Lives of the Most Excellent Painters, Sculptors, and Architects/Francesco Mazzuoli (Parmigiano)

by Giorgio Vasari

 

THE PAINTER, FRANCESCO MAZZUOLI (PARMIGIANO.)

[born 1503—died 1540.]

Among the many natives of Lombardy who have been endowed with the graceful gift of power in design, with a certain animation and spirit as regards invention, and with an especial ability in the delineation of beautiful landscapes, we are not to postpone to any; nay, we are rather to place before all the rest, the Parmigiano, Francesco Mazzuoli,^[1] who was indeed most liberally furnished by Heaven with all those qualities which are required to the production of an excellent painter. For, to say nothing of such advantages as we have already ascribed to many other artists, Francesco had the property of imparting to his figures a certain beauty and sweetness, with a singular grace of attitude, which was entirely peculiar to himself.

In the heads of this master also, there is ample evidence that all the consideration which can be given to works of art was bestowed by him, insomuch that his manner has been followed and imitated by a large number of painters, seeing that he has contributed to Art a grace so attractive, that his works must ever be held in esteem, and himself honoured by all who love the study of design. Would to God only that Francesco had confined himself to the pursuit of painting, and had not lost his time in running after such whimsies as the congelation of mercury, in the hope of rendering himself richer than he had already been made by the gifts of Nature and Heaven; for, in that case, he would have been without an equal, and must have stood alone in the art of painting; whereas, by labouring in the search of that which he could never find, he wasted his time, and neglected and wronged his art, while he did injury to himself at the same time, both as regarded his life and fame.

Francesco was born in Parma in the year 1504,^[2] and being only a child of a few years old when his father died,^[3] he was left to the guardianship of two uncles, brothers of his father, and both painters;^[4] but these his kinsmen brought him up with the utmost care and affection, instilling into his mind all those good principles, and forming him to those praiseworthy habits which are required to make an upright man and good Christian. No sooner had Francesco attained to some little height than he began to manifest his inclination to art, and before he had well taken the pen in hand to learn to write, he began to produce works in design. Impelled as he was by the force of Nature, which had destined him at his birth to be a painter, he began to do things, I say, which awakened surprise in all who beheld them. The master who taught him to write, perceiving this, and persuaded that the genius of the child must in time produce great results, advised his uncles to devote him to the study of design and painting.

Now, these relatives were already become old men, and were besides painters of no great fame; but possessing good judgment in matters of art, and seeing that God and Nature had been the first teachers of the boy, they did not fail to promote his studies, and, with the utmost solicitude, at once selected for him the best masters, under whose discipline they caused him to exercise his art, to the end that he might acquire a good manner.^[5] His continued progress sufficed to prove that he was born, so to speak, with the pencil in his hand. But while his uncles encouraged and incited him on the one hand, they were nevertheless compelled sometimes to interrupt his studies and restrain him on the other, fearing lest he should injure his health by too close an application to the art. At length, and when he had attained his sixteenth year namely, after having already effected wonders in design, he painted a picture entirely of his own invention and composition, representing the Baptism of our Saviour Christ by San Giovanni, and executed in so fine a manner, that notwithstanding what he had previously done, yet all who beheld it were struck with astonishment at seeing such a work produced by a boy. This picture was placed in the Nunziata at Parma, where the Monks of the Zoccoli^[6] have their abode.^[7] Not content with this, Francesco determined also to try his skill in fresco, whereupon he painted a Chapel in San Giovanni Evangelista, which belongs to the Black Friars of San Benedetto, and succeeded so well in that kind of decoration, that he ultimately painted seven Chapels for the same confraternity.

About that time Pope Leo X. sent the Signor Prospero Colonna with an army to Parma, when the uncles of Francesco, fearing lest he might be induced to waste his time, or be led away from the study of his art, sent him forth in company with his cousin Girolamo Mazzuoli,^[8] a boy like himself, and also a painter, despatching them both to Viandana, a place in the territories of the Duke of Mantua, where they remained during all the time that the war continued. There Francesco painted two pictures in tempera, one representing St. Francis receiving the Stigmata, which was placed in the Church belonging to the Barefooted Friars; the other, a Marriage of St. Catherine, with a large number of figures, was placed in St. Piero. Nor could any one suppose that these paintings were the works of a mere youth and beginner, but would rather believe them to be that of a man in age and a master in art.

At the termination of the war, Francesco returned with his cousin to Parma, where he first completed certain pictures which he had left unfinished at his departure, and which are now in the possession of different citizens; he then painted a picture in oil, representing the Madonna with the Infant Christ in her arms, and having on one side San Jeronimo, with the Beato Bernardino da Feltro on the other. In the head of one of these Saints, Francesco depicted the portrait of the donor of the picture:^[9] this is a work of such extraordinary merit, that nothing but the living soul could make it better, and all these paintings were finished before our artist had attained the age of nineteen.

Francesco afterwards conceived a desire to visit Rome, impelled thereto by his wish to make progress and by all that he had heard respecting the works of the good masters there, more particularly those of Raffaello and Michelagnolo. He therefore made known this desire of his heart to his uncles, who, considering the request which he presented to them to be nothing less than praiseworthy, declared themselves content to grant their permission, but observed that he would do well to take with him some performance as a specimen of what he could do, and by way of obtaining for himself an introduction to the nobles of the city and the artists of his own vocation. This advice was not displeasing to Francesco, who painted three pictures accordingly, two small and one tolerably large, in the last of which he depicted Our Lady with the Divine Child in her arms: the latter is taking fruit from the lap of an Angel; there is also the figure of an old man with his arms covered with hair, which is painted with infinite judgment and knowledge of art, the colouring of this figure also is exceedingly pleasing.

But furthermore to investigate the subtleties of art, Francesco one day set himself to take his own portrait, looking at himself for that purpose in a convex mirror, such as is used by barbers. While doing this he remarked the curious effect produced by the rotundity of the glass, which causes the beams of the ceiling to look bent, while the doors and all other parts of buildings are in like fashion distorted, and recede in a very peculiar manner. All this, Francesco took it into his head to imitate for his diversion. He accordingly caused a globe or ball of wood to be made by a turner, and having divided it in half and brought it to the size of the mirror, he set himself with great art to copy all that he saw in the glass, more particularly his own likeness, which is of inestimable excellence, and so natural that one can scarcely believe it feigned. But as all the nearer objects thus depicted in the glass were increased, while those at greater distance were diminished, he painted a hand, which he represented as employed in drawing, making it look a little larger than the true size, as it does in the glass, and so beautifully done that it appears to be the living member itself.

Francesco was a singularly handsome youth, his countenance and aspect were exceedingly graceful, and such as might beseem an angel rather than a man, his portrait in that glass was therefore like something divine, nay, the whole work succeeded so admirably well that the true objects were not in any respect different to those therein depicted; the lustre of the glass, and every reflection thereon, with all the lights and shadows, were so true and real, that better could not be expected from the genius of man.

These works being completed, were considered extraordinary, not only by the old kinsmen of the artist, but by many others, well versed in art, they were held to be most astonishingly fine; they were then packed up, and Francesco, accompanied by one of his uncles, repaired to Rome. Here the paintings were seen by the Papal Datary, who perceiving them at once to be what they really were, immediately introduced the youth and his uncle to Pope Clement: the Pontiff therefore beholding these pictures, and seeing their author to be so young, remained utterly astonished, as did all the court, and no long time after, his Holiness, who had instantly conferred numerous favours on our artist, declared that he would confide to his care the paintings in the Hall of the Popes, wherein Giovanni da Udine had already prepared the decorations of stucco, as well as the pictures for the ceiling. Having presented the pictures he had brought with him to Pope Clement, and having received various gifts and favours in addition to the promise just mentioned, our artist, incited by the praises which he heard bestowed on him, and by the advantages which he hoped to obtain from being in the service of so great a Pontitf, commenced a picture of the Circumcision, which was an exceedingly beautiful one. The invention of this work was more particularly remarked, seeing that there were three lights of a very fanciful character, by which it was variously illuminated: the first of these emanated from the radiance of the Saviour’s countenance, and fell on the first or most prominent figures; those further removed received their light from others, who are walking up a flight of steps with lighted torches in their hands and bearing gifts to the sacrifice, while the more distant groups are discovered by the light of the opening dawn, which brings into view an exceedingly beautiful landscape with numerous buildings.

This picture being completed, Francesco presented it to the Pope, who did not dispose of this as he had done of the others, seeing that he had given the former to Cardinal Ippolito de’ Medici, (who received the picture of Our Lady) and to the poet, Messer Pietro of Arezzo, his servant, who had the portrait in the mirror. The Circumcision, on the contrary. Pope Clement retained for himself, and it is believed that this work afterwards came into the possession of the Emperor. With respect to the portrait in the mirror, I remember to have seen it, when I was a youth, in the house of Messer Pietro at Arezzo, where it was shown to the strangers who passed through that city as an extraordinary thing, and a work of great merit. It afterwards fell, by what means I know not, into the hands of the carver in crystal, Valerio^[10] Vicentino, and is now in the possession of Alessandro Vittoria,^[11] a sculptor in Venice, and the disciple of Jacopo Sansovino.^[12]

But returning to Francesco, we have to remark that while 362 LIVES OF THE ARTISTS. studying in Rome, lie was careful to examine all the works, ancient and modern, to be found in that city, but more particularly did he hold those of Michelagnolo Buonarroti and Raffaello da Urbino in the highest veneration. The spirit of the last-named master had indeed, as was afterwards said, passed into the body of Francesco, and this opinion was entertained, because, though still so young, the latter was seen to be highly distinguished in art, as well as graceful and amiable in manners and deportment, exactly as Kaffaello had been. This opinion was further strengthened by the pains which Francesco was reported to give himself in the imitation of the works of Raffaello, nor were these labours and that study in vain, seeing that many pictures painted in Rome by Francesco, and the greater part of which afterwards came into the hands of Ippolito de’ Medici, are indeed most admirable.^[13]

Among the works thus executed in that city is a circular picture of great beauty exhibiting the Annunciation, this the artist painted for Messer Angelo Cesis, and it is now preserved with great care in the house of that family, as an exceedingly valuable work. He likewise painted a picture on panel, representing the Madonna with San Giuseppe and angels; singularly beautiful figures, whether we consider their grace, the beauty of their colouring, or the care and delicacy with which they are finished; the expression of the faces also is of exquisite beauty. This picture was formerly in the possession of Luigi Gaddi, and must now be in that of his heirs.^[14]

Hearing the fame of Francesco, Lorenzo Cibo, captain of the Papal Guard, and a very handsome man, caused that artist to paint his portrait; and the latter may be said not to have depicted this likeness, but to have made it of the living flesh.^[15] He afterwards received a commission from Madonna Maria Bufalina of the Citta di Gastello, for a picture to be placed in the church of San Salvatore del Lauro, and in a chapel near the entrance of that building. In this work Francesco represented the Virgin appearing in the air; she is reading, and has the Divine Child in her lap. On the earth beneath is a figure of San Giovanni kneeling on one knee in a singularly beautiful attitude, the back bent; he is pointing to the Infant Christ: there is a St. Jerome in his state of penance^[16] also in this picture, he is lying on the ground asleep, the figure foreshortened.^[17]

But this work the master was not suffered to bring to perfection, the sack and ruin of Rome in 1527 interrupting his labours, and not only did this event cause the arts to be for a time banished from that city, but it also cost the life of many artists. Francesco was indeed himself within a hair’s breadth of being among the number, which happened on this wise. In the commencement of the plunder, and when the soldiers began to burst into the houses, our artist was so intent on his work, that when his own dwelling was filled with certain of these men who were Germans, he remained undisturbed by their clamours, and did not move from his place; arriving in the room therefore, and finding him thus employed, they stood confounded at the beauty of the paintings they beheld, and, like good and sensible men, as they must have been, they permitted him to continue his occupation. Thus, while the most impious cruelty of the barbarous hordes by whom the unhappy town was invested, was scourging that miserable place, and destroying all, sacred and secular works alike, having respect neither to God nor man, Francesco was provided for by those Germans, who honoured him greatly and defended him from every kind of injury. One loss only did our artist suffer at that time from these events, namely, that one of the soldiers in question, being a great lover of painting and the arts, compelled him to execute a large number of drawings in water colour and with the pen, which were demanded as the payment of his ransom.

But when the soldiery was afterwards changed, Francesco stood again on the brink of destruction, for having one day gone out to seek certain of his friends, he was made prisoner by the new comers, and was compelled to purchase his release with the few crowns that he possessed. His uncle, grieved at what had happened, and perceiving that by these disorders the hope which Francesco had conceived of acquiring knowledge, honour, and wealth, was destroyed, resolved to take him back to Parma, and the rather as he saw that Rome was little less than ruined, while the Pope himself was a prisoner to the Spaniards. He despatched Francesco forward on the way to his native land, therefore, but remained himself some days in Rome, where he deposited the picture painted for Madonna Maria Bufalina with the Monks of the Pace, in whose Refectory it remained many years, until it was finally reclaimed by Messer Giulio Bufalini, by whom it was placed in the church for which it had originally been destined at Citta di Castello.^[18]

Arrived in Bologna, Francesco found his time pass very agreeably among his friends in that city, more especially that portion of it which he passed in the house of a saddler of Parma, who was one of his most intimate associates; and his sojourn there pleasing him greatly, he remained in Bologna some months. During this time he caused several of his works to be engraved in chiaro-scuro, more particularly the Decapitation of San Pietro and San Paolo,^[19] with a large picture representing Diogenes. He made very many other works, of which he intended to have prints made and copperplates engraved, having retained with him a certain Maestro Antonio of Trent;^[20] but this intention was not carried into effect at the moment, because Francesco was compelled to give his time to the execution of numerous pictures and other works for various noblemen of Bologna.

The first painting executed by our artist in that city was a figure of San Rocco, of considerable size, which he painted for the chapel of that saint in the Church of San Petronio, and to which he has imparted a most beautiful expression, depicting it, at a word, with the utmost perfection in every point. He has represented the Saint as in some degree recovered from the pain which he had suffered from the ulcer occasioned by the plague;^[21] and this he makes manifest by raising his head towards heaven in the act of giving thanks to God, as good men do when rising from the adversities with which they have been afflicted. This picture Francesco painted for a certain Fabbrizio of Milan, whom he has portrayed from the life therein; a half-length figure, which rather looks like one alive than a mere painting, as does a dog, which is in like manner a part of the work; there is, besides, a landscape, which is admirable, this master being more particularly excellent in that branch of the art.^[22]

For the physician Albio, who was a native of Parma, Francesco painted a Conversion of St. Paul, with a landscape and numerous figures. This also is a work of great merit. For his friend the saddler, he painted another of extraordinary beauty; the principal figure is a Madonna, seen in profile, the attitude of which is very graceful: and there are, besides, several other figures. Our artist likewise painted a picture for the Count Giorgio Manzuoli, with two in watercolours on cloth for Maestro Luca di Leuti; these exhibit numerous figures of very small size, all very graceful and well executed.^[23] One morning about this time, Francesco was still in bed, when the above-mentioned Antonio of Trent, who was with him, as we have said, for the purpose of executing engravings, having opened a certain chest belonging to Francesco, ruthlessly robbed him of all the copper-plates, prints, engravings on wood, and drawings that he possessed, wherewith this Antonio then departed; and he must have taken himself fairly to the devil, seeing that no nevfs was ever heard of him from that time forward. Happily Francesco did recover the plates; for these Antonio had left with a friend of his own in Bologna, proposing to reclaim them perhaps at some more convenient time; but of the drawings he could never more obtain sight or intelligence.^[24] Almost in despair, he returned to his painting, and to obtain a little money, portrayed the likeness of I know not what Count, then living at Bologna. He afterwards painted a picture of the Yirgin with the Infant Christ, who holds the globe of the earth in his hands: the Madonna in this work has a beautiful expression, and the Infant also is exceedingly natural. It was indeed one of this master’s peculiarities, that he always gave much animation to the faces of his children, not unfrequently depicting them with an expression, which, though truly childlike, yet gives evidence of that acuteness and quickness of perception so frequently observable in children. Our Lady is clothed in a manner that is somewhat peculiar, her dress consisting of a vestment of yellowish gauze or crape, having sleeves which are striped, as it were, with gold; all which has of a truth a very beautiful effect, the form being perceptible through the draperies, which suffer the flesh to be seen in a most natural and delicate manner; the hair also is so finely done that nothing painted could possibly be better.

This picture was executed by Francesco for Messer Pietro of Arezzo, but as the Pope Clement VII. came at that time to Bologna, our artist presented it to his Holiness; yet, however the matter happened I do not know, but it afterwards fell into the hands of Messer Dionigi Gianni,^[25] and is now in the possession of Messer Bartolommeo his son, who has proved himself so obliging in respect to it, that fifty copies have been made of this most highly esteemed work.^[26] The same master painted a picture for the Nuns of Santa Margareta in Bologna, representing therein the Madonna with Santa Margareta, San Petronio, San Girolamo, and San Michele; this also is held in high estimation, as it well merits to be, seeing that in the expression of the heads, as in all other' parts, it is in every respect equal to the before-mentioned works of this master.^[27]

Francesco prepared innumerable designs also, more particularly for Girolamo del Vino and for the goldsmith and engraver Girolamo Fagiuoli, who obtained them from our artist, for the purpose of engraving them on copper, and all these works are considered to be graceful and beautiful in the highest degree. For Bonifazio Gozzodino, Francesco painted a portrait from life, as he did that of his wife, but the latter remained unfinished. He likewise sketched a picture of the Madonna, which was afterwards purchased in Bologna by the Aretine, Giorgio Vasari, who has it still in Arezzo; with many other noble and precious works in painting and sculpture, as well as ancient marbles, which he carefully preserves in his new house built by himself in that city.^[28]

When the Emperor Charles V. visited Bologna, to the end that Pope Clement VII. might perform his coronation in that city, Francesco went to see him at dinner, when, without previously drawing or making other preparation, he painted a large picture in oil of that monarch, representing him as crowned by Fame with a chaplet of laurel, while a child, in the form of a little Hercules, presents to him the globe of the world, as though he would acknowledge that sovereign to possess the dominion thereof. When this work was finished it was shown to Pope Clement, who was so greatly pleased therewith that he sent it with Francesco himself to Charles V., through the Bishop of Vasona, then Datary to the Emperor. Thereupon, his Majesty, being highly satisfied with the work, signified to the master that he was to leave it: but Francesco, being ill-advised by some faithless or injudicious friend, refused to do so, saying that it was not finished. Thus, his Majesty did not have it, nor was he remunerated for the same, as he doubtless would otherwise have been. The work afterwards fell into the hands of the Cardinal Ippolito de’ Medici, by whom it was presented to the Cardinal of Mantua, and it is now in the Guardaroba of the Duke of Mantua, with many other beautiful and noble pictures.^[29] place, and acquired much experience in art, but no increase of riches, although he had made many friends, Francesco at length returned to Parma, in compliance with the entreaties of many among his relations and acquaintance in that city. He had no sooner arrived there than he received a commission for the painting in fresco of a large vaulting in the church of Santa Maria della Steccata, but as there was an arch presenting a level surface at the commencement of this vaulting, and forming a sort of fa9ade around the whole space, Francesco determined to begin with this portion of the work, as being that which presented the least difficulty; he therefore painted six figures thereon, two coloured and four in chiaro-scuro,^[30] all of which are very beautiful. Between these figures he furthermore delineated numerous ornaments of very graceful character surrounded by rosettes in relief, which he took it into his head to execute himself in copper and with the utmost labour.

At the same time, he undertook a picture for the Cavaliere Baiardo, a gentleman of Parma, who was one of his intimate friends. This is a Cupid, occupied in preparing himself a bow: at his feet are two boys seated, the one is taking the other by an arm, and laughingly endeavours to make him touch Cupid with his finger; but he who is thus exhorted, refuses and weeps, as one who fears to be scorched by the fires of Love.^[31] This picture, the invention of which is most ingenious, the colouring most charming, and the whole distinguished by the grace of manner for which Francesco was remarkable, is now in the study of Messer Antonio Cavalca, heir to the Cavaliere Baiardo, having descended to him from the latter, together with many drawings by the same artist which the Cavaliere had collected. Of these there are many very beautiful and finely finished in every particular, also by the hand of Francesco, in many leaves of our book; more particularly one of the Decapitation^[32] of San Pietro and San Paolo, which last he published, as we have said, in copper-plates and woodengravings, while he was yet in Bologna.

For the church of Santa Maria de’ Servi, this master painted Our Lady with the Divine Child sleeping on her bosom. Beside the Virgin are Angels, one of whom bears in his arms an urn of crystal, within which there is a glittering cross, and on this the eyes of the Madonna are fixed in contemplation. Francesco was not entirely satisfied with that work, and therefore left it unfinished; it has, nevertheless, been highly commended, and is full of the grace and beauty peculiar to his manner.^[33]

Our artist meanwhile now began to neglect the frescoes of the Steccata, or at least to proceed in so dilatory a fashion, that all perceived him to have no good will to the work; and this was occasioned by the fact that he had already commenced the study of matters connected with alchemy, which caused him altogether to neglect his painting, since he believed that he should make himself rich much more rapidly by the congelation of mercury, than by his art. No longer did he now employ his hours with those exquisite inventions which he had formerly realized with his pencils and colours, but wasted all his days in the burning of coals and wood, the handling of bottles and other trumpery, varied by the distillation of his own brains in absurdities, over which he would spend much more money in a day, than he could make good in a week, by his labours at the Steccata. Having no other means of life meanwhile, and being yet compelled to live, he gradually found himself getting through the little that he had, and consuming every thing in his furnaces.^[34] Nay, what was worse, the members of the Brotherhood of the Steccata, perceiving that he had altogether neglected and laid aside the work he had engaged to accomplish for them, and having, peradventure, as is often done, paid him beforehand, brought a law-suit against him, from the consequences of which he thought it advisable to withdraw himself.^[35]

One night, therefore, Francesco, accompanied by certain of his friends, took flight to Casal Maggiore, where he contrived to get his alchemy out of his head for a time, and painted a picture for the church of San Stefano. The subject of this work is Our Lady appearing in the air, with San Giovanni Battista and San Stefano beneath her.^[36] He afterwards completed a picture (and this was the last painting executed by Francesco) representing the Roman Lucretia, a work of the most divine beauty, and one of the best that ever proceeded from his hand; but, however the thing has chanced I know not, this picture has been lost, nor is it possible to ascertain what has become of it.^[37]

There is a painting by this master now in the house of Messer Niccolo Bufalini at Citta di Castello; it represents a group of Nymphs; and in the same town is a cradle with infants, which he painted for the Signora Angiola de’ Rossi of Parma, wife of the Signor Alessandro Yitelli.^[38]

But Francesco, still having his thoughts filled with that alchemy, as happens to all those who have once given themselves to running after its phantoms; and having changed from the delicate, amiable, and elegant person that he was, to a bearded, long-haired, neglected, and almost savage, or wild man, became at length strange and melancholy, thus con stantly falling from bad to worse. In this condition he was attacked by a malignant fever, which caused him in a very few days to pass to a better life; and so it was that Fran- cesco found an end to the troubles of this world, which had never been known to him but as a place full of cares and pains. It had been his wish to receive burial in that Church of the Servite Monks which is called the Fontana, and is situate at about a mile from Casal Maggiore; he was there interred accordingly, naked, as had also been his own desire, and with a cross of cypress placed upright on his breast in the grave. It was on August 24, in the year 1540,^[39] that this master finished the course of his life, which he did greatly to the loss of our Art, seeing that his hand imparted a singular grace and beauty to all the paintings produced by him.

Francesco took great pleasure in playing on the lute, and had so much genius, with so delicate a taste for the same, that he was no less excellent in this art than in that of painting. But as respects the last, it is most certain that if he had not been capricious in his labours, and could have prevailed on himself to lay aside the follies of the alchemists, he would have been one of the most distinguished and most admirable painters of our time. Now, I will not deny, that it may be sometimes good to work only when the inspiration seizes, and when the artist feels most inclined to do so; but what I do censure is, the working very little, or perhaps not at all, and the waste of time in useless cogitations. He who deceives himself, and persists in attempting what he cannot effect, often finds that he has lost what he does know and possess, in seeking to- acquire that which he never can attain. If Francesco, who had been endowed by Nature with a most animated genius and a manner of the utmost grace and beauty, had continued the daily practice of his art, he would without doubt have made such progress, that, as we now admire the pleasing expression and grace which he imparted to his heads, so we should in that case have seen him giving evidence, in the perfection of his design, the excellence of his manner, and the beauty of the whole work, that he had far surpassed his earlier self as well as others.

• His cousin Jeronimo Mazzuoli^[40] survived liim, and closely

imitated the manner of Francesco, to his own great honour: of this we have proof in the works by his hand, to be seen at Parma; as also in those which he executed at Yiandana, whither he had fled with Francesco at the time of the war. In San Francesco, a monastery of the Bare-Footed Friars, he painted a small picture of the Annunciation, which is very beautiful, although Jeronimo was then but a youth; he also painted another on the same subject in the church of Santa Maria ne^ Borghi. For the Grey Friars or Conventual Monks of San Francesco,^[41] in Parma, Jeronimo painted the picture of the High Altar, representing thereon Giovacchino^[42] driven from the Temple, with numerous figures. In Sant’ Alessandro also, a Convent of Nuns in that city, this artist painted a picture of the Madonna in the heavens, with the Infant Christ in her arms: the Divine Child is presenting the palm to Santa Justina;^[43] there are Angels likewise drawing back a drapery, with figures of the Pope, St. Alexander, and of St. Benedict. The picture of the High Altar in the chureh of the Carmelite Monks, which is very beautiful, is by Jeronimo Mazzuoli, as is also another picture of considerable size, in the church of San Sepolcro.^[44] He painted two pictures likewise for the church of San Giovanni Evangelista, whieli belongs to a Convent of Nuns;^[45] they are both beautiful, but not equally so with the folding doors of the organ; nor can they compete with the picture of the High Altar, in which there is a most beautiful Transfiguration, executed with remarkable diligence. The same master painted perspective views, in fresco, in the Refectory of the same Nuns, with a picture in oil, representing the Last Supper of Christ with the Apostles. Jeronimo likewise painted the chapel of the High Altar in the Cathedral; this too is in fresco: and for Madama Margherita of Austria, Duchess of Parma, he painted the Prince Don Alessandro, her son; he is fully armed, and is extending his sword over the globe of the world. Before him kneels an armed figure of Parma.

In a chapel of the Steccata, at Parma, Jeronimo painted a chapel in fresco, the subject chosen being the Apostles receiving the Holy Spirit; and on an arch similar to that mentioned when speaking of his cousin Francesco, he painted six Sybils, two coloured and four in chiaro-scuro: in a recess which is opposite to that arch, Jeronimo likewise painted the Nativity of Christ, with the Adoration of the Shepherds; this was never entirely completed, but is a very fine painting. The high altar of the Carthusian monastery, which is j ust without the city of Parma, has a picture of the three Magi by the hand of this artist, there is also one in San Piero, an abbey of the Monks of St. Bernard, at Pavia; and another in the Cathedral of Mantua,^[46] which he painted for the Cardinal.^[47] This last represents the Saviour in his Transfiguration, he is surrounded by a splendour of light, and is accompanied by the Apostles, and more especially by San Giovanni, of whom he appears to say, “Sic eum volo manere^'^ &c. Around this picture are six large representations, depicting the miracles performed by San Giovanni Evangelista.

In the church of the Bare-footed Friars, and on the left of the entrance, is a large picture by the hand of Jeronimo; the subject is the Conversion of vSt. Paul, and the work is an exceedingly fine one. In the church of San Benedetto at Polirone, a place about twelve miles from Mantua, there is a picture by this master, the subject of which is Christ in the Manger. The Divine Infant is receiving the adoration of the shepherds, and is surrounded by a choir of angels. This work forms the picture of the high altar. Jeronimo likewise painted—but I do not know exactly at what time—■ an exceedingly beautiful picture of five Cupids, one of whom is sleeping, while the rest are despoiling him; one takes from him his bow, another his arrows, and a third his torch. This work is now in the possession of the Signor Ottavio, whose respect for the endowments of Jeronimo causes him to hold it in the utmost estimation. Nor has the latter degenerated from the distinction of his kinsman Francesco, whether as regards painting or worth, seeing that he is a most amiable person, courteous and obliging beyond description. He is still living,^[48] and we are therefore constantly seeing very fine works proceed from his hands.

A very intimate friend of Francesco was Messer Vincenzio Caccianimici, a nobleman of Bologna, who employed himself much with painting, and laboured to the utmost of his power to imitate the manner of Francesco. Vincenzio painted extremely well, so that the pictures which he executed for his pleasure, or for the purpose of presenting to his friends and different gentlemen, are certainly worthy of praise. There is more particularly one in oil by his hand, which is in the chapel of his family, in the church of San Petronio; it represents the Beheading of San Giovanni Battista.^[49] This well-endowed gentleman, from whose hand there are certain drawings in our book which are very beautiful, departed from the present life in the year 1542.

---

1. Or rather, Mazzola, as he is properly called by the Padre Ireneo Affo, in his life of this master, who is so well known to the whole world as Parmigiano, or Parmigianino. Lomazzo calls him Mazzolino.
2. From the baptismal registers we find that Francesco Maria Mazzola was bom on the 11th of January, 1503. —Masselli.
3. His father was Filippo Mazzola, a painter of no great repute, and called Filippo dell'erbette, because he succeeded better in depicting flowers and vegetable products than figures.—Ibid.
4. These were Michele and Piero Ilario Mazzola, by the last of whom, who Ls called by some authors the father of our artist, there is a picture, according to Lanzi, in the sacrisfry of Santa Lucia in Parma. See Hist. ut supra, School of Parma, epoch 1, vol. ii., p. 373.
5. Pungileoni, Vita di Correggio, may be consulted for the question as to whether Correggio were among the masters of Parmigiano, See tom. ii., p. 258, and tom. iii., p. 50. See also Malvasia, Felsina Pittrice. Francesco Marmitta, who was much esteemed, according to Förster, as a worker in stone, was one of the number, an assertion which is confirmed by certain Italian writers.
6. The Barefooted Friars.
7. This work now adorns the valuable collection of the noble family of San Vitale of Parma.— Masselli.
8. Girolamo was the son of Michele, and also became an able painter.
9. This picture is in the Ducal Palace in Parma; it was engraved by Bonasone, the contemporary of our artist, and will also be found in the Fiore della Ducale Galleria da Parmense, Parma, 1826.
10. Whose life follows.
11. Mentioned further in the life of Sammichele, which follows.
12. This portrait is now in the possession of the Emperor of Austria, and is in the Gallery of the Belvedere at Vienna.
13. There is a picture of the Madonna with the Divine Child and St. John, by Parmigiano, in the Tribune of the Uffizj, with two portraits of himself.
14. A large picture of a Holy Family by Parmigiano is now in the possession of the Baring family at Stratton.
15. This portrait is believed to be that now in Windsor Castle.
16. This expression alludes to the fact that St. Jerome is sometimes represented in the robes of his rank as a Cardinal, and sometimes in his condition of asceticism, or when doing penance, as he is here depicted.
17. The picture here alluded to is the Vision of St. Jerome, now, as our readers are aware, in the National Gallery; it was engraved by Giulio Bonasone, the contemporary of Parmigiano. A highly finished sketch of this work, by some thought to be a diminished copy, made by the master himself, is in the Grosvenor Gallery.
18. Many copies of this work are still at Città di Castello.
19. The martyrdom of these saints rather, since the first was not beheaded. —Masselli.
20. Antonio da Trento did not work in copper, but in wood. —Bottari.
21. For the legend of this saint, and for this incident in particular, see Mrs. Jameson, Poetry of Sacred and Legendary Art, vol. ii. p. 35.
22. This work is still in the chapel as above-named. Ludovico Caracci made a copy of it of the size of the original, and it was engraved on copper by Bricci. —Masselli.
23. No information can now be obtained respecting these works.—Förster.
24. A rich collection of drawings by Parmigiano is in the possession of her Majesty.
25. Dionisio Zani, that is to say.
26. This is the celebrated Madonna della Rosa, now in the Dresden Gallery. It was purchased by Augustus III., King of Poland, who is said to have paid six thousand sequins for the same. Engraved by Domenico Tebaldi, the master of Agostino Caracci.
27. Now in the Gallery of Bologna, and one of those sent to Paris in 1796. It was engraved by Bonasone, and has been twice engraved by Rosaspina.
28. "Let it be here remarked, once for all,” observes Bottari, "that of the paintings, sculptures, drawings, and antiquities mentioned in this life by Vasari, as collected in his own house, no certain knowledge can now be obtained, all having been dispersed.”—Roman Edition of Vasari, 1759.
29. The present locality and condition of this work are now unknown.
30. The figure of Moses, one of those in chiaro-scuro, is particularly admired; the remaining five figures are three of the Sybils, with Adam and Eve. This work has been engraved by Fontana.
31. This admired work, considered the best easel picture of Parmigiano, is now in the Bridgewater Gallery. The copies and engravings executed from it have made it extensively known.
32. The martyrdom of those saints namely.
33. This is the work known as the Madonna del collo lungo, (the longnecked Madonna.) It is now in the Pitti Palace. There is a study from the heads of the Angels, which are surprisingly beautiful, in the Barberini Palace in Rome; and the work has been engraved, but not in a very satisfactory manner, by P. Lorenzini. A copy now replaces the original work in Servite Church in Parma.
34. Dolce, Dialogo della Pittura, denies, as do some other writers, that Parmigiano ruined himself by these absurd dreams; but it is to be remarked that Vasari said little of this matter in his first edition, and would appear to have received the further intelligence, given in his second and much amended edition, in Parma, and from the cousin of Parmigiano, Girolamo Mazzola. Della Valle suggests that the furnaces required for the copper rosettes of the Steccata may have given strength to the rumours of Parmigiano’s devotion to alchemy.
35. Lanzi, citing Affò, relates that Parmigiano was imprisoned for this breach of contract at the suit of the Brotherhood.
36. Engraved by Zannetti.— Bottari.
37. A Lucretia by Parmigiano was engraved by Enea Vico, but diffeis from that cited by Bottari, as then in the Royal palace at Naples.—Ed. Flor., 1832-8.
38. The fate of these works is not known. See the Kunstblalt for 1820, No. 27. See also Ratti, Notizie del Correggio, p. 354, et seq.
39. In the first edition we have the following passage: “Many praises were composed in his honour; of these the verses beneath may serve as a specimen:
    Cedunt pictores tibi quot sunt, qnoique fiierunt;
     Et quot post etiam saecula multa ferent.
    Principium facile est laudum reperire tuarum
     Illis sed finem quis reperire queat?”
    
    
40. “Not known beyond Parma,” remarks Lanzi, “but well deserves to be so.”
41. Bottari tells us that in his day the picture by Parmigiano, which was in that church, was a Marriage of St. Catherine.
42. Joachim, the father of the Virgin.
43. For the legend of this saint, see Poetry of Sacred and Legendary Art, vol.ii. p. 294.
44. This work represents the Holy Family with Angels.
45. “This church belongs to Monks, not to Nuns,” corrects Bottari.
46. This work is no longer in the cathedral of Mantua. — Förster.
47. Cardinal Gonzaga.
48. In 1568 namely, but in a MS. of 1573 Jeronimo is spoken of as dead. Masselli.
49. This picture is considered by many writers to be the work of Francesco himself, and not that of Vincenzio.—Ed. Flor., 1832-8.