Lives of the Most Excellent Painters, Sculptors, and Architects/Dello

by Giorgio Vasari

 

THE FLORENTINE PAINTER, DELLO.

[born towards the end of the fourteenth centura.—
was living in 1455.]

Although the Florentine Dello^[1] was called a painter only while he lived, and has been so considered since his death, he was, nevertheless, attached to the art of sculpture also,— nay, his first works were in this branch of art, seeing that he worked in terra-cotta long before he began to paint: the Coronation of Our Lady, which is represented in terra-cotta over the door of the church of Santa Maria Nuova, being from his hand.^[2] The Twelve Apostles, within the church, are also by him,^[3] as is the group in the church of the Servites, which represents the dead body of Christ, laid in the lap of the Virgin.^[4] But Dello, beside that he was somewhat capricious, perceived that he gained but little by working in

terra-cotta; and, finding his poverty to demand some more effectual resource, he resolved, as he was a good designer, to give his attention to painting. In this pursuit he succeeded with no great difficulty, and soon acquired considerable facility in colouring, of which there are proofs in the many pictures which he left in different parts of his native city, more particularly in the smaller figures, to which he imparted a much better grace than is perceptible in the larger ones.^[5] And this peculiarity he turned to very good account, since it was the custom at that time for all citizens to have large coffers or chests of wood in their chambers, made in the manner of a sarcophagus, and having the covers or tops variously formed and decorated. There were none who did not cause these chests to be adorned with paintings; and in addition to the stories which it was usual to depict on the front and cover of these coffers, the ends, and frequently other parts, were most commonly adorned with the arms and other insignia of the respective families. The stories which decorated the front of the chest were, for the most part, fables taken from Ovid, or other poets; or narratives related by the Greek and Latin historians; but occasionally they were representations of jousts, tournaments, the chase, lovetales, or other similar subjects, according as it best pleased the different owners of the chests. The inside of these coffers was then lined with linen, woollen, or such stuffs as best suited the condition and means of those who caused them to be made, for the better preservation of the cloth vestments and other valuable commodities stored in them. But what was more to the purpose for our artist, these chests were not the only movables adorned in the manner described, since the balustrades and cornices, the litters, elbow-chairs, couches, and other rich ornaments of the chambers, which in those days were of great magnificence, were beautified in like manner, as may be seen from numberless examples still remaining throughout all parts of our city. And this custom prevailed to such an extent for many years, that even the most distinguished masters employed themselves in painting and gilding such things. Nor were they ashamed of this occupation, as many in our days would be. The truth of what is here said may be seen at this day, among other instances, in certain coffers, elbow-seats, and cornices, in the chambers of the magnificent Lorenzo the Elder, of the house of Medici, on which were depicted—not by men of the common race of painters, but by excellent masters—all the jousts, tournaments, hunting parties and festivals, given by the duke, with other spectacles displayed, at that period, with so much judgment, such fertility of invention, and such admirable art. Such things, in brief, may be seen, not only in the palace and older houses belonging to the Medici, but relics of them remain in all the most noble dwellings of Florence. Nay, there are many of our nobles still attached to old usages, who will not permit these decorations to be removed for the purpoose of being replaced by ornaments of modern fashion. Dello, therefore, of whom we have said that he was a good painter, more especially of small figures, which he finished with much grace, devoted himself to this occupation for many years, to his great profit and advantage. He was almost exclusively employed in painting coffers, elbow-chairs, couches, and other things in the manner above described; insomuch that this may be said to have been his chief and peculiar profession. But, as nothing in this world remains fixed, or will long endure, however good and praiseworthy it may be, so, refining on this first mode of ornament, the custom prevailed, after no long time, of forming richer decorations, by carvings in natural wood, covered with gold, which did indeed produce most rich and magnificent ornaments; it also became usual to paint such matters of household use, as are above described, in oil, the subjects being beautifully depicted stories, which then proved, and still continue to make manifest, the riches and magnificence of the citizens who possessed, as well as the ability of the painters who adorned them.^[6]

But let us come to the works of Dello, who was the first to devote himself diligently, and with good success, to undertakings of this character. In particular, he painted the entire furniture of a chamber for Giovanni dei Medici; a work which was then considered of rare excellence, and very beautiful of its kind; as certain relics which still remain prove it to have been. It is said that our artist was aided in this work by Donatello, then a boy, who made him various ornaments, and even stories, in basso-rilievo, formed of stucco, chalk, glue, and pounded bricks, which, being gilded, served as a rich and beautiful accompaniment to the paintings. Of this work, as of many similar ones, Drea Cennini has made mention at considerable length in his book, of which I have before spoken sufficiently.^[7] And as it is desirable to preserve some memorial of these old things, I have caused many of them to be retained in the palace of my lord the Duke Cosmo. They are by the hand of Dello himself, and will always be worthy of attentive consideration, were it only for the various costumes of those times, vestments of men as well as of women, which are to be seen among them.^[8] The story, in fresco, of Isaac giving his benediction to Esau, which will be found on one side of the cloister of Santa Maria Novella, is by this master; it is painted in “terra-verde.^[9]

Shortly after completing this work, Dello was invited into Spain, where he entered the service of the king, and attained to so much credit that no artist need desire for himself more or better;^[10] and, although we are not acquainted with the particulars of the works executed by Dello in those parts, we are authorized to suppose that they were good and beautiful, since he left the country both rich and honoured. After some years, having been royally remunerated for his labours, the master resolved to return to Florence, where he desired to show his friends how he had risen from extreme poverty to great riches. Wherefore, having gone to obtain the permission of the king, he not only received a gracious accordance of the same (although that monarch would have retained him, if such had been the pleasure of Dello), but also, as a more distinguished token of satisfaction from that most liberal sovereign, he was made a knight. Whereupon, the painter departing to Florence, there demanded the pennants and other insignia of his rank, with the confirmation of the privileges he had acquired; but these were refused to him, by the intervention of Filippo Spano degli Scolari, who had just returned victorious over the Turks, as grand seneschal of the King of Hungary. Dello immediately wrote to the King of Spain, complaining of this injury, when the Spanish sovereign addressed the senate with so much earnestness in his behalf, that the due and desired honours were conceded to him without further dispute. We find it related that, as Dello was returning to his house with the ensigns of his dignity, mounted on horseback, and robed in brocade, he passed through the Yacchereccia, where there dwelt many gold-workers, who had their shops there, and had known him in his youth. From one of these, scoffing words, either in scorn or jest, assailed the ear of the master as he rode along. Dello is reported to have turned towards the spot whence the voice proceeded, making gestures, expressive of disdain, with both his hands, but not uttering a word, and continuing his way, so that the occurrence was scarcely noticed by any one but the person who had derided him. But this circumstance, with other intimations, caused the artist to believe that envy would be no less active against him in his prosperity, than malignity had been when he was very poor; wherefore he resolved to return to Spain; and, having written to the king, whose reply quickly followed, he departed to that country, where he was received with great favour, and gladly seen to fix his residence there. In Spain, therefore, our artist dwelt thenceforward, ever working, but living like a noble, and always painting in an apron of brocade. Thus then, he retreated before the shafts of envy, and lived honourably in that kingly court, where he also died, at the age of forty-seven, and was honourably entombed by the same sovereign who had so steadily protected him. The following epitaph was placed on his sepulchre

“Delius eques Florentinus
Picturae arte percelebris
Regisque Hispaniarum liberalitate
Et ornamentis amplissimus
h. s. e.
s. t. t. l.^[11]

Dello was not particularly excellent in design, but was the first who gave a judicious prominence to the muscles in the nude form, as may be seen from certain drawings of his, in ehiaro-scuro, preserved in my book. His portrait, in chiaroscuro, by the hand of Paolo Uccello, may be seen in the church of Santa Maria Novella: it is in the story of Noah, inebriated by his son Ham.^[12]

---

1. Dello di Niccolo Delli is the name under which he is registered in the Guild of the Apothecaries, in the year 1417. Dello is probably the diminutive of Leonardello.—Ed. Flor. 1846-9.
2. This work still exists. —Ibid.
3. Of these figures no trace can now be found.—Ibid.
4. This work has also perished.—Ibid.
5. Two small pictures, attributed to Dello, are still to be seen in the Florentine gallery. The one, an adoration of the Magi; the other, the death of St. Peter.
6. A chest of the last-mentioned character, with exceedingly beautiful carved work, is preserved in the Royal Museum of Berlin. —Schorn.
7. See Cennini, Trattato della Pittura, cap. cxv, et seq.
8. No trace can now be found of the articles here described. — Ed. Flor. 1832-8 and 1846-9.
9. This story is still in existence. — Ibidem.
10. Lanzi tells us that Stamina, and, some years after him, Dello, were the first to introduce the new Italian manner at the Spanish court, whence they both brought back riches and honours. See History of Painting, vol. i, p. 69.
11. That is, “Hic sepulto est. Sit terra tibi levis.”—Ed. Flor. 1846 -9.
12. The portrait of Dello is in the figure of Ham.