Lives of the Most Excellent Painters, Sculptors, and Architects/Cristofano Gherardi, called Doceno of Borgo-a -San Sepolcro

by Giorgio Vasari

 

THE PAINTER, CRISTOFANO GHERARDI, CALLED DOCENO OF BORGO-A-SAN SEPOLCRO.

[born 1500—died 1556.]

Raffaello dal Colle,^[1] of the Borgo-a -San Sepolcro, who was a disciple of Giulio Romano, and assisted him in the fresco works of the Hall of Constantine in the papal palace at Rome, as well as in painting the apartments of the T at Mantua—Raffaello, I say, on his return to his native place of the Borgo, undertook to paint the chapel of S.S. Gilio and Arcanio, a work in which he depicted the Resurrection of Christ, and was very highly commended for the same; in this painting the artist imitated the manner of the above-mentioned Giulio, and of Raffaello da Urbino. He likewise executed another picture of an Assumption for the Barefooted Monks, whose abode is just without the Borgo, as he did also some other paintings for the Servite Monks of Citta di Castello.

But while occupied with these and other productions, Raffaello dal Colle was thus labouring in his native Borgo, and was acquiring riches as well as fame, there was in the same place a youth, then but sixteen years old, called Cristofano, and for his surname Doceno, the son of Guido Gherardi, a man of an honourable family resident in that town, and who, devoting himself by a natural inclination and with much profit to painting, drew and coloured so well and with so much grace, that it was a marvel.

Wherefore the above-mentioned Raphael dal Colle, having seen certain animals, as dogs, wolves, hares, and various kinds of birds and fish, from the hand of this youth, all very well done; finding, moreover, that he was of most pleasing conversation, was well content to make his acquaintance. Cristofano was also exceedingly facetious and acute, while at the same time he lived much apart, withdrawn amidst his own thoughts, and leading as it were the life of a philosopher, insomuch that Raffaello dal Colle was very glad to have him studying and learning his art in his work-shops. Passing his days in designing under the discipline of Raffaello, therefore, Cristofano had for some time been thus employed, when there came to Borgo-a -San Sepolcro the painter Rosso, with whom Doceno likewise formed a friendship, and obtained some designs from his hand, wdiich he studied and worked on with much diligence; these works appearing to him (who had never seen any but from the hand of Raffaello^[2]), to be, as in truth they were, most beautiful.

But the studies of Cristofano did not proceed without interruption, for as it chanced that Giovanni de’ Turini, who was then Captain-General of the Florentines, led a band of soldiers from the Borgo and from Citta di Castello to the relief of Florence, which was then besieged by the Imperial forces, and by those of Pope Clement, Cristofano went thither with the other soldiers, having been over-persuaded and led away by several of his friends. It is true that he took this step no less for the purpose of studying with some degree of convenience the works of art to be found in Florence, than for military purposes; but in this intention he failed to succeed, since his leader did not take up his quarters in any part of the city, but undertook the defence of the bastions on the hills outside the walls.

The war having been brought to a close, and the Signor Alessandro Yitelli, of Citta di Castello, having taken it on himself to provide for the defence of Florence, Cristofano, still following the counsels of his friends, and impelled also by his desire to study the pictures and sculptures of the city, attached himself to the corps commanded by Yitelli, taking service as a soldier of the guard. While thus engaged, the Signor Alessandro, having heard from the painter and soldier Battista della Bilia,^[3] of Città di Castello, that Cristofano employed himself with painting, immediately obtained a very beautiful picture from his hand; whereupon he determined to despatch him, with Battista della Bilia, and another Battista, also of Città di Castello, to that city, there to decorate a Loggia and garden which he was then erecting and laying out with hatchings and paintings of various kinds. While the garden was in preparation, the first-named Battista died, and the second Battista stepped into his place, when, whatever may have been the cause, the work came to a stand, and nothing further was done therein.

Meanwhile Giorgio Vasari returned from Borne, and was sojourning in Florence Avith the Duke Alessandro, until the Cardinal Ippolito, his lord, should arrive from Hungary; when he was to commence the decoration in fresco of certain apartments in the Medici palace, the subjects chosen being events from the life of Caesar: Giovanni da Udine having adorned the ceilings of that building with stucco work and paintings. Now Vasari, who had his abode appointed him in the convent of the Servites, had become known to Cristofano at Borgo, at the time when he (Giorgio) had gone thither to visit 31 Bosso, and had taken much notice of the youth, who, on his part, had treated Giorgio very kindly. Cristofano therefore now resolved to fix himself with Vasari, and to avail himself of that opportunity for studying the art much more zealously than he had ever done before. After having been a year with Giorgio, therefore, the latter, observing him very closely, clearly perceived in him the materials for making an able artist, and finding him moreover to be of most gentle disposition, pleasing in conversation, and in all things greatly to his liking, he conceived a very strong affection for the youth.

Now it chanced about this time that Vasari had occasion to visit the Città di Castello, having been commissioned by the Duke Alessandro to repair thither, in company with Antonio di San Gallo, and Pier Francesco of Yiterbo; these two masters having been at Florence, engaged in the construction of the Fortress, or rather the Citadel,^[4] and now, being on their return, took their way by the Città di Castello, for the purpose of repairing the boundaries of the beforementioned garden of Vitelli, which were in a grievously ruinous state. To this place, then, Vasari took with him the above-named Cristofano, proposing that he, together with that Battista previously mentioned, should execute all the decorations and stories of a certain apartment, together with the friezes which were to be added in other chambers, and such sketches as it was the design of Vasari to prepare for the Loggia; all which these young artists, but more particularly Cristofano, completed to such perfection, that the most able and experienced master in the art would scarcely have done so much.^[5] Nay, what is more, by the practice thus afforded to him, Cristofano profited to so great an extent, that having used the opportunity with much zeal and industry, he was found to have thereby attained to an extraordinary degree of facility both in drawing and colouring.

In the year 1536, the Emperor Charles V. came into Italy and to Florence, as we have related in other places, when there were magnificent solemnities prepared for his reception, as before described. On this occasion, the care of such decorations as were required for the Grate of San Pietro Gattolini was entrusted by Duke Alessandro to Vasari, as were also the works for that façade of San Felice in Piazza which looks on the end of the Via Maggio, and the ornaments erected over the Portal of Santa Maria del Fiore. Vasari was furthermore commanded to prepare a Standard of Cloth for the Citadel, the length of which was forty braccia, and its breadth fifteen, while in the gilding of the same there were employed some 50,000 leaves of gold. But this caused the Florentine artists and others to declare that Vasari was too partially favoured by the Duke Alessandro; wherefore, in the hope of bringing him to disgrace, as regarded his part in those preparations—certainly a very laborious, as well as important one—they so contrived matters that Giorgio could obtain the assistance of no stone-worker or other assistant, whether old or young, among all those who dwelt in Florence; nor was any one of them permitted to afford him help of any kind.

Perceiving this state of things, Vasari sent at once for Cristofano, for Raffaello dal Colle, and for Stefano Veltroni,^[6] of Monte Sansovino, his kinsman, by whose aid and that of certain painters from Arezzo and other places, he succeeded in completing the above-named works. And on this occasion Cristofano acquitted himself in a manner which caused amazement in every one, doing honour to himself as well as to Vasari, who was very largely commended for the decorations in question. These being finished, Cristofano still remained several days in Florence, assisting Giorgio Vasari in the preparations which were made for the marriage of the Duke Alessandro, the festivals in honour of which were solemnized in the palace of Messer Ottaviano de’ Medici; and here, among other things, Cristofano executed the Coat of Arms of the Duchess Margherita of Austria, adding the balls for the Medici, the whole upheld by a most beautiful Eagle, and by figures of boys, which were also very well done.

No long time after this, and when Duke Alessandro had ^>een assassinated, there was a compact made at the Borgo with Piero Strozzi, to the effect that one of the gates of the city should be thrown open to him on his way from Sestino, and letters touching this conspiracy were therefore written to Cristofano by certain soldiers of the Borgo, who had been exiled from their country, the purport of the same being to entreat that he would be helpful to them in that enterprise. Now when he had received these letters, Cristofano, though he did not consent to the wishes of those men, yet resolved to destroy the papers, that he might not cause injury to the writers, instead of making them known to and laying them before Gherardo Glierardi, who was then commissioner for the Duke Cosimo in the Borgo, as by the laws and by published orders, he was bound and commanded to do.

When the troubles had been brought to an end therefore, and this affair became known, Cristofano, with many other natives of the Borgo, received sentence of banishment; and although the Signor Alessandro Yitelli, knowing perfectly the whole truth of the matter, might have assisted Doceno therein, he did not do so, and the motive for this was his desire that Cristofano should be in a manner compelled to remain in his own service and work for that garden at Citta di Castello, of which we have more than once made mention. But having there consumed much time, without profit or advantage, Cristofano at length resolved, as one in despair, to depart with other exiles to the village of San Justino, which is in the States of the Church, but is close upon the Florentine frontier, and not more than a mile and a half from Borgo.

In this place, where he lived in much peril, he nevertheless abode for some time, and then painted for the Abbot Bufolini of Città di Castello, who has a most beautiful and commodious dwelling at San Justino, a certain chamber in one of the towers, forming the divisions of his work by figures of boys and others, which appear foreshortened as they are looked at from below, and are in a truly admirable manner: Cristofano added grottesche, garlands or festoons, beautiful masks, and many other decorations, all of which are as graceful and fanciful as can be imagined. That apartment being finished, so greatly pleased the Abbot, that he wished our artist to execute the ornaments of another chamber for him. In this it was the purpose of Doceno to introduce certain embellishments of stucco, and not having marble to grind into powder for mixing the same, he took stones veined with white from the brook, and with the powder which he obtained from them produced a good, firm, and even hard stucco: within the framework formed of the stucco thus composed Cristofano then painted scenes from the Roman History, and these are so admirably depicted in fresco that they are a marvel to behold.^[7]

About that time Giorgio Vasari was engaged with the rood-loft of the Abbey of Camaldoli, the upper part of which he was adorning with fresco, while the lowermost portion was decorated with two pictures on panel, these last he wished to surround with a frame-work of stories in fresco and would fain have had Cristofano at hand, as well for the good of that artist, and in the hope of reinstating him in the favour of his sovereign, as for the assistance which he did himself desire to obtain from him. But although Messer Ottaviano de’ Medici made great efforts to procure permission from the Duke for Doceno’s return, it was not found possible to secure the desired leave, so injurious had been the reports of Cristofano’s proceedings, which the Duke had received. Not having succeeded in this attempt, Vasari, as one who much loved Cristofano, set himself to work for the purpose of removing him at least from San Justino, where he, together with the other exiles, was daily living in the utmost peril.

In the year 1539, therefore, and when Vasari received commission from the Monks of Monte Oliveto to paint three large pictures in the Refectory of their Monastery of San Michele-in-Bosco, which is situate at a short distance from Bologna,^[8] he wrote instantly to Cristofano, to the effect that the latter should at once depart from San Justino, and should repair to Bologna, in company with Battista Cugni, also of the Borgo and a compatriot of Doceno, which Battista had previously been in the service of Vasari for seven years. The pictures were to be in oil, each four braccia in height, they were to occupy the upper end of the Refectory, and to have a frieze or bordering of historical scenes around them, the height thereof to be three braccia, the figures very small, and the subjects, twenty in number, to be taken from the Apocalypse. Views of the various monasteries which belong to that Order were likewise to be added, each to be separated from the other by grottesche and other ornamental divisions. Around each window, moreover, there were to be depicted garlands fourteen braccia long, with the addition of fruits drawn from nature.

Cristofano and Battista repaired to Bologna accordingly, where Giorgio had not yet arrived, he being still at Camaldoli, occupied with the cartoon for a Deposition from the Cross, which he had undertaken to execute for the High Altar of that place, after having completed the rood-loft as abovenamed, and which was subsequently placed on that altar accordingly. The two artists, therefore, set themselves to prepare the intonaco for the three pictures, so as to have the ground ready by the time of Giorgio’s arrival.

Now the latter had given directions to the Jew Dattero, a man well known to Messer Ottaviano de’ Medici, and who was a banker in Bologna, to the intent that he, Dattero, should provide Cristofano and Battista with whatever might be needful to them. This Dattero was a very friendly person and exceedingly obliging to the two artists, to whom he offered many courtesies and conferred on them favours innumerable. Doceno and Battista, therefore, going about with him very familiarly in Bologna, and Cristofano having a great mark on one eye, while the eyes of Battista were large and prominent, the two painters were believed to be Jews, as Dattero truly was. One morning a certain shoemaker being despatched by Dattero to Cristofano with a new pair of shoes for his use, repaired to the Monastery, and encountering Cristofano himself, who stood looking on while the customary dole was distributed, he said to him, “Messer, can you tell me where are the rooms of those two Jewpainters who are working in this convent? ” “Jews, or no Jews, what hast thou to do with them?” returned Cristofano. I have to give these shoes, rejoined the cordwainer, to one of them who is called Cristofano.” “I am Cristofano,” quoth the painter, “an honest man and a better Christian than thyself.” “Say what you please,” retorted the shoemaker, “I call you Jews, not only because you are so considered and known to be, by every one, but also because your strange looks, which are not of this land, convince me that you are Jews.” “Say no more,” answered Cristofano, “Thou shalt see when the time comes that we know how to make Christian work.”

But to return to the matter in hand. Vasari having arrived in Bologna, a month had not elapsed, before, Giorgio himself designing, and Cristofano, aided by Battista, sketching the pictures with his colours, they were all three completely outlined, to the great praise of Cristofano, who acquitted himself to admiration in the matter. The paintings being thus all sketched, they commenced the frieze, which Cristofano was to have executed entirely with his own hand; yet it chanced that he had a companion, for Stefano Yeltroni, the cousin of Giorgio, having come from Camaldoli, where he had sketched the Deposition from the Cross above-named, both laboured at this work together, and completed it so well that all admitted them to have succeeded wonderfully. Cristofano was indeed so good a painter of grottesclie that few could be better, but he did not give them the nicety of finish required to ensure perfection; Stefano on the contrary, was somewhat deficient in the requisite force and grace, the first strokes of his pencil rarely sufficing to place the object depicted in its due position, but as he was very patient, he did finally succeed in completing his grottesche, although not without increased labour, yet with superior delicacy and neatness. These two artists, therefore, executing this frieze in company, laboured so earnestly, both the one and the other, that Cristofano learned to finish from Stefano, while Stefano learned from Cristofano to be more firm of hand, and to work in a more masterly fashion.

The artists next commenced the large festoons or garlands which were to be carried in thick masses around the windows; and of these Vasari executed one with his own hand, the various fruits being placed before him, that he might copy from nature. Having done that, he commanded that Cristofano and Stefano, pursuing the same method, should complete the remainder, one on one side and one on the other of each window, to the end that all might be finished, one after the other; Giorgio, meanwhile promising that to him who should have acquitted himself best at the end of the works, he would give a pair of nether hose of a scarlet colour: wherefore amicably and even affectionately competing for the honour and the profit, these two young men set themselves to draw the most minute as well as the most important objects from nature, millet-seed, bunches of fennel, and the like, in such sort that these garlands turned out to be a most beautiful work, and both Doceno and Stefano received from Vasari the prize of the scarlet hose.

Vasari took great pains to prevail on Cristofano to design a part of the stories which were to go into the frieze with his own hand, but the latter would never attempt it; wherefore, while Giorgio was preparing them himself, Doceno executed the buildings required in two of the pictures, with so much grace and so fine a manner, to such entire perfection, in short, that there are few masters, of however good a judgment, and even though they had the cartoons before them, who could have done as much. It is indeed a certain truth that no painter ever performed so much on the impulse of the moment, and without previous study or preparation, as was effected by Cristofano.

Having completed the buildings required to be delineated in the two pictures, while Vasari was engaged with the twenty stories from the Apocalypse for the frieze, Cristofano next painted all the utensils for the service of the table, which were demanded for that picture, wherein San Gregorio (whose head is a portrait of Pope Clement VII.) is seated at supper with those twelve poor men:^[9] all which he depicted with the utmost accuracy and truth.^[10]

The third picture was then commenced,^[11] Stefano being meanwhile occupied with the gilding of the framework for the other two; and a sort of scaffolding being erected on two tressels, Vasari worked on one end thereof, painting the three Angels, who appeared to Abraham in the Valley of Mamre, while Cristofano was employed on the other end in the delineation of certain buildings, which made part of the picture. But Cristofano was perpetually contriving supplementary modes of raising himself to the various levels at which he desired to be, and would make steps of whatever came to hand; not only benches and such things, but even pails or pots turned upside down, were used by him for that purpose; and on all these things, piled up one on another, he would mount without consideration, after a thoughtless fashion of his own. On a certain occasion, however, desiring to draw back somewhat for the purpose of examining the effect of what he had done, one of his feet slipped, when the piled up mass turning over, he fell from a height of five braccia, and injured himself very severely: it even became necessary that he should be bled, and many cares besides were demanded, but for which he would without doubt have died. Nor was this all; so negligent was Cristofano of his own person, that he one night suffered the bandages to become unfastened from the arm wherein he had been bled, to the imminent peril of his life; nay, if Stefano, who slept with him, had not discovered his condition, he must have died where he lay. There was, indeed, the utmost difficulty in restoring him, the bed having become a lake of blood, and Cristofano himself being almost at the last gasp. Vasari then took him into his own especial care, and caused him to be attended with as much solicitude as if he had been his brother, but all that could be done was only just sufficient; and it was not until after the whole work had been some time completed, that Cristofano was entirely restored.

Having afterwards returned to San Justino, Cristofano there finished some of the apartments belonging to the beforementioned abbot, and which had been left incomplete; he subsequently executed a picture, which his intimate friend Battista had been commissioned to paint, at Città di Castello, entirely with his own hand; and further undertook the decoration of the lunette above the lateral door of San Fiorido, depicting three figures in fresco therein.

Giorgio Vasari being then summoned by the intervention of Messer Pietro Aretino, to Venice, there to arrange the preparations for a most sumptuous festival, to be given by the nobles and gentlemen of a company called Della Calza, with the scenic decorations for a drama composed for those nobles by Messer Pietro himself; Vasari being thus employed, I say, he, not being able to conduct so extensive a work without aid, sent for Cristofano and the above-named Battista Cugni; and these artists did at length arrive in Venice; but first they had been carried by the chances of the sea into Sclavonia: when they finally reached Venice, therefore, they found that Vasari had not only arrived in that city before them, but had already designed everything, insomuch that there remained nothing for them to do but at once to set hand to the painting.

Now the above-mentioned nobles and gentlemen of the Calza had hired a large unfinished house, situate at the end of the Canareio, and this building, having only its principal walls erected and the roof put on, Giorgio had at his disposal a space which formed an apartment seventy braccia long, by sixteen braccia wide; herein he caused to be erected two ranges of seats formed of wood and raised four braccia from the ground, these being intended for the accommodation ot the gentlewomen, who were to be seated thereon. The walls of this chamber Giorgio decorated with four pictures, each ten braccia in extent, and separated one from the other by niches four braccia wide, within which were placed statues; on each side of every niche was a terminus in relief, nine braccia high, in such sort that there were five niches and ten termini on each side, the whole room presenting ten niches, twenty termini, and eight historical pictures.

In the first of these pictures, which were in chiaro-scuro (that on the right hand namely, and next to the stage), there was a beautiful figure representing Venezia Adriatica, seated on a rock in the midst of the sea, and holding a branch of coral in her hand. Around her were Iseptune, Thetis, Proteus, Nereus, Glaucus, Palemon, and other marine gods and nymphs, all of whom presented to her gold, jewels, pearls, and other riches of the sea. There were besides troups of Loves shooting their arrows, with others hovering in the air and scattering flowers; the remaining space of the picture was filled with beautiful palm-trees.

In the second picture were the rivers Drave and Save, represented by nude figures with their appropriate urns. The third painting presented the river Po, depicted as a large and corpulent figure with seven sons, to signify the seven arms or branches which proceed from the Po, and all of which pour themselves into the sea, as though each were a royal and independent stream. In the fourth picture was the Brenta with other rivers of Friuli.

The picture placed opposite to that of the Venezia Adriatica represented the island of Candia, wherein was perceived the infant Jove suckled by the goat and surrounded by numerous nymphs. Beside this, and opposite to the Drave and Save, was the river Tagliamento with the mountains of Cadore, beneath which, and standing opposite to the river Po, was the lake Benacus with the river Mincio, which are represented as falling into the Po. Beside this last, and opposite the Brenta were the Adige and the Tesino, both of which fall into the sea.

In the niches between the pictures decorating the righthand side of the apartment were the following allegorical figures or virtues, Liberality, Concord, Piety, Peace, and Religion; while on the other side were Fortitude, Civic Prudence, Justice, a figure of Victory with War beneath her feet, and lastly a figure of Charity. Above all these pictures were a large cornice and architrave with a frieze, along the whole extent of which were ranged lamps in globes of glass filled with distilled spirits, and these lamps, being kindled, illuminated the entire apartment.

The ceiling was divided into four large compartments, filled each with a picture extending ten braccia in one way and eight in the other; the width of all the niches, each of which was four braccia wide, was surmounted by a frieze, which passed around the cornice, and immediately over every niche was a picture three braccia long and of equal breadth, being in the whole twenty-three, while one of double the size, six braccia namely, was placed above the stage and made the entire number twenty-four. In these delineations were represented the Hours, twelve of the night that is to say, and twelve of the day.

In the first of the pictures described as being ten braccia in length, and which was placed over the stage, there was represented Time distributing the Hours to their places; he is accompanied by Eolus the god of the winds, by Juno, and by Iris. In another picture, that immediately before the door of entrance, wras Aurora, rising from the arms of Tithon and scattering roses from her chariot, which is drawm by cocks. The third picture represented the chariot of the Sun, and in the fourth was that of the Night drawn by Owls. The figure of Night bore the Moon on her head, she was preceded by numerous Bats, but all around her reigned darkness.

The greater part of these pictures were executed by Cristofano, and he acquitted himself so admirably well that every one who beheld the work was amazed therewith; more particularly was the chariot of Night admired, the artist having displayed almost incredible ability in his oil sketches for that picture, as well as for that of the Adria, wherein he produced marine animals of so much variety and beauty, that all wdio looked at them stood astonished at such an amount of knowledge displayed by an artist of his rank. In short, Cristofano acquitted himself in every part of this -work like a most able and much experienced painter, but most particularly did he distinguish himself in the foliage and grottesche.

After all the preparations for this festival had been completed, Vasari and Cristofano still remained several months in Venice, painting for the magnificent Messer Giovanni Cornaro, the ceiling, or rather the entire wainscot work of an apartment, for which they executed nine large pictures in oil. Vasari was indeed much entreated by the Veronese architect, Michele San Michele, to fix himself in Venice, and might perhaps have agreed to remain there for some years, but Cristofano constantly dissuaded him from doing so, declaring that Venice was no place to settle in, good design being but little regarded there, and the painters of that city giving but slight attention to that matter, nay, being as he affirmed, rather a hindrance to the progress of art than promoters of the same, seeing that they felt but little zeal for the labours of their vocation; better would it be therefore, lie maintained, to return to Rome, which is the true school of the noble arts, and where ability is much more highly valued than in Venice.

These dissuasions of Cristofano, therefore, coining in aid of the indifference, not to say disinclination, of Vasari to remain in Venice, they departed from that city together, but as Cristofano, being considered a rebel to the state of Florence, could not accompany Vasari thither, he returned to San Justino. Here he constantly found something wherewith to occupy himself for the above-mentioned Abbot Bufolini; but he had not remained long at San Justino before he set off for Perugia, and this he did at the period when Pope Paul III. made his first visit to that city, after the war with the Perugini. Preparations being made for the reception of his Holiness, Cristofano took part in the execution thereof, and did himself much credit in some of them, more especially in those made at the gate called that of the Frate Pinieri, where he depicted a colossal figure of Jupiter in anger, with another of the same deity, but propitiated. These subjects were chosen by command of Monsignore Della Barba, who was then governor of the city. The figures were both very beautiful, and on the other side Cristofano delineated a figure of Atlas bearing the globe of the world on his shoulders, and having a female form at each side, one holding a sword, the other a balance in her hand.

These works, with many others which Cristofano executed for the same festival, caused that artist to be employed for the decoration of certain rooms in the citadel which was at that same period constructed in Perugia by Pope Paul III., and these he painted by command of Messer Tiberio Crispo, who was then governor and castellan of the fortress; others having previously been executed by Lattanzio,^[12] a painter of the March. Not only did Cristofano now assist Lattanzio therefore, but he depicted with his own hand the greater part of the best works now to be seen in the apartments of that fortress, wherein Raffaello dal Colle and Adone Doni of Ascoli^[13] also laboured, the latter a much experienced and able artist, by whom many works have been performed in other parts of his native place. The Cortonese painter, Tommaso del Papacello was likewise employed in the same fortress, but the best among all who worked there, and the artist who obtained for himself the highest degree of praise, was Cristofano; wherefore, being recommended by Lattanzio to the favour of the above-named Crispo, he was ever afterwards much employed by that ruler.

While the works at the fortress were in progress, Crispo had built a small church in Perugia, which had been named Santa Maria del Popolo, though first called Del Mercato. Here Lattanzio began to paint a picture in oil, but Cristofano executed the whole of the upper part with his own hand, and it is indeed most beautiful, nay, worthy of the highest praise,^[14] but Lattanzio afterwards turned from being a painter to be the principal thief-taker or bailiff of Perugia, when Cristofano returned to San Justino, where he remained several months, again working for the above-named Signor Abbate Bufolini.

But in the year 1543, Griorgio Vasari, having to execute a painting in oil by command of the most Illustrious Cardinal Farnese, for the grand Chancery, with another for the church of Sant’ Agostino by commission from Galeotto da Girone, sent for Cristofano, who repaired to him most willingly, he having a great wish to see Rome. And here Doceno remained many months, doing very little indeed but seeing the city, yet he acquired a great increase of knowledge during that time, insomuch that when he had once more returned to San Justino, he painted certain figures of his own invention in one of the halls there, which were so beautiful that he might have been supposed to have studied them for twenty years.

It then happened that in the year 1545, Vasari was summoned to Naples, where he was commissioned to construct a refectory for the monks of Monte Oliveto, and this was to be a work of much greater importance than that of San Michele-in-Bosco at Bologna; he therefore sent for Cristofano, Raffaello dal Coller and Stefano, his friends and scholars before mentioned, all meeting at the appointed time i'n Naples accordingly, with the exception of Cristofano, who had remained behind because he was sick. Nevertheless, being much urged by Vasari, Doceno did get as far as Rome on his way to Naples, but was there detained by Borgognone his brother, who was like himself an exile, and who would very fain have taken him into France, there to make him enter the service of the Colonel, Giovanni da Turrino.

Cristofano’s opportunity for going to Naples was therefore lost, but Vasari having returned to Rome in the year 1546, with a commission to execute twenty-four pictures, which were then sent to Naples and placed in the Sacristy of San Giovanni Carbonaro,^[15] as also to paint the doors for the organ of the Piscopio,^[16] which were six braccia high,—Vasari I say, then availed himself of Cristofano’s services, which were of the utmost value to him, since he executed both figures and landscapes in these works, after a manner which was most excellent. The subjects of the twenty-four pictures were chosen from the Old Testament and from the life of San Giovanni Battista, the figures are about one braccio and a half high. Giorgio had in like manner designed to employ the services of Cristofano for the hall of the Chancery, which was painted for the Cardinal Farnese after cartoons by his (Vasari’s) hand, and the whole of which were completed in a hundred days;^[17] but herein also he was prevented, Cristofano again falling sick; and no sooner had he begun to recover than he returned to San Justino, so that Giorgio finished the hall without his aid, but receiving assistance from Raffaello dal Colle, from the Bolognese, Gian Battista Bagnacavallo, and from the Spaniards, Boviale and Bizzerra, as well as from many others, his friends and scholars.

Leaving Rome and returning to Florence, Vasari was invited to Rimini, for the purpose of painting a chapel in fresco, with an altar piece also, in the church of the monks of Monte Oliveto, the commission for which he received from the abbot, Gian Matteo Faettani. On his way Giorgio passed through San Justino, intending to take Cristofano away with him, but the abbot Bufolini, for whom Doceno was then painting a hall, would not suffer him to depart at that time, although he promised Vasari to despatch Cristofano soon after, and to take on himself the care of his journey even into Romagna. But notwithstanding all these promises, Bufolini delayed so long to send him, that when Cristofano arrived he found all the works for the abbot of Monte Oliveto completed, nay, Giorgio had furthermore painted a picture for the high altar of San Francesco d’Arimini, and this he did by commission from Messer Niccolò Marcheselli. He had also executed a picture at Ravenna, in the church of Classi, which belongs to the monks of Camaldoli namely, receiving his commission for that last from the father Don Romualdo da Verona, the abbot of that abbey.

Now about this time, in the year 1550 that is to say, Giorgio Vasari had painted the Marriage of Queen Esther, in the refectory of the Abbey of Santa Fiore, which belongs to the Black Friars, and in Florence he had delineated the picture of San Gismondo for the chapel of the Martelli family in the church of San Lorenzo,^[18] when Pope Giulio III. being elevated to the papal chair, Vasari was invited to Pome, there to enter the service of his Holiness. Giorgio then thought that he should certainly be able to find the means of reinstating Cristofano in his country, and of restoring him to the favour of the Duke Cosimo; and this he hoped to effect by the intervention of the Cardinal Farnese, who went at that period to spend some time in Florence. But it was found impossible to succeed at that moment, and the poor Cristofano had to remain in his exiled condition until the year 1554, at which time Vasari, being summoned to the service of Duke Cosimo, was thus furnished with an opportunity for procuring the liberation of Cristofano.

And the matter was on this wise. The Bishop of Picasoli, knowing that he should be thereby doing a thing that would be pleasing to his Excellency, resolved to have the three fronts of his palace, which stands beside the bridge of the Carraja, painted in chiaro-scuro,^[19] when Messer Sforza Almeni, cup-bearer as well as first and most favoured chamberlain to the Duke,^[20] determined that he also would have his house in the Yia de’ Servi painted, and this he did in competition with the Bishop. But not having found a painter to his liking in Florence, he wrote to Giorgio Vasari who had not then returned to that city, desiring him to choose a subject and to send him designs of such pictures as he should judge expedient for the decoration of the façade in question.

Thereupon Giorgio, who had known Almeni in former times, and was indeed his intimate friend, they having been together in the service of the Duke Alessandro,—Giorgio, I say, arranged the whole matter in accordance with the extent of surface presented by the façade, and sent Messer Sforza a design of most beautiful invention.

According to this design, the windows were surrounded by various ornaments, while every compartment of the whole front was filled with rich historical pictures, the subjects of which, to say it briefly, was the whole Life of Man, from his birth to his death. Being despatched to Messer Sforza, this design pleased him so greatly,^[21] as it did the Duke also, that he determined to permit no further steps to be taken in the matter until Vasari himself should have returned to Florence.

But Giorgio having at length arrived, and having been received by his most Illustrious Excellency, as well as by the above-named Messer Sforza, with many proofs of kindness, began to consider by whom it would be desirable to cause the façade of Almeni’s house to be executed; then not suffering the opportunity to escape him, Vasari assured Messer Sforza that there was no one better able to undertake that work than Cristofano, adding, that neither in that nor in the other decorations which were to be undertaken for the palace, would he (Vasari) be able to proceed without the help of that artist. Thereupon Messer Sforza, having spoken of that affair with the Duke, the fault committed by Cristofano was found on inquiry to have been by no means so grave a one as had been represented, and the poor fellow was at length fully restored to the favour of his Excellency^ This intelligence being despatched to Vasari, who was then in Arezzo, revisiting his country and friends, the latter instantly sent a special messenger to Cristofano (who knew nothing of the measures taken in his favour), to give him that excellent piece of news, at the receipt of which he was on the point of fainting for joy.

Greatly exulting, therefore, and declaring that never had any man been so good a friend to him as Vasari, he started early the following morning from Città di Castello, where the intelligence had found him, to the Borgo, where he presented the letters of his reinstation to the Commissary, and thence repaired to the house of his father, where his mother, with the brother who had also been in exile, but who had long before received permission to return to his country, were struck with amazement at the sight of him. Two days Giorgio with more gladness than if he had been his brother, as was indeed due to one by whom Vasari knew himself to be so much beloved, and who desired nothing more earnestly than to pass the rest of his life beside him. From Arezzo they both then proceeded to Florence, where Cristofano instantly went to kiss the hand of the Duke, who was much pleased with him, and not a little surprised also, for whereas he had expected to see some great ruffianly bravo, he beheld before him the most good-natured looking little man in the world.

Cristofano was in like manner received with the utmost kindness by Messer Sforza, who took a great liking to him, and our artist then at once set hand to the often-mentioned façade, Giorgio, who could not yet begin his labours in the palace, sometimes assisting him, at his earnest request, more especially ’in the preparation of designs for certain of the stories. Vasari also drew portions of the work for him on the fresh intonaco, many of the figures now seen there being by his hand.^[22] But although there are some parts re-touched by Vasari, yet that façade, with the greater part of the figures, and all the ornaments, festoons, and large compartments, are by the hand of Cristofano, of whom it may of a truth be said, that he handled the colours in fresco with so much ability (as maybe clearly seen), and was so well-skilled in his art, as to merit the reputation—and Vasari confesses it—of knowing more than he (Giorgio) did himself.^[23]

It may indeed be very truly affirmed, that if, in his youth, Cristofano had devoted himself zealously to the studies of his art (but he never practised drawing unless when he had some work for execution immediately before him), and had he given himself heartily to the pursuits connected therewith, he would scarcely have had an equal, seeing that by the excellence of his judgment, the strength of his memory, and his facility of hand, he could do things, as it were, on the spur of the moment, and without any previous preparation, whereby he would surpass many who did, in fact, know much more than himself. Nor would it be possible adequately to describe the skill and rapidity with which he executed his works, they were incredibly great; once Doceno set himself to his labour, at whatever time it might be, he gave his whole heart to it, and always made it a pleasure: never did he lift his head from his task; and very safely might the utmost success be predicted for whatever was undertaken by Cristofano. He was besides so amusing in conversation, and would talk so pleasantly while he laboured, that Vasari would sometimes remain working in his company from morning till night, without ever feeling fatigued.

This façade our artist completed in a ew months, to say nothing of the fact that he passed some weeks at the Borgo, visiting his family, and enjoying his restoration to his coun try and civil rights. Nor will I refuse the labour of enumerating the compartments, and describing the figures of the work in question; for, exposed as it is to the air, and liable as the pictures are to all the injuries of the seasons, it may perhaps not have a long life; the façade was indeed scarcely finished before it received considerable damage from a torrent of rain and a violent hail-storm, the intonaco having been in some places torn from the wall.^[24]

In this façade, then, there are three compartments: the first beginning from below, and being at that part of the front where are the two windows and the principal door; the second is from the cornice of those windows to the windows of the next floor; and the third extends from the last-mentioned windows to the cornice immediately beneath the roof. Now in each range of windows there are six, which gives seven compartments for each range; and it was in accordance with this number that the divisions of the whole work were made, from the cornice of the roof to the ground. Immediately beneath the roof is a cornice painted in perspective, with corbels which project over a frieze composed of children, six of whom stand upright, along the width of the building, one on the uppermost point of each window namely; and these support most beautiful garlands of fruits, foliage, and flowers, which pass from window to window, the fruits and flowers being so arranged that they symbolize the periods of human life, as well as the seasons of the year; these the boys sustain on their shoulders, while other children in various attitudes are placed in the central or pendant portion of each festoon.

Beneath this frieze, and in the seven spaces which are between the upper windows, Cristofano depicted the seven Planets, with the seven celestial signs above them, as a finish and ornament. Beneath the cornice of those windows are figures of the Virtues, placed two and two, and supporting two large oval medallions, within which are depicted stories significant of the Seven Ages of Man, each age being accompanied by the virtues which are considered the most appropriate to it: under the ovals which are between the spaces of the lower windows, are the three Theological and the four Moral Virtues. On the frieze above the door and the windows of the lower range, which are furnished with curved gratings, are the seven Liberal Arts, each being in a line with the oval which contains that portion of the Life of Man to which it is considered the most appropriate; while in the same line, and ascending upwards, are the Moral Virtues, the Planets, and the Zodiacal Signs, all the symbols used being in exact correspondence. Between the grated windows is furthermore depicted Life, active and contemplative, with appropriate stories and figures, even to the last scene of our death, the Descent to the lower regions, and our final Resurrection.

The entire cornice, the festoons, the children, and the seven Signs of the Zodiac, were executed by Cristofano almost entirely alone; then beginning with one side, he first depicted the Moon, painting as her representative a figure of Diana, with her lap full of flowers, as Proserpine is frequently delineated, and bearing a moon on her head; while over all is the Sign of the Crab. The oval beneath is that which contains the story of Infancy, or the Birth of Man, and here are represented nurses suckling infants, while the women who have given birth to those infants are seen in their beds; all depicted by Cristofano with infinite grace and propriety. This oval is supported by one figure only, that of Determination, represented by a young girl of most graceful form and aspect; she is partially draped, and is sustained by a figure of Charity, who is also represented as suckling children. Beneath the oval and within the parapet is a figure signifying Language, or Grammar, and engaged in teaching children to read.

Beginning again at the upper part of the building, we find Mercury holding his Caduceus, and accompanied by his appropriate sign; in the oval is Childhood, represented by numerous children, some of whom are proceeding to school, while others are engaged in play. This oval is sustained by Truth, represented by a figure of the purest simplicity and beauty; a very young girl namely, entirely nude; beside her is a male figure with trussed up garments, to represent Falsehood: his countenance is exceedingly beautiful, but the eyes are cast to the earth. Beneath the oval and between the windows is Faith, who is administering the rite of Baptism to an infant from a shell filled with water, while in the left hand she holds a Cross: beneath is a figure representing Logic; she is covered with a veil, and has the serpent beside her. Next follows the Sun, represented by a figure of Apollo, with his Lyre in his hand, and his attributes in the ornament above.

In the oval beneath this figure is Boyhood, intimated by two figures of equal age, one of whom, holding an olivebranch in his hand, is climbing a mountain, which is illumined by the sun, while the other is pausing midway to admire the beauties which are exhibited from the middle upwards by a figure of Fraud; he not perceiving that she conceals a most abhorrent countenance behind her smooth and fair-looking mask, and being consequently conducted by her flatteries and attractions to the brink of an abyss, down which he must fall headlong. This oval is supported on one side by a heavy and corpulent figure, who nods sleepily over his task, and represents Indolence, the nude figure resembling that of a Silenus; and on the other by a powerful laborious peasant, surrounded by the implements of agriculture, and intended to personify labour. In the decoration between the windows is Hope, with her Anchor at her feet; and beneath this figure is that of Music, with various musical instruments around her.

After the Sun—to begin again with the upper part of the work—comes Venus, who is holding Love in her arms, and is kissing him with the fondness of a mother; she also has her appropriate attribute above her. In the oval beneath her is Youth, a young man namely, seated amidst books, instruments for mensuration, and other requisites to the arts of design, with maps and globes, celestial and terrestrial: behind him is a Loggia, within which are other young men, who sing, dance, play on various instruments, and amuse themselves to their hearts’ content; while a second company of similar age is seated at table, and appears to be wholly given up to pleasure in every form. This oval is supported on one side by Self-knowledge, with compasses, a sector, an armillary sphere, the quadrant, and numerous books around her, while she holds a mirror, in which she is regarding her own visage, in her hand, and on the other side is seen Deceit, a most repulsive old woman, meagre and toothless, who laughs mockingly in the face of Self-knowledge, while she is concealing her own revolting countenance behind a fair and lovely mask. Beneath the oval is Moderation, with the bridle of a horse in her hand; and under this figure is that of Rhetoric, who stands in a line with Logic, and the other figures of similar import and signification.

Venus is followed by Mars fully armed, and surrounded by numerous trophies; above him is the sign of the Lion. In the oval beneath is Manhood, represented by a man of mature age, with the figure of Memory on one side, and that of Determination on the other; they hold before him a golden tazza, within which lies a pair of wings, and they point towards the Path of Safety, which lies up the ascent of a mountain. The oval of Manhood is sustained on the one side by Innocence, represented by a young girl, with a lamb beside her, and on the other by Cheerfulness, smiling and joyous, who exhibits the frankness of aspect which is truly her own. Beneath the oval and between the windows is Prudence, decorating her person before a mirror, and on the parapet below stands Philosophy.

Re-commencing at the upper part of the work, we then find Jupiter, who stands next to Mars; he bears his thunderbolt, and is attended by the bird sacred to him, the Eagle namely: he too has his appropriate sign above his head. In the oval beneath him is Age, figured by a man well advanced in life, he is clothed in the vestments of a Priest, and kneels before an altar, on which he places the golden tazza, containing the pair of wings. This oval is upheld on the one side by a figure representing Compassion, engaged in covering naked infants, to shield them from the cold: on the other side it is sustained by Religion, also wrapped in sacerdotal vestments; beneath is Fortitude fully armed, and this figure, proudly planting one foot on the fragment of a column, is placing balls within the jaws of a Lion. In the compartment beneath this oval is the figure of Astrology.

The last of the seven Planets, again beginning with the uppermost part, is Saturn, represented by an aged man of melancholy aspect, devouring his own children; near him is a large serpent, which holds its tail within its mouth: above the figure of Saturn is the sign Capricorn. In the oval beneath is Decrepitude, and here there is added the figure of Jupiter in the air, receiving into Heaven a naked and decrepit old man, who is kneeling before him, but is in the act of being raised by Happiness and Immortality, who are casting his mortal habiliments into the world. This oval is sustained in part by a figure of Beatitude, who is aided in her task by that of Justice, which is executed in the decorations beneath. The figure of Justice is seated, she has the sceptre in her hand, and on her shoulder is the Stork; around her are scattered arms and symbols of law: in the compartment beneath is Geometry.

The lowest portion of all, that namely which is about the grated windows and the portal, exhibits in a niche on the one side a figure of Leah, as the representative of Active Life, as distinguished from life passed in Contemplation, and on the opposite side of the same division is Industry, with the Cornucopia, and holding a pair of spurs in her hand: close to the portal is a story wherein are exhibited numerous workmen, architects and stonemasons, all engaged in the examination of the Gate of Cosmopoli, a city built by the Signor Duke Cosimo, in the Island of Elba, and which he constructed after the plan of Porto Ferrajo.

Between this story and the frieze whereon are displayed the Liberal Arts, is seen the Lake Thrasymenus, around which are moving Nymphs, who have issued from the waters, and who bring forth tench, pike, eels, and mullet from those depths. Beside the Lake there stands a nude figure representing Perugia; she holds a dog in her hand, which she is showing to a figure intended to represent Florence, and which is placed opposite to her, but on the other side of the door. Florence is accompanied by the River Arno, by whom she is embraced and caressed.

Beneath this figure follows the story of Contemplative Life, or Life as passed in Contemplation; the niche which corresponds to that of Leah being occupied by Rachel her sister, and, like herself, the daughter of Laban, who is intended to represent Life in Contemplation: in the story are exhibited numerous Philosophers and Astrologers, who are studying the Heavens, and appear to be engaged in casting the Nativity of the Duke.

The last story and that which concludes the whole invention, is a figure of Death, mounted on a meagre horse and placed between two niches; the scythe is in his hand, and with him are Famine, War, and Pestilence, by whose aid he is rushing upon and hunting down people of every age and condition. Tn one of the niches beside him is the god Pluto, beneath whom is Cerberus the dog of hell; the other niche is occupied by a large figure, who is seen to rise from a sepulchre, the time here prefigured being the last day.

In addition to all these things, Cristofano furthermore depicted nude figures holding the various devices of his Excellency; in the pediments of the grated windows and over the portal were placed the ducal arms, the six balls whereof were borne aloft in the air by nude figures of children, their forms intertwined as they hover about in attitudes of exceeding grace. Last of all, and in the basement beneath all the above-described stories, Cristofano painted the arms of Messer Sforza himself, triangular obelisks or needles namely, placed on three balls, with a motto around formed of the word immobilis.

The work being completed was largely commended by his Excellency, as -well as by Messer Sforza himself, who, courteous and amiable as he was, intended to mark his sense of the painter’s merits by the addition of a handsome present: but Cristofano would not hear of it, declaring that he was amply repaid, and but too well content to have obtained the favour of the Duke, and the good will of Messer Sforza, who was indeed ever afterwards more kindly disposed towards him than words could express.

While this undertaking was in progress, Vasari had Cristofano to dwell with himself, as he had ever been wont to do: they abode in the house of the Signor Bernardetto de’ Medici, and perceiving how greatly that noble delighted in painting, Cristofano depicted two stories in chiaro-scuro on an angle of his garden: one of these was the Rape of Proserpine, the other exhibited Yertumnus and Pomona, the tutelary deities of Agriculture. In this work moreover, Cristofano executed figures of children and termini, by way of ornament, all which are so beautiful and richly varied, that better could not be seen.^[25]

Orders were meanwhile issued for commencing the paintings in the palace, when the first thing commenced was a certain hall belonging to the apartments newly erected. This room, though twenty braccia wide, had a height, according to the arrangements of Tasso, of nine braccia only, wherefore it was raised three braccia, being then twelve braccia high that is to say, and this was done, according to a very beautiful invention by Vasari, without altering the roof, one half of which was in the form of a tent. But since it was needful to do all these things, there was so much time required in reconstructing the wood-work and other parts, that no painting could be at that time commenced, wherefore Giorgio requested permission to pass two months in Arezzo, taking Cristofano with him.

But he was not able to give himself much repose during that period, seeing that he could not refuse to repair to Cortona, there to paint the ceiling and walls of a chapel for the Company of Jesus; this work he executed in fresco, assisted by Cristofano, who acquitted himself admirably well, more particularly in the twelve sacrifices, much varied in circumstance, which he painted in the lunettes and between the corbels of the vaulting, the subjects being taken from the Old Testament. Nay, to describe the matter exactly, almost the whole of that work may be said to be by the hand of Cristofano, Vasari not having done more than make certain sketches, design some other portions on the intonaco, and occasionally retouch some few parts where it seemed to be required.

That chapel, which cannot be considered otherwise than a grand and praiseworthy and very well executed performance, the great variety of the objects there depicted being taken into account,—that chapel, I say, being completed, the two artists returned to Florence, which they reached in the month of January, 1555, and where they instantly began to paint the Hall of the Elements. While Vasari employed himself on the ceiling, Cristofano executed escutcheons of arms, which serve to connect and support the uppermost frieze, depicting therein heads of Unicorns and Tortoises, which are devices of his Excellency.

But the part in which Cristofano distinguished himself most remarkably, and was indeed truly wonderful, were certain garlands and festoons of fruits which decorate the lower side of the beams, and which are so beautiful that any thing more exquisite, more natural, or more perfectly coloured could not possibly be imagined; and the beauty of this frieze is furthermore increased by the masks which Doceno has mingled with the festoons, the ligatures of the garlands being held in the mouths of these masks. Nay, for this kind of work it may be safely affirmed that Cristofano was superior to any of those artists who have made this department their especial vocation.^[26]

Doceno furthermore depicted on the wall whereon is the Birth of Venus, certain large figures which he painted after the cartoons of Vasari, and a landscape also with numerous figures of very small size, but which were admirably executed. On that side, moreover, wherein is the story of the Loves, represented as little children preparing the arrows of Cupid, Cristofano also painted figures, the Cyclops namely, who are forging the thunderbolts of Jupiter.

Over six of the doors he furthermore executed six large ovals, the ornaments in chiaro-scuro, and the ovals themselves containing stories in bronze colour, which are very beautiful. In the same hall Cristofano then painted figures of Mercury and Pluto which he placed between the windows and which are also exceedingly fine.

The room called that of the goddess Ops, and which is beside the hall just described, was then begun, and here Cristofano painted the Four Seasons in fresco, with festoons in addition to the figures, which last were justly considered to be miracles of varied beauty, those appertaining to Spring presenting flowers in endless variety, while those of Summer were equally rich in fruits and ears of corn, the garlands of Autumn exhibiting grapes and vine tendrils, and those of Winter, onions, radishes, turnips, carrots, parsnips, and other roots, with dry leaves, &c. The four lions by which the chariot of Ops is drawn were also by his hand, and these are so beautiful that it would not be possible to produce anything better, but it may be truly affirmed that in painting animals Cristofano had no equal.

In the chamber of Ceres, which is near this, Doceno painted children in certain of the angles, with festoons which are indescribably beautiful, and in the central picture, where "Vasari had delineated Ceres borne on a chariot drawn by serpents, and seeking Proserpine with a lighted pine torch, Cristofano likewise executed many parts with his own hand, Vasari being then sick and having left the above-named picture of Ceres unfinished, with other works commenced before his illness.

There was then a question of decorating the terrace, which had been erected behind the Hall of Jupiter, and beside that of Ops, when it was decided that the History of Juno should be there depicted. Rich ornaments in stucco and carved work, with various compositions of figures executed after the Cartoons of Vasari, were completed accordingly, when Giorgio commanded that the works in fresco should be entrusted to Cristofano alone, Vasari desiring that as this was a work which would be liable to be examined closely, the figures not being more than one braccio high, so Cristofano should here have an opportunity for executing something that should be eminently beautiful, in his own peculiar walk of our vocation.

In an oval compartment of the ceiling, therefore, Doceno executed a story of the Espousals of Juno, who is seen in the air, and two other pictures; one with Hebe, the goddess of youth, on one side of that first-mentioned, and the second, exhibiting Iris with her rainbow, on the other. Three pictures besides were likewise painted in the same vaulting by Doceno, two of these being opposite to the oval with the Espousals, and the third, which is a very large one, in the same line therewith; in that last named is seen the goddess Juno in her chariot drawn by Peacocks, and in those on each side are, in the one the goddess of Force, and in the other Abundance with the Cornucopia at her feet. Beneath these pictures, on the surface of the walls that is to say, are two other stories from the life of Juno, these are placed over two doors, and the subject of the one is the Goddess, changing Io, the daughter of Inachus, into a cow; that of the others, the same deity changing Calisto into a bear.

While these works were in process of execution, his Excellency, perceiving the unwearied diligence of Cristofano and his extraordinary zeal for the work, took a great liking to him; scarcely had the first grey light of dawn appeared, before Cristofano was at his labour, in which he took such extreme delight, and so entirely did he devote all his thought and care thereto, that he would sometimes set off without waiting to finish dressing himself. And it would not only occasionally but even frequently happen that in his haste he would put on a pair of shoes (he keeping all that he possessed under his bed) that were not fellows; his cloak too was for the most part put on the wrong side out, so that the cape was turned in. One morning among others that he was going to his work thus accoutred, it chanced that the Signor Duke with the Signora Duchess were about to set forth for the chase, and standing to look at the paintings, while the ladies and others were getting themselves into order, they perceived Cristofano with his mantle as usual wrong side out, and the cape or hood turned in, whereupon both laughing, the Duke said, “Cristofano, how does it chance that your cloak is so often wrong side out?” to which Cristofano replied, “I don’t know how it happens, Signor, but I must needs see to getting myself a kind of cloak that shall be alike on both sides, and have neither right nor wrong, for I have not patience to endure this sort of cloak, seeing that when I dress myself and leave the house in the morning it is for the most part dark, besides that one of my eyes has been so much weakened that I can see nothing at all with it. But let your Excellency look at what I am painting, and not at what I am wearing.”

The Signor Duke made no further remark, but in a few days he caused a mantle of the very finest cloth to be made, with the parts put together in such a manner that the inside was not to be distinguished from the outside; the collar was trimmed with an edge which was exactly the same within as without, and in like manner was arranged the bordering of the cloak. This he sent by one of his attendants to Cristofano, commanding the man to present it to that artist on the part of the Duke. The latter having, therefore, received the mantle early one morning, tried it at once, without making further ceremony, and finding that it was exactly what he wanted, he said to the messenger, “The Duke is a sensible man, tell him that this cloak suits me perfectly.”

Cristofano being thus careless of his person, and hating nothing so much as new clothes, or the feeling himself too much straitened and confined in what he wore, it was the custom of Vasari, who knew this peculiarity, to observe when he required any kind of new garment, and he would then get the requisite article made for him in secret; taking it some morning early into his room, and carrying off the old dress he would leave the new, Cristofano being thus compelled to put on what he found. But it was a marvellous piece of sport to hear him while he was angrily clothing himself with these new vestments: “Look at this,” he would cry, “what a murder is here, why can’t a man live at his ease in this world? and why the devil should these enemies of all comfort give themselves so much trouble to invent these torments? ”

One morning among others, he had put on a pair of white nether hose, when it chanced that Domenico Benci, who was extensively employed in the palace as an assistant to Vasari, persuaded him to go with himself and other young people to the Madonna dell’ Improneta. Here they walked about and amused themselves all day, and it was not until after supper in the evening, that they returned to the house. Being weary, Cristofano at once went off to his room and to bed, but when he would have drawn off his hose, they being new and himself very much heated, he could by no means get off* more than one of them.

Entering his room to see how he had got on, Vasari thus found him fast asleep with one leg clothed and the other unclothed, whereupon he made one servant hold him by the shoulders while another drew off the hose, Cristofano all the while abusing the clothes, and all who contrived such things, as well as Giorgio himself, declaring that those fashions kept men imprisoned as if in chains; nay, he threatened to get away by God’s blessing from them all and go back to San Justino, where they permitted him to live as he pleased, and where he was not subjected to those intolerable restraints; it was indeed not without great difficulty that he could be pacified.

Cristofano was a man who loved to speak but little, and liked that others also should be brief in discourse, he would even have had all the names of people be very short, greatly approving that of a slave belonging to Messer Sforza, and who was called M. “Yes,” said Cristofano, “such as those are good names, but your Giovan-Francesco and Giovan-Antonio! why one has to work for an hour before they can be brought out.” He was of a most amiable disposition, and saying these things, as he did, in his Borghesian dialect, it was enough to make Weeping itself laugh to hear him.

It was a favourite amusement with Cristofano to go on festival days to the places where legends and printed pictures are sold, and there he would remain the live-long day: he would generally buy some, but while he looked at the others he would for the most part lay down these purchases and leave them behind him. He would never mount a horse unless compelled to do so, although descended from a family of noble rank in his country, and possessing a fair amount of wealth. When his brother Borgognone died, Cristofano had to go to Borgo, and Vasari who had received a large amount of his stipend and had taken care of it for him, remarked to him, “Here, I have all this money of yours, you had better take it with you for your various requirements.” “Iwantno money,” replied Cristofano, “take it for yourself; it is enough for me to have the luck of being with you, and to have had leave to live and die by your side.” “That is not my way,” quoth Vasari, “to profit by other people’s labours, and if you will not take your money, I will send it to Guido your father.”

“By no means do that,” returned Cristofano, “for he would throw it away, according to his custom.” Finally, he took the money and set off for Borgo-a -San Sepolcro, but he departed unwillingly, arriving there much indisposed and in great depression of spirits- His grief for the death of his brother whom he had loved extremely, brought a grievous aggravation to a nephritic disease from which he was suffering, and this became so violent that in the course of a few days Cristofano died, having first received the sacraments of the church, and distributed to those of his own family and to the poor, all the money which he had brought with him. A short time before his death he declared that he regretted his approaching departure only because he wTas leaving Vasari in so much embarrassment, and with so many heavy labours before him, those namely to which he had set hand in the palace of the Duke.

No long time after, and when Duke Cosimo heard of Cristofano’s death, which he did with much regret, his Excellency commanded that the Bust of the artist should be executed in marble, and this he sent from Florence to Borgo, with the under-written inscription, when they were both placed in the church of San Francesco.

d.o.m.
Christophoro Gherardo Burgensi
Pingendi Arte prcestantiss.
Quod Giorgius Vasarius Aretinus Huius
Artis facile princeps
In exornando
Cosmi Florentin. Duels palatio
Illius operam quam Maxime
Probaverit.
Pictores hetrusci posvere
Obiit, a.d. mdlvi.
Vixit An.lvi. m. iii. d. vr.

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1. Lanzi, in his Storia Pittorica, so frequently cited, gives certain details of this artist, whose life Vasari has not written, although he has frequently alluded to him in the biographies of other artists. Notices of Raffaello dal Colle will also be found in a letter from the Advocate Mancini, which appeared in the Giornale Arcadico for May, 1826.
2. Raffaello dal Colle, that is to say.—Ed. Flor., 1838.
3. A painter known only by favour of the mention thus made of him bv Vasari.- —Ed. Flor., 1832-8.
4. The Fortress of San Giovanni Battista, or Fortezza da Basso namely.
5. These works are still to be seen in the Palazzo Vitelli, called Della Macchia. —Ed. Flor.832-8.
6. Stefano Veltroni, the cousin of Vasari. He afterwards assisted the latter in the Vignaof Pope Julius at Rome, and subsequently accompanied Giorgio, first to Naples, and then to Bologna.
7. These works still exist.
8. The Olivetine Monks of San Michele-in-Bosco were suppressed in the year 1797.— Ed. Flor. 1832 -8.
9. This well-known legend is agreeably related in the frequently cited work of Mrs. Jameson, Sacred and Legendary Art. The reader who may desire to recall the particulars will find them in that work, vol. i. p. 305, et seq.
10. This Supper of Gregory the Great is now in the Gallery of Bologna, and is considered one of the best of Vasari’s works.
11. Giordani, Catalogo della Pinacoteca Bolognese, informs us that this third picture was sent to Milan,
12. Lattanzio di Vincenzio Pagani of Monte Rubbiano. See Mariotti, Lettere Perugine.
13. Of Assisi rather, since he calls himself “I, Dono of the Doni of Assisi.”
14. Mariotti, ut supra, may be consulted for further details relative to this work, as well as to others by Lattanzio Pagani, and Adone Dono.
    Lanzi remarks that the upper part of the painting, or that done by Cristofano, is as elegant and graceful as that by Lattanzio is coarse and rude. It appears, nevertheless, that it was Lattanzio who had received the commission for the work, and that Doceno was but employed by him to assist. See Mariotti, as before cited.
15. Galanti, Descrizione di Napoli e del suoi Contorni, may be consulted for details respecting these works, now reduced to fifteen. The Church is that of San Giovanni a Carbonara.
16. The Cathedral, that is to say. Vasari’s large pictures are now on two of the side doors. See Galanti, ut supra.
17. “Vasari has done well/’ remarks a compatriot of his own, “to tell us the time employed on this work (the subject of which is the Life of Pope Paul III.), but unless he was compelled to the haste here indicated, that haste forms no excuse for the mediocrity of the performance, since it avails little to us that the work was done quickly, unless it had also been done well.”
18. Bottari tells us that this picture was removed from the Church towards the middle of the last century, because the colour had disappeared so completely that no part of it remained intelligible.
19. These pictures have long been white-washed.—Ed. Flor., 1832-8.
20. Who killed him, nevertheless, with his own hand, in an ecstacy of rage, on finding that Sforza had spoken of a matter which the Duke desired to keep secret. This tragedy took place on the 22nd of May, in the year 1566.
21. Four letters on the subject of this work from Vasari to Almeni are still extant, and may be seen in the Florentine Edition of our author’s works, published by Audin in 1822-3.
22. The paintings of this façade are no longer in existence. —Ed. Flor., 1832-8.
23. Bottari notices this among other proofs of the good faith and sincerity with which Vasari maintains his character as an impartial historian, speaking of himself as well as others, the pro and the con, as they presented themselves to his apprehension. Vasari was not infallible—where is the man who can pretend to be so —but he was most strictly honest and impartial, of which we have here one proof among very many.
24. In the first volume of the Lettere Pittoriche, p. 48, the reader will find this work described in a letter by Frosino Lapini.
25. These works are no longer in existence.—Ed. Flor., 1832-8.
26. The works of the Hall of the Elements here described are still to be seen. —Ed. Flor., 1832-8.