Lives of the Most Excellent Painters, Sculptors, and Architects/Gentile de Fabriano and Vittore Pisanello

by Giorgio Vasari

 

GENTILE DA FABRIANO,

[born about 1370—died about 1450.]

AND VITTORE PISANELLO OF VERONA, PAINTERS.

[born......... —died 1451.]

A very great advantage is possessed by the man who, after the death of some distinguished person, advanced to fame' and honour by the exercise of rare gifts and abilities, shall follow in the path thus prepared for him; for he has but to pursue the trace of the master in some slight degree, by doing which he almost always attains to an honourable position; while, if he had attempted to obtain that eminence by his own unassisted efforts, a much longer time and more laborious pains would, or might have been required to ensure success. The truth of this remark is fully exemplified in the case of Pisano, or Pisanello, a painter of Verona, who, having studied in Florence with Andrea dal Castagno, during many years, and having completed the works of that master, after his death, acquired so much reputation by means of Andrea’s name, that Pope Martin V., coming to Florence, took the Veronese artist with him to Kome.* There he caused Pisano to paint certain stories in fresco in San Giovanni Laterano; these are exceedingly pleasing and beautiful, from the circumstance of his having used a sort of ultra-marine blue, given to him by the Pope, in the richest abundance, and which is of a colour so full, so deep, and of so exquisite a tint, that none has ever been found to equal it. In competition with Vittore Pisano, Gentile da Fabriano likewise painted certain other stories beneath those abovementioned. and of these Platina makes mention in his Life of Pope Martin. He relates that the pontiff caused the flooring, ceiling, and roof of San Giovanni Laterano to be restored, which being done, Gentile da Fabriano then executed various paintings therein; among the rest, certain figures of Prophets in chiaro-scuro; they are between the windows, and are considered to be the best pictures in the whole work.f Gentile da Fabriano executed numerous

• Here, as indeed in the greater part of this life, there appears to be a

singular confusion of dates. Pope Martin having died in 1431, when Andrea dal Castagno himself was but a youth. Pisano and Fabriano also must both have died before Andrea Castagno; the whole series of dates in this life is indeed more than usiially inaccurate: for their rectification, and for various details respecting the two artists, the reader is referred to Matfei, Verona IllvMrata, and to Ricci, Memorie Storiche delle Arti e degli Artisti della Marcadi Ancona. Macerata, 1834. t Facius, De Viris Illustribus, affirms that Pisanello finished the stories of San Giovanni Batista, left incomplete by Gentile da Fabriano, but which were afterwards as Pisanello himself informed him, almost effaced by the humidity of the wall. No vestige of the work now remains. works in the March,^[1] more particularly in Agobbio, where some of them are still to be seen. He worked in like manner throughout the whole state of Urbino. In the church of San Giovanni at Siena, this artist also laboured, and in the sacristy of the church of Santa Trinità, in Florence, he painted a picture representing the story of the Magi, in which he placed his own portrait.^[2] In the church of San Niccolo, situated at the gate of Miniato, Gentile da Fabriano painted the picture for the high altar, a work which appears to me much superior to any other that I have seen from his hand. For, to say nothing of the Virgin surrounded by numerous Saints, which are all extremely well done, the predella of this picture, covered with stories from the life of San Niccolo, in small figures, could not possibly be more beautiful nor more perfectly executed than it is.^[3] In the church of Santa Maria Nuova, in Rome, within a small arch above the tomb of the Florentine Archbishop of Piso, Cardinal Adimari, this master painted Our Lady with the Child in her arms,* she has St. Benedict on one side, and St. Joseph on the other. This tomb is beside that of Pope Gregory IX., and the painting here alluded to was held in high estimation by the divine Michel Angelo, who, speaking of Gentile, was wont to say, that his hand in painting resembled his name.^[4] In Perugia, this master painted a picture, which is a very beautiful one, for the church of San Domenico, and a Crucifix, which, after having painted, he cut from the wood, in Sant’ Agostino di Bari; with three very beautiful figures in half-length, which are over the entrance to the choir.^[5]

But to return to Vittore Pisano, the short notice of him which we have given above was written by us without further addition, when this our book was printed for the first time, because we had not then been furnished with those details respecting this excellent master, nor obtained that knowledge of his works which we have since procured. But from notices supplied by the very reverend and most learned Father, Fra Marco de’Medici, of Verona, of the Order of Friars-Preachers, as well as from what is related by Biondo da Forli, where he speaks of Verona, in his Italia Illustrata, we learn that Vittore Pisano was fully equal to any of the painters of his time, and of this we have ample proof in the works which, in addition to those enumerated above, may still be seen in his native place, the most noble city of Verona; although many of them are in part destroyed by time. Pisano took especial pleasure in the delineation of animals, and in the chapel of the Pellegrini family, which is in the church of Sant’ Anastasia, at Verona, he depicted a figure of Sant’ Eustachio, who is caressing a dog, spotted, dun-colour and white, which, with its feet raised and supported against the leg of the saint, turns its head backward, as if it had heard some noise, and this it does with so much animation, that a living dog could not do it better. Beneath this figure of Sant’ Eustachio is the name of Pisano, who was accustomed to call himself sometimes Pisano, and sometimes Pisanello, as may be seen on the pictures and medals by his hand. After having completed the picture of Sant’ Eustachio, which is among the best ever executed by this master, and is, indeed, most beautiful, Vittore painted the whole external front of the chapel, and on the inner side he depicted a St. George, in white, or rather silver armour, a costume adopted for that saint in those times, not by him only, but by all other painters. In this work, St. George, having slain the dragon, is replacing his sword in the scabbard, he raises his right hand, which holds the sword, the point whereof is already in the scabbard, and lowering the left, that the increased distance may facilitate the descent of the weapon, which is a long one, he does this with so much grace, and in so life-like a manner, that nothing better could be seen. The Veronese, Michele Sanmichele, architect to the Most Illustrious Signoria of Venice, and a person most deeply versed in these noble arts, was often seen to contemplate the works of Vittore with admiration, and would then say, that few better things were to be found than the Sant’ Eustachio, the Dog, and the St. George above described. In the arch over this same chapel, is further depicted the figure of St. George, after he has killed the dragon, and is rescuing the king’s daughter, who stands near the saint, and is clothed in long vestments, according to the custom of that time. The St. George, in this portion of the work, is again worthy of the utmost admiration; he is armed as above described, and, standing with his face and person turned towards the surrounding spectators, is in the act of mounting his horse: one foot is in the stirrup, the left hand is on the saddle, and one almost sees the movement of the saint as he rises to his seat. The animal itself, admirably foreshortened, is standing with the crupper to the people, and, though in a very small space, is wholly seen, and is extremely beautiful. In a word, the entire work, executed as it is with correct design, extraordinary grace, and remarkable judgment, can never be contemplated without admiration, or rather without astonishment, so excellent is it in all its parts.^[6]

In San Fermo Maggiore, at Verona, a church belonging to the Grey Friars of St. Francis, on the left hand as you enter by the principal door, there is a picture of the Annunciation, by Vittore Pisano; it forms the decoration of a Sepulchral Monument, erected in the chapel of the Brenzoni family,^[7] and which represents the Resurrection of the Saviour, in sculpture, very finely executed for those times. In this work the figures of the Virgin and the Angel have the parts in relief, heightened with gold, as was customary at that period, and are both very beautiful, as are also certain buildings in the same picture, wbich are extremely well drawn; there are, besides, many small animals and birds in various parts of the work, all of which are as natural and as animated as it is possible to imagine.^[8]

The same master executed numerous castings of medallions, containing portraits of princes and other personages of his time. From these medallions, many likenesses in painting have since been made. And Monsignore Giovio, in a letter written in the vulgar tongue, which he sent to the Lord Duke Cosimo, and which may be read, printed with many others, has these words, when speaking of Vittore Pisano:—

“This master was exceedingly clever in the execution of basso-rilievo, a work esteemed most difficult by artists, because it holds the mean between the level surface of pictures and the full roundness of statues. There are many highly esteemed medals of great princes by his hand, they are in a large form, and of the same proportions with that reverse of the caparisoned and, barbed horse which Guidi has sent me. Among the works of this kind in my possession, is a portrait of the great King Alfonso, wearing no other head-dress than his hair; and on the reverse is the helmet of a general. I have besides, a medal with the portrait of Pope Martin, and bearing the arms of the house of Colonna on the reverse, with that of Sultan Mahomet, who took Constantinople, an equestrian figure; in a Turkish habit; holding a scourge in his hand^ Of Sigismundo Malatesta, likewise, I have the portrait, with that of Madonna Isotta, of Rimini, on the reverse; and one of Niccolo Piccinino, wearing an oblong barrett or cap on the head; with the reverse sent me by Guidi, and which I return. In addition to these, I have also a very beautiful medal of John Paleologus, Emperor of Constantinople, ivith that strange looking head-dress, after the Greekish manner, which the Emperors used to wear.^[9] This last was made by the same Pisano in Plorence, at the time of the council held hy Pope Eugenius, whereat the aforesaid emperor was present; the reverse of this bears the Cross of Christ, sustained by two hands, that of the Latin church, namely, and that of the Greeck.”^[10]

So far Giovio. Vittore Pisano likewise executed the portraits, also on medals, of Filippo de’ Medici, Archbishop of Pisa, Braccio da Montone, Giovan Galleozzo Visconti, Carlo Malatesta, Lord of Rimini, Giovanni Caracciolo, grand Seneschal of Naples, with those of Borso and Ercole D’Este, and of many other nobles and personages, renowned in arms or distinguished for learning. For the reputation he had acquired in this branch of art Pisano has been celebrated by many very great men and excellent writers; and, in addition to what was written of him by Biondo, as before related, he was highly extolled in a Latin poem, composed by his compatriot the elder Guerino, a well-known and very learned writer of that day. Of this poem, called from the name of its subject, II Pisano del Guerino, Biondo also makes honourable mention. Vittore was, in like manner, celebrated by the elder Strozzi, Tito Vespasiano, that is, father of the other Strozzi, who, like himself, was an excellent poet in the Latin tongue. The father, I say then, honoured the memory of Vittore Pisano in a most beautiful epigram, which is in print with the others.^[11] And these are the fruits that are borne by a life passed worthily and in the practice of virtuous labours.

It has been said by some writers that when Pisano, then very young, was acquiring his art in Florence, he painted a picture in the old church of the Temple, which stood where the old citadel now is. The subject of this work was taken from the life of San Jacopo di Galizia, and represents the story of the pilgrim, in whose pocket, while he was going on a pilgrimage to that saint, the son of his host put a silver cup, to the intent that he might be punished as a thief; but the pilgrim, being aided by San Jacopo, is by him reconducted to his home in safety. In this painting, Vittore Pisano gave evidence of that excellence in art to which he afterwards attained. Finally, having reached a good old age, he departed to a better life.^[12]

Gentile da Fabriano, after having executed many works in Città di Gastello,^[13] became at length paralytic, and fell into such a state of weakness, that he could no more produce any thing of value. Ultimately he died from the exhaustion of age, having reached the term of eighty years.^[14]

The portrait of Pisano^[15] I have not been able to discover in any place whatsoever. Both these artists drew exceedingly well, as may be seen from the drawings preserved in our book.^[16]

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1. The March of Ancona.
2. This precious work, rich in figures small and large, and of admirable execution, is now in the Florentine Gallery of Fine Arts; it is authenticated by the name of the master, written in letters of gold, as follows:— Opus Gentilis De Fabriano. Mccccxxiii. Mensis Mali. — Schorn and Ed. Flor. 1849.
3. The central part of this picture, in which was the Madonna, is lost. The figures of the Saints still remain, and are now in the choir of the church. The predella has disappeared, but a part of it came into the possession of the Cavalier Tommaso Puccini, by whose nephew and heir, the Cavalier Niccolo Puccini, it is now preserved in Pistoja.—Ed. Flor. 1849.
4. This picture has perished.
5. Gentile da Fabriano, in addition to his works in painting, is the author of three treatises relating to his vocation; one, on the Origin and Progress of Art; another, on the Mixing of Colours; and a third, on the Art of Drawing Lines. (Perspective?)—Ludwig Schorn.
6. Persico, Descrizione di Verona (1820), p. 20, describes the last-mentioned picture of the series; the deliverance of the king’s daughter namely, as “still perceptible, although it has been white-washed.” The remaining portions of the work have disappeared.
7. This Annunciation was also faintly visible in 1820. See Persico, ut supra, where various details respecting these and other works of the same master will be found. See also Kugler, Handbuch, vol. i. p. 86, German edition.
8. There is a well authenticated work by Vittore Pisano, affirmed by some writers to be the only one now known, in the Costabili Gallery at Ferrara; it represents figures of St. George and St. Anthony the Abbot; and bears the following inscription: Pisanus P.
9. In the Florentine Gallery, there is a copy of this medal in gold, which is now considered unique; that which was in the Museum of Paris being reported to be lost.
10. Bottari, Lettere Pittoriche, gives this epistle entire.
11. The Poem of Guerino is lost. The Epigram of Strozzi may still he seen in the Strozii Poetace Pater et Films.—Eroticon, lib. ii. p. 127. Aldine Edition, It is that commencing, “Statuarium Antiquis Comparandum”, &c.
12. In the first edition of Vasari, the author closes his short notice of Vittore Pisano, with the remark, that he painted in the Campo Santo of Pisa; but this assertion he withholds from his second edition, most probably because he could not authenticate the report. No vestige of a work by Pisano is to be found among those that enrich the Campo Santo.
13. No trace of these works now remains.
14. When the following lines were written to his memory:— “Hie pulchre novit varies miscere, colores: Pinxit et in variis urbibus Italise.”
15. For a minute account of the medals executed by this artist, see the Micseo Mazzuchelliano, See also the Tresor de Numismatique et de Glyptique, &c., of Lenormant. Paris, 1834.
16. In the Royal Gallery of Berlin, is a picture by Gentile da Fabriano of the Virgin, enthroned, and holding the Divine Child, with Santa Caterina, and San Niccolo beside her. There was also one in the collection of the late Mr, Young Ottley. See Waagen, Kunstwerke und Künstler in England, Vol. i. p. 398.