Lives of the Most Excellent Painters, Sculptors, and Architects/Don Bartolommeo

by Giorgio Vasari

 

DON BARTOLOMMEO, ABBOT OF SAN CLEMENTE.

[born 1408.—died 1491.]

Rarely does it happen that the man of upright mind and exemplary life is left unprovided by Heaven with valuable friends and an honourable position; rarely does he fail to be held in respect for his excellences while living, or to be venerated and mournfully regretted after his death, by all who have known him. Such was the case with Don Bartolommeo della Gatta, Abbot of San Clemente, in Arezzo, who was in many ways most admirable, and was commendable in all his actions.

This artist, who was a monk in the Carmelite Monastery of the Angeli in Florence, was much devoted to miniature painting in his youth (perhaps for reasons similar to those assigned in the Life of Don Lorenzo as the cause by which that master was influenced), and displayed singular ability in all things relating to design. Of this we have evidence in the miniatures executed by him for the monks of Santa Flora and Lucilla, in the abbey of Arezzo, more especially in those of a missal which was given to Pope Sixtus, and wherein there is a most admirable Passion of Christ; it is in the first leaf of the “Prayers to be offered in private.” There are likewise others of great merit by his hand in San Martino, in the cathedral church of Lucca.^[1]

No long time after the completion of these works, the Abbey of San Clemente of Arezzo was conferred on this father by Mariotto Maldoli, a native of Arezzo, and General of the Camaldulines, who was of the same family to which that Maldolo also belonged, by whom the site and lands of Camaldoli were bestowed on San Romualdo, founder of the Carmelites. Grateful for that benefit, Don Bartolommeo afterwards laboured much for this General and for his Order. The plague of 1468 ensued soon after, on account of which the abbot went but little without, as was the case with many others, and therefore occupied himself in painting large figures, when, seeing that he succeeded according to his wishes, he commenced the execution of various works. The first of these was a figure of San Rocco, which he painted on panel for the rectors of that brotherhood in Arezzo; this is now in the chamber of audience, where the members are wont to assemble. San Rocco recommends the people of Arezzo to the Virgin, and in this picture Don Bartolommeo depicted the piazza of the city with the holy house of the brotherhood, and a company of Becchini who are returning from burying the dead.^[2] He likewise painted another San Rocco, also on panel, for the church of San Piero,^[3] this he depicted the city of Arezzo exactly as it was at that time, when it was verv different from what it now is. Another picture on the same subject, but greatly superior to the two before mentioned, was painted by this master for the chapel of the Lippi family in the capitular church of Arezzo, and in this the San Rocco is a regularly beautiful figure, and almost the best that Don Bartolommeo ever produced; the head and. hands could not possibly be more beautiful or more natural than they are.^[4] In the same city of Arezzo, and in the church of San Piero, where the Servites have their abode, this master painted a picture of the angel Raphael; and in the same place he executed the portrait of the Beato Jacopo Filippo, of Piacenza.^[5]

At a later period, being invited to Rome, Don Bartolommeo painted a story in the chapel of Pope Sixtus, in company with Luca da Cortona and Pietro Perugino; and having returned to Arezzo, he painted a St. Jerome in Penitence, for the chapel of the Gozzari in the episcopal church. The saint is represented with wasted form, shaven head, and eyes riveted to the cross; he is striking his breast, and the force of the passions, still raging in that excessively attenuated form, is rendered clearly manifest. An immense crag is represented in this work with other rocks; among the clefts of which certain stories, from the life of the saint, are depicted in small figures of extraordinary grace.^[6] In the church of Sant’ Agostino, this master painted a Coronation of Our Lady in fresco, in a chapel belonging to the Nuns of the Third Order, as they were called; a work which was much commended, and was indeed very well done. Beneath this work, in another chapel, is a very large picture of the Assumption, by this master, with numerous angels, singularly well dressed in textures of extreme tenuity. This work has been highly extolled, for a picture executed in tempera, and certainly does exhibit very good design, and is finished with great care. In the lunette over the door of the church of San Donato, in the fortress of Arezzo, Don Bartolommeo painted the Virgin with the Child in her arms: she is accompanied by San Donato, and San Giovanni Gualberto; all these figures are exceedingly beautiful. In the abbey of Santa Flora, in the same city, there is a chapel painted by our artist; near the principal door of the church; in this is a figure of San Benedetto, and other saints, all executed with much grace, facility, and softness.^[7] For Gentile of Drbino, bishop of Arezzo, who was his most trusted friend, and with whom he lived in close intimacy, Don Bartolommeo painted a Dead Christ in one of the chapels of the episcopal palace, and in a Loggia, he executed the portrait of the bishop, with that of his vicar, and of the notary Ser Matteo Francini, who is reading a bull to him.^[8] He painted his own portrait there in like manner, with those of certain canons of that city. For the same bishop this master designed a Loggia which joins the palace to the episcopal church, and is level with the floor of those buildings. In the centre of this gallery the bishop intended to have his tomb constructed in the manner of a chapel, proposing to be buried therein, but his death took place before the work could be completed, and it consequently remained unfinished; for although he left orders that the work should be continued by his successor, yet nothing more was done; and so it happens for the most part to such undertakings as are left to be completed by others after the death of their projector.^[9] The abbot decorated a large and beautiful chapel in the cathedral for the same bishop; but as this work had but a short existence, I need not speak further concerning it.^[10]

In addition to the works here enumerated, Don Bartolommeo executed many others for different places in all quarters of the city; among them were three figures in the chapel of the nuns of Sant’ Orsina,^[11] in the convent of the Carmine. At Castiglione, in the Aretine territory, this master painted a picture in tempera for the chapel of the high altar in the capitular church of San Giuliano. This work contains a singularly beautiful figure of the Virgin, with San Giuliano and St. Michael the archangel; both finely executed and delicately finished, more particularly the San Giuliano; his eyes are fixed on the Divine Child, which is in the arms of Our Lady, and the thought of his having killed his father and mother^[12] seems to be deeply afflicting him. In a chapel near this is a painting which was formerly on the door of an old organ, whereon is depicted a San Michele, considered most admirable, and an Infant, also in the arms of a woman,^[13] which seems absolutely alive.

For the nuns of the Murate in Arezzo, Don Bartolommeo painted the chapel of the high altar, a picture that has been much extolled. At Monte San Savino, he decorated a tabernacle opposite to the palace of the Cardinal di Monte, also greatly admired; and at Borgo San Sepolcro, where is now the episcopal church, he painted a chapel, from which he derived great honour and advantage.^[14]

Don Clemente^[15] was a man of versatile genius; he was not only a great musician, but likewise constructed organs of lead with his own hands, and in San Domenico he made one of mill-board, which has preserved a sweet and good tone to this day.^[16] There was, besides, another in San Clemente, by the same master; this was built above the choir, but the key-board is in the choir below—a very judicious arrangement, seeing that the cloister is small, and having but few monks, the abbot desired that the organist should be able to sing in the choir as well as play the organ. The abbot, Don Bartolommeo, loved his Order; he acted like a true minister and not squanderer of sacred things; he improved his benefice by various buildings, and bestowed on it many of his paintings. Among other services, was that of rebuilding the principal chapel of his church, which he also adorned with pictures; and in two recesses, standing one on each side of the chapel, he painted figures, one of San Rocco, the other of San Bartolommeo; but both are now destroyed, as is the church itself.^[17]

The Abbot of San Clemente, who was a good and exemplary churchman, left a disciple in painting, Matteo Lappoli of Arezzo, who was an able and experienced painter, as may be seen by the works from his hand which are in the chapel of San Sebastian, in the church of Sant’ Agostino. There is also a San Sebastian in relief by this artist, in a niche of the same chapel, with figures of San Biagio, San Rocco, Sant’ Antonio of Padua, and San Bernardino, all painted by the master in question. In the same chapel is likewise an Annunciation, by Matteo Lappoli, with the four Evangelists, in fresco, on the ceiling, very well and carefully executed. In another chapel, on the left, as we enter by the side door of the church, is a fresco by the hand of this master, representing Our Lady, with the Angel of the Annunciation; in the figure of the Angel is the portrait of Giulian Bacci, then a youth, and of a most beautiful aspect. Above the same door, on the outside, Matteo painted another Annunciation, with St. Peter and St. Paul on each side. The face of the Madonna is the portrait of the mother of Messer Pietro Aretino, a poet of great renown.^[18] In San Francesco, Matteo Lappoli painted a picture for the chapel of San Bernardino, in which is a figure of that saint, which almost seems to be alive, and is so beautiful that it must be considered the best this artist ever executed. In the cathedral also Matteo painted a picture in tempera, for the chapel of the Pietramaleschi family, wherein he depicted a Sant’ Ignazio, most admirably executed;^[19] and in the Capitular Church, on entering by the upper door, which opens on the Piazza, there are figures of Sant’ Andrea and St. Sebastian;^[20] both by this master. For the brotherhood of the Trinity, Matteo Lappoli executed a work which may be counted among the best he ever performed; it was painted at the command of Buoninsegna Buoninsegni, of Arezzo. This was a Crucifix for an altar; on each side stood San Rocco and San Martino, and at the foot were two figures kneeling; one of these was a poor man, meagre and haggard, and wretchedly clothed; from his breast proceeded a sort of radiation, the rays of which went directly towards the wounds of the Saviour, on whom the eyes of the saint were earnestly fixed. The other was a rich man, clothed in purple and fine linen, with joyous and rubicund face, but the rays proceeding from him while adoring Christ, appeared, although they also came from his heart, as did those of the poor man, not to go directly to the wounds of the Saviour, but to be scattered and dispersed over a broad landscape, exhibiting fields covered with corn and cattle, with gardens, and various objects of a similar kind; some being diverted towards the sea by certain barks, laden with merchandize, and others, in fine, towards tables, whereat money-changers were seated; all these things were depicted by Matteo Lappoli with judgment, ability, and great care; but they were destroyed no long time after, when a chapel was constructed in that place. Beneath the pulpit of the capitular church, the same artist painted Christ bearing his Cross, for Messer Leonardo Albergotti.^[21]

An Aretine monk, of the Servites, who painted the façade of the Belichini Palace in Arezzo, was also a disciple of the abbot of San Clemente, and there are two chapels in the church of San Pietro, one beside the other, both painted in fresco by the same monk.^[22]

Domenico Pecori, of Arezzo, was another disciple of Don Bartolommeo; and a picture in tempera, at San Sargiano, comprising three figures, is by his hand,^[23] as is likewise a Gonfalon or Standard, painted in oil, to be carried in procession by the brotherhood of Santa Maria Maddalena, a very fine work: for Messer Presentino Bisdomini, Domenico painted a figure of Sant’ Apollonia, similar to that above-named, to be placed in the chapel of Sant’ Andrea, in the capitular church.^[24] He likewise completed many works left unfinished by his master, as for example, the picture of San Sebastian and Fabiano. in San Piero, executed for the Benucci family.^[25] This artist also painted the picture of the High Altar in the church of Sant’ Antonio, a Virgin, namely, of most devout aspect, with several Saints; and as Our Lady is in the act of adoring the Divine Child, which she holds in her lap, the master has depicted a little Angel kneeling behind her, who upholds the Infant on a cushion, the Madonna not being able to support him, because she is in prayer with her hands joined.^[26] In a chapel of the church of San Giustino, Domenico painted the Adoration of the Magi in fresco, for Messer Antonio Rotelli;^[27] and for the brotherhood of the Madonna he painted a very large picture in the capitular church, wherein he represented the Madonna in the air, with the people of Arezzo beneath. In this work Domenico was assisted by a Spanish painter, who painted well in oil, with the practice of which Pecori was not so familiar as with that of tempera; there are many portraits from the life in this picture.^[28] With the assistance of the same artist Domenico executed a picture for the brotherhood of the Trinity, representing the circumcision of Our Lord, which was considered an excellent work;^[29] and in the garden of Santa Flora he painted a Noli me Tangere in fresco.^[30] Finally, Domenico Pecori painted a picture with many figures in the capitular church, for the dean of the archives, Messer Donato Marinelli. This work exhibits great power of invention, good design, and most careful execution, insomuch that it both did, and continues to do, great honour to the master. For this work, as Domenico was becoming old, he called in the aid of Capanna, a Sienese painter, and a tolerably good artist, by whom many fronts of buildings, in his native city, were decorated in chiaro-scuro, and many pictures painted. It may indeed be supposed, if we may judge from the little left by this master, that, had his life been of longer continuance, he would have done much honour to his art.^[31] Domenico had painted a canopy in oil, for the brotherhood of Arezzo, an exceedingly rich and costly work. This was sent to the church of San Francesco not many years since, to adorn a Paradise, constructed almost close to the ceiling of the church, for a representation on the festival of SS. Giovanni and Paolo: the number of lights used for that occasion set fire to the place, when the canopy was burnt, together with the person who represented the figure of God the Father; for, being tied fast, he could not escape, as did those who personated the angels, and was therefore consumed with numerous vestments and ornaments. The spectators also suifered greatly; for all, being terrified by the conflagration, struggled with furious eagerness to get out of the church; and, as every one would be first, about ninety persons were trampled to death by the crowd, a most deplorable event.^[32] The canopy was afterwards reconstructed with increased splendour, and was painted by Giorgio Vasari. Domenico ultimately gave his attention to the painting of glass windows, and there were three in the cathedral by his hand, but they were ruined by the artillery in the wars.

The painter, Angelo di Lorentino, was also a disciple of Don Bartolommeo, and was a man of considerable ability. The lunette over the door of San Domenico^[33] was painted by him, and had he been duly assisted he would have become a very good master.

The abbot of San Clemente died in his eighty-third year; he had given the design and prepared the model for the church of Our Lady of Tears, but this he did not live to complete, and it was afterwards finished by different masters:^[34] to Don Bartolommeo then belongs, as we have seen, the reputation of having been at once a miniaturist, architect, painter, and musician. He received honourable sepulture from his monks in his Abbey of San Clemente, and his works were always esteemed so highly in his native city, that the following verses were placed over his tomb, where they may still be read.^[35] §

o2

Pingebat docte Zeusis, condehat et aedes
Nicon; Pan capripes, fistula prima tua est.
Non tamen ex vobis mecum certaverit ullus
Quae tres fecistis, unicus haec facio.

This master died in 1461,^[36] having added new beauties to the art of miniature-painting, as is manifest from all his works, and further evidence of which will be found in certain examples from his hand, in our book of drawings- His manner was afterwards imitated by Girolamo Padovano,^[37] in the miniatures of certain books, which he adorned for Santa Maria Nuova in Florence,^[38] as it was by Gherardo, a Florentine miniaturist, and by Attavante, who was also called Vante.^[39] Of the latter, mention has been made elsewhere, more particularly of his works now preserved in Venice, respecting which I have carefully inserted a notice, sent to me by certain Venetian gentlemen, for whose satisfaction, since they had taken the pains to collect all they sent me, I have been willing to relate the whole as they wrote it, and the rather, as I had not the opportunity of forming a judgment from actual inspection.

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1. No miniature executed by Don Bartolommeo can now be indicated with certainty, the choral books of numerous monasteries having been shamefully despoiled of their miniatures, as has been remarked in the life of Don Lorenzo, vol. i.
2. This picture is now suspended in the guard-chamber of the Fraternity. The figure is of the size of life, and bears an inscription which recites the names of the rectors.
3. The St. Roch executed for the church of San Piero is not now in Arezzo, and is said to have been taken to Campriano, where an ignorant painter changed San Rocco to San Martino, by the addition of the mantle. —Ed. Flor., 1832-8.
4. Still in good preservation.—Ibid.
5. Not in Piacenza, but in Faenza. This work, with that previously described, is lost.— Ibid.
6. The Gozzari chapel was demolished in 1796, when the St. Jerome of Don Bartolommeo was cut out of the wall and removed to the hall of the chapter-house, where it is still preserved. This removal was effected by the care of the Cav. Angelo Lorenzo de’ Giudici, of Arezzo.
7. None of the works here enumerated are now in existence.
8. These pictures were destroyed towards the end of the sixteenth century, when the episcopal palace was almost entirely rebuilt by the Bishop Pietro Usimbardi.
9. The Loggia was enlarged in the last century, by the Bishop Benedetto Falconcini. The Bishop Gentile was buried in the cathedral, and his arms only now occupy the place designed for his tomb. —Ed. Flor., 1832-8.
10. The ancient cathedral of Arezzo, which was without the city, was abandoned in 1203. Yet various works of art were executed therein, down to a late period, and these were, for the most part, destroyed in 1561. —Ibid.
11. The paintings of Sant’ Orsina, as well as those of the Carmine, have ceased, to exist.
12. This parricide was involuntary: for the Legend of the Saint (St. Julian Hospitator), the English reader is referred to Mrs. Jameson.— Poetry of Sacred and Legendary Art, vol. ii. p. 393.
13. The woman here alluded to is Theodora Visconti, who is presenting her son to St. Michael. The picture is now in the Sacristy.
14. This work, with that previously described, has perished.
15. Here Vasari gives the Abbot the name of his Abbey.
16. This paper-organ has now yielded, as will be readily supposed, to the action of time. — Masselli.
17. This happened in 1547. The city gate, near which the church stood, is still called San Clemente. —Florentine Edition of 1771.
18. All the paintings executed in Sant’ Agostino, have perished. — Masselli.
19. These works have all perished, or been lost. In like manner, the picture of the Pietramaleschi Chapel has long been lost, and the frescoes are destroyed.
20. Of these pictures, the St. Sebastian alone remains.
21. This work had disappeared when Bottari wrote (1759).
22. These works have perished.
23. This picture is lost.
24. The Sant’ Apollonia is also lost. The reader will find the legend of his “Virgin and Martyr” in the before-cited work of Mrs. Jameson.' — Poetry of Sacred and Legendary Art, vol. ii, p. 195, et seq.
25. This picture was removed from the church of San Pietro in the last century, and was taken to the church of Campriano, outside Arezzo.—Ed. Fior., 1832.
26. This picture, somewhat injured by re-touching, is now in the Sacristy of the Cathedral of Arezzo the church of Sant’ Antonio having been destroyed.
27. Roselli, not Rotelli. This work had ceased to exist in Bottari’s time.
28. Still in its place. The Spanish paint^:r may probably be that Giovanni Spagnuolo, called Lo Spagna, mentioned by Vasari among the disciples of Pietro Perugino. (?)—See Gaye, vol. ii. p. 89.
29. Now in the parish church of Sant’Agostino.
30. This work is still in existence, but much injured, the place being used by the gardeners as a tool-house.
31. Of Capanna Vasari speaks again in the life of Peruzzi.
32. The Florentine Edition of 1771, citing the registers of the period, informs us that this unhappy event occurred in 1556. The deaths amounted to sixty-six; and the unfortunate man who was burnt, was a Servite Monk, named Benedetto.
33. Still in its place.
34. The greater part is from the design of Don Bartolommeo. Antonio di San Gallo, and Andrea of Monte San Savino, also took part in the work.
35. The tomb was destroyed in the demolition of the Abbey.
36. Obviously an error of the copyist, or press, for 1491.
37. Girolamo of Padua is also called Del Santo.— See the Guida di Padova, published for the Scientific Association, in 1842.
38. The same causes which have prevented us from ascertaining whether any works of Don Bartolommeo were yet to be found in the illuminated books now in the church of the hospital of Santa Maria Nuova, prevent us from ascertaining whether any by Girolamo Padovano still remain there. —Ed. Flor., 1849.
39. In the Giunti edition, this passage runs thus: “Gherardo, a Florentine miniature painter, who was called Vante,’’ but this is manifestly an omission, which later editions have supplied as above, and we follow their example.