VALERIO VINCENTINO, GIOVANNI DA CASTES BOLOGNESE,
MATTEO DAL NASARO, of Verona, and other excellent
Engravers of cameos and gems.
(1468-1546; 1496-1553; ?-? 1548)
Since the Greeks were so divine in engraving Oriental stones and made perfect cameos, I have thought it proper to mention their imitators in our own age; although none of the moderns have surpassed them in delicacy and design, unless it be those whom I am about to mention. Before I begin, I will say a few words on the art of carving hard stones and gems, which was lost after the fall of Greece and Rome. At Rome, cameos, the sardonyx and other fine intag1ios are found daily among the ruins. For many years no one of any account studied the art, and so far as is known no progress was made until the time of Martin V. and Paul II., after which there was a steady advance, so that Lorenzo de' Medici the Magnificent, who was very fond of intaglios, and his son Piero, collected a great quantity engraved
(1) In 1554.
in various fashions, especially of chalcedony and comelian. This gave an impulse to the art in that city, and many masters arrived there from various countries, who, besides setting stones, could engrave them marvellously. Through Lorenzo's instrumentality, a young Florentine called Giovanni delle Comiole learned this art, earning his name for his excellent workmanship, testified by his countless works, great and small, but especially a large one with the portrait of Fra Girolamo Savonarola,1 the idol of Florence for his preaching.
He had a rival, Domenico de' Cammei of Milan, who hollowed out a large portrait of Duke Ludovico iI Moro in a ruby larger than a Julius, one of the best modern intaglios produced. The art advanced under Leo X. by the abilities of Piermaria da Pescia, a great imitator of the antique. His rival, Michelino, was of equal excellence, and considered a graceful master. He prepared the way for the difficult intaglios used for seals in which the use of wax is necessary from time to time, to see what one is doing, rendering possible the beautiful works of Giovanni da Castel Bolognese, Valerio Vincentino, Matteo dal Nasaro and others. Giovanni, during three years that he spent with Alfonso, Duke of Ferrara, did many small things for him which I need not mention. His first larger work was the action of Bastia9 engraved in a crystal and of great beauty. In steel he engraved the duke's portrait for medals, with a Christ taken by the multitudes on the reverse. Going afterwards to Rome and being stimulated by Giovio, he had the opportunity of making the portrait of Clement VII., by means of the Cardinals Ippolito de' Medici and Giovanni Salviati, with Joseph declaring himself to his brethren on the reverse. For this His Floliness rewarded him with the office of a Mazza, whicli he sold for 200 crowns in the time of Paul III. For Clement he made the four Evangelists in four round crystals, which were much admired, and secured him the friendship of many prelates, notably the Cardinals Salvati and Medici referred to, the latter being the patroii of all men of ability. Giovanni did a steel medal of Ippolito, and in cryslal the presentation of the wife of Darius to Alexander the Great. When Charles V. came to be crowned at Bologna Giovanni made his portrait on steel, and struck a gold medal which he took to the emperor, who gave him LOO
(1) Now in the Uffizi. His name signifies Giovanni of tlie Cornelians. (2) La Bastia di Geniolo near Ferrara. Taken by the Spaniards and retaken by the Duke of Fertara the same clay, the 3I Dec., I5II. Celebrated by Ariosto, Orlando Furioso, Canto XLII. stanzas 3-5.
gold doubles and invited him to Spain. He refused, saying that he could not leave the service of Clement and Cardinal Ippolito, for whom he had begun some things. On returning to Rome Giovanni did the Rape of the Sabines for Ippolito, a very beautiful thing. The cardinal heaped favours upon him, and when he left for France, accompanied by lords and nobles, he turned to Giovanni, and taking from his neck a small chain, by which a cameo was attached alone worth 6oo crowns, gave it to him, telling him to keep it until his return. On the cardinals's death the cameo came into the hands of Cardinal Farnese, for whom Giovanni did many things in crystal, notably a crvcifix with God the Father above, the Virgin, St. John and the Magdalen at the foot. In a triangle at the foot of the cross he did three scenes of the Passion, one on each angle. For two silver candelabra he did six circles in crystal: the centurion praying Christ to heal his son; the pool of Bethesda; the Transfiguration; the miracle of the five loaves and two fishes; the driving of the money-changers from the Temple; and the resurrection of Lazarus, all of rare bcauty.
Being desirous of having a rich silver shrine, Cardinal Farnese entrusted the work to Marino, a goldsmith of Florence, mentioned elsewhere, and employed Giovanni to fill the spaces with crystals. He occupied them with scenes in marble in halfrelief. He made his silver figures and ornaments with great diligence, producing a work of unequalled perfection. There are some ovals on which he has carved with marvellous art the chase of Meleager and the Calydonian boar; the Bacchantae and a naval battle; the combat of Hercules with the Amazons, and other fancies of the cardinal, Perino del Vaga and other masters being employed to make the designs. In a crystal he afterwards did the capture of the Goletta, and in another the Turkish war. For the same cardinal he carved in crystal a Nativity, Christ in the Garden taken by the Jews, led before Annas, Herod and Pilate, scourged and crowned with thorns, bearing the cross, crucified and raised again, a work of great beauty executed with astonishing rapidity. From a design by Michelagnolo for the Cardinal de' Medici of a vulture eating the heart of a Tityus, Giovanni carved a lovely crystal, and from another design of Buonarotto he did a Ph~thon driving the horses of the Sun and falling into the Po, his weeping sisters being converted into trees. He made portraits of Margarita of Austria, daughter of the Emperor Charles V. and wife of Duke Alessandro de' Medici and then of Duke Ottavio Farnese, in competition with
Valerio Vincentino. For these works Cardinal Farnese rewarded him with the office of a Janissary, from which he drew a good sum of money, and he received many favours from that prelate. The cardinal never passed the commodious house which Giovanni had built for himself at Faenza without going to stay there. Giovanni went there to rest from his work and made it his regular abode. On the death of his first wife, who was childless, he took a second, who bore him two boys and a girl, and as he possessed an income of more than 400 crowns, he lived content to the age of sixty, when he rendered his soul to God on Whitsunday I 555. Matteo dal Nassaro, born at Verona, his father, Jacopo dal Nassaro, being a shoemaker, studied both design and music in his early childhood, having as masters in the latter Marco Carra and Il Tromboncino of Verona, who were then in the service of the Marquis of Mantua. In carving he was much assisted by two Veronese of good family; one was Niccolo Avanzi, who did cameos, cornelians and other stones privately at Rome, which were sent to various princes. Some remember a lapis lazuli of his, three fingers across, of a Nativity con- taining many figures, sold to the Duchess of Urbino as a rarity. The other was Galeazzo Mondella, who designed beautifully, besides being an engraver of gems. From these two Matteo learned all he knew. A fine piece of jasper coming into his hands, he carved on it a Deposition from the cross making the red spots of the stone serve as blood, thus winning great commendation. This jasper was sold to the Marchioness Isabella da Este. Proceeding to France with many of his works to obtain an introduction to the court of Francis I., he was presented to the king, who valued all men of genius. After accepting many of his intaglios, the king took him into his service, providing him with a good pension, and not valuing him less as a good musician, for he performed beautifully on the lute, than as a carver of gems. There is no greater incentive to ability than the rewards bestowed by princes and nobles in the way the illustrious house of the Medici has always signalised itself as well as the maguanimoils King Francis. Matteo therefore did many rare things for the king and for all the noblest lords and barons of the court, almost all employing him, as cameos and similar gems were much worn in caps and at the throat. For the high altar of the king's chapel he did a panel full of gold figures, some in full and some in half-relief, with many jewels distributed about it. He also engraved many crystals, squeezes of which
may seen in several places, but chiefly at Verona, wherethere are some excellent plantes, and Venus with a cupid turning his back, of unsurpassable beauty. In a fine chalcedony found in a river he engraved a head of a Deianira in the lion's skin, employing a red vein in the stone in the inside of the lion's skin so finely that it looked newly flayed. On another mark he arranged the hairs, and the face and breast on the white. It is now in the possession of the King of France, while Matteo was a liberal and spirited man, so that he would rather Matteo's pupil, Zoppo, a goldsmith, has a squeeze at Verona. give away his works than sell them cheaply. Thus, having done a cameo for a baron of importance, and being offered a wretched sum, he begged him to accept it as a gift. But as the baron declined, and still offered his miserable paynient, Matteo became angry, and smashed the gem then and there with a hammer. For the same king Matteo did many drawings for arras, and in conformity with the king's wish he went with them to Flanders, remaining there while they were being woven in silk and gold When they were brought to France they were considered most beautiful. Like nearly everyone, Matteo ultimately returned home, bringing with him several curiosities, notably woven material of Flanders, beautifully worked, which are still preserved at Verona in memory of him by Signor Luigi and Sig. Girolamo Stoppi. At Verona Matteo lived in a cave under a rock, over the garden of the Jesuits, which, besides being cool in summer and warm in winter, possesses a beautiful view. But he could not enjoy this house of his fancy as he desired, because, when King Francis was released from prison, he sent a post to recall him to France and pay him his pension for his time at Verona. When he returned he was made master of the mint. Accordingly he took a wife and settled down in France, where the king was, and had some children, but so unlike him that they caused him little gratification. He was a gentle and courteous man, cordially welcoming all who were staying in France, not only Veronese, but all Lombards. His great friend there was Paulo Ernilio of Verona, who wrote French history in Latin. Matteo had many pupils, among others a Veronese, brother of Domenico Brusciasorzi, his two nephews, who went to Flanders, and many others, Italian and French, whom I need not mention. He died not long after King Francis.
I now come to the excellent Valerio Vincentino.2 He did quantities of intaglios, large and small, with incredible delicacy
(1) In March 1526. (2) Valerio Belli of Vicenza .
and ease, and if Nature had made him as excellent in design as he was diligent and patient in execution, he would have far surpassed the ancients, whom he equalled. However, he used the designs of others, or copied ancient intaglios. For Pope Clement VII. he did a crystal casket, executed with wonderful mastery, for which he received 2000 gold ducats. In the crystals he engraved the Crucifixion from designs by others. The casket was afterwards presented by Pope Clement to King Francis at Marseilles, as he was going to marry his niece to the Duke of Orleans, afterwards King Henry. For the same Pope Valerio did some lovely Peaces, a marvellous crystal cross, and dies ‚ for money with Clement's portrait, the reverses being very handsome. This led to a great increase in the professors of the art, so that the number had become marvellous before the sack of Rome, whither they flocked from Milan and other places. Valerio made the medals of twelve emperors with their reverses, copied from the antique but more beautiful, and numerous Greek medals. He carved so many crystals that the goldsmiths' shops and all the world are full of squeezes of them, whether of scenes, figures or heads. His skill was so extra ordinary that no one ever produced more than he in that trade. For Pope Clement he also did numerous crystal vases, some being given to various princes and some placed in S. Lorenzo in Florence, with vases from the Medici palace, formerly the property of Lorenzo de' Medici the elder, and other members of that illustrious house, to preserve the relics of the numerous saints presented by Clement to the Church. The vases are of extraordinary variety, of sardonyx, agate, amethyst, lapis lazuli, crystals, cornelians, and others of inestimable value and beauty. For Pope Paul III. valerio did a cross and two candelabra of crystal, carving in them the Crucifixion, introducing such a number of large and small stones that it would take too long to record them. Cardinal Farnese possessed many things by his hand, for he did not leave fewer works than Giovanni. At the age of seventy-eight he performed miracles with his eyes and hands, and taught the art to a daughter of his who worked very well. He was utterly regardless of expense in procuring ancient and modern squeezes and modern antiquities, and paintings and designs by great masters, so that his house at Verona was full of such things and a marvel. We see indeed that a man who really loves ability never stops short at the threshold, and so he wins praise in life and immortality after death. Valerio was richly rewarded for his labours, receiving numerous offices and benefits from the princes whom he
(1) In 1532; now in the Uffizi.
served, so that his successors were enabled to maintain an honourable position. When longer able to work, and worn out by old age, he rendered his soul to God in 1546.
Somewhat earlier Il Marmita lived in Parma, who, after studying painting for a while, turned to intaglio, closely imitating the ancients. Many beautiful works of his exist. He taught the art to his son Ludovico, who long remained at Rome with
Cardinal Giovanni de' which for whom he did four oval crystals of great excellence, carved with figures and set in a beautiful silver casket, which was given to Leonora di Toledo, Duchess of Florence. Among many other things he did a fine' head of Socrates on a cameo, and he was very skilful in imitating ancient medals, an occupation which brought him much profit.
In Florence, Domenico di Polo was an excellent master of engraving. He studied under Giovanni delle Corniole, and in a divine portrait of Duke Alessandro de' Medici, for steel dies and beautiful medals, the reverse being Florence. He also made a portrait of Duke Cosimo the year he was elected to the government of Florence, with the sign of Capricorn on the reverse. He did many other intaglios of small things which I need not mention, and died aged sixty-five.
Domenico, Valerio, Marmita and Giovanni da Castel Bolognese being all dead, many remained who far surpassed them. In Venice, Luigi Anichini of Ferrara was remarkable for hil. delicate engraving. But the foremost in grace, perfection and universality was AIessandro Cesari, called Il Greco, who has made such beautiful things in cameos and rounds, both raised and hollowed, and has chiselled steel dies, so fine in every detail, that it is impossible to imagine better. Those who wish to admire his miracles should examine a medal of Pope Paul III., who seems alive, and on the reverse Alexander the Great throwing himself at the feet of the high priest of Jerusalem, figures which excite amazement and cannot be surpassed. When Michelagnolo saw them in the presence of Giorgio Vasari, he said that the death hour of the art had come, for it could not go farther. For Pope Julius III. Cesari made the medal of I550, the reverse representing the prisoners who were anciently released at a time of Jubilee, a beautiful and rare work. For many years he was kept busy in making dies and portraits
(1) Rectius Cesati.
for the mint at Rome. He portrayed Pierluigi Farnese, Duke of Castro, Duke Ottavio his son, and for Cardinal Farnese did his portrait on a medal, a gold head on a silver ground. For this cardinal he made a head of King Henry of France, larger than a Julius, hollowed in a cornelian, one of the best modem intaglios for design, grace, excelience and finish. He also carved many cameos, a nude woman being perfect. So are others with a lion, an infant, and many small ones which I need not mention. "iI But the best of all was the head of Phocion the Athenian, a miraculous work, and the best cameo to be seen.
Gio. Antonio de' Rossi of Milan also carves cameos, and is an excellent master. Among many others, both large and small, he did a large cameo for Duke Cosimo, a third of a braccia each way, containing two half-length figures, the duke himself and the Duchess Leonora, each holding a circle containing Florence. Near them are portraits of Prince don Francesco, Don Giovanni the cardinal, Don Garzia, Don Ernando, Don Pietro, Donna IsabelIa and Donna Lucrezia, their children, the work being stupendous, surpassing all his smaller works, so that I will not mention them, for they may be seen.
Cosimo da Trezzo did many works worthy of this profession and his merits have earned him a position with King Philip of' Spain, who rewards and honours his ability. For portraits he has no equal, and in other respects he is extraordinarily clever. I need not say much of Fillipo Negrolo of Milan, who has carved arms with leaves and figures, as his published copper engravings have won him a great reputation. Gasparo and Girolamo Misuroni of Milan made beautiful crystal vases and cups, notably two for Duke Cosimo, which are marvellous. From a piece of Elitropia they made a vessel of marvellous size, wonderfully carved, as well as a great and admirable vase of lapis lazuli. Jacopo da Trezzo does the like in Milan, having rendered the art very beautiful and easy. I could tell of many more who have done medals, heads and reverses, surpassing the ancients, such as Benvenuto Cellini, who, when acting as gold- smith at Rome under Pope Clement, made two medals with a life-like portrait of Clement, and on the reverse Peace, who has bound Fury and is burning her arms, while the other contains Moses striking the rock and making water flow for the thirsty people, a triumph of his art, as were the coins and medals which he did for Duke Alessandro in Florence. I speak elsewhere of the knight Lione Aretino, who has done the like, and of the works which he is still producing.
Pietro Paolo Galeotto of Rome made medals for Duke Cosimo with his portrait, and dies for money and marquetry work, imitating the processes of Maestro Salvestro, who was an excellent master of the profession at Rome and did marvellous things. Pastorino da Siena excelled in heads, and may be said to have made the portrait of every man of importance, both great lords and artists. He found a stucco for making portraits, which took natural colours, with the tints of beard, hair and flesh, giving a life-like appearance. But his steel things are much more admirable, and he made excellent metal dies. It would take too long, to speak of all those who make portraits on medals and in wax, as in these days every goldsmith does some and many nobles practise the art; for example Gio Battista Sozzini at Siena, Il
Rosso de' Giugni at Florence, and countless others. In conclusion I turn to the engravers on steel, such as Girolamo Fagiuoli of Bologna, who did copper things, and in Florence Domenico Poggini, who makes dies for the mint with the medals of Duke Cosimo, and does marble statues, imitating as far as possible the distinguished men of the profession.
MARCANT0NI0 BOLOGNESE and other Engravers (I487-1539) THE treatise on the theory of painting contains little with regard to copper engraving, as it sufficed then to explain the method of engraving silver with the ‚burin, which is a square iron, cut diagonally, with a fine point, and I will take this opportunity to say what I consider to bei enoughi on the subject in connection with this Life. Engraving was invented by Maso Finiguerta of Florence about 1460. Of every work engraved by him in silver to be filled with nicllo, he took an impression in clay on which he poured liquid sulphur, so that it was blackened by the fumes and showed in oil the subject engraved on the silver. He did the like with a damp sheet with the same tint, going over it with a round cylinder, which made it look like a pen -and -ink drawing. He was followed by Baccio Baldini ,2 goldsmith of Florence, who, not having much design, copied the drawings of Sandro Botticcllo. The process becoming known to Andrea Mantegna at Rome,(1) Marcantonio Raimondi. (2) 1436-I5I5.
he began to engrave many of his works, as was said in his Life. The invention then passed to Flanders, and one Martin1 at Antwerp, considered an excellent painter, did a great many engravings and sent them to Italy, all signed M. C.2 The first were the five foolish virgins with their lamps out, and the five prudent ones with their lamps lighted; a Christ on the cross, with St John at his feet, so well done that Gherardo, a Florentine illuminator, began to copy it with the burin, and proved very successful, but went no farther, as he did not live long. Martin then issued the four Evangelists, and small sheets of Christ and the Apostles, Veronica with six saints, and the arms of some German lords supported by nude and draped men and women. He also issued St. George slaying the serpent, Christ before Pilate-who washes his hands-and the Passing of the Virgin, rather large, with all the Apostles, this being one of his best achievements. In another he did St. Anthony beaten by devils, and carried into the air by a swarm of them, of the most cunous forms imaginable, a sheet which so pleased Michelagnolo when young that he began to colour it. Martin was followed by Albert Durer3 at Antwerp, ‚who displayed more design, better judgment and finer inventions, seeking to imitate life and to approach the Italian style, which = he highly esteemed. While quite young he did many things which were considered as beautiful as those of Martin. He engraved them with his own hand and signed his name. In I503 he issued a small Madonna, surpassing both Martin and himself. He then did horses, two on a sheet, drawn from life and very beautiful. The next was the prodigal son, kneeling with his hands crossed, looking up, while the swine are feeding in a trough, and fine old German cottages embellish the landscape. He did a small St. Sebastian, with his arms bound above his head, and a Madonna and Child, with a window behind, un- surpassed for a small work. He did a Flemish woman on horse- back with a squire on foot. On copper and larger he did a nymph carried off by a marine monster, while other nymphs are bathing. Of the same size he did a Diana chastising a nymph, who has fled to a satyr for refuge, done with a masterly delicacy, attaining the perfection and goal of his art, and intended to show that he understood the nude. Though these masters were praised in their own country, they are only commended in(1) Martin Schoen, 1420-86. (2) This signature is that of Martin van Cleef. (3) 1471-1528; he was born at Nurnberg.
Italy for their diligent engraving. I believe that Albert could not have done better, considering that he did not enjoy proper advantages, and was compelled to draw his own pupils when he did nudes. These formed bad models, like most Germans, though they appear fine men enough when clothed. He did many costumes of Flemish peasants, in various engravings, who are playing the bagpipes and dancing, some selling fowls and so forth. One sleeps in a hot bath while Venus tempts him in a dream, a Cupid on stilts plays about him and the devil blows into his ear with the bellows. He did two different St
Christophers carrying the Christ-child, the polished hairs and other parts being beautifully executed. Finding that copper engraving took so long, and having a quantity of drawings, Albert began to engrave on wood, which offers a much wider scope to men of invention. He issued two small wood-engravings in z5io, one of the Be-heading of St. John, the other his head presented on a charger to Herod. In others he did St. Christopher, St. Sixtus the Pope, St. Stephen and St. Laurence. Finding this much easier than copper engraving, he did a Mass of St. Gregory, with his deacon and sub-deacon. Still further encouraged, he did a part of a Passion of Christ on a large sheet in I510, completing four pieces and intending to do the rest: the Last Supper, the Seizure in the Garden, the Descent into Limbo to rescue the holy Fathers, and the Resurrection. He did a beautiful oil- painting of the second subject, now in Florence, owned by Sig. Bernardetto de' Medici. Although the remaining eight parts were printed with his signature, I do not think they can be his, as they are badly executed and do not resemble his style in heads, draperies or anything. They were probably done by others after his death for the sake of gain, without a thought for his reputation. In 1511 he did the life of the Virgin in twenty sheets, of the same size, incomparable for invention, composition, perspective, buildings, costumes, and young and old heads. If this rare, diligent and versatile man had been born in Tuscany instead of Flanders, and could have studied the things of Rome as we have done, he would have been the best painter of our land, as he was the most eminent artist whom the Flemings have ever produced. The same year he endeavoured on fifteen sheets to represent the tremendous vision of St. John on the isle of Patmos, described in the Apocalypse. Accordingly he set to work, and his fantastic imagination being well adapted to such a subject, he represented heayenly and earthly things so well, and with such variety in the animals
and
monsters, that it has been a great light to many of our artists, who have copied them frequently. By the same hand is a naked Christ surrounded by the mysteries of His Passion, and weeping for our sins with His hands to His face, very admirably executed, though small. His ability and courage increasing from finding that his things were valued, Albert did some copper engravings which amazed the world. On a half sheet he did a Melancholia surrounded by all the instruments which render men melancholy, and nothing could be more delicately carved with the burin. On a small sheet he did three different women, most delicately engraved. But it would take too long to enumerate all Albert's works. For the present I will say that, having designed and engraved a Crucifixion in thirty-six plates, he arranged with Marcantonio of Bologna to publish themi1 Their appearance in Venice gave an extraordinory impulse to engraving
in Italy, as will be related below.While Francesco Francia was painting at Bologna, one of the best off his pupils was a youth called Marcafltonio, who, from remaining many years with his master, acquired the cognomen de' Franci. Being a better designer than his master and skilful in manipulating the burin, he made borders in niello of great beauty, those things being much in use. Desiring afterwards to go into the world and examine various things and the methods of other artists, he was permitted by Francia to go to Venice, where he was well received by the artists of the city. Meeting some Flemings with wood and copper engravings of Albert Durer on the Piazza S. Marco, he was amazed at Albert's methods and style, and spent all the money he had brought from Bologna on those sheets, acquiring among other things the Passion of Christ engraved on thirty-six pieces of wood, quarto size, just printed by Albert, beginning with the sin of Adam and the expulsion from Paradise, and continuing to the sending of the Holy Spirit. Feeling what honour and profit might be acquired by that art in Italy, Marcantonio deterniincd to study it diligently and carefully. He began by imitating the things of Albert, studying all the prints which he had bought, which, for their novelty and beauty, were sought after by everyone. Having engraved on copper, as thick as thc wood used by Albert, all the Passion and life of Christ in thirty-six sheets, with the A. D. with which Albert signed his works, Marcantonio succeeded in making them so like that no one could tell the difference who did .not know, and they were sold and bought as
(1) The Melancholia belongs to 1554, the Cnicifixion to 1555.
Albert's works. On being informed of this, one of the counterfeits being sent to Flanders, Albert flew into such a ragethat he left Flanders and came to Venice, and complained of Marcantonio to the Signoria. But all he obtained was that Marcantonio should no longer use his signature. Marcantonio next went to Rome and devoted himself to design, while Albert, on returning to Flanders, found another rival who had begun to make many delicate engravings. This was Lucas of Holland,1 who, although unequal to Albert in design, was his peer with the burin. Among his numerous works, the first, in 1509, were
two circular pnnts, one of Christ bearing the cross, and the other a Crucifixion. He afterwards issued a Sampson, David on horseback, and Peter Martyr with his persecutors. He next did a copper engraving of David playing before Saul. Not long after he had so far progressed as to make a large and delicate engraving of Virgil hung out of a window in a basket, with some heads and figures, which led to Albert issuing some printed sheets of incomparable excellence. Wishing to show his full ability, he made an armed man on horseback to represent human strength, beautifully finished, with lustrous armour, and the glossy black coat of the horse, a difficult achievementin
drawing. Near the man is Death, an hour-glass in his hand, and the devil behind. There is also a hairy dog, most delicately done. In 1512 Albert issued sixteen small scenes in copper engraving of the Passion of Christ, of the utmost beauty, sweetness and grace, the figures standing out in high relief.Incited by this competition, Lucas did twelve similar pieces of great beauty, but not so well engraved or designed. He also did a St. George comforting the girl who weeps because she is to be devoured by the serpent, a Solomon worshipping idols, the
Baptism of Christ, Pyramus and Tliisbe, Ahasuerus and Queen
Esther kneeling. On the other hand, Albert, being determined not
to be surpassed by Lucas in either the quantity or the quality of
his work, did a nude figure on the clouds, and Temperance with
wonderful wings and a gold cup in her hands, a bridle and a
minute landscape. By her is St. Eustace kneeling before the stag
with the crucifix between its horns, a marvellous sheet, especially
for some fine dogs in various attitudes, which could not be surpassed. Among the children which he did ‚for ornaments of arms and devices, Albert made some holding a shield on which is a death's head and a cock for a crest, the feathers of which a re most finely wrought. Finally, he issued a St. Jeromewriting,
(1) Lucas of Leyden, born 1494.
in his cardinal's hat, the sleeping lion at his feet, in a room with glass windows, through which the sun's rays are reflected to where the saint is writing, done with marvellous truth. There also are books, clocks, writings and all the other articles of that profcssion. Soon after, in 1523, he did a Christ with the twelve Apostles, almost his last work. Many portraits by him were printed, among them Erasmus of Rotterdam, Albert of Brandenburg, the cardinal, elector of the Empire, and one of himself. Although he engraved so much he did not abandon painting, but continued to do panels, canvases and other valuable things. He further left works on engraving, painting, perspective and architecture.
But to return to engravings. Albert's works incited Lucas to renewed efforts, and he next did four copper engravings of the acts of Joseph, the four Evangelists, the angels appearing to Abraham in the plain of Mamre, Susannah at the bath, David praying, Mordecai triumphing on horseback, Lot intoxicated by his daughters, thc creation of Adam and Eve, the command of God not to eat the apple, Cain killing Abel, all issued in 5529.1 But the thing that most increased Lucas's fame was a large sheet of the Crucifixion and an Ecce Homo, containing a great number of figures and much valued. So also is a Conversion of St. Paul, and his being taken to Damascus. These things secure for Lucas a place among the best engravers with the burin. His compositions are very right, so clear and free from confusion, that it seems as if his ideas could not be expressed otherwise, and more in conformity with the rules of art than Albert's. He also showed discretion, the more distant objects gradually fading from sight as they do in nature, and they are very softly toned, considerations which have opened the eyes of many painters. lie made many small prints, various Madonnas, the twelve Apostles with Christ, numerous saints, arms, crests and the like. Very fine is a peasant having a tooth out, in such great pain that he is not aware a woman is emptying his purse. All these things of Albert and Lucas have iiiduced numerous Flemings and Germans to have similar beautiful works printed. To return to Marcantonio. Arrived at Rome, he made a beautiful copper engraving of a drawing of Raphael, representing Lucretia killing herself, executed with such finish and beauty that, when it was shown to Raphael, he was disposed to issue some prints himself from his own designs. An earlier design by Raphael of the Judgment
(1) This is wrong: the Joseph belongs to 1552, the Susannah to 1508, the Mordecai to 1515 and the Lot to 1530.
of Paris into which he had capriciously introduced the chariot of the sun, wood, water and river nysnphs, vessels, prows and other things was boldly engraved by Marcantonio, to the wonder of Rome. He then did the drawing of the Innocents, with magnificent nudes, women and children; the Neptune with small scenes of ~neas about it, the beautiful Rape of Helen, also designed by Raphael, and the Death of St. Felicita in boiling oil, her ‚childrcn being decapitated, all of which brought Marcantonio such fame that his things were more valued than those of the Flemings for their good design, and the merchants found them very profitable. For many years Raphael had kept a boy called Il
Baviera to mix his colours, and, as he was intelligent, Raphael directed that
Marcantonio should engrave and Il Baviera print that all the
scenes might be finished, to be sold, wholesale or retail to all
who might want them. In this way countless prints were made
and considerable profit realised, all the sheets being marked
R. S. for Raphael Sanzio and M. F. for Marcantonio. The works
were Venus embraced by Love, drawn by Raphael; God blessing
the seed of Abraham, with a maid and two children; then all
the medallions drawn by Raphael in the chamber of the papal
chamber; Calliope with her horn; Prudence and Justice; a small
drawing of the Mount Parnassus with Apollo, the Muses and
Poets; ~neas carrying Anchises while Troy burns, this being a
design of Raphael for a picture; they next printed Raphael's
Galatea on a car drawn by dolphins, with Tritons carrying off
a nymph. This done, he did many single figures of Raphael in
copper, Apollo with the lyre, Love offering an olive branch to
Peace, the three Theological Virtues and the four moral ones;
of the same size, Christ and the twelve Apostles, and on a half-
sheet the Madonna painted by Raphael in the Araceli picture,
and the one that went to S. Domenico at Naples, with the 1Virgin, St. Jerome, Raphael and Tobias, and a small sheet of the Virgin embracing a half-clothed Christ as she sits on a chair. Many other Madonnas painted by Raphael ‚were similarly done. He next engraved a youthful St. John the Baptist seated in the desert, and then the St. Cecilia done by Raphael for S. Giovanni in Monte, with other saints, a much-admired sheet. Raphael having made cartoons for the arras of the Pope's chapel, after- wards woven in silk and gold, with stories of St. Peter, St. Paul and St. Stephen, Marcantionio engraved the preaching of St. Paul, the stoning of St. Stephen and the healing of the blind man, prints equally beautiful, for Raphael's invention and graceof
design and the finished engraving of Marcantonio which is indeed unsurpassable. He next engraved a fine Deposition from the Cross, after Raphael's, with a marvellous fainting Virgin, and not long after he did Raphael's picture of Christ bearing the cross, which was sent to Palermo, and is a very fine print, and a design by Raphael of Christ in the air with the Virgin, St. John the Baptist, and St. Catherine kneeling and St. Paul standing, a large and beautiful print. But this, like the others, was spoilt by too many impressions, and it was carried away by the Germans in the sack of Rome. He engraved in profile the portrait of Pope Clement VII., clean shaven, as on a medal, and Charles V. the Emperor as a young man, and subsequently when older; as well as Ferdinand, King of the Romans, afterwards emperor. He made the portrait at Rome of M. Pietro Aretino, the famous poet, and this was his finest work. Not long after he did the twelve emperors of antiquity on medals, some of which Raphael sent to Flanders to Albert Durer, who greatly praised Marcantonio and sent Raphael his own portrait, considered very good, as well as many other sheets.
Marcantonio's fame being thus grown, and his prints being much valued, many came to him to learn. Among these Marco da Ravenna1 made great progress, using Raphael's signature, R. S., and Agostino Viniziano, who signed A. V.; these two printed many designs of Raphael, namely a Virgin and the dead Christ, with St. John, the Magclalene, Nicodemiis and the other Maries; and another, of larger size, of the Virgin, with arms open, and her eyes turned piously upwards, the Christ lying dead. He did a large Nativity, with shepherds and angels, and God above; and about the cottage he did many vessels, both ancient and modern, and a censer, with perforated top, held by two women. He did a scene of a man transformed into a wolf 1as he is going to a bed to kill a sleeping man. He then did Alexander presenting a royal crown to Roxana, some cupids flying in the air, and others decking themselves out in Alexander's armour. Agostino and Marco engraved the Last SuPPcr, an Annunciation, both from Raphael's designs, and two scenes of the marriage of Psyche, painted by Raphael not long before. Agostino and Marco between them engraved almost all the things that Raphael ever drew or painted, and paintings of Giulio Romano, copied by them, and they also did the scenes painted by Giulio in the loggia from Raphael's design, whose works they had almost exhausted. Some of their first sheets,
(1) Marco Dente of Ravenna, born 1496.
signed M. R. for Marco Ravignano, and others, A. V. for Agostino
Viniziano, have been repeated by others, such as the Creation, God making animals, the sacrifice of Cain and Abel and Abel's death, Abraham sacrificing Isaac, Noah's ark and the Flood, the animals saved, the passage of the Red Sea, the giving of the laws from Mount Sinai by Moses, the manna, David killing Goliath, already engraved by Marcantonio, Solomon building theTemple, his judgment, the visit of the Queen of Sheba; and from the New Testament, the Nativity and Resurrection of Christ, the sending of the Holy Spirit, all printed during Raphael's lifetime. After his death Marco and Agostino separated, the latter being retained by Baccio Bandinello, sculptor, of Florence, who employed him to engrave a skeleton made by him of dried bones1 and also a Cleopatra, both considered very good. Encouraged by this, Baccio designed and had engraved a Massacre of the Innocents, one of the largest sheets done up to that time, filled with draped women, and nude men murdering the innocent children by Herod's command. Marcantonio meanwhile engraved the twelve Apostles in various ways, and many saints, of which poor painters unskilled in design can make use at their need. He also engraved a nude figure, with a lion at his feet, and a great banner, filled out by tlie wind, against the youth's will, another carrying a pedestal on his back, and a small St. Jerome regarding a death's head, with one finger in the cavity, an idea and design of Raphael. He then did Justice, taken from the chapel artas, and Dawn, drawn by two horses, bridled by the Hours. In the antique style he did the Three Graces and a scene of Our Lady mounting the steps of the Temple. Giulio Romano, whose modesty would not allow anything of his to be printed during Raphael's life, to avoid the appearance of competition, after his death got Marcantonio to do two cavalry fights of considerable size and great beauty, and all the legends of Venus, Apollo and Hyacinth, painted by him in the study at the villa of M. Baldassarre Turini of Pescia. He also did four scenes of the Magdalene and the four Evangelists on the vaulting of Trinity Chapel, erected by a courtezan, though now the property of M. Agnolo Massimi. He drew and had engraved similarly a fine ancient sarcophagus from Maiano, now in the court of S. Pietro, representing a lion hunt and one of the ancient marble bas- refiefs under the arch of Constantine; and finally numerous designs of Raphael for the corridors and loggias of the palace, afterwards engraved again by Tommaso Barlacchi, together with the hangings done by Raphael for the public consistoryGiulio next got Marcantonio to engrave twenty of his sheets of the commerce of evil men and women, for each of which M. Pietro Aretino wrote an extremely lewd sonnet, so that I cannot say which is worse, the drawings or the words. This work was strongly condemned by Pope Clement, and if Giulio had not already set out for Mantua, he would have been severely punished. The designs were afterwards found in the most unexpected places, and were finally prohibited, Marcantonio being imprisoned. He would have come off badly had not the Cardinal de' Medici and Bacdo Bandinello, who was serving the Pope in Rome, got him released. The gifts of God ought certainly not to be employed, as they so often are, upon such utterly abominable things. On coming out of prison Marcantonio finished a large sheet for Baccio Bandinello, begun before, full of nudes, of S. Layrence on the gridiron, considered very beautiful, and engraved with great care, although Bandinello complained to the Pope that a many faults had been committed. However, Baccio was repaid for his lack of courtesy, for Marcantonio finished it unknown to Baccio, and having heard all, went to the Pope, who was exceedingly fond of designs, and showed him Baccio's original, and then the print, by which the Pope perceived that he had not made any errors, but had corrected many of Baccio's of no small importance, and his engraving was more skilful than Baccio's drawing. So the Pope commended him highly, received him graciously, and would probably have conferred many favours upon him, but the sack of Rome well-nigh reduced him to beggary, as, besides losing everything, he had to ransom himself from the Spaniards. This done, he left Rome never to return, and few things of his subsequent to that time are to be seen. Our art owes much to him for introducing eogravings into Italy to the benefit of art and of all men of ability, others fofiowing in his steps, as I shall relate. Agostino Viniziano, mentioned above, came to Florence in- tending to join Andrea del Sarto, who was considered the best painter in Italy after Raphael. Persuaded by him to have his works engraved, Andrea designed a dead Christ supported by three angels, but as it did not prove so successful as he hoped Andrea would never have anything engraved again. But after his death they issued the Visitation- and St. John bap tisin g, taken from Andrea's scenes painted in grisaille, in the Scalzo at Florence. Marco da Ravenna also worked in company with Agostino, and did many admirable things by himself, to berecognised by his signature. Many who succeeded them have
engraved well, so that every province has seen the work of excellent men. Some have had the courage to make woodengravings that look like pen drawings, a most ingenious and difficult thing. Such a one was Ugo da Carpi,1 who, though amediocre painter, was very ingenious in other fantasies. In the thirtieth chapter of the theory2 he is mentioned as the first to succeed in making two impressions, one for the shadows and the other for colour tints, cutting deep, and leaving the lights so white that they seemed to be done with white lead when printed. In this style he did a design of Raphael, in grisaille, of a sibyl of this encouraged Ugo to make things in three impressions, the first for the shadows, the second for the half-tints, and the third for the lights. This also succeeded in a drawing of Aeneas carrying Anchises during the burning of Troy. He then did a Deposition from the Cross, the story of Simon Magus, done by Raphael for
the hangings of the chapel; and David slaying Goliath, and the
flight of the Philistines, designed by Raphael to be painted on the, papal loggia. After that he did many things in grisaille, including a Venus playing with cupids. Being also a painter, he painted in oils, with his finger and other curious tools, not using the brush, a panel at the altar of Volto Santo at Rome. One morning, as I was hearing Mass at the altar with Michelagiiolo, I saw the inscription stating that Ugo had done it without the brush, and smilingly pointed it out to him. He laughed and replied, "Better if he had used a brush and done it less badly." Thismethod
of
wood-engraving discovered by Ugo was adopted by many, who
produced numerous beautiful sheets. After him Baldassare Peruzzi, painter of Siena, did a sheet in grisaille of Hercules driving Avarice laden with gold and silver vessels from Mount Pamassus, the Muses being in fine and varied postures, and Francesco Parmigiano engraved a Diogenes, more beautiful than anything of Ugo. Parmigiano, after explain- ing the method of engraving with three plates to Antonio di Trento,3 got him to do a large Decollation of 55. Peter and Paul in grisaille, and then did with two plates only the Tiburtine Sibyl showing Christ and the Virgin to Augustus, and a nude seated with his back turned. In an oval he did a Madonna lying down, and several others, painted after his death by Joannicolo Vincentino. But the finest were made after Parmigiano'sdeath
(1) Born 1486. (2) i.e. Vasari's own technical introduction to his lives. (3) Antonio Fantuzzi, born 1520.
by Domenico Beccafumi of Siena, as will be related at length in Domenico's Life. His new method of engraving more easily than with the burin was a most praiseworthy invention, namely with acqua forte, although the things are not so clear. He first covered the copper with wax, varnish, or ‚oil colour, and traced the design on this with a sharp point, acid was thrown on the plate, and ate into the copper, which was then ready for printing. In this way Francesco Parmigiano did many small things with much grace, such as a Nativity, a dead Christ lamented by the Maries, one of the chapel hangings designed by Raphael, and many others. Battista, a painter of Vicenza, and Battista del Moro of Verona afterwards did fifty sheets of various landscapes. In Flanders, Jerome Cock did the Liberal Arts, and in Rome Fra Bastiano Viniziano did the Visitation of La Pace,' and that of Francesco Salviati of the Misericordia. In Venice the Feast of Testaccio, as well as many works, were cngraved by Battista Franco, the painter, and other masters.
But to return to simple copper engravings. After Marcantonio had published his prints Rosso was in Rome, and was persuaded by Il Baviera to print some of his things. Accordingly he induced Gian. Jacopo del Caraglio of Verona,2 who then was a good and industrious worker, imitating Marcantonio, to do a person with a skull in its hand and sitting on a serpent, while a swan sings. This proving successful, he had the Labours of Hercules engraved, the slaying of the Hydra, the fight with Cerberus, the killing of Cacus, the breaking the bull's horn, the battle of the Centaurs, Nessus cartying away Deianira, all very successful. Then Jacopo did Rosso's design of the I'ierides, who wished to compete with the Muses in singing and were turned into magpies. Then Il Baviera got Rosso to design for a boDk twenty gods in niches, with their attributes, Gian. Jacopo engraving them all with grace and style, and afterwards he did their transformations. Of these Rosso only designed two, because he had a difference with Il Baviera, who got Perino del Vago to do ten. Rosso's were the Rape of Proserpine and Philyra transformed into a horse, both engrived with great diligence and much valued. Caraglio next began the Rape of the Sabines for Rosso, which would have been remarkable, but the sack of Rome prevented its completion, for Rosso went away and all the prints were lost. It afterwards came into the hands of the printers, but in a bad state, because in order to gain money more was engraved than was intended. For Francesco
(1) i.e. the visitation by Fra Bartolomeo. (2) Born 1512.
Parmigiano Caraglio engraved a Marriage of the Virgin and other things of his, and then another Nativity for Titian from a 1painting by him. After making many copper engravings Caraglio began to carve cameos and gems, becoming equally excellent in this. He then went to the King of Poland, doing jewels and architecture, and giving up engraving as base work. Receiving much money from the king, he invested it in the Parmesan
in
order that he might enjoy his old age there with his friends and pupils after his prolonged labours. After him came Lam- berto Suave,1 an excellent engraver on copper; he did thirteen sheets of Christ and the Apostles, perfectly engraved, and they would have been marvellous if the design had displayed equal care, diligence and knowledge. We remark the same in a small sheet of St. Paul writing, and a larger one of the Resurrection of Lazarus, containing many fine things, notably the cave in which Lazarus is buried, and the light shed on some figures, done with beautiful invention. Gio. Battista of Mantua,2 pupil of Giulio Romano, has also shown skill in this, doing, among other things, a Virgin with the moon under her feet andthe
Child in her arms, containing some beautiful heads with crests,
and two sheets, one of a captain on foot and one on horseback. Another sheet of Mars, armed, sitting on a bed, while Venus suckles a Cupid, possesses many good points. Very charming also are two large sheets of his of the Burning of Troy, done with extraordinary invention, design and grace. He signed I.B.M. No less excellent than any of these was Enea Vico of Parma, who engraved on copper the Rape of Helen by Rosso, and did a Vulcan with some cupids forging thunderbolts, while the Cyclops work, from another design. In another he did Michelag- nolo's Leda and an Annunciation designed by Titian, the History of Judith ,painted by Michelagnolo, in the chapel, and the por- trait of Duke Cosimo de' Medici when young, in armour, from the design of Bandinello, the portrait of Bandinello himself, the combat between Cupid and Apollo in the presence of the gods. If Enea had been properly treated by Baiidinello and had received recognition for his labours, he would have engraved many other beautiful things for him. Francesco, pupil of Sal- viati, an excellent painter, being in Florence, induced Enea to engrave the large sheet of the Conversion of St. Paul, full of horses and soldiers, assisted by the liberality of Duke Cosimo,(1) Lambert Suterman of Liege; fl. 1550. (2) G.B. Ghisi, born about 1500. (3) Born about 1512.
Enea. He then did the portrait of Sig. Giovanni de' Medici, father of Duke Cosimo, with an ornamentation full of figures. He also engraved the portrait of the Emperor Charles V., with a border made of victories and spoils, for which he received rewards from his majesty ,and praise from everyone. In another sheet he did the emperors victory on the Elbe.1 For Doni he made some heads like medals with beautiful ornaments, Henry, King of France, Cardinal Bembo, M. Ludovico Ariosto, Il cello of Florence, M. Ludovico Domenichi, Signora Laura Terracina, M. Capriano Morosino and Il Doni. For Don Giulio Clovio, a rare illuminator, he did a St. George on horseback killing the serpent, succeeding remarkably well, a-. these were practically his first engravings. Being a man of spint and anxious to make progress, Enea studied antiquity and especially ancient medals, of which he issued several printed books containing the heads of many emperors and their wives, with inscriptions and reverses of all kinds, to delight those who like knowledge and clearness in tlie representations, for which he deserves great praise. Those who blame him for his books of medals are wrong, because we may well forgive minor slips when we consider his labours and their utility and beauty; his errors, which only arise from bad information or from being too credulous, or from having a different considered a beautiful thing, which brought great fame to opinion from others, are very excusable, for such errors have been made by Aristotle, Pliny, and many beside. Enea also designed for the general satisfaction and benefit fifty costumes of various nations, namely Italy, France, Spain, Portugal, England, Flanders and other parts of the world, men and women, country and city folk, an ingenious, beautiful and fanciful idea. He also did a tree of all the emperors. At length, after many labours, he now rests under the shadow of Alfonso II., Duke of Ferrara, for whom he has made a genealogical tree of the Marquises of Este. He did many other things, and is still at work, and I have decided to include liim among these able men.
Many others have engaged in copper engraving, but have not attained such perfection. However, they have benefited the world, and brought to light many works of great masters, giving those who cannot go to see the original works an opportunity of seeing the various inventions, and showing the ultramontanes many tliings which they did not know. Although many sheets have suffered by the carelessness of the printers, impelled more by the desire of gain than of honour, yet some are good, as for example the larger design of the Judgment of Michelagnolo
(1) The Battle of Muhlberg, 1547.
for the Pope's chapel, engraved by Giorgio Mantoano,1 the crucifixion of St. Peter and the Conversion of St. Paul, painted in the Pauline chapel at Rome, and engraved by Gio. Battista de' Cavalieri,2 who afterwards did copper engravings of St. John the Baptist in meditation, the Deposition from the Cross, painted by Daniello Ricciarelli of Volterra, in the Trinity at Rome, a Virgin with angels and countless others. Various artists have engraved many things of Michelagnolo at the request of Antonio Lanferri, who kept printers for such work, who have issued books of all manner of fishes, and the Phaethon, Tityus, Gany- mede, Archers, Baccanalia, Dream, Piety and Crucifixion of Michelagnolo, done for the Marchioness of Pescara. The four prophets of the chapel were also issued, but done so badlythat I prefer not to mention the engravers and printers. But I must not forget Antonio and Tommaso they have greatly assisted engraving, keeping many youths engaged, with the designs of masters too numerous to mention, issuing in this way arabesques, ancient temples, cornices, bases,
capitals
and similar things, to scale. Seeing everything done very badly,
Sebastiano Serlio, of Bologna, architect, has engraved two books
of architecture, comprising, among other things, thirty rustic doors and twenty delicate ones. The book is dedicated to King Henry of France. Antonio Labbaco has issued in a good style all the antique and notable things of Rome, to scale, well engraved by. .. of Perugia. Jacopo Barazzo of Vignola,4 archi- tect, has been equally industrious, his book showing easy rules for efflarging and diminishing, according to the proportions of the five orders, a most valuable work for art, and for this we owe him a great debt, being equally bound to Giovanni Cugini of Paris5 for his engravings and writings on architecture. In Rome, Niccolo Beatricio of Lorraine has also done much with the burin, producing many admirable sheets, such as two sarcophagi with cavalry fights, and others full of animals; one scene of the raising of the widow's daughter by Christ, boldly executed from a design by Girolamo Mosciano,7 painter of Brescia. From a design of Michelagnolo he also engraved an Annunciation, and printed Giotto's Navicella. Many beautiful sheets have come from Venice: landscapes of Titian, a Nativity, a St. Jerome and a St. Francis in wood and on copper, Tantalus, Adonis and others, engraved by Julio Bonasone of Bologna,8(1) Giorgio Ghisi, 1520-82. (2) 1530-90. (3) Rectius Lanfrery. (4) Rectius Barozzi, 1507-73. (5) Jean Cousin, 1530-90. (6) Beautrizet (7) Rectius Muziano. (8) Born 1498.
with some others of Raphael, Giulio Romano, Parmigiano and
every other master from whom he could get designs. Battista Franco, painter of Venice, has engraved and etched works of various masters, a Nativity, Adoration of the Magi, Preaching of St. Peter, some scenes from the Acts of the Apostles and many from the Old Testament. The designers were thus kept constantly employed by the engravers, and after Rosso's death everything of his that could be found was engraved, such as Clelia and the Sabines crossing the river, the Masks of the Fates done for King Francis, a curious Annunciation, ten women dancing, King Francis alone at the Temple of Jove, having behind him Ignor- ance and other like figures. These were done by Rene,1 a copper engrav~r, during Rosso's lifetime, and many others were done after his death, comprising the history of Ulysses, and the vases, lamps, candles, salt-cellars and countless other silver tliings done from Rosso's designs. Luca Perini 2 published two Satyrs giving drink to Bacchus, and Leda taking Cupid's arrows, Susannah at the bath, and others from designs by Rosso and Francesco Bologna Primaticcio, now abbot of St. Martin's in France. They comprise a Judgment of Paris, Abraham sacrificing Isaac, a Virgin, Christ espousing St. Catherine, Jove converting Callisto into a bear, the Council of the Gods, Penelope weaving with her women, and numerous other wood-engravings, mostly done with the burin, the small figures being executed with the greatest imaginable fineness. Who can see without wonder the works of Francesco Marcolini of ForIi? Among other things he printed ii Giardino de' Pensieri, with a frontispiece of an astrologer's sphere and his head, designed by Giuseppo Porta of Castelnuova della Garfagnana. `The book contains Fate, Envy, Calamity, Timidity, Praise and many others, considered most beautiful. Very admir- able also were the figures of Gabriel Giolito in the Orlando Furioso, done in excellent style, as were the eleven anatomical drawings done for Andrea Vessalio, and designed by John de Calcar,3 an excellent Flemish painter. They were afterwards copied on to a smaller sheet and engraved by Valverde, who wrote on Anatomy, following Vessalio. Among the numerous prints issued by the Flemings during the last ten years, there are some fine ones by Michele,4 a painter, who worked for many years in two chapels in the Gerrtian church at Rome; these sheets are the Brazen Serpent of Moses and thirty-two scenes of Psyche and Cupid, considered very beauti-(1) Rene Boivin, I530-98. (2) Rectius Penni. (3) John Calcar, 1499- I546. (4) Michael Coxcie, I497-1592.
ful. Jerome Cock, also a Fleming, has done on a large sheet a Delilah cutting Sampson's hair, from tlie design of Martin Hemskerk. Not far off is the temple of the Philistines, where
we see the dead and the terrified fugitives among the ruins. In
three smaller sheets he did the creation of Adam and Eve, the
eating of the apple, the expulsion from Paradise; and in four
other sheets of the same size, the devil imprinting ayarlce and
ambition in the heart of man, and all the effects thus produced.
By. him also are twenty-seven scenes of the Old Testament of
the same size, from the expulsion of Adam from Paradise, boldly and skilfully designed by Martin, very like the Italian style. Jerome next engraved the history of Susannah in six round pictures and twenty-three scenes from the Old Testament, like the first of Abraham, namely the acts of David in six, those of Solomon in eight, Balaam in four, and Judith and Susannah in five. Of the New Testament he did twenty-nine sheets from the Annunciation to the Passion and Death of Christ. From Martin's designs he did the Seven Works of Mercy, the story of the Rich Man and Lazarus, the parable of the Good Samaritan in four sheets, and the parable of the Talents in four, front Matthew, chapter xviii. Meanwhile Lie Frynch,1 in competition, did the life and death of St. John the Baptist in ten sheets, and the Twelve Tribes in that number of sheets, Reuben on his pig for luxury, Simeon with the sword for homicide, and so forth. He afterwards engraved in more delicate style subjects of the acts of David, from his anointing by Samuel to his going before Saul, in ten sheets, and in six others he did Amnon and Tamar, with the death of the former. Not long after he did ten scenes of Job, and five from the Proverbs of Solomon. He also did the Magi, and then in six sheets the invitation to the wedding feast and the man without the wedding garment, from St. Matthew. In six sheets of like size he did the Acts of the Apostles, and in eight others he did eight women of perfect beauty, six from the Old Testament: Jael, Ruth, Abigail, Judith, Esther and Susan- nah; and the Virgin and Mary Magdalene from the New. He next did six sheets of the Triumph of Patience; in the first, Patience in a chariot holds a standard with a rose among thorns; the second shows a red-hot heart on an anvil, beaten by three hammers, the car drawn by two figures, a Desire with wings, and Hope with an anchor, while behind comes Fortune as a prisoner, her wheel broken. The third has Christ on a carwith the standard of the Cross and his Passion, at his side are the
(1) Hans Liefrink of Leyden.
Evangelists represented as animals; the car is drawn by two angels, and behind are four prisoners, the Devil, the World or flesh, Sin and Death. The next is Isaac naked upon a camel, his banner having a pair of manacles and behind are the altar with the sheep, the knife and the fire. In the next, Joseph on another car is mounted on an ox with a garland of ears of corn and fruit, and a standard with a box of peaches; his prisoners are Anger and Envy eating a heart. The next is David on a lion holding a sceptre and a standard and grasping a bridle. Behind him is Saul as a prisoner and Shimei with his tongue out. Then comes Tobias on an ass, his standard has a fountain, and his prisoners are Poverty and Blindness. The last is St. Stephen on an elephant, on his standard is Charity, and his persecutors are his prisoners. All these ingenious fancies were engraved by Jerome Cock with a bold hand. He also engraved Fraud and Avarice, and a Bacchanal with dancing children. In another he did Moses crossing the Red Sea, after the painting of Agnolo Bronzino the Florentine, painted in the upper chapel of the Duke's palace at Florence. In competition with him, Giorgio Mantovano engraved a beautiful Nativity, also from Bronzino's design. Jerome then engraved for the designer twelve sheets of the victories, battles and exploits of Charles V. For Verese,1 the painter and eminent perspectivist, he did twenty different buildiiigs, and for Jerome Bos he did St. Martin in a boat full of curiously shaped devils and an alclicinist wastiiig liis substance ahd coming at length to the hospital with liis wife and cliildren. This was designed by a painter who got him to engravc the seven mortal sins with various demons, a fantastic and laughable thing, the Last Judgment, and an old man with a lantern sccking quiet amid the turmoil of the world and not finding it. He also did a large fish eating small fish, and a Carnival rejoicing at table with others and driving away Lent, while in anothcr Lent expels the Carnival, with many other fancies which it would be tiresome to recount.
Many other Flemings have carefully imitated the style of Albert Durer, especially Albert Aldcgraf,2 who engraved four scenes of the creation of Adam, four of Abraham and Lot and four of Sussannah, all very beautiful. G. P.3 also engraved the Seven Works of Mercy, in small circles, eight scenes from the Book of Kings, Regulus put in the tub full of spikes, and a.
(1) Possibly Jan Cornelis Vermey is meant. (2) Albert Aldegrove, c. 1502-62. (3) George Penez, c. 1500-50.
lovely Artemis. I. B. did the four Evangelists, wonderfully minute, and five other beautiful sheets; a young girl led by
Death to the grave; Adam; a peasant a bishop and a cardinal
all led away by Death. He also did some Germans going with
their mistresses to pleasures, and some fine Satyrs. By. .. we
have the four Evangelists, not less fine, and twelve scenes of the
Prodigal Son, executed by a M. with much diligence. Finally Francis Floris,1 famous painter of those parts, did a great number of designs and works, mostly engraved by Jerome Cock, such as the Labours of Ylercules in ten sheets, and a large sheet of all the acts of life, another of the combat between ,the Horatii, the Judgment of Solomon, the fight between the !Pygmies and Ylercules, and Cain killing Abel, with Adam and Eve lamenting. Also Abraham sacrificing Isaac, with countless others marvellous for their various fancies. Our book contains portraits of painters, sculptors and archi- tects, designed by Giorgio Vasari and his pupils, and engraved by Maestro Cristofano Coriolano,2 who is still doing many notable things at Venice. The ultramontanes have derived great advantages from prints which have enabled them to see the style of the Italians, as the Italians have froni seeing those of foreigners and ultromontanes, and for this they are chiefly indebted to Marcantonio of Bologna, who, besides being among the earliest engravers, has not since been really surpassed, although a few have equalled him in some things. Not long after leaving Rome he died at Bologna. Our book contains some pen drawings of angels by him, and other very beautiful sheets copied from the chambers painted by Raphael. In these Marcantonio was drawn by Raphael as one of the bearers of Pope Julius II., in the scene where Onias the priest is praying. This is the conclusion of the notice of Marcantonio and the other engravers, of whom I have spoken at this necessary length to satisfy the students of art and all those who take delight in such works.(1) Francis Floris, 1520-70. (2) Born at Nurnberg in 1540; his name was Lederer.
ANTONIO DA SAN GALLO, Architect of Florence, (I485-I546)
WHAT great fame many illustrious princes would leave behind them if, in addition to the gifts of Fortune, they possessed a high spirit, and one inclined to the things which not only embellish the world, but are of the utmost benefit to all men. What works perpetuate the fame of princes and great men more than great and magnificent structures, because they endure practically forever? Of all the lavish expenditure incurred by the Romans when at the height of their power, what has come down to us, to their eternal glory, except those remains of buildings which we honour as sacred, and as the only things which we care to imitate? The interest of some princes in these things will appear in the Life of Antonio San Gallo, architect of Florence, which I am now writing.
He was the son of Bartolommeo Picconi of Mugello, a cooper, and having learned the trade of a carpenter as a child, he left Florence, hearing that his uncle Giuliano da San Gallo was employed at Rome with Antonio his brother. As he was much inclined to architecture- he gave promise of future eminence, displayed in later years in so many thiiigs all over Italy. When Giuliano, suffering from the stone, was forced to return to Florence, Antonio became known to Bramante the architect, helping the paralytic old man with his drawings, as he could not use his hands. Antonio did these with such finish that Bramante, finding the measurements correct, gave him the care of many things, supplying him with the necessary inventions and compositions. Antonio showed such judgment, quickness and diligence that, in I5I2, Bramante gave him the charge of the corridor leading to the moat of the Castle of St. Angelo, which he began with a provision of zo crowns a month, but the work was interrupted by the death of Julius II. Antonio, however, had already acquired the reputation of being a skilful architect, and his excellent walls led Alcssandro Farnese, the first cardinal of the house, afterwards Pope Paul III., to think of restoring his old palace in the Canipo di Fiore, where he lived with his fainily. Antonio, being anxious to win a position by this work, made various designs, one of which, arranged in two apartments, was adopted by the cardinal afler consulting his sons Pier Luigi and Ranuccio, whom he expected to accomo-
date in this structure. The work was therefore begun1 and advanced steadily every year. At this time a church dedicated to S. Maria da Loreto at the Macello de' Corbi at Rome, near the Trajan Column, was beautifully decorated by Antonio. Then M. Marchionne Baldassini built a palace near S. Agostino from Antonio's model, which, though small, is considered the first and most convenient house in Rome, the stairs, court, loggias, doors and rooms being most graceful. M. Marchionne was delighted, and determined that Perino del Vaga, painter of Florence, should decorate a hall, as will be related in his Life, the decorations possessing much grace and beauty. Antonio finished the house of the. Centelli, near the Torre di Nona, which is small but very convenient. Before long he went to Gradoli, a place on the estate of Cardinal Farnese, where he built a beautiful and convenient palace for him, and restored the fortress of Capo di Monte with a circuit of low, well-designed walls, designing also the fortress of Capraruola. The cardinal, seeing himself so well served, became very fond of him, and favoured him as far as possible in every undertaking. Cardinal Alborense wishing to leave a memorial of himself in the church of his nation, employed Antonio to erect a marble chapel and tomb for him in S. Jacopo degli Spagnuoli. The chapel, standing between the pilasters, was painted by Pellegrino da Modana, while Jacopo del Sansovino made a fine marble St. James for the altar. This work of architecture was considered most praiseworthy, the marble vault being decorated with octagons. Soon after M. Bartholommeo Ferratino, for his own convenience and that of his friends, and to leave an honourable memorial, employed Antonio to build him a palace 2 on the piazza of Amelia, a beautiful construction which brought Antonio no small fame and profit. Antonio di Monte, cardinal of S. Prassede, being at Rome at this time, wished Antonio to build him a palace, wl,ere he afterwards lived, on the street leading to Agone, where the statue of Maestro Pasquino stands, and having a place for a tower in the middle, constructed on three floors with fine pilasters and windows. Francesco dell' Indaco did in clay the figures and scenes, inside and out. Having intimate relations with the cardinal of Arimini, Antonio built him a palace in Tolentino della Marca, for which the cardinal rewarded him, remaining always in his debt.
Meanwhile, as Antonio's fame was increasing and spreading, Bramante, being very old, was summoned to another world.
(1) In 1534. (2) Now Patngnan,
Pope Leo therefore appointed three architects for the building of S. Pietro: Raphael, Giuliano da San Gallo, Antonio's uncle, and Fra Giocondo of Verona. Before long Fra Giocondo left Rome, and Giuliano, being old, obtained permission to return to Florence. Antonio, being in the service of Cardinal Farnese, begged him to get Pope Leo to appoint him to his uncle's place. This he easily obtained,1 because his ability merited the appointment, and he was supported by the influence of the Pope and Cardinal Farnese, and so the building was continued in a very dilatory fashion by him and Raphael. When the Pope went to fortify Civitavecchia, accompanied by numerous lords, ineluding Gio. Paolo Baglioni and Sig. Vitello, and by Pietro Navarta and Antonio Marchisi, architect of fortification who had come from Naples by the Pope's command, various designs were submitted, but Antonio's was accepted by the Pope and the others as being the finest and strongest, and so he won great credit at the court. After tliis Antonio's skill was able to repair a great error. In making the papal loggia and apartments, Raphael had left a number of spaces to please some people, to the detriment of the structure, as, the weight being too great, the building would certainly have fallen if Antonio had not supported it with props, making new foundations and leaving it more firm than it had ever been.
The Florentine nation having begun their church in the Strada Giulia behind the Banchi from the designs of Jacopo Sansovino, it was set too far back to the river. Accordingly they were involved in an expenditure of I2,000 crowns for foundations in the water. This was excellently carried out by Antonio, who had succeeded in doing what had baffled Jacopo, and several bracchia were built over the water, Andrea making a remarkable model, and if the work had been completed it would have been stupendous. However, it was a disgrace, and showed great want of foresight in the head of the nation at Rome, to permit the architects to found so large a church in so formidable a river, in order to gain 20 braccia in length and throw so many crowns away on foundations involving a continual struggle with the river, when the church might have been brought farther forward on the land, if shaped differently, and could have been completed at the same cost. If they trusted in the wealth of the nation, time proved their calculations to be false, for the church remained and still is in the same condition, 2 during all the years of Popes Leo and Clement, both
(1) In 1517. (2) It was finished between 1832 and 1838.
Medici, Julius III. and Marcellus, all Florentines, and in spite of the greatness of numerous cardinals and the riches of merchants; and architects ought to look to the end before putting their hands to a work of importance.
But to return to Antonio. One summer he accompanied the Pope Monte Fiascone and restored the fortress there erected
by Pope Urban, and did two small temples in the Viscentina
island on the Lake of Bolsena for Cardinal Farnese; one of them octagonal outside and round within, the other squareoutside and octagonal within, with a niche at each angle outside. Both were excellent, showing Antonio's resources in architecture. While they were building, he returned to Rome and began the palace of the Bishop of Cervia at the corner of S. Lucia, where the new mint is, but it was left unfinished. Near the Corte Savella he did the church of S. Maria di Monferrato, considered very beautiful, and the house of Marrano, behind the Cibo palace, near the house of the Massimi.
On the death of Leo all the fine arts revived by him and by Julius II. languished under Adrian VI. who succeeded, who treated them so badly that if his pontificate had lasted longer a Nin would have overtaken them, such as befel when the Goths came, all statues being condemned to the flames, good as well as improper ones. Adrian might perhaps have followed this example
of his predecessors, and had already begun to talk of pulling
down Michelagnolo's chapel which he called a stew of nudes,
and contemptuously classified all good pictures and statues as
lascivious and abominable. Thus all good artists, including Antonio, stopped work, and the building of S. Pietro was almost at a standstill during this pontificate, though he might have cared for this even if hostile to other worldly things. Aritonio therefore only did small things, restoring the aisles of the church of S. Jacopo degli Spagnuoli, and making some fine windows in the facade. He did the Tabernacle of the Imagine di Ponte in travertine, which is very graceful though small, and here Perino del Vaga did a beautiful little work in fresco. The unfortunate arts were thus badly circumstanced under Adrian, when Heaven by the death of one revived thousand. He made way for one more deserving of the station, and who would deal otherwise with worldly affairs. Clement VII. followed in the footsteps of Leo and the other members of his illustrious house, feeling that, as he had made such fine memorials as cardinal, he ought as Pope to advance all buildings and decorations. His election encouraged the artists and restored life to thetimid,
who afterwards produced the beautiful works which we now see. By the Pope's commission Antonio began a court in the palace before the loggias already painted by Raphael. Antoni greatly enhanced its convenience and beauty by enlarging some narrow and tortuous ways and giving them a better form. But it has since been altered, as Julius III. removed the granite columns to decorate his villa, and changed everything. In Banchi Antonio did the facade of the old mint, with a most graceful rounded corner, of great difficulty, putting the Pope' arms there. He made new foundations for the remainder of the loggias, left uncompleted by Leo's death, and untouched under Adrian, completing them as Clement desired. His Holiness resolved to fortify Parma and Piacenza,1 and after many plans had been prepared by various people, Antonio was sent thither with Giuliano Leno, the supervisor. Arrived there with his pupil Antonio l'Abbaco, Pier Francesco of Viterbo, a clever engineer, and Michele da S. Michele, architect of Verona, they together perfected the designs of these fortifications. This done, while the others stayed, Antonio returned to Rome, where Pope Clement directed him to begin the apartments over the Ferraria, where the public consistories are held, there being only scanty accommodation in the palace. The execution of the work gave great satisfaction to the Pope, who next had his chamberlains' apartments constructed. Above these Antonio made others of great convenieilce, the work being dangerous because of the foundations. In this respect Antonio showed great skill, as his buildings have never moved a hair's breadth, no modern architect being so safe as he.
In the time of Paul II. the little church of the Madonna of Loreto, the roof of which rested on rough brick pilasters, was restored upon its present plan by Giuliano da Maiano, being afterwards raised by Sixtus V. and others, as has been said. But in the time of Clement, after having stood perfectly firm, it cracked in 1526 so that the arches of the tribune were endangered, and the church also in many places, because the foundations were weak and the walls leaning out. Being sent by Clement to repair these defects, Antonio proceeded to Loreto, propped up the arches like a determined and judicious architect, and inade new foundations. He thickened the walls and the pilasters within and without, rendering it beautiful in form and proportion, and capable of bearing any strain. He continued this arrangement for the crossing and aisles, with superb mould-
(1) In 1525.
ings upon the arches, friezes and crnices. Especially fine were the bases of his four large pilasters at the eight sides of the tribune bearing the four arches, namely the three of the crossing where the chapels are, and the large one of the nave. This was considered his best work, and with good cause, because those who erect buildings from the beginning can fashion them as they please, whereas those who restire things begun by others and ill-designed or spoiled by misfortune, do not enjoy this advatage; so that Antonio may be said to have raised the dead, and to have achieved what was all but impossible. He directed that it should be roofed with lead, and showed how the remainder of the work was to be done, thus endowing that faomous sanctuary with form and grace greater than it had possessed before, and giving it the hope of a long life.
DO PAGE 92 AND 93 OF ANTONIO DA SAN GALLO HERE!!!!!!!!
prisoners, two at each, and a great number of trophies, with the arms of the Pope and Emperor, all executed under Antonio, by the best sculptors and painters then in Rome. He also designed all the apparatus for the festivities for receiving the emperor. For the Duke of Castro he next did the fortress of Nepi1 and the defence of all the city, which is impregnable and magnificent. Here also he planned several streets, designing houses and palaces for the citizens. For the Pope he then made the bastions of Rome, of great strength, including the S Spirito gate, with rustic ornaments in travertine, very solid, and of such magnificence that it equals the ancients. After Antonio's death a great effort was made to destroy it, chiefly through envy, but this was not permitted. He also made new foundations for the apostolic palace, which threatened to fall in several places, including one side of the Sistine Chapel, where the works of Michelagnolo are, and the facade, a work involving more danger than it promised glory. He enlarged the great hall of the Sistine Chapel, making two large windows in two lunettes with stucco ornament, which rendered the hall the most beautiful and richest in the world. He also made some steps leading to S. Pietro as
convenient as anything seen among the ancients and moderns.
He did the Paulina Chapel, where the Sacrament is placed, most beautifully proportioned, graceful and attractive. During the dissensions between the Perugians and the Pope he made the fortress of Perugia,2 pulling down the Baglioni houses, finishing it with marvellous speed and making it very beautiful. He also built the fortress of Ascoli, rendering it defensible in a few days, a thing the Ascolians did not expect for many years, so that the people were amazed at a garrison being placed there 50 soon. In Rome he made new foundations for his house in Strada Giulia to protect it when the Tiber was swollen,and he began and made considerable progress with the palace near S. Biagio, now owned by Cardinal Riccio da Montepulciano, who completed it at great cost, and with sumptuous rooms, in addition to the thousands of crowns which Antonio had expended.
But none of Antonio's works is to be compared with the stupendous fabric of S. Pietro at Rome, begun by Bramante, but extraordinarily enlarged and rearranged by him, as he gave it proportion, composition and decoration in every part, as we see by the completed wooden model made by his pupil Antonio Labacco, which gave Antonio a great name. This
(1) In 1537. (2) 1540
model and the plans were published by Labacco after his death, who wished to show his master's skill, and that men should know his views. Michelagnolo, however, made other dispositions, which were much contested, as I shall relate. He and many others who saw Antonio's model thought the composition too dwarfed by projections and members, which are small, as are the columns, arches being placed upon arches and cornices above cornices. He condemned the finish or garland of numerous small columns of the two campanili, the four small tribunes and the great tribune, nor did he like the numerous pyramids, which he thought approached the German style more than the good antique observed by the best architects.
Labacco having finished the models, that of S. Pietro cost 4I84 crowns for the carpenters and joiners only. Labacco did his part well, for he possessed a good knowledge of architecture, as we see by his fine printed book on Rome. The model is now in the principal chapel of S. Pietro, and is 35 palms long, 26 broad and 201 high, so that the complete work would have been I040 palms or I04 canne long, and 360 broad or 36 canne, the Roman canna being 10 palms.. For the labours on this model and the designs Antonio was granted I500 crowns, but lie only received I000 before his death. He thickened the pilasters of S. Pietro to bear the weight of the tribune and filled the foundations with solid materials, making it so strong that it could not move as it had done in Bramante's time. If that masterpiece were above ground instead of being hidden beneath, it would dismay the most formidable intelligence, and for it this admirable artist must always retain a place among the rarest intellects.
From the days of the ancient Romans there has been continual enmity between Narni and Terni, because the lake of Marmora does harm to one or the other, so that when Narni wishes to open it Terni will not consent, and thus there have been disputes under both emperors and popes. Cicero was sent by the Senate to compound such a difference, but did not succeed. In I546 ambassadors were sent to Paul III. on the matter, and he dispatched Antonio to settle the dispute. He decided that the lake ought to discharge on the side where the wall is, and with great difficulty he cut it. But the weather was very warm, and Antonio being an old man fell sick of the fever at Terni, and died soon after, to the sorrow of his friends and relations, and the loss of many buildings, chiefly the Farnese palace near the Campo di Fiore.
When a cardinal, Paul III. had advanced the palace to a good state, and had begun the front windows, the inside hall, and cleared a part of the court, though it was not sufficiently advanced to show its perfections. After the Pope's election Antonio entirely changed the design for something befitting a pope and not a cardinal. Pulling down some houses and the old staircases, he made new and more pleasant ones, enlarged the court in every sense and the whole of the palace, making larger salons, more numerous rooms, and finer ceilings, with beautiful carving and otheF decorati‚on. He completed the second windows, and it only remained to set up the surrounding cornice. The Pope, being a man of spirit and of good judgment, wished to have a finer cornice, the richest possible, and better than that of any other palace, so in addition to the plans prepared by Antonio all the best architects in Rome made theirs though Antonio was to superintend the work. One morning, as the Pope was driving in Belvedere, all the designs were brought to him in the presence of Antonio. They were by Perino del Vaga, Fra Bastiano del Piombo, Michelagnolo Buonarotti and Giorgio Vasari, then young and in the service of Cardinal Farnese, with whose commission and the Pope's he had prepared two designs Giorgio, who took his own and excused his friend as being for the cdrnice. Buonarotti did not bring his, but sent it by indisposed. The Pope examined the designs carefully, and praised all as being ingenious and beautiful, but especially that of Michelagnolo. Antonio did not like all this, as he wished to be the chief, and he was even more dissatisfied at seeing the favour bestowed by the Pope on one Jacopo Melighino of Ferrara, although he had no design and not much judgment, in employing him upon the work of S. Pietro and in giving him the same salary as Antonio had for all his labours. This was because Melighino had served the Pope for many years without any reward, and the Pope chose to reward him in this way, and moreover he‚ had given him charge of the Belvedere and some other buildings. After examining the designs, the Pope said, perhaps to test Antonio: "These are all fine, but I should like to see one by our Melighino." Antonio rather resented this, and thinking the Pope was jesting he said, "Holy Father, Melighino is an architect pour rire." On hearing this the Pope, who was seated, almost bent his head to the ground, and turning to Antonio he said, "Be good enough to remember that we consider Melighino a serious architect, as you may see by his provision," and then departed, dismissing them all, for he wished
to show that princes, more than merit, often bring men to greatness. The cornice was ultimately made by Michelagnolo, as wiIl be said in his Life, and he practically rebuilt the whole palace in another form. Antonio left a brother, Battista Gobbo, an ingenious man, who devoted all this time to his brother's buildings, though Antonio did not treat him very well. He survived Antonio many years, and at his death left all his property to the company of the Misericordia of the Florentines at Rome, on condition that they should print his book of observations upon Vitruvius, which has never appeared. It is supposed to have been a good work, because he thoroughly understood art and possessed judgment and intelligence.
But to return to Antonio. He died at Terni and was taken with great pomp to be buried at Rome, followed by all artists and many others. His body was afterwards laid in a vault near the chapel of Pope Sixtus in S. Pietro, with this epitaph:
Antonio Sarncti Galli Florentino Urbe munienda ac publ. operibus,
praecipueque D. Petri templo ornam. architectorum facile principi, dum Velini lacus emissionem parat. Paulo pont. max. auctore, interamne intempestive extincte. Isabella Deta uxor moestiss. posuit I546 III. Kalend. Octobr.Indeed, for his excellent works Antonio merits no less praise than any other architect, ancient or modern, no matter who.
GIULIO ROMANO, Painter (1492-1546)AMONG the countless pupils of Raphael, who mostly became excellent, no one imitated him more closely in style, invention, design and colouring than Giulio Romano, nor was anyone of them more profound, spirited, fanciful, various, prolific and universal; he also was an agrecable companIon, jovial, affable, gracious and abounding in excellent qualities, so tliat Raphael loved him as if he had been liis son, and employed him on all his principal works. Thus, when Raphael had designed the building, decoration and scenes for the loggias for Leo X., he charged Giulio to do many of the paintings, and amongst others the creation of Adam and Eve, that of the animals, the building
(1) Giulio Pippi.
of Noah's ark, the sacrifice, and many others recognisable by the style, such as Pharoah's daughter finding Moses in the ark, a marvellous work with a finely executed landscape. He also helped Raphael to eolour many things in the chamber of the Borgia tower containing the burning of the Borgo, notably the bronze-coloured basement, the Countess Matilda, King Pepin, Charlemagne, Godfrey of Bouillon, King of Jerusalem, and other benefactors of the Church, all excellent figures. A part was issued as prints not long ago from Giulio's design. He also did most of the scenes in fresco in the loggia of Agostino Ghigi, and a fine St. Elizabeth in oils, done by Raphael and sent to King Francis of France with another of St. Margaret, almost entirely by Giulio from Raphael's design, who sent to the same king a portrait of the vice-queen of Naples,1 in which Raphael only did the head, the rest being by Giulio. These works greatly pleased the king, and they are still in the royal chapel at Fontainebleau. In this way Giulio learned the difficulties of art, taught to him with great patience by Raphael, and before long he became skilled in drawing perspectives, measuring buildings and making plans. Sometimes Raphael would sketch his ideas and Giulio would enlarge them for use in architecture, in which he began to take such delight that with practice he became an excellent master. On Raphael's death Giulio and Giovanfrancesco, called Il Fattore, were left his heirs and charged to finish his works, a task which they honourably fulfilled in most cases.
Cardinal Giuliano de' Medici, afterwards Clement VII., acquired a site in Rome under Mt. Mario, with a beautiful view, flowing water, well wooded, and extending along the Tiber from Ponte Molle to the S. Piero gate. Here on tlie flat ground at the top of the bank he resolved to erect a palace furnished with convenient rooms, loggias, gardens, fountains, woods and other things of beauty, and gave the work to Giulio. He took it readily, and erected the palace then known as the Vigna de' Medici, and now as the Vigna di Madama, with great perfection. Accommodating himself to the site and to the cardinal's wishes,
he designed a semicircular facade with niches and windows of
the Ionic order, so much admired that many believed Raphael
had designed them, and that Giulio had biit elaborated his sketches. Giulio decorated the chambers and other parts with pictures, notably a fine loggia beyond the first vestibule, adorned with large and small niches containing a quantity of ancient statues comprising a Jupiter of rare beauty, afterwardssent
(1) Joan of Aragon, painted I5I8, now in the Louvre.
by the Farnesi to King Francis of France, with many other beautiful statues. The walls and vaulting are, moreover, covered with arabesques by Giovanni da Udine, and the loggia is decorated with stucco. At the top Giulio painted a great Polyphemus in fresco, with infants and satyrs playing about him, for which he won great praise. His other designs there were equally admired, of fisheries, pavements, rustic fountains, woods and other things, all of great beauty and executed with judgment. But the work was interrupted by the death of Leo, as, on the eleetion of Adrian and the departure of the Cardinal de' Medici for Florence, all public works begun by Leo were discontinued. Meanwhile Giuliano and Giovanfranceseo finished many of Raphael's incomplete works, and prepared to carry out the cartoons he had done for the great hall of the palace, representing four scenes of the acts of the Emperor Constantine. Before his death Raphael had prepared the surface of one wall to receive the oils. But Adrian, who cared nothing for painting, sculpture, or anything fine, did not want it done. Thus, while Adrian lived, Giulio, Giovanfrancesco, Perino del Vaga, Giovanni da Udine, Bastiano Veniziano and other excellent artists came near dying of hunger. But while the court, nourished on the greatness of Leo, had come to this pass, and the best artists were at their wits' end, their abilities being no longer valued, Adrian died, by God's will, and Cardinal Giulio de' Medici was elected pope as Clement VII. Thus in one day all the arts of design revived with tlie other talents, and Giulio and Giovanfrencesco immediately and joyfully set about finishing the Hall of Constantine by the Pope's order. They threw down the wall prepared for the oils, leaving, however, two figures, which they had previously painted as a decoration about some popes, of Justice and another virtue. The hall being low, the dispositions had been judiciously arranged by Raphael. At the corners over the doors he put some large niches decorated with infants holding various devices of Leo X., such as lilies, diamonds, feathers and the like. In the niches were seated popes in tlieir pontificals, each one having a shadow. About them were cherubs holding books and other suitable things. On either side of each pope was an appropriate Virtue. Peter had Religion and Charity or Piety, and the others had the like, the popes being Damasus I., Alexander I., Leo III., Gregory, Silvester and some others, all well executed by Giulio, who devoted his best energies to the task. His labour and diligence are shown by a fine drawing of St. Silvester by him, probably more graceful than the painting,
for he was always happier in expressing his ideas in drawing than in painting, obtaining more vivacity, vigour and expression, possibly because a design is made in an hour in heat, while a painting takes months and years. Thus he became tired, losing his first ardour, and it is no wonder that the paintings are inferior.
But to return to the scenes. On one of the walls Giulio painted Constantine addressing his soldiers, a cross appearing in the air with some cherubs, and the letters IN HOC SIGNO VINCEs. A dwarf at Constantine's feet, putting on a helmet, is made with great art. On the largest wall is a cavalry fight near Ponte Molle, where Constantine routs Maxentius, an admirable work for the wounded and dead and the varied and curious attitudes of the infantry and cavalry fiercely engaged. There are also many portraits, and if it did not contain too much black, of which Giulio was always fond, it would be perfect, but this greatly detracts from its beauty. He did the whole landscape of Monte Mario, and Maxentius drowning in the River Tiber on his horse. This scene1 has proved of great assistance to those who have since represented bat!les. Giuliano studied the ancient columns of Trajan and Antoninus at Rome, making g‚reat use of them for the dresses of the soldiers, the armour, ensigns, bastions, stoclcades, rams and other implements of war represented there. Below this he painted many admirable things in bronze colour.
On the other wall he did St. Silvester the Pope baptising Con-
stantine, representing the very bath made by that emperor,
now at St. John Lateran. St. Silvester is a portrait of Pope Clement, and many assistants and others are present. Among the Pope's servants he drew the Pope's favourite, M. Niccolo Vespucci, knight of Rhodes, the little cavalier, and below in bronze colour he painted Constantine building S. Pietro, an allusion to Pope Clement, with portraits of Bramante and Giulian Lemi, who hold the plan of the church, making a very beautiful scene. On the fourth wall over the chimneypiecehe represented S. Pietro in perspective, with the papal residence as it stands, the Pope singing Mass with the cardinals and other prelates of the court, aiid the chapel of the choristers and musicians. The Pope is seated, as St. Silvester, with Constantine
kneeling at his feet and presenting to him a golden Rome as it
is shown on ancient medals, to indicate the gift which Constan-
tine made to the Church. Giulio here introduced many beautiful
women kneeling to view the ceremony, a poor man asking alms,(1) Begun in 1524.
a boy playing with a dog, and the lances of the Pope's guard making the people stand back in the usual way. Among the numerous portraits are those of Giulio himself, his friend Count Baldassare Castiglione, author of Il Cortigiano, Pontano, his great friend, Marullo and many other men of letters, and courtiers. About the windows Giulio painted many designs and poetic fancies of great beauty, greatly delighting the Pope, who richly rewarded him.
While this hall was being painted, Giulio and Gio. Francesco did an Assumption1 of great beauty, which was sent to Perugia, and placed in the monastery of' the nuns of Montelucci. Giul,o alone did a Madonna with a cat,2 so natural that it was called the picture of the cat. In another large picture he represented Christ at the Column, which was placed over the high altar of S. Prassedia at Rome. Not long after M. Gio. Matteo Giberti, afterwards bishop of Verona, and then datary of Pope Clement, employed his friend Giulio to design some apartments, built of brick, near the door of the Pope's palace, on the piazza of S. Pietro, near where the trumpeters stand when the cardinals go to the consistory, with convenient steps, which can be mounted on horse or foot. For the same friend Giulio did a Stoning of St. Stephen,3 with remarkable invention, grace and composition, and while the Jews are stoning him young Saul is seated on their clothes. Giulio never did a finer work than this, representing the vigour of the assailants and the patience of Stephen, who really seems to see Christ on the right hand of the Father in a lovely sky. M. Gio. Matteo gave this work to the monks of Monte Oliveto, together with the benefice, which they have converted into a monastery. For Jacopo Fugger, a German, Giulio did a panel for a chapel in S. Maria de Anima at Rome of the Virgin, St. Anne, St. Joseph, St. James, the little St. John, and St. Mark kneeling, with a lion at his feet, and a book. This was a difficult task, as the lion has wings, with soft, plumy feathers, an extraordinary iinitation of naturc. He also made a building, round like a theatre, with statues of inexpressible beauty, finely disposed. Among thein is a woman spinning, and looking at a hen with her chickens, wonderfully natural. Above the Virgin are some cherubs, holding a graceful canopy, but unfortunately this picture also contained too much black, which goes far to neutralise the labour bestowed on it, for the black always contains some carbon or other acid which
(1) In I525; now in the Vatican Gallery. (2) Naples Museum. (3) In I523, in S. Stefano, Genoa.
eats into the material. Among the numerous pupils of Giulio who assisted him with this work were Bartolommeo da Castiglione, Tommaso Paparello1 of Cortona, Benedetto Pagni of Pescia, and Giovanni da Lione and Raffaello dal Colle of Borgo S. Sepolcro, both much employed in the Hall of Constantine and the other works mentioned. Being dexterous painters who had carefully observed Giulio's methods, they coloured from his designs the arms of Pope Clement VII., near the old mint in Banchi, with a figure on either side. Not long after Raffaello, from a design of Giulio, painted in fresco, in the lunette of the door of the palace of the Cardinal della Valle, a Virgin covering the sleeping Child, between St. Andrew the Apostle and St. Nicholas, considered an excellent work. Giulio being friendly with M. Baldassarre Turini of Pescia, made a model and built him a palace on Mount Janiculum,2 where he has a fine view, of the utmost grace and convenIence. The rooms were adorned with stucco and painting, as Giulio himself painted stories of Numa Pompilius, who was buried there. In the bath-room Giulio painted stories of Venus and Cupid, Apollo, Hyacinth, being helped by his apprentices, all of which scenes are engraved. On separating from Gio. Francesco, he did various works in architecture at Rome, such as the design for the Alberini house in Banchi, attributed by some to Raphael, and a palace on the Piazza della Dogana at Rome, since engraved because of its good arrangement. He also did a fine range of windows at a corner of the Macello de' Corbi where his birthplace was, which, though small, is very graceful. Alter Raphael's death Giulio's excellent qualities gave him the reputation of being the best artist in Italy, and Count Baldassarre Castiglione, then ambassador at Rome of Federigo Gonzaga, Marquis of Mantua, and his friend, being requested by the marquis to procure him an architect for his palace, he succeeded by prayers and promises in getting Giulio to go if he could obtain the permission of Pope Clement. That done, the count, on .going to Mantua with a message from the Pqpe to the emperor, took Giulio with him.3 He presented him to the marquis, who received Giulio graciously, gave him a well-furnished house, and ordained a provision for him and for Benedetto Pagni and another youth. He also sent him several ells of velvet and smooth cloth to dress himself, and, understanding that he had no horse, gave him a favourite one of his own called Ruggieri. On this creature Giulio rode a bowshot out of the S. Bastiano gate, where the marquis had a place
(1) Rectius Papacello. (2) Villa Lante. (3) In I524.
and stables, called the T, in the middle of a meadow, where he kept his stud. When he artived there, the marquis said that he wanted, without destroying the old building, to have a place where he could resort for amusement and take refreshment. Giulio, after examining the site, set to work and, using the old walls, made the first hall in a larger part, as may be seen on entering, with the chambers on either side. As there is no good stone there for building or carving, he used bricks and tiles, with stucco, and of this material he made columns, bases, Capitals cornices, doors, windows and other things in fine proportion, with new and extraordinary decoration for the vaulting, and richly decorated the interior, and this led to the marquis deciding to make the present fine palace there from a humble beginning. Giulio prepared a fine model in the court of rustic-work, which greatly pleased the marquis, who gave him a provision and, Giulio bringing many builders to the place, the work was speedily completed.1 The building is rectangular, with an open court in the middle for a piazza, upon which four ways open, in the form of a cross. The first passes to a large loggia, which leads through another into the garden. Two others lead to various apartments, decorated with stucco and painting. The vaulting of the hall, which is entered from the first, is painted in fresco, and the walls contain representations of all the best horses of the marquis's breed, and the dogs also, which are marked
like the horses, each with its name, all being designed by Giulio, and coloured in fresco by his pupils, Benedetto Pagni and Rinaldo Mantovano, so well that they seem alive. From here one enters a room at the corner of the palace, the vaulting of which is finely decorated with stucco and various cornices, gilt in some places. These form four octagons, which surround a square in the highest part, where a cupid stands before Jove, who is surrounded by a celestial light, and espouses Psyche in the presence of the gods, a most graceful design, the figures being so well foreshortened, as seen from beneath, that some, not more than a braccia long, look three; indeed, Giulio has made the illusion complete, the figures are in such relief. The octagons contain the other stories of Psyche, of the wrath of Venus against her, executed with the same beauty and perfection. The other angles contain cupids, and there are others in the windows with various expressions according to the spaces. The ceiling is coloured in oils by Benedetto and Rinaldo. The remainder of the scenes on the lower walls represent Psyche taking her bath,(1) Between I525 and I535.
attended by the cupids, while we see the banquet of Mercury, with the Bacchantae and the Graces beautifully embellishing the picture, and a goat, with two infants sucking her dugs; and near him is Bacchus, with two tigers at his feet; he leans on a sideboard on one arm, and has a camel on one side, and an elephant on the other. This sideboard is seniicircular, and covered with festoons and flowers, full of vines and grapes. Beneath are three tiers of curious vases, basins, cups and such things in various forms, and so lustrous tliat they actually seem silver and gold,, though he has used simple yellow colour, an instance of Giulio s genius and ability, which was rich, varied and prolific in invention and art. Not far off is Psyche, surrounded by women serving her, and in the distance is Phoebus guiding the four horses of his chari ot, and a naked Zephyr reclining on clouds and blowing soft breezes through a horn, making a pleasant atmosphere about Psyche. These designs were engraved soon after by Battista Franco of Venice, who made them uniform with the large cartoon of Giulio done by Benedetto and Rinaldo, who executed these scenes, except the Bacchus, the Silenus and the two children suckled by the goat. The work was indeed retouched by Giulio, and is therefore his. He learned this method from Raphael, and it is very useful for the young men employed, because they become excellent masters, and although some think they are better than those who direct the work, they soon
recognise that without such guidance they would find them-
selves blind in a sea of infinite errors. But to return to the rooms
of the T. The Psyche room led into another, full of friezes of figures in bas-relief in stucco from Giulio's design, by Francesco Primaticcio of Bologna,1 then a youth, and by Gio. Battista Mantovano, containing all the soldiers on the Trajan Column at Rome, done in fine style, the ceiling of an ante-chamber being painted in oils, representing Icarus directed by his father Daedalus, who, through wishing to fly too high, comes insight of Cancer and the chariot of the sun, drawn by four horses, near Leo, and is left without wings, the wax being melted by the heat. He is next seen falling, his face deathly pale, a fine idea of
Giulio, and very truthful, as we notice the sun's heat withering the wings, the smoke of the fire, the splitting of the feathers and the death agony in the face of Icarus, with passion and grief in that of Daedalus. I have the original design for this beautiful scene in my book. In the same place Giulio did the Months, with(1) He was at Mantua between I525 and I531.
the usual occupations of each, a work of delightful imagination, carried out with judgment and diligence.
Passing the great loggia, decorated with stucco, arms and other curious ornaments, we come to some rooms full of such various fancies that the mind is bewildered, for Guilio being very imaginative and ingenious, to show his ability, intended to make a room similar to the Psyche room, the walls of which should‚ correspond with the painting and create an illusion. As the place was marshy he laid the foundations deep and double, building a round room with thick walls so that the four external angles should be strong enough to bear a double barrel-vault. He then made the windows, door and chimneypiece of rustic stone, so twisted that they looked as if they leaned to one side and would fall. In this strangely built place he began to paint the most curious idea imaginable: Jove fulminating the giants. On the vaulting is the throne of Jove foreshortened, and a round Ionic temple on perforated columns, with a canopy over the seat in the middle. His eagle is there, the whole being on the clouds. Lower down angry Jove is fulminating the giants, with Juno assisting; lower still, while the strange-faced winds blow on the earth, the goddess Ops turns at the noise with her lions, as do the other gods and goddesses especially Venus, who is next to Mars and Momus, who with wide-open arms seems to be expecting the heavens to fall, and yet remains immovable. The Graces stand in fear with the Hours near them, and each goddess is fleeing in her chariot. The Moon, with Saturn and Janus, move towards an opening in the clouds to get away from the noise and fury, and so does Neptune, who, with his dolphins, seems to be trying to rest on his trident, while Pallas and the nine Muses wonder what this portends. Pan embraces a nymph who is trembling with fear, and he wishes to take her away from the tumult and lightnings which fill the heavens. Apollo stands on the chariot of the sun and some of the Hours attempt to stop the: horses. Bacchus and Silenus, with satyrs and nymphs, exhibit the utmost fear, and Vulcan, with his huge hammer on his shoulder, looks towards Hercules, who is speaking of the matter to Mercury. Near them stands the trembling Pomona, while Vertumnus and all the other gods exhibit the emotion of fear, which is presented with indescribable force both iii those standing and in those fleeing. On the lower part, that is to say on the walls below the arching of the vault, are the giants, some under mountains and huge rocks, which they are carrying on their strong shoulders to mount to heaven. But Jove fulminates
and all heaven is incensed against them, so that it not only strikes terror into the rash daring of the giants, hurling mountains at them, but all the world seems overturned and the end
of all things at hand. We see Briareus in a dark cavern almost
covered by the huge masses of rock, the other giants lying
crushed and some killed under the fragments. Through the cleft
of a dark cave many giants may be seen fleeing, struck by the
thunders of Jove and about to be crushed like the others. Elsewhere Giulio did other giants with temples, columns and partsof mountains falling, making a great slaughter among them. Between these falling walls is the fireplace, and when a fire is lighted the giants seem to be burning. Pluto in his car is drawn by shrivelled horses, and flees to the centre accompanied by the Furies, and thus Giulio decorated the chimneypiece most beautifully with this idea of fire. To make the work more terrible, he represented huge giants struck in various ways by the lighting and thunderbolts, falling to earthy some killed, some wounded, and some crushed beneath mountains and ruins. No more terrible work of the brush exists, and anyone entering the room and seeing the windows, doors and other things so twisted that they appear about to fall, and the tumbling mountains and
ruins, will fear that all is about to come about his ears, especially
as he sees the gods fleeing hither and thither. A marvellous
feature is that the painting has neither beginning nor end, and
is not interrupted in any way, so that objects near the buildings
seem very large, and those in the distant landscape are gradually
lost, and the room, which is not more than fifteen braccia long,
looks like an open country, and the floor being of small round stones set with a knife and the walls at the junction being painted like them, there seem to be no corner stones, and the
place looks extremely large. The judgment and art here displayed by Giulio place artists under a great debt to him. In this work Rinaldo became a perfect colourist, as he completed it from Giulio's designs, as well as the other apartments. If he had not died young he would have brought great honour to Giulio in after years. Besides this palace, in which Giulio did many
admirable things, which I pass over in order not to be too long,
he restored many rooms of the duke's castle at Mantua, and made
two large spiral staircases, richly decorated with stucco through-
out. He decorated one hall with the history of the Trojan war,
and did twelve scenes in oil in an ante-chamber under the heads
of the Roman emperors by Titian, considered rare. At Marmiruolo, five miles from Mantua, he designed a convenientstructure and large paintings not less fine than those of the castle and palace of the T. In the Chapel of Signora IsabelIa Buschetta in S. Andrea, at Mantua, he did an oil-panel of the Virgin adoring the Child Jesus lying on the ground, while Joseph, the ass and the ox are near a manger. On one side is St. John the Evangelist and on the other St. Longinus, larger than life-size.1 On the walls of the same chapel Rinaldo did two fine scenes from his designs, a Crucifixion with the thieves, some angels in the air, and the executioners, the Maries and many horses below (for he `loved to paint horses, and made them marvellously beautiful) and many soldiers in various attitudes. The other was the Finding of the Blood of Christ in the time cf the Countess Matilda, a most beautiful work. For Duke Federigo Giulio next did with his own hand a Virgin washing the Christchild, wlio is standing in a basin while St. John empties water out of a jug, both figures, which are life-size, being very bcautiful. 2 In the distance are half-length figures of women coming on a visit. This picture was afterwards given by the duke to Signora Isabella Buschetta. Giulio made a fine portrait of this lady in a small Nativity, a braccia high, now in the possession of Sig. Vespasiano Gonzaga, with another of Giulio's given him by Duke Federigo, representing a youth and maiden embracing on a bed,3 while an old woman secretly observes them at a door, the figures being rather less than life-size and very' graceful. In the same house tliere is a very fine St. Jerome by Giulio. Count Niccolo Maffei has a life-size Alexander the Great holding a Victory in his hand, copied from an ancient medal, and a very beautiful thing. Giulio next painted for his friend, M. Girolamo, organist of the Duomo at Mantua, a Vulcan forging arrows, in fresco. He holds the bellows in his hand and grasps a piece of red-hot iron with pincers, while Venus cools some of the arrows in a vase and puts them in Cupid's quiver.4 Tliis is one of Giulio's most beautiful works, and there is very little else of his in fresco. In S. Domenico he did a dead Christ for M. Ludovico da Fermo, and Joseph and Nicodemus prepanng to carry him to the tomb, with the Virgin, the Marles and St. John the Evangelist nearby. He did another dead Christ, now at Venice, in the house of Tommaso da Enipoli of Florence. About this time Sig. Giovanni de' Medici, being wounded by a musket, was taken to Mantua,
(1) Now in the Louvre, formerly in the collection of Charles I. (2) The Madonna della Catina, Dresden. (3) Berlin Gallery. (4) Probably the Venus and Vulcan of the Louvre.
where he died. M. Pietro Aretino, his faithful servant and a friend of Giulio, desired the artist to take a death mask, from which he made a portrait which remained in Aretino's possession for many years. When Charles V. came to Mantua,1 Giulio, by the duke's order, made many fine arches, scenes for comedies and other things,in which he had no peer, no one being !ike him for masquerades, and making curious costumes for jousts, feasts, tournaments, which excited great wonder in the emperor and in all present. For the city of Mantua at various times he designed temples, chapels, houses, gardens, fa~ades, and was so fond of decorating them that, by his industry, he rendered dry, healthy and pleasant places previously miry, full of stagnant water, and almost uninhabitable.
While he was serving the duke, the Po one year broke its banks, so that in some parts of Mantua the water was nearly tour braccia deep, and frogs lived there almost all the year. Giulio considered how he would make this good, and he suc-ceeded in restoring the former state and in preventing the recurrence of tlie accident, causing the streets to be raised on that side, by the duke's command, so that the buildings were above the level of the water. He directed that the small houses there should be pulled down, rebuilding larger and finer ones. When some opponents told the duke that Giulio was destroying too much, he refused to hear them, making Giulio master of the work and directing that no one should build except under him. This led to many complaints and threats, which reached the duke's ears, and he spoke out, letting it be known that he would consider aily wrong done to Giulio as an injury to himself. The duke loved the talents of Giulio so that he could not livewithout him, and Giulio cherished the utmost reverence for the duke. He asked for no favour that he did not receive, and at his death he was found to have an income of over IOOO ducats owing to the duke's liberality. Giulio built himself a house at Mantua opposite S. Barnaba, with a fantastic fade in coloured stucco, the inside being similiarly decorated, and furnished with numerous antiquities brought from Rome and received from the duke, to whom he gave many of his own. Giulio designed an incredible number of things for foreign parts and Mantua, for no palaces or other important buildings could be erected there without his designs. He rebuilt the church of S. Benedetto there near the Po, a large and rich house of the black monks, upon the old walls, and he
(1) In 1530
embellished the building with fine paintings and pictures. As his things were highly valued in Lombardy, Gian. Matteo Giberti, bishop of Verona, wished to have the tribune of the Duomo there, painted by Moro Veronese from Giulio's designs. For the Duke of Ferrara Giulio prepared many designs for arras, afterwards executed by Maestro Niccolo and Gio. Battista Rosso, Flemings, in silk and gold. These were engraved by Giovan. Battista Mantovano, who thus treated several of Giulio's designs, and besides three battle-scenes engraved by others, he did a physician putting leeches on a woman's back, a Flight into Egypt, Joseph leading the ass, and angels bending a palm-tree to permit Christ to gather the fruit. He also engraved from Giulio's design the Tiber wolf suckling Romulus and Remus, and four scenes of Pluto, Jove and Neptune dividing the heavens, the earth and the sea by lot. He did the goat Alfea held by Melissa and nourishing Jove, and men tortured in prison, on a large sheet. Other prints were the parley between the armics of Scipio and Hannibal on the banks of a river; the Nativity of St. John the Baptist, engraved by Sebastiano da Reggio, and many others printed in Italy. In Flandei s and France also ma!1y were printed, which I need not mention, beautiful as they were, as he produced them in the mass. Everything in art came so easy to him, especially design, tliat no one is known to have done more than he. He was universal and could discuss everything, but especially medals, upon which he spent much time and money. Although he spent most of his time on great things, yet he also did the smallest to oblige his patron and friends, and no sooner had they opened tlieir mouth to express an idea than he had grasped it and made a sketch. Among the numerous treasures in his house there was a portrait of Albert Durer, by himself, on fine cambric, sent by him to Raphael, diligently executed in water-colours, and finished without using white lead, the fabric itself serving for the whites and the fine threads being used to represent the hairs of the beard, and when held u,p to the light it was transparent all over. Giulio, who valued it highly, showed it to me himself as a miracle once when I was on business at Mantua.
The death of Duke Federigo1 whom Giulio loved beyond all imagining, affected him so deeply that he would have left Mantua if the cardinal, the duke's brother, regent during the minority of Federigo's sons, had not detained him. Giulio, indeed, had there his wife, children, houses, estate, and all
(1) In 1540.
the other requirements of a gentleman of position. The cardinal also wished to consult Giulio on the restoration of the Duomo. To this Giulio put his hand,1 executing it in a beautiful style.
At this time Giorgio Vasari a great friend of Giulio, though they only knew each other by report and by letters, passed through Mantua on his way to Venice to see him and his works. On meeting, they recognised each other as though they had met
a thousand times before. Giulio was so delighted that he spent
four days in showing Vasari all his works, especially the plans
of ancient buildings at Rome, Naples, Pozzuolo, Campagna, and
all the other principal antiquities designed partly by him and
partly by others. Then, opening a great cupboard, he showed
him plans of all the buildings erected from his designs in Mantua,
Rome and all Lombardy, so beautiful that I do not believe that
more original, fanciful or convenient buildings exist. When the
cardinal afterwards asked Giorgio, in Giulio's presence, what he
thought of Giulio's work, he answered that he deserved a statue
to every corner of the city and half the state would not suffice
at reward his labours. The cardinal answered that Giulio was
much more the master of the state than himself, and as Giulio
was a most amiable man, especially to his friends, he loaded
Giorgio with caresses. Vasari left Mantua for Venice, and returned to Rome at the time when Michelagnolo uncovered his Last Judgment. He sent to Giulio by M. Nino Nini of Cortona, secretary of the cardinal of Mantua, three drawings of the seven mortal sins represented in that Judgment, which Giulio greatly welcomed for the author, and because he was about to do a chapel for the cardinal in the palace, and this incited him to greater things than he had pur