Lives of the Most Excellent Painters, Sculptors, and Architects/Baccio da Monte Lupo, and Raffaello his Son

by Giorgio Vasari

 

THE SCULPTOR, BACCIO DA MONTE LUPO, AND RAFFAELLO HIS SON.

[born 1445—died 1534, circa.] [born.....— died 1588.]

It is an opinion very general among men, that those who are negligent in pursuit of the occupation to which they should devote themselves, never attain to any eminence in the same; but this judgment was shown to be occasionally incorrect, when Baccio da Montelupo^[1] acquired the art of sculpture. Led away in his youth by the pleasures of the world, he would scarcely study at all, he had little or no esteem for art, and although frequently reproved and exhorted by many to a more industrious life, these counsels did not for the moment avail him. But when the years of discretion, which usually bring prudence with them, had arrived, these taught him effectually the extent to which he had departed from the right way; wherefore, covered with shame, as he thought of those who had passed before him in his vocation, he resolved with good courage to follow them, and thenceforward to devote himself studiously to those labours, which idleness had previously induced him to shun.

This determination, which he did not abandon, caused Baccio to attain an eminence in sculpture which many of those who had observed his proceedings in early youth had long ceased to expect; devoted with all his powers to the study of his art, and labouring very diligently, he became excellent and distinguished in the vocation before neglected. Baccio first gave proof of his ability in a work executed with the chisel in pietra forte; this was the Escutcheon of Pope Leo X. which was affixed to the corner of the garden belonging to the palace of the Pucci family in Florence; the two children by whom the shield is supported, are in a very fine manner and exceedingly well finished.^[2] Baccio also executed a statue of Hercules for Pier Francesco de’ Medici, and he received from the Guild of Porta Santa Maria the commission for the figure of San Giovanni Evangelista, which was to be executed in bronze. But before our artist obtained this commission he had to endure not a few vexations, seeing that several masters prepared models in emulation of his work; he completed his task nevertheless with the utmost diligence, and when finished it was placed at the corner of San Michele-in-Orto, opposite to the Chancery.^[3]

It is said that when this figure was as yet formed in earth only, the observer could plainly perceive, by the attitude, the arrangement of the armour, and the treatment of other parts, that the work would be one of great excellence, and the talent possessed by the artist for this branch of art was rendered sufficiently obvious; but when the success with which he cast the work was seen, all conceded to Baccio the credit of having displayed great mastery, none refusing to admit that he had completed his undertaking in the best possible manner. The labours of our artist in this branch of his vocation secured him the name of a good, nay, rather of an excellent master; and the work we have just alluded to is now more than ever prized, being acknowledged by all artists to be one of the highest merit.

Baccio da Monte Lupo occupied himself also with carving in wood, and produced a large number of crucifixes the size of life, numerous examples of which are to be found in various parts of Italy. Among these may be particularized one which belongs to the monks of San Marco, and is placed over the entrance to the choir of their church; all are exceedingly graceful, but there are nevertheless some which are much more beautiful than others, as that of the Murate in Florence^[4] with another, no less admired, which is in the Church of San Pietro Maggiore. The master likewise executed a Crucifix in this manner for the monks of Santa Fiora and Lucilla, who placed it over the High Altar of their abbey in Arezzo; this last is considered a more admirable work than any one even of those previously mentioned.

When Pope Leo X. visitEd. Flor.nce, a triumphal arch of great beauty was constructed of wood and clay by Baccio da Monte Lupo, between the palace of the Podesta and the abbey; he also executed many smaller works, which have been destroyed, or are dispersed among the houses of the citizens; but becoming weary of his residence in Florence, he repaired to Lucca,^[5] where he performed many labours in sculpture, and yet more in architecture, while in the service of that city. Among these, more particular mention must be made of the beautiful and well-designed Church of San Paolino, the patron saint of the Lucchesi, which is constructed with great judgment; it gives proof of learning and intelligence in every part, and in all the ornaments with which it is so richly decorated, both within and without.

Baccio dwelt in that city of Lucca to the eighty-eighth year of his age,^[6] and there he finished the course of his life; in the Church of San Paolino above named he then received honourable sepulture, which was conferred on his remains by those to whom he had done honour in his life.

The Milanese sculptor and carver, Agostino, an artist greatly esteemed,^[7] was a contemporary of Baccio da Monte Lupo; this Agostino commenced the sepulchral monument of Monsignore di Foix, which still remains incomplete. Many large figures designed for this work are still to be seen, some entirely finished, others half done, and others again merely sketched, there are also numerous historical events represented in basso-rilievo, but all in fragments and unfixed in their places, with a vast number of pieces whereon are carved foliage, trophies, and other ornaments.^[8] Agostino constructed another monument for the Biraghi family, but this is finished and erected in the Church of San Francesco; it has six large figures and a basement or pedestal decorated with stories in relief, and other rich ornaments, the beauty of all affording ample testimony to the skill and experience of that excellent master.^[9]

Among other sons whom Baccio left at his death, was one called Raffaello, who also devoted himself to sculpture, and not only equalled his father, but even surpassed him to a very great degree. This E-affaello, beginning in his earliest youth to work in clay, in wax, and in bronze, acquired the reputation of being an excellent sculptor, and was therefore invited to Loretto with many others, by Antonio da San Gallo, there to aid in completing the decoration of the Holy House, according to the designs and directions left by Andrea Sansovino. Here Raffaello entirely finished the Sposalizio or Marriage of the Virgin, which Sansovino had begun, completing many parts in a most admirable manner, some of them after the sketches left by Andrea, and some from his own invention, he was therefore deservedly accounted among the best masters labouring there in his time.

This work was finished about the time when Michelagnolo, by command of Pope Clement, was on the point of setting hand to the completion of the new Sacristy and Library of San Lorenzo in Florence, according to the manner in which it had been begun; wherefore, the last-mentioned master, being well aware of the ability possessed by Raffaello, availed himself of his assistance on that occasion. Among other things, he caused him to execute the figure of San Domenico, of which Michelagnolo had himself prepared the model. This most beautiful statue, which is in marble, is now in the above-named sacristy, and is highly extolled by every competent observer.^[10]

On the death of Clement VII. Raffaello attached himself to the service of the Duke Alessandro de’ Medici, who was at that time building the fortress of Prato, when, at his command, our artist executed the Arms of the Emperor, Charles V., on grey stone, for one of the most conspicuous parts of the out-works. It was placed on the highest point of the principal bastion, on the outer side that is to say. The shield was borne by two figures, entirely nude and of the size of life, each representing Victory, and both held at that time, as they are now, and ever have been, in the highest estimation. On the summit of another elevation, on the southern side namely, and towards the city, Raffaello placed the Arms of the Duke Alessandro above-named, in the same stone, and in like manner upheld by two figures.^[11]

No long time after having completed this undertaking, Raffaello executed a large Crucifix in wood, for the Nuns of Sant’ Apollonia; and for Alessandro Antinori, then a rich and noble merchant of Florence, he prepared a magnificent work on the marriage of his daughter, decorating the same most richly with statues, historical representations, and many other exceedingly beautiful ornaments.

Having then repaired to Rome, Raffaello received a commission from Buonarroti for two large marble statues,^[12] each five braccia high, and destined for the monument of Pope Julius IL, to be erected in the church of San Pietro in Vinculi, which was then in course of construction by Michelagnolo. But Raffaello becoming very ill while employed with these figures, could not devote himself with his accustomed zeal and diligence to the work, which caused him to suffer in the general esteem; nor did he give Michelagnolo so much satisfaction as he had been wont to do.

When the Emperor Charles V. visited Rome, the Pontiff, Paul III., caused a triumph, worthy of that most powerful sovereign, to be prepared for his reception, and on this occasion Raffaello erected fourteen statues of clay and stucco, on the bridge of Sant’ Angelo; these were so beautiful, that they were adjudged to be the best of all that were made for that festivity, nay, further, these figures were executed with so much rapidity, that the artist found time to repair to Florence also, where preparations for the reception of the same monarch were likewise in progress; and there, within the space of five days and no more, he constructed figures of two River Gods, each nine braccia high; these represented the Rhine as the symbol of Germany, and the Danube as that of Hungary, and were placed on the descent from the Ponte Trinità.

This master was subsequently invited to Orvieto, and there, in a chapel which had been enriched at an earlier period, with numerous decorations by the excellent sculptor, Mosca, Raffaello executed an Adoration of the Magi, in mezzo-rilievo. This work, which is in marble, deserves no little commendation for the great variety of the figures, which the master has executed in a very good mannner.

Having afterwards again repaired to Rome, Raffaello was appointed architect of the Castel Sant’ Angelo, by Tiberio Grispo, who was then Castellan of that great fortress. He there arranged and decorated many apartments, adorning the same with carvings in stone and vari-coloured marbles of different kinds, wherewith he ornamented the mantelpieces, windows, and doors. Our artist likewise executed a statue in marble, five braccia high, that Angel of the Gastello namely, which is on the summit of the large square tower in the centre (whereon the standard is erected), and which represents the Angel who appeared to the Pope (St. Gregory), when the latter, having prayed for the people, who were suffering from a raging pestilence, beheld the celestial messenger sheathing his sword, in token of cessation from further destruction.^[13]

At a later period, and when the above-named Crispo had been made a Cardinal, he despatched Raffaello several times to Bolsena, at which place he was building a palace; but no long time elapsed before the master resigned his appointment at the Gastello Sant’ Angelo, and abandoned the service of Cardinal Crispo likewise. He then received a commission from the most Reverend Cardinal Salviati, and from Messer Baldassare Turini, of Pescia, to execute the statue of Pope Leo X., which is now over the tomb of that Pontiff, in the church of the Minerva, at Rome;^[14] having completed which, he was further appointed by the same Messer Baldassare to erect the tomb of the latter, in a chapel which he had built, of marble,^[15] in the church of Pescia. For one of the chapels in the church of the Consolazione in Rome, he also executed three marble figures in mezzo-rilievo; but being disposed rather to the life of a philosopher than that of a sculptor, and delighting in the quietude of retirement, Raffaello then withdrew to Orvieto. He there undertook to superintend the erection of Santa Maria, a fabric in which he made many improvements; and in this place he remained many years, becoming old before his time.^[16]

I am of opinion that Raffaello would have produced more and better performances in art, if he had undertaken works of more importance, as he very well might have done; but he was too gentle and diffident; he had a great aversion to all conflict, and contenting himself with the little which fate had provided for him, he suffered many opportunities for securing works by wbicb he might have distinguished himself, to escape his hands. Raffaello drew very skilfully, and had a much clearer intelligence of all things pertaining to art, than was evinced by his father, Baccio da Monte Lupo.^[17]

There are drawings by the former, as well as by the latter, in our book, but those of Raffaello are much superior to those of his father—they are more graceful, and display more knowledge of art. In the execution of architectural ornaments this master followed, in a great measure, the manner of Michelagnolo, as may be seen from the mantelpieces, doors, and windows, by his hand, in the Gastello di Sant’ Angelo, as well as by certain chapels constructed after his designs at Orvieto, and which are in a very original, as well as beautiful manner.^[18]

But we will now return for a moment to Baccio da Monte Lupo. The death of this master was much regretted by the people of Lucca, who had ever found him a good and upright man; he was besides, of a very friendly disposition, being courteous and obliging to all. The works of Baccio were executed about the year of our Lord 1533. His most intimate friend was Zaccaria da Volterra,^[19] who received much benefit in many things from his instructions, and by whom many works in terra-cotta were performed in Bologna, some of which are now in the church of San Giuseppe.

1. Bartolommeo Lupi was the proper name of this artist. Monte Lupo is a place distant about twelve miles from Florence.—Ed. Flor. 1832-8.
2. These arms have suffered greatly from exposure to the weather.—Ed. Flor. 1832-8.
3. This work still retains its original place; the reader will find an engraving of it in Cicognara, Storia della Scultura Moderna, vol. ii. plate lx.
4. The Crucifix executed for the monks of San Marco is still in their great Refectory, of the remainder we can obtain no authentic information, many of them having been sold during the French invasion, and when the monastery was secularized, while others were lost, or perhaps destroyed at the same time.
5. This master had also visited Venice before the year 1510, having executed the figure of Mars on the tomb of Benedetto da Pesaro, in the church of the Frali, prior to that period.
6. In the first edition we find, “till his seventy-eighth year.”
7. Agostino Busti, commonly called Il Bambaja, or by some, Bambara, and even Zambaja. He has been named in the life of Vittore Carpaccio, vol. ii., and will be further mentioned in that of Girolamo Carpi, which will be found in the present volume.
8. Of the admirable and precious works in sculpture prepared for the tomb of Gaston di Foix, one portion is preserved in the Gallery annexed to the Ambrosian Library in Milan; another part of them is in the Gallery of the Brera in the same city, and many pieces are finally dispersed among private collectors in Milan and elsewhere. See Cicognara, Storia della Scultura Moderna.
9. A sculptor worthy of the highest admiration, in the opinion of all competent authorities, many declaring that in the handling of the chisel for the finish of minute parts he had no equal in Italy. See Cicognara, as abovecited, lib. v.
10. This statue is still in the new sacristy of San Lorenzo, called the Chapel of the Sepulchres, and stands on the left of Michael Angelo’s group of the Madonna.
11. Of these escutcheons, the first is entirely destroyed, and the second has almost wholly perished.
12. Two seated figures namely. They represent a Prophet and a Sybil. Raffaello executed them, according to the German commentator, Schorn, after models prepared by Michael Angelo himself.”
13. Bottari has a remark to the effect that the statue executed by Raffaello having been much injured by time, but more especially by lightning, was replaced by a figure in bronze, erected in the last century by the able master in foundry, Giordani, but a German writer informs us that the model of this statue was prepared by the Dutch sculptor, Verschaffelt.
14. For details relating to the monuments of Leo X. and Clement VII. the reader is referred to Gaye, Carteggio inedito, vol. ii.
15. This is considered to be the best work of Raffaello.
16. The office of inspector and architect to the Cathedral of Orvieto is an important one, remarks the Padre della Valle, which is never bestowed on any but first-rate masters. See Storia del Duomo d’Orvieto.
17. The approach of Raffaello da Monte Lupo to the manner of Michael Angelo was a great merit in the eyes of Vasari, as one of his Italian critics remarks.
18. Borghini, in his Riposo, affirms that Raffaello da Monte Lupo, considering the decorations in marble of these chapels as too costly, whether as regarded time or money, caused them to he executed in stucco, for which he gave the designs, hut the statue of St. Peter he sculptured with his own hand in marble, intending that this should be accompanied by those of all the other apostles, executed in like manner, and in the same material. Raffaello was buried with great honour in the chapel of Santa Maria: the inscription on his tomb bearing date 1588. See Della Valle, Storia del Duomo di Orvieto, p. 323, et seq.
19. Vasari speaks again of this Zaccaria, in the life of Alfonso Lombardi. The statue of Pope Paul III. in the Sala Famese of the Paiazza Publico, at Bologna, is by this master whom some writers call Zacchio da Volterra. —Ed. Flor. 1832 -8.