Lives of the Most Excellent Painters, Sculptors, and Architects/Antonio and Piero Pollaiuolo

by Giorgio Vasari

 

ANTONIO AND PIERO POLLAIUOLO, PAINTERS AND SCULPTORS, OF FLORENCE.

[born 1433—died 1498.] [born 1443—died 1498, I.]

There are many who, with a timid mind, commence unimportant Avorks, but Avhose courage afterwards increasing with the facility obtained from practice, their power and efficiency increase in proportion, insomuch that, aspiring to more exalted labours, they gradually raise themselves by the elevation of their thoughts almost to heaven itself. Favoured by fortune, they then often happily encounter some liberal prince who, finding his expectations amply satisfied, is compelled to remunerate their services in so liberal a manner, that their successors derive great advantage and important immunities from the labours thus rewarded. Such men then proceed through life with so much honour to the end, that they leave memorials which awaken the admiration of the world, as did Antonio and Piero Pollaiuolo, who in their time were highly esteemed and honoured, for the rare acquirements to which with labour and pains they had attained.

These artists were born in the city of Florence, but few years after each other:^[1] their father was a man of low condition, and not in easy circumstances; but he perceived, by various indications, the clear and just intelligence of his sons, and not having the means of obtaining a learned education for them, he placed Antonio with Bartoluccio Ghiberti,^[2] then a very eminent master in his calling, to learn the art of the goldsmith, and Piero he sent to study painting with Andrea dal Castagno, who was at that time the best master in Florence. Antonio, therefore, being brought forward by Bartoluccio, employed himself, not only with the setting of jewels, and the preparation of silver enamelled in fire, but was, moreover, held to be the best of all who handled the chisel in that vocation, and Lorenzo Ghiberti, who was then working at the gates of San Giovanni, having remarked the ability of Antonio, employed him with many other young men to assist himself, setting him to execute one of those festoons with which he was at the moment occupied. Here Antonio produced a quail, which may still be seen, and is so beautiful, nay, so perfect, that it wants nothing but the power of flight. Antonio had not spent many weeks at this occupation, therefore, before he was acknowledged to be the best of all who worked thereat, whether for correctness in design, or patience in execution, and was, besides, more ingenious and more diligent than any other assistant of Lorenzo in that work. His ability and reputation thus increasing together, Antonio left Bartoluccio and Lorenzo, opening a large and handsome goldsmith’s shop for himself on the Mercato Nuovo, in that same city of Florence. Here he pursued his occupation for several years, continually preparing new designs, and making chandeliers in relief, and other fanciful works, which caused him in a short time to be justly reputed the first of his vocation.^[3]

There lived at the same time another goldsmith called Maso Finiguerra, who had a great name, and deservedly, since there had never been any master in engraving or niello who had surpassed him in the number of figures which he could efficiently group together, whether in a larger or smaller space. Of this there is proof in the different patines executed by him, and which still remain in San Giovanni, in Florence,^[4] exhibiting stories from the life of Christ, which are most minutely elaborate. This master drew well and much; in our book we have many specimens from his hand, figures namely, some undraped, others clothed, with stories in water- colour.^[5] In competition with Maso Finiguerra, Antonio executed various stories, wherein he fully equalled his competitor in careful execution, while he surpassed him in beauty of design. The syndics of the guild of merchants being thus convinced of Antonio’s ability, and certain stories in silver being required for the altar of San Giovanni, for which it had ever been customary to prepare such, at different times and by various masters, they resolved among themselves to employ Antonio for the purpose. This resolution was carried into effect, and the works executed in consequence were so excellent, that they were acknowledged to be the best of all that were to be seen there. The subjects chosen were the Feast of Herod and the Dance of Herodias; but more beautiful than all the rest is the St. John, in the centre of the altar, a work most highly extolled, and executed entirely with the chisel.^[6] The consuls then commissioned Antonio to prepare the silver chandeliers, three braccia high, with the cross in proportion, when the master enriched his work with such a profusion of chasing, and completed the whole to such a degree of perfection, that, whether by his countrymen or by foreigners, it has ever been considered a most wonderful and admirable work. Antonio Pollaiuolo bestowed the most unwearied pains on all his undertakings, whether in gold, enamel, or silver: among others, are certain patines in San Giovanni, coloured so beautifully, that these enamels, completed by the action of fire, could scarcely be more delicately finished even with the pencil. In other churches likewise in Florence and Rome, as well as in other parts of Italy, his miraculous enamels are to be seen.^[7]

Antonio taught his art to Mazzingo, a Florentine, and to Giuliano del Facchino, who were tolerably good masters. He likewise imparted it to Giovanni Turini, of Siena, who greatly surpassed both his companions in that calling;^[8] wherein from Antonio di Salvi (who executed many good works, as, for example, a large cross in silver for the abbey of Florence, with other things), down to our own day, there has not been much done that can be considered extraordinary. But many of his works, as well as those of the PoUaiuoli, have been broken and melted for the necessities of the city in times of war.^[9]

Eventually, considering that this art did not secure a long life to the works of its masters, Antonio, desiring for his labours a more enduring memory, resolved to devote himself to it no longer; and his brother, Piero, being a painter, he joined himself to him for the purpose of learning the modes of proceeding in painting. He then found this to be an art so different from that of the goldsmith, that, had his resolution to abandon the first entirely not been so hastily adopted, he might possibly have vv^ished that he had never addressed himself to the other. But now, being impelled by shame rather than by the advantage to be obtained, he acquired a knowledge of the processes used in painting in the course of a few months, and became an excellent master.^[10] Having joined himself entirely to Piero, they executed numerous paintings in concert; among others, a picture in oil at San Miniato al Monte, for the cardinal of Portugal, who was a great lover of painting. This work was placed on the altar of that prelate’s chapel, the figures depicted in it are those of the apostle St. James, Sant’ Eustachio, and San Vincenzio, which have all been greatly praised.^[11] Piero in particular painted certain figures on the wall of the same chapel in oil, the method of which he had learned from Andrea dal Castagno. These were representations of some of the prophets, and were executed in the angles beneath the architrave:^[12] in the lunette he painted an Annunciation, comprising three figures. For the Capitani di Parte, likewise, Piero painted a Virgin with the Child in her arms; and surrounded by seraphim, also painted in oil. In San Michele in Orto, the two brothers painted a picture in oil representing the angel Raphael with Tobit; and in the Mercatanzia of Florence they depicted figures of the Virtues; in that part of the building, namely, where the tribunal of the court holds its sittings.^[13]

In the proconsolate,^[14] where the portraits of Zanobi da Strada, a Florentine poet, of Donato Acciaiuoli, and of others, had before been painted by other masters, Antonio portrayed Messer Poggio, secretary to the Signoria of Florence, and who continued the Florentine history after the death of Messer Leonardo d’Arezzo; with Messer Giannozzo Manetti, a man of considerable learning, and held in much esteem; both taken from the life.^[15] For the chapel of the Pucci in the church of San Sebastian of the Servites, Antonio painted the altar-piece—a remarkable and admirably executed work, with numerous horses, many undraped figures, and singularly beautiful foreshortenings. This picture likewise contains the portrait of St. Sebastian himself, taken from the life—from the face of Gino di Ludovico Capponi, that is —the painting has been more extolled than any other ever executed by Antonio. He has evidently copied nature in this work to the utmost of his power, as we perceive more particularly in one of the archers, who, bending towards the earth, and resting his weapon against his breast, is employing all the force of a strong arm to prepare it for action; the veins are swelling, the muscles strained, and the man holds his breath as he applies all his strength to the effort. Nor is this the only figure executed Avith care; all the others are likewise well done, and in the diversity of their attitudes give clear proof of the artist’s ability and of the labour bestowed by him on his work; all which was fully acknowledged by Antonio Pucci, who gave him three hundred scudi for the picture, declaring at the same time that he was barely paying him for the colours. This Avork was completed in the year 1475^[16]| The courage of Antonio was increased by this circumstance, and in San Miniato-frale-Torri, without the gate, he painted a St. Christopher^[17] ten braccia high—a work admirably executed in the modern manner, the figure being more correctly proportioned than any of such size that had then been seen.^[18] He afterwards painted a Crucifix with Sant’ Antonino, on canvas, which was placed in the chapel of that saint in the church of San Marco.^[19] In the palace of the Signoria of Florence, this master depicted a San Griovanni Batista, at the Porta della Catena;^[20] and in the Medici Palace he painted three pictures for Lorenzo the elder, each containing a figure of Hercules, five braccia high. In the first is seen the hero strangling Ant®us; the figure of Hercules is very fine, and the force employed by him in crushing his antagonist is clearly apparent, every muscle and nerve of the body being strained to ensure the destruction of his opponent. The teeth, firmly set, are in perfect accord with the expression of the other parts of the figure, all of which, even to the points of the feet on which he raises himself, give manifest intimation of the efforts used. Nor is less care displayed in the figure of Antaeus, who, pressed by the arms of Hercules, is seen to be sinking and deprived of all power of resistance, his mouth is open, he is breathing his last sigh. In the second figure, Hercules is killing the Lion; he presses the left knee against the chest of the animal, whose jaws he has seized with both hands; grinding his teeth and extending his arms, he tears the mouth open and rives the creature asunder by main force, although the lion defends himself with his claws and is fiercely tearing the arm of his assailant. The third picture, in which the hero is destroying the Hydra, is indeed an admirable work, more especially as regards the reptile, the colouring of which has so much animation and truth, that nothing more life-like could possibly be seen; the venomous nature, the fire, the ferocity, and the rage of the monster are so effectually displayed, that the master merits the highest encomiums, and deserves to be imitated in this respect by all good artists.^[21]

For the brotherhood of Sant’ Angelo in Arezzo, Antonio painted a banner in oil, with a Crucifix on one side, and St. Michael in combat with the Dragon on the other. This is as beautiful a work as ever proceeded from his hand. St. Michael seizes the Serpent with boldness, and, grinding his teeth and knitting his brows, he seems in truth to be sent from heaven as the avenger of God against the pride of Lucifer; the wdiole picture is, without doubt, a most admirable work. This master treated his nude figures in a manner which approaches more nearly to that of the moderns than was usual with the artists who had preceded him; he dissected many human bodies to study the anatomy, and was the first who investigated the action of the muscles in this manner,^[22] that he might afterwards give them their due place and effect in his works. Antonio engraved on copper a combat of these nude figures, all bound together by a chain, and at a later period produced many other engravings, executed in a much better manner than had been exhibited by the masters who had preceded him in this branch of art.^[23]

Having rendered himself famous among artists by all these works, Antonio was invited to Rome by Pope Innocent, on the death of Sixtus, his predecessor, and there he constructed a tomb in bronze for the first-mentioned pontiff. In this work he portrayed Pope Innocent seated, and in the attitude of giving the benediction.^[24] Antonio likewise erected the sepulchral monument of Pope Sixtus, which was constructed at very great cost in the chapel called by the name of that pontiff.^[25] The tomb is richly decorated and stands entirely isolated: the figure of Sixtus, very finely executed, is extended upon it. The monument of Pope Innocent was placed in the church of San Pietro, near the chapel in which the lance of Christ^[26] is preserved. It is said that the same artist designed the Palace of the Belvedere for the above-named Pope Innocent, although the fabric was erected by others, Antonio not having much experience in building.^[27] Finally, these brothers, having enriched themselves by their labours, died at a short distance of time, one after the other, in the year 1498; they were buried by their kindred in San Pietro in Vincula, where a monument was raised to their memory near the middle door, and on the left as you enter the church. This consisted of the portraits of both brothers on two medallions in marble, with the following epitaph:—

Antonius Pullarius patria Florentinus pictor insignisy qui dour, pont, Xisti et Innocentiiy acrea moniment. miro optic, expressit, re famil. composita ex test, hie se cum Petro fratre condi voluit.

Vixit An. lxxii. Obiit An. Sal. m.iid.

Antonio also executed a basso-rilievo in bronze, which was sent to Spain, but of which a cast in plaster may be seen in the possession of the Florentine artists. The subject is a combat of nude figures; and after his death there were found the design and model for an equestrian statue of Francesco Sforza, Duke of Milan, which the master had made for Ludovico Sforza. This we have in our book depicted in two different manners. In one he has the city of Verona beneath him; in the other he is in full armour on a pedestal covered with battle-pieces, and is forcing his horse to leap on an armed man beneath it. The reason why this design was not carried into execution I have not been able to discover. There are, moreover, several beautiful medals by Antonio; among others one representing the conspiracy of the Pazzi. The heads of Lorenzo and Giuliano de’ Medici are on the one side, and on the reverse is the Choir of Santa Maria del Fiore, with the whole of that event exactly as it occurred.^[28] Tliefe are medals of various Popes also by the same master, with many other things which are well known to artists.^[29]

Antonio was seventy-two years old when he died, and Pietro died at the age of sixty-live. The former left many disciples, among whom was Andrea Sansovino.^[30] Antonio was a most fortunate man and led a very happy life, having met with rich pontiffs, and living when his native city was at the summit of prosperity and remarkable for its love of talent, wherefore he was highly esteemed; but had he lived in less favourable times he might not have produced the rich fruits which we derive from his labours, for the cares of life are deadly enemies to the acquirement of such knowledge as is necessary to him who delights in and makes profession of the fine arts.

For San Giovanni in Florence there were made certain very rich ecclesiastical vestments after the design of this master, two Dalmaticas namely, a Planeta or Chasuble, and a Pluviale or Cope, all of double brocade, each woven of one entire piece and without seam, the bordering and ornaments being stories from the life of St. John, embroidered with the most subtle mastery of that art by Paolo da Verona, a man most eminent in his calling, and of incomparable ingenuity: the figures are no less ably executed with the needle than they would have been if Antonio had painted them with the pencil; and for this we are largely indebted to the one master for his design, as well as to the other for his patience in embroidering it. This work required twenty-six years for its completion, being wholly in the close stitch, which, to say nothing of its durability, makes the work appear as if it were a real picture limned with the pencil; but the excellent method of which is now all but lost, the custom in these days being to make the stitches much longer, whereby the work is rendered less durable and much less pleasing to the eye.^[31]

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1. Their father was called Jacopo d’Antonio, and in one of the fiscal documents quoted by Gaye {Carteggio, &c., vol. i. pp. 265, 266), is styled Jacopo del Pollaiuolo, whence it would appear that the trade of a poulterer (pollaiuolo) was exercised by the grandfather of Antonio and Piero, not by their father.
2. The step-father of Lorenzo Ghiberti. The reader who shall desire to see long discussions concerning the time when he assumed that relationship to the great artist, &c., 6cc., will find them in Rumohr and others.
3. See Benvenuto Cellini, not as given in the Milanese edition, but as quoted by Cicognara {Memorie spettanti alia storie della Calcografia, p. 48, note)y who declares himself to have copied his extract from Cellini’s MS.
4. One of these may be seen in the Uffizj.
5. Drawings by Maso Finiguerra, nude and draped figures namely, and drawings in water-colours, as here indicated by Vasari, are still to be found in the collection of the Florentine Gallery of the Uffizj.
6. These works are still carefully preserved, and are annually displayed in the church of San Giovanni, on the festival of the Saint. — Ed. Flor., 1832-8.
7. There is a patine, enamelled by Pollaiuolo, in the Gallery of the Uffizj. —I.
8. Antonio di Salvi also has been extolled by Cellini in the introduction to his treatise on Goldsmiths’ work.— Ed. Flor., 1849,
9. And how many admirable works of the same kind have not been sacrificed to the necessities of war, from the time of Vasari to our own. —Ed. Flor., 1849.
10. The expression is too strong, Antonio Pollaiuolo never got beyond mediocrity.—Schorn.
11. This work is now in the Gallery of the Uffizj. A modem painting has taken its place in San Miniato.
12. The prophets are half-length, and have suffered greatly, but may still be made out.
13. Now in the Gallery of the Uffizj, in the corridor which leads into the Palazzo Vecchio. The figures painted by Pollaiuolo are those of Faith, Hope, Charity, Justice, Prudence, and Temperance. There is also the figure of Fortitude, but this is by Botticelli.—Ed. Flor., 1832-8.
14. The proconsolate was a magistracy taking cognizance of all affairs concerning legists themselves, judges, notaries, &c.— Ed. Flor., 1832-8.
15. These portraits are lost.
16. Still in good preservation, and has been lately (1832-8) restored with great judgment, at the cost of the family.— Masselli.
17. he English reader will find a legend of this saint plcasjintly related in Mrs. Jameson’s Sacred and Legendary Art., vol. ii. p. 48, et seq.
18. This figure which, according to Baldinucci, Michael Angelo copied as a study several times, is now lost,—Ed. Flor. 1832.
19. The chapel was rebuilt by John of Bologna, and the picture is believed to be now in the Borghese Palace, or in some villa of that family.— Masselli.
20. Of this work no intelligence can be obtained.— Ibid.
21. The three pictures here described are lost; but Pollaiuolo would seem to have repeated the subject, although in smaller dimensions, since there are two precious pictures by his hand in the Gallery of the Ufiizj; the subjects, those here described by Vasari, the destruction of Antaeus and the Hydra that is, both possessing the qualities here attributed by him to the larger work. They have been engraved in the Galleria di Firenze Illustrata, tom, i. tav. xlv. and xlvi.
22. Among the painters that is to say, the study of anatomy by physicians is not here alluded to.—Ed. Flor., 1832-8.
23. Known by the name of the Gladiators, but the figures are not bound by a chain, A fac-simile of a part of this work will be found in Ottley’s History of Engraving. See also Bartsch, Peintre Graveur.
24. For the description of this tomb, see Bonanni, Numismata, Tempti Vaticani fabricam indicantia, p. 117. See also Plattner and Bunsen, Behchreibung der Stadt Rom, vol. ii. p. 197.
25. The chapel then called after Pope Sixtus, is now the chapel of the choir. The tomb of Sixtus IV., w^as removed in 1635 to the chapel of the Sacrament.
26. The spear of Longinus that is to say, with which he pierced the side of Christ.
27. In the British Museum there is a pen-and-ink drawing by Antonio Pollaiuolo, one of the Colossal Statues on the Quirinal, namely.
28. The moment when Giuliano was slain, is represented on both sides of the medal, his head is on one side, with the inscription Julianus Medices, and in the midst of the choir are the words, luctus publicus; on the other side, is the head of Lorenzo, with the legend, Laurentius Medices; arovmcl it, and in the centre of the choir, are the words salus publica. Copies may be seen in the Gallery of the Uffizj.
29. See Gualandi, Memorie di Belle Arti, serie iv. pp. 139 —141. See also Ricordi, Storici di Filippo di Cino Rinuccini. dal 1282, al 1460, &c., &:c., published in Florence, in 1840. See also Gaye, Carteggio inedito, &c., Yol. i. pp. 570, 571. A Crucifixion in very low relief, now in the Gallery of the Uffizj, is attributed by some writers to Antonio Pollaiuolo.
30. The sculptor Andrea Contucci of Monte Sansovino, whose life follows.
31. The praises bestowed on these sacred vestments by Vasari are not by any means extravagant. They are now become unfit for use by reason of their age, but having been framed and glazed, are preserved in the presses around the Sacristy of San Giovanni.—Ed. Flor., 1832-8.