Lives of the Most Excellent Painters, Sculptors, and Architects/Baccio d’Agnolo
THE FLORENTINE ARCHITECT, BACCIO D’AGNOLO.
[born 1460—died 1543.]
I sometimes take a singular pleasure in noting the first commencements of our artists’ career, and in observing them gradually rising from the lower to the higher grades of our vocation, more particularly in architecture, seeing that this science has but rarely been pursued for several years past by any but mere carvers, or by cunning pretenders, who lay claim to a knowledge of perspective and so forth, without comprehending even the terms or simplest principles of the science. While the truth is, that architecture is to be adequately pursued only by such men as possess an excellent judgment, a good knowledge of design, or extensive practice in some such occupationas painting, sculpture, or wood-work, and have thereby been led to the habit of measuring figures, edifices, and bodies of similar character in their separate members; such as, for example, are columns, cornices, and basements, and to examine all these in their relative proportions, even to the most minute particulars of such parts as serve for embellishment alone, and for no other purpose. By such means do workers in wood, who are in the continual practice of handling or examining such forms, become in course of time architects; while sculptors also obtain some knowledge of the same while fixing the position of their statues, or preparing ornaments for sepulchral erections and other works of relief. Painters, in like manner, are compelled to make a certain acquaintance therewith, by the variety of subjects they treat, by the perspective views they paint, and by the buildings which they copy, but cannot properly depict, without having first taken the ground plans of the same, seeing that neither houses nor flights of steps can be placed correctly, nor can figures be painted on their true plane, until attention has first been given to certain considerations connected with architecture.
For his part, Baccio d’Agnolo was in his youth a very excellent artist in inlaid works, and among other things he executed the stalls in the choir of the principal Chapel in Santa Maria Novella, wherein are the beautiful figures of San Giovanni Battista and San Lorenzo. He likewise executed the carved ornaments of that chapel, with those of the High Altar in the Church of the Nunziata.[1] The decorations of the organ are also by his hand, as are many other works still to be seen both in public and private buildings, in his native city of Florence. Leaving this place for a time, Baccio repaired to Pome, where he devoted himself very zealously to the study of architecture, and when he returned, our artist erected several Arches of Triumph in different parts of the city, on the occasion of Pope Leo’s arrival.
But as Baccio nevertheless very seldom quitted his workshop, there might often be seen gathered around him there many of the citizens, as well as the best and most eminent artists of 'our vocation, when the most admirable discourses were there to be heard, more particularly in the winter, and discussions of great importance were constantly held. The first among those who thus assembled in this place was Raffaello da Urbino, then young; and next came Andrea Sansovino, Filippino, Maiano, Cronaca, Antonio, and Giuliano Sangalli, Granaccio, and sometimes, but rarely, Michelagnolo, with many young men, both Florentines and strangers. When Baccio had in this manner devoted his attention to architecture, and, having gathered experience, had given proof of his ability, he began to obtain no small credit in Florence, insomuch that the most magnificent buildings erected in his day were confided to his care, and he was made director of the same. When Piero Soderini was Gonfaloniere, Baccio d’Agnolo took part, as we have said before, with Cronaca and others in the deliberations which were made with regard to the Great Hall of the Palace, and he carved with his own hand the ornamental framework of the large picture which was sketched by Fra Bartolommeo, but had been designed by Filippino.
In company with the same artists, Baccio d’Agnolo erected the steps which ascend to the above-mentioned Hall, with a decoration of stone-work, which is very beautiful, as he also did the columns of variegated marble, and the marble doors of the Hall, which is now called that of the Dugento. On the Piazza di Santa Trinita this master constructed a Palace for Giovanni Bartolini, the interior decorations of which are very magnificent. He also gave designs for the garden which the same Giovanni had in Gualfonda; but as this was the first palace in Florence which had been erected with square windows and with a portal the columns of which supported an architrave, frieze, and cornice, these things were much censured in that city. Sonnets were made in ridicule thereof, and festoons of foliage were scoffingly hung on the building, as is done at the churches during a festival, since it was said that the building was more like the front of a temple than of a palace.[2] All this made Baccio almost ready to go out of his wits; nevertheless, as he knew that he had imitated good examples, and that the work was a meritorious one, he took consolation, and ultimately gave himself peace.[3] It is true that the cornice of the whole palace is too large, as I have said elsewhere;[4] still the building has, upon the whole, been always much commended.
For Lanfredino Lanfredini, Baccio d’Agnolo directed the construction of a palace on the bank of the Arno, between the Bridge of the Trinita and that of the Carraja; and on the Piazza de’ Mozzi he began the house of the Nasi, which looks on the shore of the Arno, but this he did not complete. For Taddeo of the Taddei family he also built a house which was considered a very commodious and beautiful edifice.[5] For Pier Francesco Borgherini he prepared the plans for the dwelling which the latter erected in the Borgo Sant’ Apostolo;[6] and for this he likewise caused beautiful decorations for the doors and very magnificent chimney-pieces to be executed at very great cost: for one apartment in particular he made coffers in walnut wood, adorned with figures of children, carved with the utmost care; it would be impossible, indeed, now to execute a work with so much perfection as Baccio has here exhibited. He gave the design for a villa, which the same Borgherini caused to be erected on the heights of Bellosguardo, a building of great beauty and convenience, but also of immense cost.[7]
Baccio d’Agnolo decorated an ante-room for Giovan-Maria Benintendi, and prepared an ornament by way of frame-work around certain pictures by eminent masters, which was considered an extraordinarily beautiful work. The same architect made the model for the Church of San Giuseppe at Santo Nofri,[8] and also erected the portal thereof, which was his last work. He superintended the erection of the Campanile of Santo Spirito in Florence also, but this remained unfinished, and is now in course of completion, by command of the Signor Duke Cosimo, after the design given by Baccio.[9] The bell-tower of San Miniato-in-Monte is also by this master; it was much battered by the artillery from the camp,[10] but was not destroyed; and the fabric obtained no less credit for the injury which it had done to the enemy, than for the beauty and excellence with which Baccio had constructed it. The love of his fellow citizens, and his high deserts, having caused Baccio to be appointed architect of Santa Maria del Fiore, he gave the design for constructing the gallery which encircles the cupola, a part of the work left incomplete by Pippo Brunelleschi, when he was overtaken by death. Filippo had indeed prepared the designs for its construction, but the negligence of those who had charge of the work having permitted them to come to an evil end, they had been lost. Baccio, therefore, prepared a new design and model for this construction, and put them in execution so far as regarded the side towards the Bischeri;[11] hut when Michelagnolo, on his return from Rome, perceived that for the erection of this gallery they were cutting away the projecting stones which Filippo Brunelleschi had left remaining, and not without a purpose in doing so, he made such a clamour about it that the work was disdontinued, Buonarroti declaring that Baccio appeared to him to have set up a cage for crickets, whereas, so magnificent a building as he had to handle required something more important in its character, with a very different design from that of Baccio, and with more art and grace than the latter had displayed in his work; adding that he would himself show him what he ought to do. Michelagnolo then made a model accordingly, Avhen a long discussion was held on the subject by numerous artists and citizens acquainted with such matters, in the presence of the Cardinal Giulio de’ Medici; but ultimately, neither one nor the other of the two plans was put in execution.
The design of Baccio was censured on many points, not that it was a badly proportioned work in itself, but that it was of too unimportant a character when the magnificence of the building to which it was about to he attached was considered, and for this cause the gallery proposed for the cupola has never received its completion. Baccio afterwards gave his attention to the pavements of Santa Maria del Fiore and to the other buildings which he had in hand, and which were not a few, seeing that to him had been committed the particular charge of all the principal monasteries and convents in Florence, as well as that of numerous houses belonging to the citizens, both within the city and without. Finally, and when near his eighty-third year, but still retaining the firmness and clearness of his faculties, Baccio d’ Agnolo departed to a better life in the year 1543, leaving three sons, Giuliano, Filippo, and Domenico, who caused him to be buried in San Lorenzo.
Now of these, the three sons of Baccio, all of whom devoted their attention after his death to carving and woodwork, Giuliano, the second, was the one who gave most of his time to architecture both during the life and after the death of his father; wherefore, by the favour of the Duke Cosimo, he succeeded the latter in the works of Santa Maria del Fiore, and continued all that his father had commenced, not in that fabric only, but in respect to all the buildings which the death of Baccio had left unfinished.
At that time, Messer Baldassare Turini of Pescia, was about to place a picture by the hand of Raffaello da Urbino in the principal church of his native city, of which he was Provost, and determined to erect an ornament of stone-work, or rather indeed, an entire chapel around it, and to construct a tomb therein; Giuliano therefore conducted the whole work after his own designs and models: he restored the house of Messer Baldassare at Pescia likewise, and furnished it with many useful and handsome arrangements. For Messer Francesco Campana also, who was formerly first secretary to the Duke Alessandro, and afterwards to the Duke Cosimo de’ Medici, the same architect built a small house at Montughi, which is situate at a short distance from the gates of Florence: this edifice stands near the church, and though small is beautifully adorned and well situated, being on a slight elevation and commanding the whole city of Florence with the plain around it. At Colie, moreover, which is the native place of the above-named Campana, a very commodious and handsome residence was erected after the designs of the same Giuliano, who, soon after he had completed it commenced a Palace al Tedesco for Messer Ugolino Grivoni, Signor of Altopascio; this was a most magnificent structure.
For Ser Giovanni Conti, one of the secretaries of the above-mentioned Signor Duke Cosimo, he restored a house in Florence, adorning the same with many useful additions, and beautiful ornaments. It is true indeed, that in constructing the two windows which look on the street with their carved gratings, Giuliano departed somewhat from his usual manner, and overloaded them to such a degree with ressaults, corbels, and decorative divisions or interruptions of every kind, that they are rather in the German or Gothic style than after the true and good antique or the approved modern manner. Works in architecture should without doubt be massive, grand, severe, and simple, beautified by the grace of their design, but guarded as respects the composition, which must be varied as the occasion demands, so that the harmony of the arrangements shall not be disturbed by too many nor impoverished by too few decorations, regard being always had to the general effect.
Baccio Bandinelli had returned in the meanwhile to Florence from Borne, where he had been finishing the tombs of Popes Leo and Clement, and he persuaded the Duke Cosimo, who was then but a youth, to have one end of the great hall in the ducal palace reconstructed entirely of columns and niches, with a range of marble statues and with windows formed of marble and macigno stone to look on the Piazza. To this proposal the Duke gave his consent, and the work being resolved on, Bandinelli commenced the preparation of the design, but finding, as we have said in the life of Cronaca, that the said hall was out of square, and having never given any attention to architecture, nay, rather esteeming that art of little value, and being in the practice of deriding those who exercised the same, Bandinelli, I say, discovering the difficulty of the work, was compelled to request the advice of Giuliano in respect to his plans, and to entreat that he, as an architect, would take the superintendence of the operations.
Having therefore set to work all the stone-masons and stone-cutters of Santa Maria del Fiore, the fabric was commenced, and Bandinello, pursuing the. counsels of Giuliano, resolved to let the work remain out of square, and partly following the course of the wall, it thus became necessary to make all the hewn stones with a certain obliquity of the surface, which required them to be laboriously prepared with the Pifferello, which is an instrument for bevelling diagonally or obliquely, and this gave so ungraceful an effect to the whole edifice, that it afterwards became very difficult to bring it into harmony with other works undertaken in that structure, as will be further insisted on in the life of Bandinello. Now this would not have occurred had Baccio Bandinello understood the details of architecture as he did those of sculpture, not to mention that the internal curves of the great recesses, where they are turned towards the side walls, have a dwarfish appearance, and to say nothing of the central recess, which is however far from being without defect, all of which we shall speak at more length in the life of Baccio Bandinello.
But after this undertaking had been proceeded with for ten years, it was laid aside, and so it remained for some time. It is true that the cut stones for the cornice, with the columns, those of stone as well as of marble, were prepared with the utmost diligence by the carvers and stone-cutters, under the care of Giuliano, and the masonry was so carefully executed that it is not possible to find work more accurately measured or more exactly put together; in this respect indeed Giuliano well merits to be celebrated as most excellent: the whole structure, as will be related in its proper place, was afterwards completed, with certain additions, in the space of five months by Giorgio Vasari of Arezzo.
Giuliano meanwhile, never neglecting his bottega, gave his attention, as did his brothers with him, to the execution of various carvings and wood-work, proceeding with the pavement of Santa Maria del Fiore, where he was sought by Bandinello, Giuliano being chief superintendent and architect of the building, who required his aid in the preparation of a plan and model in wood for certain fantasies of figures and other ornaments, which Bandinello proposed using in the construction of the high altar of marble for Santa Maria del Fiore; all which Giuliano, who was a kindly and obliging man, did willingly, partly because he delighted in architecture as much as Bandinello despised it, and partly as being attracted by the promises of honour and profit which were largely made to him by the sculptor. Giuliano, I say then, set hand to the model thus required, which he made in tolerably close conformity with the simple arrangement which had been ordered by Bandinello, with this difierence, that he enriched it by doubling the columns and constructing an arch at the completion of the upper part, which he finished entirely.
This model, together with many designs, being then taken to the Duke Cosimo, it was determined, in the regal mind of his most illustrious Excellency, that not only the altar, but also the entire decoration of the eight sides of the choir, should all be executed in marble according to the ancient order, but with all those rich ornaments which have since been brought to completion in a manner worthy of the grandeur and magnificence of the Temple. Giuliano, therefore, with the assistance of Bandinello, commenced the construction of that choir, without altering anything excepting only the principal entrance to the same, which, being opposite to the altar above-mentioned, he was desirous of having exactly similar to the altar itself, with the same arch and the same decorations. He also constructed two other arches together with those of the entrance and the high altar which form a kind of cross, and here, according to the old arrangement, were two chancels for the music and other ceremonial observances, to be performed in the choir and at the altar.
Around the eight sides of the choir, Giuliano erected a range of Ionic columns, and at each angle he placed a pilaster, which curved towards the centre; in the midst of each side was another pilaster, but as each was gradually diminished from the point where it approached the centre, it was very narrow and much curved on the inside, while on the outer side it was very sharp and broad, a contrivance that was not much approved, nor could it be commended as beautiful by any one possessing judgment in the matter. For a work of such great cost, and one to be erected in a place so renowned, Bandinello, if he did not himself appreciate the beauties of architecture or comprehend its details, should have obtained the assistance of some one among his contemporaries who might have been competent both by knowledge and practice to do better. Griuliano is nevertheless well worthy of excuse, since he did the best he could according to his ability, which was not small. It is, however, certain that no one who has not great powers of design, and is not gifted with rich invention, will ever attain to perfection in compositions which affect great and noble edifices, seeing that such men must be ever too poor in judgment, and too much wanting in grace, to be capable of carrying into effect important undertakings in architecture.
For Filippo Strozzi, Giuliano executed a couch of repose in walnut wood; this is now at Citta di Castello, in possession of the heirs of Signor Alessandro Vitelli; he also undertook to prepare a very rich and beautiful frame-work for a picture painted by Giorgio Vasari for the high altar of the Abbey of Camaldoli in the Casentino, and after a design given to him by the above-named Giorgio. In the church of Sant’ Agostino, at Monte Sansovino, Giuliano made another framework richly carved, for a large picture also painted by Vasari, as he did also at Ravenna, in respect to another work painted by Giorgio for the Abbey of Classi, and for which, in like manner, Giuliano executed a rich and beautiful frame-work. For the monks of the Abbey of Santa Flora, in Arezzo, he prepared the frames of all the pictures in their refectory, which are likewise by the hand of Giorgio Vasari.
In the episcopal church of the same city, Giuliano constructed a Choir of walnut wood behind the high altar, and this he did after a design of Giorgio Vasari, according to which it became needful to move the altar somewhat forward; and ultimately, but a short time before his death, he made the rich and beautiful Ciborium or Tabernacle of the Holy Sacrament for the high altar of the Nunziata, with the two angels carved in wood, and in full relief, which stand on each side of the same;[12] and this was the last work executed by the hand of Giuliano, he having departed to a better life in the year 1555.
Domenico, the brother of Giuliano, was by no means inferior in judgment to Giuliano himself; for besides that he carved in wood much better than did Giuliano, he was also very ingenious in works of architecture: of this we have testimony in the house which Bastiano da Montaguto caused to be erected after the design of Domenico, in the Via de’ Servi, where there are also many productions in wood by the hand of Domenico. He completed the angles of the Piazza de’ Mozzi for Agostino del Nero, and built an exceedingly beautiful terrace for those houses of the Nasi family which had been commenced by his father Baccio. Had he not died early, it is indeed believed that Domenico would have greatly surpassed his father as well as Giuliano his brother.
- ↑ These decorations in wood were laid aside when the altar was adorned, as we now see it, at the cost of the son of Vitale de’ Medici.
- ↑ Milizia remarks that the scoffers did not know the reasons of those things they censured, and that Baccio himself was very probably not much better informed on the subject.
- ↑ But he caused the following inscription to be carved in large letters on the cornice of the door, Carpere promptius quam imitari, whereby he repaid the Florentines in their own coin.— Bottari.
- ↑ See the Life of Cronaca, ante, p. 83.
- ↑ This palace is now called the Pecori-Giraldi Palace; it is in the Via Ginori.—Masselli.
- ↑ Now the property of the Posselli family.—Ibid.
- ↑ This villa still exists, and belongs to the Castellani family.
- ↑ Sant’ Onofrio.
- ↑ Piacenza, and even Milizia, speak with commendation of this tower.
- ↑ That of the Prince of Orange namely, in the year 1529.—Bottari.
- ↑ The Via dei Balestrieri rather, the name of Bischeri having been discontinued, and being no longer understood.
- ↑ Neither the Ciborium nor the Angels are now to be seen. —Bottari.