  an  animal  sacrificed  upon  an 
altar;  with  a  verse  saying: 

Fan  sacrifizio  al  Sonno  ed  alle  Muse. 

All  these  little  scenes  were  divided  and  upheld  by  various  Satyrs, 
Bacchants,  boys,  and  witches,  and  rendered  pleasingly  joyous  and  ornate 
by  divers  nocturnal  animals  and  festoons  of  poppies,  not  without  a 
beautiful  medallion  set  in  place  of  a  shield  in  the  last  part  of  the  car, 
wherein  was  seen  painted  the  story  of  Endymion  and  the  Moon;  every- 
thing, as  has  been  said,  being  executed  with  such  delicacy  and  grace, 
patience  and  design,  that  it  would  entail  too  much  work  to  seek  to 
describe  every  least  part  with  its  due  praise.  But  those  of  whom  it 
has  been  told  that  they  were  placed  as  the  children  of  Sleep  in  such  ex- 
travagant costumes  upon  the  above-described  car,  singing  to  the  favourite 
airs  of  the  city  the  following  canzonet,  seemed  truly,  with  their  soft  and 
marvellous  harmony,  to  be  seeking  to  infuse  a  most  gracious  and  sweet 
sleep  in  their  hearers,  saying: 

Or  che  la  rugiadosa 

Alba  la  rondinella  a  pianger  chiama, 

Questi  che  tanto  v'  ama, 

Sonno,  gran  padre  nostro  e  dell'  ombrosa 

Notte  figlio,  pietosa 

E  sacra  schiera  noi 

Di  Sogni,  o  belle  donne,  mostra  a  voi; 


OF  THE  ACADEMICIANS  125 

Perche  il  folle  pensiero 

Uman  si  scorga,  che  seguendo  fiso 

Amor,  Fama,  Narciso 

E  Bellona  e  Ricchezza  il  van  sentiero 

La  notte  e  il  giorno  intero 

S'  aggira,  al  fine  insieme 

Per  frutto  ha  la  Pazzia  del  suo  bel  seme. 
Accorte  or  dunque,  il  vostro 

Tempo  miglior  spendete  in  cio  che  chiede 

Natura,  e  non  mai  fede 

Aggiate  all'  arte,  che  quasi  aspro  mostro 

Cinto  di  perle  e  d'  ostro 

Dolce  v'  invita,  e  pure 

Son  le  promesse  Sogni  e  Larve  scure. 


OF  THE  CASTLE. 

By  way  of  having  yet  another  different  spectacle,  there  was  built 
with  singular  mastery  on  the  vast  Piazza  di  S.  Maria  Novella  a  most 
beautiful  castle,  with  all  the  proper  appurtenances  of  ramparts,  cavaliers, 
casemates,  curtains,  ditches  and  counterditches,  secret  and  public  gates, 
and,  finally,  all  those  considerations  that  are  required  in  good  and  strong 
fortifications;  and  in  it  was  placed  a  good  number  of  valorous  soldiers, 
with  one  of  the  principal  and  most  noble  lords  of  the  Court  as  their 
captain,  a  man  determined  on  no  account  ever  to  be  captured.  That 
magnificent  spectacle  being  divided  into  two  days,  on  the  first  day  there 
was  seen  appearing  in  most  beautiful  order  from  one  side  a  fine  and  most 
ornate  squadron  of  horsemen  all  in  armour  and  in  battle-array,  as  if 
about  to  meet  real  enemies  in  combat,  and  from  the  other  side,  with  the 
aspect  of  a  massive  and  well-ordered  army,  some  companies  of  infantry 
with  their  baggage,  waggons  of  munitions,  and  artillery,  and  with  their 
pioneers  and  sutlers,  all  drawn  close  together,  as  is  customary  amid  the 
dangers  of  real  wars;  these  likewise  having  a  similar  lord  of  great  experi- 
ence and  valour  as  captain,  who  was  seen  urging  them  on  from  every  side, 
and  fulfilling  his  office  most  nobly.  And  after  the  attackers  had  been 
reconnoitred  several  times  and  in  various  ways,  with  valour  and  artifice, 
by  those  within  the  castle,  and  various  skirmishes  had  been  fought,  now 


126  OF  THE  ACADEMICIANS 

by  the  horsemen  and  now  by  the  infantry,  with  a  great  roar  of  musketry 
and  artillery,  and  charges  had  been  delivered  and  received,  and  several 
ambuscades  and  other  suchlike  stratagems  of  war  had  been  planned  with 
astuteness  and  ingenuity;  finally  the  defenders  were  seen,  as  if  overcome 
by  the  superior  force,  to  begin  little  by  little  to  retire,  and  in  the  end  it 
seemed  that  they  were  constrained  to  shut  themselves  up  completely 
within  the  castle.  But  the  second  day,  after  they  had,  as  it  were  during 
the  night,  constructed  their  platforms  and  gabionade  and  planted  their 
artillery,  there  was  seen  to  begin  a  most  terrible  bombardment,  which 
seemed  little  by  little  to  throw  a  part  of  the  walls  to  the  ground;  after 
which,  and  after  the  explosion  of  a  mine,  which  in  another  part,  in  order 
to  keep  the  attention  of  the  defenders  occupied,  appeared  to  have  made 
a  passing  wide  breach  in  the  wall,  the  places  were  reconnoitred  and  the 
cavalry  drew  up  in  most  beautiful  battle-array,  and  then  was  seen 
now  one  company  moving  up,  and  now  another,  some  with  ladders  and 
some  without,  and  many  valorous  and  terrible  assaults  delivered  in  suc- 
cession and  repeated  several  times,  and  ever  received  by  the  others  with 
skill,  boldness,  and  obstinacy,  until  in  the  end  it  was  seen  that  the  de- 
fenders, weary,  but  not  vanquished,  made  an  honourable  compact  with 
the  attackers  to  surrender  the  place  to  them,  issuing  from  it,  with  mar- 
vellous satisfaction  for  the  spectators,  in  military  order,  with  their 
banners  unfurled,  their  drums,  and  all  their  usual  baggage. 


THE  GENEALOGY  OF  THE  GODS. 

We  read  of  Paulus  Emilius,  that  first  captain  of  his  illustrious  age, 
that  he  caused  no  less  marvel  by  his  wisdom  and  worth  to  the  people  of 
Greece  and  of  many  other  nations  who  had  assembled  in  Amphipolis 
to  celebrate  various  most  noble  spectacles  there  after  the  victory  that  he 
had  won,  than  by  the  circumstance  that  first,  vanquishing  Perseus  and 
subjugating  Macedonia,  he  had  borne  himself  valiantly  in  the  manage- 
ment of  that  war,  which  was  in  no  small  measure  laborious  and  difficult; 
he  having  been  wont  to  say  that  it  is  scarcely  less  the  office  of  a  good 
captain,  requiring  no  less  order  and  no  less  wisdom,  to  know  how  to  pre- 


OF  THE  ACADEMICIANS  127 

pare  a  banquet  well  in  time  of  peace,  than  to  know  how  to  marshal  an 
army  for  a  deed  of  arms  in  time  of  war.  Wherefore  if  our  glorious  Duke, 
born  to  do  everything  with  noble  worth  and  grandeur,  displayed  the  same 
wisdom  and  the  same  order  in  those  spectacles,  and,  above  all,  in  that  one 
which  I  am  about  to  describe,  I  believe  that  he  will  not  take  it  amiss  that 
I  have  been  unwilling  to  refrain  from  saying  that  he  was  in  every  part 
its  inventor  and  ordinator,  and  in  a  certain  sense  its  executor,  preparing 
all  the  various  things,  and  then  representing  them,  with  so  much  order, 
tranquillity,  wisdom,  and  magnificence,  that  among  his  many  glorious 
actions  this  one  also  may  be  numbered  to  his  supreme  glory. 

Now,  yielding  to  him  who  wrote  of  it  in  those  days  with  infinite 
learning,  before  me,  and  referring  to  that  work  those  who  may  seek 
curiously  to  see  how  every  least  thing  in  this  masquerade,  which  had  as 
title  the  Genealogy  of  the  Gods,  was  figured  with  the  authority  of  excel- 
lent writers,  and  passing  over  whatever  I  may  judge  to  be  superfluous 
in  this  place,  let  me  say  that  even  as  we  read  that  some  of  the  ancient 
Gods  were  invited  to  the  nuptials  of  Peleus  and  Thetis  in  order  to  render 
them  auspicious  and  fortunate,  so  to  the  nuptials  of  this  new  and  most 
excellent  bridal  pair  it  appeared  that  there  had  come  for  the  same  reason 
not  some  only  of  these  same  Gods,  but  all,  and  not  invited,  but  seeking 
to  introduce  themselves  and  by  their  own  wish,  the  good  auguring  them 
the  same  felicity  and  contentment,  and  the  harmful  assuring  them  that 
they  would  do  them  no  harm.  Which  conception  appeared  gracefully 
expressed  in  the  following  fashion  by  four  madrigals  that  were  sung  at 
various  times  in  the  principal  places  by  four  very  full  choirs,  even  as  has 
been  told  of  the  Triumph  of  Dreams;  saying: 

L'  alta  che  fino  al  ciel  fama  rimbomba 
Delia  leggiadra  Sposa, 
Che  in  questa  riva  erbosa 
D'  Arno,  Candida  e  pura,  alma  colomba 
Oggi  lieta  sen  vola  e  dolce  posa, 
Dalla  celeste  sede  ha  noi  qui  tratti, 
Perche  piu  leggiadri  atti 
E  bellezza  piu  vaga  e  piu  felice 
Veder  gia  mai  non  lice. 


128  OF  THE  ACADEMICIANS 

Ne  pur  la  tua  festosa 

Vista,  o  Flora,  e  le  belle  alme  tue  dive 

Traggionne  alle  tue  rive, 

Ma  il  lume  e  1  sol  della  novella  Sposa, 

Che  piu  che  mai  gioiosa 

Di  suo  bel  seggio  e  freno 

Al  gran  Tosco  divin  corcasi  in  seno. 

Da'  bei  lidi,  che  mai  caldo  ne  gielo 
Discolora,  vegnam ;  ne  vi  crediate 
Ch'  altrettante  beate 

Schiere  e  sante  non  abbia  il  Hondo  e  il  Cielo ; 
Ma  vostro  terren  velo 
E  lor  soverchio  lume, 
Questo  e  quel  vi  contende  amico  nume. 

Ha  quanti  il  Cielo,  ha  quanti 

Iddii  la  Terra  e  F  Onda  al  parer  vostro ; 

Ma  Dio  solo  e  quell'  un  che  il  sommo  chiostro 

Alberga  in  mezzo  a  mille  Angeli  santi, 

A  cui  sol  giunte  avanti 

Posan  le  pellegrine 

E  stanche  anime  al  fine,  al  fin  del  giorno, 

Tutto  allegrando  il  Ciel  del  suo  ritorno. 

I  believe  I  can  affirm  most  surely  that  this  masquerade — a  spectacle 
only  to  be  arranged  by  the  hand  of  a  wise,  well-practised,  great,  and 
valiant  Prince,  and  in  which  almost  all  the  lords  and  gentlemen  of  the 
city,  and  many  strangers,  took  part — was  without  a  doubt  the  greatest, 
the  most  magnificent,  and  the  most  splendid  which  can  be  remembered 
to  have  been  held  in  any  place  for  many  centuries  down  to  our  own 
times,  for  the  greater  part  of  the  vestments  were  not  only  made  of  cloth 
of  gold  and  silver  and  other  very  rich  draperies,  and,  when  the  place  re- 
quired it,  of  the  finest  skins,  but,  what  is  more  (art  surpassing  the 
materials),  composed  with  rare  and  marvellous  industry,  invention,  and 
loveliness;  and  to  the  end  that  the  eyes  of  the  spectators,  as  they  gazed, 
might  be  able  with  greater  satisfaction  to  recognize  one  by  one  which  of 
the  Gods  it  was  intended  to  represent,  it  was  thought  expedient  to  pro- 
ceed to  divide  them  into  twenty-one  distinct  companies,  placing  at  the 
head  of  each  company  one  that  should  be  considered  as  the  chief,  and 


OF  THE  ACADEMICIANS  129 

causing  each  of  these,  for  greater  magnificence  and  grandeur,  and  because 
they  are  so  figured  by  the  ancient  poets,  to  be  drawn  upon  appropriate 
cars  by  their  appropriate  and  particular  animals.     Now  in  these  cars, 
which  were  beautiful,  fantastic,  and  bizarre  beyond  belief,  and  most 
splendid  with  silver  and  gold,  and  in  representing  as  real  and  natural 
the  above-named  animals  that  drew  them,  without  a  doubt  the  dexterity 
and  excellence  of  the  ingenious  craftsmen  were  such,  that  not  only  they 
surpassed  all  things  done  up  to  that  time  both  within  and  without  the 
city,  which  at  all  times  has  had  a  reputation  for  rare  mastery  in  such 
things,  but  they  also  (infinite  marvel !)  took  away  from  everyone  all  hope 
of  ever  being  able  to  see  another  thing  so  heroic  or  so  lifelike.     Beginning, 
then,  with  those  Gods  who  were  such  that  they  were  reputed  to  be  the 
first  causes  and  the  first  fathers  of  the  others,  we  will  proceed  to  describe 
each  of  the  cars  and  of  the  companies  that  preceded  them.     And  since 
the  representation  was  of  the  Genealogy  of  the  Gods,  making  a  beginning 
with  Demogorgon,  the  first  father  of  them  all,  and  with  his  car,  we  have 
to  say  that  after  a  graceful,  lovely,  and  laurel-crowned  Shepherd,  repre- 
senting the  ancient  poet  Hesiod,  who,  singing  of  the  Gods  in  his  Theogony, 
first  wrote  their  genealogy,  and  who,  as  guide,  carried  in  his  hand  a  large, 
square,  and  ancient  ensign,  wherein  were  depicted  in  divers  colours 
Heaven  and  the  four  Elements,  and  in  the  centre  was  painted  a  large 
Greek  O,  crossed  with  a  serpent  that  had  the  head  of  a  hawk ;  and  after 
eight  trumpeters  who  were  gesticulating  in  a  thousand  graceful  and 
sportive  ways,  representing  those  tibicines  who,  having  been  prevented 
from  eating  in  the  temple,  fled  in  anger  to  Tibur,  but  were  made  drunk 
and  put  to  sleep  by  deceit,  and  brought  back  with  many  privileges  to 
Rome;  beginning,  I  say,  with  Demogorgon,  there  was  seen  his  car  in  the 
form  of  a  dark  and  double  cavern  drawn  by  two  awful  dragons,  and  for 
Demogorgon  was  seen  a  figure  of  a  pallid  old  man  with  the  hair  ruffled, 
all  wrapped  in  mist  and  dark  fog,  lying  in  utter  sloth  and  negligence  in 
the  front  part  of  the  cavern,  and  accompanied  on  one  side  by  youthful 
Eternity  adorned  (because  she  never  grows  old)  with  verdant  draperies, 
and  on  the  other  side  by  Chaos,  who  had  the  appearance,  as  it  were,  of 
a  mass  without  any  shape.     Beyond  that  cavern,  which  contained  the 
x.  17 


130  OF  THE  ACADEMICIANS 

three  figures  described,  rose  a  graceful  little  mound  all  covered  and 
adorned  with  trees  and  various  plants,  representing  Mother  Earth,  at  the 
back  of  which  was  seen  another  cavern,  but  darker  and  deeper  than  that 
already  described,  wherein  Erebus  was  shown  likewise  lying  in  the  guise 
that  has  been  told  of  his  father  Demogorgon,  and  in  like  manner  accom- 
panied on  one  side  by  Night,  the  daughter  of  Earth,  with  two  children 
in  her  arms,  one  white  and  the  other  dark,  and  on  the  other  side  by 
^Ether,  the  child  of  the  aforesaid  Night  and  Erebus,  who  must  be  figured, 
so  it  appeared,  as  a  resplendent  youth  with  a  ball  of  turquoise-blue  in 
the  hand.     At  the  foot  of  the  car,  then,  was  seen  riding  Discord,  who 
separates  things  confused  and  is  therefore  held  by  philosophers  to  pre- 
serve the  world,  and  who  is  regarded  as  the  first  daughter  of  Demogorgon; 
and  with  her  the  three  Fates,  who  were  shown  spinning  various  threads 
and  then  cutting  them.     And  in  the  form  of  a  youth  all  robed  in  draperies 
of  turquoise-blue  was  seen  Polus,  who  had  a  terrestrial  globe  in  the  hand, 
and  over  him,  alluding  to  the  fable  that  is  related  of  him,  many  sparks 
appeared  to  have  been  scattered  from  a  vase  of  glowing  coals  that  was 
beneath  him;  and  there  was  seen  Python,  also  the  son  of  Demogorgon, 
all  yellow  and  with  a  mass  of  fire  in  the  hand,  who  seemed  to  have  come 
in  the  company  of  his  brother  Polus.     After  them,  then,  came  Envy, 
the  daughter  of  Erebus  and  Night,  and  with  her  Timidity,  her  brother, 
in  the  form  of  a  pallid  and  trembling  old  man,  who  had  the  head-dress 
and  all  the  other  vestments  made  from  skins  of  the  timid  deer.     And 
after  these  was  seen  Obstinacy,  who  is  born  from  the  same  seed,  all  in 
black,  with  some  boughs  of  ivy  that  seemed  to  have  taken  root  upon  her; 
and  with  the  great  cube  of  lead  that  she  had  on  the  head  she  gave  a  sign 
of  that  Ignorance  wherewith  Obstinacy  is  said  to  be  joined.     She  had 
in  her  company  Poverty,  her  sister,  who  was  seen  all  pale  and  raging, 
and  negligently  covered  rather  than  clothed  in  black;  and  with  them  was 
Hunger,  born  likewise  from  the  same  father,  who  was  seen  feeding  the 
while  on  roots  and  wild  herbs.     Then  Complaint  or  Querulousness,  their 
sister,  covered  with  tawny  draperies,  and  with  the  querulous  solitary 
rock- thrush,  which  was  seen  to  have  made  her  nest  in  her  head-dress,  was 
shown  walking  in  profound  melancholy  after  them,  having  in  her  com- 


OF  THE  ACADEMICIANS  131 

pany  the  sister  common  to  them,  called  Infirmity,  who  by  her  meagre- 
ness  and  pallor,  and  by  the  garland  and  the  little  stalk  of  anemone  that 
she  held  in  her  hand,  made  herself  very  well  known  to  the  spectators 
for  what  she  was.  And  on  her  other  side  was  the  other  sister,  Old  Age, 
with  white  hair  and  all  draped  in  simple  black  vestments,  who  likewise 
had,  not  without  reason,  a  stalk  of  cress  in  the  hand.  The  Hydra  and 
the  Sphinx,  daughters  of  Tartarus,  in  the  guise  wherein  they  are  generally 
figured,  were  seen  coming  behind  them  in  the  same  beautiful  order;  and 
after  these,  to  return  to  the  other  daughters  of  Erebus  and  Night,  was 
seen  License,  all  nude  and  dishevelled,  with  a  garland  of  vine-leaves  on 
the  head,  and  keeping  the  mouth  open  without  any  restraint,  and  in  her 
company  was  Falsehood,  her  sister,  all  covered  and  wrapped  in  various 
draperies  of  various  colours,  with  a  magpie  on  the  head  for  better  recog- 
nition, and  with  a  cuttle-fish  in  the  hand.  These  had  Thought  walking 
on  a  level  with  them,  represented  as  an  old  man,  likewise  all  dressed  in 
black,  with  an  extravagant  head-dress  of  peach-stones  on  the  head,  and 
showing  beneath  the  vestments,  which  at  times  fluttered  open  with  the 
wind,  the  breast  and  the  whole  person  pricked  and  pierced  by  a  thousand 
sharp  thorns.  Momus,  then,  the  God  of  censure  and  of  evil-speaking, 
was  seen  coming  after  them  in  the  form  of  a  bent  and  very  loquacious 
old  man;  and  with  them,  also,  the  boy  Tages,  all  resplendent,  although 
he  was  the  son  of  Earth,  figured  in  such  a  manner  because  he  was  the  first 
inventor  of  the  soothsayer's  art,  in  token  of  which  there  was  hung  from 
his  neck  a  lamb  split  down  the  middle,  which  showed  a  good  part  of  the 
entrails.  There  was  seen,  likewise,  in  the  form  of  an  immense  giant, 
the  African  Antaeus,  his  brother,  who,  clothed  in  barbaric  vestments, 
with  a  dart  in  the  right  hand,  appeared  to  wish  to  give  on  that  day  mani- 
fest signs  of  his  vaunted  prowess.  And  following  after  him  was  seen 
Day,  also  the  son  of  Erebus  and  Night,  represented  in  like  manner  as  a 
resplendent  and  joyous  youth,  all  adorned  with  white  draperies  and 
crowned  with  ornithogal,  in  whose  company  was  seen  Fatigue,  his  sister, 
who,  clothed  in  the  skin  of  an  ass,  had  made  herself  a  cap  from  the  head 
of  the  same  animal,  with  the  ears  standing  erect,  not  without  laughter 
among  the  spectators;  to  which  were  added  two  wings  of  the  crane, 


132  OF  THE  ACADEMICIANS 

and  in  her  hands  were  placed  also  the  legs  of  the  same  crane,  because 
of  the  common  opinion  that  this  renders  men  indefatigable  against  all 
fatigue.  And  Jurament,  born  of  the  same  parents,  in  the  form  of  an  old 
priest  all  terrified  by  an  avenging  Jove  that  he  held  in  the  hand,  and 
bringing  to  conclusion  the  band  attributed  to  the  great  father  Demo- 
gorgon,  was  the  last  in  their  company. 

And  here,  judging  that  with  these  deities  the  origins  of  all  the  other 
Gods  had  been  made  sufficiently  manifest,  the  followers  of  the  first  car 
were  brought  to  an  end. 

SECOND  CAR,  OF  HEAVEN. 

In  a  second  car  of  more  pleasing  appearance,  which  was  dedicated 
to  the  God  Heaven,  held  by  some  to  be  the  son  of  the  above-named 
5£ther  and  Day,  was  seen  that  jocund  and  youthful  God  clothed  in  bright- 
shining  stars,  with  a  crown  of  sapphires  on  the  brow,  and  with  a  vase  in 
the  hand  that  contained  a  burning  flame,  and  seated  upon  a  ball  of 
turquoise-blue  all  painted  and  adorned  with  the  forty-eight  celestial 
signs;  and  in  that  car,  which  was  drawn  by  the  Great  and  the  Little  Bear, 
the  one  known  by  the  seven  and  the  other  by  the  twenty-one  stars  with 
which  they  were  all  dotted,  there  were  seen  painted,  in  order  to  render 
it  ornate  and  rich  in  pomp,  with  a  most  beautiful  manner  and  a  graceful 
distribution,  seven  of  the  fables  of  that  same  Heaven.  In  the  first  was 
figured  his  birth — in  order  to  demonstrate,  not  without  reason,  the  other 
opinion  that  is  held  of  it — which  is  said  to  have  been  from  Earth ;  even 
as  in  the  second  was  seen  his  union  with  the  same  Mother  Earth,  from 
which  were  born,  besides  many  others,  Cottus,  Briareus,  and  Gyges,  who, 
it  is  believed,  had  each  a  hundred  hands  and  fifty  heads;  and  there  were 
born  also  the  Cyclopes,  so  called  from  the  single  eye  that  they  had  on 
the  brow.  In  the  third  was  seen  how  he  imprisoned  their  common 
children  in  the  caverns  of  that  same  Earth,  that  they  might  never  be  able 
to  see  the  light;  even  as  in  the  fourth  their  Mother  Earth,  seeking  to 
deliver  them  from  such  oppression,  was  seen  exhorting  them  to  take  a 
rightful  vengeance  on  their  cruel  father;  wherefore  in  the  fifth  his  genital 


OF  THE  ACADEMICIANS  133 

members  were  cut  off  by  Saturn,  when  from  their  blood  on  one  side  it 
appeared  that  the  Furies  and  the  Giants  were  born,  and  on  the  other, 
from  the  foam  that  was  shown  fallen  into  the  sea,  was  seen  a  different 
birth,  from  which  sprang  the  beautiful  Venus.     In  the  sixth  was  seen  ex- 
pressed the  anger  that  he  showed  against  the  Titans,  because,  as  has  been 
told,  they  had  allowed  his  genitals  to  be  cut  off;  and  in  the  seventh  and 
last,  likewise,  was  seen  the  same  God  adored  by  the  Atlantides,  with 
temples  and  altars  devoutly  raised  to  him.     Now  at  the  foot  of  the  car 
(as  with  the  other  already  described)  was  seen  riding  the  black,  old,  and 
blindfolded  Atlas,  who  has  been  reputed  to  have  supported  Heaven  with 
his  stout  shoulders,  on  which  account  there  had  been  placed  in  his  hands 
a  great  globe  of  turquoise-blue,  dotted  with  stars.     After  him  was  seen 
walking  in  the  graceful  habit  of  a  huntsman  the  young  and  beautiful 
Hyas,  his  son,  in  whose  company  were  his  seven  sisters,  also  called  Hyades, 
five  of  whom,  all  resplendent  in  gold,  were  seen  to  have  each  on  the  head 
a  bull's  head,  for  the  reason  that  they  are  said  to  form  an  ornament  to 
the  head  of  the  Heavenly  Bull;  and  the  two  others,  as  being  less  bright 
in  the  heavens,  it  was  thought  proper  to  clothe  in  grey  cloth  of  silver. 
After  these  followed  the  seven  Pleiades,  daughters  of  the  same  Atlas, 
figured  as  seven  other  similar  stars;  one  of  whom,  for  the  reason  that 
she  shines  with  little  light  in  the  heavens,  it  was  thought  right  and  proper 
to  adorn  only  with  the  same  grey  cloth,  whereas  the  six  others,  because 
they  are  resplendent  and  very  bright,  were  seen  in  front  glittering  and 
flashing  with  an  infinite  abundance  of  gold,  but  at  the  back  they  were 
clothed  only  in  vestments  of  pure  white,  that  being  intended  to  signify 
that  even  as  at  their  first  appearance  the  bright  and  luminous  summer 
seems  to  have  its  beginning,  so  at  their  departure  it  is  seen  that  they 
leave  us  dark  and  snowy  winter;  which  was  also  expressed  by  the  head- 
dress, which  had  the  front  part  woven  of  various  ears  of  corn,  even  as 
the  back  appeared  to  be  composed  of  snow,  ice,  and  hoar-frost.     There 
followed  after  these  the  old  and  monstrous  Titan,  who  had  with  him  the 
proud  and  audacious  lapetus,  his  son.     And  Prometheus,  who  was  born 
of  lapetus,  was  seen  coming  after  them  all  grave  and  venerable,  with  a 
little  statue  of  clay  in  one  of  his  hands,  and  in  the  other  a  burning  torch, 


134  OF  THE  ACADEMICIANS 

denoting  the  fire  that  he  is  said  to  have  stolen  from  Jove  out  of  Heaven 
itself.  And  after  him,  as  the  last,  to  conclude  the  company  of  the  second 
car,  there  were  seen  coming,  with  a  Moorish  habit  and  with  a  sacred 
elephant's  head  as  a  cap,  likewise  two  of  the  Atlantides,  who,  as  has  been 
told,  first  adored  Heaven ;  and,  in  addition,  in  token  of  the  things  that 
were  used  by  them  in  their  first  sacrifices,  there  were  in  the  hands  of  both, 
in  a  great  bundle,  the  ladle,  the  napkin,  the  cleaver,  and  the  casket  of 
incense. 

THIRD  CAR,  OF  SATURN. 

Saturn,  the  son  of  Heaven,  all  white  and  old,  who  was  shown  greedily 
devouring  some  children,  had  the  third  car,  no  less  ornate  than  the  last, 
and  drawn  by  two  great  black  oxen ;  and  to  enhance  the  beauty  of  that 
car,  even  as  in  the  last  there  were  seven  fables  painted,  so  in  that  one  it 
was  thought  proper  that  five  of  his  fables  should  be  painted.  For  the 
first,  therefore,  was  seen  this  God  surprised  by  his  wife  Ops  as  he  lay 
taking  his  pleasure  of  the  gracious  and  beautiful  Nymph  Philyra,  on  which 
account  being  constrained  to  transform  himself  into  a  horse  in  order 
not  to  be  recognized  by  her,  it  was  shown  how  from  that  union  there  was 
born  afterwards  the  Centaur  Cheiron.  Even  as  in  the  second  was  seen 
his  other  union  with  the  Latin  Entoria,  from  which  sprang  at  one  and  the 
same  birth  Janus,  Hymnus,  Felix,  and  Faustus,  by  whom  the  same 
Saturn  distributed  among  the  human  race  that  so  useful  invention  of 
planting  vines  and  making  wine;  and  there  was  seen  Janus  arriving  in 
Latium  and  there  teaching  his  father's  invention  to  the  ignorant  people, 
who,  drinking  intemperately  of  the  new  and  most  pleasing  liquor,  and 
therefore  sinking  little  by  little  into  a  most  profound  sleep,  when  finally 
they  awakened,  thinking  that  they  had  been  poisoned  by  him,  were  seen 
rushing  impiously  to  stone  and  slay  him;  on  which  account  Saturn, 
moved  to  anger,  chastised  them  with  a  most  horrible  pestilence;  but  in 
the  end  it  was  shown  how  he  was  pacified  and  turned  to  mercy  by  the 
humble  prayers  of  the  miserable  people  and  by  the  temple  built  by 
them  upon  the  Tarpeian  rock.  In  the  third,  then,  was  seen  figured  how, 
Saturn  seeking  cruelly  to  devour  his  son  Jove,  his  shrewd  wife  and  com- 


OF  THE  ACADEMICIANS  135 

passionate  daughters  sent  to  him  in  J  ove's  stead  the  stone,  which  he  brought 
up  again  before  them,  being  left  thereby  in  infinite  sorrow  and  bitterness. 
Even  as  in  the  fourth  was  painted  the  same  fable  of  which  there  has  been 
an  account  in  speaking  of  the  above-described  car  of  Heaven — namely, 
how  he  cut  off  the  genitals  of  the  above-named  Heaven,  from  which  the 
Giants,  the  Furies,  and  Venus  had  their  origin.  And  in  the  last,  like- 
wise, was  seen  how,  after  he  was  made  a  prisoner  by  the  Titans,  he  was 
liberated  by  his  compassionate  son  Jove.  And  then,  to  demonstrate 
the  belief  that  is  held  by  some,  that  history  first  began  to  be  written  in 
the  time  of  Saturn,  there  was  seen  figured  with  the  authority  of  an 
approved  writer  a  Triton  blowing  a  sea-conch,  with  the  double  tail  as 
it  were  fixed  in  the  earth,  closing  the  last  part  of  the  car;  at  the  foot  of 
which  (as  has  been  told  of  the  others)  was  seen  a  pure  maiden,  repre- 
senting Pudicity,  adorned  with  green  draperies  and  holding  a  white 
ermine  in  her  arms,  with  a  gilded  topaz-collar  about  the  neck.  She,  with 
the  head  and  face  covered  with  a  yellow  veil,  had  in  her  company  Truth, 
likewise  figured  in  the  form  of  a  most  beautiful,  delicate,  and  pure  young 
woman,  clothed  only  in  a  few  white  and  transparent  veils;  and  these, 
walking  in  a  manner  full  of  grace,  had  between  them  the  happy  Age  of 
Gold,  also  figured  as  a  pure  and  gracious  virgin,  wholly  nude,  and  all 
crowned  and  adorned  with  those  first  fruits  produced  by  herself  from  the 
earth.  After  them  followed  Quiet,  robed  in  black  draperies,  in  the  aspect 
of  a  young  but  very  grave  and  venerable  woman,  who  had  as  head-dress 
a  nest  composed  in  a  most  masterly  manner,  in  which  was  seen  lying  an 
old  and  featherless  stork,  and  she  walked  between  two  black  priests,  who, 
crowned  with  fig-leaves,  and  each  with  a  branch  of  the  same  fig  in  one 
hand,  and  in  the  other  a  basin  containing  a  flat  cake  of  flour  and  honey, 
seemed  to  wish  to  demonstrate  thereby  that  opinion  which  is  held  by 
some,  that  Saturn  was  the  first  discoverer  of  grain-crops;  for  which 
reason  the  Cyrenaeans  (and  even  such  were  the  two  black  priests)  are  said 
to  have  been  wont  to  offer  him  sacrifices  of  those  things  named  above. 
These  were  followed  by  two  Roman  priests,  who  appeared  likewise  to 
be  about  to  sacrifice  to  him  some  waxen  images,  as  it  were  after  the  more 
modern  use,  since  they  were  seen  delivered  by  means  of  the  example  of 


136  OF  THE  ACADEMICIANS 

Hercules,  who  used  similar  waxen  images,  from  the  impious  custom  of 
sacrificing  men  to  Saturn,  introduced  into  Italy  by  the  Pelasgians.  These, 
like  the  others  with  Quiet,  had  likewise  between  them  the  venerable 
Vesta,  daughter  of  Saturn,  who,  very  narrow  in  the  shoulders  and  very 
broad  and  full  in  the  flanks,  after  the  manner  of  a  round  ball,  and  dressed 
in  white,  carried  a  lighted  lamp  in  the  hand.  And  after  them,  as  the 
last,  closing  the  third  company,  was  seen  coming  the  Centaur  Cheiron, 
the  son,  as  has  been  told,  of  Saturn,  armed  with  sword,  bow,  and  quiver; 
and  with  him  another  of  the  sons  of  the  same  Saturn,  holding  the  crooked 
lituus  (for  the  reason  that  he  was  an  augur)  in  the  hand,  and  all  robed 
in  green  draperies,  with  a  bird,  the  woodpecker,  on  the  head,  because 
into  such  a  bird,  according  as  the  fables  tell,  it  is  believed  that  he  was 
transformed  by  Cheiron. 

FOURTH  CAR,  OF  THE  SUN. 

To  the  resplendent  Sun  was  dedicated  the  fourth  car,  all  glittering, 
gilded,  and  jewelled,  which,  drawn  according  to  custom  by  four  swift 
and  winged  coursers,  was  seen  to  have  Velocity,  with  a  head-dress  of  a 
dolphin  and  a  sail  on  the  head,  as  charioteer;  and  in  it  were  painted  (as 
has  been  told  of  the  others),  but  with  a  different  distribution,  and  as 
pleasing  and  gracious  as  could  well  be  imagined,  seven  of  his  fables. 
For  the  first  of  these  was  seen  the  fate  of  the  too  audacious  Phaethon, 
who  contrived  so  ill  to  guide  that  same  car,  even  as  for  the  second  was 
seen  the  death  of  the  serpent  Python,  and  for  the  third  the  chastisement 
inflicted  on  the  rash  Marsyas.  In  the  fourth  was  seen  how  the  Sun 
deigned  for  a  time  to  lead  a  humble  pastoral  life,  grazing  the  flocks  of 
Admetus;  even  as  in  the  fifth  was  seen  how,  flying  from  the  fury  of 
Typhoeus,  he  was  constrained  to  change  himself  into  a  raven.  In  the 
sixth  were  likewise  depicted  his  other  transformations,  first  into  a  lion 
and  then  into  a  hawk;  and  as  the  last  was  seen  his  love  received  so  ill 
by  the  timid  Daphne,  who  finally,  as  is  very  well  known,  was  changed 
by  the  compassion  of  the  Gods  into  laurel.  At  the  foot  of  the  car,  then, 
were  seen  riding,  all  winged  and  of  different  ages  and  colours,  the  Hours, 


OF  THE  ACADEMICIANS  137 

the  handmaids  and  ministers  of  the  Sun,  each  of  whom,  in  imitation  of 
the  Egyptians,  carried  a  hippopotamus  in  the  hand,  and  was  crowned  with 
flowers  of  the  lupine;  and  behind  them,  likewise  following  the  Egyptian 
custom,  in  the  form  of  a  young  man  all  dressed  in  white,  with  two  little 
horns  on  the  head  that  were  turned  towards  the  ground,  and  with  a  gar- 
land of  oriental  palm,  was  seen  walking  the  Month,  carrying  in  the  hand 
a  calf  which,  not  without  reason,  had  only  one  horn.  And  after  him 
was  seen  likewise  walking  the  Year,  with  the  head  all  covered  with  ice 
and  snow,  the  arms  wreathed  in  flowers  and  garlands,  and  the  breast  and 
stomach  all  adorned  with  ears  of  corn,  even  as  the  thighs  and  legs,  also, 
were  seen  to  be  all  wet  and  stained  with  must,  while  in  one  hand  he  carried, 
as  a  symbol  of  his  circling  course,  a  circle  formed  by  a  serpent  that 
appeared  to  be  seeking  to  devour  the  tail  with  the  mouth,  and  in  the 
other  hand  a  nail,  such  as  the  ancient  Romans  used,  so  we  read,  to  keep 
count  of  the  years  in  their  temples.  Then  came  rosy  Aurora,  all  pleasing, 
fair,  and  lissom,  with  a  little  yellow  mantle,  and  with  an  ancient  lamp 
in  the  hand,  seated  with  most  beautiful  grace  upon  the  horse  Pegasus. 
In  her  company  was  seen  the  physician  ^Esculapius,  in  the  habit  of  a 
priest,  with  a  knotted  stick  and  a  ruddy  serpent  in  the  hands,  and  a  dog 
at  his  feet;  and  with  them  the  young  Phaethon,  also  (like  ^Esculapius) 
the  child  of  the  Sun,  who,  all  burning,  to  recall  the  memory  of  his  unhappy 
fate,  appeared  to  wish  to  transform  himself  into  even  such  a  swan  as  he 
carried  in  his  hand.  Orpheus,  next,  their  brother,  was  seen  walking 
behind  them,  young  and  much  adorned,  but  of  a  presence  grave  and 
venerable,  with  the  tiara  on  his  head,  and  seeming  to  play  a  most  ornate 
lyre;  and  with  him  was  seen  the  enchantress  Circe,  likewise  the  daughter 
of  the  Sun,  with  a  band  around  the  head,  which  was  a  sign  of  her 
sovereignty,  and  in  the  habit  of  a  matron,  and  she  was  shown  holding  in 
the  hand,  in  place  of  a  sceptre,  a  little  branch  of  larch  and  another  of 
cedar,  with  the  fumes  of  which  it  is  said  that  she  used  to  contrive  the 
greater  part  of  her  enchantments.  And  the  nine  Muses,  walking  in  gra- 
cious order,  formed  a  most  beautiful  finish  to  the  last  part  of  the  lovely 
company  just  described;  who  were  seen  figured  in  the  forms  of  most 
graceful  Nymphs,  crowned  with  feathers  of  the  magpie  in  remembrance 
x.  18 


138  OF  THE  ACADEMICIANS 

of  the  Sirens  vanquished  by  them,  and  with  feathers  of  other  kinds, 
and  holding  various  musical  instruments  in  the  hands,  while  among  the 
last  of  them,  who  held  the  most  honourable  place,  was  set  Memory, 
mother  of  the  Muses,  adorned  with  rich  black  draperies,  and  holding  in 
the  hand  a  little  black  dog,  signifying  the  marvellous  memory  which 
that  animal  is  said  to  have,  and  with  the  head-dress  fantastically  com- 
posed of  the  most  different  things,  denoting  the  so  many  and  so  different 
things  that  the  memory  is  able  to  retain. 

FIFTH  CAR,  OF  JOVE. 

The  great  father  of  mankind  and  of  the  Gods,  Jove,  the  son  of 

Saturn,  had  the  fifth  car,  ornate  and  rich  in  pomp  beyond  all  the  others; 

for,  besides  the  five  fables  that  were  seen  painted  there,  as  with  the  others, 

it  was  rendered  rich  and  marvellous  beyond  belief  by  three  statues  that 

served  as  most  imposing  partitions  to  those  fables.     By  one  of  these  was 

seen  represented  the  image,  such  as  it  is  believed  to  have  been,  of  the 

young  Epaphus,  the  son  of  lo  and  Jove,  and  by  the  second  that  of  the 

lovely  Helen,  who  was  born  from  Leda  at  one  birth  with  Castor  and 

Pollux;  even  as  by  the  last  was  represented  that  of  the  grandfather  of 

the  sage  Ulysses,  called  Arcesius.     For  the  first  of  the  fables  already 

mentioned  was  seen  Jove  transformed  into  a  Bull,  conveying  the  trusting 

Europa  to  Crete,  even  as  for  the  second  was  seen  his  perilous  rape  as  he 

flew  to  Heaven  in  the  form  of  an  Eagle  with  the  Trojan  Ganymede,  and 

for  the  third  his  other  transformation  into  fire  when  he  wished  to  lie  with 

the  beautiful  ^Egina,   daughter  of  Asopus.     For  the  fourth  was  seen 

the  same  Jove,  changed  into  a  rain  of  gold,  falling  into  the  lap  of  his 

beloved  Danae;  and  in  the  fifth  and  last  he  was  seen  delivering  his  father 

Saturn,  who,  as  has  been  told  above,  was  unworthily  held  prisoner  by  the 

Titans.     In  such  and  so  adorned  a  car,  then,  and  upon  a  most  beautiful 

throne  composed  of  various  animals  and  of  many  gilded  Victories,  with 

a  little  mantle  woven  of  divers  animals  and  plants,  the  above-named 

great  father  Jove  was  seen  seated  in  infinite  majesty,  with  a  garland  of 

leaves  similar  to  those  of  the  common  olive,  and  in  the  right  hand  a  Vic- 


OF  THE  ACADEMICIANS  139 

tory  crowned  with  a  band  of  white  wool,  and  in  the  left  hand  a  royal 
sceptre,  at  the  head  of  which  was  shown  poised  the  imperial  Eagle.  At 
the  foot  of  the  throne,  to  render  it  more  imposing  and  pompous,  was  seen 
on  one  side  Niobe,  with  her  children,  dying  by  the  shafts  of  Apollo  and 
Diana,  and  on  the  other  side  seven  men  in  combat,  who  were  seen  to  have 
in  their  midst  a  boy  with  the  head  bound  with  white  wool,  even  as  in 
another  place  could  be  seen  Hercules  and  Theseus,  who  were  shown  in 
combat  with  the  famous  Amazons.  And  at  the  foot  of  the  car,  which  was 
drawn  by  two  very  large  and  very  naturally  figured  eagles,  there  was  seen 
walking  (as  has  been  told  of  the  others)  Bellerophon  adorned  with  a  royal 
habit  and  a  royal  diadem,  in  allusion  to  whose  fable  there  was  seen  over 
that  diadem  the  Chimera  slain  by  him ;  having  in  his  company  the  young 
Perseus,  born  from  Jove  and  Danae,  with  the  usual  head  of  Medusa  in 
his  hand,  and  the  usual  knife  at  his  flank ;  and  with  them  was  the  above- 
named  Epaphus,  who  had  as  a  cap  the  head  of  an  African  elephant. 
Hercules,  the  son  of  Jove  and  Alcmena,  with  the  customary  lion's  skin 
and  the  customary  club,  was  seen  coming  after  them;  and  in  his  company 
he  had  Scythes,  his  brother  (although  born  from  a  different  mother),  the 
first  inventor  of  bow  and  arrows,  on  which  account  his  hands  and  his 
flank  were  seen  furnished  with  these.  After  them  were  seen  the  two  gra- 
cious Twins,  Castor  and  Pollux,  riding  with  an  air  of  no  less  beauty 
upon  two  milk-white  and  spirited  coursers,  and  dressed  in  military  habit; 
each  having  upon  the  helmet,  one  of  which  was  dotted  with  eight  stars 
and  the  other  with  ten,  a  brilliant  little  flame  as  helmet-crest,  in  allusion 
to  that  salutary  light,  now  called  S.  Elmo's  Fire,  which  is  wont  to  appear 
to  mariners  as  a  sign  that  the  tempest  has  passed ;  the  stars  being  intended 
to  signify  how  they  were  placed  in  Heaven  by  Jove  as  the  sign  of  the 
Twins.  Then  Justice  was  seen  coming  after  these,  a  beautiful  maiden, 
who  was  beating  with  a  stick  and  finally  strangling  a  woman  ugly  and 
deformed,  and  in  her  company  were  four  of  the  Gods  Penates,  two  male 
and  two  female,  these  demonstrating — although  in  barbaric  and  ex- 
travagant dress,  and  although  they  had  on  the  head  a  pediment  which, 
with  the  base  turned  upwards,  supported  the  heads  of  a  young  man 
and  an  old — by  the  gilded  chain  with  a  heart  attached  that  they  had 


140  OF  THE  ACADEMICIANS 

about  the  neck,  and  by  their  long,  ample,  and  pompous  vestments,  that 
they  were  persons  of  great  weight  and  of  great  and  lofty  counsel;  which 
was  done  with  much  reason,  seeing  that  they  were  reputed  by  the  ancient 
writers  to  be  the  counsellors  of  Jove.  After  them  were  seen  walking 
the  two  Palici,  born  of  Jove  and  Thaleia,  adorned  with  draperies  of  tawny 
hue,  and  crowned  with  various  ears  of  corn,  and  each  with  an  altar  in 
the  hand;  and  in  their  company  was  larbas,  King  of  Gsetulia,  the  son 
of  the  same  Jove,  crowned  with  a  white  band,  and  with  the  head  of  a 
lion  surmounted  by  a  crocodile  as  a  cap,  and  his  other  garments  inter- 
woven with  leaves  of  cane  and  papyrus  and  various  monsters,  and  with 
the  sceptre  and  a  burning  flame  of  fire  in  the  hands.  Behind  these  were 
seen  coming  Xanthus,  the  Trojan  River,  likewise  the  son  of  Jove,  in 
human  form,  but  all  yellow,  all  nude,  and  all  shorn,  with  the  overflowing 
vase  in  his  hands,  and  Sarpedon,  King  of  Lycia,  his  brother,  in  a  most 
imposing  garb,  and  in  his  hand  a  little  mound  covered  with  lions  and 
serpents.  And  the  last  part  of  that  great  company,  concluding  the  whole, 
was  formed  of  four  armed  Curetes,  who  kept  clashing  their  swords  one 
against  another,  thus  reviving  the  memory  of  Mount  Ida,  where  Jove 
was  saved  from  the  voracious  Saturn  by  their  means,  drowning  by  the 
clash  of  their  arms  the  wailing  of  the  tender  babe;  among  whom,  with 
the  last  couple,  for  greater  dignity,  as  Queen  of  all  the  others,  winged  and 
without  feet,  and  with  much  pomp  and  grandeur,  proud  Fortune  was 
seen  haughtily  approaching. 


SIXTH  CAR,  OF  MARS. 

Mars,  the  proud  and  warlike  God,  covered  with  brightly-shining 
armour,  had  the  sixth  car,  adorned  with  no  little  richness  and  pomp, 
and  drawn  by  two  ferocious  wolves  very  similar  to  the  reality;  and  therein 
his  wife  Neriene  and  his  daughter  Evadne,  figured  in  low-relief,  served 
to  divide  three  of  his  fables,  which  (as  has  been  told  of  the  other  cars) 
were  painted  there.  For  the  first  of  these,  he  was  seen  slaying  the  hapless 
son  of  Neptune,  Halirrhotius,  in  vengeance  for  the  violation  of  Alcippe, 
and  for  the  second  he  was  seen  in  most  amorous  guise  lying  with  Rea 


OF  THE  ACADEMICIANS  141 

Silvia,  and  begetting  by  her  the  two  great  founders  of  Rome,  Romulus 
and  Remus;  even  as  for  the  third  and  last  he  was  seen  miserably  reduced 
to  captivity  (as  happens  often  enough  to  his  followers)  in  the  hands  of 
the  impious  Otus  and  Ephialtes.  Then  before  the  car,  as  the  first  figures, 
preceding  it  on  horseback,  were  seen  two  of  his  priests,  the  Salii,  with 
their  usual  shields,  the  Ancilia,  and  clad  and  adorned  with  their  usual 
armour  and  vestments,  and  wearing  on  their  heads,  in  place  of  helmets, 
two  caps  in  the  likeness  of  cones;  and  they  were  seen  followed  by  the 
above-named  Romulus  and  Remus  in  the  guise  of  shepherds,  covered  in 
rustic  fashion  with  skins  of  wolves,  while,  to  distinguish  the  one  from  the 
other,  Remus  had  six  vultures  placed  in  his  head-dress,  and  Romulus 
twelve,  in  memory  of  his  more  happy  augury.  After  them  came  (Eno- 
maus,  King  of  the  Greek  Pisa,  and  also  the  son  of  Mars,  who  held  in  one 
hand,  as  King,  a  royal  sceptre,  and  in  the  other  a  little  chariot  all  broken, 
in  memory  of  the  treachery  shown  against  him  by  the  charioteer  Myrtilus 
in  his  combat  for  his  daughter  Hippodameia  against  Pelops,  her  lover. 
And  after  him  were  seen  coming  Ascalaphus  and  lalmenus,  likewise  sons 
of  Mars,  adorned  with  a  rich  military  habit;  recalling  by  the  ships  that 
they  had  in  the  hand,  one  for  each,  the  weighty  succour  brought  by  them 
with  fifty  ships  to  the  besieged  Trojans.  These  were  followed  by  the 
beautiful  Nymph  Britona,  daughter  likewise  of  Mars,  with  a  net  in  her 
arms,  in  memory  of  her  miserable  fate;  and  by  the  not  less  beautiful 
Harmonia,  who  was  born  of  the  same  Mars  and  lovely  Venus,  and  became 
the  wife  of  Theban  Cadmus.  To  her,  it  is  said,  Vulcan  once  presented 
a  most  beautiful  necklace,  on  which  account  she  was  seen  with  that 
necklace  about  her  neck;  and  in  the  upper  parts  she  had  the  semblance 
of  a  woman,  but  in  the  lower  parts — denoting  that  she  was  transformed, 
together  with  her  husband,  into  a  serpent — she  was  seen  all  covered  with 
serpent's  skin.  These  had  behind  them,  with  a  bloody  knife  in  the  hand 
and  across  the  shoulders  a  little  kid  split  open,  and  very  fierce  in  aspect, 
Hyperion,  born  from  the  same  father,  by  whom  it  is  said  that  men  were 
first  taught  to  kill  brute-animals,  and  with  him  the  no  less  fierce  ^Etolus, 
likewise  the  offspring  of  Mars;  and  between  them  was  seen  walking 
blind  Rage,  adorned  with  a  red  habit  all  picked  out  with  black  embroidery, 


142  OF  THE  ACADEMICIANS 

with  foaming  mouth,  and  with  a  rhinoceros  on  the  head  and  a  cynocephalus 
upon  the  back.  After  these  walked  Fraud,  with  the  face  of  a  human 
creature  and  with  the  other  parts  as  they  are  described  by  Dante  in  the 
Inferno,  and  Menace,  truly  threatening  in  aspect  with  the  sword  and 
the  staff  that  she  had  in  the  hands,  covered  with  grey  and  red  draperies, 
and  with  the  mouth  open;  and  they  were  seen  to  have  behind  them  Fury, 
the  great  Minister  of  Mars,  and  Death,  pallid  and  not  less  in  harmony 
with  the  same  Mars;  the  first  all  draped  and  tinted  in  dark  red,  with  the 
hands  bound  behind  the  back,  and  seeming  to  be  seated,  all  threatening, 
upon  a  great  bundle  of  various  arms,  and  the  second  all  pallid,  as  has 
been  said,  and  covered  with  black  draperies,  with  the  eyes  closed,  and 
with  a  presence  no  less  awful  and  no  less  horrible.  Spoils,  then,  in  the 
form  of  a  woman  adorned  with  a  lion's  skin,  with  an  ancient  trophy  in 
the  hand,  was  seen  coming  after  these,  and  she  appeared  as  if  desirous 
to  exult  over  two  prisoners,  wounded  and  bound,  who  were  on  either 
side  of  her;  having  behind  her,  as  the  last  line  of  so  terrible  a  company, 
a  woman  of  a  very  stalwart  presence,  with  two  bull's  horns  on  the  head 
and  with  an  elephant  in  the  hand,  representing  Force,  to  whom  Cruelty, 
all  red  and  likewise  awful,  killing  a  little  child,  seemed  to  make  a  true  and 
fit  companion. 

SEVENTH  CAR,  OF  VENUS. 

Very  different  was  the  aspect  of  the  charming,  graceful,  elegant,  and 
gilded  car  of  benign  Venus,  which  was  seen  coming  after  the  last  in  the 
seventh  place,  drawn  by  two  most  peaceful,  snow-white,  and  amorous 
doves;  wherein  were  not  wanting  four  scenes  executed  with  great  mastery, 
to  render  it  pleasing,  gladsome,  and  rich  in  pomp.  For  the  first  of  these 
was  seen  the  lovely  Goddess  transforming  herself  into  a  fish,  to  escape 
from  the  fury  of  the  Giant  Typhceus,  and  for  the  second,  likewise,  she  was 
seen  praying  the  great  father  Jove  most  piteously  that  he  should  deign 
to  make  an  end  at  last  of  the  many  labours  of  her  much-enduring  son 
ZEneas.  In  the  third  was  seen  the  same  Venus  caught  by  her  husband 
Vulcan  with  the  net,  while  lying  with  her  lover  Mars;  even  as  in  the  fourth 
and  last  she  was  seen,  no  less  solicitous  for  her  same  son  ^Eneas,  coming 


OF  THE  ACADEMICIANS  143 

into  accord  with  the  so  inexorable  Juno  to  unite  him  with  the  snares  of 
love  to  the  chaste  Queen  of  Carthage.  The  beautiful  Adonis,  as  her 
dearest  lover,  was  seen  walking  first  before  the  car,  in  the  gracious  habit 
of  a  huntsman,  and  with  him  appeared  as  his  companions  two  charming 
little  Loves,  with  painted  wings  and  with  bows  and  arrows.  These  were 
followed  by  the  marital  Hymeneus,  young  and  beautiful,  with  the 
customary  garland  of  marjoram,  and  in  his  hand  the  lighted  torch;  and 
by  Thalassius  with  the  spear  and  shield,  and  the  little  basket  full  of 
wool.  And  after  them  was  seen  coming  Peitho,  the  Goddess  of  Per- 
suasion, robed  in  the  habit  of  a  matron,  with  a  great  tongue  upon  the 
head  (after  the  Egyptian  custom)  containing  a  bloody  eye,  and  in  the 
hand  another  similar  tongue  which  was  joined  to  another  counterfeited 
hand;  and  with  her  the  Trojan  Paris  in  the  habit  of  a  shepherd,  who 
was  seen  carrying  in  memory  of  his  fable  that  for  him  so  unlucky  apple. 
Even  as  Concord,  in  the  form  of  a  grave  and  beautiful  woman  crowned 
with  a  garland,  with  a  cup  in  one  hand  and  in  the  other  a  sceptre  wreathed 
in  flowers,  could  be  seen  following  these ;  and  with  her,  likewise,  appeared 
as  a  companion  Priapus,  the  God  of  orchards,  with  the  usual  sickle  and 
with  the  lap  all  full  of  fruits;  and  with  them,  with  a  cube  in  the  hand 
and  another  upon  the  head,  Manturna,  who  was  always  invoked  most 
devoutly  by  brides  on  the  first  night  that  they  were  joined  with  their 
husbands,  believing  that  firmness  and  constancy  could  be  infused  by  her 
into  inconstant  minds.  Extravagantly  figured,  next,  was  Friendship, 
who  came  after  these,  for,  although  in  the  form  of  a  young  woman,  she 
was  seen  to  have  the  bare  head  crowned  with  leaves  of  pomegranate  and 
myrtle,  wearing  a  rough  dress,  upon  which  could  be  read,  MORS  ET  VITA; 
with  the  breast  open,  so  that  the  heart  could  be  perceived,  and  there, 
likewise,  were  to  be  read  these  words  written,  LONGE  ET  PROPE;  and 
she  carried  in  the  hand  a  withered  elm-trunk  entwined  with  a  fresh  and 
fertile  vine.  In  her  company  was  Pleasure,  both  the  seemly  and  the 
unseemly,  likewise  extravagantly  figured  in  the  form  of  two  young 
women  that  were  shown  attached  to  one  another  by  the  back ;  one  white, 
and,  as  Dante  said,  cross-eyed  and  with  the  feet  distorted,  and  the  other, 
although  black,  yet  of  a  seemly  and  gracious  form,  girt  with  beautiful 


144  OF  THE  ACADEMICIANS 

consideration  by  the  jewelled  and  gilded  cestus,  with  a  bit  and  a  common 
braccio  for  measuring  in  the  hands.  And  she  was  followed  by  the  Goddess 
Virginensis,  who  used  also  to  be  invoked  in  ancient  nuptials,  that  she 
might  aid  the  husband  to  loose  the  virgin  zone;  on  which  account,  all 
robed  in  draperies  of  white  linen,  with  a  crown  of  emeralds  and  a  cock 
upon  the  head,  she  was  seen  walking  with  the  above-named  zone  and  with 
a  little  branch  of  agnus-castus  in  the  hands.  In  her  company  was  Beauty, 
desired  so  much  and  by  so  many,  in  the  form  of  a  gracious  virgin  wreathed 
in  flowers,  and  all  crowned  with  lilies;  and  with  them  was  Hebe,  the 
Goddess  of  Youth,  likewise  a  virgin,  and  likewise  dressed  with  much 
richness  and  infinite  grace,  and  crowned  with  the  ornament  of  a  lovely 
gilded  garland,  and  carrying  in  the  hand  a  beautiful  little  branch  of 
flowering  almond.  Finally,  that  most  lovely  company  was  concluded 
by  Joy,  likewise  a  virgin,  gracious  and  crowned  with  a  garland,  who  in 
similar  guise  carried  in  the  hand  a  thyrsus  all  woven  of  garlands  and 
various  leaves  and  flowers. 

EIGHTH  CAR,  OF  MERCURY. 

To  Mercury,  who  had  the  caduceus,  the  cap,  and  the  winged  sand 
was  given  the  eighth  car,  drawn  by  two  most  natural  storks,  and  likewise 
enriched  and  adorned  with  five  of  his  fables.  For  the  first  of  these  he 
was  seen  appearing  upon  the  new  walls  of  Carthage,  as  the  Messenger  of 
Jove,  to  the  enamoured  .ZEneas,  and  commanding  him  that  he  should 
depart  thence  and  set  out  on  the  way  to  Italy;  even  as  for  the  second 
was  seen  the  unhappy  Agraulos  converted  by  him  into  stone,  and  for 
the  third  he  was  seen  likewise  at  the  command  of  Jove  binding  the  too 
audacious  Prometheus  to  the  rocks  of  Mount  Caucasus.  In  the  fourth, 
again,  he  was  seen  converting  the  ill-advised  Battus  into  that  stone  that 
is  called  basanite;  and  in  the  fifth  and  last  was  his  slaying,  so  cunningly 
achieved,  of  the  many-eyed  Argus.  For  clearer  demonstration,  that 
same  Argus  was  seen  walking  first  before  the  car,  in  a  pastoral  habit 
all  covered  with  eyes;  and  with  him  was  seen  as  his  companion  Maia, 
the  mother  of  the  above-named  Mercury  and  daughter  of  Faunus,  in  the 


OF  THE  ACADEMICIANS  145 

very  rich  habit  of  a  young  woman,  with  a  vine  upon  the  head  and  a  sceptre 
in  the  hand,  having  some  serpents  tame  in  appearance  that  were  following 
her.  After  these  was  seen  coming  Palaestra,  daughter  of  Mercury,  in 
the  semblance  of  a  virgin  wholly  nude,  but  stalwart  and  proud  to  a  marvel, 
and  adorned  with  various  leaves  of  olive  over  the  whole  person,  with  the 
hair  cut  short,  to  the  end  that  when  fighting,  as  it  was  her  custom  always 
to  do,  it  might  not  give  a  grip  to  the  enemy;  and  with  her  was  Eloquence, 
also  the  daughter  of  Mercury,  robed  in  the  dignified  and  decorous  habit 
of  a  matron,  with  a  parrot  upon  the  head,  and  with  one  of  the  hands 
open.  Next  were  seen  the  three  Graces,  with  the  hands  linked  in  the 
usual  manner,  and  draped  in  most  delicate  veiling;  and  after  them  were 
seen  coming  the  two  Lares,  dressed  in  the  skins  of  dogs,  with  whom  there 
appeared  as  their  companion  Art,  also  in  the  habit  of  a  matron,  with  a 
great  lever  and  a  great  flame  of  fire  in  the  hands.  These  were  followed 
by  Autolycus,  that  most  subtle  thief,  the  son  of  Mercury  and  of  the  Nymph 
Chione,  with  shoes  of  felt  and  a  closed  cap  that  hid  his  face,  having  both 
his  hands  occupied  with  such  a  lantern  as  is  called  a  thieves'  lantern, 
various  picklocks,  and  a  rope-ladder.  And  finally,  Hermaphroditus,  the 
offspring  of  the  same  Mercury  and  of  Venus,  figured  in  the  usual  manner, 
was  seen  bringing  up  the  rear  of  that  little  company. 


NINTH  CAR,  OF  THE  MOON. 

The  ninth  car,  all  silvered,  of  the  Moon,  drawn  by  two  horses,  one 
black  and  the  other  white,  was  seen  passing  in  no  less  lovely  fashion 
after  the  last;  the  Moon,  draped,  as  is  customary,  in  a  white  and  delicate 
veil,  guiding  the  silver  reins  with  grace  most  gracious;  and,  like  the 
others,  it  was  seen  adorned  with  no  less  beauty  and  pomp  by  four  of  her 
fables.  For  the  first  of  these  that  most  gentle  Goddess,  flying  from  the 
fury  of  Typhceus,  was  seen  constrained  to  transform  herself  into  a  cat; 
even  as  in  the  second  she  was  seen  fondly  embracing  and  kissing  beautiful 
Endymion  as  he  lay  asleep,  and  in  the  third  she  was  seen,  won  over  by  a 
delicate  fleece  of  white  wool,  making  her  way  into  a  dark  forest,  there  to 
lie  with  the  enamoured  Pan,  the  God  of  Shepherds.  In  the  fourth  was 

x.  19 


146  OF  THE  ACADEMICIANS 

seen  how  the  same  Endymion  named  above,  for  the  grace  acquired  with 
her,  was  given  pasture  for  his  white  flock ;  and  for  a  better  representation 
of  him  who  was  so  dear  to  the  Moon,  he  was  then  seen  walking  first  before 
the  car,  crowned  with  dittany,  and  in  his  company  a  fair-haired  child, 
with  a  serpent  in  the  hand,  and  also  crowned  with  leaves  of  the  plane, 
representing  the  Good  Genius,  and  a  great  black  man,  awful  in  aspect, 
with  the  beard  and  hair  all  dishevelled  and  with  an  owl  in  the  hand, 
representing  the  Evil  Genius.  These  were  followed  by  the  God  Vaticanus, 
who  is  believed  to  be  able  to  bring  succour  to  the  wailing  of  little  infants, 
robed  in  a  handsome  tawny  habit,  and  with  an  infant  in  his  arms;  and 
with  him  was  likewise  seen  coming,  in  a  splendid  and  well-varied  dress, 
with  a  key  in  the  hand,  the  Goddess  Egeria,  who  is  also  invoked  in  aid  of 
pregnant  women;  and  with  them  the  other  Goddess,  Nundina,  who  like- 
wise protects  the  names  of  little  babes,  in  a  venerable  habit,  with  a 
branch  of  laurel  and  a  sacrificial  vase  in  the  hands.  Then  after  these 
Vitumnus  was  seen  walking,  who  was  reputed  to  breathe  the  soul  into 
children  at  their  birth,  figured  after  the  Egyptian  custom,  and  with  him 
Sentinus,  who  likewise  was  believed  by  the  ancients  to  give  to  the  newly- 
born  the  power  of  the  senses,  on  which  account,  he  himself  being  all 
white,  there  were  seen  in  his  head-dress  the  heads  of  those  five  animals 
that  are  believed  to  have  the  five  senses  more  acute  than  any  of  the  others; 
that  of  an  ape,  namely,  that  of  a  vulture,  that  of  a  wild-boar,  that  of  a 
lynx,  and  that — or  rather,  the  whole  body — of  a  little  spider.  Then 
Edusa  and  Potina,  who  preside  over  the  nourishment  of  those  same 
infants,  were  seen  riding  in  the  same  fashion  as  the  others,  in  the  habit 
of  nymphs,  but  with  breasts  very  long  and  very  full,  one  holding  a  basin 
containing  white  bread,  and  the  other  a  most  beautiful  vase  that  seemed 
to  be  full  of  water;  and  with  them,  concluding  the  last  part  of  the  com- 
pany, was  Fabulinus,  who  presides  over  the  first  speech  of  the  same 
infants,  robed  in  various  colours,  with  the  head  all  crowned  with  wagtails 
and  singing  chaffinches. 


OF  THE  ACADEMICIANS  147 

TENTH  CAR,  OF  MINERVA. 

Minerva,  clad  in  armour,  with  the  spear  and  the  shield  of  the  Gorgon, 
as  she  is  generally  figured,  had  the  tenth  car,  composed  in  a  triangular 
form  and  in  the  colour  of  bronze,  and  drawn  by  two  very  large  and  most 
bizarre  owls,  of  which  I  cannot  forbear  to  say  that  although  it  would 
be  possible  to  relate  singular  and  even  incredible  marvels  of  all  the 
animals  that  drew  the  cars,  yet  these,  beyond  all  the  others,  were  figured 
so  lifelike  and  so  natural,  and  their  feet,  wings,  and  necks  were  made  to 
move,  and  even  the  eyes  to  open  and  shut  so  well,  and  with  a  resemblance 
so  close  to  the  reality,  that  I  know  not  how  I  could  ever  be  able  to  convince 
of  it  those  who  never  saw  them.  However,  ceasing  to  speak  of  these,  I 
must  relate  that  of  the  three  sides  of  which  the  triangular  car  was  com- 
posed, there  was  seen  painted  in  one  the  miraculous  birth  of  the  Goddess 
from  the  head  of  Jove,  even  as  in  the  second  Pandora  was  seen  adorned 
by  her  with  all  those  countless  ornaments,  and  in  the  third,  likewise,  she 
was  seen  converting  the  hair  of  the  wretched  Medusa  into  snakes.  Then 
on  one  part  of  the  base  there  was  painted  the  contest  that  she  had  with 
Neptune  over  the  name  that  was  to  be  given  to  Athenae  (before  she  had 
such  a  name),  when,  he  producing  the  fiery  horse  and  she  the  fruitful 
olive,  she  was  seen  to  win  thereby  a  glorious  and  memorable  victory; 
and  on  the  other  she  was  seen  in  the  form  of  a  little  old  woman,  striving 
to  persuade  the  overbold  Arachne,  before  she  had  transformed  her  into 
the  animal  of  that  name,  that  she  should  consent,  without  putting  the 
matter  to  the  proof,  to  yield  her  the  palm  in  the  art  of  embroidery;  even 
as  in  the  third  and  last  part,  with  a  different  aspect,  she  was  seen  valor- 
ously  slaying  the  proud  Typhon.  Before  the  car  was  seen  walking  Virtue, 
in  the  form  of  a  young  and  stalwart  woman,  with  two  great  wings,  and  in 
an  easy,  chaste,  and  becoming  habit,  having  as  a  worthy  companion  the 
venerable  Honour,  crowned  with  palm  and  resplendent  in  purple  and 
gold,  with  the  shield  and  spear  in  the  hands,  who  was  shown  supporting 
two  temples,  into  one  of  which  (namely,  that  dedicated  to  the  same 
Honour)  it  appeared  impossible  to  pass  save  by  way  of  that  dedicated 
to  Virtue;  and  to  the  end  that  a  noble  and  worthy  companion  might  be 


148  OF  THE  ACADEMICIANS 

given  to  those  masks,  it  seemed  right  that  Victory,  crowned  with  laurel 
and  likewise  with  a  branch  of  palm  in  the  hand,  should  be  added  to  the 
same  line.  These  were  followed  by  Good  Fame,  figured  in  the  form  of 
a  young  woman  with  two  white  wings,  sounding  a  great  trumpet,  and 
after  her,  with  a  little  white  dog  in  her  arms,  came  Faith,  likewise  all 
white,  with  a  luminous  veil  that  was  seen  covering  her  arms,  head,  and 
face;  and  with  them  Salvation,  holding  in  the  right  hand  a  cup  that  she 
seemed  to  be  seeking  to  offer  to  a  serpent,  and  in  the  other  a  thin  and 
straight  wand.  After  these,  then,  was  seen  coming  Nemesis,  the  daughter 
of  Night,  who  rewards  the  good  and  chastises  the  wicked,  virginal  in 
aspect,  and  crowned  with  little  stags  and  little  victories,  with  a  spear  of 
ash  and  a  similar  cup  in  the  hands;  with  whom  appeared  as  her  com- 
panion Peace,  also  a  virgin,  but  of  a  kindly  aspect,  with  a  branch  of 
olive  in  the  hand  and  a  blind  boy,  representing  the  God  of  riches,  in  the 
arms;  and  with  them,  carrying  in  the  hand  a  drinking- vessel  in  the  form 
of  a  lily,  and  in  similar  guise,  was  seen  likewise  coming  ever-verdant 
Hope,  followed  by  Clemency,  who  was  riding  upon  a  great  lion,  with  a 
spear  in  one  hand  and  in  the  other  a  thunderbolt,  which  she  was  making 
as  if  not  to  hurl  furiously,  but  to  throw  away.  Then  were  seen  likewise 
coming  Opportunity,  who  had  a  little  behind  her  Penitence,  by  whom 
she  seemed  to  be  continually  smitten,  and  Felicity,  upon  a  commodious 
throne,  with  a  caduceus  in  one  hand  and  a  horn  of  plenty  in  the  other. 
And  these  were  seen  followed  by  the  Goddess  Pellonia,  whose  office  it  is 
to  keep  enemies  at  a  distance,  in  full  armour,  with  two  great  horns  upon 
the  head,  and  in  the  hand  a  vigilant  crane,  who  was  seen  poised  upon 
one  foot,  as  is  their  custom,  and  holding  in  the  other  a  stone;  and  with 
her,  closing  the  last  part  of  the  glorious  company,  was  Science,  figured 
in  the  form  of  a  young  man,  who  was  shown  carrying  in  the  hand  a  book 
and  upon  the  head  a  gilded  tripod,  to  denote  his  constancy  and  firmness. 


OF  THE  ACADEMICIANS  149 

ELEVENTH  CAR,  OF  VULCAN. 

Vulcan,  the  God  of  fire,  old,  ugly,  and  lame,  with  a  cap  of  turquoise- 
blue  upon  the  head,  had  the  eleventh  car,  drawn  by  two  great  dogs; 
and  in  it  was  figured  the  Isle  of  Lemnos,  where  it  is  said  that  Vulcan, 
thrown  down  from  Heaven,  was  nursed  by  Thetis,  and  began  to  fashion 
there  the  first  thunderbolts  for  Jove.  Before  it  were  seen  walking,  as  his 
ministers  and  servants,  three  Cyclopes,  Brontes,  Steropes,  and  Pyracmon, 
of  whose  aid  he  is  said  to  have  been  wont  to  avail  himself  in  making  those 
thunderbolts.  After  them  was  seen  coming  Polyphemus,  the  lover  of 
the  beautiful  Galatea  and  the  first  of  all  the  Cyclopes,  in  the  garb  of  a 
shepherd,  with  a  great  pipe  hanging  from  his  neck  and  a  staff  in  the  hand; 
and  with  him,  crowned  with  seven  stars,  the  deformed  but  ingenious 
Ericthonius,  born  with  serpent's  feet  from  Vulcan's  attempt  to  violate 
Minerva,  to  conceal  the  ugliness  of  which  it  is  believed  that  he  invented 
the  use  of  chariots,  on  which  account  he  walked  with  one  of  these  in  the 
hand.  He  was  seen  followed  by  the  savage  Cacus,  also  the  son  of  Vulcan, 
spouting  a  stream  of  sparks  from  the  mouth  and  nose;  and  by  Caeculus, 
likewise  the  son  of  Vulcan,  and  likewise  in  pastoral  garb,  but  adorned 
with  the  royal  diadem,  and  in  one  of  his  hands,  in  memory  of  the 
building  of  Praeneste,  was  seen  a  city  placed  upon  a  hill,  and  in  the 
other  a  ruddy  and  burning  flame.  After  these  was  seen  coming  Servius 
Tullius,  King  of  Rome,  who  is  also  believed  to  have  been  born  of 
Vulcan,  and  upon  his  head,  even  as  in  the  hand  of  Caeculus,  in  token  of 
his  happy  augury,  a  similar  flame  was  seen  to  form  in  marvellous  fashion 
a  splendid  and  propitious  garland.  Then  was  seen  the  jealous  Procris, 
daughter  of  the  above-named  Ericthonius,  and  wife  of  Cephalus,  who, 
in  memory  of  the  ancient  fable,  seemed  to  have  the  breast  transfixed  by 
a  javelin;  and  with  her  was  seen  Oreithyia,  her  sister,  in  a  virginal  and 
lovely  habit,  and  in  the  centre  between  them  was  Pandion,  King  of  Athens, 
born  with  them  of  the  same  father,  adorned  with  the  vestments  of  a 
Grecian  King.  After  him  came  Procne  and  Philomela,  his  daughters, 
one  dressed  in  the  skin  of  a  deer,  with  a  spear  in  the  hand  and  upon  the 
head  a  little  chattering  swallow,  and  the  other  carrying  in  the  same  place 


150  OF  THE  ACADEMICIANS 

a  nightingale,  and  likewise  having  in  the  hand  a  woman's  embroidered 
mantle,  in  allusion  to  her  miserable  fate;  and  she  appeared  to  be  following 
her  beloved  father  all  filled  with  sorrow,  although  adorned  with  a  rich 
vestment.  And  with  them,  to  conclude  the  last  part  of  the  company, 
was  Caca,  the  sister  of  Cacus,  adored  by  the  ancients  as  a  Goddess  for 
the  reason  that,  laying  aside  her  love  for  her  brother,  she  is  said  to  have 
revealed  to  Hercules  the  secret  of  the  stolen  cattle. 


TWELFTH  CAR,  OF  JUNO. 

When  Vulcan  had  passed,  Queen  Juno,  adorned  with  a  rich,  superb, 
and  royal  crown,  and  with  vestments  transparent  and  luminous,  was 
seen  coming  in  much  majesty  upon  the  twelfth  car,  which  was  not  less 
pompous  than  any  of  the  others,  and  drawn  by  two  most  lovely  peacocks; 
and  between  the  five  little  stories  of  her  actions  that  were  seen  painted 
therein,  were  Lycorias,  Beroe,  and  Deiopea,  her  most  beautiful  and  most 
favoured  Nymphs.  For  the  first  of  these  stories  was  seen  the  unhappy 
Callisto  transformed  by  her  into  a  bear,  who  was  placed  afterwards  by 
compassionate  Jove  among  the  principal  stars  in  the  heavens;  and  in 
the  second  was  seen  how,  having  transformed  herself  into  the  likeness 
of  Beroe,  she  persuaded  the  unsuspecting  Semele  to  beseech  Jove  that 
he  should  deign  in  his  grace  to  lie  with  her  in  the  guise  wherein  he  was 
wont  to  lie  with  his  wife  Juno;  on  which  account  the  unhappy  mortal, 
not  being  able  to  sustain  the  force  of  the  celestial  splendour,  was  con- 
sumed by  fire,  and  Jove  was  seen  to  take  Bacchus  from  her  belly  and 
place  him  in  his  own,  preserving  him  for  the  full  time  of  birth.  In  the 
third,  likewise,  she  was  seen  praying  ^Eolus  that  he  should  send  his 
furious  winds  to  scatter  the  fleet  of  Trojan  ^Eneas;  even  as  in  the  fourth 
she  was  seen  in  like  manner,  filled  with  jealousy,  demanding  from  Jove 
the  miserable  lo  transformed  into  a  cow,  and  giving  her,  to  the  end  that 
she  might  not  be  stolen  from  her  by  Jove,  into  the  custody  of  the  ever- 
vigilant  Argus,  who,  as  has  been  told  elsewhere,  was  put  to  sleep  and 
slain  by  Mercury;  and  in  the  fifth  picture  was  seen  Juno  sending  after 
most  unhappy  lo  the  pitiless  gad-fly,  to  the  end  that  he  might  keep  her 


OF  THE  ACADEMICIANS  151 

continually  pricked  and  stung.  At  the  foot  of  the  car,  then,  were  seen 
coming  a  good  number  of  those  phenomena  that  are  formed  in  the  air, 
among  which  could  be  seen  as  the  first  Iris,  regarded  by  the  ancients 
as  the  messenger  of  the  Gods,  and  the  daughter  of  Thaumas  and  Electra; 
all  lissom  and  free,  and  dressed  in  vestments  of  red,  yellow,  blue,  and 
green,  signifying  the  rainbow,  with  two  hawks'  wings  upon  the  head  that 
denoted  her  swiftness.  In  her  company,  then,  in  a  red  habit,  with  the 
hair  ruddy  and  dishevelled,  was  the  Comet,  figured  as  a  young  woman 
who  had  a  large  and  shining  star  upon  the  brow;  and  with  them  came 
Clear  Sky,  in  the  aspect  of  a  virgin,  who  was  seen  with  the  countenance 
of  turquoise-blue,  and  turquoise-blue  all  the  wide  and  ample  dress,  not 
without  a  white  dove  likewise  upon  the  head,  to  signify  the  sky.  After 
these  were  seen  Snow  and  Mist,  coupled  together;  the  first  dressed  in 
tawny-coloured  draperies,  upon  which  were  shown  lying  many  trunks  of 
trees  all  sprinkled  with  snow,  and  the  other  was  seen  walking,  as  if  she 
had  no  shape,  as  it  were  in  the  semblance  of  a  great  white  mass;  having 
with  them  verdant  Dew,  figured  in  that  same  colour,  to  denote  the  green 
plants  upon  which  she  is  generally  seen,  and  having  a  round  moon  upon 
the  head,  signifying  that  in  the  time  of  the  moon's  fulness,  above  all, 
dew  is  wont  to  fall  from  the  heavens  upon  green  herbage.  Then  there 
followed  Rain,  dressed  in  a  white  but  somewhat  soiled  habit,  upon  whose 
head  seven  stars,  partly  bright  and  partly  dim,  formed  a  garland  repre- 
senting the  seven  Pleiades,  even  as  the  seventeen  that  blazed  upon  her 
breast  appeared  to  denote  the  sign  of  rainy  Orion.  There  followed, 
likewise,  three  virgins  of  different  ages,  attired  in  white  draperies  and  also 
crowned  with  olive,  representing  the  three  classes  of  virgins  that  used 
to  run  races  in  the  ancient  games  of  Juno;  having  with  them,  for  the  last, 
the  Goddess  Populonia  in  the  rich  habit  of  a  matron,  with  a  garland  of 
pomegranate  and  balm-mint  upon  the  head,  and  with  a  little  table  in 
the  hand,  by  whom  the  airy  company  above  described  was  seen  graciously 
concluded. 


152  OF  THE  ACADEMICIANS 

THIRTEENTH  CAR,  OF  NEPTUNE. 

Fanciful,  bizarre,  and  beautiful  beyond  all  the  others  appeared  the 
thirteenth  car,  of  Neptune,  which  was  composed  of  an  immense  crab, 
such  as  the  Venetians  are  wont  to  call  Grancevola,  which  rested  upon 
four  great  dolphins,  having  about  the  base,  which  resembled  a  real  and 
natural  rock,  a  vast  number  of  sea-shells,  sponges,  and  corals,  which 
rendered  it  most  lovely  and  ornate,  and  being  drawn  by  two  sea-horses; 
and  upon  it  was  seen  standing  Neptune,  in  the  customary  form  and  with 
the  customary  trident,  having  at  his  feet,  as  a  companion,  his  spouse 
Salacia,  in  the  form  of  a  snow-white  nymph  all  covered  with  foam.  Before 
the  car,  then,  was  seen  walking  the  old  and  bearded  Glaucus,  all  dripping 
and  all  covered  with  sea-weed  and  moss,  whose  person  from  the  waist 
downwards  was  seen  in  the  form  of  a  swimming  fish.  About  him  circled 
many  halcyon-birds,  and  with  him  was  seen  the  much-changing  and 
deceitful  Proteus,  likewise  old,  all  dripping,  and  covered  with  sea-weed; 
and  with  them  proud  Phorcys,  with  a  royal  band  of  turquoise-blue  about 
the  head,  and  with  beard  and  hair  long  and  flowing  beyond  measure, 
and  carrying  in  the  hand  the  famous  Pillars  of  Hercules,  as  a  sign  of  the 
empire  that  he  once  had.  Then  followed  two  Tritons  with  the  customary 
tails,  sounding  their  trumpets,  and  in  their  company  appeared  old  ^Eolus, 
likewise  holding  in  the  hands  a  royal  sceptre  and  a  sail,  and  having  upon 
the  head  a  burning  flame  of  fire.  And  he  was  followed  by  four  of  his 
principal  Winds;  by  young  Zephyrus,  with  the  locks  and  the  vax-ied  wings 
adorned  with  various  little  flowers,  by  dark  and  parching  Eurus,  who  had 
a  radiant  sun  upon  the  head;  by  cold  and  snowy  Boreas;  and,  finally, 
by  the  soft,  cloudy,  and  proud  Auster;  all  figured,  according  as  they  are 
generally  painted,  with  swelling  cheeks  and  with  the  large  and  swift  wings 
that  are  customary.  After  these,  in  due  place,  were  seen  coming  the 
two  giants,  Otus  and  Ephialtes,  all  wounded  and  transfixed  by  various 
arrows,  in  memory  of  their  having  been  slain  by  Apollo  and  Diana;  and 
with  them,  not  less  appropriately,  were  seen  coming  likewise  two  Harpies, 
with  the  customary  maiden's  face  and  the  customary  rapacious  claws 
and  most  hideous  belly.  There  was  seen  also  the  Egyptian  God  Canopus, 


OF  THE  ACADEMICIANS  153 

in  memory  of  the  astuteness  formerly  used  by  the  priest  against  the 
Chaldaeans,  figured  as  very  short,  round,  and  fat;  and  likewise,  young 
and  lovely,  winged  Zetes  and  Calais,  the  sons  of  Boreas,  by  whose  valour 
it  is  related  that  once  upon  a  time  those  foul  and  ravenous  Harpies  were 
driven  from  the  world.  And  with  them  were  seen,  at  the  last,  the  beauti- 
ful Nymph  Amymone,  beloved  by  Neptune,  with  a  gilded  vase,  and  the 
young  Greek  Neleus,  son  of  the  same  Neptune,  who,  with  royal  sceptre 
and  habit,  was  seen  to  conclude  the  last  part  of  the  company  described 
above. 

FOURTEENTH  CAR,  OF  OCEANUS  AND  OF  TETHYS. 

There  followed  in  the  fourteenth  company,  with  Tethys,  the  great 
Queen  of  the  sea,  the  great  father  Oceanus,  her  husband,  the  son  of 
Heaven,  who  was  figured  in  the  form  of  a  tall  and  cerulean  old  man,  with 
a  great  beard  and  long  hair  all  wet  and  dishevelled,  and  covered  all  over 
with  sea-weed  and  various  sea-shells,  with  a  horrible  seal  in  the  hand, 
while  she  was  represented  as  a  tall  and  masterful  matron,  resplendent, 
old,  and  white,  and  holding  in  the  hand  a  great  fish ;  and  they  were  both 
seen  upon  a  most  fantastic  car  in  the  semblance  of  a  rock,  very  strange 
and  bizarre,  drawn  by  two  immense  whales.     At  the  foot  of  the  car  was 
seen  walking  Nereus,  their  son,  old,  venerable,  and  covered  with  foam, 
and  with  him  Thetis,  daughter  of  that  Nereus  and  of  Doris,  and  mother 
of  great  Achilles,  who  was  shown  riding  upon  a  dolphin;  and  she  was  seen 
followed  by  three  most  beautiful  Sirens  figured  in  the  usual  manner, 
who  had  behind  them  two  very  beautiful,  although  white-haired,  Nymphs 
of  the  sea,  called  Graese,  likewise  daughters  of  the  Sea-God  Phorcys  and 
of  the  Nymph  Ceto,  clothed  most  pleasingly  in  various  graceful  draperies. 
Behind  these,  then,  were  seen  coming  the  three  Gorgons  with  their  snaky 
locks,  daughters  of  the  same  father  and  mother,  who  made  use  of  a  single 
eye,  with  which  alone,  lending  it  to  one  another,  they  were  all  three  able 
to  see;  and  there  was  likewise  seen  coming  the  cruel  Scylla,  with  the  face 
and  breast  of  a  maiden  and  with  the  rest  of  the  person  in  the  form  of  a 
fish,  and  with  her  the  old,  ugly,  and  voracious  Charybdis,  transfixed  by 
an  arrow  in  memory  of  her  well-deserved  punishment.     And   behind 

x.  20 


154  OF  THE  ACADEMICIANS 

these,  in  order  to  leave  the  last  part  of  the  company  more  gladsome  in 
aspect,  there  was  seen  coming  for  the  last,  all  nude,  the  beautiful  and  pure- 
white  Galatea,  beloved  and  gracious  daughter  of  Nereus  and  Doris. 


FIFTEENTH  CAR,  OF  PAN. 

In  the  fifteenth  car,  which  had  the  natural  and  true  appearance  of 
a  shady  forest  counterfeited  with  much  artifice,  and  was  drawn  by  two 
great  white  he-goats,  was  seen  coming  the  rubicund  Pan,  the  God  of 
forests  and  of  shepherds,  in  the  form  of  an  old  and  horned  Satyr,  crowned 
with  foliage  of  the  pine,  with  the  spotted  skin  of  a  panther  across  the 
body,  and  in  the  hands  a  great  pipe  with  seven  reeds  and  a  pastoral  staff. 
At  the  foot  of  the  car  were  seen  walking  some  other  Satyrs  and  some  old 
Sylvan  Gods,  crowned  with  fennel  and  lilies,  and  holding  some  boughs  of 
cypress  in  memory  of  the  beloved  Cyparissus.     After   these,  likewise, 
were  seen  coming  two  Fauns  crowned  with  laurel,  and  each  with  a  cat 
upon  the  right  shoulder;  and  behind  them  the  wild  and  beautiful  Syrinx, 
beloved  by  Pan,  who,  flying  from  him,  is  said  to  have  been  transformed 
by  the  Naiad  sisters  into  a  tremulous  and  musical  reed.     Syrinx  had  in 
her  company  the  other  Nymph,  Pitys,  likewise  beloved  by  Pan;  but 
since  the  wind  Boreas  was  also  and  in  like  manner  enamoured  of  her,  it 
is  believed  that  out  of  jealousy  he  hurled  her  over  a  most  cruel  rock, 
whereupon,  being  all  shattered,  it  is  said  that  out  of  pity  she  was  trans- 
formed by  Mother  Earth  into  a  beautiful  pine,  from  the  foliage  of  which  her 
lover  Pan  used,  as  has  been  shown  above,  to  make  himself  a  gracious  and 
well-beloved  garland.     Then  after  these  was  seen  coming  Pales,  the  revered 
custodian  and  protectress  of  flocks,  dressed  as  a  gentle  shepherdess, 
with  a  great  vessel  of  milk  in  the  hands,  and  a  garland  of  medicinal 
herbs ;  and  with  her  the  protectress  of  herds,  by  name  Bubona,  in  a  similar 
pastoral  dress,  with  an  ornate  head  of  an  ox  that  made  a  cap  for  her  head; 
and  Myiagrus,  the  God  of  flies,  dressed  in  white,  with  an  infinite  multitude 
of  those  importunate  little  creatures  about  his  head  and  his  person,  with 
a  garland  of  spondyl,  and  with  the  club  of  Hercules  in  his  hand;  and 
Evander,  who  first  taught  men  in  Italy  to  make  sacrifices  to  Pan,  adorned 


OF  THE  ACADEMICIANS  155 

with  royal  purple  and  the  royal  head-band,  and  with  the  royal  sceptre 
in  his  hand,  concluded  with  gracious  pomp  the  last  part  of  that  pastoral, 
indeed,  yet  pleasing  and  most  fair  company. 


SIXTEENTH  CAR,  OF  PLUTO  AND  OF  PROSERPINE. 

Then  followed  infernal  Pluto  with  Queen  Proserpine,  all  nude,  awful, 
and  dark,  and  crowned  with  funeral  cypress,  holding  a  little  sceptre  in 
one  of  his  hands  as  a  sign  of  his  royal  power,  and  having  at  his  feet  the 
great,  horrible,  and  triple- throated  Cerberus;  but  Proserpine,  who  was 
seen  with  him  (accompanied  by  two  Nymphs,  one  holding  in  the  hand  a 
round  ball,  and  the  other  a  great  and  strong  key,  denoting  that  one  who 
has  once  come  into  that  kingdom  must  abandon  all  hope  of  return),  was 
shown  clothed  in  a  white  and  rich  dress,  ornate  beyond  belief.  And  both 
were  in  the  usual  car,  drawn  by  four  jet-black  horses,  whose  reins  were 
seen  guided  by  a  most  hideous  and  infernal  monster,  who  had  with  him, 
as  worthy  companions,  the  three  likewise  infernal  Furies,  bloody,  foul, 
and  awful,  with  the  hair  and  the  whole  person  entwined  with  various 
venomous  serpents.  Behind  these  were  seen  following  the  two  Centaurs, 
Nessus  and  Astylus,  with  bows  and  arrows,  and  besides  these  arms 
Astylus  carried  in  the  hand  a  great  eagle ;  and  with  them  the  proud  giant 
Briareus,  who  had  a  hundred  hands  armed  with  sword  and  buckler,  and 
fifty  heads,  from  which  a  stream  of  fire  was  seen  spouting  through  the 
mouth  and  nostrils.  These  were  followed  by  turbid  Acheron,  pouring 
water  and  sand,  livid  and  stinking,  from  a  great  vase  that  he  carried  in 
his  hands,  and  with  him  was  seen  coming  the  other  infernal  river,  Cocytus, 
likewise  pallid  and  dark,  and  likewise  pouring  from  a  similar  vase  a  similar 
fetid  and  turbid  stream;  having  with  them  the  horrible  and  sluggish 
Styx,  daughter  of  Oceanus,  so  much  feared  by  all  the  Gods,  who  was 
dressed  in  a  nymph's  habit,  but  dark  and  foul,  and  carried  a  similar 
vase,  and  seemed  to  be  encompassed  by  the  other  infernal  river,  Phle- 
gethon,  whose  whole  person,  with  his  vase  and  the  boiling  waters,  was 
tinted  with  a  dark  and  fearful  redness.  Then  followed  old  Charon,  with 
the  oar,  and  with  the  eyes  (as  Dante  said)  of  glowing  coal ;  accompanied, 


156  OF  THE  ACADEMICIANS 

to  the  end  that  not  one  of  the  infernal  rivers  might  be  absent,  by  the 
pallid,  meagre,  emaciated,  and  oblivious  Lethe,  in  whose  hand  was  seen 
a  similar  vase,  which  likewise  poured  from  every  side  turbid  and  livid 
water;  and  following  behind  them  were  the  three  great  judges  of  Hell, 
Minos,  ^Eacus,  and  Rhadamanthus,  the  first  being  figured  in  royal  form 
and  habit,  and  the  second  and  third  attired  in  dark,  grave,  and  venerable 
vestments.  After  these  was  seen  coming  Phlegyas,  the  sacrilegious  King 
of  the  Lapithae,  recalling,  by  an  arrow  that  transfixed  his  breast,  the 
memory  of  the  burned  temple  of  Phoebus  and  the  chastisement  received 
from  him,  and,  for  clearer  demonstration,  carrying  that  temple  all 
burning  in  one  of  his  hands.  Next  was  seen  the  afflicted  Sisyphus  under 
the  great  and  ponderous  stone,  and  with  him  the  famished  and  miserable 
Tantalus,  who  was  shown  with  the  fruits  so  vainly  desired  close  to  his 
mouth.  And  then  were  seen  coming,  but  in  more  gracious  aspect,  as  if 
setting  out  from  the  glad  Elysian  Fields,  with  the  comet-like  star  on  the 
brow,  and  wearing  the  imperial  habit,  the  divine  Julius  and  the  happy 
Octavianus  Augustus,  his  successor;  the  terrible  and  dreadful  company 
being  finally  concluded  in  most  noble  fashion  by  the  Amazon  Penthesileia, 
adorned  with  the  spear,  the  half-moon  shield,  and  the  royal  band  upon 
the  head,  and  by  the  widowed  Queen  Tomyris,  who  likewise  had  the 
hands  and  side  adorned  with  the  bow  and  barbaric  arrows. 


SEVENTEENTH  CAR,  OF  CYBELE. 

After  these  was  seen  coming  Cybele,  the  great  mother  of  the  Gods, 
crowned  with  towers,  and,  for  the  reason  that  she  is  held  to  be  Goddess 
of  the  Earth,  robed  in  a  vestment  woven  of  various  plants,  with  a  sceptre 
in  the  hand,  and  seated  upon  a  quadrangular  car,  which  contained  many 
other  empty  seats  besides  her  own,  and  was  drawn  by  two  great  lions; 
and  for  the  adornment  of  the  car  were  painted  with  most  beautiful  design 
four  of  her  stories.  For  the  first  of  these  was  seen  how,  when  she  was 
conveyed  from  Pessinus  to  Rome,  the  ship  that  was  carrying  her  being 
stuck  fast  in  the  Tiber,  she  was  drawn  miraculously  to  the  bank  by  the 
Vestal  Claudia  with  only  her  own  simple  girdle,  to  the  rare  marvel  of 


OF  THE  ACADEMICIANS  157 

the  bystanders;  even  as  for  the  second  she  was  seen  taken  by  command 
of  her  priests  to  the  house  of  Scipio  Nasica,  who  was  judged  to  be  the  best 
and  most  holy  man  to  be  found  in  Rome  at  that  time.  For  the  third, 
likewise,  she  was  seen  visited  in  Phrygia  by  the  Goddess  Ceres,  after  she 
thought  to  have  hidden  her  daughter  Proserpine  safely  in  Sicily;  and  for 
the  fourth  and  last  she  was  seen  flying  from  the  fury  of  the  Giants  into 
Egypt,  as  the  poets  relate,  and  constrained  to  transform  herself  into  a 
blackbird.  At  tvhe  foot  of  the  car,  then,  were  seen  riding  ten  Corybantes, 
armed  after  the  ancient  fashion,  who  were  making  various  extravagant 
gestures  of  head  and  person;  after  whom  were  seen  coming  two  Roman 
matrons  in  Roman  dress,  with  the  head  covered  by  a  yellow  veil,  and 
with  them  the  above-named  Scipio  Nasica  and  the  Vestal  Virgin  Claudia, 
who  had  over  the  head  a  square  white  kerchief  with  a  border  all  around, 
which  was  fastened  under  the  throat.  And  for  the  last,  to  give  a  gracious 
conclusion  to  the  little  company,  there  was  seen  coming  with  an  aspect  of 
great  loveliness  the  young  and  beautiful  Atys,  beloved  most  ardently, 
as  we  read,  by  Cybele;  who,  besides  the  rich,  easy,  and  charming  costume 
of  a  huntsman,  was  seen  most  gracefully  adorned  by  a  very  beautiful 
gilded  collar. 

EIGHTEENTH  CAR,  OF  DIANA. 

In  the  eighteenth  and  incredibly  beautiful  car,  drawn  by  two  white 
stags,  there  was  seen  coming,  with  the  gilded  bow  and  gilded  quiver,  the 
huntress  Diana,  who  was  shown  seated  with  infinite  grace  and  loveliness 
upon  two  other  stags,  which  with  their  hindquarters  made  for  her,  as 
it  were,  a  most  fanciful  seat;  the  rest  of  the  car  being  rendered  strangely 
gracious,  lovely,  and  ornate  by  nine  of  her  most  pleasing  fables.  For 
the  first  of  these  was  seen  how,  moved  by  pity  for  the  flying  Arethusa, 
who  was  seen  pursued  by  the  enamoured  Alpheus,  the  Goddess  converted 
her  into  a  fountain;  even  as  for  the  second  she  was  seen  praying  ^Escu- 
lapius  that  he  should  consent  to  restore  to  life  for  her  the  dead  but 
innocent  Hippolytus;  which  being  accomplished,  she  was  then  seen  in 
the  third  ordaining  him  guardian  of  her  temple  and  her  sacred  wood  in 
Aricia.  For  the  fourth  she  was  seen  chasing  Cynthia,  violated  by  Jove, 


158  OF  THE  ACADEMICIANS 

from  the  pure  waters  where  she  used  to  bathe  with  her  other  virgin 
Nymphs;  and  for  the  fifth  was  seen  the  deceit  practised  by  her  on  the 
above-named  Alpheus,  when,  seeking  presumptuously  to  obtain  her  as 
his  wife,  he  was  taken  by  her  to  see  her  dance,  and  there,  having  smeared 
her  face  with  mire  in  company  with  the  other  Nymphs,  she  constrained 
him,  not  being  able  to  recognize  her  in  that  guise,  to  depart  all  derided 
and  scorned.  For  the  sixth,  then,  she  was  seen  in  company  with  her 
brother  Apollo,  chastising  proud  Niobe  and  slaying  her  with  all  her  chil- 
dren; and  for  the  seventh  she  was  seen  sending  the  great  and  savage  boar 
into  the  Calydonian  forest,  which  laid  all  ^Etolia  waste,  having  been 
moved  to  just  and  righteous  wrath  against  that  people  because  they  had 
discontinued  her  sacrifices.  Even  as  for  the  eighth  she  was  seen  not  less 
wrathfully  converting  the  unhappy  Actaeon  into  a  stag;  but  in  the  ninth 
and  last,  moved  on  the  contrary  by  pity,  she  was  seen  transforming 
Egeria,  weeping  for  the  death  of  her  husband,  Numa  Pompilius,  into  a 
fountain.  At  the  foot  of  the  car,  then,  were  seen  coming  eight  of  her 
huntress  Nymphs,  with  their  bows  and  quivers,  dressed  in  graceful, 
pleasing,  loose,  and  easy  garments,  composed  of  skins  of  various  animals 
as  it  were  slain  by  them;  and  with  them,  as  the  last,  concluding  the 
small  but  gracious  company,  was  young  Virbius,  crowned  with  spotted- 
leaf  myrtle,  and  holding  in  one  hand  a  little  broken  chariot,  and  in  the 
other  a  bunch  of  tresses  virginal  and  blonde. 


NINETEENTH  CAR,  OF  CERES. 

In  the  nineteenth  car,  drawn  by  two  great  dragons,  coming  in  no 
less  pomp  than  the  others,  was  seen  Ceres,  the  Goddess  of  grain-crops, 
in  the  habit  of  a  matron,  with  a  garland  of  ears  of  corn  and  with  ruddy 
locks;  and  with  no  less  pomp  that  car  was  seen  adorned  by  nine  of  her 
fables,  which  had  been  painted  there.  For  the  first  of  these  was  seen 
figured  the  happy  birth  of  Pluto,  the  God  of  Riches,  born,  as  we  read 
in  certain  poets,  from  her  and  from  the  hero  lasius;  even  as  for  the  second 
she  was  seen  washing  with  great  care  and  feeding  with  her  own  milk 
the  little  Triptoiemus,  son  of  Eleusis  and  Hyona.  For  the  third  was 


OF  THE  ACADEMICIANS  159 

seen  the  same  Triptolemus  flying  by  her  advice  upon  one  of  the  two 
dragons  that  had  been  presented  to  him  by  her,  together  with  the  car, 
to  the  end  that  he  might  go  through  the  world  piously  teaching  the  care 
and  cultivation  of  the  fields;  the  other  dragon  having  been  killed  by  the 
impious  King  of  the  Getae,  who  sought  with  every  effort  likewise  to  slay 
Triptolemus.  For  the  fourth  was  seen  how  she  hid  her  beloved  daughter 
Proserpine  in  Sicily,  foreseeing  in  a  certain  sense  that  which  afterwards 
befell  her;  even  as  in  the  fifth,  likewise,  she  was  seen  after  that  event,  as 
has  been  told  elsewhere,  going  to  Phrygia  to  visit  her  mother  Cybele; 
and  in  the  sixth,  as  she  was  dwelling  in  that  place,  the  same  Proserpine 
was  seen  appearing  to  her  in  a  dream,  and  demonstrating  to  her  in  what  a 
plight  she  found  herself  from  Pluto's  rape  of  her;  on  which  account, 
being  all  distraught,  she  was  seen  in  the  seventh  returning  in  great  haste 
to  Sicily.  For  the  eighth,  likewise,  was  seen  how,  not  finding  her  there, 
in  her  deep  anguish  she  kindled  two  great  torches,  being  moved  to  the 
resolution  to  seek  her  throughout  the  whole  world;  and  in  the  ninth  and 
last  she  was  seen  arriving  at  the  well  of  Cyane,  and  there  coming  by 
chance  upon  the  girdle  of  her  stolen  daughter,  a  sure  proof  of  what  had 
befallen  her;  whereupon  in  her  great  wrath,  not  having  aught  else  on 
which  to  vent  it,  she  was  seen  turning  to  break  to  pieces  the  rakes,  hoes, 
ploughs,  and  other  rustic  implements  that  chanced  to  have  been  left 
there  in  the  fields  by  the  peasants.  At  the  foot  of  the  car,  then,  were 
seen  walking  figures  signifying  her  various  sacrifices;  first,  for  those  that 
are  called  the  Eleusinia,  two  little  virgins  attired  in  white  vestments, 
each  with  a  gracious  little  basket  in  the  hands,  one  of  which  was  seen  to 
be  all  filled  with  various  flowers,  and  the  other  with  various  ears  of  corn. 
After  which,  for  those  sacrifices  that  were  offered  to  Ceres  as  Goddess  of 
Earth,  there  were  seen  coming  two  boys,  two  women,  and  two  men, 
likewise  all  dressed  in  white,  and  all  crowned  with  hyacinths,  who  were 
leading  two  great  oxen,  as  it  were  to  sacrifice  them;  and  then,  for  those 
others  that  were  offered  to  Ceres  the  Law-giver,  called  by  the  Greeks 
Thesmophoros,  were  seen  coming  two  matrons  only,  very  chaste  in 
aspect,  likewise  dressed  in  white,  and  in  like  manner  crowned  with  ears 
of  corn  and  agnus-castus.  And  after  these,  in  order  to  display  in  full  the 


160  OF  THE  ACADEMICIANS 

whole  order  of  her  sacrifices,  there  were  seen  coming  three  Greek  priests, 
likewise  attired  in  white  draperies,  two  of  whom  carried  in  the  hands 
two  lighted  torches,  and  the  other  an  ancient  lamp,  likewise  lighted. 
And,  finally,  the  sacred  company  was  concluded  by  the  two  heroes  so 
much  beloved  by  Ceres,  of  whom  mention  has  been  made  above — Tripto- 
lemus,  namely,  who  carried  a  plough  in  the  hand  and  was  shown  riding 
upon  a  dragon,  and  lasius,  whom  it  was  thought  proper  to  figure  in  the 
easy,  rich,  and  gracious  habit  of  a  huntsman. 

TWENTIETH  CAR,  OF  BACCHUS. 

Then  followed  the  twentieth  car,  of  Bacchus,  likewise  shaped  with 
singular  artistry  and  with  novel  and  truly  most  fanciful  and  bizarre  in- 
vention ;  and  it  was  seen  in  the  form  of  a  very  graceful  little  ship  all  over- 
laid with  silver,  which  was  balanced  in  such  wise  upon  a  great  base  that 
had  the  true  and  natural  appearance  of  the  cerulean  sea,  that  at  the 
slightest  movement  it  was  seen,  with  extraordinary  pleasure  for  the 
spectators,  to  roll  from  side  to  side  in  the  very  manner  of  a  real  ship  upon 
the  real  sea.     In  it,  besides  the  merry  and  laughing  Bacchus,  attired  in 
the  usual  manner  and  set  in  the  most  commanding  place,  there  were  seen 
in  company  with  Maron,  King  of  Thrace,  some  Bacchantes  and  some 
Satyrs  all  merry  and  joyful,  sounding  various  cymbals  and  other  such- 
like instruments;  and  since,  as  it  were,  from  a  part  of  that  happy  ship 
there  rose  an  abundant  fount  of  bright  and  foaming  wine,  they  were  seen 
not  only  drinking  the  wine  very  often  from  various  cups,  with  much  re- 
joicing, but  also  with  the  licence  that  wine  induces  inviting  the  bystanders 
to  drink  and  sing  in  their  company.     In  place  of  a  mast,  also,  the  little 
ship  had  a  great  thyrsus  wreathed  in  vine-leaves,  which  supported  a 
graceful  and  swelling  sail,  upon  which,  to  the  end  that  it  might  be  glad- 
some and  ornate,  were  seen  painted  many  of  those  Bacchantes  who,  so 
it  is  said,  are  wont  to  run  about,  drinking  and  dancing  and  singing  with 
much  licence,  over  Mount  Tmolus,  father  of  the  choicest  wines.    At  the 
foot  of  the  car,  then,  was  seen  walking  the  beautiful  Syce,  beloved  by 
Bacchus,  who  had  upon  the  head  a  garland,  and  in  the  hand  a  branch, 


OF  THE  ACADEMICIANS  161 

of  fig;  and  with  her,  likewise,  was  the  other  love  of  the  same  Bacchus, 
Staphyle  by  name,  who,  besides  a  great  vine-branch  with  many  grapes 
that  she  carried  in  the  hand,  was  also  seen  to  have  made  in  no  less  lovely 
fashion  about  her  head,  with  vine-leaves  and  bunches  of  similar  grapes, 
a  green  and  graceful  garland.  After  these  came  the  fair  and  youthful 
Cissus,  also  beloved  by  Bacchus,  who,  falling  by  misfortune,  was  trans- 
formed by  Mother  Earth  into  ivy,  on  which  account  he  was  seen  in  a 
habit  all  covered  with  ivy  in  every  part.  And  behind  him  was  seen 
coming  old  Silenus,  all  naked  and  bound  upon  an  ass  with  various  gar- 
lands of  ivy,  as  if  by  reason  of  his  drunkenness  he  were  unable  to  support 
himself,  and  carrying  attached  to  his  girdle  a  great  wooden  cup  all  worn 
away;  and  with  him,  likewise,  came  the  God  of  Banquets,  called  by  the 
ancients  Comus,  represented  in  the  form  of  a  ruddy,  beardless,  and  most 
beautiful  youth,  all  crowned  with  roses,  but  in  aspect  so  somnolent  and 
languid,  that  it  appeared  almost  as  if  the  huntsman's  boar-spear  and  the 
lighted  torch  that  he  carried  in  the  hands  might  fall  from  them  at  any 
moment.  There  followed  with  a  panther  upon  the  back  the  old  and  like- 
wise ruddy  and  laughing  Drunkenness,  attired  in  a  red  habit,  with  a 
great  foaming  vessel  of  wine  in  the  hands,  and  with  her  the  young  and 
merry  Laughter;  and  behind  these  were  seen  coming  in  the  garb  of 
shepherds  and  nymphs  two  men  and  two  women,  followers  of  Bacchus, 
crowned  and  adorned  in  various  ways  with  various  leaves  of  the  vine. 
And  Semele,  the  mother  of  Bacchus,  all  smoky  and  scorched  in  memory 
of  the  ancient  fable,  with  Narcseus,  the  first  ordinator  of  the  sacrifices 
to  Bacchus,  who  had  a  great  he-goat  upon  his  back,  and  was  adorned 
with  antique  and  shining  arms,  appeared  to  form  a  worthy,  appropriate, 
and  gracious  end  to  that  glad  and  festive  company. 

TWENTY-FIRST  AND  LAST  CAR. 

The  twenty-first  and  last  car,  representing  the  Roman  Mount  Jani- 
culum,  and  drawn  by  two  great  white  rams,  was  given  to  the  venerable 
Janus,  figured  with  two  heads,  one  young  and  the  other  old,  as  is  the 
custom,  and  holding  in  the  hands  a  great  key  and  a  thin  wand,  to  demon- 

x.  21 


ife  OF  THE  ACADEMICIANS 

strate  the  power  over  doors  and  streets  that  is  attributed  to  him.     At  the 
foot  of  the  car  was  seen  coming  sacred  Religion,  attired  in  white  linen 
vestments,  with  one  of  the  hands  open,  and  carrying  in  the  other  an 
ancient  altar  with  a  burning  flame;  and  on  either  side  of  her  were  the 
Prayers,  represented,  as  they  are  described  by  Homer,  in  the  form  of  two 
wrinkled,   lame,   cross-eyed,   and   melancholy   old   women,   dressed  in 
draperies  of  turquoise-blue.    After  these  were  seen  coming  Antevorta 
and  Postvorta,  the  companions  of  Divinity,  of  whom  it  was  believed  that 
the  first  had  power  to  know  whether  prayers  were  or  were  not  to  be  heard 
by  the  Gods;  and  the  second,  who  rendered  account  only  of  the  past,  was 
able  to  say  whether  prayers  had  or  had  not  been  heard;  the  first  being 
figured  in  the  comely  aspect  and  habit  of  a  matron,  with  a  lamp  and  a 
corn-sieve  in  the  hands,  and  a  head-dress  covered  with  ants  upon  the 
head;  and  the  second,  clothed  in  front  all  in  white,  and  figured  with  the 
face  of  an  old  woman,  was  seen  to  be  attired  at  the  back  in  heavy  black 
draperies,  and  to  have  the  hair,  on  the  contrary,  blonde,  curling,  and 
beautiful,  such  as  is  generally  seen  in  young  and  love-compelling  women. 
Then  followed  that  Favour  which  we  seek  from  the  Gods,  to  the  end  that 
our  desires  may  have  a  happy  and  fortunate  end;  and  he,  although  shown 
in  the  aspect  of  a  youth,  blind  and  with  wings,  and  with  a  proud  and 
haughty  presence,  yet  at  times  appeared  timid  and  trembling  because 
of  the  rolling  wheel  upon  which  he  was  seen  standing,  doubting  that,  as 
is  often  seen  to  happen,  at  every  least  turn  he  might  come  with  great 
ease  to  fall  from  it;  and  with  him  was  seen  Success,  or,  as  we  would  rather 
say,  the  happy  end  of  our  enterprises,  figured  as  a  gay  and  lovely  youth, 
holding  in  one  of  the  hands  a  cup,  and  in  the  other  an  ear  of  corn  and  a 
poppy.     Then  there  followed,  in  the  form  of  a  virgin  crowned  with  oriental 
palm,  with  a  star  upon  the  brow  and  with  a  branch  of  the  same  palm  in 
the  hand,  Anna  Perenna,  revered  by  the  ancients  as  a  Goddess,  believing 
that  she  was  able  to  make  the  year  fortunate,  and  with  her  were  seen 
coming  two  Fetiales  with  the  Roman  toga,  adorned  with  garlands  of 
verbense  and  with  a  sow  and  a  stone  in  the  hands,  to  denote  the  kind  of 
oath  that  they  were  wont  to  take  when  they  made  any  declaration  for 
the  Roman  people.     Behind  these,  then,  following  the  religious  ceremonies 


OF  THE  ACADEMICIANS  163 

of  war,  was  seen  coming  a  Roman  Consul  in  the  Gabinian  and  purple 
toga,  and  with  a  spear  in  the  hand,  and  with  him  two  Roman  Senators 
likewise  in  the  toga,  and  two  soldiers  in  full  armour  and  with  the  Roman 
javelin.  And  finally,  concluding  that  company  and  all  the  others,  there 
followed  Money,  attired  in  draperies  of  yellow,  white,  and  tawny  colour, 
and  holding  in  the  hands  various  instruments  for  striking  coins;  the  use 
of  which,  so  it  is  believed,  was  first  discovered  and  introduced,  as  a  thing 
necessary  to  the  human  race,  by  Janus. 

Such  were  the  cars  and  companies  of  that  marvellous  masquerade, 
the  like  of  which  was  never  seen  before,  and,  perchance,  will  never  be 
seen  again  in  our  day.  And  about  it — leaving  on  one  side,  as  a  burden 
too  great  for  my  shoulders,  the  vast  and  incomparable  praises  that  would 
be  due  to  it — there  had  been  marshalled  with  much  judgment  six  very 
rich  masks  in  the  guise  of  sergeants,  or  rather,  captains,  who,  harmon- 
izing very  well  with  the  invention  of  the  whole,  were  seen,  according  as 
necessity  demanded,  running  hither  and  thither  and  keeping  all  that 
long  line,  which  occupied  about  half  a  mile  of  road,  advancing  in  due 
order  with  decorum  and  grace. 

Now,  drawing  near  at  length  to  the  end  of  that  splendid  and  most 
merry  Carnival,  which  would  have  been  much  more  merry  and  celebrated 
with  much  more  splendour,  if  the  inopportune  death  of  Pius  IV,  which 
happened  a  short  time  before,  had  not  incommoded  a  good  number  of 
very  reverend  Cardinals  and  other  very  illustrious  lords  from  all  Italy, 
who,  invited  to  those  most  royal  nuptials,  had  made  preparations  to 
come;  and  leaving  on  one  side  the  rich  and  lovely  inventions  without 
number  seen  in  the  separate  masks,  thanks  to  the  amorous  young  men, 
not  only  in  the  innumerable  banquets  and  other  suchlike  entertainments, 
but  wherever  they  broke  a  lance  or  tilted  at  the  ring,  now  in  one  place 
and  now  in  another,  and  wherever  they  made  similar  trial  of  their  dex- 
terity and  valour  in  a  thousand  other  games;  and  treating  only  of  the 
last  festival,  which  was  seen  on  the  last  day,  I  shall  say  that  although 
there  had  been  seen  the  innumerable  things,  so  rare,  so  rich,  and  so 
ingenious,  of  which  mention  has  been  made  above,  yet  this  festival, 
from  the  pleasing  nature  of  the  play,  from  the  richness,  emulation  and 


164  OF  THE  ACADEMICIANS 

competence  shown  in  it  by  our  craftsmen  (some  of  whom,  as  always 
happens,  considered  themselves  surpassed  in  the  things  accomplished), 
and  from  a  certain  extravagance  and  variety  in  the  inventions,  some  of 
which  appeared  beautiful  and  ingenious,  and  others  ridiculous  and 
clumsy,  this  one,  I  say,  also  displayed  an  extraordinary  and  most  charm- 
ing beauty,  and  likewise  gave  to  the  admiring  people,  amid  all  that 
satiety,  a  pleasure  and  a  delight  that  were  marvellous  and  perhaps 
unexpected;  and  it  was  a  buffalo-race,  composed  of  ten  distinct  com- 
panies, which  were  distributed,  besides  those  that  the  Sovereign  Princes 
took  for  themselves,  partly  among  the  lords  of  the  Court  and  the  strangers, 
and  partly  among  the  gentlemen  of  the  city  and  the  two  colonies  of 
merchants,  the  Spanish  and  the  Genoese.  First,  then,  upon  the  first 
buffalo  that  appeared  in  the  appointed  place,  there  was  seen  coming 
Wickedness,  adorned  with  great  art  and  judgment,  who  was  shown 
being  chased,  goaded  and  beaten  by  six  cavaliers  likewise  figured  most 
ingeniously  as  Scourging,  or  rather,  Scourges.  After  that,  upon  the 
second  buffalo,  which  had  the  appearance  of  a  lazy  ass,  was  seen  coming 
the  old  and  drunken  Silenus,  supported  by  six  Bacchants,  who  were 
seen  striving  at  the  same  time  to  goad  and  spur  the  ass;  even  as  upon 
the  third,  which  had  the  form  of  a  calf,  there  was  likewise  seen  coming 
the  ancient  Osiris,  accompanied  by  six  of  the  companions  or  soldiers 
with  whom,  it  is  believed,  that  Deity  travelled  over  many  parts  of  the 
world  and  taught  to  the  still  new  and  barbarous  races  the  cultivation  of 
the  fields.  Upon  the  fourth,  without  any  disguise,  was  placed  as  on 
horseback  Human  Life,  likewise  chased  and  goaded  by  six  cavaliers 
who  represented  the  Years;  even  as  upon  the  fifth,  also  without  any 
disguise,  was  seen  coming  Fame  with  the  many  mouths  and  with  the 
great  wings  of  desire  that  are  customary,  also  chased  by  six  cavaliers 
who  resembled  Virtue,  or  the  Virtues;  which  Virtues,  so  it  was  said, 
chasing  her,  were  aspiring  to  obtain  the  due  and  well-deserved  reward 
of  honour.  Upon  the  sixth,  then,  was  seen  coming  a  very  rich  Mercury, 
who  was  shown  being  goaded  and  urged  on  no  less  than  the  others  by 
six  other  similar  figures  of  Mercury;  and  upon  the  seventh  was  seen 
the  nurse  of  Romulus,  Acca  Laurentia,  with  six  of  her  Fratres  Arvales, 


OFrTHE  ACADEMICIANS  165 

who  were  not  only  urging  her  lazy  animal  to  a  run  with  their  goads,  but 
seemed  almost  to  have  been  introduced  to  keep  her  company  with  much 
fittingness  and  pomp.     Upon  the  eighth,  next,  was  seen  coming  with 
much  grace  and  richness  a  large  and  very  natural  owl,  with  six  cavaliers 
in  the  form  of  bats  most  natural  and  marvellously  similar  to  the  reality, 
who  with  most  dexterous  horses,  goading  the  buffalo  now  from  one 
side  and  now  from  another,  were  seen  delivering  a  thousand  joyous  and 
most  festive  assaults.     For  the  ninth,  with  singular  artifice  and  ingenious 
illusion,  there  was  seen  appearing  little  by  little  a  Cloud,  which,  after 
it  had  held  the  eyes  of  the  spectators  for  some  time  in  suspense,  was 
seen  in  an  instant  as  it  were  to  part  asunder,  and  from  it  issued  the 
seafaring  Misenus  seated  upon  the  buffalo,  which  at  once  was  seen  pur- 
sued and  pricked  by  six  Tritons  adorned  in  a  very  rich  and  most  masterly 
fashion.    And  for  the  tenth  and  last  there  was  seen  coming,  almost 
with  the  same  artifice,  but  in  a  different  and  much  larger  form  and  in 
a  different  colour,  another  similar  Cloud,  which,  parting  asunder  in  like 
tanner  at  the  appointed  place  with  smoke  and  flame  and  a  horrible 
tunder,  was  seen  to  have  within  it  infernal  Pluto,  drawn  in  his  usual 
;ar,  and  from  it  in  a  most  gracious  manner  was  seen  to  come  forth  in 
>lace  of  a  buffalo  a  great  and  awful  Cerberus,  who  was  chased  by  six 
>f  those  glorious  ancient  heroes  who  are  supposed  to  dwell  in  peace 
the  Elysian  Fields.     All  those  companies,  when  they  had  appeared 
me  by  one  upon  the  piazza  and  presented  the  due  and  gracious  spectacle, 
id  after  a  long  breaking  of  lances,  a  great  caracoling  of  horses,  and  a 
tousand  other  suchlike  games,  with  which  the  fair  ladies  and  the  multi- 
:ude  of  spectators  were  entertained  for  a  good  time,  finally  made  their 
ray  to  the  place  where  the  buffaloes  were  to  be  set  to  race.    And  there, 
ie  trumpet  having  sounded,  and  each  company  striving  that  its  buffalo 
lould  arrive  at  the  appointed  goal  before  the  others,  and  now  one  pre- 
railing  and  now  another,  all  of  a  sudden,  when  they  were  come  within 
certain  distance  of  the  place,  all  the  air  about  them  was  seen  filled 
dth  terror  and  alarm  from  the  great  and  deafening  fires  that  smote 
them  now  on  one  side  and  now  on  another,  in  a  thousand  strange  fashions, 
>much  that  very  often  it  was  seen  to  happen  that  one  who  at  the 


166  OF  THE  ACADEMICIANS 

beginning  had  been  nearest  to  winning  the  coveted  prize,  the  timid  and 
not  very  obedient  animal  taking  fright  at  the  noise,  the  smoke,  and  the 
fires  above  described,  which,  in  proportion  as  one  went  ahead,  became 
ever  greater  and  assailed  that  one  with  ever  greater  vehemence,  so 
that  the  animals  turned  in  various  directions,  and  very  often  took  to 
headlong  flight — it  was  seen  many  times,  I  say,  that  the  first  were  con- 
strained to  return  among  the  last;  while  the  confusion  of  men,  buffaloes, 
and  horses,  and  the  lightning-flashes,  noises,  and  thunderings,  produced 
a  strange,  novel,  and  incomparable  pleasure  and  delight.  And  thus 
with  that  spectacle  was  finally  contrived  a  splendid,  although  for  many 
perhaps  disturbing,  conclusion  of  the  joyous  and  most  festive  Carnival. 

In  the  first  and  holy  days  of  the  following  Lent,  with  the  thought  of 
pleasing  the  most  devout  bride,  but  also  with  truly  extraordinary  pleasure 
for  the  whole  people,  who,  having  been  deprived  of  such  things  for  many 
years,  and  part  of  the  fragile  apparatus  having  been  lost,  feared  that 
they  would  never  be  resumed,  there  was  held  the  festival,  so  famous 
and  so  celebrated  in  olden  days,  of  S.  Felice,  so-called  from  the  church 
where  it  used  formerly  to  be  represented.  But  this  time,  besides  that 
which  their  Excellencies,  our  Lords,  themselves  deigned  to  do,  it  was 
represented  at  the  pains  and  expense  of  four  of  the  principal  and  most 
ingenious  gentlemen  of  the  city  in  the  Church  of  S.  Spirito,  as  a  place 
more  capacious  and  more  beautiful,  with  a  vast  apparatus  of  machinery 
and  all  the  old  instruments  and  not  a  few  newly  added.  In  it,  besides 
many  Prophets  and  Sibyls  who,  singing  in  the  simple  ancient  manner, 
announced  the  coming  of  Our  Lord  Jesus  Christ,  very  notable — nay, 
marvellous,  stupendous,  and  incomparable,  from  its  having  been  con- 
trived in  those  ignorant  ages — was  the  Paradise,  which,  opening  in  an 
instant,  was  seen  filled  with  all  the  hierarchies  of  the  Angels  and  of  the 
Saints  both  male  and  female,  and  with  various  movements  representing 
its  different  spheres,  and  as  it  were  sending  down  to  earth  the  Divine 
Gabriel  shining  with  infinite  splendour,  in  the  midst  of  eight  other  little 
Angels,  to  bring  the  Annunciation  to  the  Glorious  Virgin,  who  was  seen 
waiting  in  her  chamber,  all  humble  and  devout;  all  being  let  down  (and 
reascending  afterwards),  to  the  rare  marvel  of  everyone,  from  the  highest 


OF  THE  ACADEMICIANS  167 

part  of  the  cupola  of  that  church,  where  the  above-described  Paradise 
was  figured,  down  to  the  floor  of  the  chamber  of  the  Virgin,  which  was 
not  raised  any  great  height  from  the  ground,  and  all  with  such  security 
and  by  methods  so  beautiful,  so  facile,  and  so  ingenious,  that  it  appeared 
scarcely  possible  that  the  human  brain  was  able  to  go  so  far.  And  with 
this  the  festivities  all  arranged  by  our  most  excellent  Lords  for  those 
most  royal  nuptials  had  a  conclusion  not  only  renowned  and  splendid, 
but  also,  as  was  right  fitting  for  true  Christian  Princes,  religious  and 
devout. 

Many  things,  also,  could  have  been  told  of  a  very  noble  spectacle 
presented  by  the  most  liberal  Signor  Paolo  Giordano  Orsino,  Duke  of 
Bracciano,  in  a  great  and  most  heroic  theatre,  all  suspended  in  the  air, 
which  was  constructed  by  him  of  woodwork  in  those  days  with  royal 
spirit  and  incredible  expense;  and  in  it,  with  very  rich  inventions  of  the 
Knights  Challengers,  of  whom  he  was  one,  and  of  the  Knights  Adven- 
turers, there  was  fought  with  various  arms  a  combat  for  a  barrier,  and 
there  was  performed  with  beautifully  trained  horses,  to  the  rare  delight 
of  the  spectators,  the  graceful  dance  called  the  Battaglia.  But  this, 
being  hindered  by  inopportune  rains,  was  prolonged  over  many  days; 
and  since,  seeking  to  treat  of  it  at  any  length,  it  would  require  almost 
an  entire  work,  being  now  weary,  I  believe  that  I  may  be  pardoned  if 
without  saying  more  of  it  I  bring  this  my  long — I  know  not  whether  to 
call  it  tedious — labour,  at  length  to  an  end. 


GIORGIO    VASARI 


X. 


22 


DESCRIPTION  OF  THE  WORKS  OF  GIORGIO  VASARI 

PAINTER  AND  ARCHITECT  OF  AREZZO 

HAVING  discoursed  hitherto  of  the  works  of  others,  with  the  greatest 
diligence  and  sincerity  that  my  brain  has  been  able  to  command,  I  also 
wish  at  the  end  of  these  my  labours  to  assemble  together  and  make 
known  to  the  world  the  works  that  the  Divine  Goodness  in  its  grace  has 
enabled  me  to  execute,  for  the  reason  that,  if  indeed  they  are  not  of 
that  perfection  which  I  might  wish,  it  will  yet  be  seen  by  him  who  may 
consent  to  look  at  them  with  no  jaundiced  eye  that  they  have  been 
wrought  by  me  with  study,  diligence,  and  loving  labour,  and  are  therefore 
worthy,  if  not  of  praise,  at  least  of  excuse;  besides  which,  being  out  in 
the  world  and  open  to  view,  I  cannot  hide  them.  And  since  perchance  >, 
at  some  time  they  might  be  described  by  some  other  person,  it  is  surely 
better  that  I  should  confess  the  truth,  and  of  myself  accuse  my  imper- 
fection, which  I  know  only  too  well,  being  assured  of  this,  that  if,  as  I 
said,  there  may  not  be  seen  in  them  the  perfection  of  excellence,  there 
will  be  perceived  at  least  an  ardent  desire  to  work  weU\  great  and  inde- 
fatigable effort,  and  the  extraordinary  love  that  I  bear  to  our  arts. 
Wherefore  it  may  come  about  that,  according  to  the  law,  myself  confess- 
ing openly  my  own  deficiencies,  I  shall  be  in  great  part  pardoned. 

To  begin,  then,  with  my  earliest  years,  let  me  say  that,  having 
spoken  sufficiently  of  the  origin  of  my  family,  of  my  birth  and  childhood, 
and  how  I  was  set  by  Antonio,  my  father,  with  all  manner  of  lovingness 
on  the  path  of  the  arts,  and  in  particular  that  of  design,  to  which  he 
saw  me  much  inclined,  with  good  occasions  in  the  Life  of  Luca  Signorelli 
of  Cortona,  my  kinsman,  in  that  of  Francesco  Salviati,  and  in  many  other 
places  in  the  present  work,  I  shall  not  proceed  to  repeat  the  same  things. 
But  I  must  relate  that  after  having  drawn  in  my  first  years  all  the  good 

171 


172  GIORGIO  VASARI 

pictures  that  are  about  the  churches  of  Arezzo,  the  first  rudiments  were 
taught  to  me  with  some  method  by  the  Frenchman  Guglielmo  da  Marcilla, 
whose  life  and  works  we  have  described  above.  Then,  having  been  taken 
to  Florence  in  the  year  1324  by  Silvio  Passerini,  Cardinal  of  Cortona,  I 
gave  some  little  attention  to  design  under  Michelagnolo,  Andrea  del  Sarto, 
and  others.  But  the  Medici  having  been  driven  from  Florence  in  the 
year  1527,  and  in  particular  Alessandro  and  Ippolito,  with  whom,  young 
as  I  was,  I  had  a  strait  attachment  of  service  through  the  said  Cardinal, 
my  paternal  uncle  Don  Antonio  made  me  return  to  Arezzo,  where  a  short 
time  before  my  father  had  died  of  plague;  which  Don  Antonio,  keeping 
me  at  a  distance  from  the  city  lest  I  might  be  infected  by  the  plague,  was 
the.  reason  that  I,  to  avoid  idleness,  went  about  exercising  my  hand 
throughout  the  district  of  Arezzo,  near  our  parts,  painting  some  things 
in  fresco  for  the  peasants  of  the  countryside,  although  as  yet  I  had 
scarcely  ever  touched  colours;  in  doing  which  I  learned  that  to  try  your 
hand  and  work  by  yourself  is  helpful  and  instructive,  and  enables  you  to 
gain  excellent  practice.  In  the  year  afterwards,  1^28,  the  plague  being 
finished,  the  first  work  that  I  executed  was  a  little  altar-picture  for  the 
Church  of  S.  Piero,  of  the  Servite  Friars,  at  Arezzo;  and  in  that  picture, 
which  is  placed  against  a  pilaster,  are  three  half-length  figures,  S.  Agatha, 
S.  Rocco,  and  S.  Sebastian.  Being  seen  by  Rosso,  a  very  famous  painter, 
who  came  in  those  days  to  Arezzo,  it  came  about  that  he,  recognizing  in 
it  something  of  the  good  taken  from  Nature,  desired  to  know  me,  and 
afterwards  assisted  me  with  designs  and  counsel.  Nor  was  it  long  before 
by  his  means  M.  Lorenzo  Gamurrini  gave  me  an  altar-picture  to  execute, 
for  which  Rosso  made  me  the  design;  and  I  then  painted  it  with  all  the 
study,  labour,  and  diligence  that  were  possible  to  me,  in  order  to  learn 
and  to  Acquire  something  of  a  name.  And  if  my  powers  had  equalled  my 
good  will,  I  would  have  soon  become  a  passing  good  painter,  so  much  I 
studied  and  laboured  at  the  things  of  art;  J}ut  I  .found  the  difficulties 
much  greater  than  I  had  judged  at  the  beginning. 

However,  not  losing  heart,  I  returned  to  "Florence,  where,  perceiving 
that  I  could  not  save  only  after  a  long  time  become  such  as  to  be  able ; 
to  assist  the  three  sisters  and  two  younger  brothers  left  to  me  by  ;ny 


GIORGIO  VASARI  173 

father,  I  placed  myself  with  a  goldsmith.  But  not  for  long,  because  in 
the  year  1529,  the  enemy  having  come  against  Florence,  I  went  off  with 
the  goldsmith  Manno,  who  was  very  much  my  friend,  to  Pisa,  where, 
setting  aside  the  goldsmith's  craft,  I  painted  in  fresco  the  arch  that  is 
over  the  door  of  the  old  Company  of  the  Florentines,  and  some  pictures 
in  oils,  which  were  given  to  me  to  execute  by  means  of  Don  Miniato 
Pitti,  at  that  time  Abbot  of  Agnano  without  the  city  of  Pisa,  and  of 
Luigi  Guicciardini,  who  was  then  in  that  city.  Then,  the  war  growing 
every  day  more  general,  I  resolved  to  return  to  Arezzo;  but,  not  being 
able  to  go  by  the  direct  and  ordinary  road,  I  made  my  way  by  the 
mountains  of  Modena  to  Bologna.  There,  finding  that  some  triumphal 
arches  were  being  decorated  in  painting  for  the  coronation  of  Charles  V, 
young  as  I  was  I  obtained  some  work,  which  brought  me  honour  and 
profit;  and  since  I  drew  passing  well,  I  would  have  found  means  to  live 
and  work  there.  But  the  desire  that  I  had  to  revisit  my  family  and 
other  relatives  brought  it  about  that,  having  found  good  company,  I 
returned  to  Arezzo,  where,  finding  my  affairs  in  a  good  state  after  the 
diligent  care  taken  of  them  by  the  above-named  Don  Antonio,  my  uncle, 
I  settled  down  with  a  quiet  mind  and  applied  myself  to  design,  execut- 
ing also  some  little  things  in  oils  of  no  great  importance.  Meanwhile 
the  above-named  Don  Miniato  Pitti  was  made  Abbot  or  Prior,  I  know 
not  which,  of  S.  Anna,  a  monastery  of  Monte  Oliveto  in  the  territory  of 
Siena,  and  he  sent  for  me;  and  so  I  made  for  him  and  for  Albenga,  their 
General,  some  pictures  and  other  works  in  painting.  Then,  the  same 
man  having  been  made  Abbot  of  S.  Bernardo  in  Arezzo,  I  painted  for 
him  two  pictures  in  oils  of  Job  and  Moses  on  the  balustrade  of  the  organ. 
And  since  the  work  pleased  those  monks,  they  commissioned  me  to  paint 
some  pictures  in  fresco — namely,  the  four  Evangelists — on  the  vaulting 
and  walls  of  a  portico  before  the  principal  door  of  the  church,  with  God 
the  Father  on  the  vaulting,  and  some  other  figures  large  as  life;  in  which, 
although  as  a  youth  of  little  experience  I  did  not  do  all  that  one  more 
practised  would  have  done,  nevertheless  I  did  all  that  I  could,  and 
work  which  pleased  those  fathers,  having  regard  for  my  small  experience 
and  age.  But  scarcely  had  I  finished  that  work  when  Cardinal  Ippolito 


174  GIORGIO  VASARI 

de'  Medici,  passing  through  Arezzo  by  post,  took  me  away  to  Rome  to 
serve  him,  as  has  been  related  in  the  Life  of  Salviati;  and  there,  by  the 
courtesy  of  that  lord,  I  had  facilities  to  attend  for  many  months  to  the 
study  of  design.  And  I  could  say  with  truth  that  those  facilities  and 
my  studies  at  that  time  were  my  true  and  principal  master  in  my  art, 
although  before  that  those  named  above  had  assisted  me  not  a  little; 
and  there  had  not  gone  from  my  heart  the  ardent  desire  to  learn,  and 
the  untiring  zeal  to  be  always  drawing  night  and  day.  There  was  also 
of  great  benefit  to  me  in  those  days  the  competition  of  my  young  con- 
temporaries and  companions,  who  have  since  become  for  the  most  part 
very  excellent  in  our  art.  Nor  was  it  otherwise  than  a  very  sharp  spur 
to  me  to  have  such  a  desire  of  glory,  and  to  see  many  who  had  proved 
themselves  very  rare,  and  had  risen  to  honour  and  rank;  so  that  I  used 
to  say  to  myself  at  times:  "  Why  should  it  not  be  in  my  power  to  obtain 
by  assiduous  study  and  labour  some  of  that  grandeur  and  rank  that  so 
many  others  have  acquired  ?  They,  also,  were  of  flesh  and  bones,  as 
I  am." 

Urged  on,  therefore,  by  so  many  sharp  spurs,  and  by  seeirg  how 
much  need  my  family  had  of  me,  I  disposed  myself  never  to  shrink  from 
any  fatigue,  discomfort,  vigil,  and  toil,  in  order  to  achieve  that  end; 
and,  having  thus  resolved  in  my  mind,  there  remained  nothing  notable 
at  that  time  in  Romr,  or  afterwards  in  Florence,  and  in  other  places 
where  I  dwelt,  that  I  did  not  draw  in  my  youth,  and  not  pictures  only, 
but  also  sculptures  and  architectural  works  ancient  and  modern.  And 
besides  the  proficience  that  I  made  in  drawing  the  vaulting  and  chapel  of 
Michelagnolo,  there  remained  nothing  of  Raffaello,  Polidoro,  and  Baldas- 
sarre  da  Siena,  that  I  did  not  likewise  draw  in  company  with  Francesco 
Salviati,  as  has  been  told  already  in  his  Life.  And  to  the  end  that  each 
of  us  might  have  drawings  of  everything,  during  the  day  the  one  would 
not  draw  the  same  things  as  the  other,  but  different,  and  then  at  night 
we  used  to  copy  each  other's  drawings,  so  as  to  save  time  and  extend  our 
studies;  not  to  mention  that  more  often  than  not  we  ate  our  morning 
meal  standing  up,  and  little  at  that.  After  which  incredible  labour,  the 
first  work  that  issued  from  my  hands,  as  from  my  own  forge,  was  a  great 


GIORGIO  VASARI  175 

picture  with  figures  large  as  life,  of  a  Venus  with  the  Graces  adorning  and 
beautifying  her,  which  Cardinal  de'  Medici  caused  me  to  paint;  but  of 
that  picture  there  is  no  need  to  speak,  because  it  was  the  work  of  a  lad, 
nor  would  I  touch  on  it,  save  that  it  is  dear  to  me  to  remember  still  these 
first  beginnings  and  many  upward  steps  of  my  apprenticeship  in  the  arts. 
Enough  that  that  lord  and  others  gave  me  to  believe  that  there  was  in 
it  a  certain  something  of  a  good  beginning  and  of  a  lively  and  resolute 
spirit.  And  since  among  other  things  I  had  made  therein  to  please  my 
fancy  a  lustful  Satyr  who,  standing  hidden  amid  some  bushes,  was 
rejoicing  and  feasting  himself  on  the  sight  of  Venus  and  the  Graces  nude, 
that  so  pleased  the  Cardinal  that  he  had  me  clothed  anew  from  head 
to  foot,  and  then  gave  orders  that  I  should  paint  in  a  larger  pictare, 
likewise  in  oils,  the  battle  of  the  Satyrs  with  the  Fauns,  Sylvan  Gods,  and 
children,  forming  a  sort  of  Bacchanal;  whereupon,  setting  to  work,  I 
made  the  cartoon  and  then  sketched  in  the  canvas  in  colours,  which  was 
ten  braccia  long.  Having  then  to  depart  in  the  direction  of  Hungary, 
the  Cardinal  made  me  known  to  Pope  Clement  and  left  me  to  the  pro- 
action  of  his  Holiness,  who  gave  me  into  the  charge  of  Signor  Jeronimo 

[ontaguto,  his  Chamberlain,  with  letters  authorizing  that,  if  I  might 

dsh  to  fly  from  the  air  of  Rome  that  summer,  I  should  be  received  in 
Florence  by  Duke  Alessandro;  which  it  would  have  been  well  for  me  to 

lo,  because,  choosing  after  all  to  stay  in  Rome,  what  with  the  heat,  the 
air,  and  my  fatigue,  I  fell  sick  in  such  sort  that  in  order  to  be  restored  I 

ras  forced  to  have  myself  carried  by  litter  to  Arezzo.  Finally,  however, 
being  well  again,  about  the  loth  of  the  following  December  I  came  to 
Florence,  where  I  was  received  by  the  above-named  Duke  with  kindly 
mien,  and  shortly  afterwards  given  into  the  charge  of  the  magnificent 
Al.  Ottaviano  de'  Medici,  who  so  took  me  under  his  protection,  that  as 
iong  as  he  lived  he  treated  me  always  as  a  son;  and  his  blessed  memory 
I  shall  always  remember  and  revere,  as  of  a  most  affectionate  father. 
Returning  then  to  my  usual  studies,  I  received  facilities  by  means  of  that 
lord  to  enter  at  my  pleasure  into  the  new  sacristy  of  S.  Lorenzo,  where 
are  the  works  of  Michelagnolo,  he  having  gone  in  those  days  to  Rome; 
and  so  I  studied  them  for  some  time  with  much  diligence,  just  as  they 


176  GIORGIO  VASARI 

were  on  the  ground.  Then,  setting  myself  to  work,  I  painted  in  a  picture 
of  three  braccia  a  Dead  Christ  carried  to  the  Sepulchre  by  Nicodemus, 
Joseph,  and  others,  and  behind  them  the  Maries  weeping;  which  picture, 
when  it  was  finished,  was  taken  by  Duke  Alessandro.  And  it  was  a  good 
and  auspicious  beginning  for  my  labours,  for  the  reason  that  not  only  did 
he  hold  it  in  account  as  long  as  he  lived,  but  it  has  been  ever  since  in 
the  chamber  of  Duke  Cosimo,  and  is  now  in  that  of  the  most  illustrious 
Prince,  his  son;  and  although  at  times  I  have  desired  to  set  my  hand 
upon  it  again,  in  order  to  improve  it  in  some  parts,  I  have  not  been 
allowed.  Duke  Alessandro,  then,  having  seen  this  my  first  work, 
ordained  that  I  should  finish  the  ground-floor  room  in  the  Palace  of  the 
Medici  which  had  been  left  incomplete,  as  has  been  related,  by  Giovanni 
da  Udine.  Whereupon  I  painted  there  four  stories  of  the  actions  of 
Caesar;  his  swimming  with  the  Commentaries  in  one  hand  and  a  sword 
in  the  mouth,  his  causing  the  writings  of  Pompeius  to  be  burned  in  order 
not  to  see  the  works  of  his  enemies,  his  revealing  himself  to  a  helmsman 
while  tossed  by  fortune  on  the  sea,  and,  finally,  his  triumph;  but  this 
last  was  not  completely  finished.  During  which  time,  although  I  was  but 
little  more  than  eighteen  years  of  age,  the  Duke  gave  me  a  salary  of  six 
crowns  a  month,  a  place  at  table  for  myself  and  a  servant,  and  rooms  to 
live  in,  with  many  other  conveniences.  And  although  I  knew  that  I  was 
very  far  from  deserving  so  much,  yet  I  did  all  that  I  could  with  diligence 
and  lovingness,  nor  did  I  shrink  from  asking  from  my  elders  whatever 
I  did  not  know  myself;  wherefore  on  many  occasions  I  was  assisted  with 
counsel  and  with  work  by  Tribolo,  Bandinelli,  and  others.  I  painted, 
then,  in  a  picture  three  braccia  high,  Duke  Alessandro  himself  in  armour, 
portrayed  from  life,  with  a  new  invention  in  a  seat  formed  of  captives 
bound  together,  and  with  other  fantasies.  And  I  remember  that  besides 
the  portrait,  which  was  a  gooQUikejaess,  in  seeking  to  make  the  burnished 
surface  of  the  armour  bright,  shining,  and  natural,  I  was  not  very  far 
from  losing  my  wits,  so  much  did  I  exert  myself  in  copying,  every  Jgast 
thingfrom  the  reality.  However,  despairing  to  be  able  to  approach  to 
the  truth  in  the  work,  I  took  Jacopo  da  Pontormo,  whom  I  revered  for 
|  liis  great  ability,  to  see  it  and  to  advise  me;  and  he,  having  seen  the 


GIORGIO  VASARI  177 

picture  and  perceived  my  agony,  said  to  me  lovingly:  "  My  son,  as  long 
as  this  real  lustrous  armour  stands  beside  the  picture,  your  armour  will 
always  appear  to  you  as  painted,  for,  although  lead-white  is  the  most 
brilliant  pigment  that  art  employs,  the  iron  is  yet  more  brilliant  and 
lustrous.  Take  away  the  real  armour,  and  you  will  then  see  that  your 
counterfeit  armour  is  not  such  poor  stuff  as  you  think  it." 

That  picture,  when  it  was  finished,  I  gave  to  the  Duke,  and  the  Duke 
presented  it  to  M.  Ottaviano  de'  Medici,  in  whose  house  it  has  been  up 
to  the  present  day,  in  company  with  the  portrait  of  Caterina,  the  then 
young  sister  of  the  Duke,  and  afterwards  Queen  of  France,  and  that  of 
the  Magnificent  Lorenzo,  the  Elder.  And  in  the  same  house  are  three 
pictures  also  by  my  hand  and  executed  in  my  youth;  in  one  is  Abraham 
sacrificing  Isaac,  in  the  second  Christ  in  the  Garden,  and  in  the  third  His 
Supper  with  the  Apostles.  Meanwhile  Cardinal  Ippolito  died,  in  whom 
was  centred  the  sum  of  all  my  hopes,  and  I  began  to  recognize  how 
vain  generally  are  the  hopes  of  this  world,  and  that  a  man  must  trust 
mostly  in  himself  and  in  being  of  some  account.  After  these  works, 
perceiving  that  the  Duke  was  all  given  over  to  fortifications  and  to 
building,  I  began,  the  better  to  be  able  to  serve  him,  to  give  attention 
to  matters  of  architecture,  and  spent  much  time  upon  them.  But  mean- 
while, festive  preparations  having  to  be  made  in  Florence  in  the  year 
1536  for  receiving  the  Emperor  Charles  V,  the  Duke,  in  giving  orders 
for  that,  commanded  the  deputies  charged  with  the  care  of  those  pomps, 
as  has  been  related  in  the  Life  of  Tribolo,  that  they  should  have  me  with 
them  to  design  all  the  arches  and  other  ornaments  to  be  made  for  that 
entry.  Which  done,  there  was  allotted  to  me  for  my  benefit,  besides 
the  great  banners  of  the  castle  and  fortress,  as  has  been  told,  the  fagade 
in  the  manner  of  a  triumphal  arch  that  was  constructed  at  S.  Felice  in 
Piazza,  forty  braccia  high  and  twenty  wide,  and  then  the  ornamentation 
of  the  Porta  a  S.  Piero  Gattolini;  works  all  great  and  beyond  my  strength. 
And,  what  was  worse,  those  favours  having  drawn  down  upon  me  a 
thousand  envious  thoughts,  about  twenty  men  who  were  helping  me  to 
do  the  banners  and  the  other  labours  left  me  nicely  in  the  lurch,  at  the 
persuasion  of  one  person  or  another,  to  the  end  that  I  might  not  be  able 

x.  23 


178  GIORGIO  VASARI 

to  execute  works  so  many  and  of  such  importance.     But  I,  who  had  fore- 
seen the  malice  of  such  creatures  (to  whom  I  had  always  sought  to  give 
assistance),  partly  labouring  with  my  own  hand  day  and  night,  and 
partly  aided  by  painters  brought  in  from  without,  who  helped  me  secretly, 
attended  to  my  business,  and  strove  to  conquer  all  such  difficulties  and 
treacheries  by   means  of    the   works   themselves.      During   that  time 
Bertoldo  Corsini,  who  was  then  proveditor-general  to  his  Excellency, 
had  reported  to  the  Duke  that  I  had  undertaken  to  do  so  many  things 
that  it  would  never  be  possible  for  me  to  have  them  finished  in  time, 
particularly  because  I  had  no  men  and  the  works  were  much  in  arrears. 
Whereupon  the  Duke  sent  for  me,  and  told  me  what  he  had  heard; 
and  I  answered  that  my  works  were  well   advanced,   as  his  Excel- 
lency might  see   at  his  pleasure,  and   that    the  end  would  do  credit 
to  the  whole.     Then  I  went  away,  and  no  long  time  passed  before  he 
came  secretly  to  where  I  was  working,  and,  having  seen  everything, 
recognized  in  part  the  envy  and  malice  of  those  who  were  pressing  upon 
me  without  having  any  cause.     The  time  having  come  when  everything 
was  to  be  in  order,  I  had  finished  my  works  to  the  last  detail  and  set 
them  in  their  places,  to  the  great  satisfaction  of  the  Duke  and  of  all  the 
city;  whereas  those  of  some  who  had  thought  more  of  my  business  than 
of  their  own,  were  set  in  place  unfinished.     When  the  festivities  were 
over,  besides  four  hundred  crowns  that  were  paid  to  me  for  my  work, 
the  Duke  gave  me  three  hundred  that  were  taken  away  from  those  who 
had  not  carried  their  works  to  completion  by  the  appointed  time,  accord- 
ing as  had  been  arranged  by  agreement.     And  with  those  earnings  and 
donations  I  married  one  of  my  sisters,  and  shortly  afterwards  settled  an- 
other as  a  nun  in  the  Murate  at  Arezzo,  giving  to  the  convent  besides  the 
dowry,  or  rather,  alms,  an  altar-picture  of  the  Annunciation  by  my  hand, 
\  with  a  Tabernacle  of  the  Sacrament  accommodated  in  that  picture,  which 
v  was  placed  within  their  choir,  where  they  perform  their  offices.     Having 
then  received  from  the  Company  of  the  Corpus  Domini,  at  Arezzo,  the  com- 
mission for  the  altar-piece  of  the  high-altar  of  S.  Domenico,  I  painted  in 
it  Christ  taken  down  from  the  Cross;  and  shortly  afterwards  I  began  for 
the  Company  of  S.  Rocco  the  altar-picture  of  their  church,  in  Florence. 


GIORGIO  VASARI  179 

Now,  while  I  was  going  on  winning  for  myself  honour,  name,  and 
wealth  under  the  protection  of  Duke  Alessandro,  that  poor  lord  was 
cruelly  murdered,  and  there  was  snatched  away  from  me  all  hope  of 
that  which  I  was  promising  to  myself  from  Fortune  by  means  of  his 
favour;  wherefore,  having  been  robbed  within  a  few  years  of  Clement, 
Ippolito,  and  Alessandro,  I  resolved  at  the  advice  of  M.  Ottaviano  that 
I  would  never  again  follow  the  fortune  of  Courts,  but  only  art,  although 
it  would  have  been  easy  to  establish  myself  with  Signor  Cosimo  de' 
Medici,  the  new  Duke.  And  so,  while  carrying  forward  in  Arezzo  the 
above-named  altar-picture  and  the  fa$ade  of  S.  Rocco,  with  the  ornament, 
I  was  making  preparations  to  go  to  Rome,  when  by  means  of  M.  Giovanni 
Pollastra — and  by  the  will  of  God,  to  whom  I  have  always  commended 
myself,  and  to  whom  I  attribute  and  have  always  attributed  my  every 
blessing — I  was  invited  to  Camaldoli,  the  centre  of  the  Camaldolese 

o  iittMiBBiMw 

Congregation,  by  the  fathers  of  that  hermitage,  to  see  that  which  they 
were  designing  to  have  done  in  their  church.  Arriving  there,  I  found 
supreme  pleasure  in  the  Alpine  and  eternal  solitude  and  quietness  of 
that  holy  place;  and  although  I  became  aware  at  the  first  moment  that 
those  fathers  of  venerable  aspect  were  beside  themselves  at  seeing  me 
so  young,  I  took  heart  and  talked  to  them  to  such  purpose,  that  they 
resolved  that  they  would  avail  themselves  of  my  hand  in  the  many 
pictures  in  oils  and  in  fresco  that  were  to  be  painted  in  their  church  of 
Camaldoli.  Now,  while  they  wished  that  before  any  other  thing  I  should 
execute  the  picture  of  the  high-altar,  I  proved  to  them  with  good  reasons 
that  it  was  better  to  paint  first  one  of  the  lesser  pictures,  which  were 
going  in  the  tramezzo,*  and  that,  having  finished  it,  if  it  should  please 
them,  I  would  be  able  to  continue.  Besides  that,  I  would  not  make 
any  fixed  agreement  with  them  as  to  money,  but  said  that  if  my  work, 
when  finished,  were  to  please  them,  they  might  pay  me  for  it  as  they 
chose,  and,  if  it  did  not  please  them,  they  might  return  it  to  me,  and  I 
would  keep  it  for  myself  most  willingly;  which  condition  appearing  to 
them  only  too  honest  and  loving,  they  were  content  that  I  should  set 
my  hand  to  the  work.  They  said  to  me,  then,  that  they  wished  to  have 

*  See  note  on  p.  57,  Vol.  I. 


i8o  GIORGIO  VASARI 

in  it  Our  Lady  with  her  Son  in  her  arms,  and  S.  John  the  Baptist  and 
S.  Jerome,  who  were  both  hermits  and  lived  in  woods  and  forests;  and 
I  departed  "from  the  hermitage  and  made  my  way  down  to  their  Abbey 
of  Camaldoli,  where,  having  made  a  design  with  great  rapidity,  which 
pleased  them,  I  began  the  altar-piece,  and  in  two  months  had  it  com- 
pletely finished  and  set  in  place,  to  the  great  satisfaction  of  those  fathers, 
as  they  gave  me  to  understand,  and  of  myself.  And  in  that  period  of 
two  months  I  proved  how  much  more  one  is  assisted  in  studies  by  sweet 
tranquillity  and  honest  solitude  than  by  the  noises  of  public  squares 
and  courts;  I  recognized,  I  say,  my  error  in  having  in  the  past  placed 
my  hopes  in  men  and  in  the  follies  and  intrigues  of  this  world.  That 
altar-picture  finished,  then,  they  allotted  to  me  straightway  the  rest  of 
the  tramezzo*  of  the  church — namely,  the  scenes  and  other  things  in  fresco- 
work  to  be  painted  there  both  high  and  low,  which  I  was  to  execute 
during  the  following  summer,  for  the  reason  that  in  the  winter  it  would  be 
scarcely  possible  to  work  in  fresco  at  that  altitude,  among  those  mountains. 

Meanwhile  I  returned  to  Arezzo  and  finished  the  altar-picture  for 

« 

S.  Rocco,  painting  in  it  Our  Lady,  six  Saints,  and  a  God  the  Father 
with  some  thunder-bolts  in  the  hand,  representing  the  pestilence,  which 
He  is  in  the  act  of  hurling  down,  but  S.  Rocco  and  other  Saints  make 
intercession  for  the  people.  And  in  the  fagade  are  many  figures  in 
fresco,  which,  like  the  altar-picture,  are  no  better  than  they  should  be. 
Then  Fra  Bartolommeo  Gratiani,  a  friar  of  S.  Agostino  in  Monte  Sansovino, 
sent  to  invite  me  to  Val  di  Caprese,  and  commissioned  me  to  execute  a 
great  altar-piece  in  oils  for  the  high-altar  of  the  Church  of  S.  Agostino  in 
that  same  Monte  Sansovino.  And  after  we  had  come  to  an  agreement, 
I  made  my  way  to  Florence  to  see  M.  Ottaviano,  where,  staying  several 
days,  I  had  much  ado  to  prevent  myself  from  re-entering  the  service  of 
the  Court,  as  I  was  minded  not  to  do.  However,  by  advancing  good 
reasons  I  won  the  battle,  and  I  resolved  that  by  hook  or  by  crook,  before 
doing  anything  else,  I  would  go  to  Rome.  But  in  that  I  did  not  succeed 
until  I  had  made  for  that  same  Messer  Ottaviano  a  copy  of  the  picture 
in  which  formerly  Raff aello  da  Urbino  had  portrayed  Pope  Leo,  Cardinal 

*  See  note  on  p.  57,  Vol.  I. 


GIORGIO  VASARI  181 

Giulio  de'  Medici,  and  Cardinal  de'  Rossi,  for  the  Duke  was  claiming  the 
original,  which  was  then  in  the  possession  of  Messer  Ottaviano;  and  the 
copy  that  I  made  is  now  in  the  house  of  the  heirs  of  that  lord,  who  on 
my  departure  for  Rome  wrote  me  a  letter  of  exchange  for  five  hundred 
crowns  on  Giovan  Battista  Puccini,  which  he  was  to  pay  me  on  demand, 
and  said  to  me:  "  Use  this  money  to  enable  you  to  attend  to  your  studies, 
and  afterwards,  when  you  find  it  convenient,  you  can  return  it  to  me 
either  in  work  or  in  cash,  just  as  you  please."  Arriving  in  Rome,  then, 

*" 

in  February  of  the  year  1538,  I  stayed  there  until  the  end  of  June,  giving 
my  attention  in  company  with  Giovan  Battista  Cungi  of  the  Borgo,  my 
assistant,  to  drawing  all  that  I  had  left  not  drawn  the  other  times 'that 
I  had  been  in  Rome,  and  particularly  everything  that  was  in  the  under- 
ground grottoes.  Nor  did  I  leave  anything  either  in  architecture  or  in 
sculpture  that  I  did  not  draw  and  measure,  insomuch  that  I  can  say 
with  truth  that  the  drawings  that  I  made  in  that  space  of  time  were 
more  than  three  hundred;  and  for  many  years  afterwards  I  found  pleasure 
and  advantage  in  examining  them,  refreshing  the  memory  of  the  things 
>f  Rome.  And  how  much  those  labours  and  studies  benefited  me,  was 
seen  after  my  return  to  Tuscany  in  the  altar-picture  that  I  executed  at 
Monte  Sansovino,  in  which  I  painted  with  a  somewhat  better  manner  the 
Assumption  of  Our  Lady,  and  at  the  foot,  besides  the  Apostles  who  are 
about  the  sepulchre,  S.  Augustine  and  S.  Romualdo.  Having  then  gone 
to  Camaldoli,  according  as  I  had  promised  those  eremite  fathers,  I  painted 
in  the  other  altar-piece  of  the  tramezzo*  the  Nativity  of  Jesus  Christ, 
representing  a  night  illumined  by  the  Splendour  of  the  newborn  Christ, 
who  is  surrounded  by  some  Shepherds  adoring  Him;  in  doing  which,  I 
strove  to  imitate  with  colours  the  rays  of  the  sun,  and  copied  the  figures 
and  all  the  other  things  in  that  work  from  Nature  and  in  the  proper  light, 
to  the  end  that  they  might  be  as  similar  as  possible  to  the  reality.  Then, 
since  that  light  could  not  pass  above  the  hut,  from  there  upwards  and 
all  around  I  availed  myself  of  a  light  that  comes  from  the  splendour  of  the 
Angels  that  are  in  the  air,  singing  Gloria  in  Excelsis  Deo ;  not  to  mention 
that  in  certain  places  the  Shepherds  that  are  around  make  light  with 

*  See  note  on  p.  57,  Vol.  I. 


182  GIORGIO  VASARI 

burning  sheaves  of  straw,  and  also  the  Moon  and  the  Star,  and  the  Angel 
that  is  appearing  to  certain  Shepherds.  For  the  building,  then,  I  made 
some  antiquities  after  my  own  fancy,  with  broken  statues  and  other 
things  of  that  kind.  In  short,  I  executed  that  work  with  all  my  power 
and  knowledge,  and  although  I  did  not  satisfy  with  the  hand  and  the 
brush  my  great  desire  and  eagerness  to  work  supremely  well,  nevertheless 
the  picture  has  pleased  many;  wherefore  Messer  Fausto  Sabeo,  a  man  of 
great  learning  who  was  then  custodian  of  the  Pope's  Library,  and  some 
others  after  him,  wrote  many  Latin  verses  in  praise  of  that  picture, 
moved  perhaps  more  by  affectionate  feeling  than  by  the  excellence  of 
the  work.  Be  that  as  it  may,  if  there  be  in  it  anything  of  the  good,  it 
was  the  gift  of  God.  That  altar-picture  finished,  those  fathers  resolved 
that  I  should  paint  in  fresco  on  the  fagade  the  stories  that  were  to  be 
there,  whereupon  I  painted  over  the  door  a  picture  of  the  hermitage, 
with  S.  Romualdo  and  a  Doge  of  Venice  who  was  a  saintly  man  on  one 
side,  and  on  the  other  a  vision  which  the  above-named  Saint  had  in  that 
place  where  he  afterwards  made  his  hermitage;  with  some  fantasies, 
grotesques,  and  other  things  that  are  to  be  seen  there.  Which  done, 
they  ordained  that  I  should  return  in  the  summer  of  the  following  year 
to  execute  the  picture  of  the  high-altar. 

Meanwhile  the  above-named  Don  Miniato  Pitti,  who  was  then 
Visitor  to  the  Congregation  of  Monte  Oliveto,  having  seen  the  altar- 
picture  of  Monte  Sansovino  and  the  works  of  Camaldoli,  and  finding  in 
Bologna  the  Florentine  Don  Filippo  Serragli,  Abbot  of  S.  Michele  in 
Bosco,  said  to  him  that,  since  the  refectory  of  that  honoured  monastery 
was  to  be  painted,  it  appeared  to  him  that  the  work  should  be  allotted 
to  me  and  not  to  another.  Being  therefore  summoned  to  go  to  Bologna, 
I  undertook  to  do  it,  although  it  was  a  great  and  important  work;  but 
first  I  desired  to  see  all  the  most  famous  works  in  painting  that  were  in 
that  city,  both  by  Bolognese  and  by  others.  The  work  of  the  head- 
wall  of  that  refectory  was  divided  into  three  pictures;  in  one  was  to  be 
when  Abraham  prepared  food  for  the  Angels  in  the  Valley  of  Mamre, 
in  the  second  Christ  in  the  house  of  Mary  Magdalene  and  Martha, 
speaking  with  Martha,  and  saying  to  her  that  Mary  had  chosen  the 


GIORGIO  VASARI  183 

better  part,  and  in  the  third  was  to  be  S.  Gregory  at  table  with  twelve 
poor  men,  among  whom  he  recognized  one  as  Christ.  Then,  setting  my 
hand  to  the  work,  I  depicted  in  the  last  S.  Gregory  at  table  in  a  convent, 
served  by  White  Friars  of  that  Order,  that  I  might  be  able  to  include 
those  fathers  therein,  according  to  their  wish.  Besides  that,  I  made  in 
the  figure  of  that  saintly  Pontiff  the  likeness  of  Pope  Clement  VII,  and 
about  him,  among  many  Lords,  Ambassadors,  Princes,  and  other  person- 
ages who  stand  there  to  see  him  eat,  I  portrayed  Duke  Alessandro  de' 
Medici,  in  memory  of  the  benefits  and  favours  that  I  had  received  from 
him,  and  of  his  having  been  what  he  was,  and  with  him  many  of  my 
friends.  And  among  those  who  are  serving  the  poor  men  at  table,  I 
portrayed  some  friars  of  that  convent  with  whom  I  was  intimate,  such 
as  the  strangers'  attendants  who  waited  upon  me,  the  dispenser,  the 
cellarer,  and  others  of  the  kind;  and  so,  also,  the  Abbot  Serragli,  the 
General  Don  Cipriano  da  Verona,  and  Bentivoglio.  In  like  manner,  I 
copied  the  vestments  of  that  Pontiff  from  the  reality,  counterfeiting 
velvets,  damasks,  and  other  draperies  of  silk  and  gold  of  every  kind; 
but  the  service  of  the  table,  vases,  animals,  and  other  things,  I  caused 
to  be  executed  by  Cristofano  of  the  Borgo,  as  was  told  in  his  Life.  In 
the  second  scene  I  sought  to  make  the  heads,  draperies,  and  buildings 
£ot  only  different  from  the  first,  but  in  such  a  manner  as  to  jrrtake  as 
clearly  evident  as  possible  the  lovingness  of  Christ  in  instructing  the  \ 

^-, i , ••^>f  i- •  •.-,^.-_u. „—«—..    *-•  «.—..•      •  I •  <!•»••  i.«rr»»M«^fH»»'1^  -  W  \-J 

Magdalene,  and  the  affection  and  readiness  of  Martha  in  arranging  the 
table,  and  her  lamentation  at  being  left  alone  by  her  sister  in  such  labours 
and  service;  to  say  nothing  of  the  attentiveness  of  the  Apostles,  and  of 
many  other  things  worthy  of  consideration  in  that  picture.  As  for  the 
third  scene,  I  painted  the  three  Angels — coming  to  do  this  I  know  not 
how — within  a  celestial  light  which  seems  to  radiate  from  them,  while 
the  rays  of  the  sun  surround  the  cloud  in  which  they  are.  Of  the  three 
Angels  the  old  Abraham  is  adoring  one,  although  those  that  he  sees  are 
three;  while  Sarah  stands  laughing  and  wondering  how  that  can  come 
to  pass  which  has  been  promised  to  her,  and  Hagar,  with  Ishmael  in 
her  arms,  is  departing  from  the  hospitable  shelter.  The  same  radiance 
also  gives  light  to  sojne  servants  who  are  preparing  the  table,  among 


184  GIORGIO  VASARI 

whom  are  some  who,  not  being  able  to  endure  that  splendour,  place 
their  hands  over  their  eyes  and  seek  to  shade  themselves.  Which  variety 
of  things,  since  strong  shadows  and  brilliant  lights  give  greater  force  to 
pictures,  caused  this  one  to  have  more  relief  than  the  other  two,  and, 
the  colours  being  varied,  they  produced  a  very  different  effect.  But 
would  I  had  been  able  to  carry  my  conception  into  execution,  even  as 
both  then  and  afterwards,  with  new  inventions  and  fantasies,  I  was 
always  seeking  out  the  laborious  and  difficult  in  art.  This  work,  then, 
whatever  it  may  be,  was  executed  by  me  in  eight  months,  together  with 
a  frieze  in  fresco,  architectural  ornaments,  carvings,  seat-backs,  panels, 
and  other  adornments  over  the  whole  work  and  the  whole  refectory;  and 
the  price  of  all  I  was  content  to  make  two  hundred  crowns,  as  one  who 
aspired  more  to  glory  than  to  gain.  Wherefore  M.  Andrea  Alciati,  my 
very  dear  friend,  who  was  then  reading  in  Bologna,  caused  these  words 
to  be  placed  at  the  foot : 

OCTONIS  MENSIBUS  OPUS  AB  ARETINO  GEORGIO  PICTUM,  NON  TAM  PRECIO 

QUAM   AMICORUM    OBSEQUIS    ET   HONORIS   VOTO,    ANNO    1539   PHILIPPUS 

SERRALIUS   PON.   CURAVIT. 

At  this  same  time  I  executed  two  little  altar-pictures,  of  the  Dead 
Christ  and  of  the  Resurrection,  which  were  placed  by  the  Abbot  Don 
Miniato  Pitti  in  the  Church  of  S.  Maria  di  Barbiano,  without  San 
Gimignano  in  Valdelsa.  Which  works  finished,  I  returned  straightway 

to  Florence,  for  the  reason  that  Treviso,  Maestro  Biagio,  and  other 

3  J  °    j 

Bolognese  painters,  thinking  that  I  was  seeking  to  establish  myself  in 
Bologna  and  to  take  their  works  and  commissions  out  of  their  hands,  kept 
molesting  me  unceasingly;  but  they  did  more  harm  to  themselves  than 
to  me,  and  their  envious  ways  moved  me  to  laughter.  In  Florence,  then, 
I  copied  for  M.  Ottaviano  a  large  portrait  of  Cardinal  Ippolito  down  to  the 
knees,  and  other  pictures,  with  which  I  kept  myself  occupied  until  the 
insupportable  heat  of  summer.  Which  having  come,  I  returned  to  the 
quiet  and  freshness  of  Camaldoli,  in  order  to  execute  the  above-mentioned 
altar-piece  of  the  high-altar.  In  that  work  I  painted  a  Christ  taken 
down  from  the  Cross,  with  the  greatest  study  and  labour  that  were 


GIORGIO  VASARI  185 

within  my  power;  and  since,  in  the  course  of  the  work  and  of  time,  it 
seemed  necessary  to  me  to  improve  certain  things,  and  I  was  not  satisfied 
with  the  first  sketch,  I  gave  it  another  priming  and  repainted  it  all  anew, 
as  it  is  now  to  be  seen,  and  then,  attracted  by  the  solitude  and  staying 
in  that  same  place,  I  executed  there  a  picture  for  the  same  Messer 
Ottaviano,  in  which    I   painted  a  young  S.   John,  nude,  among  some 
rocks  and  crags  that  I  copied  from  Nature  among  those  mountains. 
And  I  had  scarcely  finished  these  works  when  there  arrived  in  Camaldoli 
Messer  Bindo  Altoviti,  who  wished  to  arrange  a  transportation  of  great 
fir-trees  to  Rome  by  way  of  the  Tiber,  for  the  fabric  of  S.  Pietro,  from 
the  Cella  di  S.  Alberigo,  a  place  belonging  to  those  fathers;  and  he, 
seeing  all  the  works  executed  by  me  in  that  place,  and  by  my  good  fortune 
liking  them,  resolved,  before  he  departed  thence,  that  I  should  paint  an 
altar-picture  for  his  Church  of  S.  Apostolo  in  Florence.     Wherefore, 
having  finished  that  of  Camaldoli,  with  the  f agade  of  the  chapel  in  fresco 
(wherein  I  made  the  experiment  of  combining  work  in  oil-colours  with 
te  other,  and  succeeded  passing  well),  I  made  my  way  to  Florence,  and 
iere  executed  that  altar-picture.     Now,  having  to  give  a  proof  of  my 
>owers  in  Florence,  where  I  had  not  yet  executed  such  a  work,  and  having 
many  rivals,  and  also  a  desire  to  acquire  a  name,  I  resolved  that  I  would 
do  my  utmost  in  that  work  and  put  into  it  all  the  diligence  that  I  might 
find  possible.     And  in  order  to  be  able  to  do  that  free  from  every 
vexatious  thought,  I  first  married  my  third  sister  and  bought  a  house 
already  begun  in  Arezzo,  with  a  site  for  making  most  beautiful  gardens, 
in  the  Borgo  di  S.  Vito,  in  the  best  air  of  that  city.     In  October,  then, 
of  the  year  1540,  I  began  the  altar-picture  for  Messer  Bindo,  proposing 
to  paint  in  it  a  scene  that  should  represent  the  Conception  of  Our  Lady, 
according  to  the  title  of  the  chapel;  which  subject  presenting  no  little 
difficulty  to  me,  Messer  Bindo  and  I  took  the  opinions  of  many  common 
friends,   men  of  learning,   and  finally  I   executed  it  in  the  following 
manner.     Having  depicted  the  Tree  of  the  Primal  Sin  in  the  middle  of  the 
picture,  I  painted  at  its  roots  Adam  and  Eve  naked  and  bound,  as  the 
first  transgressors  of  the  commandment  of  God,  and  then  one  by  one, 
bound  to  the  other  branches,  Abraham,  Isaac,  Jacob,  Moses,  Aaron, 
x.  24 


i86  GIORGIO  VASARI 

Joshua,  David,  and  the  other  Kings  in  succession,  according  to  the  order 
of  time;  all,  I  say,  bound  by  both  arms,  excepting  Samuel  and  John 
the  Baptist,  who  are  bound  by  one  arm  only,  because  they  were  blessed 
in  the  womb.  I  painted  there,  also,  with  the  tail  wound  about  the  trunk 
of  the  Tree,  the  Ancient  Serpent,  who,  having  a  human  form  from  the 
middle  upwards,  has  the  hands  bound  behind;  and  upon  his  head, 
treading  upon  his  horns,  is  one  foot  of  the  glorious  Virgin,  who  has  the 
other  on  a  Moon,  being  herself  all  clothed  with  the  Sun,  and  crowned 
with  twelve  stars.  The  Virgin,  I  say,  is  supported  in  the  air,  within  a 
Splendour,  by  many  nude  little  Angels,  who  are  illumined  by  the  rays 
that  come  from  her;  which  rays,  likewise,  passing  through  the  leaves  of 
the  Tree,  shed  light  upon  those  bound  to  it,  and  appear  to  be  loosing 
their  bonds  by  means  of  the  virtue  and  grace  that  they  bring  from  her 
from  whom  they  proceed.  And  in  the  heaven,  at  the  top  of  the  picture, 
are  two  children  that  are  holding  certain  scrolls,  in  which  are  written 
these  words:  QUOS  EV^E  CULPA  DAMNAVIT,  MARINE  GRATIA  SOLVIT.  In 
short,  so  far  as  I  can  remember,  I  had  not  executed  any  work  up  to  that 
time  with  more  study  or  with  more  lovingness  and  labour;  but  all  the 
same,  while  I  may  perhaps  have  satisfied  others,  I  did  not  satisfy  myself, 
although  I  know  the  time,  study,  and  labour  that  I  devoted  to  it, 
particularly  to  the  nudes  and  heads,  and,  indeed,  to  every  part. 

For  the  labours  of  that  picture  Messer  Bindo  gave  me  three  hundred 
crowns  of  gold,  besides  which,  in  the  following  year,  he  showed  me  so 
many  courtesies  and  kindnesses  in  his  house  in  Rome,  where  I  made 
him  a  copy  of  the  same  altar-piece  in  a  little  picture,  almost  in  miniature, 
that  I  shall  always  feel  an  obligation  to  his  memory.  At  the  same  time 
that  I  painted  that  picture,  which  was  placed,  as  I  have  said,  in  S. 
Apostolo,  I  executed  for  M.  Ottaviano  de'  Medici  a  Venus  and  a  Leda 
from  the  cartoons  of  Michelagnolo,  and  in  a  large  picture  a  S.  Jerome  in 
Penitence  of  the  size  of  life,  who,  contemplating  the  death  of  Christ, 
whom  he  has  before  him  on  the  Cross,  is  beating  his  breast  in  order  to 
drive  from  his  mind  the  thoughts  of  Venus  and  the  temptations  of  the 
a  flesh,  which  at  times  tormented  him,  although  he  lived  in  woods  and  places 
\  wild  and  solitary,  as  he  relates  of  himself  at  great  length.  To  demonstrate 


GIORGIO  VASARI  187 

which  I  made  a  Venus  who  with  Love  in  her  arms  is  flying  from  that  con- 
templation, and  holding  Play  by  the  hand,  while  the  quiver  and  arrows 
have  fallen  to  the  ground;  besides  which,  the  shafts  shot  by  Cupid  against 
that  Saint  return  to  him  all  broken,  and  some  that  fall  are  brought  back 
to  him  by  the  doves  of  Venus  in  their  beaks.  All  these  pictures,  although 
perhaps  at  that  time  they  pleased  me,  and  were  made  by  me  as  best  I 
knew,  I  know  not  how  much  they  please  me  at  my  present  age;  but,  since 
art  in  herself  is  difficult,  it  is  necessary  to  take  from  him  who  paints  the 
best  that  he  can  do.  This,  indeed,  I  will  say,  because  I  can  say  it  with 
truth,  that  I  have  always  executed  my  pictures,  inventions,  and  designs, 
whatever  may  be  their  value,  I  do  not  say  only  with  the  greatest  possible 
rapidity,  but  also  with  incredible  facility  and  without  effort;  for  which  A 
let  me  call  to  witness,  as  I  have  mentioned  in  another  place,  the  vast 
canvas  that  I  painted  in  six  days  only,  for  S.  Giovanni  in  Florence,  in 
the  year  i££gj  for  the  baptism  of  the  Lord  Don  Francesco  de'  Medici, 
now  Prince  of  Florence  and  Siena. 

Now  although  I  wished  after  these  works  to  go  to  Rome,  in  order  to 
satisfy  Messer  Bindo  Altoviti,  I  did  not  succeed  in  doing  it,  because,  being 
summoned  to  Venice  by  Messer  Pietro  Aretino,  a  poet  of  illustrious  name 
at  that  time,  and  much  my  friend,  I  was  forced  to  go  there,  since  he 
much  desired  to  see  me.  And,  moreover,  I  did  it  willingly,  in  order  to 
see  on  that  journey  the  works  of  Tiziano  and  of  other  painters;  in  which 
purpose  I  succeeded,  for  in  a  few  days  I  saw  the  works  of  Correggio  at 
Modena  and  Parma,  those  of  Giulio  Romano  at  Mantua,  and  the 
antiquities  of  Verona.  Having  finally  arrived  in  Venice,  with  two 
pictures  painted  by  my  hand  from  cartoons  by  Michelagnolo,  I  presented 
them  to  Don  Diego  di  Mendoza,  who  sent  me  two  hundred  crowns  of 
gold.  Nor  had  I  been  long  in  Venice,  when  at  the  entreaty  of  Aretino  I 
executed  for  the  gentlemen  of  the  Calza  the  scenic  setting  for  a  festival  that 
/they  gave,  wherein  I  had  as  my  companions  Battista  Cungi  and  Cristofano 
I  Gherardi  of  Borgo  a  San  Sepolcro  and  Bastiano  Flori  of  Arezzo,  men  very 
'able  and  well  practised,  of  all  which  enough  has  been  said  in  another 
place;  and  also  the  nine  painted  compartments  in  the  Palace  of  Messer 
Giovanni  Cornaro,  which  are  in  the  soffit  of  a  chamber  in  that  Palace, 


i88  GIORGIO  VASARI 

which  is  by  S.  Benedetto.  After  these  and  other  works  of  no  little 
importance  that  I  executed  in  Venice  at  that  time,  I  departed,  although 
I  was  overwhelmed  by  the  commissions  that  were  coming  to  me,  on  the 
i6th  of  August  in  the  year  1542,  and  returned  to  Tuscany.  There, 
before  consenting  to  put  my  hand  to  any  other  thing,  I  painted  on  the 
vaulting  of  a  chamber  that  had  been  built  by  my  orders  in  my  house 
which  I  have  already  mentioned,  all  the  arts  that  are  subordinate  to  or 
depend  upon  design.  In  the  centre  is  a  Fame  who  is  seated  upon  the 
globe  of  the  world  and  sounds  a  golden  trumpet,  throwing  away  one  of 
fire  that  represents  Calumny,  and  about  her,  in  due  order,  are  all  those 
arts  with  their  instruments  in  their  hands;  and  since  I  had  not  time  to 
do  the  whole,  I  left  eight  ovals,  in  order  to  paint  in  them  eight  portraits 
from  life  of  the  first  men  in  our  arts.  In  those  same  days  I  executed  in 
fresco  for  the  Nuns  of  S.  Margherita  in  the  same  city,  in  a  chapel  of  their 
garden,  a  Nativity  of  Christ  with  figures  the  size  of  life.  And  having  thus 
passed  the  rest  of  that  summer  in  my  own  country,  and  part  of  the 
autumn,  I  went  to  Rome,  where,  having  been  received  by  the  above- 
named  Messer  Bindo  with  many  kindnesses,  I  painted  for  him  in  a  picture 
in  oils  a  Christ  the  size  of  life,  taken  down  from  the  Cross  and  laid  on  the 
ground  at  the  feet  of  His  Mother;  with  Phoebus  in  the  air  obscuring  the 
face  of  the  Sun,  and  Diana  that  of  the  Moon.  In  the  landscape,  all 
darkened  by  that  gloom,  some  rocky  mountains,  shaken  by  the  earth- 
quake that  was  caused  by  the  Passion  of  the  Saviour,  are  seen  shivered 
into  pieces,  and  certain  dead  bodies  of  Saints  are  seen  rising  again  and 
(issuing  from  their  sepulchres  in  various  manners;  which  picture,  when 
.'finished,  was  not  displeasing  to  the  gracious  judgment  of  the  greatest 
i  painter,  sculptor,  and  architect  that  there  has  been  in  our  times,  and 
I  perchance  in  the  past.  By  means  of  that  picture,  also,  I  became  known 
to  the  most  illustrious  Cardinal  Farnese,  to  whom  it  was  shown  by  Giovio 
and  Messer  Bindo;  and  at  his  desire  I  made  for  him,  in  a  picture  eight 
braccia  high  and  four  broad,  a  Justice  who  is  embracing  an  ostrich  laden 
with  the  twelve  Tables,  and  with  the  sceptre  that  has  the  stork  at  the 
point,  and  the  head  covered  by  a  helmet  of  iron  and  gold,  with  three 
feathers  of  three  different  colours,  the  device  of  the  just  judge.  She  is 


GIORGIO  VASARI  189 

wholly  nude  from  the  waist  upwards,  and  she  has  bound  to  her  girdle 
with  chains  of  gold,  as  captives,  the  seven  Vices  that  are  opposed  to  her, 
Corruption,  Ignorance,  Cruelty,  Fear,  Treachery,  Falsehood,  and  Calumny. 
Above  these,  upon  their  shoulders,  is  placed  Truth  wholly  nude,  offered 
by  Time  to  Justice,  with  a  present  of  two  doves  representing  Innocence. 
And  upon  the  head  of  that  Truth  Justice  is  placing  a  crown  of  oak, 
signifying  fortitude  of  mind;  which  whole  work  I  executed  with  all  care 
and  diligence,  according  to  the  best  of  my  ability.  At  this  same  time 
I  paid  constant  attention  to  Michelagnolo  Buonarroti,  and  took  his  advice 
in  all  my  works,  and  he  in  his  goodness  conceived  much  more  affection 
for  me;  and  his  counsel,  after  he  had  seen  some  of  my  designs,  was  the 
reason  that  I  gave  myself  anew  and  with  better  method  to  the  study 
of  the  matters  of  architecture,  which  probably  I  would  never  have  done 
if  that  most  excellent  man  had  not  said  to  me  what  he  did  say,  which 
out  of  modesty  I  forbear  to  tell. 

At  the  next  festival  of  S.  Peter,  the  heat  being  very  great  in  Rome, 
where  I  had  spent  all  that  winter  of  1543,  I  returned  to  Florence,  where 
in  the  house  of  Messer  Ottaviano  de'  Medici,  which  I  could  call  my  own, 
I  executed  in  an  altar-piece  for  M.  Biagio  Mei  of  Lucca,  his  gossip,  the 
same  conception  as  in  that  of  Messer  Bindo  in  S.  Apostolo,  although  I 
varied  everything  with  the  exception  of  the  invention;  and  that  picture, 
when  finished,  was  placed  in  his  chapel  in  S.  Piero  Cigoli  at  Lucca.  In 
another  of  the  same  size — namely,  seven  braccia  high  and  four  broad — 
I  painted  Our  Lady,  S.  Jerome,  S.  Luke,  S.  Cecilia,  S.  Martha,  S. 
Augustine,  and  S.  Guido  the  Hermit;  which  altar-picture  was  placed  in 
the  Duomo  of  Pisa,  where  there  were  many  others  by  the  hands  of 
excellent  masters.  And  I  had  scarcely  carried  that  one  to  completion, 
when  the  Warden  of  Works  of  that  Duomo  commissioned  me  to  execute 
another,  in  which,  since  it  was  to  be  likewise  of  Our  Lady,  in  order  to 
vary  it  from  the  other  I  painted  the  Madonna  with  the  Dead  Christ 
at  the  foot  of  the  Cross,  lying  in  her  lap,  the  Thieves  on  high  upon  their 
crosses,  and,  grouped  with  the  Maries  and  Nicodemus,  who  are  standing 
there,  the  titular  Saints  of  those  chapels,  all  forming  a  good  composition 
and  rendering  the  scene  in  that  picture  pleasing.  Having  returned  again 


igo  GIORGIO  VASARI 

to  Rome  in  the  year  1544,  besides  many  pictures  that  I  executed  for 
various  friends,  of  which  there  is  no  need  to  make  mention,  I  made  a 
picture  of  aJVenus  from  a  design  by  Michelagnolo  for  M.  Bindo  Altoviti, 
who  took  me  once  more  into  his  house;  and  for  Galeotto  da  Girone,  a 
Florentine  merchant,  I  painted  an  altar-picture  in  oils  of  Christ  taken 
down  from  the  Cross,  which  was  placed  in  his  chapel  in  the  Church  of 
S.  Agostino  at  Rome.  In  order  to  be  able  to  paint  that  picture  in  comfort, 
together  with  some  works  that  had  been  allotted  to  me  by  Tiberio  Crispo, 
the  Castellan  of  Castel  S.  Angelo,  I  had  withdrawn  by  myself  to  that 
palace  in  the  Trastevere  which  was  formerly  built  by  Bishop  Adimari, 
below  S.  Onofrio,  and  which  has  since  been  finished  by  the  second 
Salviati;  but,  feeling  indisposed  and  wearied  by  my  infinite  labours,  I 
was  forced  to  return  to  Florence.  There  I  executed  some  pictures,  and 
among  others  one  in  which  were  Dante,  Petrarca,  Guido  Cavalcanti, 
Boccaccio,  Cino  da  Pistoia,  and  Guittone  d'Arezzo,  accurately  copied 
from  their  ancient  portraits;  and  of  that  picture,  which  afterwards 
belonged  to  Luca  Martini,  many  copies  have  since  been  made. 

In  that  same  year  of  1544 1  was  invited  to  Naples  by  Don  Giammateo 
of  Aversa,  General  of  the  Monks  of  Monte  Oliveto,  to  the  end  that  I 
might  paint  the  refectory  of  a  monastery  built  for  them  by  King  Alfonso  I ; 
but  when  I  arrived,  I  was  for  not  accepting  the  work,  seeing  that  the 
refectory  and  the  whole  monastery  were  built  in  an  ancient  manner  of 
architecture,  with  the  vaults  in  pointed  arches,  low  and  poor  in  lights, 
and  I  doubted  that  I  was  like  to  win  little  honour  thereby.  How- 
ever, being  pressed  by  Don  Miniato  Pitti  and  Don  Ippolito  da  Milano, 
my  very  dear  friends,  who  were  then  Visitors  to  that  Order,  finally  I 
accepted  the  undertaking.  Whereupon,  recognizing  that  I  would  not 
be  able  to  do  anything  good  save  only  with  a  great  abundance  of  orna- 
ments, dazzling  the  eyes  of  all  who  might  see  the  work  with  a  variety 
and  multitude  of  figures,  I  resolved  to  have  all  the  vaulting  of  the 
refectory  wrought  in  stucco,  in  order  to  remove  by  means  of  rich  com- 
partments in  the  modern  manner  all  the  old-fashioned  and  clumsy 
appearance  of  those  arches.  In  this  I  was  much  assisted  by  the  vaults 
and  walls,  which  are  made,  as  is  usual  in  that  city,  of  blocks  of  tufa,  which 


GIORGIO  VASARI  191 

cut  like  wood,  or  even  better,  like  bricks  not  completely  baked;  and 
thus,  cutting  them,  I  was  able  to  sink  squares,  ovals,  and  octagons,  and 
also  to  thicken  them  with  additions  of  the  same  tufa  by  means  of  nails. 
Having  then  reduced  those  vaults  to  good  proportions  with  that  stucco- 
work,  which  was  the  first  to  be  wrought  in  Naples  in  the  modern  manner, 
and  in  particular  the  fagades  and  end-walls  of  that  refectory,  I  painted 
there  six  panels  in  oils,  seven  braccia  high,  three  to  each  end-wall.  In 
three  that  are  over  the  entrance  of  the  refectory  is  the  Manna  raining 
down  upon  the  Hebrew  people,  in  the  presence  of  Moses  and  Aaron,  and 
the  people  gathering  it  up;  wherein  I  strove  to  represent  a  variety  of 
attitudes  and  vestments  in  the  men,  women,  and  children,  and  the 
emotion  wherewith  they  are  gathering  up  and  storing  the  Manna,  render- 
ing thanks  to  God.  On  the  end-  wall  that  is  at  the  head  is  Christ  at  table 
in  the  house  of  Simon,  and  Mary  Magdalene  with  tears  washing  His  feet 
and  drying  them  with  her  hair,  showing  herself  all  penitent  for  her  sins; 
which  story  is  divided  into  three  pictures,  in  the  centre  the  supper,  on 
the  right  hand  a  buttery  with  a  credence  full  of  vases  in  various  fantastic 
forms,  and  on  the  left  hand  a  steward  who  is  bringing  up  the  viands. 
The  vaulting,  then,  was  divided  into  three  parts;  in  one  the  subject  is 
Faith,  in  the  second  Religion,  and  in  the  third  Eternity,  and  each  of  \ 
these  forms  a  centre  with  eight  Virtues  about  it,  demonstrating  to  the 
monks  that  in  that  refectory  they  eat  what  is  requisite  for  the  perfection 
of  their  lives.  To  enrich  the  spaces  of  the  vaulting,  I  made  them  full  of 
grotesques,  which  serve  as  ornaments  in  forty-eight  spaces  for  the  forty- 
eight  celestial  signs;  and  on  six  walls  down  the  length  of  that  refectory, 
under  the  windows,  which  were  made  larger  and  richly  ornamented,  I 
painted  six  of  the  Parables  of  Jesus  Christ  which  are  in  keeping  with  that 
place;  and  to  all  those  pictures  and  ornaments  there  correspond  the 
carvings  of  the  seats,  which  are  wrought  very  richly.  And  then  I  executed 
for  the  high-altar  of  the  church  an  altar-picture  eight  braccia  high,  con- 
taining the  Madonna  presenting  the  Infant  Jesus  Christ  to  Simeon  in  the 
Temple,  with  a  new  invention,  fit  is  a  notable  thing  that  since  Giotto 
there  had  not  been  up  to  that  time,  in  a  city  so  great  and  noble,  any 
masters  who  had  done  anything  of  importance  in  painting,  although  there  / 


IK 

\ 


192  GIORGIO  VASARI 

had  been  brought  there  from  without  some  things  by  the  hands  of 
Perugino  and  Raffaello.  On  which  account  I  exerted  myself  to  labour 
in  such  a  manner,  in  so  far  as  my  little  knowledge  could  reach,  that  the 
intellects  of  that  country  might  be  roused  to  execute  great  and  honourable 
works;  and,  whether  that  or  some  other  circumstance  may  have  been 
the  reason,  between  that  time  and  the  present  day  many  very  beautiful 
» works  have  been  done  there,  both  in  stucco  and  in  painting.  ^  Besides 
the  pictures  described  above,  I  executed  in  fresco  on  the  vaulting  of  the 
strangers'  apartment  in  the  same  monastery,  with  figures  large  as  life, 
Jesus  Christ  with  the  Cross  on  His  shoulder,  and  many  of  His  Saints  who 
have  one  likewise  on  their  shoulders  in  imitation  of  Him,  to  demonstrate 
that  for  one  who  wishes  truly  to  follow  Him  it  is  necessary  to  bear  with 
good  patience  the  adversities  that  the  world  inflicts.  For  the  General 
of  that  Order  I  executed  a  great  picture  of  Christ  appearing  to  the  Apostles 
as  they  struggled  with  the  perils  of  the  sea,  and  taking  S.  Peter  by  the 
arm,  who,  having  hastened  towards  Him  through  the  water,  was  fearing 
to  drown;  and  in  another  picture,  for  Abbot  Capeccio,  I  painted  the 
Resurrection.  These  works  carried  to  completion,  I  painted  a  chapel 
in  fresco  for  the  Lord  Don  Pietro  di  Toledo,  Viceroy  of  Naples,  in  his 
garden  at  Pozzuolo,  besides  executing  some  very  delicate  ornaments  in 
stucco;  and  arrangements  had  been  made  to  execute  two  great  loggie 
for  the  same  lord,  but  the  undertaking  was  not  carried  into  effect,  for  the 
following  reason.  There  had  been  some  difference  between  the  Viceroy 
and  the  above-named  monks,  and  the  Constable  went  with  his  men  to 
the  monastery  to  seize  the  Abbot  and  some  monks  who  had  had  some 
words  with  the  Black  Friars  in  a  procession,  over  a  matter  of  precedence. 
But  the  monks  made  some  resistance,  assisted  by  about  fifteen  young 
men  who  were  assisting  me  in  stucco-work  and  painting,  and  wounded 
some  of  the  bailiffs;  on  which  account  it  became  necessary  to  get  them 
out  of  the  way,  and  they  went  off  in  various  directions.  And  so  I,  left 
almost  alone,  was  unable  not  only  to  execute  the  loggie  at  Pozzuolo, 
but  also  to  paint  twenty-four  pictures  of  stories  from  the  Old  Testament 
and  from  the  life  of  S.  John  the  Baptist,  which,  not  caring  to  remain  any 
longer  in  Naples,  I  took  to  Rome  to  finish,  whence  I  sent  them,  and  they 


GIORGIO  VASARI  193 

were  placed  about  the  stalls  and  over  the  presses  of  walnut-wood  made 
from  my  architectural  designs  in  the  Sacristy  of  S.  Giovanni  Carbonaro, 
a  convent  of  Eremite  and  Observantine  Friars  of  S.  Augustine,  for  whom 
I  had  painted  a  short  time  before,  for  a  chapel  without  their  church,  a 
panel-picture  of  Christ  Crucified,  with  a  rich  and  varied  ornament  of 
stucco,  at  the  request  of  Seripando,  their  General,  who  afterwards  became 
a  Cardinal.  In  like  manner,  half-way  up  the  staircase  of  the  same 
convent,  I  painted  in  fresco  a  S.  John  the  Evangelist  who  stands  gazing 
at  Our  Lady  clothed  with  the  sun  and  crowned  with  twelve  stars,  with 
her  feet  upon  the  moon.  In  the  same  city  I  painted  for  Messer  Tommaso 
Cambi,  a  Florentine  merchant  and  very  much  my  friend,  the  times  and 
seasons  of  the  year  on  four  walls  in  the  hall  of  his  house,  with  pictures 
of  Sleep  and  Dreaming  over  a  terrace  where  I  made  a  fountain.  And  for 
the  Duke  of  Gravina  I  painted  an  altar-picture  of  the  Magi  adoring  Christ, 
which  he  took  to  his  dominions;  and  for  Orsanca,  Secretary  to  the 
Viceroy,  I  executed  another  altar-piece  with  five  figures  around  a  Christ 
Crucified,  and  many  pictures. 

But,  although  I  was  regarded  with  favour  by  those  lords  and  was 
earning  much,  and  my  commissions  were  multiplying  every  day,  I  judged, 
since  my  men  had  departed  and  I  had  executed  works  in  abundance  in 
one  year  in  that  city,  that  it  would  be  well  for  me  to  return  to  Rome. 
Which  having  done,   the  first  work  that  I  executed  was  for  Signor 
Ranuccio  Farnese,  at  that  time  Archbishop  of  Naples;  painting  on  canvas 
and  in  oils  four  very  large  shutters  for  the  organ  of  the  Piscopio  in  Naples, 
on  the  front  of  which  are  five  Patron  Saints  of  that  city,  and  on  the  inner 
side  the  Nativity  of  Jesus  Christ,  with  the  Shepherds,  and  King  David 
singing  to  his  psaltery,  DOMINUS   DIXIT  AD  ME,  etc.     And  I  finished 
likewise  the  twenty-four  pictures  mentioned  above  and  some  for  M. 
Tommaso  Cambi,  which  were  all  sent  to  Naples;  which  done,  I  painted 
five  pictures  of  the  Passion  of  Christ  for  Raffaello  Acciaiuoli,  who  took 
them  to  Spain.     In  the  same  year,  Cardinal  Farnese  being  minded  to 
cause  the  Hall  of  the  Cancelleria,  in  the  Palace  of  S.  Giorgio,  to  be  painted, 
Monsignor  Giovio,  desiring  that  it  should  be  done  by  my  hands,  com- 
missioned me  to  make  many  designs  with  various  inventions,  which  in 

x.  25 


194  GIORGIO  VASARI 

the  end  were  not  carried  into  execution.  Nevertheless  the  Cardinal 
finally  resolved  that  it  should  be  painted  in  fresco,  and  with  the  greatest 
rapidity  that  might  be  possible,  so  that  he  might  be  able  to  use  it  at  a 
certain  time  determined  by  himself.  That  hall  is  a  little  more  than  a 
hundred  palms  in  length,  fifty  in  breadth,  and  the  same  in  height.  On 
each  end-wall,  fifty  palms  broad,  was  painted  a  great  scene,  and  two  on 
one  of  the  long  walls,  but  on  the  other,  from  its  being  broken  by  windows, 
it  was  not  possible  to  paint  scenes,  and  therefore  there  was  made  a  pendant 
after  the  likeness  of  the  head-wall  opposite.  And  not  wishing  to  make 
a  base,  as  had  been  the  custom  up  to  that  time  with  the  craftsmen  in  all 
their  scenes,  in  order  to  introduce  variety  and  do  something  new  I  caused 
nights  of  steps  to  rise  from  the  floor  to  a  height  of  at  least  nine  palms, 
made  in  various  ways,  one  to  each  scene;  and  upon  these,  then,  there 
begin  to  ascend  figures  that  I  painted  in  keeping  with  the  subject,  little 
by  little,  until  they  come  to  the  level  where  the  scene  begins.  It  would 
be  a  long  and  perhaps  tedious  task  to  describe  all  the  particulars  and 
minute  details  of  those  scenes,  and  therefore  I  shall  touch  only  on  the 
principal  things,  and  that  briefly.  In  all  of  them,  then,  are  stories  of 
the  actions  of  Pope  Paul  III,  and  in  each  is  his  portrait  from  life.  In 
the  first,  wherein  are  the  Dispatchings,  so  to  speak,  of  the  Court  of 
Rome,  may  be  seen  upon  the  Tiber  various  embassies  of  various  nations 
(with  many  portraits  from  life)  that  are  come  to  seek  favours  from  the 
Pope  and  to  offer  him  divers  tributes ;  and,  in  addition,  two  great  figures 
in  great  niches  placed  over  the  doors,  which  are  on  either  side  of  the  scene. 
One  of  these  represents  Eloquence,  and  has  above  it  two  Victories  that 
uphold  the  head  of  Julius  Caesar,  and  the  other  represents  Justice,  with 
two  other  Victories  that  hold  the  head  of  Alexander  the  Great;  and  in 
the  centre  are  the  arms  of  the  above-named  Pope,  supported  by  Liberality 
and  Remuneration.  On  the  main  wall  is  the  same  Pope  remunerating 
merit,  distributing  salaries,  knighthoods,  benefices,  pensions,  bishoprics, 
and  Cardinal's  hats,  and  among  those  who  are  receiving  them  are  Sadoleto, 
Polo,  Bembo,  Contarini,  Giovio,  Buonarroti,  and  other  men  of  excellence, 
all  portrayed  from  life,  and  on  that  wall,  within  a  great  niche,  is  Grace 
with  a  horn  of  plenty  full  of  dignities,  which  she  is  pouring  out  upon  the 


GIORGIO  VASARI  195 

earth,  and  the  Victories  that  she  has  above  her,  after  the  likeness  of  the 
others,  support  the  head  of  the  Emperor  Trajan.  There  is  also  Envy, 
who  is  devouring  vipers  and  appears  to  be  bursting  with  venom;  and 
above,  at  the  top  of  the  scene,  are  the  arms  of  Cardinal  Farnese,  sup- 
ported by  Fame  and  Virtue.  In  the  other  scene  the  same  Pope  Paul  is 
seen  all  intent  on  his  buildings,  and  in  particular  on  that  of  S.  Pietro 
upon  the  Vatican,  and  therefore  there  are  kneeling  before  the  Pope 
Painting,  Sculpture,  and  Architecture,  who,  having  unfolded  a  design  of 
the  ground-plan  of  that  S.  Pietro,  are  receiving  orders  to  execute  the 
work  and  to  carry  it  to  completion.  Besides  these  figures,  there  is 
Resolution,  who,  opening  the  breast,  lays  bare  the  heart;  with  Solicitude 
.and  Riches  near.  In  a  niche  is  Abundance,  with  two  Victories  that  hold 
the  effigy  of  Vespasian,  and  in  the  centre,  in  another  niche  that  divides 
one  scene  from  the  other,  is  Christian  Religion,  with  two  Victories  above 
her  that  hold  the  head  of  Numa  Pompilius;  and  the  arms  that  are  above 
the  scene  are  those  of  Cardinal  San  Giorgio,  who  built  that  Palace.  In  the 
other  scene,  which  is  opposite  to  that  of  the  Dispatchings  of  the  Court, 
is  the  universal  peace  made  among  Christians  by  the  agency  of  Pope 
Paul  III,  and  particularly  between  the  Emperor  Charles  V  and  Francis, 
King  of  France,  who  are  portrayed  there;  wherefore  there  may  be  seen 
Peace  burning  arms,  the  Temple  of  Janus  being  closed,  and  Fury  in 
chains.  Of  the  two  great  niches  that  are  on  either  side  of  the  scene,  in 
one  is  Concord,  with  two  Victories  above  her  that  are  holding  the  head 
of  the  Emperor  Titus,  and  in  the  other  is  Charity  with  many  children, 
while  above  the  niche  are  two  Victories  holding  the  head  of  Augustus; 
and  over  all  are  the  arms  of  Charles  V,  supported  by  Victory  and 
Rejoicing.  The  whole  work  is  full  of  the  most  beautiful  inscriptions  and 
mottoes  composed  by  Giovio,  and  there  is  one  in  particular  which  says 
that  those  pictures  were  all  executed  in  a  hundred  days;  which,  indeed, 
like  a  young  man,  I  did  do,  being  such  that  I  gave  no  thought  to  anything 
but  satisfying  that  lord,  who,  as  I  have  said,  desired  to  have  the  work 
finished  in  that  time  for  a  particular  purpose.  But  in  truth,  although  I 
exerted  myself  greatly  in  making  cartoons  and  studying  that  work,  I 
confess  that  I  did  wrong  in  putting  it  afterwards  in  the  hands  of  assistants, ! 


196  GIORGIO  VASARI 

1  in  order  to  execute  it  more  quickly,  as  I  was  obliged  to  do;  for  it  would 
have  been  better  to  toil  over  it  a  hundred  months  and  do  it  with  my 
own  hand,  whereby,  although  I  would  not  have  done  it  in  such  a  way 
as  to  satisfy  my  wish  to  please  the  Cardinal  and  to  maintain  my  own 
honour,  I  would  at  least  have  had  the  satisfaction  of  having  executed  it 
with  my  own  hand.  However,  that  error  was  the  reason  that  I  resolved 
that  I  would  never  again  do  any  work  without  finishing  it  entirely  by 
myself  over  a  first  sketch  done  by  the  hands  of  assistants  from  designs 
by  my  hand.  In  that  work  the  Spaniards,  Bizzerra  and  Roviale,  who 
laboured  much  in  it  in  my  company,  gained  no  little  practice;  and  also 
Battista  da  Bagnacavallo  of  Bologna,  Bastiano  Flori  of  Arezzo,  Giovan 
Paolo  dal  Borgo,  Fra  Salvadore  Foschi  of  Arezzo,  and  many  other 
young  men. 

At  that  time  I  went  often  in  the  evening,  at  the  end  of  the  day's 
work,  to  see  the  above-named  most  illustrious  Cardinal  Farnese  at  supper, 
where  there  were  always  present,  to  entertain  him  with  beautiful  and 
honourable  discourse,  Molza,  Annibale  Caro,  M.  Gandolfo,  M.  Claudio 
Tolomei,  M.  Romolo  Amaseo,  Monsignor  Giovio,  and  many  other  men 
of  learning  and  distinction,  of  whom  the  Court  of  that  Lord  is  ever  full. 
One  evening  among  others  the  conversation  turned  to  the  museum  of 
Giovio  and  to  the  portraits  of  illustrious  men  that  he  had  placed  therein 
with  beautiful  order  and  inscriptions;  and  one  thing  leading  to  another, 
as  happens  hi  conversation,  Monsignor  Giovio  said  that  he  had  always 
had  and  still  had  a  great  desire  to  add  to  his  museum  and  his  book  of 
Eulogies  a  treatise  with  an  account  of  the  men  who  had  been  illustrious 
in  the  art  of  design  from  Cimabue  down  to  our  own  times.  Enlarging 
on  this,  he  showed  that  he  had  certainly  great  knowledge  and  judgment 
in  the  matters  of  our  arts;  but  it  is  true  that,  being  content  to  treat  the 
subject  in  gross,  he  did  not  consider  it  in  detail,  and  often,  in  speaking  of 
those  craftsmen,  either  confused  their  names,  surnames,  birthplaces, 
and  works,  or  did  not  relate  things  exactly  as  they  were,  but  rather,  as  I 
have  said,  in, gross.  When  Giovio  had  finished  his  discourse,  the  Cardinal 
turned  to  me  and  said:  "  What  do  you  say,  Giorgio  ?  Will  not  that  be 
a  fine  work  and  a  noble  labour  ?"  "  Fine,  indeed,  most  illustrious  Excel- 


GIORGIO  VASARI 


197 


lency,"  I  answered,  "  if  Giovio  be  assisted  by  someone  of  our  arts  to  put 
things  in  their  places  and  relate  them  as  they  really  are.  That  I  say 
because,  although  his  discourse  has  been  marvellous,  he  has  confused 
and  mistaken  many  things  one  for  another."  "  Then/'  replied  the 
Cardinal,  being  besought  by  Giovio,  Caro,  Tolomei,  and  the  others,  "  you 
might  give  him  a  summary  and  an  ordered  account  of  all  those  craftsmen 
and  their  works,  according  to  the  order  of  time;  and  so  your  arts  will 
receive  from  you  this  benefit  as  well/'  That  undertaking,  although  I 
knew  it  to  be  beyond  my  powers,  I  promised  most  willingly  to  execute 
to  the  best  of  my  ability;  and  so,  having  set  myself  down  to  search 
through  my  records  and  the  notes  that  I  had  written  on  that  subject 
from  my  earliest  youth,  as  a  sort  of  pastime  and  because  of  the  affection 
that  I  bore  to  the  memory  of  our  craftsmen,  every  notice  of  whom  was 
very  dear  to  me,  I  gathered  together  everything  that  seemed  to  me  to 
touch  on  the  subject,  and  took  the  whole  to  Giovio.  And  he,  after  he 
had  much  praised  my  labour,  said  to  me:  "  Giorgio,  I  would  rather  that 
you  should  undertake  this  task  of  setting  everything  down  in  the  manner 
in  which  I  see  that  you  will  be  excellently  well  able  to  do  it,  because  I 
have  not  the  courage,  not  knowing  the  various  manners,  and  being 
ignorant  of  many  particulars  that  you  are  likely  to  know;  besides  which, 
even  if  I  were  to  do  it,  I  would  make  at  the  most  a  little  treatise  like  that 
of  Pliny.  Do  what  I  tell  you,  Vasari,  for  I  see  by  the  specimen  that  you 
have  given  me  in  this  account  that  it  will  prove  something  very  fine." 
And  then,  thinking  that  I  was  not  very  resolute  in  the  matter,  he  caused 
Caro,  Molza,  Tolomei,  and  others  of  my  dearest  friends  to  speak  to  me. 
Whereupon,  having  finally  made  up  my  mind,  I  set  my  hand  to  it,  with  the 
intention  of  giving  it,  when  finished,  to  one  of  them,  that  he  might  revise  fj  &v 
and  correct  it,  and  then  publish  it  under  a  name  other  than  mine.  Jj  j[ 

Meanwhile  I  departed  from  Rome  in  the  month  of  October  of  the 
year  1546,  and  came  to  Florence,  and  there  executed  for  the  Nuns  of  the 
famous  Convent  of  the  Murate  a  picture  in  oils  of  a  Last  Supper  for  their 
refectory;  which  work  was  allotted  to  me  and  paid  for  by  Pope  Paul  III, 
who  had  a  sister-in-law,  once  Countess  of  Pitigliano,  a  nun  in  that  convent. 
And  then  I  painted  in  another  picture  Our  Lady  with  the  Infant  Christ 


198  GIORGIO  VASARI 

in  her  arms,  who  is  espousing  the  Virgin-Martyr  S.  Catharine,  with  two 
other  Saints;  which  picture  M.  Tommaso  Cambi  caused  me  to  execute  for 
a  sister  who  was  then  Abbess  of  the  Convent  of  the  Bigallo,  without 
Florence.  That  finished,  I  painted  two  large  pictures  in  oils  for  Monsignor 
de'  Rossi,  Bishop  of  Pavia,  of  the  family  of  the  Counts  of  San  Secondo; 
in  one  of  these  is  a  S.  Jerome,  and  in  the  other  a  Pieta,  and  they  were 
both  sent  to  France.  Then  in  the  year  1547  I  carried  to  completion  for 
the  Duomo  of  Pisa,  at  the  instance  of  M.  Bastiano  della  Seta,  the  Warden 
of  Works,  another  altar-picture  that  I  had  begun;  and  afterwards,  for 
my  very  dear  friend  Simon  Corsi,  a  large  picture  in  oils  of  Our  Lady. 
Now,  while  I  was  executing  these  works,  having  carried  nearly  to  com- 
pletion the  Book  of  the  Lives  of  the  Craftsmen  of  Design,  there  was 
scarcely  anything  left  for  me  to  do  but  to  have  it  transcribed  in  a  good 
hand,  when  there  presented  himself  to  me  most  opportunely  Don  Gian 
Matteo  Faetani  of  Rimini,  a  monk  of  Monte  Oliveto  and  a  person  of 
intelligence  and  learning,  who  desired  that  I  should  execute  some  works 
for  him  in  the  Church  and  Monastery  of  S.  Maria  di  Scolca  at  Rimini, 
where  he  was  Abbot.  He,  then,  having  promised  to  have  it  transcribed 
for  me  by  one  of  his  monks  who  was  an  excellent  writer,  and  to  correct  it 
himself,  persuaded  me  to  go  to  Riniini  to  execute,  with  this  occasion,  the 
altar-picture  and  the  high-altar  of  that  church,  which  is  about  three 
miles  distant  from  the  city.  In  that  altar-picture  I  painted  the  Magi 
adoring  Christ,  with  an  infinity  of  figures  executed  by  me  with  much 
study  in  that  solitary  place,  counterfeiting  the  men  of  the  Courts  of  the 
three  Kings  in  such  a  way,  as  well  as  I  was  able,  that,  although  they  are 
all  mingled  together,  yet  one  may  recognize  by  the  appearance  of  the 
faces  to  what  country  each  belongs  and  to  which  King  he  is  subject,  for 
some  have  the  flesh-colour  white,  some  grey,  and  others  dark;  besides 
which,  the  diversity  of  their  vestments  and  the  differences  in  their  adorn- 
ments make  a  pleasing  variety.  That  altar-piece  has  on  either  side  of  it 
two  large  pictures,  in  which  is  the  rest  of  the  Courts,  with  horses,  elephants, 
and  giraffes,  and  about  the  chapel,  in  various  places,  are  distributed 
Prophets,  Sibyls,  and  Evangelists  in  the  act  of  writing.  In  the  cupola, 
or  rather,  tribune,  I  painted  four  great  figures  that  treat  of  the  praises 


GIORGIO  VASARI  199 

of  Christ,  of  His  Genealogy,  and  of  the  Virgin,  and  these  are  Orpheus  and 
Homer  with  some  Greek  mottoes,  Virgil  with  the  motto,  IAM  REDIT  ET 
VIRGO,  etc.,  and  Dante  with  these  verses: 

Tu  sei  colei,  che  1'  umana  natura 
Nobilitasti  si,  che  il  suo  Fattore 
Non  si  sdegno  di  farsi  tua  fattura. 

With  many  other  figures  and  inventions,  of  which  there  is  no  need  to 
say  any  more.  Then,  the  work  of  writing  the  above-mentioned  book  and 
carrying  it  to  completion  meanwhile  continuing,  I  painted  for  the  high- 
altar  of  S.  Francesco,  in  Rimini,  a  large  altar-picture  in  oils  of  S.  Francis 
receiving  the  Stigmata  from  Christ  on  the  mountain  of  La  Vernia,  copied 
from  nature;  and  since  that  mountain  is  all  of  grey  rocks  and  stones, 
and  in  like  manner  S.  Francis  and  his  companion  are  grey,  I  counterfeited 
a  Sun  within  which  is  Christ,  with  a  good  number  of  Seraphim,  and  so 
the  work  is  varied,  and  the  Saint,  with  other  figures,  all  illumined  by 
the  splendour  of  that  Sun,  and  the  landscape  in  shadow  with  a  great 
variety  of  changing  colours;  all  which  is  not  displeasing  to  many  persons, 
and  was  much  extolled  at  that  time  by  Cardinal  Capodiferro,  Legate  in 
Romagna. 

Being  then  summoned  from  Rimini  to  Ravenna,  I  executed  an 

y 

altar-picture,  as  has  been  told  in  another  place,  for  the  new  church  of 
the  Abbey  of  Classi,  of  the  Order  of  Camaldoli,  painting  therein  a  Christ 
taken  down  from  the  Cross  and  lying  in  the  lap  of  Our  Lady.  And  at 
this  same  time  I  executed  for  divers  friends  many  designs,  pictures,  and 
other  lesser  works,  which  are  so  many  and  so  varied,  that  it  would  be 
difficult  for  me  to  remember  even  a  part  of  them,  and  perhaps  not  pleasing 
for  my  readers  to  hear  so  many  particulars. 

Meanwhile  the  building  of  my  house  at  Arezzo  had  been  finished,  and 

* 

I  returned  home,  where  I  made  designs  for  painting  the  hall,  three 
chambers,  and  the  facade,  as  it  were  for  my  own  diversion  during  that 
summer.  In  those  designs  I  depicted,  among  other  things,  all  the  places 
and  provinces  where  I  had  laboured,  as  if  they  were  bringing  tributes, 
to  represent  the  gains  that  I  had  made  by  their  means,  to  that  house  of 


200  GIORGIO  VASARI 

mine.  For  the  time  being,  however,  I  did  nothing  but  the  ceiling  of  the 
hall,  which  is  passing  rich  in  woodwork,  with  thirteen  large  pictures 
wherein  are  the  Celestial  Gods,  and  in  four  angles  the  four  Seasons  of  the 
year  nude,  who  are  gazing  at  a  great  picture  that  is  in  the  centre,  in  which, 
with  figures  the  size  of  life,  is  Excellence,  who  has  Envy  under  her  feet 
and  has  seized  Fortune  by  the  hair,  and  is  beating  both  the  one  and  the 
other;  and  a  thing  that  was  much  commended  at  the  time  was  that  as 
you  go  round  the  hall,  Fortune  being  in  the  middle,  from  one  side  Envy 
seems  to  be  over  Fortune  and  Excellence,  and  from  another  side  Excel- 
lence is  over  Envy  and  Fortune,  as  is  seen  often  to  happen  in  real  life. 
Around  the  walls  are  Abundance,  Liberality,  Wisdom,  Prudence,  Labour, 
Honour,  and  other  similar  things,  and  below,  all  around,  are  stories  of 
ancient  painters,  Apelles,  Zeuxis,  Parrhasius,  Protogenes,  and  others, 
with  various  compartments  and  details  that  I  omit  for  the  sake  of  brevity. 
In  a  chamber,  also,  in  a  great  medallion  in  the  ceiling  of  carved  woodwork, 
I  painted  Abraham,  with  God  blessing  his  seed  and  promising  to  multiply 
it  infinitely;  and  in  four  squares  that  are  around  that  medallion,  I  painted 
Peace,  Concord,  Virtue,  and  Modesty.  And  since  I  always  adored  the 
memory  and  the  works  of  the  ancients,  and  perceived  that  the  method 
of  painting  in  distemper-colours  was  being  abandoned,  there  came  to 
me  a  desire  to  revive  that  mode  of  painting,  and  I  executed  the  whole 
work  in  distemper;  which  method  certainly  does  not  deserve  to  be  wholly 
despised  or  abandoned.  At  the  entrance  of  the  chamber,  as  it  were  in 
jest,  I  painted  a  bride  who  has  in  one  hand  a  rake,  with  which  she  seems 
to  have  raked  up  and  carried  away  with  her  from  her  father's  house 
everything  that  she  has  been  able,  and  in  the  hand  that  is  stretched  in 
front  of  her,  entering  into  the  house  of  her  husband,  she  has  a  lighted 
torch,  signifying  that  where  she  goes  she  carries  a  fire  that  consumes  and 
•destroys  everything. 

While  I  was  passing  my  time  thus,  the  year  1548  having  come,  Don 
Giovan  Benedetto  of  Mantua,  Abbot  of  SS.  Fiore  e  Lucilla,  a  monastery 
of  the  Black  Friars  of  Monte  Cassino,  who  took  infinite  delight  in  matters 
of  painting  and  was  much  my  friend,  prayed  me  that  I  should  consent 
to  paint  a  Last  Supper,  or  some  such  thing,  at  the  head  of  their  refectory. 


GIORGIO  VASARI  201 

Whereupon  I  resolved  to  gratify  his  wish,  and  began  to  think  of  doing 
something  out  of  the  common  use;  and  so  I  determined,  in  agreement 
with  that  good  father,  to  paint  for  it  the  Nuptials  of  Queen  Esther  and 
King  Ahasuerus,  all  in  a  picture  fifteen  braccia  long,  and  in  oils,  but  first 
to  set  it  in  place  and  then  to  work  at  it  there.  That  method — and  I  can 
speak  with  authority,  for  I  have  proved  it — is  in  truth  that  which  should 
be  followed  by  one  who  wishes  that  his  pictures  should  have  their  true 
and  proper  lights,  for  the  reason  that  in  fact  working  at  pictures  in  a 
place  lower  or  other  than  that  where  they  are  to  stand,  causes  changes  in 
their  lights,  shadows,  and  many  other  properties.  In  that  work,  then,  I 
strove  to  represent  majesty  and  grandeur;  and,  although  I  may  not  judge 
whether  I  succeeded,  I  know  well  that  I  disposed  everything  in  such  a 
manner,  that  there  may  be  recognized  in  passing  good  order  all  the 
manners  of  servants,  pages,  esquires,  soldiers  of  the  guard,  the  buttery, 
the  credence,  the  musicians,  a  dwarf,  and  every  other  thing  that  is 
required  for  a  magnificent  and  royal  banquet.  There  may  be  seen, 
among  others,  the  steward  bringing  the  viands  to  the  table,  accompanied 
by  a  good  number  of  pages  dressed  in  livery,  besides  esquires  and  other 
servants;  and  at  the  ends  of  the  table,  which  is  oval,  are  lords  and  other 
great  personages  and  courtiers,  who  are  standing  on  their  feet,  as  is  the 
custom,  to  see  the  banquet.  King  Ahasuerus  is  seated  at  table,  a  proud 
and  enamoured  monarch,  leaning  upon  the  left  arm  and  offering  a  cup 
of  wine  to  the  Queen,  in  an  attitude  truly  dignified  and  regal.  In  short, 
if  I  were  to  believe  what  I  heard  said  by  persons  at  that  time,  and  what 
I  still  hear  from  anyone  who  sees  the  work,  I  might  consider  that  I  had 
done  something,  but  I  know  better  how  the  matter  stands,  and  what  I 
would  have  done  if  my  hand  had  followed  that  which  I  had  conceived 
in  idea.  Be  that  as  it  may,  I  applied  to  it — and  this  I  can  declare  freely 
— study  and  diligence.  Above  the  work,  on  a  spandrel  of  the  vaulting, 
comes  a  Christ  who  is  offering  to  the  Queen  a  crown  of  flowers;  and  this 
was  done  in  fresco,  and  placed  there  to  denote  the  spiritual  conception 
of  the  story,  which  signified  that,  the  ancient  Synagogue  being  repudiated, 
Christ  was  espousing  the  new  Church  of  his  faithful  Christians. 

At  this  same  time  I  made  the  portrait  of  Luigi  Guicciardini,  brother 
x.  26 


202  GIORGIO  VASARI 

of  the  Messer  Francesco  who  wrote  the  History,  because  that  Messer 
Luigi  was  very  much  my  friend,  and  that  year,  being  Commissary  of 
Arezzo,  had  caused  me  out  of  love  for  me  to  buy  a  very  large  property 
in  land,  called  Frassineto,  in  Valdichiana,  which  has  been  the  salvation 
and  the  greatest  prop  of  my  house,  and  will  be  the  same  for  my  successors, 
if,  as  I  hope,  they  prove  true  to  themselves.  That  portrait,  which  is  in 
the  possession  of  the  heirs  of  that  Messer  Luigi,  is  said  to  be  the  best 
and  the  closest  likeness  of  the  infinite  number  that  I  have  executed. 
But  of  the  portraits  that  I  have  painted,  which  are  so  many,  I  will  make 
no  mention,  because  it  would  be  a  tedious  thing;  and,  to  tell  the  truth, 
I  have  avoided  doing  them  to  the  best  of  my  ability.  That  finished,  I 
painted  at  the  commission  of  Fra  Mariotto  da  Castiglioni  of  Arezzo,  for 
the  Church  of  S.  Francesco  in  that  city,  an  altar-picture  of  Our  Lady, 
S.  Anne,  S.  Francis,  and  S.  Sylvester.  And  at  this  same  time  I  drew  for 
Cardinal  di  Monte,  my  very  good  patron,  who  was  then  Legate  in 
Bologna,  and  afterwards  became  Pope  Julius  III,  the  design  and  plan  of 
a  great  farm  which  was  afterwards  carried  into  execution  at  the  foot  of 
Monte  Sansovino,  his  native  place,  where  I  was  several  times  at  the 
orders  of  that  lord,  who  much  delighted  in  building. 

Having  gone,  after  I  had  finished  these  works,  to  Florence,  I  painted 
that  summer  on  a  banner  for  carrying  in  processions,  belonging  to  the 
Company  of  S.  Giovanni  de'  Peducci  of  Arezzo,  that  Saint  on  one  side 
preaching  to  the  multitude,  and  on  the  other  the  same  Saint  baptizing 
Christ.     Which  picture,  as  soon  as  it  was  finished,  I  sent  to  my  house  at 
Arezzo,  that  it  might  be  delivered  to  the  men  of  the  above-named 
Company;  and  it  happened  that  Monsignor  Giorgio,  Cardinal  d'Armagnac, 
a  Frenchman,  passing  through  Arezzo  and  going  to  see  my  house  for 
some  other  purpose,  saw  that  banner,  or  rather,  standard,  and,  liking 
it,  did  his  utmost  to  obtain  it  for  sending  to  the  King  of  France,  offering 
a  large  price.     But  I  would  not  break  faith  with  those  who  had  com- 
missioned me  to  paint  it,  for,  although  many  said  to  me  that  I  could 
make  another,  I  know  not  whether  I  could  have  done  it  as  well  and  with 
equal  diligence.     And  not  long  afterwards  I  executed  for  Messer  Annibale 
Caro,  according  as  he  had  requested  me  long  before  in  a  letter,  which  is 


GIORGIO  VASARI  203 

printed,  a  picture  of  Adonis  dying  in  the  lap  of  Venus,  after  the  invention 
of  Theocritus;  which  work  was  afterwards  taken  to  France,  almost 
against  my  will,  and  given  to  M.  Albizzo  del  Bene,  together  with  a  Psyche 
gazing  with  a  lamp  at  Cupid,  who  wakens  from  his  sleep,  a  spark  from 
the  lamp  having  scorched  him.  Those  figures,  all  nude  and  large  as 
life,  were  the  reason  that  Alfonso  di  Tommaso  Cambi,  who  was  then  a 
very  beautiful  youth,  well-lettered,  accomplished,  and  most  gentle  and 
courteous,  had  himself  portrayed  nude  and  at  full  length  in  the  person 
of  the  huntsman  Endymion  beloved  by  the  Moon,  whose  white  form, 
and  the  fanciful  landscape  all  around,  have  their  light  from  the  brightness 
of  the  moon,  which  in  the  darkness  of  the  night  makes  an  effect  passing 
natural  and  true,  for  the  reason  that  I  strove  with  all  diligence  to  counter- 
feit the  peculiar  colours  that  the  pale  yellow  light  of  the  moon  is  wont 
to  give  to  the  things  upon  which  it  strikes.  After  this,  I  painted  two 
pictures  for  sending  to  Ragusa,  in  one  Our  Lady,  and  in  the  other  a  Pieta; 
and  then  in  a  great  picture  for  Francesco  Botti  Our  Lady  with  her  Son  in 
her  arms,  and  Joseph;  and  that  picture,  which  I  certainly  executed  with 
the  greatest  diligence  that  I  knew,  he  took  with  him  to  Spain.  These 
works  finished,  I  went  in  the  same  year  to  see  CardinaJMdj  Monte,  at 
Bologna,  where  he  was  Legate,  and,  dwelling  with  him  for  some  days, 
besides  many  other  conversations,  he  contrived  to  speak  so  well  and  to 
persuade  me  with  such  good  reasons,  that,  being  constrained  by  him  to 
do  a  thing  which  up  to  that  time  I  had  refused  to  do,  I  resolved  to  take 
a  wife,  and  so,  by  his  desire,  married  a  daughter  of  Francesco  Bacci,  a 
noble  citizen  of  Arezzo.  Having  returned  to  Florence.  I  executed  a 

w  utmtHimmi\\          * 

great  picture  of  Our  Lady  after  a  new  invention  of  my  own  and  with 
more  figures,  which  was  acquired  by  Messer  Bindo  Altoviti,  who  gave 
me  a  hundred  crowns  of  gold  for  it  and  took  it  to  Rome,  where  it  is  now 
in  his  house.  Besides  this,  I  painted  many  other  pictures  at  the  same 
time,  as  for  Messer  Bernardetto  de'  Medici,  for  Messer  Bartolommeo 
Strada,  an  eminent  physician,  and  for  others  of  my  friends,  of  whom 
there  is  no  need  to  speak. 

In  those  days,  Gismondo  Martelli  having  died  in  Florence,  and  having 
left  instructions  in  his  testament  that  an  altar-picture  with  Our  Lady 


204  GIORGIO  VASARI 

and  some  Saints  should  be  painted  for  the  chapel  of  that  noble  family 
in  S,  Ixgenzp,  Luigi  and  Pandolfo  MarteHi,  together  with  M.  Cosimo 
Bartoli,  all  very  much  my  friends,  besought  me  that  I  should  execute 
that  picture.  Having  obtained  leave  from  the  Lord  Duke  Cosimo,  the 
Patron  and  first  Warden  of  Works  of  that  church,  I  consented  to  do  it, 
but  on  condition  that  I  should  be  allowed  to  paint  in  it  something  after 
my  own  fancy  from  the  life  of  S.  Gismondo,  in  allusion  to  the  name  of 
the  testator.  Which  agreement  concluded,  I  remembered  to  have  heard 
that  Filippo  di  Ser  Brunellesco,  the  architect  of  that  church,  had  given 
a  particular  form  to  all  the  chapels  to  the  end  that  there  might  be  made 
for  each  not  some  little  altar-piece,  but  some  large  scene  or  picture  which 
might  fill  the  whole  space.  Wherefore,  being  disposed  to  follow  in  that 
respect  the  wishes  and  directions  of  Brunelleschi,  and  paying  regard  rather 
to  honour  than  to  the  little  profit  that  I  could  obtain  from  that  commission, 
which  contemplated  the  painting  of  a  small  altar-picture  with  few  figures, 
I  painted  in  an  altar-piece  ten  braccia  in  breadth,  and  thirteen  in  height, 
the  story,  or  rather,  martyrdom,  of  the  King  S.  Gismondo,  when  he,  his 
wife,  and  his  two  sons  were  cast  into  a  well  by  another  King,  or  rather, 
Tyrant.  I  contrived  that  the  ornamental  border  of  that  chapel,  which 
is  a  semicircle,  should  serve  as  the  opening  of  the  gate  of  a  great  palace 
in  the  Rustic  Order,  through  which  there  should  be  a  view  of  a  square 
court  supported  by  pilasters  and  columns  of  the  Doric  Order;  and  I 
arranged  that  through  that  opening  there  should  be  seen  in  the  centre 
an  octagonal  well  with  an  ascent  of  steps  around  it,  by  which  the 
executioners  might  ascend,  carrying  the  two  sons  nude  in  order  to  cast 
them  into  the  well.  In  the  loggie  around  I  painted  on  one  side  people 
gazing  upon  that  horrid  spectacle,  and  on  the  other  side,  which  is  the 
left,  I  made  some  soldiers  who,  having  seized  by  force  the  wife  of  the 
King,  are  carrying  her  towards  the  well  in  order  to  put  her  to  death. 
And  at  the  principal  door  I  made  a  group  of  soldiers  that  are  binding  S. 
Gismondo,  who  with  his  relaxed  and  patient  attitude  shows  that  he  is 
suffering  most  willingly  that  death  and  martyrdom,  and  he  stands  gazing 
on  four  Angels  in  the  air,  who  are  showing  to  him  palms  and  crowns  of 
martyrdom  for  himself,  his  wife,  and  his  sons,  which  appears  to  give  him 


GIORGIO  VASARI  205 

complete  comfort  and  consolation.  I  strove,  likewise,  to  demonstrate 
the  cruelty  and  fierce  anger  of  the  impious  Tyrant,  who  stands  on  the 
upper  level  of  the  court  to  behold  his  vengeance  and  the  death  of 
S.  Gismondo.  In  short,  so  far  as  in  me  lay,  I  made  every  effort  to  give  to 
all  the  figures,  to  the  best  of  my  ability,  the  proper  expressions  and  the 
appropriate  attitudes  and  spirited  movements,  and  all  that  was  required. 
How  far  I  succeeded,  that  I  shall  leave  to  be  judged  by  others;  but  this 
I  must  say,  that  I  gave  to  it  all  the  study,  labour,  and  diligence  in  my 
power  and  knowledge. 

Meanwhile,  the  Lord  Duke  Cosimo  desiring  that  the  Book  of  the 
Lives,  already  brought  almost  to  completion  with  the  greatest  diligence 
that  I  had  found  possible,  and  with  the  assistance  of  some  of  my  friends, 
should  be  given  to  the  printers,  I  gave  it  to  Lorenzo  TorrentinOj  printer 
to  the  Duke,  and  so  the  printing  was  begun.  But  not  even  the  Theories 
had  been  finished,  when,  Pope  Paul  III  having  died,  I  began  to  doubt 
that  I  might  have  to  depart  from  Florence  before  that  book  was  finished 
printing.  Going  therefore  out  of  Florence  to  meet  Cardinal  di  Monte, 
who  was  passing  on  his  way  to  the  Conclave,  I  had  no  sooner  made 
obeisance  to  him  and  spoken  a  few  words,  than  he  said:  "  I  go  to  Rome, 
and  without  a  doubt  I  shall  be  Pope.  Make  haste,  if  you  have  anything 
to  do,  and  as  soon  as  you  hear  the  news  set  out  for  Rome  without  awaiting 
other  advice  or  any  invitation/'  Nor  did  that  prognostication  prove 
false,  for,  being  at  Arezzo  for  that  Carnival,  when  certain  festivities  and 
masquerades  were  being  arranged,  the  news  came  that  the  Cardinal  had 
become  Jl^jjslll.  Whereupon  I  mounted  straightway  on  horseback 
and  went  to  Florence,  whence,  pressed  by  the  Duke,  I  went  to  Rome,  in 
order  to  be  present  at  the  coronation  of  the  new  Pontiff  and  to  take  part 
in  the  preparation  of  the  festivities.  And  so,  arriving  in  Rome  and 
dismounting  at  the  house  of  Messer  Bindo,  I  went  to  do  reverence  to 
his  Holiness  and  to  kiss  his  feet.  Which  done,  the  first  words  that  he 
spoke  to  me  were  to  remind  me  that  what  he  had  foretold  of  himself 
had  not  been  false.  Then,  after  he  was  crowned  and  settled  down  a 
little,  the  first  thing  that  he  wished  to  have  done  was  to  satisfy  an 
obligation  that  he  had  to  the  memory  of  Antonio,  the  first  and  elder 


206  GIORGIO  VASARI 

Cardinal  di  Monte,  by  means  of  a  tomb  to  be  made  in  S.  Pietro  a 
Montorio;  of  which  the  designs  and  models  having  been  made,  it  was 
executed  in  marble,  as  has  been  related  fully  in  another  place.  And 
meanwhile  I  painted  the  altar-picture  of  that  chapel,  in  which  I  repre- 
sented the  Conversion  of  S.  Paul,  but,  to  vary  it  from  that  which 
Buonarroti  had  executed  in  the  Pauline  Chapel,  I  made  S.  Paul  young, 
as  he  himself  writes,  and  fallen  from  his  horse,  and  led  blind  by  the 
soldiers  to  Ananias,  from  whom  by  the  imposition  of  hands  he  receives 
the  lost  sight  of  his  eyes,  and  is  baptized;  in  which  work,  either  because 
the  space  was  restricted,  or  whatever  may  have  been  the  reason,  I  did 
not  satisfy  myself  completely,  although  it  was  perhaps  not  displeasing 
to  others,  and  in  particular  to  Michelagnolo.  For  that  Pontiff,  likewise, 
I  executed  another  altar-picture  for  a  chapel  in  the  Palace;  but  this,  for 
reasons  given  elsewhere,  was  afterwards  taken  by  me  to  Arezzo  and 
placed  at  the  high-altar  of  the  Pieve.  If,  however,  I  had  not  fully  satis- 
fied either  myself  or  others  in  the  last-named  picture  or  in  that  of  S.  Pietro 
a  Montorio,  it  would  have  been  no  matter  for  surprise,  because,  being 
obliged  to  be  continually  at  the  beck  and  call  of  that  Pontiff,  I  was  kept 
always  moving,  or  rather,  occupied  in  making  architectural  designs,  and 
particularly  because  I  was  the  first  who  designed  and  prepared  all  the 
inventions  of  the  V^gna  Julia,  which  he  caused  to  be  erected  at  incredible 
expense.  And  although  it  was  executed  afterwards  by  others,  yet  it 
was  I  who  always  committed  to  drawing  the  caprices  of  the  Pope,  which 
were  then  given  to  Michelagnolo  to  revise  and  correct.  Jacopo  Barozzi 
of  Vignuola  finished,  after  many  designs  by  his  own  hand,  the  rooms, 
halls,  and  many  other  ornaments  of  that  place;  but  the  lower  fountain 
was  made  under  the  direction  of  myself  and  of  Ammanati,  who  after- 
wards remained  there  and  made  the  loggia  that  is  over  the  fountain. 
In  that  work,  however,  it  was  not  possible  for  a  man  to  show  his  ability 
or  to  do  anything  right,  because  from  day  to  day  new  caprices  came  into 
the  head  of  the  Pope,  which  had  to  be  carried  into  execution  according 
to  the  daily  instructions  given  by  Messer  Pier  Giovanni  Aliotti,  Bishop 
of  Forll. 

During  that  time,  being  obliged  in  the  year  1^50  to  go  twice  to 


GIORGIO  VASARI  207 

Florence  on  other  affairs,  the  first  time  I  finished  the  picture  of  S. 
Gismondo,  which  the  Duke  went  to  see  in  the  house  of  M.  Ottaviano  de' 
Medici,  where  I  executed  it;  and  he  liked  it  so  much,  that  he  said  to  me 
that  when  I  had  finished  my  work  in  Rome  I  should  come  to  serve  him 
in  Florence,  where  I  would  receive  orders  as  to  what  was  to  be  done. 
I  then  returned  to  Rome,  where  I  gave  completion  to  those  works  that 
I  had  begun,  and  painted  a  picture  of  the  Beheading  of  S.  John  for  the 
high-altar  of  the  Company  of  the  Misericordia,  different  not  a  little  from 
those  that  are  generally  done,  which  I  set  in  place  in  the  year  1553;  and 
then  I  wished  to  return,  but  I  was  forced  to  execute  for  Messer  Bindo 
Altoviti,  not  being  able  to  refuse  him,  two  very  large  loggie  in  stucco- 
work  and  fresco.  One  of  them  that  I  painted  was  at  his  villa,  made  with 
a  new  method  of  architecture,  because,  the  loggia  being  so  large  that  it 
was  not  possible  to  turn  the  vaulting  without  danger,  I  had  it  made  with 
armatures  of  wood,  matting,  and  canes,  over  which  was  done  the  stucco- 
work  and  fresco-painting,  as  if  the  vaulting  were  of  masonry,  and  even 
so  it  appears  and  is  believed  to  be  by  all  who  see  it;  and  it  is  supported 
by  many  ornamental  columns  of  variegated  marble,  antique  and  rare. 
The  other  loggia  is  on  the  ground-floor  of  his  house  on  the  bridge,  and  is 
covered  with  scenes  in  fresco.  And  after  that  I  painted  for  the  ceiling  of 
an  antechamber  four  large  pictures  in  oils  of  the  four  Seasons  of  the 
year.  These  finished,  I  was  forced  to  make  for  Andrea  della  Fonte, 
who  was  much  my  friend,  a  portrait  from  life  of  his  wife,  and  with  it  I 
gave  him  a  large  picture  of  Christ  bearing  the  Cross,  with  figures  the 
size  of  life,  which  I  had  made  for  a  kinsman  of  the  Pope,  but  afterwards 
had  not  chosen  to  present  to  him.  For  the  Bishop  of  Vasona  I  painted 
a  Dead  Christ  supported  by  Nicodemus  and  by  two  Angels,  and  for  Pier 
Antonio  Bandini  a  Nativity  of  Christ,  an  effect  of  night  with  variety  in 
the  invention. 

While  I  was  executing  these  works,  I  was  also  watching  to  see  what 
the  Pope  was  intending  to  do,  and  finally  I  saw  that  there  was  little  to 
be  expected  from  him,  and  that  it  was  useless  to  labour  in  his  service. 
Wherefore,  notwithstanding  that  I  had  already  executed  the  cartoons 
for  painting  in  fresco  the  loggia  that  is  over  the  fountain  of  the  above- 


208  GIORGIO  VASARI 

named  Vigna,  I  resolved  that  I  would  at  all  costs  go  to  serve  the  Duke 
of  Florence,  and  the  rather  because  I  was  pressed  to  do  this  by  M. 
Averardo  Serristori  and  Bishop  Ricasoli,  the  Ambassadors  of  his  Excel- 
lency in  Rome,  and  also  in  letters  by  M.  Sforza  Almeni,  his  Cupbearer  and 
Chief  Chamberlain.  I  transferred  myself,  therefore,  to  Arezzo,  in  order 

•  ••...- 

to  make  my  way  from  there  to  Florence,  but  first  I  was  forced  to  make 
for  Monsignor  Minerbetti,  Bishop  of  Arezzo,  as  for  my  lord  and  most 
dear  friend,  a  lifesize  picture  of  Patience  in  the  form  that  has  since  been 
used  by  Signor  Ercole,  Duke  of  Ferrara,  as  his  device  and  as  the  reverse 
of  his  medal.  Which  work  finished,  I  came  to  kiss  the  hand  of  the  Lord 
Duke  Cosimo,  by  whom  in  his  kindness  I  was  received  very  warmly;  and 
while  it  was  being  considered  what  I  should  first  take  in  hand,  I  caused 
Cristofano  Gherardi  of  the  Borgo  to  paint  in  chiaroscuro  after  my  designs 
the  f  a$ade  of  M.  Sforza  Almeni,  in  that  manner  and  with  those  inventions 
that  have  been  described  at  great  length  in  another  place.  Now  at  that 
time  I  happened  to  be  one  of  the  Lords  Priors  of  the  city  of  Arezzo,  whose 
office  it  is  to  govern  that  city,  but  I  was  summoned  by  letters  of  the  Lord 
Duke  into  his  service,  and  absolved  from  that  duty;  and,  having  come 
to  Florence,  I  found  that  his  Excellency  had  begun  that  year  to  build 
that  apartment  of  his  Palace  which  is  towards  the  Piazza  del  Grano, 
under  the  direction  of  the  wood-carver  Tasso,  who  was  then  architect  to 
the  Palace.  The  roof  had  been  placed  so  low  that  all  those  rooms  had 
little  elevation,  and  were,  indeed,  altogether  dwarfed;  but,  since  to  raise 
the  crossbeams  and  the  whole  roof  would  be  a  long  affair,  I  advised  that 
a  series  of  timbers  should  be  placed,  by  way  of  border,  with  sunk  com- 
partments two  braccia  and  a  half  in  extent,  between  the  crossbeams  of 
the  roof,  with  a  range  of  consoles  in  the  perpendicular  line,  so  as  to  make 
a  frieze  of  about  two  braccia  above  the  timbers.  Which  plan  greatly 
pleasing  his  Excellency,  he  gave  orders  straightway  that  so  it  should  be 
done,  and  that  Tasso  should  execute  the  woodwork  and  the  compart- 
ments, within  which  was  to  be  painted  the  Genealogy  of  the  Gods;  and 
that  afterwards  the  work  should  be  continued  in  the  other  rooms. 

While  the  work  for  those  ceilings  was  being  prepared,  having  obtained 
leave  from  the  Duke,  I  went  to  spend  two  months  between  Arezzo  and 


Brogi 


LORENZO  THE  MAGNIFICENT  AND  THE  AMBASSADORS 

(After  the  fresco  by  Giorgio  Vasari.     Florence:   Palazzo   Vecchio) 


GIORGIO  VASARI  209 

Cortona,  partly  to  give  completion  to  some  affairs  of  my  own,  and  partly 
to  finish  a  work  in  fresco  begun  on  the  walls  and  vaulting  of  the  Company 
of  Jesus  at  Cortona.  In  that  place  I  painted  three  stories  of  the  life  of 
Jesus  Christ,  and  all  the  sacrifices  offered  to  God  in  the  Old  Testament, 
from  Cain  and  Abel  down  to  the  Prophet  Nehemiah;  and  there,  during 
that  time,  I  also  furnished  designs  and  models  for  the  fabric  of  the 
Madonna  Nuova,  without  the  city.  The  work  for  the  Company  of  Jesus 
being  finished,  Ijreturned  to  Florence  in  the  year  1555  with  all  my  family, 
to  serve  Duke  Cosimo.  And  there  I  began  and  finished  the  compart- 
ments, walls,  and  ceiling  of  the  above-named  upper  Hall,  called  the 
Sala^^degli  Elementi,  painting  in  the  compartments,  which  are  eleven, 
the  Castration  of  Heaven  in  the  air.  In  a  terrace  beside  that  Hall  I 
painted  on  the  ceiling  the  actions  of  Saturn  and  Ops,  and  then  on  the 
ceiling  of  another  great  chamber  all  the  story  of  Ceres  and  Proserpine; 
and  in  a  still  larger  chamber,  which  is  beside  the  last,  likewise  on  the 
ceiling,  which  is  very  rich,  stories  of  the  Goddess  Berecynthia  and  of 
Cybele  with  her  Triumph,  and  the  four  Seasons,  and  on  the  walls  all  the 
twelve  Months.  On  the  ceiling  of  another,  not  so  rich,  I  painted  the 
Birth  of  Jove  and  the  Goat  Amaltheia  nursing  him,  with  the  rest  of  the 
other  most  notable  things  related  of  him;  in  another  terrace  beside  the 
same  room,  much  adorned  with  stones  and  stucco-work,  other  things  of 
Jove  and  Juno;  and  finally,  in  the  next  chamber,  the  Birth  of  Hercules 
and  all  his  Labours.  All  that  could  not  be  included  on  the  ceilings  was 
placed  in  the  friezes  of  each  room,  or  has  been  placed  in  the  arras- 
tapestries  that  the  Lord  Duke  has  caused  to  be  woven  for  each  room 
from  my  cartoons,  corresponding  to  the  pictures  high  up  on  the  walls.  I 
shall  not  speak  of  the  grotesques,  ornaments,  and  pictures  of  the  stairs, 
nor  of  many  other  smaller  details  executed  by  my  hand  in  that  apartment 
of  rooms,  because,  besides  that  I  hope  that  a  longer  account  may  be 
given  of  them  on  another  occasion,  everyone  may  see  them  at  his  pleasure  ' 
and  judge  of  them. 

While  these  upper  rooms  were  being  painted,  there  were  built  the 
others  that  are  on  the  level  of  the  Great  Hall,  and  are  connected  in  a 
perpendicular  line  with  the  first-named,  with  a  very  convenient  system 

x.  27 


210  GIORGIO  VASARI 

of  staircases  public  and  private  that  lead  from  the  highest  to  the  lowest 
quarters  of  the  Palace.  Meanwhile  Tasso  died,  and  the  Duke,  who  had 
a  very  great  desire  that  the  Palace,  which  had  been  built  at  haphazard, 
in  various  stages  and  at  various  times,  and  more  for  the  convenience 
of  the  officials  than  with  any  good  order,  should  be  put  to  rights,  resolved 
that  he  would  at  all  costs  have  it  reconstructed  in  so  far  as  that  was 
possible,  and  that  in  time  the  Great  Hall  should  be  painted,  and  that 
Bandinelli  should  continue  the  Audience-chamber  already  begun.  In 
order,  therefore,  to  bring  the  whole  Palace  into  accord,  harmonizing  the 
work  already  done  with  that  which  was  to  be  done,  he  ordained  that  I 
should  make  several  plans  and  designs,  and  finally  a  wooden  model  after 
some  that  had  pleased  him,  the  better  to  be  able  to  proceed  to  accom- 
modate all  the  apartments  according  to  his  pleasure,  and  to  change  and 
put  straight  the  old  stairs,  which  appeared  to  him  too  steep,  ill-conceived, 
and  badly  made.  To  which  work  I  set  my  hand,  although  it  seemed  to 
me  a  difficult  enterprise  and  beyond  my  powers,  and  I  executed  as  best 
I  could  a  very  large  model,  which  is  now  in  the  possession  of  his  Excel- 
lency; more  to  obey  him  than  with  any  hope  that  I  might  succeed. 
That  model,  when  it  was  finished,  pleased  him  much,  whether  by  his 
good  fortune  or  mine,  or  because  of  the  great  desire  that  I  had  to  give 
satisfaction;  whereupon  I  set  my  hand  to  building,  and  little  by  little, 
doing  now  one  thing  and  now  another,  the  work  has  been  carried  to  the 
condition  wherein  it  may  now  be  seen.  And  while  the  rest  was  being 
done,  I  decorated  with  very  rich  stucco-work  in  a  varied  pattern  of 
compartments  the  first  eight  of  the  new  rooms  that  are  on  a  level  with 
the  Great  Hall,  what  with  saloons,  chambers,  and  a  chapel,  with  various 
pictures  and  innumerable  portraits  from  life  that  come  in  the  scenes, 
beginning  with  the  elder  Cosimo,  and  calling  each  room  by  the  name 
of  some  great  and  famous  person  descended  from  him.  In  one,  then, 
are  the  most  notable  actions  of  that  Cosimo  and  those  virtues  that  were 
most  peculiar  to  him,  with  his  greatest  friends  and  servants  and  portraits 
of  his  children,  all  from  life;  and  so,  also,  that  of  the  elder  Lorenzo,  that 
of  his  son,  Pope  Leo,  that  of  Pope  Clement,  that  of  Signor  Giovanni,  the 
father  of  our  great  Duke,  and  that  of  the  Lord  Duke  Cosimo  himself. 


GIORGIO  VASARI  211 

In  the  chapel  is  a  large  and  very  beautiful  picture  by  the  hand  of 
Raffaello  da  Urbino,  between  a  S.  Cosimo  and  a  S.  Damiano  painted  by 
my  hand,  to  whom  that  chapel  is  dedicated.  Then  in  like  manner  in  the 
upper  rooms  painted  for  the  Lady  Duchess  Leonora,  which  are  four,  are 
actions  of  illustrious  women,  Greek,  Hebrew,  Latin,  and  Tuscan,  one  to 
each  chamber.  But  of  these,  besides  that  I  have  spoken  of  them  else- 
where, there  will  be  a  full  account  in  the  Dialogue  which  I  am  about  to 
give  to  the  world,  as  I  have  said;  for  to  describe  everything  here  would 
have  taken  too  long. 

For  all  these  my  labours,  continuous,  difficult,  and  great  as  they  < 
were,  I  was  rewarded  largely  and  richly  by  the  magnanimous  liberality 
of  the  great  Duke,  in  addition  to  my  salaries,  with  donations  and  with 
commodious  and  honourable  houses  both  in  Florence  and  in  the  country, 
to  the  end  that  I  might  be  able  the  more  advantageously  to  serve  him. 
Besides  which,  he  has  honoured  me  with  the  supreme  magistracy  of 
Gonfalonier  and  other  offices  in  my  native  city  of  Arezzo,  with  the  right 
to  substitute  in  them  one  of  the  citizens  of  that  place,  not  to  mention 
that  to  my  brother  Ser  Piero  he  has  given  offices  of  profit  in  Florence, 
and  likewise  extraordinary  favours  to  my  relatives  in  Arezzo;  so  that  I 
shall  never  be  weary  of  confessing  the  obligation  that  I  feel  towards  that 
Lord  for  so  many  marks  of  affection. 

Returning  to  my  works,  I  must  go  on  to  say  that  my  most  excellent 
Lord  resolved  to  carry  into  execution  a  project  that  he  had  had  for  a 
long  time,  of  painting  th^Great  JIaJl,  a  conception  worthy  of  his  lofty 
and  profound  spirit;  I  know  not  whether,  as  he  said,  I  believe  jesting 
with  me,  because  he  thought  for  certain  that  I  would  get  it  off  his  hands, 
so  that  he  would  see  it  finished  in  his  lifetime,  or  it  may  have  been  from 
some  other  private  and,  as  has  always  been  true  of  him,  most  prudent 
judgment.  The  result,  in  short,  was  that  he  commissioned  me  to  raise 
the  crossbeams  and  the  whole  roof  thirteen  braccia  above  the  height  at 
that  time,  to  make  the  ceiling  of  wood,  and  to  overlay  it  with  gold  and 
paint  it  full  of  scenes  in  oils;  a  vast  and  most  important  undertaking, 
and,  if  not  too  much  for  my  courage,  perhaps  too  much  for  my  powers. 
However,  whether  it  was  that  the  confidence  of  that  great  Lord  and  the 


212  GIORGIO  VASARI 

good  fortune  that  he  has  in  his  every  enterprise  raised  me  beyond  what 
I  am  in  myself,  or  that  the  hopes  and  opportunities  of  so  fine  a  subject 
furnished  me  with  much  greater  faculties,  or  that  the  grace  of  God — and 
this  I  was  bound  to  place  before  any  other  thing — supplied  me  with 
strength,  I  undertook  it,  and,  as  has  been  seen,  executed  it  in  contra- 
diction to  the  opinion  of  many  persons,  and  not  only  in  much  less  time 
than  I  had  promised  and  the  work  might  be  considered  to  require,  but 
in  less  than  even  I  or  his  most  illustrious  Excellency  ever  thought.  And 
I  can  well  believe  that  he  was  astonished  and  well  satisfied,  because  it 
came  to  be  executed  at  the  greatest  emergency  and  the  finest  occasion 
that  could  have  occurred;  and  this  was  (that  the  cause  of  so  much  haste 
may  be  known)  that  a  settlement  had  been  concluded  about  the  marriage 
which  was  being  arranged  between  our  most  illustrious  Prince  and  the 
daughter  of  the  late  Emperor  and  sister  of  the  present  one,  and  I  thought 
it  my  duty  to  make  every  effort  that  on  the  occasion  of  such  festivities 
that  Hall,  which  was  the  principal  apartment  of  the  Palace  and  the  one 
wherein  the  most  important  ceremonies  were  to  be  celebrated,  might  be 
available  for  enjoyment.  And  here  I  will  leave  it  to  the  judgment  of 
everyone  not  only  in  our  arts  but  also  outside  them,  if  only  he  has  seen 
the  greatness  and  variety  of  that  work,  to  decide  whether  the  extra- 
ordinary importance  of  the  occasion  should  not  be  my  excuse  if  in  such 
haste  I  have  not  given  complete  satisfaction  in  so  great  a  variety  of 
wars  on  land  and  sea,  stormings  of  cities,  batteries,  assaults,  skirmishes, 
buildings  of  cities,  public  councils,  ceremonies  ancient  and  modern, 
triumphs,  and  so  many  other  things,  for  which,  not  to  mention  anything 
else,  the  sketches,  designs,  and  cartoons  of  so  great  a  work  required  a 
very  long  time.  I  will  not  speak  of  the  nude  bodies,  in  which  the  per- 
fection of  our  arts  consists,  or  of  the  landscapes  wherein  all  those  things 
were  painted,  all  which  I  had  to  copy  from  nature  on  the  actual  site  and 
spot,  even  as  I  did  with  the  many  captains,  generals  and  other  chiefs,  and 
soldiers,  that  were  in  the  emprises  that  I  painted.  In  short,  I  will  venture 
to  say  that  I  had  occasion  to  depict  on  that  ceiling  almost  everything 
that  human  thought  and  imagination  can  conceive;  all  the  varieties  of 
bodies,  faces,  vestments,  habiliments,  casques,  helmets,  cuirasses,  various 


GIORGIO  VASARI  213 

head-dresses,  horses,  harness,  caparisons,  artillery  of  every  kind,  naviga- 
tions, tempests,  storms  of  rain  and  snow,  and  so  many  other  things, 
that  I  am  not  able  to  remember  them.  But  anyone  who  sees  the  work 
may  easily  imagine  what  labours  and  what  vigils  I  endured  in  executing 
with  the  greatest  study  in  my  power  about  forty  large  scenes,  and  some 
of  them  pictures  ten  braccia  in  every  direction,  with  figures  very  large 
and  in  every  manner.  And  although  some  of  my  young  disciples  worked 
with  me  there,  they  sometimes  gave  me  assistance  and  sometimes  not, 
for  the  reason  that  at  times  I  was  obliged,  as  they  know,  to  repaint  every- 
thing with  my  own  hand  and  go  over  the  whole  picture  again,  to  the  end 
that  all  might  be  in  one  and  the  same  manner.  These  stories,  I  say, 
treat  of  the  history  of  Florence,  from  the  building  of  the  city  down  to  ^ 
the  present  day;  the  division  into  quarters,  the  cities  brought  to  sub- 
mission, the  enemies  vanquished,  the  cities  subjugated,  and,  finally,  the 
beginning  and  end  of  the  War  of  Pisa  on  one  side,  and  on  the  other 
likewise  the  beginning  and  end  of  the  War  of  Siena,  one  carried  on  and  \  -x, 

^ 

concluded  by  the  popular  government  in  a  period  of  fourteen  years, 
and  the  other  by  the  Duke  in  fourteen  months,  as  may  be  seen;  besides 
all  the  rest  that  is  on  the  ceiling  and  will  be  on  the  walls,  each  eighty 
braccia  in  length  and  twenty  in  height,  which  I  am  even  now  painting  in 
fresco,  and  hope  likewise  to  discuss  later  in  ^^^^y^^^iy^^^^S9&^ 
And  all  this  that  I  have  sought  to  say  hitherto  has  been  for  no  other 
cause  but  to  show  with  what  diligence  I  have  applied  myself  and  still 
apply  myself  to  matters  of  art,  and  with  what  good  reasons  I  could  excuse 
myself  if  in  some  cases  (which  I  believe,  indeed,  are  many)  I  have  failed. 
I  will  add,  also,  that  about  the  same  time  I  received  orders  to  design 
all  the  arches  to  be  shown  to  his  Excellency  for  the  purpose  of  deter- 
mining the  whole  arrangement  of  the  numerous  festive  preparations 
already  described,  executed  in  Florence  for  the  nuptials  of  the  most 
illustrious  Lord  Prince,  of  which  I  had  then  to  carry  into  execution  and 
finish  a  great  part;  to  cause  to  be  painted  after  my  designs,  in  ten 
pictures  each  fourteen  braccia  high  and  eleven  broad,  all  the  squares  of 
the  principal  cities  of  the  dominion,  drawn  in  perspective  with  their 
original  builders  and  their  devices;  also,  to  have  finished  the  head-wall 


214  GIORGIO  VASARI 

of  the  above-named  Hall,  begun  by  Bandinelli,  and  to  have  a  scene 
made  for  the  other,  the  greatest  and  richest  that  was  ever  made  by 
anyone;  and,  finally,  to  execute  the  principal  stairs  of  that  Palace,  with 
their  vestibules,  the  court  and  the  columns,  in  the  manner  that  everyone 
knows  and  that  has  been  described  above,  with  fifteen  cities  of  the 
Empire  and  of  the  Tyrol  depicted  from  the  reality  in  as  many  pictures. 
Not  little,  also,  has  been  the  time  that  I  have  spent  in  those  same  days 
in  pushing  forward  the  construction,  from  the  time  when  I  first  began 
it,  of  the  loggia  and  the  vast  fabric  of  the  Magistrates,  facing  towards 
the  River  Arno,  than  which  I  have  never  had  built  anything  more  difficult 
or  more  dangerous,  from  its  Being  founded  over  the  river,  and  even,  one 
might  say,  in  the  air.  But  it  was  necessary,  besides  other  reasons,  in 
order  to  attach  to  it,  as  has  been  done,  the  great  corridor  which  crosses 
the  river  and  goes  from  the  Ducal  Palace  to  the  Palace  and  Garden  of 
the  Pitti;  which  corridor  was  built  under  my  direction  and  after  my 
design  in  five  months,  although  it  is  a  work  that  one  might  think  impos- 
sible to  finish  in  less  than  five  years.  In  addition,  it  was  also  my  task 
to  cause  to  be  reconstructed  and  increased  for  the  same  nuptials,  in  the 
great  tribune  of  S.  Spirito,  the  new  machinery  for  the  festival  that  used 
to  be  held  in  S.  Felice  in  Piazza;  which  was  all  reduced  to  the  greatest 
possible  perfection,  so  that  there  are  no  longer  any  of  those  dangers 
that  used  to  be  incurred  in  that  festival.  And  under  my  charge,  like- 
wise, have  been  the  works  of  the  Palace  and  Church  of  the  Knights  of 
S.  Stephen  at  Pisa,  and  the  tribune,  or  rather,  cupola,  of  the  Madonna 
dell'  Umilta  in  Pistoia,  which  is  a  work  of  the  greatest  importance.  For 
all  which,  without  excusing  my  imperfection,  which  I  know  only  too 
well,  if  I  have  achieved  anything  of  the  good,  I  render  infinite  thanks 
to  God,  from  whom  I  still  hope  to  have  such  help  that  I  may  see  finished, 
whenever  that  may  be,  the  terrible  undertaking  of  the  walls  in  the  Hall, 
to  the  full  satisfaction  of  my  Lords,  who  already  for  a  period  of  thirteen 
years  have  given  me  opportunities  to  execute  vast  works  with  honour 
and  profit  for  myself;  after  which,  weary,  aged,  and  outworn,  I  may  be 
at  rest.  And  if  for  various  reasons  I  have  executed  the  works  described 
for  the  most  part  with  something  of  rapidity  and  haste,  this  I  hope  to  do 


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GIORGIO  VASAR1  215 

at  my  leisure,  seeing  that  the  Lord  Duke  is  content  that  I  should  not 
press  it,  but  should  do  it  at  my  ease,  granting  me  all  the  repose  and 
recreation  that  I  myself  could  desire.  Thus,  last  year,  being  tired  by 
the  many  works  described  above,  he  gave  me  leave  that  I  might  go  about 
for  some  months  to  divert  myself,  and  so,  setting  out  to  travel,  I  passed 
over  little  less  than  the  whole  of  Italy,  seeing  again  innumerable  friends 
and  patrons  and  the  works  of  various  excellent  craftsmen,  as  I  have 
related  above  in  another  connection.  Finally,  being  in  Rome  on  my 
way  to  return  to  Florence,  I  went  to  kiss  the  feet  of  the  most  holy  and 
most  blessed  Pope  Pius  V,  and  he  commissioned  me  to  execute  for  him 
in  Florence  an  altar-picture  for  sending  to  his  Convent  and  Church  of 
Bosco,  which  he  was  then  having  built  in  his  native  place,  near  Ales- 
sandria della  Paglia. 

Having  then  returned  to  Florencgj  remembering  the  command  that 
his  Holiness  had  laid  upon  me  and  the  many  marks  of  affection  that  he 
had  shown,  I  painted  for  him,  as  he  had  commissioned  me,  an  altar- 
picture  of  the  Adoration  of  the  Magi;  and  when  he  heard  that  it  had  been 
carried  by  me  to  completion,  he  sent  me  a  message  that  to  please  him, 
and  that  he  might  confer  with  me  over  some  thoughts  in  his  mind,  I 
should  go  with  that  picture  to  Rome,  but  particular^  for  the  purpose 
of  discussing  the  fabric  of  S.  Pietro,  which  he  showed  himself  to  have 
very  much  at  heart.  Having  therefore  made  preparations  with  a 
hundred  crowns  that  he  sent  me  for  that  purpose,  and  having  sent  the 
picture  before  me,  I  went  to  Rome;  and  after  I  had  been  there  a  month 
and  had  had  many  conversations  with  his  Holiness,  and  had  advised 
him  not  to  permit  any  alterations  to  be  made  in  the  arrangements  of 
Buonarroti  for  the  fabric  of  S.  Pietro,  and  had  executed  some  designs,  he 
commanded  me  to  make  for  the  high- altar  of  that  Church  of  Bosco  not 
an  altar-picture  such  as  is  customary,  but  an  immense  structure  almost 
in  the  manner  of  a  triumphal  arch,  with  two  large  panels,  one  in  front 
and  the  other  behind,  and  in  smaller  pictures  about  thirty  scenes  filled 
with  many  figures;  all  which  have  been  carried  very  near  completion. 

At  that  time  I  obtained  the  gracious  leave  of  his  Holiness,  who  with 
infinite  lovingness  and  condescension  sent  me  the  Bulls  expedited  free 


216  GIORGIO  VASARI 

of  charge,  to  erect  in  the  Pieve  of  Arezzo  a  chapel  and  decanate,  which 
is  the  principal  chapel  of  that  Pieve,  under  the  patronage  of  myself  and 
of  my  house,  endowed  by  me  and  painted  by  my  hand,  and  offered  to 
the  Divine  Goodness  as  an  acknowledgment  (although  but  a  trifle)  of 
the  great  obligation  that  I  feel  to  the  Divine  Majesty  for  the  innumerable 
graces  and  benefits  that  He  has  deigned  to  bestow  upon  me.  The  altar- 
picture  of  that  chapel  is  in  form  very  similar  to  that  described  above, 
which  has  been  in  part  the  reason  that  it  has  been  brought  back  to  my 
memory,  for  it  is  isolated  and  consists  likewise  of  two  pictures,  one  in 
front,  already  mentioned  above,  and  one  at  the  back  with  the  story  of 
S.  George,  with  pictures  of  certain  Saints  on  either  side,  and  at  the  foot 
smaller  pictures  with  their  stories;  those  Saints  whose  bodies  are  in  a 
most  beautiful  tomb  below  the  altar,  with  other  principal  reliques  of 
the  city.  In  the  centre  comes  a  tabernacle  passing  well  arranged  for 
the  Sacrament,  because  it  serves  for  both  the  one  altar  and  the  other, 
and  it  is  embellished  with  stories  of  the  Old  Testament  and  the  New  all 
in  keeping  with  that  Mystery,  as  has  been  told  in  part  elsewhere. 

I  had  forgotten  to  say,  also,  that  the  year  before,  when  I  went  the 
first  time  to  kiss  the  Pope's  feet,  I  took  the  road  by  Perugia  in  order  to 
set  in  place  three  large  altar-pieces  executed  for  a  refectory  of  the  Black 
Friars  of  S.  Piero  in  that  city.  In  one,  that  in  the  centre,  is  the  Marriage 
of  Cana  in  Galilee,  at  which  Christ  performed  the  Miracle  of  converting 
water  into  wine.  In  the  second,  on  the  right  hand,  is  Elisha  the  Prophet 
sweetening  with  meal  the  bitter  pot,  the  food  of  which,  spoilt  by 
colocynths,  his  prophets  were  not  able  to  eat.  And  in  the  third  is 
S.  Benedict,  to  whom  a  lay-brother  announces  at  a  time  of  very  great 
dearth,  and  at  the  very  moment  when  his  monks  were  lacking  food, 
that  some  camels  laden  with  meal  have  arrived  at  his  door,  and  he  sees 
that  the  Angels  of  God  are  miraculously  bringing  to  him  a  vast  quantity 
of  meal. 

For  Signora  Gentilina,  mother  of  Signor  Chiappino  and  Sign  or 
Paolo  Vitelli,  I  painted  in  Florence  and  sent  from  there  to  Citta  di 

3  *  4MMMMOTM* 

Castello  a  great  altar-picture  in  which  is  the  Coronation  of  Our  Lady,  on 
high  a  Dance  of  Angels,  and  at  the  foot  many  figures  larger  than  life; 


GIORGIO  VASARI  217 

which  picture  was  placed  in  S.  Francesco  in  that  city.  For  the  Church 
of  Ppggio  a  Caiano,  a  villa  of  the  Lord  Duke,  I  painted  in  an  altar- 
picture  the  Dead  Christ  in  the  lap  of  His  Mother,  S.  Cosimo  and  S. 
Damiano  contemplating  Him,  and  in  the  air  an  Angel  who,  weeping, 
displays  the  Mysteries  of  the  Passion  of  Our  Saviour;  and  in  the  Church 
of  the  Carmine  at  Florence,  in  the  Chapel  of  Matteo  and  Simon  Botti, 
my  very  dear  friends,  there  was  placed  about  this  same  time  an  altar- 
picture  by  my  hand  wherein  is  Christ  Crucified,  with  Our  Lady,  S.  John 
and  the  Magdalene  weeping.  Then  I  executed  two  great  pictures  for 
Jacogo  Cappqni,  for  sending  to  France,  in  one  of  which  is  Spring  and  in 
the  other  Autumn,  with  large  figures  and  new  inventions;  and  in  another 
and  even  larger  picture  a  Dead  Christ  supported  by  two  Angels,  with 
God  the  Father  on  high.  To  the  Nuns  of  S.  Maria  Novella  of  Arezzo 
I  sent  likewise  in  those  days,  or  a  little  before,  an  altar-picture  in  which 
is  the  Virgin  receiving  the  Annunciation  from  the  Angel,  and  at  the  sides 
two  Saints;  and  for  the  Nuns  of  Luco  in  the  Mugello,  of  the  Order  of 
Camaldoli,  another  altar-piece  that  is  in  the  inner  choir,  containing 
Christ  Crucified,  Our  Lady,  S.  John,  and  Mary  Magdalene.  For  Luca 
Torrigiani,  who  is  very  much  my  intimate  and  friend,  and  who  desired 
to  have  among  the  many  things  that  he  possesses  of  our  art  a  picture 
by  my  own  hand,  in  order  to  keep  it  near  him,  I  painted  in  a  large 
picture  a  nude  Venus  with  the  three  Graces  about  her,  one  of  whom  is 
attiring  her  head,  another  holds  her  mirror,  and  the  third  is  pouring 
water  into  a  vessel  to  bathe  her;  which  picture  I  strove  to  execute  with 
the  greatest  study  and  diligence  that  I  was  able,  in  order  to  satisfy  my 
own  mind  no  less  than  that  of  so  sweet  and  dear  a  friend.  I  also  executed 
for  Antonio  de'  Nobili,  Treasurer-General  to  his  Excellency  and  my 
affectionate  friend,  besides  his  portrait,  being  forced  to  do  it  against  my 
inclination,  a  head  of  Jesus  Christ  taken  from  the  words  in  which 
Lentulus  writes  of  His  effigy,  both  of  which  were  done  with  diligence; 
and  likewise  another  somewhat  larger,  but  similar  to  that  named  above, 
for  Signor  Mandragone,  now  the  first  person  in  the  service  of  Don 
Francesco  de'  Medici,  Prince  of  Florence  and  Siena,  which  I  presented  to 
his  lordship  because  he  is  much  affected  towards  our  arts  and  every 
x.  28 


218  GIORGIO  VASARI 

talent,  to  the  end  that  he  might  remember  from  the  sight  of  it  that  I 
love  him  and  am  his  friend.  I  have  also  in  hand,  and  hope  to  finish  soon, 
a  large  picture,  a  most  fanciful  work,  which  is  intended  for  Signor  Antonio 
Montalvo,  Lord  of  Sassetta,  who  is  deservedly  the  First  Chamberlain 
and  the  most  trusted  companion  of  our  Duke,  and  so  sweet  and  loving 
an  intimate  and  friend,  not  to  say  a  superior,  to  me,  that,  if  my  hand 
shall  accomplish  the  desire  that  I  have  to  leave  to  him  a  proof  by  that 
hand  of  the  affection  that  I  bear  him,  it  will  be  recognized  how  much  I 
honour  him  and  how  dearly  I  wish  that  the  memory  of  a  lord  so  honoured 
and  so  loyal,  and  beloved  by  me,  shall  live  among  posterity,  seeing  that 
he  exerts  himself  willingly  in  favouring  all  the  beautiful  intellects  that 
labour  in  our  profession  or  take  delight  in  design. 

For  the  Lord  Prince,  Don  Francesco,  I  have  executed  recently  two 
pictures  that  he  has  sent  to  Toledo  in  Spain,  to  a  sister  of  the  Lady 
Duchess  Leonora,  his  mother;  and  for  himself  a  little  picture  in  the  manner 
of  a  miniature,  with  forty  figures,  what  with  great  and  small,  according 
to  a  very  beautiful  invention  of  his  own.  For  Filippo  Salviati  I  finished 
not  long  since  an  altar-picture  that  is  going  to  the  Sisters  of  S.Vincenzio 
at  Prato,  wherein  on  high  is  Our  Lady  arrived  in  Heaven  and  crowned, 
and  at  the  foot  the  Apostles  around  the  Sepulchre.  For  the  Black  Friars 
of  the  Badia  of  Florence,  likewise,  I  am  painting  an  altar-piece  of  the 
Assumption  of  Our  Lady,  which  is  near  completion,  with  the  Apostles 
in  figures  larger  than  life,  and  other  figures  at  the  sides,  and  around  it 
stories  and  ornaments  accommodated  in  a  novel  manner.  And  since 
the  Lord  Duke,  so  truly  excellent  in  everything,  takes  pleasure  not  only 
in  the  building  of  palaces,  cities,  fortresses,  harbours,  loggie,  public 
squares,  gardens,  fountains,  villas,  and  other  suchlike  things,  beautiful, 
magnificent,  and  most  useful,  for  the  benefit  of  his  people,  but  also 
particularly  in  building  anew  and  reducing  to  better  form  and  greater 
beauty,  as  a  truly  Catholic  Prince,  the  temples  and  sacred  churches  of 
God,  in  imitation  of  the  great  King  Solomon,  recently  he  has  caused  me 
to  remove  the  tramezzo*  of  the  Church  of  S.  Maria  Novella,  which  had 
robbed  it  of  all  its  beauty,  and  a  new  and  very  rich  choir  was  made 

*  See  p.  57,  Vol.  I. 


GIORGIO  VASARI  219 

behind  the  high-altar,  in  order  to  remove  that  occupying  a  great  part 
of  the  centre  of  that  church;  which  makes  it  appear  a  new  church  and 
most  beautiful,  as  indeed  it  is.  And  because  things  that  have  not  order 
and  proportion  among  themselves  can  never  be  entirely  beautiful,  he 
has  ordained  that  there  shall  be  made  in  the  side-aisles,  between  column 
and  column,  in  such  a  manner  as  to  correspond  to  the  centres  of  the 
arches,  rich  ornaments  of  stone  in  a  novel  form,  which  are  to  serve  as 
chapels  with  altars  in  the  centre,  and  are  all  to  be  in  one  of  two  manners ; 
and  that  then  in  the  altar-pictures  that  are  to  go  within  these  ornaments, 
seven  braccia  in  height  and  five  in  breadth,  there  shall  be  executed 
paintings  after  the  will  and  pleasure  of  the  patrons  of  the  chapels. 
Within  one  of  those  ornaments  of  stone,  made  from  my  design,  I  have 
executed  for  the  very  reverend  Monsignor  Alessandro  Strozzi,  Bishop 
of  Volterra,  my  old  and  most  loving  patron,  a  Christ  Crucified  according 
to  the  Vision  of  S.  Anselm — namely,  with  the  Seven  Virtues,  without 
which  we  cannot  ascend  the  Seven  Steps  to  Jesus  Christ — and  with  other 
considerations  by  the  same  Saint.  And  in  the  same  church,  within 
another  of  those  ornaments,  I  have  painted  for  the  excellent  Maestro 
Andrea  Pasquali,  physician  to  the  Lord  Duke,  a  Resurrection  of  Jesus 
Christ  in  the  manner  that  God  has  inspired  me,  to  please  that  Maestro 
Andrea,  who  is  much  my  friend.  And  a  similar  work  our  great  Duke 
has  desired  to  have  done  in  the  immense  Church  of  S.  Croce  in  Florence; 
— namely,  that  the  tramezzo*  should  be  removed  and  that  the  choir 
should  be  made  behind  the  high-altar,  bringing  that  altar  somewhat 
forward  and  placing  upon  it  a  new  and  rich  tabernacle  for  the  most  holy 
Sacrament,  all  adorned  with  gold,  figures,  and  scenes;  and,  in  addition, 
that  in  the  same  manner  that  has  been  told  of  S.  Maria  Novella  there 
should  be  made  there  fourteen  chapels  against  the  walls,  with  greater 
expense  and  ornamentation  than  those  described  above,  because  that 
church  is  much  larger  than  the  other.  In  the  altar-pieces,  to  accompany 
the  two  by  Salviati  and  Bronzino,  are  to  be  all  the  principal  Mysteries 
of  the  Saviour,  from  the  beginning  of  His  Passion  to  the  Sending  of  the 
Holy  Spirit  upon  the  Apostles;  which  picture  of  the  Sending  of  the 

*  See  p.  57,  Vol.  I. 


220  GIORGIO  VASARI 

Holy  Spirit,  having  made  the  design  of  the  chapels  and  ornaments  of 
stone,  I  have  in  hand  for  M.  Agnolo  Biffoli,  Treasurer-General  to  our 
Lords,  and  my  particular  friend,  and  I  finished,  not  long  since,  two  large 
pictures  that  are  in  the  Magistracy  of  the  Nine  Conservadori,  beside 
S.  Piero  Scheraggio;  in  one  is  the  head  of  Christ,  and  in  the  other  a 
Madonna. 

But  since  I  should  take  too  long  if  I  sought  to  recount  in  detail  the 
many  other  pictures,  designs  without  number,  models,  and  masquerades 
that  I  have  executed,  and  because  this  much  is  enough  and  more  than 
enough,  I  shall  say  nothing  more  of  myself,  save  that  however  great  and 
important  have  been  the  things  that  I  have  continually  suggested  to 
Duke  Cosimo,  I  have  never  been  able  to  equal,  much  less  to  surpass,  the 
greatness  of  his  mind.  And  this  will  be  seen  clearly  in  a  third  sacristy 
that  he  wishes  to  build  beside  S.  Lorenzo,  large  and  similar  to  that 
which  Michelagnolo  built  in  the  past,  but  all  of  variegated  marbles  and 
mosaics,  in  order  to  deposit  there,  in  tombs  most  honourable  and  worthy 
of  his  power  and  grandeur,  the  remains  of  his  dead  children,  of  his 
father  and  mother,  of  the  magnanimous  Duchess  Leonora,  his  consort, 
and  of  himself;  for  which  I  have  already  made  a  model  after  his  taste 
and  according  to  the  orders  received  from  him  by  me,  which,  when  carried 
into  execution,  will  cause  it  to  be  a  novel,  most  magnificent,  and  truly 
regal  Mausoleum. 

This  much,  then,  it  must  suffice  to  have  said  of  myself,  who  am  now 
come  after  so  many  labours  to  the  age  of  fifty-five  years,  and  look  to  live 
so  long  as  it  shall  please  God,  honouring  Him,  ever  at  the  service  of  my 
friends,  and  working  in  so  far  as  my  strength  shall  allow  for  the  benefit 
and  advantage  of  these  most  noble  arts. 


THE  AUTHOR  TO  THE  CRAFTSMEN  OF  DESIGN 


HONOURED  and  noble  craftsmen,  for  whose  profit  and  advantage,  chiefly, 
I  set  myself  a  second  time  to  so  long  a  labour,  I  now  find  that  by  the 
favour  and  assistance  of  the  Divine  Grace  I  have  accomplished  in  full 
that  which  at  the  beginning  of  this  my  present  task  I  promised  myself 
to  do.  For  which  result  rendering  thanks  first  to  God  and  afterwards 
to  my  lords,  who  have  granted  me  the  facilities  whereby  I  have  been 
able  to  do  this  advantageously,  I  must  then  give  repose  to  my  weary 
pen  and  brain,  which  I  shall  do  as  soon  as  I  shall  have  made  some  brief 
observations.  If,  then,  it  should  appear  to  anyone  that  in  my  writing 
I  have  been  at  times  rather  long  and  even  somewhat  prolix,  let  him  put 
it  down  to  this,  that  I  have  sought  as  much  as  I  have  been  able  to  be 
clear,  and  before  any  other  thing  to  set  down  my  story  in  such  a  manner 
that  what  has  not  been  understood  the  first  time,  or  not  expressed 
satisfactorily  by  me,  might  be  made  manifest  at  any  cost.  And  if  what 
has  been  said  once  has  been  at  times  repeated  in  another  place,  the 
reasons  for  this  have  been  two — first,  that  the  matter  that  I  was  treating 
required  it,  and  then  that  during  the  time  when  I  rewrote  and  reprinted 
the  work  I  broke  off  my  writing  more  than  once  for  a  period  not  of  days 
merely  but  of  months,  either  for  journeys  or  because  of  a  superabundance 
of  labours,  works  of  painting,  designs,  and  buildings;  besides  which, 
for  a  man  like  myself  (I  confess  it  freely)  it  is  almost  impossible  to  avoid 
every  error.  To  those  to  whom  it  might  appear  that  I  have  overpraised 
any  craftsmen,  whether  old  or  modern,  and  who,  comparing  the  old  with 
those  of  the  present  age,  might  laugh  at  them,  I  know  not  what  else  to 
answer  save  that  my  intention  has  always  been  to  praise  not  absolutely; 
but,  as  the  saying  is,  relatively,  having  regard  to  place,  time,  and  other! 
similar  circumstances;  and  in  truth,  although  Giotto,  for  example,  was] 

221 


222         THE  AUTHOR  TO  THE  CRAFTSMEN  OF  DESIGN 

much  extolled  in  his  day,  I  know  not  what  would  have  been  said  of  him, 
as  of  other  old  masters,  if  he  had  lived  in  the  time  of  Buonarroti,  whereas 
the  men  of  this  age,  which  is  at  the  topmost  height  of  perfection,  would 
;  not  be  in  the  position  that  they  are  if  those  others  had  not  first  been  such 
las  they  were  before  us.  In  short,  let  it  be  believed  that  what  I  have 
done  in  praising  or  censuring  I  have  done  not  with  any  ulterior  object, 
but  only  to  speak  the  truth  or  what  I  have  believed  to  be  the  truth.  But 
one  cannot  always  have  the  goldsmith's  balance  in  the  hand,  and  he  who 
has  experienced  what  writing  is,  and  particularly  when  one  has  to  make 
comparisons,  which  are  by  their  very  nature  odious,  or  to  pronounce 
judgments,  will  hold  me  excused;  and  I  know  only  too  well  how  great 
have  been  the  labours,  hardships,  and  moneys  that  I  have  devoted  over 
many  years  to  this  work.  Such,  indeed,  and  so  many,  have  been  the 
difficulties  that  I  have  experienced  therein,  that  many  a  time  I  would 
have  abandoned  it  in  despair,  if  the  succour  of  many  true  and  good 
friends,  to  whom  I  shall  always  be  deeply  indebted,  had  not  given  me 
courage  and  persuaded  me  to  persevere,  they  lending  me  all  the  loving 
aids  that  have  been  in  their  power,  of  notices,  advices,  and  comparisons 
of  various  things,  about  which,  although  I  had  seen  them,  I  was  not  a 
little  perplexed  and  dubious.  Those  aids,  indeed,  have  been  such,  that 
I  have  been  able  to  lay  bare  the  pure  truth  and  bring  this  work  into  the 
light  of  day,  in  order  to  revive  the  memory  of  so  many  rare  and  extra- 
ordinary intellects,  which  was  almost  entirely  buried,  for  the  benefit  of 
those  who  shall  come  after  us.  In  doing  which  I  have  found  no  little 
assistance,  as  has  been  told  elsewhere,  in  the  writings  of  Lorenzo  Ghiberti, 
Domenico  Ghirlandajo,  and  Raffaello  da  Urbino;  but  although  I  have 
lent  them  willing  faith,  nevertheless  I  have  always  sought  to  verify  their 
statements  by  a  sight  of  the  works,  for  the  reason  that  long  practice 
teaches  a  diligent  painter  to  be  able  to  recognize  the  various  manners 
of  craftsmen  not  otherwise  than  a  learned  and  well-practised  chancellor 
knows  the  various  and  diverse  writings  of  his  equals,  or  anyone  the 
characters  of  his  nearest  and  most  familiar  friends  and  relatives. 

Now,  if  I  have  achieved  the  end  that  I  have  desired,  which  has 
been  to  benefit  and  at  the  same  time  to  delight,  that  will  be  a  supreme 


THE  AUTHOR  TO  THE  CRAFTSMEN  OF  DESIGN        223 

satisfaction  to  me,  and,  even  if  it  be  otherwise,  it  will  be  a  contentment 
for  me,  or  at  least  an  alleviation  of  pain,  to  have  endured  fatigue  in  an 
honourable  work  such  as  should  make  me  worthy  of  pity  among  all 
choice  spirits,  if  not  of  pardon.  But  to  come  at  last  to  the  end  of  this 
long  discourse;  I  have  written  as  a  painter  and  with  the  best  order  and 
method  that  I  have  been  able,  and,  as  for  language,  in  that  which  I 
speak,  whether  it  be  Florentine  or  Tuscan,  and  in  the  most  easy  and 
facile  manner  at  my  command,  leaving  the  long  and  ornate  periods, 
choice  words,  and  other  ornaments  of  learned  speech  and  writing,  to 
such  as  have  not,  as  I  have,  a  hand  rather  for  brushes  than  for  the  pen, 
and  a  head  rather  for  designs  than  for  writing.  And  if  I  have  scattered 
throughout  the  work  many  terms  peculiar  to  our  arts,  of  which  perchance 
it  has  not  occurred  to  the  brightest  and  greatest  lights  of  our  language 
to  avail  themselves,  I  have  done  this  because  I  could  do  no  less  and  in 
order  to  be  understood  by  you,  my  craftsmen,  for  whom,  chiefly,  as  I 
have  said,  I  set  myself  to  this  labour.  For  the  rest,  then,  I  having 
done  all  that  I  have  been  able,  accept  it  willingly,  and  expect  not  from 
me  what  I  know  not  and  what  is  not  in  my  power;  satisfying  yourselves 
of  my  good  intention,  which  is  and  ever  will  be  to  benefit  and  please 
others. 

DIE   25  AUGUSTI,   1567. 

CONCEDIMUS  LICENTIAM    ET    FACULTATEM  IMPUNE  ET  SINE   ULLO  PRM- 

JUDICIO    IMPRIMENDI     FLORENTINE    VITAS     PICTORUM,    SCULPTORUM,    ET 

ARCHITECTORUM,  TANQUAM  A  FIDE  ET  RELIGIONE  NULLO  PACTO  ALIENAS, 

SED   POTIUS   VALDE   CONSONAS.      IN   QUORUM   FIDEM  ETC. 

GUIDO   SERVIDIUS,   PRJEPOSITUS  ET  VICARIUS  GENERALIS  FLORENT. 


INDEX 


x.  29 


INDEX   OF   NAMES 

OF  THE  CRAFTSMEN  MENTIONED  IN  VOLUME  X 


ACADEMICIANS,  The,  37-167 

Agnolo,  Baccio  d',  23 

Agnolo  Bronzino,  Life,  3-12.     3-14,  219 

Albert!,  Leon  Batista,  40 

Alessandro  Allori  (Alessandro  del  Bronzino), 

12,  13 
Alessandro  del  Barbiere  (Alessandro  di  Vin- 

cenzio  Fei),  20 
Alessandro  del  Bronzino  (Alessandro  Allori), 

12,  13 
Alessandro  di  Vincenzio  Fei  (Alessandro  del 

Barbiere),  20 
Alessandro  Fortori,  20 
Alessandro  Vittoria,  20 
Allori,  Alessandro  (Alessandro  del  Bronzino), 

12,  13 

Altissimo,  Cristofano  dell',  13,  14 
Ammanati,  Bartolommeo,  23,  206 
Andrea  Calamech,  23 
Andrea  del  Minga,  15 
Andrea  del  Sarto,  47,  172 
Andrea  Palladio,  20 
Andrea  Verrocchio,  47 
Antonio  da  Correggio,  187 
Antonio  da  San  Gallo  (the  younger),  47 
Antonio  di  Gino  Lorenzi,  30 
Apelles,  47,  200 

Bacchiacca,  II  (Francesco  Ubertini),  8 
Baccio  Bandinelli,  23,  24,  31,  176,  210,  214 
Baccio  d'Agnolo,  23 
Bagnacavallo,  Giovan  Battista  da,  196 
Baldassarre  Lancia,  33 
Baldassarre  Peruzzi,  174 
Bandinelli,  Baccio,  23,  24,  31,  176,  210,  214 
Bandini,  Giovanni  di  Benedetto,  31,  32 
Barbiere,  Alessandro  del  (Alessandro  di  Vin- 
cenzio Fei),  20 

Barozzi,  Jacopo  (Vignuola),  206 
Bartolommeo  Ammanati,  23,  206 
Bastiano  Flori,  187,  196 
Battista  Cungi,  181,  187 
Battista  del  Cavaliere  (Battista  Lorenzi),  31 
Battista  del  Tasso,  208,  210 


Battista  di  Benedetto  Fiammeri,  23 

Battista  Farinato,  20 

Battista  Lorenzi  (Battista  del  Cavaliere),  31 

Battista  Naldini,  14,  15 

Beceri,  Domenico  (Domenico  Benci),  20 

Benedetto  Pagni  (Benedetto  da  Pescia),  9 

Benozzo  Gozzoli,  47 

Benvenuto  Cellini,  21,  22 

Bernardino  di  Pornrio,  17 

Bernardo  Timante  Buontalenti,  16-18 

Biagio  Pupini,  184 

Bizzerra,  196 

Bologna,  Giovan,  25,  26 

Borgo,  Giovan  Paolo  dal,  196 

Bronzino,  Agnolo,  Life,  3-12.     3-14,  219 

Bronzino,  Alessandro  del  (Alessandro  Allori), 

12,   13 

Brunellesco,  Filippo  di  Ser,  47,  204 
Buffalmacco,  47 

Buonarroti,  Michelagnolo,  12-17,  I9,  24,  26, 
31,  32,  46,  47,  172,  174,':! 75,  186-190,  194, 

206,    215,  22O,  222 

Buontalenti,  Bernardo  Timante,  16-18 
Butteri,  Giovan  Maria,  13 

Cadore,    Tiziano    da    (Tiziano    Vecelli),    20, 

187 

Calamech,  Andrea,  23 
Camilliani,  Francesco,  24,  25 
Caravaggio,  Polidoro  da,  174 
Carlo  Portelli  (Carlo  da  Loro),  15 
Cattaneo,  Danese,  20 

Cavaliere,  Battista  del  (Battista  Lorenzi),  31 
Cellini,  Benvenuto,  21,  22 
Cimabue,  Giovanni,  3,  47,  196 
Cioli,  Valeric,  32 
Clovio,  Don  Giulio,  16 
Colle,  Raffaello  dal,  7 
Collettaio,  Ottaviano  del,  33 
Correggio,  Antonio  da,  187 
Cristofano  dell'  Altissimo,  13,  14 
Cristofano  Gherardi,  183,  187,  208 
Crocifissaio,  Girolamo  del,  15,  1 6 
Cungi,  Battista,  181,  187 


227 


228 


INDEX 


Danese  Cattaneo,  20 
Danti,  Fra  Ignazio,  28-30 
Danti,  Vincenzio,  26-28 
Desiderio  da  Settignano,  47 
Domenico  Beceri  (Domenico  Benci),  20 
Domenico  Ghirlandajo,  222 
Domenico  Poggini,  32,  33 
Don  Giulio  Clovio,  16 
Donate  (Donatello),  22,  47 

Faenza,  Marco  da  (Marco  Marchetti),  20 

Fancelli,  Giovanni  (Giovanni  di  Stocco),  33 

Farinato,  Battista,  20 

Federigo  di  Lamberto,  16 

Federigo  Zucchero,  20 

Fei,  Alessandro  di  Vincenzio  (Alessandro  del 

Barbiere),  20 

Fiammeri,  Battista  di  Benedetto,  23 
Filippo  di  Ser  Brunellesco,  47,  204 
Filippo  Lippi,  Fra,  47 
Flori,  Bastiano,  187,  196 
Fontana,  Prospero,  20 
Fortori,  Alessandro,  20 
Foschi,  Fra  Salvadore,  196 
Fra  Filippo  Lippi,  47 

Fra  Giovanni  Agnolo  Montorsoli,  9,  23,  33 
Fra  Giovanni  Vincenzio,  33 
Fra  Ignazio  Danti,  28-30 
Fra  Salvadore  Foschi,  196 
Francesco  Camilliani,  24,  25 
Francesco  da  Poppi  (Francesco  Morandini),  14 
Francesco  da  San  Gallo,  22,  23 
Francesco  Morandini  (Francesco  da  Poppi),  14 
Francesco  Moschino,  32 
Francesco  Salviati,  7,  47,  171,  174,  219 
Francesco  Ubertini  (II  Bacchiacca),  8 

Gaddi  family,  47 

Genga,  Girolamo,  33 

Gherardi,  Cristofano,  183,  187,  208 

Ghiberti,  Lorenzo,  47,  222 

Ghirlandajo,  Domenico,  222 

Ghirlandajo,  Michele  di  Ridolfo,  15 

Ghirlandajo,  Ridolfo,  15 

Giorgio  Vasari.     See  Vasari,  Giorgio 

Giotto,  47,  191,  221,  222 

Giovan  Battista  da  Bagnacavallo,  196 

Giovan  Bologna,  25,  26 

Giovan  Francesco  Rustici,  47 

Giovan  Maria  Butteri,  13 

Giovan  Paolo  dal  Borgo,  196 

Giovanni  Agnolo  Montorsoli,  Fra,  9,  23,  33 

Giovanni  Cimabue,  3,  47,  196 

Giovanni  da  Udine,  176 

Giovanni  della  Strada  (Jan  van  der  Straet), 

^  18,  19 

Giovanni  di  Benedetto  Bandini,  31,  32 

Giovanni  Fancelli  (Giovanni  di  Stocco),  33 

Giovanni  Vincenzio,  Fra,  33 

Girolamo  da  Treviso,  184 


Girolamo  del  Crocifissaio,  15,16 

Girolamo  Genga,  33 

Giuliano  da  San  Gallo,  22,  23 

Giulio  Clovio,  Don,  16 

Giulio  da  Urbino,  17 

Giulio  Romano,  9,  187 

Giuseppe  Porta  (Giuseppe  Salviati),  20 

Gozzoli,  Benozzo,  47 

Guglielmo  da  Marcilla,  172 

Ignazio  Danti,  Fra,  28-30 

II  Bacchiacca  (Francesco  Ubertini),  8 

II  Rosso,  47,  172 

Ilarione  Ruspoli,  24 

Jacopo  Barozzi  (Vignuola),  206 

Jacopo  da  Pontormo,  3-5,  7-10,  12-14,  47,  176, 

177 

Jacopo  Sansovino,  23 
Jacopo  Tintoretto,  20 
Jacopo  Zucchi,  19 
Jan  van  der  Straet  (Giovanni  della  Strada),  18, 

19 

Lamberto,  Federigo  di,  16 

Lancia,  Baldassarre,  33 

Lancia,  Pompilio,  33 

Lastricati,  Zanobi,  33 

Leon  Battista  Alberti,  40 

Leonardo  da  Vinci,  47 

Lippi,  Fra  Filippo,  47 

Lorenzi,  Antonio  di  Gino,  30 

Lorenzi,  Battista  (Battista  del  Cavaliere),  31 

Lorenzi,  Stoldo  di  Gino,  30,  31 

Lorenzo  della  Sciorina,  14 

Lorenzo  Ghiberti,  47,  222 

Lorenzo  Sabatini,  20 

Loro,  Carlo  da  (Carlo  Portelli),  15 

Luca  Signorelli,  171 

Manno,  173 

Manzuoli,  Maso  (Maso  da  San  Friano),  15 

Marchetti,  Marco  (Marco  da  Faenza),  20 

Marcilla,  Guglielmo  da,  172 

Marco  Marchetti  (Marco  da  Faenza),  20 

Martino     (pupil     of    Fra     Giovanni     Agnolo 

Montorsoli),  23 
Masaccio,  47 

Maso  Manzuoli  (Maso  da  San  Friano),  15 
Michelagnolo  Buonarroti,   12-17,   19,   24,   26, 

31,  32,  46,  47,  172,  174,  175,  186-190,  I94> 

206,  215,  220,  222 

Michele  di  Ridolfo  Ghirlandajo,  15 
Minga,  Andrea  del,  15 
Mirabello  di  Salincorno,  15,  1 6 
Montorsoli,  Fra  Giovanni  Agnolo,  9,  23,  33 
Morandini,  Francesco  (Francesco  da  Poppi), 

14 
Moschino,  Francesco,  32 


INDEX 


229 


Naldini,  Battista,  14,  15 
Niccolo  (Tribolo),  5,  30,  176,  177 

Orazio  Porta,  20 
Ottaviano  del  Collettaio,  33 

Pagni,  Benedetto  (Benedetto  da  Pescia),  9 

Palladio,  Andrea,  20 

Paolo  Veronese,  20 

Parrhasius,  200 

Perino  del  Vaga,  47 

Perugino,  Pietro,  192 

Peruzzi,  Baldassarre,  174 

Pescia,  Benedetto  da  (Benedetto  Pagni),  9 

Pier  Francesco  di  Jacopo  di  Sandro,  15 

Pieri,  Stefano,  14 

Pietro  Perugino,  192 

Poggini,  Domenico,  32,  33 

Polidoro  da  Caravaggio,  174 

Pompilio  Lancia,  33 

Pontormo,   Jacopo  da,  3-5,  7-10,   12-14,  47, 

176,  177 

Poppi,  Francesco  da  (Francesco  Morandini),  14 
Porfirio,  Bernardino  di,  17 
Porta,  Giuseppe  (Giuseppe  Salviati),  20 
Porta,  Orazio,  20 
Portelli,  Carlo  (Carlo  da  Loro),  15 
Praxiteles,  47 
Prospero  Fontana,  20 
Protogenes,  200 
Pupini,  Biagio,  184 

Raffaello  dal  Colle,  7 

Raffaello  Sanzio,  174,  1 80,  1 8 1,  192,  211,  222 

Ridolfo  Ghirlandajo,  15 

Romano,  Giulip,  9,  187 

Rossi,  Vincenzio  de',  23,  24 

Rosso,  II,  47,  172 

Roviale,  196 

Ruspoli,  Ilarione,  24 

Rustici,  Giovan  Francesco,  47 

Sabatini,  Lorenzo,  20 

Salincorno,  Mirabello  di,  15,  16 

Salvadore  Foschi,  Fra,  196 

Salviati,  Francesco,  7,  47,  171,  174,  219 

Salviati,  Giuseppe  (Giuseppe  Porta),  20 

San  Friano,  Maso  da  (Maso  Manzuoli),  15 

San  Gallo,  Antonio  da  (the  younger),  47 

San  Gallo,  Francesco  da,  22,  23 

San  Gallo,  Giuliano  da,  22,  23 

Sandro,  Pier  Francesco  di  Jacopo  di,  15 

Sansovino,  Jacopo,  23 

Santi  Titi,  19,  20 


Sanzio,  Raffaello,  174,  180,  181,  192,  211,  222 
Sarto,  Andrea  del,  47,  172 
Sciorina,  Lorenzo  della,  14 
Settignano,  Desiderio  da,  47 
Signorelli,  Luca,  171 
Stefano  Pieri,  14 
Stefano  Veltroni,  20 

Stocco,  Giovanni  di  (Giovanni  Fancelli),  33 
Stoldo  di  Gino  Lorenzi,  30,  31 
Strada,  Giovanni  della  (Jan  van  der  Straet), 
18,  19 

Tasso,  Battista  del,  208,  210 

The  Academicians,  37-167 

Tintoretto,  Jacopo,  20 

Titi,  Santi,  19,  20 

Tiziano  Vecelli  (Tiziano  da  Cadore),  20,  187 

Tommaso  del  Verrocchio,  20 

Treviso,  Girolamo  da,  184 

Tribolo  (Niccolo),  5,  30,  176,  177 

Ubertini,  Francesco  (II  Bacchiacca),  8 
Udine,  Giovanni  da,  176 
Urbino,  Giulio  da,  17 

Vaga,  Perino  del,  47 
Valerio  Cioli,  32 
Vasari,  Giorgio,  Life,  171-220 
as  art-collector,  13 
as  author,   3,   8,   12,   14,   15,   17,   19-24, 

29,  3°.  32-34.  37.  4x-44.  47.  6l.  62,  67, 

69,    72,    76-78,    80,    82-84,    90,    92-94. 

97-102,   104,   105,   113,   116,   119,   127- 

129,    147,    162-164,   I66,   167,   171-223 
as  painter,  12,  14,  16-20,  27,  105,  171-221, 

223 
as  architect,  10,  26-28,  31,  171,  174,  177, 

178,   181,   184,   189-193,  202,  206-216, 

218-221 

Vecelli,  Tiziano  (Tiziano  da  Cadore),  20,  187 
Veltroni,  Stefano,  20 
Veronese,  Paolo,  20 
Verrocchio,  Andrea,  47 
Verrocchio,  Tommaso  del,  20 
Vignuola  (Jacopo  Barozzi),  206 
Vincenzio,  Fra  Giovanni,  33 
Vincenzio  Danti,  26-28 
Vincenzio  de'  Rossi,  23,  24 
Vinci,  Leonardo  da,  47 
Vittoria,  Alessandro,  20 

Zanobi  Lastricati,  33 
Zeuxis,  200 

Zucchero,  Federigo,  20 
Zucchi,  Jacopo,  19 


END   OF   VOL.    X. 


GENERAL  INDEX  OF 
VOLS.  I  TO  X 


GENERAL   INDEX   OF   NAMES 


OF  THE  CRAFTSMEN  MENTIONED  IN  VOLUMES  I— X 

NOTE. — To  bring  this  Index  within  as  reasonable  a  compass  as  possible  cross-references,  such 
as  Agnolo  Bronzino.  See  Bronzino,  Agnolo,  are  printed  Agnolo  Bronzino,  the  italics  indicating 
the  name  under  which  the  page-numbers  will  be  found. 


ABACCO,  Antonio  L',  VI,  113,  114,  130,  136, 

137;  VIII,  167 
Abate,  Niccolo  dell'  (Niccolo  da  Modena),  VIII, 

37,  38;  IX,  148 
Abbot  of  S.  Clemente  (Don  Bartolommeo  della 

Gatta] 

Academicians,  The,  X,  37-167 
Adone  Doni 
Aertsen,  Pieter,  IX,  268 
Aglaophon,  I,  xxxix 
Agnolo    (nephew   of  Montorsoli),   VIII,    144, 

147,  151 
Agnolo  (of  Siena),  LIFE,  I,  97-105;  I,  39,  97- 

105;  II,  81,  94,  95;  VIII,  53 
Agnolo,  Andrea  d'  (Andrea  del  Sarto) 
Agnolo,  Baccio  d'  (Baccio  Baglioni),  LIFE,  VI, 

65-68;  III,  12;  IV,  101,  204,  267,  270;  V, 

91/98,  102;  VI,  65-69,  72;  VII,  74;  VIII, 

116;  IX,  40,  41,  194:  X,  23 
Agnolo,  Battista  d'  (Battista  d'Angelo,  or  del 

Moro) 

Agnolo,  Domenico  di  Baccio  d',  VI,  68,  70,  72 
Agnolo,  Filippo  di  Baccio  d',  VI,  68,  70 
Agnolo,  Giuliano  di  Baccio  d',  LIFE,  VI,  68- 

72;  VII,  83-86,  88,  89,  102 
Agnolo,  Marco  di  Battista  d',  VI,  27,  28 
Agnolo  Bronzino 
Agnolo  di  Cristofano 
Agnolo  di  Donnino 

Agnolo  di  Lorenzo  (Angelo  di  Lorentino) 
Agnolo  di  Polo 
Agnolo  Gaddi 
Agobbio,  Oderigi  d',  I,  79 
Agostino  (of  Siena),  LIFE,  I,  97-105;  I,  39,  97. 

105;  II,8i,94,95;  VIII,  53 
Agostino  Busto  (II  Bambaja) 
Agostino  della  Robbia 
Agostino  Viniziano  (Agostino  de'  Musi) 
Agresti,  Livio  (Livio  da  Forli) 
Aholiab,  I,  xxxviii 

X. 


Aimo,  Domenico  (Vecchio  of  Bologna),  V,  28; 

VI,  217;  IX,  189 

Alberti,  Leon  Batista,  LIFE,  III,  43-48;  I, 
xli,  179;  II,  227;  III,  43-48;  VI,  45;  IX, 
271;  X,  40 

Alberti,  Michele,  VIII,  205,  210,  211 
Albertinelli,  Biagio  di  Bindo,  IV,  165 
Albertinelli,  Mariotto,  LIFE,  IV,  165-171;  II, 
190;  IV,  151,  154,  165-171;  V,  86,  212,  217; 

VII,  108,  148;  VIII,  62 

Albertino,  Francesco  d'  (Francesco  Ubertini, 

or  II  Bacchiacca) 
Alberto,  Antonio,  V,  13 
Alberto  Monsignori  (Bonsignori) 
Albrecht  (Heinrich)  Aldegrever 
Albrecht  Durer 

Aldegrever,  Albrecht  (Heinrich),  VI,  119 
Aldigieri  (Altichiero)  da  Zevio 
Alessandro  (Scherano  da  Settignano) 
Alessandro  Allori  (Alessandro  del  Bronzino) 
Alessandro  Bonvicini  Alessandro  Moretto 
Alessandro  Cesati  (II  Greco) 
Alessandro  del  Barbiere  (Alessandro  di  Vin- 

cenzio  Fei) 

Alessandro  del  Bronzino  (Alessandro  Allori) 
Alessandro  di  Vincenzio  Fei  (Alessandro  del 

Barbiere) 

Alessandro  Falconetto 
Alessandro    Filipepi     (Sandro    Botticelli,    or 

Sandro  di  Botticello) 
Alessandro  Fortori 

Alessandro  Moretto  (Alessandro  Bonvicini) 
Alessandro  Vittoria 
Alessi,  Galeazzo,  IX,  239-242 
Alesso  Baldovinetti 
Alfonso  Lombardi 
Allori,  Alessandro  (Alessandro  del  Bronzino), 

V,  127;  IX,  133,  138;  X,  12,  13 
Alonzo  Spagnuolo  (Alonzo  Berughetta) 
Altichiero  (Aldigieri)  da  Zevio 

233  30 


234 


GENERAL   INDEX 


Altissimo,  Cristofano  dell',  X,  13,  14 

Altobello  da  Melone 

Alunno,  Niccolo,  IV,  18,  19 

Alvaro  di  Piero 

Amalteo,  Pomponio,  V,  154,  155 

Ambrogio  Lorenzetti 

Amico  Aspertini 

Ammanati,   Bartolommeo,   II,   228;  IV,  274; 

VII,  95,  96,  99,  100,  203,  206;  VIII,  91,  92, 

99,  153,  220;  IX,  69,  70,  73,  118,  125,  126, 

129,  207,  208,  223;  X,  23,  206 
Amsterdam,  Lambert  of  (Lambert  Lombard) 
Andrea,  Maestro,  VII,  66 
Andrea  Calamech 

Andrea  Contucci  (Andrea  Sansovino) 
Andrea  d'  Agnolo  (Andrea  del  Sarto) 
Andrea  da  Fiesole  (Andrea  Ferrucci) 
Andrea  dal  Castagno  (Andrea  degli  Impic- 

cati) 

Andrea  de'  Cert 

Andrea  degli  Impiccati  (Andrea  dal  Castagno) 
Andrea  del  Gobbo 
Andrea  del  Minga 
Andrea  del  Sarto  (Andrea  d'  Agnolo) 
Andrea  della  Robbia 
Andrea  di  Cione  Orcagna 
Andrea  di  Cosimo  (Andrea  di  Cosimo  Feltrini) 
Andrea  Ferrucci  (Andrea  da  Fiesole) 
Andrea  Luigi  (L'  Ingegno) 
Andrea  Mantegna 
Andrea  Palladia 
Andrea  Pisano 
Andrea  Riccio 

Andrea  Sansovino  (Andrea  Contucci) 
Andrea  Schiavone 
Andrea  Sguazzella 
Andrea  Tafi 
Andrea  Verrocchio 
Angeli,    Don    Lorenzo    degli    (Don    Lorenzo 

Monaco) 
Angelico,  Fra  (Fra  Giovanni  da  Fiesole),  LIFE, 

III,  27-39;  I,  162;  II,  190,  271;  III,  27-39, 

12 1 ;  IV,  73,  154,  185;  VI,  246 
Angelo,  Battista  d'  (Battista  d'  Agnolo,  or  del 

Moro),  LIFE,  VI,  27-28;  IV,  61;  VI,  27-28, 

108;  VII,  236;  VIII,  41 
Angelo,  Lorentino  d',  III,  22,  23 
Angelo  Ciciliano 

Angelo  di  Lorentino  (Agnolo  di  Lorenzo] 
Anguisciuola,  Anna,  VIII,  48 
Anguisciuola,  Europa,  VIII,  45,  48 
Anguisciuola,  Lucia,  VIII,  45,  47,  48 
Anguisciuola,  Minerva,  VIII,  45,  46 
Anguisciuola,    Sofonisba,  V,    127,  128;  VIII, 

45-48,  261 

Anichini,  Luigi,  VI,  85 
Anna  Anguisciuola 
Anna  Seghers 
Annibale  da  Carpi 
Annibale  di  Nanni  di  Baccio  Bigio 


Anselmi,  Michelagnolo,  VIII,  39,  44 

Anselmo  Canneri 

Antignano,  Segna  d',  II,  26 

Antoine  Lafrery  (Antonio  Lanferri) 

Antonello  da  Messina 

Antonio  (Antoniasso),  IV,  6,  7 

Antonio,  Fra,  VIII,  32 

Antonio  Alberto 

Antonio  Bacchiacca 

Antonio  Begarelli  (II  Modena) 

Antonio  Campo 

Antonio  d'  Andrea  Tafi 

Antonio  da  Carrara 

Antonio  da  Correggio 

Antonio  da  Ferrara 

Antonio  da  San  Gallo  (the  elder) 

Antonio  da  San  Gallo  (the  younger) 

Antonio  da  Trento  (Antonio  Fantuzzi) 

Antonio  da  Verzelli 

Antonio  del  Ceraiuolo 

Antonio  del  Rozzo  (Antonio  del  Tozzo] 

Antonio    di    Donnino    Mazzieri    (Antonio    di 

Domenico) 

Antonio  di  Gino  Lorenzi 
Antonio  di  Giorgio  Marchissi 
Antonio  di  Giovanni  (Solosmeo  da  Settignano) 
Antonio  di  Marco  di  Giano  (II  Carota) 
Antonio  di  Salvi 

Antonio  Fantuzzi  (Antonio  da  Trento) 
Antonio  Filarete 
Antonio  Fiorentino 
Antonio  Floriani 
Antonio  1'  Abacco 

Antonio  Lanferri  (Antoine  Lafrery) 
Antonio  Mini 
Antonio  Montecavallo 
Antonio  Particini 
Antonio  (or  Vittore)  Pisanello 
Antonio  Pollaiuolo 

Antonio  Rossellino  (Rossellino  dal  Proconsolo) 
Antonio  Salamanca 
Antonio   Scarpagni  (Scarpagnino  or  Zanfrag- 

nino) 

Antonio  Viniziano 
Antonio  Vite 
Antonius  Moor 
Antwerp,  Hugo  of,  IX,  265 
Antwerp,  Willem  van,  IX,  269 
Apelles,  I,   xxviii,   xxxix;    II,    80,    120,    191; 

III,  36,  254,  286;  IV,  82,  83,  105;  V,  14; 

VIII,  28;  IX,  133,  168;  X,  47,  200 
Apollodorus,  I,  xxxix 

Apollonio,  I,  47,  49 

Area,  Niccolo  dell'  (Niccolo  Bolognese),  II,  97; 

IX,  ii 

Ardices,  I,  xxxix 
Aretino,  Geri,  III,  263,  264 

Aretino,  Leone  (Leone  Lioni),  LIFE,  IX, 
229-232;  VI,  87;  VIII,  56,  184;  IX,  95,  229- 
233 


GENERAL   INDEX 


235 


Aretino,  Marchionne,  I,  17,  18 

Aretino,  Niccolo  (Niccolo   d'  Arezzo,   or  Nic- 

colo  di  Piero  Lamberti),  LIFE,  II,  101-104; 

I,  130;  II,  101-104,  145,  146,  159,  200;  IV, 

Aretino,  Spinello,  LIFE,  II,  29-39;  I,  67;  II, 

25,  26,  29-39,  67,  83,  179 
Aretusi,   Pellegrino  degli   (Pellegrino  da  Mo- 

dena,  or  de'  Munari) 
Arezzo,  Niccolo  d'   (Niccolo  Aretino,  Niccolo 

di  Piero  Lamberti) 
Aristides,  I,  xli 

Aristotile  (Bastiano)  da  San  Gallo 
Arnolfo  di  Lapo  (Arnolfo  Lapi) 
Arrigo  (Heinrich  Paludanus) 
Arthus  van  Noort 
Ascanio   Condivi   (Ascanio  dalla  Ripa  Tran- 

sone) 

Asciano,  Giovanni  da,  II,  5 
Aspertini,  Amico,  LIFE,  V,  209-211;  V,  125, 

207-211 

Attavante  (or  Vante),  III,  36-39,  209,  214,  215 
Ausse  (Hans  Memling) 
Avanzi,  Jacopo    (Jacopo  Davanzo),  II,  104; 

IV,  51.  55 
Avanzi,  Niccolo,  VI,  79,  80 

Bacchiacca,  Antonio,  VIII,  20 

Bacchiacca,    II    (Francesco    Ubertini,    or    d' 

Albertino) 

Baccio,  Giovanni  di  (Nanni  di  Baccio  Bigio) 
Baccio  Baglioni  (Baccio  d'  Agnolo) 
Baccio  Baldini 

Baccio  Bandinelli  (Baccio  de'  Brandini) 
Baccio  Cellini 

Baccio  d'  Agnolo  (Baccio  Baglioni) 
Baccio  da  Montelupo 
Baccio  de'  Brandini  (Baccio  Bandinelli} 
Baccio  della  Porta  (Fra  Bartolommeo  di  San 

Marco] 
Baccio  Gotti 
Baccio  Pintelli 
Baccio  Ubertino 

Baglioni,  Baccio  (Baccio  d'  Agnolo) 
Baglioni,  Raffaello,  VIII,  116 
Bagnacavallo,  Bartolommeo  da  (Bartolommeo 

Ramenghi),  LIFE,  V,  207-209;  IV,  237;  V, 

207-209;  IX,  147 
Bagnacavallo,   Giovan  Battista  da,   V,   201; 

VII,  129;  IX,  147,  148;  X,  196 
Baldassarre  da  Siena  (Baldassarre  Peruzzi) 
Baldassarre  Lancia 

Baldassarre  Peruzzi  (Baldassarre  da  Siena) 
Baldinelli,  Baldino,  III,  233 
Baldini,  Baccio,  VI,  91 
Baldini,  Giovanni,  VIII,  24,  25 
Baldino  Baldinelli 
Baldovinetti,  Alesso,   LIFE,   III,   67-70;   I,   4, 

48;  II,   190;  III,  59,  67-70,  101,  225;  IV, 

82;  V,  88,  92;  IX,  182 


Bambaja,  II  (Agostino  Busto) 

Banco,  Nanni  d'  Antonio  di,  LIFE,  II,  113-115; 

II,  113-115,  253;  III,  28 
Bandinelli,  Baccio  (Baccio  de'  Brandini),  LIFE, 

VII,   55-103;   II,    127,    190;   IV,   204,   274; 

V,  5,  27,  36,  57,  96-98,  135;  VI,  69-71,  103, 

105;  VI,  69-71,  103,  105,  in;  VII,  4,  27, 

28,  42,  43,  55-i°3>  !54»  l87>'  VIII,  II3,  I41. 

142,  146,  152,  163,  191;  IX,  20,  49,  126,  190; 

X,  23,  24,  31,  176,  210,  214 
Bandinelli,  Clemente,  VII,  77,  94,  95,  98 
Bandini,    Giovanni    di    Benedetto    (Giovanni 

dell'   Opera),   IX,   126,   130,    140,    141;   X, 

3i>  32 

Barba,  Jacopo  della,  VII,  71 
Barbara  de'  Longhi 
Barbiere,     Alessandro     del     (Alessandro     di 

Vincenzio  Fei) 

Barbiere,  Domenico  del,  V,  201 ;  IX,  149 
Barile,  Gian  (Giovan),  IV,  238;  VI,  177 
Barile,  Gian  (of  Florence),  V,  86 
Barlacchi,  Tommaso,  VI,  104,  113 
Barocci,  Federigo,  VIII,  227 
Baronino,  Bartolommeo,  VIII,  220 
Barozzi,  Jacopo  (Vignuola),  VI,  114 ;  VIII,  220, 

230,  237-240,  259;  IX,  102,  146,  147;  X,  206 
Bartoli,  Domenico,  II,  63,  64 
Bartoli,  Taddeo,  LIFE,  II,  61-64 
Bartolo  di  Maestro  Fredi 
Bartolommeo,  Fra  (Fra  Carnovale  da  Urbino), 

IV,  138 

Bartolommeo  Ammanati 
Bartolommeo  Baronino 
Bartolommeo  Bologhini 
Bartolommeo  Bozzato  (Girolamo  Bozza} 
Bartolommeo  Clemente 
Bartolommeo  Coda 
Bartolommeo  da  Bagnacavallo  (Bartolommeo 

Ramenghi) 

Bartolommeo  da  Castiglione 
Bartolommeo    della    Gatta,    Don    (Abbot    of 

S.  Clemente) 

Bartolommeo  di  Jacopo  di  Martina 
Bartolommeo    di    San    Marco    (Baccio    della 

Porta),  Fra 
Bartolommeo  Genga 
\  Bartolommeo  Miniati 
I  Bartolommeo  Montagna 
\  Bartolommeo  Neroni  (Riccio) 
I  Bartolommeo  Passerotto 
\  Bartolommeo    Ramenghi    (Bartolommeo    da 

Bagnacavallo} 
I  Bartolommeo  Ridolfi 
Bartolommeo  San  Michele 
Bartolommeo  Suardi  (Bramantino} 
Bartolommeo  Torri 
Bartolommeo  Vivarini 
Bartoluccio  Ghiberti 
Basaiti,  Marco  (II  Bassiti,  or  Marco  Basarini), 

IV,  52,  58 


236 


GENERAL   INDEX 


Bassano,  Jacopo  da,  IX,  175,  176 
Bassiti,  II  (Marco  Basaiti,  or  Basarini) 
Bastianello  Florigorio  (Sebastiano  Florigerio) 
Bastiani,    Lazzaro    (Lazzaro    Scarpaccia,    or 

Sebastiano  Scarpaccia),  IV,  52,  57,  58 
Bastiano  da  Monte  Carlo 
Bastiano  (Aristotile)  da  San  Gallo 
Bastiano  Flori 
Bastiano  Mainardi  (Bastiano  da  San   Gimi- 

gnano) 
Battista,    Martino    di     (Pellegrino    da    San 

Daniele,  or  Martino  da  Udine) 
Battista  Borro 
Battista  Botticelli 
Battista  Cungi 
Battista  d'Angelo  (Battista  d'Agnolo,  or  del 

Moro) 

Battista  da  San  Gallo  (Battista  Gobbo) 
Battista  da  Verona  (Battista  Farinato) 
Battista  del  Cavaliere  (Battista  Lorenzi) 
Battista  del  Cervelliera 
Battista  del  Cinque 
Battista  del  Moro  (Battista  d'Angelo,  or 

d'Agnolo) 
Battista  del  Tasso 
Battista  della  Bilia 
Battista  di  Benedetto  Fiammeri 
Battista  Dossi 

Battista  Farinato  (Battista  da  Verona) 
Battista  Franco  (Battista  Semolei) 
Battista  Gobbo  (Battista  da  San  Gallo) 
Battista  Lorenzi  (Battista  del  Cavaliere) 
Battista  Naldini 

Battista  of  Citta  di  Castello,  VII,  118,  119 
Battista  Pittoni  (Battista  of  Vicenza) 
Battista  Semolei  (Battista  Franco) 
Battistino,  V,  193,  194 
Baviera,  IV,  232,  233;  V,  194;  VI,  100,  101, 

109,  209 
Bazzi,  Giovanni  Antonio  (II  Sodoma),  LIFE, 

VII,  245-257;  IV,  72,  218  ;  V,  73  ;  VI,  236- 
238,  247,  249;  VII,  245-257;  VIII,  197 
Beatricio,   Niccolo    (Nicolas   Beautrizet),   VI, 

114 

Beccafumi,    Domenico    (Domenico   di   Pace), 
LIFE,  VI,  235-251;  II,  96;  V,  74,  153,  163; 

VI,  108,  213,  215,  223,  235-251;  VII,  252, 
255.  256 

Beceri,  Domenico  (Domenico  Benci),  IV,  283; 

VII,  141;  X,  20 

Begarelli,  Antonio  (II  Modena),  VIII,  38;  IX, 

IJ3 

Beham,  Hans,  VI,  119 
Bellegambe,  Jean,  IX,  266 
Belli,  Valerio  de'  (Valerio  Vicentino) 
Bellini  family,  V,  262 
Bellini,  Gentile,  LIFE,  III,  173-184;  III,  173- 

184,  280;  IV,  57,  59,  109 
Bellini,  Giovanni,  LIFE,  III,  173-184;  III,  173- 

184,  280,  286;  IV,  57,  58,  82,  109;  V,  145, 


146,  260,  264;  VI,  173;  VIII,  33;  IX,  159, 

160,  162,  163 
Bellini,  Jacopo,  LIFE,  III,  173-175;   III,  173- 

175,  280;  VI,  n,  35 

Bellini,  Vittore  (Belliniano),  IV,  52,  59,  60 
Bello,  Raffaello,  VIII,  114 
Bellucci,    Giovan   Battista    (Giovan   Battista 

San  Marino),  LIFE,  VII,  210-213;  VII,  207, 

210-213 

Bembi,  Bonifazio,  VIII,  42,  43 
Bembo,  Giovan  Francesco  (Giovan  Francesco 

Vetraio),  V,  180 

Benci,  Domenico  (Domenico  Beceri) 
Benedetto  (pupil   of   Giovanni  Antonio   Sog- 

liani),  V,  165 
Benedetto  Buglioni 
Benedetto  Buonfiglio 
Benedetto  (Giovan  Battista)  Caporali 
Benedetto  Cianfanini 
Benedetto  Coda  (Benedetto  da  Ferrara) 
Benedetto  da  Maiano 
Benedetto  da  Pescia  (Benedetto  Pagni) 
Benedetto  da  Rovezzano 
Benedetto  Diana 
Benedetto  Ghirlandajo 
Benedetto  Pagni  (Benedetto  da  Pescia) 
Benedetto  Spadari 
Bening,  Levina,  IX,  269 
Bening,  Simon,  IX,  268 
Benozzo  Gozzoli 
Benvenuto  Cellini 

Benvemito  Garofalo  (Benvenuto  Tisi) 
Bergamo,  Fra  Damiano  da,  VIII,  169,  237 
Berna,  LIFE,  II,  3-5 
Bernard  of  Brussels,  IX,  266 
Bernardetto  di  Mona  Papera 
Bernardi,     Giovanni     (Giovanni     da     Castel 

Bolognese),  LIFE,  VI,  76-79;  IV,  in;  VI, 

76-79,  83,  84;  IX,  164 
Bernardino  Brugnuoli 
Bernardino  da  Trevio  (Bernardino  Zenale) 
Bernardino  del  Lupino  (Bernardino  Luini) 
Bernardino  di  Porfirio 
Bernardino  India 
Bernardino  Pinturicchio 
Bernardino  Zenale  (Bernardino  da  Trevio) 
Bernardo  Timante  Buontalenti 
Bernardo  Ciuffagni 
Bernardo  da  Vercelli 
Bernardo  Daddi 

Bernardo  de'  Gatti  (Bernardo  Soiaro) 
Bernardo  del  Buda  (Bernardo  Rosselli) 
Bernardo  di  Cione  Orcagna 
Bernardo  Nello  di  Giovanni  Falconi 
Bernardo  Rosselli  (Bernardo  del  Buda) 
Bernardo  Rossellino 
Bernardo  Soiaro  (Bernardo  de'  Gatti) 
Bernardo  Vasari 
Bernazzano,  Cesare,  V,  141 
Bersuglia,  Gian  Domenico,  VII,  193 


GENERAL   INDEX 


237 


Bertano,  Giovan  Battista,  VIII,  40,  41 

Berto  Linaiuolo 

Bertoldo,  II,  249,  253,  254;  IV,  185;  VII,  107; 

IX,  8 

Berughetta,  Alonzo  (Alonzo  Spagnuolo) 

Betti,  Biagio  (Biagio  da  Carigliano),  VIII,  210 

Bezaleel,  I,  xxxviii 

Biagio,  Raffaello  di,  V,  231,  232 

Biagio  (pupil  of  Botticelli),  III,  251,  252 

Biagio  Betti  (Biagio  da  Carigliano) 

Biagio  Bolognese  (Biagio  Pupini) 

Biagio  da  Carigliano  (Biagio  Betti) 

Biagio  di  Bindo  Albertinelli 

Biagio  Pupini  (Biagio  Bolognese) 

Bianco,  Simon,  IV,  60 

Bicci,  Lorenzo  di,  LIFE,  II,  67-73;  III,  20,  213; 

V,  5;  VII,  61 
Bicci  di  Lorenzo 

Bigio,  Annibale  di  Nanni  di  Baccio,  VIII,  188 
Bigio,  Nanni  di  Baccio  (Giovanni  di  Baccio), 

VII,  81;  IX,  69,  76,  100,  101,  113,  239 
Bilia,  Battista  deUa,  VII,  118 
Bizzerra,  VII,  129;  VIII,  204;  X,  196 
Blondeel,  Lancelot,  IX,  267 

Boccaccino,  Boccaccio,  LIFE,  V,  58-60;  VIII, 

23,  24,  42-44 

Boccaccino,  Camillo,  V,  59,  60;  VIII,  43 
Boccalino,    Giovanni   (Giovanni   Ribaldi),   V, 

29 

Boccardino  (the  elder),  III,  215 
Bol,  Hans,  IX,  268 
Bologhini,  Bartolommeo,  I,  120 
Bologna,  Galante  da,  II,  51 
Bologna,  Giovan,  VII,  100,  101;  IX,  267,  269; 

X,  25,  26 

Bologna,  Orazio  da  (Orazio  Sammacchini) 
Bologna,  Pellegrino  da  (Pellegrino  Pellegrini, 

or  Tibaldi) 

Bologna,  Ruggieri  da,  IX,  147 
Bologna,  Vecchio  of  (Domenico  Aimo) 
Bolognese,  Biaerio  (Biaerio  Pupini),  V,  208,  211; 

VIII,  32,  33?  X,  184 
Bolognese,  Franco,  I,  79 
Bolognese,  Guido,  III,  170 

Bolognese,  Marc'  Antonio  (Marc'  Antonio 
Raimondi,  or  de'  Franci),  LIFE,  VI,  95-96, 
99-106;  IV,  232,  233;  VI,  95-96,  99-106,  108, 
109,  120;  VII,  65;  VIII,  42 

Bolognese,  Niccolo  (Niccolo  dell'  Area) 

Bol  traffic,  Giovanni  Antonio,  IV,  105 

Bonaccorso  Ghiberti 

Bonano,  I,  15,  16 

Bonasone,  Giulio,  VI,  114 

Bonifazio  (of  Venice),  IX,  214 

Bonifazio  Bembi 

Bonsignori  (Monsignori),  Alberto,  VI,  29 

Bonsignori  (Monsignori),  Fra  Cherubino,  VI, 

34 
Bonsignori  (Monsignori),  Fra  Girolamo,  LIFE, 

VI,  34-35;  VIII,  42 


Bonsignori  (Monsignori),  Francesco,  LIFE,  VI, 

29-35;  HI,  63;  IV,  60;  VI,  29-35 
Bonvicini,  Alessandro  (Alessandro  Moretto) 
Bordone,  Paris,  IX,  178-182 
Borghese  (of  Antwerp),  IX,  269 
Borghese,    Piero   (Piero  della   Francesca,    or 

Piero  dal  Borgo  a  San  Sepolcro) 
Borgo,  Giovan  Paolo  dal,  X,  196 
Borgo,  Raffaello  dal  (Raffaello  dal  Colle) 
Borgo  a  San  Sepolcro,  Giovan  Maria  dal,  VI, 

256 
Borgo  a  San  Sepolcro,  Piero  dal  (Piero  della 

Francesca,  or  Borghese) 
Borro,  Battista,  IV,  262;  VIII,  178 
Bosch,  Hieronymus,  VI,  118;  IX,  267 
Bosco,  Maso  dal  (Maso  Boscoli) 
Boscoli,  Giovanni,  IX,  156 
Boscoli,  Maso  (Maso  dal  Bosco),  V,  6;  IX,  55 
Botticelli,  Battista,  VIII,  169 
Botticelli,    Sandro    (Sandro  di   Botticello,  or 

Alessandro   Filipepi),    LIFE,    III,    247-254; 

II,    190;    III,    86,    87,    188,    222,    247-254; 

IV,  3,  4,  82;  VI,  91 
Botticello,  III,  247 
Boyvin,  Ren6  (Renato),  VI,  115 
Bozza,  Girolamo  (Bartolommeo  Bozzato),  IX, 

183 

Bozzacco  (Brazzacco),  VIII,  107 
Bozzato,  Bartolommeo  (Girolamo  Bozza) 
Bramante  da  Milano 
Bramante  da  Urbino 
Bramantino   (Bartolommeo  Suardi),   III,   18, 

19;  IV,  217;  VIII,  52,  53;  IX,  190 
Brambilari  (Brambilla),  Francesco,  VIII,  55 
Brandini,  Baccio  de'   (Baccio  Bandinelli) 
Brazzacco  (Bozzacco) 
Brescia,  Raffaello  da  (Raffaello  Brescianino, 

or  de'  Piccinelli) 
Brescianino,  Girolamo  (Girolamo  Mosciano,  or 

Muziano),  VI,  114;  VIII,  50,  224 
Brescianino,  Raffaello  (Raffaello  da  Brescia, 

or  de'  Piccinelli),  VIII,  164 
Bresciano,   Gian    Girolamo    (Gian    Girolamo 

Savoldo),  VIII,  50 
Bresciano,   Jacopo  (Jacopo  de'  Medici),   IX, 

206,  207,  223 
Bresciano,  Vincenzio  (Vincenzio  di  Zoppa,  or 

Foppa),  II,  271;  III,  5;  IV,  51,  52,  56 
Breuck,  Jakob,  IX,  269 
Brini,  Francesco,  III,  214 
Bronzi,  Simone  de'  (Simone  da  Colle) 
Bronzino,  Agnolo,  LIFE,  X,  3-12;  IV,  179;  V, 

127,  163;  VI,  118,  256;  VII,  29,  31,  113, 

149,  158,  160,  163,  167,  168,  171,  172,  175, 

176,  178,  182,  201;  VIII,  n,  12,  94,  153, 

156,  179;  IX,  118,  125,  128,  133,  137,  252; 

X,  3-14,  219 

Bronzino,  Alessandro  del  (Alessandro  Allori) 
Brueghel,  Pieter,  IX,  267,  268 
Bruges,  Johann  of  (Jan  van  Eyck) 


238 


GENERAL   INDEX 


Bruges,  Roger  of  (Roger  van  der  Weyden) 
Brugnuoli,   Bernardino,   VII,    226,    227,   233, 

234 

Brugnuoli,  Luigi,  VII,  229,  233 

Brunelleschi,  Filippo  (Filippo  di  Ser  Brunel- 
lesco),  LIFE,  II,  195-236;  I,  Hi,  22,  23,  26, 
48,  130;  II,  84-86,  93,  95,  124,  139,  143-147, 
150,  159,  161,  183,  185,  188,  190,  195-236, 
240-243,  259,  260;  III,  3,  12,  130,  196,  257, 
271;  IV,  137,  185,  266;  VI,  68,  71;  VII,  87, 
88,  167,  226;  VIII,  48;  IX,  43,  44,  133;  X, 
47,  204 

Bruno  di  Giovanni 

Brusciasorzi,  Domenico  (Domenico  del  Riccio), 

VI,  82;  VII,  236,  237;  VIII,  40,  41 
Brusciasorzi,  Felice  (Felice  del   Riccio),  VII, 

237 

Brussels,  Bernard  of 
Buda,  Bernardo  del   (Bernardo  Rosselli),  V, 

116 

Buda,  Girolamo  del,  VII,  56 
Buffalmacco,   Buonamico,   LIFE,    I,    135-151; 

I,  50,  51,  135-151,  170,  190,  191,  211 :  II,  68; 

X,  47 

Buggiano,  II,  II,  235 

Bugiardini,  Giuliano,  LIFE,  VII,  107-113;  II, 
138;  IV,  154,  161,  170,  186;  VI,  183;  VII, 
107-113;  VIII,  121-123,  162;  IX,  29,  30,  95 

Buglioni,  Benedetto,  III,  276;  IV,  155 

Buglioni,  Santi,  III,  276;  VII,  29;  IX,  132 

Buonaccorsi,  Perino  (Perino  del  Vaga,  or  de' 
Ceri) 

Buonaiuti,  Corsino,  II,  26 

Buonarroti,  Michelagnolo,  LIFE,  IX,  3-141 ; 
I,  xxvi,  xxxiv,  87;  II,  159,  162,  187,  190,  191, 
221,  255,  261;  III,  86,  no,  140,  233;  IV,  41, 
43,  48,  65,  66,  74,  84,  85,  101,  104,  145,  157, 

l86,    187,    199,   2OI,   204,   209,   212,   215,   223, 

224,  242-245,  259,  270;  V,  5,  6,  23,  43-45, 
58,  86,  in,  117,  128,  135,  165,  190,  194, 
228,  245,  247,  261 ;  VI,  57,  59,  60,  66,  68,  78, 
79,  85,  92,  107,  in,  113,  114,  129,  135, 
*36,  139,  140,  167,  174-177,  183,  185,  191, 
J93»  I95,  205,  218,  219,  222,  225,  236,  263; 

VII,  10,  n,  14,  16,  28,  32,  44,  46,  48,  49, 
57,  58,  61,  66-68,  71,  72,  75,  77,  81,  98,  99, 
107,  108,  110-113,  151,  172,  173,  179,  194, 
235;  VIII,  3-5,  16,  25,  61,  73,  79,  82,  89,  91, 
92,  95,  96,  116,  128,  134,  136-138,  141,  146, 
156,  162,  163,  170,  185,  188,  201-204,  206- 
209,  235,  259;  IX,  3-141,  145,  153,  162,  170, 
171,  187,  193-195,  215,  216,  224,  231,  235, 
236,  239,  246,  250,  251,  259;  X,  12-17,  19, 
24,  26,  31,  32,  46,  47,  172,  174,  175,  186-190, 

194,  2O6,  215,  22O,   222 

Buonconsigli,  Giovanni,  IV,  52,  60 
Buonfiglio,  Benedetto,  IV,  17,  1 8 
Buono,  I,  14,  15 

Buontalenti,  Bernardo  Timante,  IX,  135-137; 
X,  16-18 


Buschetto,  I,  liv,  Ivi;  II,  80 

Busto,  Agostino  (II  Bambaja),  IV,  60;  V,  42, 

43;  VIII,  54,  55 

Butteri,  Giovan  Maria,  IX,  131;  X,  13 
1 

1  Caccianimici,  Francesco,  V,  201 
j  Caccianimici,  Vincenzio,  V,  255,  256 
Cadore,  Tiziano  da  (Tiziano  Vecelli] 
;  Calamech,  Andrea,  IX,  129;  X,  23 
j  Calamech,  Lazzaro,  IX,  129 
I  Calamis,  II,  80 
Calandrino,  I,  135 
Calavrese,  Giovan  Piero,  VIII,  216 
Calavrese,  Marco  (Marco  Cardisco),  LIFE,  V, 

237-239;  VIII,  91 

Calcagni,  Tiberio,  VIII,  233;  IX,  83,  84,  98-100 
Calcar,  Johann  of  (Jan  Stephanus  van  Calcker, 

or  Giovanni  Fiammingo),  VI,  116;  IX,  178, 

266 

Caldara,  Polidoro  (Polidoro  da  Caravaggio} 
Caliari,  Paolo  (Paolo  Veronese),  VI,  22,  27; 

VII,  236-240;  VIII,  41,  42,   102-104,   106, 

107; X,  20 
Calibrates,  III,  55 
Calzolaio,  Sandrino  del,  V,  161,  165 
Camicia,  Chimenti,  LIFE,  III,  92-93 
Camilliani,  Francesco,  X,  24,  25 
Camillo  Boccaccino 
Camillo  Mantovano 
Cammei,  Domenico  de',  VI,  76 
Campagnola,  Girolamo,  II,  138;  III,  279;  IV, 

5i,  55,  56 

Campagnola,  Giulio,  IV,  51,  56,  57 
Campi,  Fra  Ristoro  da,  I,  59 
Campo,  Antonio,  VIII,  44,  45 
Campo,  Galeazzo,  VIII,  44 
Campo,  Giulio,  VIII,  41,  44,  45,  48,  49 
Campo,  Vincenzio,  VIII,  44,  45 
Canachus,  II,  80 
Canned,  Anselmo,  VI,  22 
Capanna  (of  Siena),  III,  208;  V,  74 
Capanna,  Puccio,  I,  85,  89-91 
Caparra,  II  (Niccolo  Grosso) 
Capocaccia,  Mario,  IX,  233 
Caporali,  Benedetto  (Giovan  Battista),  IV,  48, 

75,  76 

Caporali,  Giulio,  IV,  48 
Caradosso,  IV,  23,  144 
Caraglio,  Giovanni  Jacopo,  LIFE,  VI,  109, 

no;  V,  194;  VI,  109,  no,  209 
Caravaggio,   Polidoro  da   (Polidoro  Caldara), 

LIFE,  V,  175-185;  IV,  83,  237;  V,  175-185; 

VI,  177,  196;  VIII,  17,  218,  219;  IX,  170; 

X,  174 

Cardisco,  Marco  (Marco  Calavrese) 
Carigliano,  Biagio  da  (Biagio  Betti) 
Carlo  Portelli  (Carlo  da  Loro) 
Carnovale  da  Urbino,  Fra  (Fra  Bartolommeo) 
Carota,  II  (Antonio  di  Marco  di  Giano),  I,  125; 

VI,  213;  VII,  152;  IX,  51 


GENERAL   INDEX 


239 


Caroto,   Giovan  Francesco,   LIFE,  VI,   15-21; 

IV,  60;  VI,  15-21,  37 

Caroto,  Giovanni,  LIFE,  VI,  21-22;  VI,  15,  21- 

22;  VII,  238 
Carpaccio  (Scarpaccia),  Vittore,  LIFE,  IV,  51- 

61;  IX,  210,  211 
Carpi,  Annibale  da  VIII,  36 
Carpi,    Girolamo   da    (Girolamo   da   Ferrara), 

LIFE,  VIII,  30-36;  V,  154;  VIII,  28-36 
Carpi,  Giulio  da,  VIII,  36 
Carpi,  Ugo  da,  IV,  233;  VI,  106,  107 
Carrara,  Antonio  da,  V,  8 
Carrara,  Danese  da  (Danese  Cattaneo} 
Carrucci,  Jacopo  (Jacopo  da  Pontormo) 
Carso,  Giovanni  dal,  VIII,  227 
Cartoni,    Niccold    (Niccolo    Zoccolo),    IV,    9, 

10 

Caselli  (Castelli),  Cristofano 
Casentino,  Jacopo  di,  LIFE,  II,  23-26;  I,  183, 

185;  II,  23-26,  29,  33,  83;  VIII,  153 
Casignuola,  Jacopo,  IX,  238 
Casignuola,  Tommaso,  IX,  238 
Castagno,   Andrea  dal   (Andrea  degli   Impic- 

cati),  LIFE,  III,  97-105;  II,   190;  III,  97- 

105,  109,  117,  173,  237,  239,  283;  IV,  82; 

V,  116;  VI,  182 

Castel    Bolognese,    Giovanni    da    (Giovanni 

Bernardi) 
Castel  della  Pieve,  Pietro  da  (Pietro  Perugino, 

or  Vannucci) 
Castelfranco,  Giorgione  da,  LIFE,  IV,  109-114; 

I,   xxxii;   III,    184;   IV,   82,   109-114,   125; 

V,  149,  228,  262;  VI,  23,  173,  !74;  VIII, 

29,  73,  74;  IX,  159-162,  165,  179 
Castellani,  Leonardo,  V,  238 
Castelli  (Caselli),  Cristofano,  VIII,  39 
Castiglione,  Bartolommeo  da,  VI,  152 
Castrocaro,  Gian  Jacopo  da,  V,  50 
Catanei,  Piero,  VI,  250 
Catena,  Vincenzio,  IV,  52,  58 
Catharina  van  Hemessen 
Cattaneo,    Danese    (Danese   da   Carrara),    V, 

135;  VI,  26-28,  54;  VII,  228;  IX,  176,  204, 

208-210,  214,  223;  X,  20 

Cavaliere,  Battista  del  (Battista  Lorenzi) 
Cavalieri,  Giovan  Battista  de',  VI,  113 
Cavalieri,  Tiberio,  VII,  50 
Cavallini,  Pietro,  LIFE,  I,  161-164;  I,  92,  161- 

164 

Cavalori,  Mirabello  (Mirabello  di  Salincorno] 
Cavazzuola,    Paolo    (Paolo    Morando),    LIFE, 
N  VI,  39-42;  VI,  15,  24,  25,  29,  39-42,  50 
Cecca,  LIFE,  III,  193-200;  III,  69,  193-200 
Cecca,  Girolamo  della,  III,  263 
Cecchino  del  Frate 
Cellini,  Baccio,  III,  92,  263 
Cellini,  Benvenuto,  V,  135;  VI,  86,  87;  VII, 

93,  94,  96,  97,  99,  100;  VIII,  128;  IX,  51, 

118, 125; X,  21,  22 
Cenni,  Pasquino,  II,  26 


I  Cennini,  Cennino  di  Drea,  I,  177,  221,  222;  II 

109 

;   Ceraiuolo,  Antonio  del,  IV,  280;  VIII,  65,  66 
i  Ceri,  Andrea  de',  VI,  190-192,  201 
|  Ceri,  Perino  de'  (Perino  del  Vaga,  or  Buonac- 

corsi) 
i   Cervelliera,  Battista  del,  III,  12;  VI,  214,  247, 

248;  VII,  256 
|   Cesare  Bernazzano 
Cesare  Cesariano 
Cesare  da  Sesto  (Cesare  da  Milano) 
Cesare  del  Nebbia 
Cesariano,  Cesare,  IV,  138;  IX,  190 
Cesati,  Alessandro  (II  Greco),  LIFE,  VI,  85 
Cherubino  Bonsignori  (Monsignori) ,  Fra 
Chimenti  Camicia 
Christus,  Pieter,  IX,  265 
Cianfanini,  Benedetto,  IV,  162 
Ciappino,  IX,  51 
Cicilia,  II,  V,  8 
Ciciliano,  Angelo,  VIII,  55 
Ciciliano,  Jacopo,  IX,  98 
Cicogna,  Girolamo,  VI,  22 
Cieco,  Niccolo,  III,  233 
Cimabue,   Giovanni,   LIFE,   I,   3-10;   I,   xxiv, 

xxxv,  lix,  3-10,  20,  21,  29,  47,  50,  55,  56, 

58,  63,  72,  74,  89,  94,  113,  117,  145,  174; 

II,  25,  82,  161,  202;  III,  59;  IV,  77;  V,  177; 

IX,  133;  X,  3,  47,  196 
Cini,  Simone,  II,  36 
Cinque,  Battista  del,  VII,  12;  IX,  51 
Cinuzzi,  Vanni,  II,  26 
Cioli,  Simone,  V,  30;  VI,  133;  VII,  9,  10,  189; 

VIII,  36 

Cioli,  Valerio,  VIII,  35 ;  IX,  129, 140, 141 ;  X,  32 
Cione,  I,  103,  104 
Ciuffagni,  Bernardo,  III,  7 
Clara  Skeysers 
Claudio  (of  Paris),  V,  201 
Claudio,  Maestro,  IV,  254,  255 
Clean thes,  I,  xxxix 
Cleef,  Joost  van,  IX,  266 
|  Clemente,  Bartolommeo,  IV,  60 
Clemente,  Prospero,  VIII,  38,  39 
Clemente  Bandinelli 
Cleophantes,  I,  xxxix 
Clovio,  Don  Giulio,  LIFE,  IX,  245-253;  VI,  51, 

54,  in,  264;  IX,  245-253;  X,  16 
Cock,   Hieronymus,   LIFE,   VI,    116-120;   VI, 

108,  116-120;  IX,  266 
Cock,  Matthys,  IX,  266 
Coda,  Bartolommeo,  III,  184 
Coda,  Benedetto  (Benedetto  da  Ferrara),  III, 

184; V,  211,  212 

Cola  dalla  Matrice  (Niccola  Filotesio) 
Colle,  Raffaello  dal  (Raffaello  dal  Borgo),  V, 

140,  195,  196;  VI,  152,  169;  VII,  117,  118, 

120,  128,  129,  201;  X,  7 
Colle,  Simone  da  (Simone  de'  Bronzi),  II,  145, 

146,  200 


240 


GENERAL   INDEX 


Collettaio,  Ottaviano  del,  X,  33 

Colonna,  Jacopo,  IX,  202,  203,  223 

Como,  Guido  da,  I,  48 

Condivi,  Ascanio  (Ascanio  dalla  Ripa  Tran- 
sone),  IX,  5,  107 

Conigliano,  Giovan  Battista  da,  IV,  52,  58 

Consiglio  Gherardi 

Conte,  Jacopo  del,  V,  119;  VIII,  95,  169,  181; 
IX,  95,  152,  258,  260,  261 

Conti,  Domenico,  V,  115,  119;  VII,  29;  VIII, 
ii 

Contucci,  Andrea  (Andrea  Sansovino),  LIFE, 
V,  21-31;  III,  243;  IV,  5,  144,  186,  223, 
270;  V,  21-31,  43,  88;  VI,  66,  133;  VII,  5, 
9,  61,  62,  187,  189;  VIII,  36,  114;  IX,  15,  40, 

41,  187,  202,  216 

Cordegliaghi,  Giovanetto,  IV,  52,  58,  59 

Coriolano,  Cristofano,  VI,  120 

Cornells,  Jan,  IX,  266 

Cornells  Floris 

Corniole,  Giovanni  delle,  VI,  76,  84 

Condole,  Nanni  di  Prospero  delle,  VIII,  162 

Correggio,    Antonio   da,    LIFE,    IV,    117-122; 

IV,  83,  117-122,  125;  VIII,  30,  31,  34,  37, 
217; X,  187 

Corsino  Buonaiuti 
Corso,  Jacopo  del,  III,  105 
Cortona,  Luca  da  (Luca  Signorelli) 
Cosimo,   Andrea  di   (Andrea  di  Cosimo  Fel- 
trini),  LIFE,  V,  229-233;  III,  189;  IV,  129; 

V,  221,  228-233;  VII,  13,  149-152 
Cosimo,  Piero  di,  LIFE,  IV,  125-134;  III,  189; 

IV,  125-134;  V,  86;  VII,  148 
Cosimo  (Jacopo)  da  Trezzo 
Cosimo  Rosselli 
Cosini,  Silvio  (Silvio  da  Fiesole),  V,  6-8;  VI, 

210;  VIII,  55 
Cosine,  II,  104;  III,  136 
Costa,  Ippolito,  VIII,  41 
Costa,  Lorenzo,  LIFE,  III,  161-164;  HI,  l6l~ 

164,  167;  VIII,  23,  25 
Costa,  Lorenzo  (the  younger),  VIII,  228 
Cotignola,  Francesco  da  (Francesco  de'  Zaga- 

nelli),  LIFE,  V,  265-266 
Cotignola,  Girolamo  da  (Girolamo  Marchesi), 

LIFE,  V,  211-212;  V,  207,  211-212 
Cousin,  Jean  (Giovanni  Cugini) 
Coxie,  Michael  (Michele),  VI,   116,   178;   IX, 

266-268 . 

Cozzerello,  Jacopo,  III,  130 
Crabeth,  Wouter,  IX,  269 
Credi,  Lorenzo  di,  LIFE,  V,  49-52;  II,   190; 

III,  274;  IV,  153,  186,  280;  V,  49-52,  159; 

VIII,  42,  65,  66;  IX,  190 
Credi,  Maestro,  V,  49 
Cremona,  Geremia  da,  II,  236;  VIII,  48 
Crescione,  Giovan  Filippo,  V,  238 
Cristofano,  II,  104;  IV,  55 
Cristofano,  Agnolo  di,  V,  223 ;  VII,  70 
Cristofano  Castelli  (Caselli) 


Cristofano  Coriolano 

Cristofano  dell'  Altissimo 

Cristofano  Gherardi  (Doceno) 

Cristofano  Gobbo  (Cristofano  Solar  i) 

Cristofano  Lombard!  (Tofano  Lombardino] 

Cristofano  Rosa 

Cristofano  Solari  (Cristofano  Gobbo) 

Crocifissaio,    Girolamo    del    (Girolamo    Mac- 

chietti) 
Cronaca,  II  (Simone  del  Pollaiuolo),  LIFE,  IV, 

265-275;  HI,  260;  IV,  101,  265-275;  V,  22; 

VI,  66,  70 

Cugini,  Giovanni  (Jean  Cousin),  VI,  114 
Cungi,  Battista,  VII,  121,  122,  124,  125;  X, 

181,  187 

Cungi,  Leonardo,  VI,  225;  VIII,  227 
Cuticello  (Giovanni  Antonio  Licinio,  or  Por- 

denone) 

Daddi,  Bernardo,  II,  25,  26 

Dalen,  Jan  van,  IX,  269 

Dalmasi,  Lippo,  II,  51 

Danese  Cattaneo  (Danese  da  Carrara) 

Danielle  da  Parma  (Danielle  Pom) 

Daniello  da  Volterra  (Danielle  Ricciarelli) 

Daniello  Porri  (Daniello  da  Parma) 

Daniello  Ricciarelli  (Daniello  da  Volterra) 

Dante,  Girolamo  (Girolamo  di  Tiziano),  IX,  183 

Danti,  Fra  Ignazio,  X,  28-30 

Danti,  Vincenzio,  I,  36;  VII,  100;  IX,   128, 

139;  X,  26-28 
Dario  da  Treviso 

Davanzo,  Jacopo  (Jacopo  Avanzi) 
Davanzo,  Jacopo  (of  Milan),  IV,  60 
David  Fortini 
David  Ghirlandajo 
David  Pistoiese 
Delft,  Simon  van,  IX,  269 
Delia  Robbia  family,  V,  22 
Dello,  LIFE,  II,  107-110;  II,  107-110,  136 
Dente,  Marco  (Marco  da  Ravenna),  LIFE,  VI, 

102-103;   IV,  233;  VI,   102-103,   IQ6;  VII, 

63 

Desiderio  da  Settignano 
Diacceto,  VIII,  161 
Diamante,  Fra,  III,  83,  85-87;  IV,  3 
Diana,  Benedetto,  IV,  52,  60 
Diana  Mantovana  (Sculptore) 
Dierick  Jacobsz  Vellaert 
Dinant,  Hendrik  of,  IX,  266 
Dirk  of  Haarlem 
Dirk  of  Louvain 
Dirk  van  Staren 
Dirk  Volkaerts 

Doceno  (Cristofano  Gherardi) 
Domenico,  Antonio  di  (Antonio  di  Donnmo 

Mazzieri) 

Domenico  Aimo  (Vecchio  of  Bologna) 
Domenico  Bartoli 
Domenico  Beccafumi  (Domenico  di  Pace) 


GENERAL   INDEX 


241 


Domenico  Beceri  (Domenico  Benci) 

Domenico  Brusciasorzi  (Domenico  del  Riccio) 

Domenico  Conti 

Domenico  da  Venezia  (Domenico  Viniziano) 

Domenico  dal  Lago  di  Lugano 

Domenico  dal  Monte  Sansovino 

Domenico  de'  Cammei 

Domenico  del  Barbiere 

Domenico  del  Riccio  (Domenico  Brusciasorzi) 

Domenico  del  lasso 

Domenico  di  Baccio  d'Agnolo 

Domenico  di  Mariotto 

Domenico  di  Michelino 

Domenico  di  Pace  (Domenico  Beccafumi) 

Domenico  di  Paris 

Domenico  di  Polo 

Domenico  Ghirlandajo 

Domenico  Giuntalodi 

Domenico  Morone 

Domenico  Panetti 

Domenico  Pecori 

Domenico  Poggini 

Domenico  Pucci 

Domenico  Puligo 

Domenico  Romano 

Domenico  Viniziano  (Domenico  da  Venezia) 

Domenicus  Lampsonius 

Don  Bartolommeo  della  Gotta  (Abbot  of  S. 

Clemente) 
Don  Giulio  Clovio 
Don  Jacopo 
Don    Lorenzo    Monaco    (Don    Lorenzo    degli 

Angeli) 
Don  Silvestro 
Donato  (Donatello),  LIFE,  II,  239-255;  I,  48, 

130,  178;  II,  72,  86,  93,  95,  101, 109, 113-115, 

120,    121,    123,    126,    132,    133,    138-140,    143- 

147,  151,  161,  183,  185,  188,  197,  199-204, 
213,  225,  239-255,  259,  260,  270;  III,  3,  6, 
73,  74,  117,  131,  144,  147,  148,  269,  270, 
273;  IV,  52,  152,  185;  V,  23;  VI,  220; 

VII,  30,  56,  57,  62;  VIII,  113;  IX,  8,  10, 
in,  133,  138,  169;  X,  22,  47 

Doni,  Adone,  VII,  128;  IX,  261 

Donnino,  Agnolo  di,  III,  189,  190;  V,  38;  IX, 

29,  3° 

Donzello,  Piero  del,  III,  13 
Donzello,  Polito  del,  III,  13,  14 
Dossi,  Battista,  LIFE,  V,  139-141;  VII,  201; 

VIII,  25,  26 

Dossi,  Dosso,  LIFE,  V,  139-141;  III,  164;  V, 
139-141;   VII,   201;   VIII,   25,   26,   33,   56; 

IX,  163 

Duca  Tagliapietra,  III,  169 

Duccio,  LIFE,  II,  9-11;  III,  6;  VI,  245 

Durante  del  Nero 

Diirer,  Albrecht,  LIFE,  VI,  92-98;  III,  214; 

IV,  232;  V,  96;  VI,  92-99,  102,  119,  165; 

VII,    163,    164,    166;    IX,    163,    246,   265, 

271 

X. 


Eliodoro  Forbicini 
Enea  Vico 

Ercole  Ferrarese  (Ercole  da  Ferrara) 
Erion,  II,  80 
Europa  Anguisciuola 
Eusebio  San  Giorgio 
Eyck,  Hubert  van,  IX,  265 
Eyck,  Jan  van  (Johann  of  Bruges),  III,  60-62, 
64;  IX,  265,  266 

Fabbro,  Pippo  del,  VII,  5;  IX,  192 

Fabiano  di  Stagio  Sassoli 

Fabius,  I,  xl 

Fabriano,  Gentile  da,  LIFE,  III,  109-113;  II, 

187;  III,  35,  109-113,  173 
Fabrizio  Viniziano 
Facchino,  Giuliano  del,  III,  239 
Faenza,  Figurino  da,  VI,  169 
Faenza,  Jacopone  da,  VIII,  217;  IX,  154 
Faenza,  Marco  da  (Marco  Marchetti) 
Faenza,  Ottaviano  da,  I,  91 
Faenza,  Pace  da,  I,  91 
Fagiuoli,  Girolamo,  V,  250;  VI,  87,  276;  VIII, 

171 

Falconetto,  Alessandro,  VI,  47,  48 
Falconetto,   Giovan  Maria,  LIFE,  VI,   43-48; 

VI,  22,  29,  42-48 
Falconetto,  Giovanni  Antonio  (the  elder),  VI, 

42 
Falconetto,  Giovanni  Antonio  (the  younger), 

VI,  42,  43 

Falconetto,  Jacopo,  VI,  42,  43 
Falconetto,  Ottaviano,  VI,  47,  48 
Falconetto,  Provolo,  VI,  47,  48 
Falconi,  Bernardo  Nello  di  Giovanni,  I,  197 
Fallaro,  Jacopo,  IX,  214 
Fancelli,  Giovanni  (Giovanni  di  Stocco),  VII, 

97.'  x>  33 

Fancelli,  Luca,  II,  227;  III,  47 
Fancelli,  Salvestro,  III,  47 
Fano,  Pompeo  da,  VIII,  215 
Fantuzzi,  Antonio  (Antonio  da  Trentd] 
Farinato,  Battista  (Battista  da  Verona),  VII, 

237,  238;  VIII,  107;  IX,  214;  X,  20 
Farinato,  Paolo,  VII,  236,  240,  241 ;  VIII,  41 
Fattore,  II  (Giovan  Francesco  Penni] 
Federigo  Barocci 
Federigo  di  Lamberto   (Federigo  Fiammingo, 

or  Del  Padovano) 
Federigo  Zucchero 
Fei,  Alessandro  di  Vincenzio  (Alessandro  del 

Barbiere),  X,  20 

Felice  Brusciasorzi  (Felice  del  Riccio) 
Feliciano  da  San  Vito 

Feltrini,  Andrea  di  Cosimo  (Andrea  di  Cosimo) 
Feltro,  Morto  da,  LIFE,  V,  227-229;  V,  227-230 
Fermo  Ghisoni 
Ferrara,  Antonio  da,  I,  221 
Ferrara,  Benedetto  da  (Benedetto  Coda] 
Ferrara,  Ercole  da  (Ercole  Ferrarese} 

31 


242, 


GENERAL   INDEX 


Ferrara,  Girolamo  da  (Girolamo  da  Carpi) 
Ferrara,  Stefano  da,  III,  285,  286;  IV,  56 
Ferrarese,  Ercole  (Ercole  da  Ferrara),  LIFE, 

III,  167-170;  III,  164,  167-170;  IV,  82 
Ferrarese,  Galaseo  (Galasso  Galassi) 
Ferrarese,  Girolamo  (Girolamo  Lombardo) 
Ferrari,  Gaudenzio,  V,  81 ;  VIII,  56 
Ferrucci,  Andrea  (Andrea  da  Fiesole) 
Ferrucci,  Francesco  (Francesco  del  Tadda) 
Ferrucci,  Francesco  di  Simone,  III,  273 ;  V,  3 
Fiacco  (or  Flacco),  Orlando,  LIFE,  VI,  28 
Fiammeri,   Battista  di   Benedetto,    IX,    126; 

X,  23 
Fiammingo,  Federigo  (Federigo  di  Lamberto, 

or  Del  Padovano) 
Fiammingo,  Giorgio,  IX,  269 
Fiammingo,  Giovanni   (Johann  of  Calcar,  or 

Jan  Stephanus  van  Calcker) 
Fiesole,  Andrea  da  (Andrea  Ferrucci),  LIFE, 

V,  3-8;  V,  3-8,  n;  VII,  4;  VIII,  133 
Fiesole,  Fra  Giovanni  da  (Fra  Angelica) 
Fiesole,  Maestro  Giovanni  da,  VI,  210 
Fiesole,  Mino  da   (Mino  di  Giovanni,)  LIFE, 

III,  ^.5^57 

Fiesole,  Silvio  da  (Silvio  Cosini) 
Fiesole,  Simone  da,  IX,  15,  16 
Figurino  da  Faenza 
Filarete,  Antonio,  LIFE,  III,  3-7;  II,  159,  270; 

III,  3-7,  47,  92;  IV,  56;  VIII,  48 
Filipepi,  Alessandro   (Sandro  Botticelli,  or  di 

Botticello) 

Filippino  (Filippo  Lippi) 
Filippo  Brunelleschi   (Filippo  di   Ser  Brunel- 

lesco) 

Filippo  di  Baccio  d'Agnolo 
Filippo  di   Ser   Brunellesco    (Filippo  Brunel- 
leschi 

Filippo  Lippi  (Filippino) 
Filippo  Lippi,  Fra 
Filippo  Negrolo 

Filotesio,  Niccola  (Cola  dalla  Matrice) 
Finiguerra,  Maso,  III,  238;  VI,  91 
Fiorentino,  Antonio,  II,  236 
Fiorentino,  Francesco,  II,  58 
Fiorentino,  Niccolo,  II,  236 
Fiorini,  Giovan  Battista,  VIII,  229 
Fivizzano,  IV,  29 
Flacco  (or  Fiacco},  Orlando 
Flore,  Jacobello  de,  IV,  51,  55 
Flori,  Bastiano,  X,  187,  196 
Floriani,  Antonio,  V,  148,  149 
Floriani,  Francesco,  V,  148,  149 
Florigorio,  Bastianello  (Sebastiano  Florigerio), 

V,  148 

Floris,  Cornelis,  IX,  269 
Floris,  Franz  (Franz  de  Vrient),  VI,  119,  120; 

IX,  267-270 

Foccora,  Giovanni,  III,  7 
Fontana,  Prospero,  V,   213;  VIII,   220;   IX, 
147,  148,  150-152;  X,  20 


Fonte,  Jacopo  della  (Jacopo  della  Quercia) 

Foppa,  Vincenzio  (Vincenzio  di  Zoppa,  or 
Vincenzio  Bresciano) 

Forbicini,  Eliodoro,  VII,  237 

Forli,  Francesco  da  (Francesco  Menzochi) 

Forli,  Guglielmo  da,  I,  92 

Forli,  Livio  da  (Livio  Agresti),  VIII,  188,  229; 
IX,  155 

Forli,  Melozzo  da,  III,  124 

Fortini,  David,  VII,  37 

Fortori,  Alessandro,  X,  20 

Forzore  di  Spinello 

Foschi,  Fra  Salvadore,  X,  196 

Fra  Angelica  (Fra  Giovanni  da  Fiesole) 

Fra  Antonio 

Fra  Bartolommeo  (Fra  Carnovale  da  Urbino) 

Fra  Bartolommeo  di  San  Marco  (Baccio  della 
Porta) 

Fra  Carnovale  da  Urbino  (Fra  Bartolommeo) 

Fra  Cherubino  Bonsignori  (Monsignori) 

Fra  Damiano  da  Bergamo 

Fra  Diamante 

Fra  Filippo  Lippi 

Fra  Giocondo 

Fra  Giovanni 

Fra  Giovanni  Agnolo  Monlorsoli 

Fra  Giovanni  da  Fiesole  (Fra  A  ngelicc) 

Fra  Giovanni  da  Verona 

Fra  Giovanni  Vincenzio 

Fra  Girolamo  Bonsignori  (Monsignori) 

Fra  Guglielmo  della  Porta  (Guglielmo  Milan- 
ese) 

Fra  Ignazio  Danti 

Fra  Jacopo  da  Turrita 

Fra  Paolo  Pistoiese 

Fra  Ristoro  da  Campi 

Fra  Salvadore  Foschi 

Fra  Sebastiano  Viniziano  del  Piombo  (Sebas- 
tiano Luciani) 

Francesca,  Piero  della  (Piero  Borghese,  or 
Piero  dal  Borgo  a  San  Sepolcro),  LIFE,  III, 
17-23;  III,  17-23,  51,  52,  101,  135;  IV,  71, 
82,  216;  VIII,  52 

Francesco,  Maestro,  IV,  142 

Francesco,  Mariotto  di,  V,  231-233 

Francesco  (called  di  Maestro  Giotto),  I,  91 

Francesco  Bonsignori  (Monsignori) 

Francesco  Brambilari  (Brambilla) 

Francesco  Brini 

Francesco  Caccianimici 

Francesco  Camilliani 

Francesco  da  Cotignola  (Francesco  de'  Zaga- 
nelli) 

Francesco  da  Forli  (Francesco  Menzochi) 

Francesco  da  Melzo 

Francesco  da  Poppi  (Francesco  Morandini) 

Francesco  da  San  Gallo 

Francesco  da  Siena 

Francesco  da  Volterra 

Francesco  dai  Libri  (the  elder) 


GENERAL  INDEX 


243 


Francesco  dai  Libri  (the  younger) 

Francesco  d'  Albertino  (Francesco  Ubertini,  or 

II  Bacchiacca) 

Francesco  de'  Rossi  (Francesco  Salviati] 
Francesco  de'  Zaganelli  (Francesco  da  Cotig- 

nola) 

Francesco  del  Tadda  (Francesco  Ferrucci) 
Francesco  della  Luna 
Francesco  dell'  Indaco 
Francesco  di  Giorgio 
Francesco  di  Girolamo  dal  Prato 
Francesco  di  Mirozzo  (Melozzo) 
Francesco   di   Pesello    (Francesco   Peselli,   or 

Pesellino) 

Francesco  di  Simone  Ferrucci 
Francesco  di  Valdambrina 
Francesco  Ferrucci  (Francesco  del  Tadda) 
Francesco  Fiorentino 
Francesco  Floriani 
Francesco  Francia 
Francesco  Giamberti 
Francesco  Granacci  (II  Granaccio) 
Francesco  Marcolini 
Francesco  Masini,  Messer 
Francesco  Mazzuoli  (Parmigiano) 
Francesco  Menzochi  (Francesco  da  Forli) 
Francesco  Monsignori  (Bonsignori) 
Francesco  Morandini  (Francesco  da  Poppi) 
Francesco  Morone 
Francesco  Moschino 
Francesco  of  Orleans,  V,  201 
Francesco  Peselli    (Francesco   di   Pesello,   or 

Pesellino) 

Francesco  Primaticcio 
Francesco  Ricchino 

Francesco  Salviati  (Francesco  de'  Rossi) 
Francesco  Sant'  Agnolo 
Francesco  Traini 
Francesco  Turbido  (II  Moro) 
Francesco    Ubertini    (Francesco   d'  Albertino, 

or  II  Bacchiacca) 
Francesco  Verbo  (Verio) 
Franci,    Marc'  Antonio    de'    (Marc'    Antonio 

Bolognese,  or  Raimondi) 
Francia  (Franciabigio) 
Francia,  Francesco,  LIFE,  IV,  23-29;  IV,  23- 

29,  82;  VI,  95;  VIII,  23;  IX,  26,  27 
Francia,  Piero,  IX,  130 
Franciabigio  (Francia),  LIFE,  V,  217-223;  II, 

190;  IV,   170;  V,  86-89,  91,  93,   101,   103, 

104,  217-223,  231,  232;  VII,  70,  157,  171; 

VIII,  5;  IX,  20 
Francione,  IV,  191,  192 
Franco,    Battista    (Battista    Semolei),    LIFE, 

VIII,  89-101;  VI,  108,   114,  156;  VII,  28, 

29,  203;  VIII,  12,  67,  68,  89-101,  181,  219, 

230;  IX,  199,  205,  217 
Franco  Bolognese 

Francucci,  Innocenzio  (Innocenzio  da  Imola) 
Franz  Floris  (Franz  de  Vrient) 


Franz  Mostaert 
Franzese,  Giovanni,  IX,  88 
Frate,  Cecchino  del,  IV,  162, 
Fredi,  Bartolo  di  Maestro,  II,  61 
Fuccio,  I.  30,  31 

Gabriele  Giolito 

Gabriele  Rustici 

Gabriello  Saracini 

Gaddi  family,  X,  47 

Gaddi,  Agnolo,  LIFE,  I,  217-223;  I,  185,  186, 

217-223;  II,  15,  25;  IV,  52,  54 
Gaddi,  Gaddo,  LIFE,  I,  55-58;  I,  50,  55-58, 

177,  186,  217,  219,  221 
Gaddi,  Giovanni,  I,  185,  186,  217,  221 
Gaddi,  Taddeo,  LIFE,  I,  177-186;  I,  57,  58,  81, 

88,  89,  129,  177-186,  217,  218,  221,  222;  II, 

23»  56»  83,  199,  240;  IX,  133 
Gaddo  Gaddi 
Galante  da  Bologna 
Galassi,    Galasso    (Galasso    Ferrarese),    LIFE, 

III,  135-136;  II,  104;  III,  135-136;  IV,  55 
Galasso  (of  Ferrara),  VIII,  36 
I  Galeazzo  Alessi 
\  Galeazzo  Campo 
'   Galeazzo  Mondella 
Galeotto,  Pietro  Paolo,  VI,  87;  VII,  152;  IX, 

233 

Galieno,  IV,  179 
Galle,  Philip,  IX,  270 
Gambara,  Lattanzio,  VIII,  42,  45,  49,  50 
Garbo,  Raffaellino  del,  LIFE,  IV,  175-179;  IV, 

6,  9,  175-179 
Garofalo,  Benvenuto  (Benvenuto  Tisi),  LIFE, 

VIII,  24-29;  VIII,  24-30,  33,  34;  IX,  202 
Gasparo  Misuroni  (Misceroni) 
Gatta,  Don  Bartolommeo  della  (Abbot  of  S. 

Clemente),  LIFE,  III,  203-209;  III,  188,  203- 

209;  IV,  41,  82,  216,  217;  VI,  255 
Gatti,  Bernardo  de'  (Bernardo  Soiaro] 
Gaudenzio  Ferrari 
Genga,  Bartolommeo,  LIFE, VII,  206-210;  VII, 

203,  204,  206-210;  VIII,  92,  96-98 
Genga,  Girolamo,  LIFE,  VII,  199-206;  V,  15, 

16,  140;  VII,  199-208,  210,  211 ;  VIII,  140, 

171;  X,  33 
Gensio  Liberale 
Gentile  Bellini 
Gentile  da  Fabriano 
Georg  Pencz 
Gerard,  IX,  268 
Geremia  da  Cremona 
Geri  Aretino 

Gerino  Pistoiese  (Gerino  da  Pistoia) 
Ghent,  Justus  of,  IX,  265 
Gherardi,  Consiglio,  II,  26 
Gherardi,  Cristofano  (Doceno),  LIFE,  VII,  117- 

143;  IX,  261;  X,  183,  187,  208 
Gherardo  (of  Florence),  LIFE,  III,  213-215;  III, 

209,  213-215,  232;  IV,  36;  VI,  92;  IX,  182 


244 


GENERAL   INDEX 


Gherardo  Stamina 

Ghiberti,  Bartoluccio,  II,   144-146,   155,  161, 

162;  III,  237,  238 
Ghiberti,  Bonaccorso,  II,  160 
Ghiberti,    Lorenzo    (Lorenzo    di    Bartoluccio 

Ghiberti,    or   Lorenzo   di   Cione   Ghiberti),   ! 

LIFE,  II,  143-162;  I,  87,  112,  127,  130;  II,   | 

4,  9,  86,  95,   143-162,   165,   171,   183,  200, 

201,   204,   213-218,   234;   III,   3,   237,   238, 

269,  270;  IX,  114;  X,  47,  222 
Ghiberti,  Vittorio,  II,  160,  162 
Ghirlandajo,    Benedetto,   LIFE,   VIII,    59-60; 

III,  222,  229,  233;  VI,  57;  VIII,  59-60 
Ghirlandajo,  David,  LIFE,  VIII,  59-60;  III, 

222,  225,  229-231,  233;  VI,  57;  VIII,  59- 

60,  63,  64;  IX,  5,  6,  182 
Ghirlandajo,   Domenico,   LIFE,   III,   219-233; 

I,  112,  126,  189;  II,  190;  III,  69,  70,  188, 

213,  215,  219-233,  248;  IV,  36,  65,  82,  279; 

VI,  57,  58,  191;  VII,  108,  147;  VIII,  59-61, 

63,  64,  66;  IX,  5-9,  182;  X,  222 
Ghirlandajo,  Michele  di  Ridolfo,  V,  165;  VII, 

28;  VIII,  66-69,  153,  156;  IX,  130;  X,  15 
Ghirlandajo,   Ridolfo,   LIFE,   VIII,   60-69;   I, 

125;  II,  185,  190;  III,  233;  IV,  169,  212, 


216,  279-281;  V,  220,  231;  VI,   191,   192; 
155.   156;  VIII,   3,   5,   60-69, 
93-95;  IX,  20;  X,  15 


VII,  28,   31,   155,   156; 


Ghirlandajo,  Tommaso,  III,  219 

Ghisi  (Mantovano),  Giorgio,  VI,  113,  118 

Ghisoni,  Fermo,  III,  164;  VI,  34,   167,   169; 

VIII,  40-42 
Giacomo  Marzone 
Giamberti,  Francesco,  IV,  134,  191 
Gian  (Giovan)  Barile 
Gian  Barile  (of  Florence) 
Gian  Cristoforo,  III,  92 
Gian  Domenico  Bersuglia 
Gian    Girolamo    Bresciano    (Gian    Girolamo 

Savoldo) 

Gian  Girolamo  San  Michele 
Gian     Girolamo     Savoldo     (Gian     Girolamo 

Bresciano) 

Gian  Jacopo  da  Castrocaro 
Gian  Maria  da  Milano 
Gian  Maria  Verdezotti 
Gian  Niccola,  IV,  47,  48 
Gianmizzi,  Giulio  Pippi  de'  (Giulio  Romano] 
Giannuzzi,  Raffaello  Pippi  de',  VI,  168 
Giano,  Antonio  di  Marco  di  (II  Carota) 
Gilis  Mostaert 
Giocondo,  Fra,  LIFE,  VI,  3-11;  IV,  145;  VI, 

3-11,28,47,  126 

Giolfino,  Niccolo  (Niccolo  Ursino),  VII,  240 
Giolito,  Gabriele,  VI,  115 
Giomo  del  Sodoma 

Giorgio,  Francesco  di,  LIFE,  III,  129-131;  II, 
^  10,  85;  III,  129-131 
Giorgio  Fiammingo 
Giorgio  Mantovano  (Ghisi) 


Giorgio  Vasari 

Giorgio  Vasari  (son  of  Lazzaro  Vasari,  the 
elder) 

Giorgione  da  Castelfranco 

Giottino,  Tommaso  (or  Maso),  LIFE,  1, 203-208; 
I,  112,  203-208;  II,  83 

Giotto,  LIFE,  I,  71-94;  I,  7-9,  25,  39,  50,  51, 
57,  63,  71-94*  99,  109,  111-113,  II7>  Il8> 
123-127,  161,  162,  168,  170,  174,  177,  178, 
180,  182,  184-186,  190,  203-205,  222;  II, 
23,  3°,  35,  37,  73,  80-83,  86,  120,  131,  139, 
147,  150,  161,  162,  166,  171,  195,  202,  250, 
262;  111,59,259;  IV,  80;  V,  21 ;  VI,  114,  202, 
219,  220,  235;  VIII,  82,  153;  IX,  3,  119, 

133,  l82;    X,  47,  191,  221,  222 

Giovan  (Gian)  Barile 

Giovan    Battista    Bellucci    (Giovan    Battista 

San  Marino) 

Giovan  Battista  Bertano 
Giovan  Battista  (Benedetto)  Caporali 
Giovan  Battista  da  Bagnacavallo 
Giovan  Battista  da  Conigliano 
Giovan  Battista  de'  Cavalieri 
Giovan  Battista  de'  Rossi  (II  Rosso) 
Giovan  Battista  Fiorini 
Giovan  Battista  Grassi 
Giovan  Battista  Ingoni 
Giovan  Battista  Mantovano  (Sculptore) 
Giovan  Battista  Peloro 
Giovan  Battista  Rosso  (or  Rosto) 
Giovan  Battista  San  Marino  (Giovan  Battista 

Bellucci) 

Giovan  Battista  Sculptore  (Mantovano) 
Giovan  Battista  Sozzini 
Giovan  Bologna 
Giovan  Filippo  Crescione 
Giovan  Francesco  Bembo  (or  Vetraio) 
Giovan  Francesco  Caroto 
Giovan  Francesco  da  San  Gallo 
Giovan  Francesco  Penni  (II  Fattore) 
Giovan  Francesco  Rustici 
Giovan  Francesco  Vetraio  (or  Bembo) 
Giovan  Jacomo  della  Porta 
Giovan  Maria  Butteri 
Giovan  Maria  dal  Borgo  a  San  Sepolcro 
Giovan  Maria  Falconetto 
Giovan  Maria  Pichi 
Giovan  Paolo  dal  Borgo 
Giovan  Paolo  Poggini 
Giovan  Paolo  Rossetti 
Giovan  Piero  Calavrese 
Giovanetto  Cordegliaghi 
Giovanni  (Lo  Spagna),  IV,  46,  47 
Giovanni  (of  Vicenza),  IX,  211 
Giovanni  (the  Fleming),  VIII,  74 
Giovanni,  Antonio  di  (Solosmeo  da  Settignano) 
Giovanni,  Bruno  di,  I,  135,  145,  147,  148,  191 
Giovanni,  Fra,  I,  59 
Giovanni,  Maestro,  IV,  260 
Giovanni,  Mino  di  (Mino  da  Fiesole) 


GENERAL   INDEX 


245 


Giovanni  Agnolo  Montorsoli,  Fra 

Giovanni  Antonio  Bazzi  (II  Sodoma) 

Giovanni  Antonio  Boltraffio 

Giovanni  Antonio  de'  Rossi 

Giovanni  Antonio  Falconetto  (the  elder) 

Giovanni  Antonio  Falconetto  (the  younger) 

Giovanni  Antonio  Lappoli 

Giovanni  Antonio  Licinio  (Cuticello,  or  Por- 

denone) 

Giovanni  Antonio  Sogliani 
Giovanni  Baldini 
Giovanni  Battista  Veronese 
Giovanni  Bellini 
Giovanni  Bernardi  (Giovanni  da  Castel  Bolog- 

nese) 

Giovanni  Boccalino  (Giovanni  Ribaldi) 
Giovanni  Boscoli 
Giovanni  Buonconsigli 
Giovanni  Caroto 
Giovanni  Cimdbue 
Giovanni  Cugini  (Jean  Cousin) 
Giovanni  da  A  sciano 
Giovanni    da    Castel    Bolognese     (Giovanni 

Bernardi) 

Giovanni  da  Fiesole,  Fra  (Fra  Angelica) 
Giovanni  da  Fiesole,  Maestro 
Giovanni  da  Lione 
Giovanni  da  Milano 
Giovanni  da  Nola 
Giovanni  da  Pistoia 
Giovanni  da  Rovezzano 
Giovanni  da  Santo  Stefano  a  Ponte  (Giovanni 

dal  Ponte} 

Giovanni  da  Udine  (Giovanni  Martini) 
Giovanni  da  Udine  (Giovanni  Nanni,  or  de' 

Ricamatori) 

Giovanni  da  Verona,  Fra 
Giovanni  dal  Carso 
Giovanni    dal    Ponte     (Giovanni    da    Santo 

Stefano  a  Ponte) 
Giovanni  de'  Ricamatori  (Giovanni  da  Udine, 

or  Nanni) 
Giovanni  de'  Santi 
Giovanni  dell'  Opera  (Giovanni  di  Benedetto 

Bandini) 

Giovanni  della  Robbia 
Giovanni  delle  Corniole 
Giovanni  di  Baccio  (Nanni  di  Baccio  Bigio) 
Giovanni  di  Benedetto  Bandini  (Giovanni  dell' 

Opera) 

Giovanni  di  Goro 

Giovanni  Fancelli  (Giovanni  di  Stocco) 
Giovanni  Fiammingo   (Johann  of  Calcar,  or 

Jan  Stephanus  van  Calcker) 
Giovanni  Foccora 
Giovanni  Franzese 
Giovanni  Gaddi 
Giovanni  Jacopo  Caraglio 
Giovanni  Mangone 
Giovanni  Mansueti 


Giovanni  Martini  (Giovanni  da  Udine) 

Giovanni  Nanni  (Giovanni  da  Udine,  or  de' 
Ricamatori) 

Giovanni  Pedoni 

Giovanni  Pisano 

Giovanni  Ribaldi  (Giovanni  Boccalino) 

Giovanni  Rosto  (or  Rosso) 

Giovanni  San  Michele 

Giovanni  Speranza 

Giovanni  Strada  (Jan  van  der  Straet] 

Giovanni  Tossicani 

Giovanni  Turini 

Giovanni  Vincenzio,  Fra 

Girolamo,  V,  60 

Girolamo  Bonsignori  (Monsignori),  Fra 

Girolamo  Bozza  (Bartolommeo  Bozzato) 

Girolamo  Brescianino  (Girolamo  Mosciano,  or 
Muziano) 

Girolamo  Campagnola 

Girolamo  Cicogna 

Girolamo  da  Carpi  (Girolamo  da  Ferrara) 

Girolamo  da  Cotignola  (Girolamo  Marchesi) 

Girolamo  da  Ferrara  (Girolamo  da  Carpi) 

Girolamo  da  Sermoneta  (Girolamo  Siciolante) 

Girolamo  da  Treviso  (Girolamo  Trevigi) 

Girolamo  dai  Libri 

Girolamo  dal  Prato 

Girolamo  Dante  (Girolamo  di  Tiziano) 

Girolamo  del  Buda 

Girolamo    del    Crocifissaio    (Girolamo    Mac- 
chietti) 

Girolamo  del  Pacchia 

Girolamo  della  Cecca 

Girolamo  della  Robbia 
j  Girolamo  di  Tiziano  (Girolamo  Dante) 

Girolamo  Fagiuoli 

Girolamo  Ferrarese  (Girolamo  Lombardo) 

Girolamo  Genga 

Girolamo  Lombardo  (Girolamo  Ferrarese) 

Girolamo    Macchietti    (Girolamo    del    Croci- 
fissaio) 

Girolamo  Marchesi  (Girolamo  da  Cotignola) 

Girolamo  Mazzuoli 

Girolamo  Miruoli 

Girolamo  Misuroni  (Misceroni) 

Girolamo  Mocetto  (or  Moretto) 

Girolamo  Monsignori  (Bonsignori),  Fra 

Girolamo  Moretto  (or  Mocetto) 

Girolamo    Mosciano   (Girolamo    Muziano,  or 
Brescianino) 

Girolamo  Padovano 

Girolamo  Pironi 

Girolamo  Romanino 

Girolamo  Santa  Croce 

Girolamo  Siciolante  (Girolamo  da  Sermoneta) 

Girolamo  Trevigi  (Girolamo  da  Treviso} 

Giromin  Morzone 

Giugni,  Rosso  de',  VI,  87 

Giuliano  Bugiardini 

Giuliano  da  Maiano 


246 


GENERAL   INDEX 


Giuliano  da  San  Gallo 

Giuliano  del  Facchino 

Giuliano  del  Tasso 

Giuliano  di  Baccio  d'Agnolc 

Giuliano  di  Niccol6  Morelli 

Giuliano  Leno 

Giulio  Bonasone 

Giulio  Campagnola 

Giulio  Campo 

Giulio  Caporali 

Giulio  Clovio,  Don 

Giulio  da  Carpi 

Giulio  da  Urbino 

Giulio  Mazzoni 

Giulio  Romano  (Giulio  Pippi  de'  Giannuzzi) 

Giuntalodi,  Domenico,  VI,  273-279 

Giuseppe  del  Salviati  (Giuseppe  Porta) 

Giuseppe  Niccolo  (Joannicolo)  Vicentino 

Giuseppe  Porta  (Giuseppe  del  Salviati) 

Giusto,  III,  ii 

Giusto  (of  Padua),  IV,  51,  56 

Gobbo,  Andrea  del,  IV,  122 

Gobbo,  Battista  (Battista  da  San  Gallo) 

Gobbo,  Cristofano  (Cristofano  Solari) 

GOTO,  Giovanni  di,  VI,  206;  VII,  69 

Gossart,  Jean,  IX,  267 

Gotti,  Baccio,  IV,  280 

Gozzoli,  Benozzo,  LIFE,  III,  121-125;  III,  35, 

121-125,  161;  VI,  246;  X,  47 
Gra,  Marco  da,  VIII,  55 
Gramone,  III,  70 
Granacci,  Francesco  (II  Granaccio),  LIFE,  VI, 

57-61;  II,  190;  III,  233;  IV,  4,  169,   186; 

V,  97,  98,  231;  VI,  57-61,   66;  VII,   108; 

VIII,  5,  59,  60,  121 ;  IX,  5,  6,  8,  20,  29,  30 
Grassi,  Giovan  Battista,  V,  148 
Greco,  II  (Alessandro  Cesati) 
Grimmer,  Jakob,  IX,  268 
Grosso,  Nanni,  III,  273 
Grosso,  Niccolo  (II  Caparra),  IV,  268,  269 
Gualtieri  (the  Fleming),  VIII,  231 
Guardia,  Niccolo  della,  III,  92 
Guazzetto,  II  (Lorenzo  Naldino),  V,  201;  VIII, 

119,  127-129 
Gucci,  Lapo,  II,  26 
Guerriero  da  Padova 
Guerrini,  Rocco,  IX,  242 
Guglielmo,  I,  15,  31 
Guglielmo  da  Forll 

Guglielmo  da  Marcilla  (Guillaume  de  Marcillac)  : 
Guglielmo   della   Porta,    Fra    (Guglielmo   Mi-  I 

lanese) 

Guglielmo  Tedesco 
Guido  Bolognese 
Guido  da  Como 
Guido  del  Servellino 
Guido  Mazzoni  (Modanino  da  Modena) 
Guillaume  de  Marcillac  (Guglielmo  da  Mar- 
cilia] 
Gyges  the  Lydian  (fable),  I,  xxxix 


Haarlem,  Dirk  of,  IX,  266 

Haeck,  Jan,  IX,  269 

Hans  Beham 

Hans  Bol 

Hans  Liefrinck 

Hans  Memling  (Ausse) 

Heemskerk,  Martin,  VI,   116;  VIII,  90,  91; 

IX,  266 

Heinrich  (Albrecht)  Aldegrever 
Heinrich  Paludanus  (Arrigo) 
Hemessen,  Catharina  van,  IX,  269 
Hemessen,  Jan  van,  IX,  266,  269 
Hendrik  of  Dinant 
Hieronymus  Bosch 
Hieronymus  Cock 

Holland,  Lucas  of  (Lucas  van  Leyden) 
Horebout,  Lucas,  IX,  268 
Horebout,  Susanna,  IX,  268,  269 
Hubert  van  Eyck 
Hugo  of  Antwerp 

Ignazio  Danti,  Fra 

II  Bacchiacca   (Francesco    Ubertini,  or  d'Al- 

bertino) 

II  Bambaja  (Agostino  Busto) 
II  Bassiti  (Marco  Basaiti,  or  Basarini) 
II  Buggiano 

II  Caparra  (Niccol6  Grosso) 
II  Carota  (Antonio  di  Marco  di  Giano) 
II  Cicilia 

II  Cronaca  (Simone  del  Pollaiuolo) 
II  Fattore  (Giovan  Francesco  Penni) 
II  Granaccio  (Francesco  Granacci) 
II  Greco  (Alessandro  Cesati) 
II  Guazzetto  (Lorenzo  Naldino) 
II  Modena  (Antonio  Begarelli) 
II  Moro  (Francesco  Turbido) 
II  Pistoia  (Leonardo) 
II  Rosso  (Giovan  Battista  de'  Rossi) 
II  Spdoma  (Giovanni  Antonio  Bazzi) 
Ilarione  Ruspoli 
Imola,  Innocenzio  da  (Innocenzio  Francucci), 

LIFE,  V,  212-213;   IV,    170;   V,   207,   209, 

212-213 

Impiccati,  Andrea  degli  (Andrea  dal  Castagno) 
Indaco,  Francesco  dell'.IV,  66,  67;  VI,  126; 

VIII,  202 
Indaco,   Jacopo  dell',   LIFE,   IV,   65-67;   III, 

233;  IV,  65-67:  IX,  29,  30 
India,  Bernardino,  VII,  237 
Ingoni,  Giovan  Battista,  VIII,  37,  38 
Innocenzio  da  Imola  (Innocenzio  Francucci) 
Ippolito  Costa 
Irene  di  Spilimbergo 


[acobello,  I,  105 
[acobello  de  Flore 

[acomo  Melighino  (Jacopo  Melighini) 
[acone    (Jacopo),   V,    119;    VII,    176; 
16-19 


VIII, 


GENERAL   INDEX 


247 


Jacopo  (pupil  of  Sandro  Botticelli),  III,  251, 

252 

acopo,  Don,  II,  57 
acopo  A  vanzi  (Jacopo  Davanzo) 
acopo  Barozzi  (Vignuola) 
acopo  Bellini 

acopo  Bresciano  (Jacopo  de'  Medici) 
acopo  Carrucci  (Jacopo  da  Pontormo) 
acopo  Casignuola 
acopo  Ciciliano 
acopo  Colonna 
acopo  Cozzerello 
acopo  da  Bassano 
acopo  da  Montagna 
acopo  da  Pontormo  (Jacopo  Carrucci) 
acopo  da  Trezzo 
acopo  (Cosimo)  da  Trezzo 
acopo  da  Turrita,  Fra 
acopo  Davanzo  (Jacopo  Avanzi] 
acopo  Davanzo  (of  Milan) 
acopo  de'  Medici  (Jacopo  Bresciano') 
acopo  del  Conte 
acopo  del  Corso 
acopo  del  Sellaio 
acopo  del  Tedesco 
acopo  della  Barba 

acopo  della  Quercia  (Jacopo  della  Fonte) 
acopo  dell'  Indaco 
acopo  di  Casentino 
acopo  di  Cione  Orcagna 
acopo  di  Sandro 
acopo  Falconetto 
acopo  Fallaro 
acopo  Lanfrani 

acopo  Melighini  (Jacomo  Melighino] 
acopo  Palma  (Palma  Vecchio) 
acopo  Pisbolica 

acopo  Robusti  (Jacopo  Tintoretto] 
acopo  Sansovino  (Jacopo  Tatti) 
acopo  Squarcione 
acopo  Tatti  (Jacopo  Sansovino} 
acopo  Tedesco  (Lapo) 
acopo  Tintoretto  (Jacopo  Robusti) 
acopo  Zucchi 
acopone  da  Faenza 
akob  Breuck 
akob  Grimmer 
an  Cornells 
an  de  Mynsheere 
an  der  Sart 
an  Haeck 
an  Scorel 
an  Stephanus  van  Calcker  ( Johann  of  Calcar, 

or  Giovanni  Fiammingo), 
an  van  Dalen 

an  van  der  Straet  (Giovanni  Strada) 
an  van  Eyck  (Johann  of  Bruges) 
an  van  Hemessen 
anszoon,  Joost,  IX,  269 
ean  Belle gambe 


can  Cousin  (Giovanni  Cugini) 
ean  Gossart 
oachim  Patinier 

oannicolo  (Giuseppe  Niccolo)  Vicentino 
ohann  of  Bruges  (Jan  van  Eyck} 
ohann  of  Calcar  (Jan  Stephanus  van  Calcker, 
or  Giovanni  Fiammingo) 
ohann  of  Louvain 
oost  J anszoon 
oost  van  Cleef 
oris  Robyn 
ustus  of  Ghent 

Keur,  Willem,  IX,  269 

Key,  Willem,  IX,  267,  268,  270 

Koeck,  Pieter,  IX,  267 

Lafrery,  Antoine  (Antonio  Lanferri} 

Lambert  Lombard  (Lambert  of  Amsterdam) 

Lambert  Suavius  (Lamberto  Suave,  or  Lam- 
bert Zutmann) 

Lambert  van  Noort 

Lamberti,  Niccol6  di  Piero  (Niccol6  d'Arezzo, 
or  Aretino} 

Lamberto,  Federigo  di  (Federigo  Fiammingo, 
or  Del  Padovano),  IX,  127,  268;  X,  16 

Lamberto  (the  Fleming),  VIII,  231 

Lamberto  Suave  (Lambert  Suavius,  or  Lam- 
bert Zutmann) 

Lampsonius,  Domenicus,  IX,  268,  270,  271 

Lancelot  Blondeel 

Lancia,  Baldassarre,  VII,  206;  X,  33 

Lancia,  Luca,  IX,  223 

Lancia,  Pompilip,  X,  33 

Lanferri,  Antonio  (Antoine  Lafrery),  VI,  113 

Lanfrani,  Jacopo,  I,  104,  105 

Lanzilago,  Maestro,  IV,  6,  7 

Lapo,  Arnolfo  di  (Arnolfo  Lapi),  LIFE,  I,  20- 
26;  I,  8,  13,  14,  20-26,  29,  30,  33,  39,  65, 
113,  126,  170,  174,  180;  II,  80,  202,  203,  262, 
264,  265;  IX,  194 

Lapo  (Jacopo  Tedesco} 

Lapo  Gucci 

Lappoli,  Giovanni  Antonio,  LIFE,  VI,  255-265 ; 
V,  196-198;  VI,  255-265;  VII,  158,  159 

Lappoli,  Matteo,  III,  206,  207;  VI,  255 

Lastricati,  Zanobi,  VII,  45;  IX,  125,  132;  X, 

Lattanzio  Gambara 

Lattanzio  Pagani 

Laurati,  Pietro  (Pietro  Lorenzetti),  LIFE,  I, 

117-120;  I,  92,  117-120;  II,  18;  III,  55 
Laureti,  Tommaso  (Tommaso  Siciliano),  VI, 

186 

Lazzaro  Calamech 
Lazzaro    Scarpaccia    (Sebastiano    Scarpaccia, 

or  Lazzaro  Bastiani} 
Lazzaro  Vasari  (the  elder) 
Lazzaro  Vasari  (the  younger) 
Lendinara,  Lorenzo  da,  III,  285 


248 


GENERAL   INDEX 


Leno,  Giuliano,  IV,  147;  VI,  130,  150;  VIII,  4 

Leon  Battista  Alberti 

Leonardo  (II  Pistoia) 

Leonardo  Castellani 

Leonardo  Cungi 

Leonardo  da  Vinci 

Leonardo  del  Tasso 

Leonardo  di  Ser  Giovanni 

Leonardo  Milanese 

Leonardo  Ricciarelli 

Leonardo  (the  Fleming),  V,  201 

Leone  Aretino  (Leone  Lioni) 

Levina  Bening 

Leyden,  Lucas  van  (Lucas  of  Holland),  LIFE, 

VI,  96-99;  IX,  265,  270 
Liberale,  LIFE,  VI,  11-15;  IV,  54;  VI,  11-15, 

23,  24,  35,  36,  49 
Liberale,  Gensio,  V,  149 
Libri,  Francesco  dai  (the  elder),  LIFE,  VI,  49; 

VI,  29,  49 
Libri,  Francesco  dai  (the  younger),  LIFE,  VI, 

52-54 
Libri,    Girolamo    dai,  LIFE,   VI,   49-52;   VI, 

29,  37>  49-52,  54 
Licinio,     Giovanni     Antonio     (Cuticello,     or 

Pordenone),  LIFE,  V,  145-155;  VI,  213,  244, 

247;  VIII,  43,  44,  103;  IX,  160,  167,  168 
Liefrinck,  Hans,  VI,  117 
Ligorio,  Pirro,  VIII,  181,  184,  186,  227;  IX, 

84,  94,  95,  102 
Linaiuolo,  Berto,  III,  92 
L'Ingegno  (Andrea  Luigi) 
Lino,  I,  43 

Lione,  Giovanni  da,  VI,  152,  169 
Lioni,  Leone  (Leone  Aretino) 
Lioni,  Pompeo,  IX,  232,  233 
Lippi,  Filippo  (Filippino),  LIFE,  IV,  3-10;  II, 

189,  190;  III,  83,  87,  259;  IV,  3-10,  44,  82, 

99,  100,  176,  177;  V,  87;  VI,  66 
Lippi,  Fra  Filippo,  LIFE,  III,  79-88;  II,  187, 

190;  III,  79-88,  117,  118,  161,  247;  IV,  3,  5, 

9,   185;   VI,   246;   VII,   57;   IX,   119,   133; 

X,  47 

Lippi,  Ruberto  di  Filippo,  VIII,  118,  119 
Lippo,  LIFE,  II,  49-51;  I,  48,  208;  II,  49-51,  83 
Lippo  Dalmasi 
Lippo  Memmi 

Livio  da  Forll  (Livio  Agresti) 
Lo  Spagna  (Giovanni) 
Lodovico  (of  Florence),  IX,  262 
Lodovico  Malino  (or  Mazzolini) 
Lodovico  Marmita 
Lodovico  Mazzolini  (or  Malino) 
Lodovico  Rosso 
Lombard,  Lambert  (Lambert  of  Amsterdam), 

IX,  266-268,  270 
Lombardi,  Alfonso,  LIFE,  V,  131-136;  V,  131- 

136,  210;  VII,  77;  IX,  167 
Lombardino,  Tofano   (Cristofano  Lombardi), 

VI,  167;  VIII,  45,  55 


Lombardo,    Girolamo    (Girolamo    Ferrarese), 
V,  24,  28-30;  VII,  9,  10,  189;  VIII,  36,  37; 

IX,  202,  223 

Lombardo,  Tullio,  IV,  60 
Longhi,  Barbara  de',  IX,  155 
Longhi,  Luca  de',  IX,  154,  155 
Lorentino,  Angelo  di  (Agnolo  di  Lorenzo) 
Lorentino  d' Angelo 

Lorenzetti,  Ambrogio,  LIFE,  I,  155-157 
Lorenzetti,  Pietro  (Pietro  Laurati) 
Lorenzetto  (Lorenzo)  Lptti 
Lorenzi,  Antonio  di  Gino,  VII,  24;  IX,  131; 

X,  30 

Lorenzi,  Battista  (Battista  del  Cavaliere),  IX, 

131,  140,  141; X,  31 
Lorenzi,  Stoldo  di  Gino,  X,  30,  31 
Lorenzo  (father  of  Piero  di  Cosimo),  IV,  125 
Lorenzo,  Agnolo  di  (Angelo  di  Lorentino),  I, 

208;  III,  209 
Lorenzo,  Bicci  di,  II,  72 
Lorenzo,  Neri  di,  II,  72,  73 
Lorenzo  Costa 

Lorenzo  Costa  (the  younger) 
Lorenzo  da  Lendinara 
Lorenzo    degli    Angeli,    Don    (Don    Lorenzo 

Monaco) 

Lorenzo  della  Sciorina  (Lorenzo  Sciorini) 
Lorenzo  di  Bicci 
Lorenzo  di  Credi 
Lorenzo  Ghiberti  (Lorenzo  di  Cione  Ghiberti, 

or  Lorenzo  di  Bartoluccio  Ghiberti) 
Lorenzo  (Lorenzetto)  Lotti 
Lorenzo  Lotto 
Lorenzo  Marignolli 
Lorenzo   Monaco,    Don    (Don   Lorenzo   degli 

Angeli) 

Lorenzo  Naldino  (II  Guazzetto) 
Lorenzo  of  Picardy,  V,  201 
Lorenzo  Sabatini 

Lorenzo  Sciorini  (Lorenzo  della  Sciorina) 
Lorenzo  Vecchietto 
Loro,  Carlo  da  (Carlo  Portelli) 
Lotti,  Lorenzetto  (Lorenzo),  LIFE,  V,  55-58; 

III,  273;  IV,  240;  V,  55-58;  VII,  78;  IX, 

20,  239 

Lotto,  Lorenzo,  LIFE,  V,  261-264 
Louis  of  Louvain 
Louvain,  Dirk  of,  IX,  266 
Louvain,  Johann  of,  IX,  266 
Louvain,  Louis  of,  IX,  265 
Louvain,  Quentin  of,  IX,  266 
Luca  da  Cortona  (Luca  Signorelli) 
Luca  de'  Longhi 
Luca  della  Robbia 
Luca  della  Robbia  (the  younger) 
Luca  di  Tome 
Luca  Fancelli 
Luca  Lancia 
Luca  Monverde 
Luca  Penni 


GENERAL  INDEX 


249 


Luca  Signorelli  (Luca  da  Cortona) 

Lucas  Horebout 

Lucas  van  Leyden  (Lucas  of  Holland) 

Lucia  Anguisciuola 

Luciani,  Sebastiano  (Fra  Sebastiano  Viniziano 

del  Piombo) 

Lucrezia,  Madonna,  V,  127 
Lugano,  Domenico  dal  Lago  di,  II,  236 
Lugano,  Tommaso  da,  IX,  206 
Luigi,  Andrea  (L'  Ingegno),  IV,  47 
Luigi  Anichini 
Luigi  Brugnuoli 
Luigi  Vivarino 
Luini,   Bernardino   (Bernardino  del  Lupino), 

V,  60;  VIII,  56 

Luna,  Francesco  della,  II,  223,  232 
Lunetti,  Stefano  (Stefano  of  Florence) 
Lunetti,  Tommaso  di  Stefano, V,  51,  52,164,  231 
Lupino,  Bernardino  del  (Bernardino  Luini) 
Luzio  Romano 
Lysippus,  I,  xl 

Macchiavelli,  Zanobi,  III,  125 

Macchietti,    Girolamo    (Girolamo    del    Croci- 

fissaio),  IX,  126;  X,  15,  1 6 
Madonna  Lucrezia 
Madonna  Properzia  de'  Rossi 
Maestro  Andrea 
Maestro  Claudia 
Maestro  Credi 
Maestro  Francesco 
Maestro  Giovanni 
Maestro  Giovanni  da  Fiesole 
Maestro  Lanzilago 

Maestro  Mino  (Mino  del  Regno,  or  del  Reame) 
Maestro  Niccold 
Maestro  Salvestro 
Maestro  Zeno 
Maglione,  I,  34 
Maiano,  Benedetto  da,  LIFE,  III, 


94;  III,  13,  14,  149,  257-264;  F 
-;  V,  5;  VI,  66 


7-264;  I, 

36,  I51* 

266,  267 
Maiano,  Giuliano  da,  LIFE,  III,  11-14;  III,  n- 

14,  74,  257-259;  IV,  197;  VI,  131 
Mainardi,  Bastiano  (Bastiano  da  San  Gimig- 

nano),  III,  225,  230-233 
Maini  (Marini),  Michele,  V,  3,  4 
Malino,  Lodovico  (or  Mazzolini),  III,  164 
Manemaker,  Matthaeus,  IX,  269 
Mangone,  Giovanni,  V,  5 
Manno,  VI,  78;  VIII,  164,  190;  X,  173 
Mansueti,  Giovanni,  IV,  52,  59;  V,  260 
Mantegna,    Andrea,    LIFE,    III,    279-286;    II, 

138;  III,  162,  279-286;  IV,  24,  55,  82;  VI, 

T5»  29»  3°.  9i  i"  VIII,  23;  IX,  211 
Mantovana  (Sculptore),  Diana,  VIII,  42 
Mantovano,  Camillo,  VII,  201;  VIII,  171 
Mantovano  (Ghisi),  Giorgio 
Mantovano  (Sculptore),  Giovan  Battista,  VI, 

no,  in,  157,  164,  165,  169;  VIII,  42 

X. 


Mantovano,  Marcello  (Marcello  Venusti) 
Mantovano,  Rinaldo,  VI,  155,  156,  160,  161, 

169;  VIII,  41 
Manzuoli,  Maso   (Tommaso  da  San  Friano), 

IX,  137;  X,  15 
Marc'    Antonio    Bolognese     (Marc'    Antonio 

Raimondi,  or  de'  Franci) 
Marcello  Mantovano  (Marcello  Venusti) 
Marchesi,  Girolamo  (Girolamo  da  Cotignola) 
Marchetti,  Marco  (Marco  da  Faenza),  IX,  155, 

156;  X,  20 
Marchino,  III,  105 
Marchionne  Aretino 
Marchissi,  Antonio  di  Giorgio,  IV,  36;  V,  4; 

VI,  126 
Marcilla,   Guglielmo  da   (Guillaume  de  Mar- 

cillac),  LIFE,  IV,  253-262;  III,  53;  IV,  253- 

262;  VIII,  162;  X,  172 
Marco,  Tommaso  di,  I,  197 
Marco  Basaiti  (II  Bassiti,  or  Marco  Basarini) 
Marco  Calavrese  (Marco  Cardisco) 
Marco  da  Faenza  (Marco  Marchetti) 
Marco  da  Gra 
Marco  da  Montepulciano 
Marco  da  Ravenna  (Marco  Dente) 
Marco  da  Siena  (Marco  del  Pino) 
Marco  del  Tasso 

Marco  Dente  (Marco  da  Ravenna) 
Marco  di  Battista  d'Agnolo 
Marco  Marchetti  (Marco  da  Faenza) 
Marco  Oggioni 

Marco  Palmezzani  (Marco  Parmigiano) 
Marco  (son  of  Giovanni  Rosto),  VIII,  20 
Marco  Zoppo 

Marcolini,  Francesco,  VI,  115 
Marcone,  Piero  di,  VIII,  172,  173 
Margaritone,  LIFE,  I,  63-67;  I,  38,  63-67,  118 
Mariano  da  Perugia 
Mariano  da  Pescia 
Marignolli,  Lorenzo,  VII,  46 
Marini  (Maini),  Michele 
Marinus  (of  Zierickzee),  IX,  268 
Mario  Capocaccia 
Mariotto,  I,  198 
Mariotto,  Domenico  di,  III,  12 
Mariotto  A  Ibertinelli 
Mariotto  di  Francesco 
Marmita,  VI,  84 
Marmita,  Lodovico,  VI,  84 
Marten  de  Vos 
Martin  Heemskerk 
Martin  Schongauer  (Martino) 
Martini,  Giovanni  (Giovanni  da  Udine) 
Martini,  Simone  (Simone  Memmi,  or  Sanese) 
Martino  (Martin  Schongauer) 
Martino  (pupil  of  Montorsoli),  VIII,  144,  147, 

151,  156;  X,  23 

Martino,  Bartolommeo  di  Jacopo  di,  VII,  147 
Martino  da  Udine  (Pellegrino  da  San  Daniele, 

or  Martino  di  Battista) 

32 


250 


GENERAL    INDEX 


Marzone,  Giacomo,  III,  184 
Masaccio,  LIFE,  II,  183-191;  II,  86,  87,  133, 
183-191,  198;  III,  79,  80;  IV,  3,  185,  215; 

VI,  202,  203;  IX,  10,  133;  X,  47 
Masini,  Messer  Francesco,  IV,  227 
Maso  Boscoli  (Maso  dal  Bosco) 
Maso  Fimguerra 

Maso  (or  Tommaso)  Giottino 

Maso  Manzuoli  (Tommaso  da  San  Friano) 

Maso  (Tommaso)  Papacello 

Maso  Porro 

Masolino  da  Panicale 

Matrice,  Cola  dalla  (Niccola  Filotesio),  V,  238, 

239 

Matteo  (brother  of  Cronaca),  IV,  275 
Matteo  (of  Lucca),  II,  96,  97 
Matteo  dal  Nassaro 
Matteo  Lappoli 
Matteo  San  Michele 
Matthaeus  Manemaker 
Matthys  Cock 
Maturino,  LIFE,  V,  175-185;  IV,  83;  V,  175- 

185;  VI,  177,  196;  VIII,  17,  218;  IX,  20 
Mazzieri,    Antonio    di   Donnino    (Antonio   di 

Domenico),  V,  223;  VII,  29;  VIII,  12 
Mazzingo,  III,  239 
Mazzolini,  Lodovico  (or  Malino) 
Mazzoni,  Giulio,  VIII,  210,  211 
Mazzoni,  Guido  (Modanino  da  Modena),  III, 

14;  VIII,  38 
Mazzuoli,   Francesco   (Parmigiano),   LIFE,   V, 

243-256;  IV,  83;  V,  243-256;  VI,  107-109, 

114,  259;  VIII,  34,  39,  40,  217 
Mazzuoli,   Girolamo,   V,   244,   245,   254,   255; 

VIII,  39,  41,  42 

Medici,  Jacopo  de'  (Jacopo  Bresciano) 
Melighino,  Jacomo  (Jacopo  Melighini),  V,  72, 

73;  VI,  139,  140;  VIII,  237 
Melone,  Altobello  da,  VIII,  24,  43 
Melozzo  (Mirozzo),  Francesco  di 
Melozzo  da  Forli 
Melzo,  Francesco  da,  IV,  99 
Memling,  Hans  (Ausse),  III,  61;  IX,  265 
Memmi,  Lippo,  I,  172-174 
Memmi,  Simone  (Simone  Martini,  or  Sanese), 

LIFE,  I,  167-174;  I,  10,  25,  89,  92,  167-174, 

183;  II,  16,37,  83;  HI,  183 
Menighella,  IX,  114 
Menzochi,    Francesco    (Francesco    da    Forli), 

VII,  201,  204-206;  VIII,  171 
Menzochi,  Pietro  Paolo,  VII,  205,  206 
Messina,  Antonello  da,  LIFE,  III,  59-64 
Metrodorus,  I,  xxxix,  xl 

Michael  (Michele)  Coxie 
Michelagnolo  Anselmi 
Michelagnolo  Buonarroti 
Michelagnolo  da  Siena 
Michelagnolo  di  Viviano 
Michele  (Michael  Coxie) 
Michele  Alberti 


Michele  da  Milano 

Michele  di  Ridolfo  Ghirlandajo 

Michele  Maini  (Marini) 

Michele  San  Michele 

Michelino,  I,  208 

Michelino,  VI,  76 

Michelino,  Domenico  di,  III,  35 

Michelozzo  Michelozzi,  LIFE,  II,  259-271;  II, 

241,  259-271 
Milanese,    Guglielmo    (Fra    Guglielmo    della 

Porta) 

Milanese,  Leonardo,  IX,  238 
Milano,  Bramante  da,  III,  18 
Milano,  Cesare  da  (Cesare  da  Sesto) 
Milano,  Gian  Maria  da,  VIII,  198 
Milano,  Giovanni  da,  I,  182,  183,  185;  II,  23 
Milano,  Michele  da,  I,  221 
Minerva  Anguisciuola 
Minga,  Andrea  del,  VII,  97;  IX,  131;  X,  15 
Mini,  Antonio,  V,  165;  VIII,  128;  IX,  47-51, 

69,  81,  107,  109 
Miniati,  Bartolommeo,  V,  201 
Minio,  Tiziano  (Tiziano  da  Padova),  VI,  47; 

IX,  203,  223 
Mino,  Maestro  (Mino  del  Regno,  or  del  Reame), 

LIFE,  III,  91-92;  III,  91-92,  155 
Mino  da  Fiesole  (Mino  di  Giovanni) 
Mino  del  Regno  (Maestro  Mino,  or  Mino  del 

Reame) 

Mino  di  Giovanni  (Mino  da  Fiesole) 
Minore,  III,  n 

Mirabello  di  Salincorno  (Mirabello  Cavalori) 
Mirozzo  (Melozzo),  Francesco  di,  V,  140 
Miruoli,  Girolamo,  IX,  156 
Misuroni  (Misceroni),  Gasparo,  IV,  60;  VI,  86 
Misuroni  (Misceroni),  Girolamo,   IV,  60;  VI, 

86 

Moccio,  II,  4,  10,  n,  101 
Mocetto  (or  Moretto),  Girolamo 
Modanino  da  Modena  (Guido  Mazzoni) 
Modena,  II  (Antonio  Begarelli) 
Modena,  Modanino  da  (Guido  Mazzoni) 
Modena,  Niccolo  da  (Niccolo  dell'  Abate) 
Modena,  Pellegrino  da  (Pellegrino  degli  Are- 

tusi,  or  de'  Munari),  LIFE,  V,  80-8 1 ;  IV,  237; 

V,  80-81,  176;  VI,  125 
Mona  Papera,  Bernardetto  di,  II,  248 
Monaco,    Don   Lorenzo    (Don   Lorenzo   degli 

Angeli),  LIFE,  II,  55-58;  II,  55-58,  171;  III, 

203 

Mondella,  Galeazzo,  VI,  42,  80 
Monsignori  (Bonsignori),  Alberto 
Monsignori  (Bonsignori),  Fra  Cherubino 
Monsignori  (Bonsignori),  Fra  Girolamo 
Monsignori  (Bonsignori),  Francesco 
Montagna,  Bartolommeo,  IV,  52,  60;  IX,  211 
Montagna,  Jacopo  da,  III,  183 
Monte  Carlo,  Bastiano  da,  IV,  179 
Monte  Sansovino,  Domenico  dal,  V,  30 
Montecavallo,  Antonio,  IV,  140 


GENERAL  INDEX 


251 


Montelupo,  Baccio  da,  LIFE,  V,  41-45;  III, 

148;  IV,  186;  V,  41-45,  97;  VII,  155;  VIII, 

54;  IX,  55,  188,  190,  239 
Montelupo,  Raffaello  da,  LIFE,  V,  41-45;  V, 

27,  41-45,  119;  VI,  133,  222;  VII,  9-n,  27, 

62,  81,  189,  191,   192,   194,  195;  VIII,  89, 

91,  137,  147;  IX,  51,  55,  69,  239 
Montepulciano,  Marco  da,  II,  72,  179 
Montepulciano,  Pasquino  da,  III,  7 
Montevarchi,  IV,  46 
Montorsoli,  Fra  Giovanni  Agnolo,  LIFE,  VIII, 

133-157;  VII,  10,  n,  81,  82;  VIII,  91,  133- 

157;  IX,  51,  117,  133;  X,  9,  23,  33 
Monverde,  Luca,  V,  147 
Moor,  Antonius,  IX,  268 
Morandini,  Francesco  (Francesco  da  Poppi), 

X,  14 

Morando,  Paolo  (Paolo  Cavazzuola) 
Morelli,   Giuliano  di  Niccold,   I,   221;  V,   73; 

VI,  251 

Moreto,  Niccolo,  IV,  57 
Moretto,   Alessandro   (Alessandro   Bonvicini), 

IV,  60;  VIII,  49,  50 

Moretto  (or  Mocetto),  Girolamo,  III,  180 
Moro,    Battista    del    (Battista    d'  Angela,   or 

d'  Agnolo) 

Moro,  II  (Francesco  Turbido) 
Morone,  Domenico,  LIFE,  VI,  35-36;  VI,  29, 

35,  36,  38 
Morone,  Francesco,  LIFE,  VI,  36-39;  VI,  29, 

36-39,  40,  41,  50 
Morfco  da  Feltro 
Morzone,  Giromin,  IV,  55,  56 
Mosca,   Simone,  LIFE,  VII,   185-195;  V,  44; 

VI,   133;  VII,  9,   10,   185-195;  VIII,  224; 

IX,  69 

Moschino,    Francesco,    VII,    192,    194,    195; 

X,  32 

Mosciano,    Girolamo    (Girolamo   Muziano,   or 

Brescianino) 

Mostaert,  Franz,  IX,  266-268 
Mostaert,  Gilis,  IX,  268 
Munari,  Pellegrino  de'  (Pellegrino  da  Modena, 

or  degli  Aretusi) 
Murano,  Natalino  da,  VIII,  104 
Musi,  Agostino  de'  (Agostino  Viniziano) 
Muziano,    Girolamo    (Girolamo   Mosciano,    or 

Brescianino) 

Mynsheere,  Jan  de,  IX,  269 
Myrmecides,  III,  55 
Myron,  II,  80 


Naldini,  Battista,  VII,   181,  182;  VIII,  233; 

IX,  134;  X,  14,  15 
Naldino,  Lorenzo  (II  Guazzetto) 
Nanni,  Giovanni  (Giovanni  da  Udine,  or  de' 

Ricamatori) 

Nanni  d'  Antonio  di  Banco 
Nanni  di  Baccio  Bigio  (Giovanni  di  Baccio) 


Nanni  di  Prospero  delle  Corniole 

Nanni  Grosso 

Nanni  Unghero 

Nannoccio  da  San  Giorgio 

Nassaro,  Matteo  dal,  LIFE,  VI,  79-82 ;  VI,  76, 

79-82 

Natalino  da  Murano 
Navarra,  Pietro,  VI,  126 
Nebbia,  Cesare  del,  IX,  261 
Negrolo,  Filippo,  VI,  86 
Neri  di  Lorenzo 
Nero,  Durante  del,  VIII,  227 
Neroccio,  I,  172 
Neroni,    Bartolommeo    (Riccio),  V,   73;  VII, 

257 

Niccola  Filotesio  (Cola  dalla  Matrice) 
Niccola  Pisano 
Niccola  Viniziano 
Niccolaio,  VIII,  59 
Niccolo  (goldsmith  to  Pope  Innocent  VIII), 

III,  281 

Niccolo  (of  Florence),  III,  7 
Niccolo  (Tribolo) 

Niccolo,  Maestro,  VI,  164;  VII,  177 
Niccolo  Alunno 
Niccolo  Aretino  (Niccolo  d'Arezzo,  or  Niccold 

di  Piero  Lamberti) 
Niccolo  Avanzi 

Niccolo  Beatricio  (Nicolas  Beautrizet) 
Niccolo  Bolognese  (Niccolo  dell'  Area) 
Niccolo  Cartoni  (Niccolo  Zoccolo) 
Niccold  Cieco 
Niccolo  d'Arezzo  (Niccolo  Aretino,  or  Niccolo 

di  Piero  Lamberti) 

Niccolo  da  Modena  (Niccolo  dell'  Abate] 
Niccol6  dalle  Pomarancie 
Niccolo  dell'  Abate  (Niccolo  da  Modena) 
Niccolo  dell'  Area  (Niccolo  Bolognese) 
Niccolo  della  Guardia 
Niccolo  di  Piero  Lamberti  (Niccol6  d'  Arezzo, 

or  Aretino) 
Niccolo  Fiorentino 
Niccold  Giolfino  (Niccold  Ursino) 
Niccold  Grosso  (II  Caparra) 
Niccolo  Moreto 
Niccold  Pizzolo 

Niccold  Rondinello  (Rondinello  da  Ravenna) 
Niccold  Soggi 

Niccold  Ursino  (Niccold  Giolfino) 
Niccold  Zoccolo  (Niccold  Cartoni) 
Nicolas  Beautrizet  (Niccold  Beatricio) 
Nicomachus,  II,  80 
Nicon,  III,  209 
Nino  Pisano 

Nola,  Giovanni  da,  V,  137-139 
Noort,  Arthus  van,  IX,  269 
Noort,  Lambert  van,  IX,  268 
Nunziata,  VIII,  61,  62 
Nunziata,  Toto  del,  II,  190;  IV,  280;  VI,  191, 

196;  VIII,  66 


252 


GENERAL   INDEX 


Oderigi  d'  A  gobble 

Oggioni,  Marco,  IV,  105;  VIII,  56 

Oja,  Sebastian  van,  IX,  269 

Opera,  Giovanni  dell'  (Giovanni  di  Benedetto 

Bandini) 

Orazio  da  Bologna  (Orazio  Sammacchini) 
Orazio  di  Paris 
Orazio  Pianetti 
Orazio  Porta 

Orazio  Sammacchini  (Orazio  da  Bologna) 
Orazio  Vecelli 
Orcagna,  Andrea  di  Cione,  LIFE,  I,  189-199; 

II,  91;  III,  223 

Orcagna,  Bernardo  di  Cione,  I,  189,  190,  193- 

195.  197 

Orcagna,  Jacopo  di  Cione,  I,  194,  197,  198 
Orlando  Fiacco  (or  Flacco) 
Orsino,  III,  275,  276 
Ottaviano  da  Faenza 
Ottaviano  del  Collettaio 
Ottaviano  della  Robbia 
Ottaviano  Falconetto 
Ottaviano  Zucchero 

Pacchia,  Girolamo  del,  VII,  252 

Pace,  Domenico  di  (Domenico  Beccafumi) 

Pace  da  Faenza 

Pacuvius,  I,  xxxix 

Padova,  Guerriero  da,  IV,  51,  56 

Padova,  Tiziano  da  (Tiziano  Minio) 

Padova,  Vellano  da,  LIFE,  III,  73-75;  II,  253; 

III,  73-75,  272 

Padovano,  Federigo  del  (Federigo  di  Lamberto, 

or  Fiammingo) 

Padovano,  Girolamo,  III,  209 
Pagani,  Lattanzio,  V,  212;  VII,  128 
Pagni,  Benedetto  (Benedetto  da  Pescia),  VI, 

152,  154-156,  169;  X,  9 
Pagno  di  Lapo  Partigiani 
Palladio,  Andrea,  VI,  28,  48;  VIII,  233,  234; 

IX,  211-214;  X,  20 
Palma,  Jacopo  (Palma  Vecchio),  LIFE,  V,  259- 

261;  IX,  160 
Palmezzani,  Marco  (Marco  Parmigiano),  VII, 

204,  205 
Paludanus,  Heinrich  (Arrigo),  VIII,  38;  IX, 

269 

Paludanus,  Willem,  IX,  269 
Panetti,  Domenico,  VIII,  24 
Panicale,  Masolino  da,  LIFE,  II,  165-167;  II, 

46,  159,  165-167,  171,  185,  187-189;  IV,  3; 

VI,  203 
Paolo,  I,  103 

Paolo  Caliari  (Paolo  Veronese) 
Paolo  Cavazzuola  (Paolo  Morando) 
Paolo  da  Verona 
Paolo  Farinato 
Paolo  Pistoiese,  Fra 
Paolo  Ponzio 
Paolo  Romano 


Paolo  San  Michele 

Paolo  Schiavo 

Paolo  Uccello 

Paolo  Veronese  (Paolo  Caliari) 

Papacello,  Tommaso  (or  Maso),  IV,  76;  VI, 

152;  VII,  128 
Papino  della  Pieve 
Paris,  Domenico  di,  IV,  47;  V,  195 
Paris,  Orazio  di,  IV,  47 
Paris  Bordone 

Parma,  Daniello  da  (Daniello  Porri) 
Parmigiano  (Francesco  Mazzuoli} 
Parmigiano,  Marco  (Marco  Palmezzani} 
Parrhasius,  IX,  133;  X,  200 
Parri  Spinelli 

Particini,  Antonio,  VIII,  16 
Partigiani,  Pagno  di  Lapo,  II,  269,  270 
Pasquino  Cenni 
Pasquino  da  Montepulciano 
Passerotto,  Bartolommeo,  IX,  156 
Pastorino  da  Siena 
Patinier,  Joachim,  266 
Pecori,  Domenico,  III,  207-209;  IV,  257;  VI, 

255,  258,  271 

Pedoni,  Giovanni,  VIII,  48 
Pellegrini,  Pellegrino  (Pellegrino  da  Bologna, 

or  Tibaldi),  VIII,  34,  204;  IX,  151-154,  258 
Pellegrino  da  Modena  (Pellegrino   degli  Are- 

tusi,  or  de'  Munari) 
Pellegrino  da  San  Daniele  (Martino  da  Udine, 

or  di  Battista) 
Pellegrino  Pellegrini  (Pellegrino  da  Bologna, 

or  Tibaldi) 

Peloro,  Giovan  Battista,  V,  73 
Pencz,  Georg,  VI,  119 
Penni,  Giovan  Francesco  (II  Fattore),  LIFE, 

V,  77-80;  IV,  237,  247;  V,  77-80,  201;  VI, 

146-148,  150,  151,  153,  177,  193,  I94>  207, 

216 

Penni,  Luca,  V,  79,  201;  VI,  115 
Perino  del  Vaga  (Perino  Buonaccorsi,  or  de' 

Ceri) 

Perugia,  Mariano  da,  V,  263 
Perugia,  Piero  da,  I,  221 
Perugino,  Pietro  (Pietro  Vannucci,  or  Pietro 

da  Castel  della  Pieve),  LIFE,  IV,  33-48;  II, 

190;  III,  23,  188,  204,  273;  IV,  13,  15,  18, 

33-48,   82,    159,    169,   2IO-2I2,   236,   242,   243; 

V,  49,  50,  87,  230;  VI,  235,  269;  VII,  199, 
248,  249;  VIII,  3;  IX,  189;  X,  192 

Peruzzi,  Baldassarre  (Baldassarre  da  Siena), 
LIFE,  V,  63-74;  IV>  *45»  J46,  200;  V,  57, 
63-74,  T36>  170,  176,  208;  VI,  107,  167, 
174,  177,  239;  VII,  253;  VIII,  167,  168,  197, 
205,  218;  IX,  65,  196;  X,  174 

Peruzzi,  Salustio,  VIII,  205;  IX,  82 

Pesarese,  I,  105 

Pescia,  Benedetto  da  (Benedetto  Pagni) 

Pescia,  Mariano  da,  VIII,  66 

Pescia,  Pier  Maria  da,  VI,  76 


GENERAL   INDEX 


253 


Peselli,   Francesco   (Francesco   di   Pesello,   or 

Pesellino),  LIFE,  III,  117-118;  III,  86,  117- 

118 
Pesello,  LIFE,  III,  117-118;  III.  59,  117-118; 

IV,  82 
Pesello,   Francesco  di   (Francesco  Peselli,   or 

Pesellino) 

Pheidias,  I,  xl;  II,  120;  IV,  105 
Philip  Galle 
Philocles,  I,  xxxix 
Pianetti,  Orazio,  VIII,  206,  207 
Piccinelli,  Raffaello  de'  (Raffaello  da  Brescia, 

or  Brescianino] 
Pichi,  Giovan  Maria,  VII,  158 
Pier  Francesco  da  Viterbo 
Pier  Francesco  di  Jacopo  di  Sandro 
Pier  Maria  da  Pescia 
Fieri,  Stefano,  IX,  137;  X,  14 
Pierino  (Piero)  da  Vinci 
Piero,  Alvaro  di,  II,  64 
Piero  Catanei 
Piero  da  Perugia 
Piero  da  Sesto 
Piero  (Pierino)  da  Vinci 
Piero  da  Volterra 
Piero  del  Donzello 
Piero  della  Francesco,  (Piero  dal  Borgo  a  San 

Sepolcro,  or  Borghese) 
Piero  di  Cosimo 
Piero  di  Marcone 
Piero  Francia 
Piero  Pollaiuolo 
Pieter  Aertsen 
Pieter  Brueghel 
Pieter  Christus 
Pieter  Koeck 
Pieter  Pourbus 

Pietrasanta,  Ranieri  da,  VII,  9,  10 
Pietrasanta,  Stagio  da,  V,  162;  VI,  214;  VII, 

7,  195 

Pietro,  I,  103 
Pietro  Cavallini 
Pietro  da  Castel  della  Pieve  (Pietro  Perugino, 

or  Vannucci) 
Pietro  da  Said 
Pietro  da  San  Casciano 
Pietro  di  Subisso 

Pietro  Laurati  (Pietro  Lorenzetti) 
Pietro  Navarra 
Pietro  Paolo,  I,  105 
Pietro  Paolo  da  Todi 
Pietro  Paolo  Galeotto 
Pietro  Paolo  Menzochi 
Pietro  Perugino  (Pietro  da  Castel  della  Pieve, 

or  Vannucci) 
Pietro  Rosselli 
Pietro  Urbano 
Pietro  Vannucci  (Pietro  Perugino,  or  Pietro 

da  Castel  della  Pieve) 
Pieve,  Papino  della,  VI,  272 


Piloto,  VI,  201,  205,  207;  VII,  56,  58,  69; 
VIII,  18;  IX,  42,  43,  47,  48 

Pino,  Marco  del  (Marco  da  Siena] 

Pintelli,  Baccio,  III,  93-94 

Pinturicchio,  Bernardino,  LIFE,  IV,  13-19;  IV, 
13-19,  46,  65,  211,  212;  V,  227;  VI,  195;  IX, 
190 

Piombo,  Fra  Sebastiano  Viniziano  del  (Se- 
bastiano  Luciani),  LIFE,  VI,  173-186;  IV, 
84,  114,  240;  V,  66;  VI,  108,  139,  148,  173- 
186,  217,  259;  VII,  no,  in;  VIII,  82,  84, 
92,  182,  201;  IX,  68,  106,  109,  in,  162, 

235 

Pippo  del  Fabbro 
Pironi,  Girolamo,  IX,  211 
Pirro  Ligorio 
Pisanello,  Vittore  or  Antonio,  LIFE,  III,  109- 

113;  II,  187;  III,  105,  109-113;  VI,  35 
Pisano,  Andrea,  LIFE,  I,  123-131;  I,  123-131, 

189;  II,  50,  81,  83,  91,  93,  120,  145,  147, 

154,  160,  200;  VII,  30 
Pisano,  Giovanni,  LIFE,  I,  35-44;  I,  29,  35-44, 

76,  97,  98,  220;  IV,  142;  IX,  n 
Pisano,  Niccola,  LIFE,  I,  29-37;  I>  Ivi,  29-37, 

40,  41,  43,  44,  76,  97;  II,  97;  IV,  142 
Pisano,  Nino,  I,  127,  130,  131;  II,  81,  83 
Pisano,  Tommaso,  I,  130 
Pisbolica,  Jacopo,  IX,  214,  215 
Pistoia,  Gerino  da  (Gerino  Pistoiese) 
Pistoia,  Giovanni  da,  I,  164 
Pistoia,  II  (Leonardo),  V,  79,  80 
Pistoiese,  David,  III,  263 
Pistoiese,  Fra  Paolo,  IV,  162 
Pistoiese,  Gerino  (Gerino  da  Pistoia),  IV,  18, 

46 

Pittoni,  Battista  (Battista  of  Vicenza),  VI,  108 
Pizzolo,  Niccolo,  III,  280 
Plautilla,  V,  126 
Poggini,  Domenico,  VI,  87;  IX,  131;  X,  32, 

Poggini,  Giovan  Paolo,  IX,  232,  233 

Poggini,  Zanobi,  V,  106;  VIII,  61 

Poggino,  Zanobi  di,  V,  165 

Polidoro  (of  Perugia),  IX,  234 

Polidoro  da  Caravaggio  (Polidoro  Caldara) 

Polito  del  Donzello 

Pollaiuolo,  Antonio,  LIFE,  III,  237-243;  I, 
xxxiv;  II,  159;  III,  237-243,  248,  285;  IV, 
4,  81,  265;  V,  21 ;  VI,  182,  246;  VIII,  64 

Pollaiuolo,  Piero,  LIFE,  III,  237-243;  III,  105, 
237-243,  248;  VI,  182,  246 

Pollaiuolo,  Simone  del  (II  Cronacd) 

Polo,  Agnolo  di,  III,  273,  274 

Polo,  Domenico  di,  V,  135;  VI,  84 

Polycletus,  I,  xl,  167;  II,  80,  160 

Polygnotus,  I,  xxxix;  II,  80 

Pomarancie,  Niccolo  dalle,  IX,  261 

Pompeo  da  Fano 

Pompeo  Lioni 

Pompilio  Lancia 


254 


GENERAL   INDEX 


Pomponio  Amalteo 

Ponte,    Giovanni    dal    (Giovanni    da    Santo 

Stefano  a  Ponte),  LIFE,  I,  211-213;  I,  208, 

211-213 
Pontormo,  Jacopo  da  (Jacopo  Carrucci),  LIFE, 

VII,  147-182;  II,   190;  IV,   179,  246,  260; 
V,  93,  98,  104,  118,  135,  190,  221,  222,  231, 
232;  VI,   60,   255-257,   273;   VII,   31,   147- 
182,  201;  VIII,  18,  65,  92,  154,  179,  180; 

IX,  20,   107,   no,   133,   134;  X,  3-5,  7-10, 
12-14,  47,  176,  177 

Ponzio,  Paolo,  IX,  149 

Poppi,  Francesco  da  (Francesco  Morandini) 

Pordenone  (Giovanni  Antonio  Licinio,  or 
Cuticello) 

Porfirio,  Bernardino  di,  X,  17 

Porri,  Daniello  (Daniello  da  Parma),  VIII,  217 

Porro,  Maso,  IV,  262 

Porta,  Baccio  della  (Fra  Bartolommeo  di  San 
Marco) 

Porta,  Fra  Guglielmo  della  (Guglielmo  Mi- 
lanese), VI,  217;  VIII,  84;  IX,  68,  69,  234- 
238 

Porta,  Giovan  Jacomo  della,  IX,  234,  235 

Porta,  Giuseppe  (Giuseppe  del  Salviati),  VI, 
115;  VIII,  106,  192,  193,  229,  230;  IX,  214; 

X,  20 

Porta,  Orazio,  X,  20 

Porta,  Tommaso,  IX,  238 

Portelli,  Carlo  (Carlo  da  Loro),  VIII,  u,  69, 

170,  179;  X,  15 
Pourbus,  Pieter,  IX,  268 
Prato,  Francesco  di  Girolamo  dal,  V,  135;  VII, 

72,  73;  VIII,  162,  173,  190-192 
Prato,  Girolamo  dal,  VIII,  190,  191 
Praxiteles,  I,  xxvi,  xl,  xli;  IX,  133;  X,  47 
Primaticcio,  Francesco,  Description  of  Works, 

IX,  145-150;  V,  200,  201,  203;  VI,  115,  157; 

VIII,  37,  183,  237,  238;  IX,  145-151,  156 
Proconsolo,  Rossellino  dal  (Antonio  Rossellino) 
Prometheus  (fable),  I,  xxxix 

Properzia  de'  Rossi,  Madonna 

Prospero  Clemente 

Prospero  Fontana 

Protogenes,  II,  80;  X,  200 

Provolo  Falconetto 

Pucci,  Domenico,  II,  26 

Puccio  Capanna 

Puligo,  Domenico,  LIFE,  IV,  279-283;  V,  109; 

VIII,  119,  120 

Pupini,  Biagio  (Biagio  Bolognese) 
Pygmalion,  I,  xxviii,  xl 
Pyrgoteles,  I,  xl 
Pythias,  I,  xxxix 

Quentin  of  Louvain 

Quercia,  Jacopo  della  (Jacopo  della  Fonte), 
LIFE,  II,  91-97;  I,  130;  II,  86,  87,  91-97, 
145,  146,  151,  200;  III,  131,  188;  VII, 
245 


Raffaellino  del  Garbo 

Raffaello  Baglioni 

Raffaello  Bello 

Raffaello  Brescianino   (Raffaello  da    Brescia, 

or  de'  Piccinelli) 
Raffaello  da  Montelupo 
Raffaello  da  Urbino  (Raffaello  Sanzio) 
Raffaello  dal  Colle  (Raffaello  dal  Borgo) 
Raffaello  de'  Piccinelli  (Raffaello  da  Brescia, 

or  Brescianino} 
Raffaello  delle  Vivole 
Raffaello  di  Biagio 
Raffaello  Pippi  de'  Giannuzzi 
Raffaello  Sanzio  (Raffaello  da  Urbino) 
Raggio,  IV,  4 
Raimondi,      Marc'  Antonio      (Marc*  Antonio 

Bolognese,  or  de'  Franci) 
Ramenghi,    Bartolommeo    (Bartolommeo    da 

Bagnacavallo) 
Ranieri  da  Pietrasanta 
Ravenna,  Marco  da  (Marco  Dente) 
Ravenna,  Rondinello  da  (Niccolo  Rondinello), 

LIFE,  V,  264-265;  III,  183,184;  V, 264-266; 

VII,  204,  205 

Reggio,  Sebastiano  da,  VI,  165 
Regno,  Mino  del  (Maestro  Mino,  or  Mino  del 

Reame) 

Rene  Boyvin  (Renato) 
Ribaldi,  Giovanni  (Giovanni  Boccalino) 
Ricamatori,  Giovanni  de'  (Giovanni  da  Udine, 

or  Nanni) 

Ricchino,  Francesco,  VIII,  50 
Ricciarelli,    Daniello    (Daniello   da   Volterra), 

LIFE,  VIII,  197-211;  VI,  113,  219,  224;  VIII, 

184-186,  197-211,  228,  235;  IX,  95,  100,  101, 

103,  107,  121,  122 
Ricciarelli,  Leonardo,  VIII,  207 
Riccio,  Andrea,  III,  64 
Riccio  (Bartolommeo  Neroni) 
Riccio,  Domenico  del  (Domenico  Brusciasorzi) 
Riccio,  Felice  del  (Felice  Brusciasorzi) 
Ridolfi,  Bartolommeo,  VI,  48 
Ridolfo  Ghirlandajo 
Rinaldo  Mantovano 
Ripa  Transone,  Ascanio  dalla   (Ascanio  Con- 

divi) 

Ristoro  da  Campi,  Fra 
Robbia,  Agostino  della,  II,  123-125 
Robbia,  Andrea  della,  II,  125-127,  175;  III, 

276;  V,  90 

Robbia,  Giovanni  della,  II,  126;  VIII,  116 
Robbia,  Girolamo  della,  II,  126,  127;  V,  90 
Robbia,  Luca  della,  LIFE,  II,  119-128;  II,  119- 

128,  175,  213 
Robbia,   Luca'  della   (the  younger),   II,    126, 

127;  IV,  237;  V,  90 
Robbia,  Ottaviano  della,  II,  123-125 
Robetta,  VIII,  119,  120 
Robusti,  Jacopo  (Jacopo  Tintoretto) 
Robyn,  Joris,  IX,  270 


GENERAL  INDEX 


255 


Rocco  Guerrini 

Rocco  Zoppo 

Roger  van  der  Weyden  (Roger  of  Bruges) 

Romanino,  Girolamo,  IV,  60;  VIII,  49 

Romano,  Domenico,  VIII,  193 


IX,  126;  X,  15,  16 
Romano,  Giulio  (Giulio  Pippi  de'  Giannuzzi),   |   Salo,  Pietro  da,  IX,  204,  223 


Sabatini,  Lorenzo,  IX,  151;  X,  20 

Salai,  IV,  99 

Salamanca,  Antonio,  VI,  276 

Salincorno,  Mirabello  di  (Mirabello  Cavalori), 


LIFE,  VI,  145-169;  III,  19;  IV,  76,  84,  119, 
232,  237,  247;  V,  55,  77-79,  108,  109,  195; 
VI,  20,  24,  103-105,  no,  114,  145-169,  177, 

IQ3,    194,  207,  2l6,  221,  259;  VII,   117,  236; 

VIII,  29,  39-42,  55,  138,  172;  IX,  146,  168, 
245,  257,  258;  X,  9,  187 

Romano,  Luzio,  VI,  212,  222 

Romano,  Paolo,  LIFE,  III,  91-92;  V,  57 

Romano,  Virgilio,  V,  73 

Rondinello  da  Ravenna  (Niccolo  Rondinello) 

Rosa,  Cristofano,  VIII,  50,  51,  104;  IX,  177 

Rosa,  Stefano,  VIII,  50,  51,  104;  IX,  177 

Rosselli,  Bernardo  (Bernardo  del  Buda) 

Rosselli,  Cosimo,  LIFE,  III,  187-190;  IV,  82, 

125,  126,  151,  165;  V,  88,  229 
Rosselli,  Pietro,  IV,  159;  VII,  68,  69 
Rossellino,     Antonio     (Rossellino     dal     Pro- 

consolo),  LIFE,  III,   139-144;  II,  253;  III, 

44,  i39-i44>  253;  IV,  275 
Rossellino,  Bernardo,  LIFE,  III,  139-144;  III, 

44,  I39-I44>  268 

Rossellino  dal  Proconsolo  (Antonio  Rossellino) 
Rossetti,  Giovan  Paolo,  VIII,  204,  210 
Rossi,  Francesco  de'  (Francesco  Salviati) 
Rossi,  Giovan  Battista  de'  (II  Rosso) 
Rossi,  Giovanni  Antonio  de',  VI,  86 
Rossi,  Madonna  Properzia  de',  LIFE,  V,  123- 

128;  VIII,  45 
Rossi,  Vincenzio  de',  VII,  94,  98,  101;  VIII, 

153;  X,  23,  24 

Rosso  (or  Rosto),  Giovan  Battista,  VI,  164 
Rosso  (or  Rosto),  Giovanni 
Rosso,  II  (Giovan  Battista  de'  Rossi),  LIFE,  V, 

189-203;  II,  190;  IV,  84;  V,  97,  189-203; 

VI,  109,  in,  115,  257-261,  273,  274;  VII, 

58,  59,  117,  118,  149,  188;  VIII,  167,  183; 

IX,  20,  107,  146,  147;  X,  47,  172 
Rosso,  Lodovico,  IX,  182 

Rosso  de'  Giugni 

Rosto  (or  Rosso),  Giovan  Battista 

Rosto  (or  Rosso),  Giovanni,  IV,  46;  VII,  177; 

VIII,  20,  179 
Rovezzano,    Benedetto   da,   LIFE,   V,    35-38; 

IV,  155;  V,  35-38;  VII,  4,  63,  64, 187;  IX,  191 
Rovezzano,  Giovanni  da,  III,  105 
Roviale,  VII,  129;  VIII,  190;  X,  196 
Rozzo,  Antonio  del  (Antonio  del  Tozzo) 
Ruberto  di  Filippo  Lippi 
Ruggieri  da  Bologna 
Ruspoli,  Ilarione,  X,  24 
Rustici,  Gabriele,  IV,  162 
Rustici,  Giovan  Francesco,  LIFE,  VIII,  ni- 

129;  IV,  105,  186;  VII,  57,  66;  VIII,  ui- 

129;  X,  47 


Salustio  Peruzzi 

Salvadore  Foschi,  Fra 

Salvestro,  Maestro,  VI,  87 

Salvestro  Fancelli 

Salvi,  Antonio  di,  III,  239 

Salviati,     Francesco     (Francesco     de'  Rossi), 

LIFE,  VIII,  161-193;  III,  258,  262;  V,  119; 

VI,  108,  in,  177;  VII,  178,  205;  VIII,  11, 

12,  44,  84,  90,  91,  95,  161-193,  208,  209,  228, 
229,  231,  232,  235;  IX,  133;  X,  7,  47,  171, 
174,  219 

Salviati,  Giuseppe  del  (Giuseppe  Porta) 
Sammacchini,    Orazio    (Orazio    da    Bologna), 

VIII,  188,  228,  229;  IX,  154 
San  Casciano,  Pietro  da,  VII,  15,  16,  19 
S.    Clemente,    Abbot   of    (Don   Bartolommeo 

della  Gatta) 
San  Daniele,  Pellegrino  da  (Martino  da  Udine 

or  di  Battista) 

San  Friano,  Tommaso  da  (Maso  Manzuoli) 
San  Gallo,  Antonio  da  (the  elder),  LIFE,  IV, 

191-205;  IV,  145,  191-205,  254;  V,  97;  VI, 

66,  123,  272;  VII,  74;  VIII,  3;  IX,  16,  40,  41 
San  Gallo,  Antonio  da  (the  younger),  LIFE,  VI, 

123-141;  I,  32;  V,  29,  43,  58,  72;  VI,  123- 

141,    167,    197,    198,    219,    220,    222;    VII,    9, 

78,  119,  186,  189,  190,  193,  217,  218;  VIII, 

13,  89,  136,  168,  202  ;   IX,  61-67,  196,  197, 
224,  239;  X,  47 

San  Gallo,  Aristotile  (Bastiano)  da,  LIFE,  VIII, 

3-20;  IV,  212;  V,  97;  VII,  29;  VIII,  3-20, 

119,  126;  IX,  20,  29,  30 
San  Gallo,  Battista  da  (Battista  Gobbo),  VI, 

133,  140;  VIII,  169 
San  Gallo,  Francesco  da,  IV,  134,  203,  204; 

V,  27;  VI,  133,  173;  VII,  9,  10,  189;  VIII, 

153.  I55>  J56;  X,  22,  23 
San  Gallo,  Giovan  Francesco  da,  VIII,  4 


San  Gallo,  Giuliano  da,  LIFE,  IV,  191-205;  IV, 

>5,  270;  V,  97;  VI 
66,  123,  124,  12-6;  VIII,  3;  IX,  16,  29,  30, 


101,  134,  145,  191-205,  270;  V,  97;  VI,  6, 


188,  189;  X,  22,  23 
San  Gimignano,  Bastiano  da  (Bastiano  Main- 

ardi) 
San    Gimignano,     Vincenzio    da     (Vincenzio 

Tamagni),  LIFE,  V,  11-17;  IV,  237;  V,  n- 

17;  VIII,  218 

San  Giorgio,  Eusebio,  IV,  47 
San   Giorgio,    Nannoccio   da,   V,    119;    VIII, 

162-164 
San  Marco,  Fra  Bartolommeo  di  (Baccio  della 

Porta),  LIFE,  IV,  151-162;  II,  190,  249;  IV, 

82,  151-162,  165-167,  215,  244,  272;  V,  159, 

160,  194;  VI,  66;  VII,  108,  109,  148;  VIII,  61 


256 


GENERAL  INDEX 


San  Marino,  Giovan  Battista  (Giovan  Battista 

Bellucci) 

San  Michele,  Bartolommeo,  VII,  217 
San  Michele,  Gian  Girolamo,  VII,  219,  220, 

222,  230-234 

San  Michele,  Giovanni,  VII,  217 
San  Michele,  Matteo,  VII,  219 
San   Michele,    Michele,    LIFE,    VII,    217-235; 


III,  in;  VI,  25,  26,  47,  130;  VII,  127,  191, 
217-235,  237,  241;  VIII,  102 
San  Michele,  Paolo,  VII,  227,  230,  232 


San  Vito,  Feliciano  da,  VIII,  210,  211 
Sandrino  del  Calzolaio 
Sandro,  Jacopo  di,  V,  97 ;  IX,  29,  30 
Sandro,  Pier  Francesco  di  Jacopo  di,  V,  118, 

119;  VI,  257;  VII,  29,  176;  VIII,  u,  156; 

X,  15 
Sandro    Botticelli    (Sandro    di    Botticello,    or 

Alessandro  Filipepi) 

Sanese,  Simone  (Simone  Memmi,  or  Martini) 
Sanese,  Ugolino  (Ugolino  da  Siena),  LIFE,  I, 

113;  II,  62 

Sansovino,  Andrea  (Andrea  Contucci) 
Sansovino,  Jacopo  (Jacopo  Tatti),  LIFE,  IX, 

187-202,  215-225;  II,  127;  V,  5,  31,  35,  36, 

80,  88,  92,  93,  97,  98,  180,  218,  231,  247; 

VI,  47,  125,  127,  199;  VII,  4,  5,  58;  VIII, 

100,    126,   192;   IX,   20,   40,   41,    107,   145, 

166,   170,   187-204,   206-208,   210,   215-225; 

X,  23 

Sant'  Agnolo,  Francesco,  VIII,  215-217 
Santa  Croce,  Girolamo,  LIFE,  V,  137-138 
Santi,  IV,  261 

Santi,  Giovanni  de',  IV,  46,  210,  213,  249 
Santi  Buglioni 
Santi  Titi 
Sanzio,  Raffaello  (Raffaello  da  Urbino),  LIFE, 

IV,  209-250;  I,  86;  II,  126,  190;  III,  1 8,  19; 

IV,  13,  28,  29,  44-47,  82,  83,  143,  145,  146, 
155-158,  200,  201,  203,  209-250,  255;  V,  ii- 
I5>  55,  S6,  66,  72,  77-81,  107-109,  117,  126, 

169,    175,    191,    194,   201,   207,   208,   213,   222, 

245,  247;  VI,  6,  38,  66,  69,  99-104,  106-108, 

114,    120,    126,    127,    130,    145-148,    153,    156, 

165,  174-178,  181,  183,  193-195,  207,  209, 

218,  221,  236,   269;  VII,    III,    117,    148,   174, 

199,  249;  VIII,  4,  5,  25,  26,  28,  31,  32,  41, 
49,  61,  73-76,  78,  80,  81,  85,  97,  167,  216, 

219,  226,  236;  IX,  20,  27,  28,  30,  31,  40,  41, 
65,   162,  165,   170,   189,   194,   196,  267;  X, 
174,  180,  181,  192,  211,  222 

Saracini,  Gabriello,  II,  36 

Sart,  Jan  der,  IX,  269 

Sarto,  Andrea  del  (Andrea  d'  Agnolo),  LIFE, 

V,  85-120;  II,  190;  IV,  83,  129,  134,  281, 
283;  V,  85-120,  164,  194,  217-221,  231;  VI, 
60,  106,  255-257,  272,  273;  VII,  4,  58,  59, 
148-150,  152,  156,  157,   171,  188;  VIII,  5, 
6,  n,  16,  17, 19,  113,  119,  120,  122,  126,  135, 
163,  164;  IX,  20,  43, 188, 193, 194;  X,  47, 172 


Sassoli,  Fabiano  di  Stagio,  III,  54;  IV,  256, 

257 

Sassoli,  Stagio,  IV,  73,  257;  VI,  272 
Savoldo,     Gian     Girolamo     (Gian     Girolamo 

Bresciano) 
Scarpaccia,    Lazzaro    (Lazzaro    Bastiani,    or 

Sebastiano  Scarpaccia) 
Scarpaccia  (Carpaccio),  Vittore 
Scarpagni,  Antonio  (Scarpagnino,  or  Zanfrag- 

nino),  VI,  10 
Scheggia,  VIII,  61 
Scherano  da  Settignano  (Alessandro) 
Schiavo,  Paolo,  II,  166 
Schiavone,  Andrea,  VIII,  107,  108,  231 
Schizzone,  V,  12 
Schongauer,  Martin  (Martino),  LIFE,  VI,  91- 

92;  III,  214;  VI,  91-92;  IX,  7,  265 
Sciorini,  Lorenzo  (Lorenzo  della  Sciorina),  IX, 

128;  X,  14 
Scorel,  Jan,  IX,  266 
Sculptore  (Mantovana],  Diana 
Sculptore  (Mantovand),  Giovan  Battista 
Sebastian  van  Oja 
Sebastiano  da  Reggio 

Sebastiano  Florigerio  (Bastianello  Florigprio) 
Sebastiano  Luciani  (Fra  Sebastiano  Viniziano 

del  Piombo) 
Sebastiano  Scarpaccia  (Lazzaro  Bastiani,  or 

Scarpaccia) 
Sebastiano  Serlio 

Sebastiano    Viniziano    del    Piombo,   Fra  (Se- 
bastiano Luciani) 
Sebeto  da  Verona 
Seghers,  Anna,  IX,  269 
Segna  d'  Antignano 
Sellaio,  Jacopo  del,  III,  86 
Semolei,  Battista  (Battista  Franco] 
Ser  Giovanni,  Leonardo  di,  I,  104;  II,  119 
Serlio,  Sebastiano,  V,  72;  VI,  113;  IX,  196, 

267,  271 
Sermoneta,    Girolamo    da    (Girolamo    Sicio- 

lante) 

Servellino,  Guido  del,  III,  12 
Sesto,  Cesare  da  (Cesare  da  Milano),  V,  65, 

141;  VIII,  56 
Sesto,  Piero  da,  VIII,  18 
Settignano,  Desiderio  da,  LIFE,  III,  147-149; 

II,  253;  III,  147-149,  154,  156,  260;  X,  47 
Settignano,    Scherano  da  (Alessandro),  VIII, 

1 68;  IX,  55 

Settignano,    Solosmeo    da    (Antonio    di    Gio- 
vanni), V,  118;  VII,  5,  79,  80;  VIII,  119; 

IX,  202,  223 

Sguazzella,  Andrea,  V,  100,  118 
Siciliano,  Tommaso  (Tommaso  Laureti) 
Siciolante,  Girolamo  (Girolamo  da  Sermoneta) , 

VI,  221,  222,  225;  VIII,  99,  188,  229;  IX, 

152,  257-259 

Siena,  Baldassarre  da  (Baldassarre  Peruzzi] 
Siena,  Francesco  da,  V,  71,  73 


GENERAL  INDEX 


257 


Siena,  Marco  da  (Marco  del  Pino),  VI,  223; 

VIII,  204,  210 

Siena,  Michelagnolo  da,  LIFE,  V,  136-137;  V, 

69,  136-137 

Siena,  Pastorino  da,  IV,  262;  VI,  87,  219 
Siena,  Ugolino  da  (Ugolino  Sanese) 
Signorelli,  Luca  (Luca  da  Cortona),  LIFE,  IV, 
71-76;  III,  20,  23,  31,  52,  188,  204;  IV,  71- 
76,  82,  216,  261;  VI,  246;  VII,  199,  246; 

IX,  190;  X,  171 
Silvestro,  Don,  II,  57 

Silvio  Cosini  (Silvio  da  Fiesole) 

Simon  Bening 

Simon  Bianco 

Simon  van  Delft 

Simone,  II,  104;  IV,  55 

Simone  (brother  of  Donatello),  LIFE,  III,  3-7; 

11,251;  111,3-7 
Simone   (pupil  of    Filippo   Brunelleschi),    II, 

236 

Simone  Cini 
Simone  Cioli 

Simone  da  Colle  (Simone  de'  Bronzi) 
Simone  da  Fiesole 
Simone  del  Pollaiuolo  (II  Cronaca) 
Simone  Memmi  (Simone  Martini,  or  Sanese) 
Simone  Mosca 
Simone  of  Paris,  V,  201 
Simone  Sanese  (Simone  Memmi,  or  Martini) 
Skeysers,  Clara,  IX,  269 
Sodoma,  Giomo  del,  VII,  257 
Sodoma,  II  (Giovanni  Antonio  Bazzi) 
Sofonisba  Anguisciuola 
Soggi,  Niccolo,  LIFE,  VI,  269-279;  IV,  186; 

V,  109,  no,  196;  VI,  261,  269-279;  VIII, 

114 
Sogliani,  Giovanni  Antonio,  LIFE,  V,  159-166; 

V,  51,  159-166;  VI,  214,  215,  247,  248;  VII, 

256;  VIII,  20 
Soiaro,  Bernardo  (Bernardo  de'  Gatti),  VIII, 

39,  40,  43,  44 
Solari,   Cristofano   (Cristofano  Gobbo),  VIII, 

55;  IX,  14,234 
Sollazzino,  I,  193 

Solosmeo  da  Settignano  (Antonio  di  Giovanni) 
Sozzini,  Giovan  Battista,  VI,  87 
Spadari,  Benedetto,  IV,  262;  V,  195,  196 
Spagna,  Lo  (Giovanni) 
Spagnuolo,   Alonzo   (Alonzo  Berughetta),   II, 

190;  IV,  8;  VII,  58;  IX,  20,  189 
Speranza,  Giovanni,  IX,  211 
Spilimbergo,  Irene  di,  IX,  175 
Spillo,  VIII,  119,  120 
Spinelli,  Parri,  LIFE,  II,  171-179;  II,  36,  39, 

83,  125,  159,  171-179;  III,  54 
Spinello,  Forzore  di,  I,  104;  II,  39,  177 
Spinello  Aretino 

Squarcione,  Jacopo,  III,  279-281,  285;  IV,  56 
Stagio  da  Pietrasanta 
Stagio  Sassoli 

X. 


Staren,  Dirk  van,  IX,  269 

Stamina,  Gherardo,  LIFE,  II,  43-46;  II,  20, 
43-46,  58,  83,  165 

Stefano,  LIFE,  I,  109-114;  I,  92,  109-114,  203, 
204;  II,  83 

Stefano,  Vincenzio  di,  VI,  1 1 

Stefano  da  Ferrara 

Stefano  da  Zevio  (Stefano  Veronese) 

Stefano  of  Florence  (Stefano  Lunetti),  III, 
215;  V,  51 

Stefano  Fieri 

Stefano  Rosa 

Stefano  Veltroni 

Stefano  Veronese  (Stefano  da  Zevio) 

Stocco,  Giovanni  di  (Giovanni  Fancelli) 

Stoldo  di  Gino  Lorenzi 

Straet,  Jan  van  der  (Giovanni  Strada),  VIII, 
233;  IX,  134,  135,  267;  X,  18,  19 

Strozzi,  Zanobi,  III,  35 

Suardi,  Bartolommeo  (Bramantino) 

Suavius,  Lambert  (Lamberto  Suave,  or  Lam- 
bert Zutmann),  VI,  no;  IX,  269,  270 

Subisso,  Pietro  di,  VII,  187,  188 

Susanna  Horebout 

Tadda,  Francesco  del  (Francesco  Ferrucci), 
VII,  9,  10,  49;  VIII,  133,  140,  142;  IX,  97 

Taddeo  Bartoli 

Taddeo  Gaddi 

Taddeo  Zucchero 

Tan,  Andrea,  LIFE,  I,  47-51;  I,  47-51,  55,  56, 
58,  135,  136,  145,  219;  III,  69 

Tan,  Antonio  d' Andrea,  I,  51 

Tagliapietra,  Duca,  III,  169 

Tamagni,  Vincenzio  (Vincenzio  da  San  Gimi- 
gnano) 


Tasso,  Battista  del,  VI,  213;  VII,  13,  30,  31, 
34,  35,  137;  VIII,  18,  164,  173,  176;  IX,  51; 
X,  208,  210 


Tasso,  Domenico  del,  III,  200,  262 

Tasso,  Giuliano  del,  III,  200,  262;  V,  97 

Tasso,  Leonardo  del,  V,  31 

Tasso,  Marco  del,  III,  200,  262;  VII,  156 

Tatti,  Jacopo  (Jacopo  Sansovino) 

Tedesco,  Guglielmo,  IX,  237 

Tedesco,  Jacopo  (Lapo),  I,  14,  18-20,  23,  24, 

65,  174 

Tedesco,  Jacopo  del,  III,  233 ;  VIII,  59,  60 
Telephanes,  I,  xxxix 
The  Academicians 
Tibaldi,  Pellegrino  (Pellegrino  da  Bologna,  or 

Pellegrini) 
Tiberio  Calcagni 
Tiberio  Cavalieri 
Timagoras,  I,  xxxix 
Timanthes,  II,  80 

Timoteo  da  Urbino  (Timoteo  della  Vite) 
Tintoretto,   Jacopo   (Jacopo  Robusti),   VIII, 

101-106;  IX,  214;  X,  20 
Tisi,  Benvenuto  (Benvenuto  Garofalo) 

33 


258 


GENERAL  INDEX 


Titi,  Santi,  V,  160;  VIII,  227;  IX,  135;  X, 

19,  20 

Tiziano,  Girolamo  di  (Girolamo  Dante) 
Tiziano  da  Cadore  (Tiziano  Vecelli) 
Tiziano  Minio  (Tiziano  da  Padova) 
Tiziano  Vecelli  (Tiziano  da  Cadore) 
Todi,  Pietro  Paolo  da,  III,  92 
Tofano  Lombardino  (Cristofano  Lombardi) 
Tome,  Luca  di,  II,  5 
Tommaso,  IV,  76 
Tommaso  Barlacchi 
Tommaso  Casignuola 
Tommaso  da  Lugano 

Tommaso  da  San  Friano  (Maso  Manzuoli) 
Tommaso  del  Verrocchio 
Tommaso  di  Marco 
Tommaso  di  Stefano  Lunetti 
Tommaso  Ghirlandajo 
Tommaso  (or  Maso)  Giottino 
Tommaso  Laureti  (Tommaso  Siciliano) 
Tommaso  Papacello 
Tommaso  Pisano 
Tommaso  Porta 

Tommaso  Siciliano  (Tommaso  Laureti) 
Topolino,  IX,  114,  115 
Torri,  Bartolommeo,  VI,  264,  265 
Torrigiano,  LIFE,  IV,  183-188;  IX,  8,  10,  116 
Tossicani,  Giovanni,  I,  208 
Toto  del  Nunziata 

Tozzo,  Antonio  del  (Antonio  del  Rozzo),  V,  73 
Traini,  Francesco,  I,  198,  199 
Trento,   Antonio  da   (Antonio  Fantuzzi),   V, 

249,  250;  VI,  108 

Trevigi,  Girolamo  (Girolamo  da  Treviso) 
Trevio,   Bernardino  da  (Bernardino  Zenale), 

IV,  138;  VIII,  54 
Treviso,  Dario  da,  III,  280,  285 

Treviso,  Girolamo  da  (Girolamo  Trevigi),  LIFE, 

V,  169-171;  V,  68,  169-171;  VI,  211,  212, 
244;  X,  184 

Trezzo,  Jacopo  da,  VI,  86 

Trezzo,  Jacopo  (Cosimo)  da,  VI,  86 

Tribolo  (Niccolo),  LIFE,  VII,  3-37;  V,  6,  28, 

136,  233;  VI,  133;  VII,  3-37,  43-45,  81,  112, 

176,  189;  VIII,  10,  36,  142;  IX,  20,  51,  77, 

78,  202,  223;  X,  5,  30,  176,  177 
Tullio  Lombardo 
Turbido,  Francesco  (II  Moro),  LIFE,  VI,  22- 

28;  IV,  61;  VI,  14,  15,  21,  22-28,  40,  50, 

164 

Turini,  Giovanni,  III,  239 
Turrita,  Fra  Jacopo  da,  I,  49,  50,  56 

Ubertini,  Francesco  (Francesco    d'Albertino, 

or  II  Bacchiacca),  IV,  46;  V,  222;  VI,  60; 

VII,  29;  VIII,  10,  n,  16,  18-20;  X,  8 
Ubertino,  Baccio,  IV,  46 
Uccello,  Paolo,  LIFE,  II,  131-140;  II,  20,  no, 

131-140,  159,  183,  184,  253;  III,  257;  IV, 

185,  246;  VIII,  63;  IX,  133 


Udine,   Giovanni   da   (Giovanni  Martini),   V, 

145-147 

Udine,  Giovanni  da  (Giovanni  Nanni,  or  de' 
Ricamatori),  LIFE,  VIII,  73-85;  IV,  237, 
239;  V,  77,  155,  175,  229,  238,  246;  VI,  147, 
148,  180,  194-196;  VII,  118;  VIII,  73-85, 
171;  IX,  42,  51;  X,  176 

Udine,  Martino  da  (Pellegrino  da  San  Daniele, 
or  Martino  di  Battista),  V,  145-150 

Ugo  da  Carpi 

Ugolino  Sanese  (Ugolino  da  Siena) 

Unghero,  Nanni,  VII,  4;  IX,  188 

Urbano,  Pietro,  IX,  44,  107 

Urbino,  Bramante  da,  LIFE,  IV,  137-148;  I, 
32;  III,  155;  IV,  137-148,  199-202,  216,  217, 
223,  232,  237,  254;  V,  26,  28,  29,  65,  68, 
69;  VI,  6,  124,  126,  136,  138;  VII,  249; 
VIII,  5,  40,  53,  54,  75;  IX,  27-29,  31,  65, 
71,  188-190 

Urbino,  Fra  Carnovale  da  (Fra  Bartolommeo) 

Urbino,  Giulio  da,  X,  17 

Urbino,  Raffaello  da  (Raffaello  Sanzio) 

Urbino,  Timoteo  da  (Timoteo  della  Vite), 
LIFE,  V,  11-17;  VII,  200 

Ursino,  Niccolo  (Niccolo  Giolfino] 

Vaga,  VI,  191,  192 

Vaga,  Perino  del  (Perino  Buonaccorsi,  or  de' 
Ceri),  LIFE,  VI,  189-225;  II,  190;  IV,  84, 
237.  254;  V,  7,  77-79,  153,  162;  VI,  78,  109, 
125,  129,  139,  148,  177,  189-225,  244,  257- 
259;  VIII,  14,  15,  82,  197-199,  202,  215, 
232;  IX,  20,  61,  151,  234,  257,  259;  X,  47 

Valdambrina,  Francesco  di,  II,  145,  146,  200 

Valerio  Cioli 

Valerio  Vicentino  (Valerio  de'  Belli) 

Valerio  Zuccati 

Valverde,  VI,  116 

Vanni  Cinuzzi 

Vannucci,  Pietro  (Pietro  Perugino,  or  Pietro 
da  Castel  della  Pieve) 

Vante  (or  Attavante) 

Varrone  (of  Florence),  III,  7 

Vasari,  Bernardo,  III,  55 

Vasari,  Giorgio,  LIFE,  X,  171-220 

I,  as  art-collector,  xvii,  xviii,  lix,  10,  58, 

79,  92,  94.  IIJ>  I20>  *26,  138,  157* 
173,  174,  199,  208,  213,  223 

as  author,  xiii-xix,  xxi,  xxiii,  xxiv, 
xxxi,  xxxiii-xxxvii,  xlii,  xliii,  xlvii, 
xlix,  1,  Iv-lix,  7,  9,  10,  13-16,  23- 
25,  29,  44,  47-49,  51,  57-59,  66, 
75.  79,  80,  86, 87,  89,  91,  92,  94,  97, 
99,  103,  105,  109,  H2,  113,  124, 
126,  127,  140,  141,  146,  150,  163, 
164,  170,  181,  183,  191,  192,  198, 
217,  222 

as  painter,  xlii,  67,  86,  119,  120,  147, 
208 

as  architect,  25,  31,  38,  39, 119,  120 


GENERAL  INDEX 


259 


Vasari,  Giorgio 

II,  as  art-collector,  5,  20,  26,  39,  46,  51, 

58,  64,  96,  104,  109,  no,  128,  135, 

139,  162,  178,  179,  227,  253 

as  author,  3,  5,  10,  31,  55,  57,  71-73, 

77-87,  94-96,   104,   113,   119,   125- 

127,  136,   138,   139,   147,   160-162, 
165,  166,  172,  178,  184,  187,  188, 
190,  202,  208,  228,  229,  234,  250, 
252-254,  263,  264 

as  painter,  32,  39 

as  architect,  173,  233,  264,  265 

III,  as  art-collector,  12,  48,  52,  54,  68,  88, 

113,  124,  140,  149,  157,  164,  170, 
189,  198,  209,  214,  221,  238,  242, 
254,  263,  270,  284 

as  author,  5,  6,  14,  18,  19,  30,  33,  34, 
36,  39,  48,  51-56,  59,  64,  74,  75, 
Qi-93.  97,  no,  112,  113,  123,  136, 
142-144,  149,  i57»  J63,  J64,  174, 
175,  178-180,  198,  199,  209,  215, 

221,  225,  242,  249,  259,  262,  273, 
280,  283 

as  painter,  56,  209 
as  architect,  55 

IV,  as  art-collector,  6,  13,  46,  58,  67,  90, 

91,  95,  113,  118,  132,  138,  143,  161, 
170,  175,  187,  262 

as  author,  7,  9,  17,  19,  26,  28,  33,  36, 
38,  39,  46,  48,  51,  52,  54-56,  61, 
66,  67,  71,  74-77,  79,  82-85,  91, 
98,  99,  111-114,  IJ7f  Il8>  I2I»  I26' 
132,  134,  137,  145,  151,  154,  155, 
159,  162,  170,  176,  177,  185,  186, 

204,  214,  219,  222,  223,  227,  229- 
231,  233,  236,  242,  244-248,  257, 
26O,  262,  269,  271,  274,  280,  28l 

as  painter,  231,  262,  273,  274 
as  architect,  148,  231,  273,  274 
V,  as  art-collector,  17,  22,  24,  38,  45,  49, 
74,  77»  79,  I04»  I][8,  I26,  128,  165, 
196,  197,  201,  209,  213,  219,  250- 
252,  256 
as  author,  3-5,  7,  11,  12,  17,  22,  24, 

26,  28,  30,  35,  45,  63,  66,  69,  73, 
91,  96,  98,  108,  112,  114,  120,  126, 

128,  132,  134,  135,  139,  145,  146, 
148,  155,  177,  182,  185,  192,  194, 

199,  201,  210-213,  223,  230,  232, 
238,  247,  250,  251,  253-255,  259, 
260,  264 

as  painter,  36,  80,  119,  135,  163,  232, 

233,  265 

as  architect,  233,  250,  251 
VI,  as  art-collector,  3,  22,  54,  60,   120, 

157,  175,  225,  230,  250,  256,  260, 

263 
as  author,  3,  6,  10,  n,  13,  15,  22,  23, 

27,  28,  32,  35,  39,  42,  46,  48,  53, 
54»  57-59,  65,  75,  76,  79,  82,  84- 


87,    91,    93-95,     I05-IO7,     H2,     113, 

120,  123,  133,  152,  153,  159,  161, 

165-167,    175,    176,    178,    190,  194, 

196,    2O2,    204,    207,    210-213,  215, 

217,    221,    223,    229-231,    235,  239, 

246,  248-250,  258,  26l,  264,  269, 
273 

as  painter,  22,  72,  120,  215,  221,  263, 

264,  276 

as  architect,  70,  139,  278 
VII,  as  art-collector,  n,  99,  253 

as  author,  3,  n,  12,  14,  16,  21,  24,  25, 

28,  31,  33,  34,  36,  37,  4i,  79,  95,  96, 
99-101,  103,  109,  117-125,  127-132, 

137-139,  141,  M2,  147,  155,  157- 
160,  167,  168,  172,  173,  175,  178- 
180,  186,  190,  202,  209,  210,  217, 
225,  226,  230,  231,  234-236,  239, 
240,  253,  254,  257 

as  painter,  13,  31,  95,  118-132,  137- 
139,  141-143,  188,  189,  206,  229, 
230,  235 

as  architect,  35,  37,  85,  91,  95,  101, 

102,  119,  137,  193,  194,  206 
VIII,  as  art-collector,  16,  29,  112,  128,  164, 
165,     170,     181,    192,     211,     230, 
231 

as  author,  3,  4,  8-10,  14-17,  19,  23,  24, 
26,  29,  31,  34-37,  39-42,  45,  48-54, 
59,  65-68,  77,  80,  81,  84,  90,  92, 
94,  98,  101,  103,  105,  107,  108, 
113,  119,  122-124,  I27,  128,  133, 
144,  145,  147,  150,  153-157,  161- 
167,  170,  171,  177,  180,  183-189, 

193,  2O3,  206,  211,  2l6,  220,  226, 
228-230,  233,  237,  238,  240,  245, 
259,  260 

as  painter,  8,  14,  20,  23,  52,  68,  80, 
91,  98,  162-164,  J66,  167,  170,  180, 
183,  185,  186,  189,  203,  206,  207, 
210,  229,  233 

as  architect,  206,  207,  220 
IX,  as  art-collector,  6,  16,  104,  149,  152, 
156,  238,  251,  258,  259 

as  author,  4-8,  22,  27,  30,  32,  35,  46, 
47,  55,  56,  60,  61,  63,  65,  68-88, 
91,  93-97,  102-104,  107,  109-112, 
114-118,  122-125,  I28,  130,  134, 
135,  137-140,  145,  I47-I5I,  154- 
156,  160,  162,  169-172,  177,  178, 

l82,  183,  187,  192,  193,  199,  202, 
2O6-2O8,  2IO,  212,  214,  215,  2l8, 
221,  230,  232-234,  238,  239,  241, 
242,  245,  247,  248,  250-253,  259- 
262,  265-272 

as  painter,  23,  32,  43,  95,  96,  107,  117, 
118,  134,  138,  148,  151,  155,  156, 
170,  203,  269-271 

as  architect,  68-73,  77-79,  95^-96,  107, 
117,  140,  207 


260 


GENERAL   INDEX 


Vasari,  Giorgio 

X,  as  art-collector,  13 

as  author,  3,  8,  12,  14,  15,  17,  19-24,  I 
29,  30.  32-34»  37.  41-44.  47.  61,  , 
62,  67,  69,  72,  76-78,  80,  82-84,  ! 
90,  92-94,  97-102,  104,  105,  113,  I 
116,  119,  127-129,  147,  162-164,  ! 
166,  167,  171-223 
as  painter,  12,  14,  16-20,  27,  105,  171- 

221,  223 

as  architect,  10,  26-28,  31,  171,  174, 
177,  178,  181,  184,  189-193,  202, 
206-216,  218-221 
Vasari,  Giorgio  (son  of  Lazzaro  Vasari,  the 

elder),  III,  52,  54-56 
Vasari,  Lazzaro  (the  elder),  LIFE,  III,  51-56; 

IV,  71,  82 

Vasari,  Lazzaro  (the  younger),  III,  55 
Vecchietto,  Lorenzo,  LIFE,  III,  129-131;  II, 

151;  III,  129-131 
Vecchio,  Palma  (Jacopo  Palma) 
Vecchio  of  Bologna  (Domenico  Aimo) 
Vecelli,  Orazio,  VIII,  102;  IX,  171 
Vecelli,  Tiziano  (Tiziano  da  Cadore),  LIFE,  IX, 
159-178;  III,  179,  183;  IV,  114;  V,  66,  133, 
134,152,  153;  VI,  109,  in,  114,  161,  183, 
222;  VII,  237;  VIII,  29,  33,  51,  56,  92,  102; 
IX,   48,  145,  153,  159-179,   182,  183,  201, 
202,  247,  252;  X,  20,  187 
Vellaert,  Dierick  Jacobsz,  IX,  269 
Vellano  da  Padova 
Veltroni,   Stefano,   VII,    120,   123,   124,    129; 

VIII,  220;  X,  20 

Venezia,  Domenico  da  (Domenico  Viniziano) 
Ventura,  IV,  147,  148 
Venusti,  Marcello  (Marcello  Mantovano),  VI, 

220,  225;  IX,  106,  259,  260 
Verbo  (Verio),  Francesco,  IX,  211 
Vercelli,  Bernardo  da,  V,  151 
Verchio,  Vincenzio,  IV,  60 
Verdezotti,  Gian  Maria,  IX,  178 
Verese,  VI,  118 
Verio  (Verbo),  Francesco 
Verona,  Battista  da  (Battista  Farinato) 
Verona,  Fra  Giovanni  da,  IV,  222 ;  VI,  38,  39, 

51,  218 

Verona,  Paolo  da,  III,  243;  IV,  179 
Verona,  Sebeto  da,  IV,  51,  55 
Veronese,  Giovanni  Battista,  VI,  13 
Veronese,  Paolo  (Paolo  Caliari) 
Veronese,  Stefano  (Stefano  da  Zevio),  I,  221; 

IV,  51-54;  VI,  35,  42 

Verrocchio,  Andrea,  LIFE,  III,  267-276;  II,  190, 
243,  248;  III,  75,  223,  267-276;  IV,  35,  39, 
.81,  90,  92,   112;  V,  49.  50,  55;  VII,  56; 
VIII,  ii i ;  X,  47 
Verrocchio,  Tommaso  del,  X,  20 
Verzelli,  Antonio  da,  II,  218 
Vetraio,  Giovan  Francesco  (Giovan  Francesco 
Bembo) 


Vicentino,  Joannicolo  (Giuseppe  Niccold),  VI, 

108 
Vicentino,    Valerio   (Valerio  de'  Belli),  LIFE 

VI,  82-84;  V,  247;  VI,  76,  79,  82-84;  VIII, 

S2 

Vicenza,  Battista  of  (Battista  Pittoni) 
Vicino,  I,  50,  57,  58 

Vico,  Enea,  LIFE,  VI,  111-112;  VIII,  180 
Vignuola  (Jacopo  Barozzi) 
Vincenzio,  Fra  Giovanni,  X,  33 
Vincenzio  Bresciano  (Vincenzio  di  Zoppa,  or 

Foppa) 

Vincenzio  Caccianimici 
Vincenzio  Campo 
Vincenzio  Catena 
Vincenzio  da  San  Gimignano  (Vincenzio  Ta- 

magni) 

Vincenzio  Danti 
Vincenzio  de'  Rossi 
Vincenzio  di  Stefano 
Vincenzio    di    Zoppa    (Vincenzio    Foppa,    or 

Bresciano) 

Vincenzio  Tamagni  (Vincenzio  da  San  Gimi- 
gnano) 

Vincenzio  Verchio 
Vincenzio  Zuccati 
Vinci,  Leonardo  da,  LIFE,  iy,  89-105;  I, 

xxxiv;  II,  190;  111,270,2717^273,  286;  IV, 

44,  82,  85,  89-105,  109,  127,  138,  151,  156, 

196,  212,  215,  242,  270;  V,  49,  50,  86,  228, 

261;  VII,  41-44,  57,  58,  60,  148,  152;  VIII, 

42,  56,  in,  112,  114,  115;  IX,  15,  19,  234; 

X,  47 

Vinci,  Pierino  (Piero)  da,  LIFE,  VII,  41-51 
Viniziano,  Agostino  (Agostino  de'  Musi),  LIFE, 

VI,  102-103;  V,  97;  VI,  102-103,  IQ6;  VII, 

60,  63 
Viniziano,  Antonio,  LIFE,  II,  15-20;  II,  15-20, 

37,  43,  83;  III,  176;  VIII,  233 
Viniziano,  Domenico  (Domenico  da  Venezia), 

LIFE,  III,  97-I05;  HI,  19,  63,  97'IO5>  J73; 

VI,  182 

Viniziano,  Fabrizio,  IX,  215 
Viniziano,  Niccola,  VI,  209 
Virgilio  Romano 
Visino,  IV,  170,  171;  V,  223 
Vite,  Antonio,  II,  45,  58 
Vite,  Timoteo  della  (Timoteo  da  Urbino) 
Viterbo,  Pier  Francesco  da,  VI,  130,  132;  VII, 

119,  202 
Vitruvius,  IV,  48,  75,  138,  205,  266;  V,  68,  71 ; 

VI,  5,  45,   140;  VII,  211;  VIII,  40,  237; 

IX,  44,  113,  190,  213,  218 
Vittore  Bellini  (Belliniano) 
Vittore  Carpaccio  (Scarpaccia) 
Vittore  (or  Antonio)  Pisanello 
Vittore  Scarpaccia  (Carpaccio) 
Vittoria,  Alessandro,  V,  247;  VII,  228;  VIII, 

100;  IX,  204-206,  223;  X,  20 
Vittorio  Ghiberti 


GENERAL   INDEX 


261 


Vivarini,  Bartolommeo,  IV,  52,  59 
Vivarino,  Luigi,  III,  178,  179;  IV,  52 
Viviano,  Michelagnolo  di,  VII,  55-57,  60,  66, 

73,  98,  99 

Vivole,  Raffaello  delle,  VII,  152 
Volkaerts,  Dirk,  IX,  270 
Volterra,  Daniello  da  (Danielle  Ricciarelli] 
Volterra,  Francesco  da,  VIII,  41 
Volterra,  Piero  da,  V,  64 
Volterra,  Zaccaria  da  (Zaccaria  Zacchi),  V,  45, 

132;  IX,  189,  190 
Vos,  Marten  de,  IX,  268 
Vrient,  Franz  de  (Franz  Floris) 

Weyden,  Roger  van  der  (Roger  of  Bruges),  III, 

61;  IX,  265 
Willem  Keur 
WiUem  Key 
Willem  Paludanus 
Willem  van  Antwerp 
Wouter  Crabeth 

Zaccaria  da  Volterra  (Zaccaria  Zacchi) 
Zaganelli,  Francesco  de'  (Francesco  da  Cotig- 

nola) 
Zanfragnino  (Antonio  Scarpagni,  or  Scarpag- 


nmo 


Zanobi  di  Poggino 

Zanobi  Lastricati 

Zanobi  Macchiavelli 

Zanobi  Poggini 

Zanobi  Strozzi 

Zenale,  Bernardino  (Bernardino  da  Trevio) 

Zeno,  Maestro,  IV,  60 

Zeuxis,  I,  xxxix;  II,  80;  III,  209;  IV,  82,  83; 

VI,  239;  IX,  133;  X,  200 
Zevio,  Aldigieri  (Altichiero)  da,  IV,  51,  54,  55 
Zevio,  Stefano  da  (Stefano  Veronese) 
Zoccolo,  Niccolo  (Niccolo  Cartoni) 
Zoppa,    Vincenzio   di   (Vincenzio    Foppa,    or 

Bresciano) 
Zoppo,  VI,  8 1 

Zoppo,  Marco,  III,  279,  280,  285 
Zoppo,  Rocco,  IV,  46 
Zuccati,  Valerio,  IX,  182,  183 
Zuccati,  Vincenzio,  IX,  182,  183 
Zucchero,  Federigo,  VIII,  101,  106,  218-221, 

223-228,  230,  231,  233-236,  259;  X,  20 
Zucchero,  Ottaviano,  VIII,  215,  218,  219 
Zucchero,  Taddeo,  LIFE,  VIII,  215-236,  240- 

261;  VIII,  182,  188,  215-236,  240-261 
Zucchi,  Jacopo,  VIII,  233;  IX,  134;  X,  19 
Zutmann,    Lambert    (Lambert    Suavius,    or 

Lamberto  Suave) 


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