Lives of the Most Excellent Painters, Sculptors, and Architects/Benedetto da Maiano

by Giorgio Vasari

 

THE FLORENTINE SCULPTOR AND ARCHITECT, BENEDETTO DA MAIANO.

[born 1442—DIED AFTER 1498.]

The Florentine sculptor, Benedetto da Maiano, was a carver in wood in his first youth, and was considered to be the best master in that calling who then took tool in hand: he was more especially excellent in the process which, as we have elsewhere related, was introduced at the time of Filippo Brunelleschi and Paolo Uccello, that, namely, of conjoining woods, tinted of different colours, and representing with these, buildings in perspective, foliage, and various fantasies of different kinds. In this branch of art Benedetto da Maiano was, in his youth, as we have before said, the best master that could be found, and this we see clearly proved by the many works from his hand still to be seen in different parts of Florence. Among these are more particularly to be mentioned the Presses in the sacristy of Santa Maria del Fiore, all by him, and finished, for the most part, after the death of his uncle Giuliano:^[1] these are entirelj covered with figures in the inlaid work, foliage, and other decorations, executed with consummate art and at immense cost.^[2] The novelty of this work having gained the master a very great name, he executed numerous examples thereof, which were sent to different princes and various places; among others to Alfonso, king of Naples, who had an escritoire, which had been executed after the design of Giuliano, uncle of Benedetto, who had served that monarch in his architectural undertakings. Benedetto himself had been to Naples for the purposes of their joint works, but a residence in that city not being to his liking, he returned to Florence, where, no long time after, he executed a pair of exceedingly rich coffers for king Matthias of Hungary,^[3] who had many Florentines in his court, and was a great admirer of ail works of ingenuity. These coffers were decorated with the most difficult and beautiful workmanship, in coloured woods, inlaid, and the artist being pressingly invited by the Hungarian monarch, determined on proceeding with them to his court. Having packed up his coffers, therefore, and embarked with them in a ship, he departed to Hungary; and having arrived there, he made his obeisance to the king, by whom he was very favourably received. Benedetto immediately caused the chests to be brought, and they were unpacked in presence of that sovereign, who greatly desired to behold them; but it was then discovered, that the humidity of the sea-voyage had softened the glues to such a degree, that when the waxed cloths in which the coffers had been wrapped were opened, almost all the pieces were found sticking to it, and so fell to the ground. Whether Benedetto stood amazed and confounded at such an event, in the presence of so many nobles, let every one judge for himself; nevertheless, having put the work together as well as he could, he so contrived it that the king was tolerably satisfied therewith; but the master himself took a mortal aversion to the occupation, and for the shame it had brought him to, he could no longer endure it. Laying aside all doubt and timidity therefore, he resolved to devote himself to sculpture, an art in which he had already made some attempts while at Loretto, with Giuliano, his uncle; he had executed the Lavatory of the Sacristy, for example, with several Angels in marble. Before he left Hungary, therefore, he proved to the king, that if he had in the first instance been put to shame, the fault was in the inferior nature of the work, and not in his genius, which was a versatile and exalted one. Having executed many works, both in terra-cotta and marble, all which pleased the king greatly, Benedetto returned to Florence: he had no sooner arrived there than he was appointed by the Signoria to execute the decorations, in marble, for the door of their chamber of audience, where he sculptured figures of boys, which are very beautiful, supporting festoons of flowers with their arms;^[4] but the most admirable portion of this work is the central figure, that of St. John,^[5] as a youth, which is held to be of singular beauty; the height is two braccia: and to the end that the whole work should be by his own hand, Benedetto executed the wood-work which encloses the door himself, representing figures in woods inlaid, on the folds, on each fold one, that is to say, the figure of Dante being on one side, and that of Petrarch on the other. To any one who has seen no other work of this kind by Benedetto, these two figures alone may suffice to show how admirable and excellent a master in tarsia he was.^[6] The audience-chamber has, in our day, been painted at the command of the Signor Duke Cosimo, by Francesco Salviati, as will be related in its due place.

In the church of Santa Maria Novella, at Florence, and in the chapel, painted by Filippino, Benedetto constructed a Sepulchral Monument of black marble, for Filippo Strozzi, the elder; he there represented the Madonna with Angels, executed very carefully. The portrait of Filippo Strozzi, in marble, prepared by Benedetto for the same place, is now in the Strozzi palace.^[7] For the elder Lorenzo de’ Medici, the same artist executed a Bust of the Florentine painter Giotto; it was placed in Santa Maria del’ Fiore, over the inscription, of wdiich we have spoken sufficiently in the life of Giotto. This work, which is in marble, is also considered to be a tolerably good one.^[8]

Benedetto repaired, at a later period, to Naples, summoned thither on the death of his uncle Giuliano, to whom he was heir j he there, in addition to certain works executed for the king, sculptured a relief in marble, for the Count of Terranuova, in the monastery belonging to the monks of Monte Oliveto. The subject of this work is the Annunciation; the Virgin is surrounded by Saints and beautiful Boys, who sustain garlands of flowers; in the predella are several bassirilievi in a very good manner.^[9] In Faenza this master erected a magnificent marble tomb for the body of San Savino, and on this are six stories in bas-relief, representing events from the life of that saint; they show much power of invention, and are of most correct design, which is manifest in the buildings represented, as well as in the figures; insomuch that, for this as well as for other works, Benedetto was justly acknowledged to be an excellent master in sculpture. Before he left Romagna, he was accordingly invited to execute the portrait of Galeotti Malatesta;^[10] he also sculptured the likeness—but whether earlier or later I do not know—of Henry VII., king of England, which he did after a portrait on paper, furnished to him by certain Florentine merchants. The sketches of these two portraits were found in the house of Benedetto after his death. Having finally returned to Florence, he constructed for Pietro Mellini, a Florentine citizen, and at that time a very rich merchant, the pulpit of marble which is still to be seen in the church of Santa Croce, a work considered to be one of the rarest excellence, and more beautiful than any other ever executed in that manner. The events from the life of St. Francis, which are there represented, are greatly extolled, and are, indeed, finished with so much skill and care, that nothing better in marble could possibly be desired, Benedetto having with consummate art sculptured rocks, trees, buildings, and various objects in perspective, with other things, brought out with marvellotis freedom. There is besides a repetition of these decorations on a sepulchral stone beneath the pulpit, and this is executed with so much ability that it would not be possible to praise it sufficiently.^[11] It is affirmed that in the progress of this work Benedetto had considerable difficulty with the wardens of the works in Santa Croce; the cause whereof was, that he proposed to erect his pulpit against one of the columns which support some of the arches that sustain the roof, and intended to perforate the same in order to make a place for his staircase, and the entrance to the pulpit. But the wardens refused their consent, fearing that he might so greatly weaken the column by the cavity required for the stairs, as to cause the weight above to press too heavily upon it, thereby endangering the safety of that part of the church; Mellini, however, having given a guarantee that the work should be completed without injury of any kind to the building, they finally agreed. Benedetto then first of all caused the column to be secured externally by strong bands of bronze, all that part, that is to say, which from the pulpit downwards is covered with granite {pietra forte); he then constructed the steps for ascending to the pulpit, and in proportion as he excavated the column within, did he add to it externally the granite above-mentioned, in the manner that we now see. He thus conducted this work to perfection, to the astonishment of all who beheld it, displaying in every part, and in all the parts together, the utmost excellence that could be desired in such an enterprize.^[12]

Many athrm that Filippo Strozzi the elder, when proposing to build his palace, requested the advice of Benedetto da M aiano, who thereupon constructed a model, after which tiie building was commenced; but the fabric was afterwards continued and completed by Cronaca, when Benedetto da Maiano was dead.

Plaving acquired sufficient to enable him to live, Benedetto would DO longer undertake works in marble after those enumerated above, except that he finished the Santa Maria Maddalena which had been commenced by Desiderio da Settignano,^[13] in the church of Santa Trinita, and executed the Crucifix which is above the altar in Santa Maria del Fiore, with some others of a similar kind.^[14]

With respect to architecture, although this master undertook but few works in that branch of art, he yet proved his skill in those few no less than in sculpture, more especially in the management of certain alterations undertaken at an enormous cost under his direction and by his counsels, in the palace of the Signoria of Florence. The first was that in the hall, now called the Hall of the Dugento, over which the Signoria desired to erect, not one similar room, but two rooms, a hall and an audience chamber. A wall was thus required to be raised, and not a slight one either; in this wall there was to be a marble door, and one of tolerable thickness, nor was less skill and judgment than were possessed by Benedetto required for the execution of such a work.

In order to avoid diminishing the hall first-mentioned, therefore, and yet secure the proper division of those above, Benedetto proceeded in the following manner: on a beam of ' one braccio in thickness, and extending in length the whole breadth of the hall, he fastened another consisting of two pieces, and giving an elevation by its thickness of two-thirds of a braccio; these being carefully secured and fastened at both ends, formed a projection of two braccia on each side of the wall, and were furnished with clamps, in such a manner that an arch half a braccio thick, and constructed of double bricks, could be raised upon them, being supported, moreover, by the principal walls. These beams were then dove-tailed together, and so firmly united by strong clamps and bands of iron, that they were no longer two, but one. But to the end that these beams should not have to bear more than the wall supporting the arch, while the arch itself should support all the rest, the master furthermore attached two strong iron bars to the arch, and these being firmly bolted into the lower part of the beams, upheld, and do uphold them in such sort, that even though they did not suffice of themselves, yet the arch (by means of the two strong bands surrounding the beams, one on one side of the marble door and the other on the other) would be capable of upholding a much greater weight than that of the wall built upon it, which is of bricks, and half a braccio in thickness: he nevertheless caused the bricks of which the wall was constructed to be moulded in such a manner as to give increased breadth to the lower part of the wall, and thus impart greater stability to the whole. By these means, and thanks to the judicious management of Benedetto, the Hall of the Dugento retained all its extent, and above that hall, in the same space, by means of the partition wall, the hall called that of the Oriuolo was constructed, with the chamber of audience wherein the triumph of Camillo, by the hand of Salviati, is depicted. The ornamental work of the ceiling was executed in rich carving by Marco del Tasso, with the assistance of his brothers Domenico and Giuliano^[15] who likewise decorated the ceiling of the hall of the Oriuolo, and that of the audience chamber. The marble door between these rooms had been made double: of the outer door and its decorations we have already spoken;^[16] and over the inner one Benedetto placed a seated figure of Justice, holding a sword in one hand and the globe in the other; around the arch is the following inscription: Diligite Justitiam qui judicatis terram.^[17] The whole work was conducted with admirable art, and finished with extreme care and diligence.^[18]

For the church of the Madonne delle Grazie, but a short distance without the city of Arezzo, Benedetto erected a portico with a flight of steps leading to the door of the entrance. In the construction of this portico, Benedetto made the arches resting on the columns, and beneath the roof he placed an architrave, frieze and cornice entirely around the fabric. To the channel for conveying off the water, which projects to the extent of a braccio and a third, he gave the form of a chaplet of roses, cut in the hard stone called macigno; between the base of the eaves and the denticulated and oviform ornaments beneath the channel, there is a space of two braccia and a half; and this, with the half braccio added by the tiles, gives a projecting roof of about three braccia, a very useful, beautiful, rich, and ingenious work. In this portico, and in the peculiarities of its construction, there are many things worthy the consideration of artists; for the master, desiring to give his roof so great a projection without modillions or corbels for its support, made the stones on which are the carved rosettes of such a size that the one half of them only stood forward, while the other half was firmly built into the wall; being thus counterpoised, they were able to bear the whole weight afterwards laid on them without any danger of injury to the building, as they have done to the present day, and as the architect did not wish the' roof of the portico to appear of many pieces, as it really was, he surrounded the whole, piece by piece, with a cornice, which seems to form a base to the chaplet of rosettes, and this being fixed in coffer-work and well conjoined, united the whole in such a manner, that whoever sees the work believes it to be entirely of one piece. In the same place Benedetto constructed a level ceiling decorated with gilded rosettes, which is much admired.^[19]

Having purchased an estate at about half a mile from Prato, beyond the gate leading towards Florence, Benedetto built a very beautiful little chapel on the high-road, at no great distance from the gate. In a recess of this building he placed a figure of Our Lady with the Child in her arms, which is only in terra-cotta, and although of no other colour than that of the clay, is so admirably executed that its beauty is equal to that of marble.The same may be said of two angels, each holding a light in his hand, placed by the artist over all, by way of ornament. The decoration of the altar consists of a Dead Christ, the Madonna, and San Giovanni, executed in marble, and singularly beautiful. At his death this master left in his house the commencement of many other works, both in terra-cotta and marble.^[20]

Benedetto da Maiano drew extremely well, as may be seen by certain drawings preserved in our book. He died in the year 1498, in the fifty-fourth year of his age, and was interred by his friends in San Lorenzo.^[21] His property was bequeathed, after the death of certain relatives, to the brotherhood of the Bigallo.

While Benedetto, still a youth, was employed in woodwork and tarsia, he had among his competitors Baccio Cellini, piper to the Signoria of Florence, who executed many admirable inlaid works in ivory. Among others was an octagon decorated with figures in ivory, outlined in black, and of great beauty, v/hich is now in the guardaroba of the Lord Duke. Girolamo della Cecca, a pupil of Baccio Cellini, and also piper to the Signoria, in like manner executed various works in tarsia at the same time; and contemporary with these was David of Pistoja, by whom the San Giovanni, of inlaid work, which is now at the entrance to the choir in the church of San Giovanni Evangelista in Pistoja, was executed^[22]* a work remarkable rather for the labour bestowed on its execution than for beauty of design. Another master in tarsia was Geri of Arezzo, who decorated the choir and pulpit of Sant’ Agostino in Arezzo, with these same works, figures, and ornaments, in perspective namely, executed in wood inlaid. This Geri was a man of fanciful invention, and, among other things, he made an organ, the tubes of which are of wood, and the sound is most perfectly soft and sweet; this may still be seen over the door of the sacristy in the episcopal church of Arezzo, preserved in all its first beauty; a thing worthy of remark, Geri being the first to attempt such a work.^[23] But no one of these artists, nor any other who pursued the same calling, could equal Benedetto by many degrees, wherefore this master well merits to be ever held in esteem, and must be numbered among the best artists of the professions he exercised.

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1. See the life of that master, ante, p. 8.
2. The intarsiatura here described, are still in the Sacristy, with the exception of some few pieces which are in the first room of the house of tlie wardens of the cathedral. —Masselli.
3. This monarch was a known friend of artists and men of letters, many of whom found welcome and occupation in his court.
4. The marble door still remains, but the boys have disappeared, nor is their present place known.
5. Now in the Uffizj; it was considered to be a work of Donatello until Signor Montalvo lately restored it to the true author. — Ed. Flor., 1849,
6. There is some question whether Benedetto took any part in this admirable intarsiatura, which some attribute to Giuliano da Maiano, assisted by II Francione. The door, having been somewhat injured, has been lately restored.—Ibid.
7. The monument of Filippo Strozzi is still in Santa Maria Novella, but deprived of the Bust, as Vasari observes.— Ed. Flor., 1832.
8. This Bust also is still in the cathedral of Florence, on the right of the entrance; but it would seem, from the inscription, that the people of Florence, and not Lorenzo, had caused it to be executed.
9. Still in the monastery of Monte Oliveto. It has been engraved by Cicognara (vol. ii. tav. 16), who has also certain remarks on the dra])eries. —See Storia della Scultura, &c.
10. The son of Pandolpho Malatesta, and reputed a Bcato, or Saint, in all but the ceremony of canonization.
11. Two stories only, from the pulpit of Santa Croce, still in admirable preservation, have been engraved by Cicognara, but the entire work is engraved by Lasinio (Giovan Paolo), with illustrations by Niccold Marzocchi; a magnificent work, published in 1823.
12. The column has in fact never given the slightest intimation of weakness. Benedetto, likewise, sculptured the Bust of Pietro Mellini, at whose expense the pulpit was erected. This is now in the.Gallery of the Ufiizj, in the Corridor of Modern Sculpture. — Masselli.
13. Sec the life of Desiderio, ante, p. 135.
14. See the life of Cronaca, which follows.—See also Dr. Gave, in the Kunstblatt for 1837 Nos. 67, 68. Ueber den Bau des Palastes Strozzi.
15. These brothers have been already mentioned by Vasari in the life of Cecca. Giuliano is named again in the life of Andrea del Sarto, and Marco in that of Jacopo da Pontormo. The reader who shall desire further details concerning them, will find such in Gaye, Carteggio, &c., vol. i. p. 581—589; vol. ii. p. 371; and vol. iii. p. 1G7, et seq.
16. See ante, p. 242.
17. The Statue of Justice is no longer to be seen. A small figure with the head and hands in white marble, the remainder in porphyry, has taken its place. — Ed. Flor., 1832 and 1849.
18. The entire work, with its decorations, still remains in excellent preservation.
19. The portico is still in existence, although somewhat injured by time. The steps were re-constructed in the last century, and are much reduced in size. — Masselli, and Ed. Flor., 1849.
20. The chapel, with its decorations as here described, is still in existence,
21. On his tomb, in the crypt of San Lorenzo, is the following inscription, the date being that of the period when the brothers Giuliano and Benedetto da Maiano, obtained possession of the burial-place:—
    “Juliano et Benedicto Leonardi FF. de Majano et suorum”, mcccclxx.
22. This Intarsia of St. John is no longer to be found—Ed. Flor., 1846-9.
23. The organ here described has perished.— Ed. Flor., 1832-8.