Lives of the Most Excellent Painters, Sculptors, and Architects/Francesco Primaticcio

by Giorgio Vasari

 

DESCRIPTION OF THE WORKS^[1] OF FRANCESCO PRIMATICCIO, PAINTER AND ARCHITECT OF BOLOGNA.

[born 1490—died 1570.]

Having hitherto treated of such of our artists as are no longer in life among us, from 1200 that is to say, down to the current year 1567, and having, for many reasons, placed at the last Michelagnolo Buonarroti, although two or three have died since his departure, I have now considered that it cannot be other than useful to make mention of many noble artists still living, but well meriting to be enumerated among those already recorded. And this I do the more willingly, because all are my friends and brethren, while the three principal are so far advanced in years that few more labours can now be hoped for from their hands, although custom induces them still to continue working. After these I will also briefly name those who, under their discipline, have attained the first places among the artists of the present day; with a few others, who are proceeding to the acquirement of perfection in their art.

I begin with Franceseo Primaticcio, proposing to speak afterwards of Tiziano Vecellio, and Jacopo Sansovino. Francesco was born in Bologna, of the noble family of the Primaticci, which is much celebrated by Fra Leonardo Alberti, and by Pontano. In his first youth he was destined to commerce, but this vocation did not please him: being of elevated mind and spirit he began to practise design, to which he was much inclined by nature, nor did any long time elapse before he gave many proofs, sometimes in drawing, and sometimes in painting, of the ability which finally raised him to distinction. Proceeding afterwards to Mantua, where Giulio Romano was then working for Duke Federigo, at the Palace of the T, Francesco found means to gain a place among the many other young men who were labouring with Giulio at that undertaking.

Here, devoting himself with infinite diligence to the studies of his art, during six years; Francesco learned to work admirably in stucco, as well as to handle the colours; wherefore, among all the young men who then laboured in the palace, Francesco was considered one of the best. Nay, his design and colouring were thought the best of all, and the proof that they were so may be seen in a large apartment, for which he executed a double range of ornaments, comprising a vast number of figures in stucco, which represent the ancient Roman soldiery. He executed many of the paintings also, which are still to be seen in that palace, after the designs of Giulio. These things caused Francesco to be much favoured by the Duke, and when King Francis of France, having heard of the decorations with which he was adorning his palace,^[2] wrote, requesting that a young man who understood painting and stucco-work might be sent him, the Duke despatched Francesco, who repaired to France accordingly in the year 1531. Twelve months earlier, the Florentine painter, Rosso, had entered the service of the French king, as we have said, and had executed many labours for that Monarch, more especially the pictures of Bacchus and Venus, and Cupid and Psyche; yet the first stucco work executed in France, and the first frescoes of any account, are said to have been commenced by Primaticcio, who decorated many apartments in that manner, with Halls and Loggie also, for the French Monarch.

King Francis, being much pleased with the conduct and proceedings of our artist, sent him, in the year 1540, to Rome,^[3] there to attempt the purchase of some antiques in marble, and herein Primaticcio served the King so diligently that what with heads, trunks, and entire figures, he bought in no long time one hundred and twenty-five pieces. At the same period Francesco caused Barozzi da Vignola and others to copy the Bronze Horse of the Capitol; the greater part of the rilievi on the Column,^[4] the Statue of Commodus, the Venus, the Laocoon, the Tiber, the Nile, and the Statue of Cleopatra, which are in the Belvedere, and all which were afterwards to be cast in bronze.

Meanwhile, II Rosso having died in France, and a long gallery, which had been commenced after his designs, and adorned with paintings and stucco-work, remaining unfinished, Primaticcio was recalled to Paris; wherefore, having embarked with the marbles above-mentioned and his casts from the antique, he returned accordingly. But before attending to any other occupation, Primaticcio caused the greater part of those antiques to be cast, when all succeeded so well that they might be taken for veritable works of anti quity, as may still be seen in the Queen’s garden at Fontainebleau, where they were placed, to the great satisfaction of King Francis, who may be said to have there made another Rome. And here I must not omit to mention that Francesco had masters in casting of such excellence, as to have his works brought to a degree of perfection which rendered polishing almost needless.

These castings completed, Primaticcio undertook the gallery left unfinished by Rossi, which he decorated in a short time with paintings and stuccoes in greater number than had ever before been executed for any one place.^[5] The King, therefore, perceiving that he had been well served during the eight years that Primaticcio had been with him, appointed the painter to be one of his chamberlains; and shortly after, in 1544 that is to say, his Majesty made him Abbot of San Martino. Yet Francesco has not ceased to labour in painting and stucco for his sovereign, nor for King Francis only, but for the other monarchs who have since governed France. In this he has had many assistants, Bolognese and others; Griambattista, the son of Bartolommeo Bagnacavallo for example, who, in the many works which he has executed for Primaticcio, has proved himself no less able than was his father.

Ruggieri of Bologna,^[6] has also been for some time with Primaticcio, and is said to be still in his service, as was Prospero Fontana,^[7] whom Francesco invited to leave Bologna for that purpose, but he fell sick shortly after his arrival, and was compelled to return home. These ärtists are truly able men; and I, who have not unfrequently employed them both, Bagnacavallo at Rome, and Fontana at Rimini and Florence, can safely affirm them to be so. But among all those who have served the Abbot Primaticcio, none have done him more honour than Niccolò da Modena, of whom we have made mention before;^[8] he has indeed surpassed all others, having decorated a hall called the Ball-room entirely with his own hand, after the designs of the Abbot. The figures are as large as life, and so numerous that they can hardly be counted; they are painted in a light and graceful manner, the colouring exhibiting so much harmony that they might be taken for oil-paintings. Niccolò has also painted sixty pictures in the G-reat Gallery, all after the designs of the Abbot, the subjects taken from the Life of Ulysses; but the colouring of these works is much darker than that of the Ball-room, and this comes perhaps from the fact that he has here used no other colouring than earths, which he has taken pure as they are presented by Nature, scarcely mingling any white with them; he has charged the darker parts with shadow to such an extent that the figures have much force and relief, and they are painted with so much harmony that one might suppose them all done in one day: for this the artist merits high praise, as he does for having executed all a fresco, without ever touching them a secco, as so many now do.

The ceiling of this Gallery is also decorated with stuccowork and paintings by these and other young artists, but all after the designs of the Abbot, as is likewise the old Hall with a lower gallery which is over the Pond. This last is adorned with works of greater merit than any other apartment of the place, but to describe them fully would lead me too far. At Meudon, and in a vast Palace called the Grotto, belonging to the Cardinal of Lorraine, the Abbot Primaticcio has executed many decorations; the building is of such immense extent, it has so large a number of apartments, such extensive Loggie and so many stair-cases, public and private, that it resembles those edifices of the ancients which they called Thermes; but without descending to particulars, there is one apartment called the Pavilion, which is indeed most beautiful; among the decorations are rich cornices replete with fine figures, and the foreshortenings exhibited in this work are very fine.^[9] Fountains decorated with figures in stucco, ornaments in shell-work, and other marine productions, contribute to the beauty of the place, the vaulting being likewise beautifully adorned with stuccoes by Domenico del Barbiere, a Florentine painter, who has given much proof of ability, not in these reliefs only, but in design and colouring also. Another of our countrymen, called Ponzio,^[10] a sculptor, has likewise produced figures in relief for this palace, and has acquitted himself very creditably.

But the works here executed are so numerous that I must restrict myself to the mention of the principal ones produced by the Abbot, with the intent that I may show the distinction to which he has attained in design, in painting, and in architecture.^[11] Not that I would refuse the labour of describing them all, had I the minute information respecting them which I have of works executed here. The excellence of Primaticcio in design is made manifest by a drawing, now in my book, which he has sent me, and which I greatly value for his sake as well as for the perfection of the work.

King Prancis 1. being dead, the Abbot remained with King Henry, whom he served while he lived, and on his death was, by Prancis II., made Commissioner-general of all the public buildings in Prance; a most honourable office, formerly exercised by Monsignore de Villeroi. Since the death of Prancis II., Primaticcio, retaining the same office, has served the present King; by whose order, and that of the Queen-mother, he has commenced the Tomb of the abovenamed King Henry. This is to be constructed in the centre of a chapel having six sides, on four of which are to be the tombs of his four sons; the fifth side being occupied by the altar, and the sixth by the door. Many fine bronzes and statues in marble are to enrich this work, which will doubtless prove to be worthy of so great a King, as well as of so excellent an artist as is the Abbot of San Martino. In his best years, Primaticcio displayed the utmost ability and universality in all things appertaining to our arts; and in the service of his royal masters, he has laboured not only for their buildings, paintings, and stucco-works, but also in the preparations for their various festivities and solemnities, wherein he has shown much ingenuity and power of invention.

He has ever been most liberal and affectionate towards his friends and relations, as well as towards the artists who have served him. In Bologna, more particularly, he has conferred many benefits, and has bought houses of much convenience and beauty for his kindred; witness that now inhabited by Messer Antonio Ancelmi, who married the niece of Primaticcio; another niece, sister of the first mentioned, has also been honourably married by him, and with a good dowry. His life has ever been that of a gentleman rather than a painter; but he is always most friendly to those of our vocation, as I have said: when he sent for Prospero Fontana, for example, he took care to forward a good sum of money for his journey to Prance; but this, Pontana having fallen sick, could not return by his labours or otherwise; wherefore, when I passed through Bologna in 1563,1 spoke to the Abbot on that subject for Prospero; and Primaticcio was so kind that, before I left the city, I saw a writing from his hand, whereby he freely presented to Fontana the whole sum in question. These things have caused him to be much beloved among the artists, who speak of and honour him as a father.

But to say something more of Fontana. This artist was employed in Rome, to his great credit, by Pope Julius III.; first at the Palace of the Vigna Julia, and next at that of the Campo Marzio, which was then in the possession of the Signor Balduino Monti,^[12] but is now in that of the Signor Cardinal, Ernando de’ Medici, son of the Duke Cosimo. In Bologna he has produced many works in oil and fresco, more particularly in the Church of the Madonna del Baracane, where there is a picture in oil by his hand of St. Catherine disputing with the philosophers and doctors in the presence of the tyrant, which is considered an exceedingly beautiful work.^[13] Fontana has likewise executed several pictures in fresco in the principal chapel of the Palace, inhabited by the Grovernor.

The excellent painter, Lorenzo Sabatini, has also been much befriended by Primaticcio, who, knowing the excellence of his manner, and the great facility of which his many works in Bologna present full proof, would have taken him to France, had he not been burdened with so large a family, but he has a wife and several children. In the year 1566 Vasari availed himself of Lorenzo’s services for the preparations made in Florence at the marriage of the Prince with the Queen Joanna of Austria, employing him to execute six figures in fresco between the Great Hall and the Hall of the Dugento; beautiful figures they are, and truly worthy of praise. But since this able painter is still making progress I will say no more, except that the studies in which he is known to pass his time give promise of much future excellence.^[14]

And now, speaking of the Abbot and of other Bolognese artists, I will take the opportunity of mentioning Pellegrino,^[15] a painter of admirable genius, and one who gives the highest hopes. In his first years he studied the works of Vasari in the Refectory of San Michele-in-Bosco at Bologna, with those of other masters in good repute; and in the year 1547 he proceeded to Home, where he laboured until 1550, in the designing and copying of the most notable works to be found there. At this time and afterwards, he was employed in the works then in course of execution by Perino del Vaga at the Castel Sant’ Angelo: he also painted a Battle-piece in fresco on the ceiling of the Chapel of St. Denis in the Church of St. Louis of the French; and herein he acquitted himself so much to his credit, that, although Girolamo Sicciolante of Sermoneta had executed many works in that chapel, yet those by Pellegrino were by no means inferior'; nay, many considered him to have surpassed that artist in the design and colouring of his pictures, whether in boldness or grace. These works afterwards caused Pellegrino to be employed by Monsignore Poggio, who, having built a palace on the Esquiline Hill,^[16] where he had a Vigna outside the Porta del Popolo, desired that Pellegrino should paint certain figures on the front, and should also decorate a Loggia on the side of the Tiber; this he painted accordingly with much care; and it is considered a beautiful and graceful production.

In the court of a house belonging to Francesco Formento, which is situate between the Strada del Pellegrino and the Parione, this artist painted a Façade and two figures besides. In the Belvedere he painted a large Escutcheon of Arms with two figures, by order of the stewards of Pope Julius III.; and at the church of Sant’ Andrea, outside the Porta del Popolo, which that Pontiff had erected, he painted figures of San Pietro and Sant’ Andrea, both which were much commended. The design for the San Pietro we have now in our book, with other drawings carefully executed by the same artist. Being subsequently despatched to Bologna by Monsignore Poggio, Pellegrino painted numerous stories in fresco at a Palace^[17] which that prelate possessed there; among these there is a very beautiful one, wherein the artist surpassed himself, whether as to the composition, the excellence of the figures, or the beauty of the draperies, insomuch that he has not since produced anything superior to this.

At the Church of San Jacopo in the same city, Pellegrino commenced a chapel for the same Cardinal Poggio; but this was afterwards finished by Prospero Fontana. Being subsequently taken by the Cardinal of Augusta to the Madonna di Loretta,^[18] Pellegrino there adorned a Chapel for that prelate with the most beautiful paintings and stucco-work. In the ceiling, within rich compartments, is the Birth of Christ, and his Presentation in the Temple; the centre of the vaulting has the Transfiguration, with Moses, Elias, and the Disciples. On the altar-piece is the Baptism of Our Saviour by St. John; and here the artist has painted the Portrait of the above-mentioned Cardinal in a kneeling position. The side walls exhibit San Giovanni Preaching to the People on the one, and the Beheading of that Saint on the other. Pellegrino also depicted the Last Judgment in another part of this Church, with certain figures in chiaro-scuro, in the place where the Theatines now have their Confessional.

Being subsequently invited to Ancona^[19] by Giorgio Morato, he there painted a large picture in oil, of Our Saviour Baptized by St. John, for the Church of Sant’ Agostino: on one side of this picture are St. Paul and other Saints, while on the Predella there are numerous small figures, which are very graceful. For the same Giorgio Morato, Pellegrino executed a beautiful framework of stucco around the picture of the High Altar, in the Church of San Ciriaco on the Hill, with a figure of Christ in full relief, which was greatly extolled. This artist has executed a grand and beautiful frame-work for the High Altar of San Domenico at Ancona, and was also to have painted the picture for the same; but he having fallen into disaccord with the Signore, who was causing the work to be done, it was given to Tiziano Yecellio instead, as will be related in due time. At a later period, Pellegrino undertook the Loggia of the Merchants of Ancona, a building of which one side turns towards the sea and the other towards the principal street. The vaulting, which is entirely new, he has adorned with paintings and large figures in stucco: he has given his best attention to the work, which has accordingly proved to be a very beautiful and graceful performance: to say nothing of the many fine figures, there are foreshortenings among certain of the nude forms which are most admirable, and it is manifest that he has very carefully imitated the works of Michelagnolo in the Chapel at Rome. Now there are no architects or engineers of any great account in those parts, and finding none who know better than he does, Pellegrino has taken it upon himself to work in architecture, and to direct the fortifications of certain places in that province: perceiving that painting is more ditfi-' cult and perhaps less profitable than architecture, he has partly abandoned the first to take charge of the defences at Ancona, as well as other towns in the States of the Church, but more especially at Ravenna. Pellegrino has lately commenced a Palace at Pavia for the Cardinal Borromeo, and this building is to be used for the High School; but not having totally ceased to paint, he is now occupied with a story in fresco for the monks of Monte Oliveto. Of this story, which is in the Refectory of San Giorgio, Pellegrino showed me the design not long since: it is a very fine one, and the work will, without doubt, be very beautiful. But since this artist is not more than thirty-five years old, and is still making progress, this that I have said of him shall suffice for the present.^[20] I will be very brief in speaking of Orazio Fumaccini,^[21] also a Bolognese painter. Over one of the doors of the Hall of Kings in Rome he painted a Story, as we have said,^[22] which is an extremely good one, and in Bologna he has produced several paintings of merit. Although still very young he conducts himself in such a manner that there is every hope of his proving equal to those of his compatriots who have gone before him, and of whom we have made mention in these our Lives.

The people of Romagna likewise, moved by the example of their neighbours, the Bolognese, have produced many noble works in our Arts; for to say nothing of Jacopone da Faenza, who painted the Apsis of San Vitale in Ravenna, as we have related, there have been and are many besides of great excellence. Maestro Luca de’ Longhi, of Ravenna, a man of studious habits and quiet reserved character, has painted many beautiful pictures in oil, with numerous portraits from the life, in his native city and its neighbourhood. Among other productions by Longhi, are two sufficiently graceful little pictures, which the reverend Don Antonio da Pisa, then Abbot of the Monastery, caused him to paint, no long time since, for the monks of Classi, many other works have also been executed by this painter. It is certain that Luca Longhi, being studious, diligent, and of admirable judgment as he is, would have become an excellent master had he not always confined himself to Eavenna, where he still remains with his family: his works are accomplished with much patience and study; and of this I can bear testimony, since I know the progress which he made during the time of my stay in Ravenna, both in the practice and comprehension of Art. Nor will I omit to mention that a daughter of his, called Barbara, still but a little child, draws very well, and has begun to paint also in a very good manner and with much grace.

Livio Agresti of Forlìi, was at one time the rival of Luca, but after he had painted certain Stories in fresco in the Church of the Spirito Santo, and executed some few other works, he left Ravenna and repaired to Rome. Here he studied design with great zeal and acquired considerable facility, as may be seen in certain fa9ades, and other works in fresco, executed by Livio at that time. The first works painted by this artist at Narni are also tolerably good ones; and in the Church of the Spirito he has produced frescoes and Stories in one of the Chapels, which are executed with much care and patience, wherefore they are justly praised by every one. This last work procured Livio, as is said, the commission for painting one of those smaller stories, which are over the doors in the Hall of Kings in the Palace of the Vatican; and here he acquitted himself in such sort that his work may bear comparison with any to be seen there. The same artist painted seven pictures on cloth of silver, to serve as hangings for a chamber for the Cardinal of Augusta, by whom they were sent to Spain as a present for King Philip, and in that country they are considered very beautiful.

Another picture on cloth of silver was painted by Agresti for the Church of the Chietini^[23] in Forli, where it now is. At length, having acquired good and bold design, become a practised colourist and obtained much power in composition, as well as a fine and varied manner, he was invited by the above-named Cardinal to Augsburg, where he continues to execute works of great merit.

Highly distinguished in many respects among the artists of Romagna is Marco da Faenza (for so, and no otherwise, is he called),^[24] who has indeed extraordinary facility in fresco; bold, resolute, and powerful, he excels most of our young artists, especially in grottesche, not having an equal in the present day, or any one who can approach the perfection of his works in that kind. The labours of this artist may be found in all parts of Rome, and the greater portion of the ornaments in at least twenty rooms of the Ducal Palace in Plorence are by this artist, with the decorations of the ceiling in the Great Hall, painted by Giorgio Vasari, as will be related in the proper place. The ornaments prepared in the Great Court for the coming of the Queen Joanna, and executed in a very short time were also for the most part by his hand. And this shall suffice me to have said of Marco, since he is still living, is making admirable progress, and in the best of his activity.

At Parma, and in the service of the Duke Ottaviano Farnese, there is now a painter called Miruolo, also, as I believe, of Romagna,^[25] who, besides works executed in Rome, has painted many stories in fresco, at a small palace which the above-mentioned Signor Duke has erected within the fortifications of Parma, and where there are some Fountains constructed in a graceful manner by Giovanni Boscoli, a sculptor of Montepulciano. This Giovanni, after having worked in stucco for many years with Vasari in the Palace of Duke Cosimo at Florence, has ultimately settled at Parma in the service of the Signor Duke, who has given him a handsome stipend. Here this artist is still producing works of great beauty, and worthy of his admirable genius. In these same cities and districts there are many other good and noble artists, but since they are young, we will defer to a more convenient season the honourable mention which their works shall have merited.

And this shall be the end of the works of the Abbot Primaticcio, but I will add that, he having made a Portrait with the pen, of the Bolognese Painter Passerotto, his intimate friend, which Portrait has come into our hands, we have placed it in our Book of Designs from the hands of eminent painters.

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1. Primaticcio and the artists following him being still alive when Vasari wrote, he does not say their Lives,” but “Description of their Works.”
2. For details respecting these works, the reader is referred to Cadioli, Descrizione delle pitture e sculture di guesta città di Mantova, 1763. See also Bottari, Descrizione Storica. The Dissertazione sulle lettere ed arti Mantovane of Bettinelli, may likewise be consulted with advantage.
3. Malvasia accuses Rosso of having caused Primaticcio to be sent to Rome, that he might rid himself of a rival. Benvenuto Cellini, on the contrary, declares that Primaticcio had put the wish to possess antiques into the king’s head, in the hope of thereby depreciating his (Benvenuto’s) works.”
4. The Column of Trajan that is.
5. For details respecting these works, see Caima, Lettere d'un vago Italiano, vol. iv. See also the Tresors des Marveilles de la maison royale de Fontainebleau, Paris, 1642.
6. The reader may consult Masini, Bologna Perlustrata.
7. See Malvasia, Viti, vol. i. p. 215, et seq.
8. In the fourth volume of the present work, p. 515, et seq. See also Zanotti, ut supra.
9. This Palace, our author’s description of which Bottari calls “somewhat exaggerated,” was destroyed for the purpose of making a Fort on the site.
10. This is the Maitre Ponce of the French writers.
11. The reader, who shall desire minute details, may consult Waagen, Kunstwerke und Künstler in Frankreich, See also the Kunstblatt for 1836.
12. Pope Julius III. was a Monti.
13. This picture is still in the Church.
14. For the Life of this artist see Malvasia, Felsina Pittrice. The six figures of the vestibule still remain, but are much injured by the dust which covers them.
15. Pelligrino Tibaldi, already mentioned in vol. iv. of the present work.
16. The Pincian, and not the Esquiline Hill.
17. This is now the Palace of the University.
18. The Cardinal of Augusta (Augsburg) was Otto Truchses of Waldburg.
19. See Ricci, Memorie Storiche delle Arti, &c., della Marca d'Ancona. Macerata, 1834.
20. Pellegrino was subsequently invited to Madrid by Philip II., and designed the Escurial. For details respecting him, our readers may consult Ximenes, Descripcion de L'Escorial, and Ponz., Viage de España.
21. Samacchini, or Sommacchini, as Vasari calls him, in the Life of Taddeo Zucchero. See Malvasia, ut supra.
22. In the Life of Taddeo Zucchero; see ante, p. 196.
23. The Theatines.
24. His family name was Marchetti. — Ed. Flor., 1832-8.
25. This artist was a Bolognese. See Masini, Bologna Perlustrata.