Lives of the Most Excellent Painters, Sculptors, and Architects/Giovanni Antonio Licinio

by Giorgio Vasari

 

GIOVANNI ANTONIO LICINIO, OF PORDENONE, AND
OTHER PAINTERS BELONGING TO FRIULI.

[Latter part of 15th, early part of 16th centuries.]

It would appear, as we have before remarked, that Nature, the benign mother of all things, does sometimes endow certain places with the gift of some rare genius, of which, until that moment, the place thus favoured had never formed the conception; and that she will sometimes, for example, cause to be born in such a country, men who are so powerfully inclined to the study of painting and the arts of design generally, that without the aid of any masters, but merely by the imitation of living and natural objects, they become admirable artists; nay, attain to the very summit of distinction. It will also occasionally happen, that when one has thus commenced, many set themselves to emulate his labours, and these will not unfrequently labour to such purpose, that without having visited Rome, Florence, or any other city where remarkable paintings are to be found, but merely by labouring in emulation of each other, they are seen to produce works of the most admirable excellence. Examples of this kind may be adduced more particularly as presented by Friuli, where there have, in our own times, flourished many excellent painters (a state of things which had not happened in those localities for several centuries), all arising from such a commencement as we have described above.

At the time when Giovanni Bellini was labouring in Venice, as we have already related, and was teaching his art to many young aspirants, there were two of his disciples who were rivals of each other; Pellegrino of Udine namely, who was afterwards called Da San Daniello, as will be remarked hereafter, and Giovanni Martino^[1] of Udine. We will first speak of the latter, who always imitated the manner of Giovanni Bellini, which was hard and dry, nor could he ever succeed in imparting more softness to his own manner, notwithstanding all the care and exactitude with which he laboured. This may very possibly have happened from his having always taken much pains to produce certain reflexes, halflights, and faint shadows, with which he would break and interrupt the relief in such sort, that the light or shadow ceasing suddenly, produced an unpleasant effect, and the colouring of all his works has been even considered harsh and displeasing, although he studied carefully and laboured hard to make art imitate nature.

There are many works by this artist in various parts of Friuli, more particularly in the city of Udine, where there is a picture in oil by his hand in the cathedral, which represents San Marco seated, with numerous figures around him. This is considered to be the best work ever executed by Giovanni^[2]* Another painting by the same artist is on the altar of Sant’ Ursula, in the church which belongs to the monks of San Pietro the Martyr; the subject is the Saint Ursula, standing upright and surrounded by certain of her Virgins, very graceful figures, with countenances of much beauty and fine expression. Giovanni was not only a very tolerable, painter, but was further endowed by nature with a graceful person and agreeable features; his manner of life was highly commendable, and his character was entirely worthy of esteem; he was so prudent and orderly in his affairs that he left considerable property, which he bequeathed to his wife, seeing that he had no sons; she was a woman, as I have heard, of prudence equal to her beauty, which was very great, and conducted herself in such a manner after the death of her husband, that she married her two singularly beautiful daughters into the richest and noblest families of Udine.^[3]

Pellegrino da San Daniello, who was a rival of Giovan Antonio Licinio, as we have said, but displayed a much higher degree of excellence in painting, received the name of Martino at his baptism; but Giovanni Bellino, being convinced that he would some day become as distinguished in art as he ultimately did, changed his name of Martino into that of Pellegrino. And as he thus received a change of name, so was there in a certain sort a change of country also, made by this artist; for as he was much attached to a dwelling which he had at San Daniello, a place distant about ten miles from Udine, and, having there taken a wife, ultimately spent the greater part of his time in that locality, he ceased to be named Martino of Udine, and was constantly called Pellegrino of San Daniello.

Many pictures were painted by this artist in Udine: examples of these may be seen on the doors of the old organ, on the outer side whereof there is a perspective view representing a deep arch, within which is a figure of San Pietro, seated among a vast crowd of persons, and conferring the crozier on the Bishop Sant’ Ermagoras. On the inner side of these doors are the four Doctors of the church, placed within certain niches and represented in the attitude of persons profoundly occupied with study. In the chapel of San Giuseppo Pellegrino painted a picture in oil, which is both designed and coloured with infinite care; this work represents St. Joseph standing upright in a very beautiful attitude, and with an air of much dignity; near him is our Lord depicted as an infant, beneath is San Giovanni Battista clothed in the garments of a little shepherd, and intently gazing on the Redeemer.

The picture here described has been highly extolled, and we may believe what is related respecting it, namely, that it was painted as a trial of strength with the above-named Giovan Antonio Licinio, and that Pellegrino did his utmost to make it, as indeed it is, more beautiful than that of the San Marco, painted, as we have before said, by Giovanni Antonio.^[4] In the house of Messer Pre Giovanni, Intendant of the illustrious Signori della Torre, Pellegrino painted a halflength figure of Judith with the head of Holofernes in her hand, which is a very beautiful thing; and in the district of Civitale, which is distant about eight miles from Udine, there is a large picture in oil by the same hand; this last is divided into several compartments and stands on the high altar of the church of Santa Maria; there are some heads of young maidens in this picture which are extremely beautiful, as are other figures of the same work.^[5]

In one of the chapels of the church of Sant’ Antonio at his favorite residence of San Daniello, Pellegrino painted various events descriptive of the Passion of our Saviour; this work is in fresco, and is so admirably executed that the artist well deserved the sum of more than two thousand crowns which he received for it. This master was much esteemed for his abilities by the Dukes of Ferrara, and in addition to the many favours and numerous gifts which they bestowed on himself, he obtained two Canonicates in the Cathedral of Udine for two of his kinsmen, by means of those Princes.^[6]

Among the disciples of Pellegrino, wFo had a large number of scholars, and constantly availed himself of their services, which he remunerated very liberally, was one of the Greek nation, by whom Pellegrino was very closely imitated, and whose manner was exceedingly beautiful. But greatly superior even to this Greek would without doubt have been another of Pellegrino’s disciples, had he not been too soon taken from the world, Luca Monverde of Udine namely, who was greatly beloved by his master, but died while yet a youth. One picture by the hand of Luca remains to us, his first and his last; the subject chosen is the Virgin with the divine Child in her arms, the figure is painted with greht softness and has much relief, it is seated within a deep recess, the perspective of which is very good, and beneath are two figures on each side; all so beautiful that they plainly show the excellence to which Luca Monverde would have attained had his life been prolonged.

Another disciple of Pellegrino was Bastianello Florigorio,^[7] who painted a picture of Our Lady for the high altar of the church of San Giorgio in Udine; the Virgin is represented in the heavens surrounded by an immense number of angels in the form of children, all in various attitudes, adoring the divine Child whom she holds in her arms; beneath these figures is a landscape, which is remarkably well done; and here we have a figure of San Giovanni, which is one of extraordinary beauty, with San Giorgio armed and seated on horseback. The figure of the last mentioned Saint is finely foreshortened, and in a bold and animated attitude; he is killing the dragon with his lance, while a young maiden, who is at some distance, appears to be returning thanks to God and the glorious Virgin, for the succour vouchsafed to her.^[8]

It has been said that Bastianello painted his own portrait in the head of this San Giorgio. This master also painted two pictures in fresco,^[9] in the refectory of a monastery belonging to the monks of San Pietro the Martyr; one of these pictures represents our Lord, who, being at Emmaus and seated at table with the two disciples, is breaking the bread with a benediction; the other exhibits the death of San Pietro the Martyr. On the palace of Messer Marguando, an eminent physician, Florigorio painted a picture in fresco| within a niche which is at one of the angles of the building; the subject is a nude figure foreshortened and intended to represent San Giovanni; the painting is considered to be a very good one. Finally, this artist was compelled by certain troubles into which he got himself to depart from Udine, if he had any mind to live in peace, and he withdrew to Civitale accordingly, living there after the fashion of an exile.

The manner of Bastianello Florigorio was dry and hard, partly because he delighted in copying rilievi and objects from nature by the light of a candle: his power of invention was very sufficient, he had considerable practice in taking portraits from the life, and his likenesses were very beautiful as well as good resemblances. In Udine he took that of Messer Raffaello Belgrade among those of other persons; with that of the father of Messer Giovanni Battista Grassi, an eminent painter and architect, of whose courtesy and friendliness we have had many especial intimations, being indebted to his kindness for much of the information which we have here imparted in relation to the artists of Friuli. Bastianello lived to the age of forty or thereabout.^[10] Another disciple of Pellegrino was Francesco Floriani of Udine who still survives, he is a very good painter and architect, as is his younger brother Antonio Floriani, whose admirable qualities in his vocation have obtained him an appointment in the service of his Majesty the Emperor Maximilian. Several pictures by Francesco^[11] Floriani were to be seen two years since in the possession of the above-named emperor, who was then king; one of these was a Judith who has just taken off the head of Holofernes: this is a work which 'betokens great judgment and gives proof of the utmost care. The same monarch is in possession of a book, which is filled with pen and ink drawings by Francesco Floriani, these consist of buildings displaying the richest powers of invention, as for example, theatres, palaces, porticoes, bridges, arches of triumph, and other works in architecture, useful as well as beautiful.

The painter Gensio^[12] Liberate was likewise a disciple of Pellegrino; he is remarkable, among other things, for the exactitude and beauty with which he depicts all kinds of fish. This artist is now in the service of the Archduke Ferdinand of Austria, wherein he holds a distinguished position, and very deservedly, seeing that he is a truly excellent painter.

But among the most renowned and illustrious of all the painters belonging to Friuli, and the one who has most distinguished himself in our days, is Giovanni Antonio Licinio, sometimes called Cuticello, by whom all those above-named were far surpassed, whether we consider their invention, composition, design, boldness, or beauty of colouring. His paintings in fresco were greatly superior to those of all the others; he excelled them in promptitude of execution, in the great relief which he gave to his figures, or, to say all at a word, in every other quality demanded for the due exercise of our arts.

This master was born at Pordenone, a small town in Friuli,^[13], situate at about twenty-five miles from Udine, and being endowed by nature with a fine genius and decided inclination for painting, he set himself, without any other teacher, to the study of natural objects, imitating the manner of Giorgione da Castel Franco, with which, as exhibited in the many works of that master which he had seen in Venice, he had been greatly pleased.^[14] Having thus acquired the first principles of his art, he was compelled to leave his native place, as the only means of saving his life from the attacks of a deadly pestilence, which was then raging at Pordenone;^[15] he thus passed several months in the neighbouring country, employed by the different residents around, to execute various works in fresco, and making his first experiments in mural paintings at their expense.

It thus happened that our artist obtained great skill and facility in that branch of art, seeing that the best mode of learning is by frequent and sufficient practice, which he thereby secured. He furthermore acquired the power of so managing the colours, that when working with the materials in a very fluent state (which is done on account of the white, whereby the plaster or intonaco is so rapidly dried, that it otherwise causes a glare, by which all softness is destroyed), they are yet made to produce the desired effect. Having by these labours secured a knowledge of the nature of colours, and by the extent of his practice attained to great skill in works of fresco, our artist returned to Udine, where he painted a picture in oil for the altar of the Nunziata in the Church of San Pietro the Martyr, showing Our Lady at the moment when she is receiving the Salutation of the Angel Gabriel; in the heavens above is a figure representing God the Father surrounded by numerous angels in the form of children, and in the act of sending down the Holy Spirit. This Yfork is remarkable for the excellence of the design as well as for its grace, animation, and relief; it is indeed considered by judicious artists as the best ever produced by the master in question.^[16]

In the Cathedral of Udine, Giovan Antonio decorated that part of the organ which is beneath the closing doors, and which had previously been painted by Pellegrino, with the history of Sant’ Ermagoras and Fortunatus; a work full of grace, and one of great merit as regards design. In the same city he painted the front of the Tinght^[17] Palace in fresco, and with the hope of making himself friends among the Nobles of that family. In this work he did his utmost to prove the ability which he possessed in architectonic inventions and embellishments, and in fresco painting generally, dividing his work into compartments, finely arranged, and adorned with niches, wherein were different figures with many other ornaments. In the centre of the work are three large compartments occupied by three stories in various colours, one on each side, namely, which is tall and narrow; and one in the middle, which is of a square form. In the latter is a Corinthian column with its base in the sea, and at the foot of the pedestal is a Syren, supporting the column on the right, with a nude figure of Neptune, which in like manner supports it on the left. Above the capital of this column is a Cardinal’s hat, the device, as it is affirmed, of Pompeo Colonna, who was a most intimate friend of the nobles to whom that picture belongs. In one of the two smaller pictures are the Giants whom Jupiter is destroying with his thunder-bolts, and some of whom lie dead on the earth. These figures are all admirably well done, and there are certain foreshortenings in this picture which are very fine. In the other lateral compartment is depicted the Olympic Heaven filled with the heathen Deities, and on the earth beneath them are two Giants with clubs in their hands; they are rushing to attack the Goddess Diana, who defends herself in an attitude of great boldness and animation, menacing the arm of one of her assailants with a lighted torch, which she holds in her hands.

At Spelimburgo, a large place fifteen miles above Udine, Giovanni Antonio painted the desk and the folds of the doors which close the organ in the principal church. On the outer part he depicted an Assumption of Our Lady, while on the inner side he represented, on the one fold the appearance of San Pietro and San Paolo before the Emperor Nero, who are looking upwards at Simon Magus, seen in the air above; and on the other, the Conversion of St. Paul. On the desk is depicted the Nativity of Christ.

These paintings and others having secured to Pordenone a very great name, he was invited to Piacenza,^[18] from which city, after having executed certain works, he departed to Mantua, where he painted a fa9ade in fresco for Messer Paris,^[19] a nobleman of that city. This performance displays the most admirable grace and loveliness, and among other beautiful and ingenious inventions to be remarked therein, is a frieze on the upper part, and immediately beneath the cornice, which is formed of letters after the antique manner, and one braccio and a half high.^[20] Through these letters, beautiful Children, in various attitudes, are passing, clambering and intertwining themselves throughout the same in all directions. Having completed this work to his great honour, Pordenone returned to Piacenza; and here, in addition to many other labours, he painted the whole of the Tribune in the Church of Santa Maria di Campagna, although there was indeed one part which remained incomplete at his departure, and was afterwards finished by Maestro Bernardo da Vercelli,^[21] who accomplished his task with great care. In the same church are two chapels which were painted in fresco by Pordenone, the first of these is decorated wdth representations of various events in the life of Santa Caterina, the second exhibits the Birth of Christ and the Adoration of the Magi, all paintings worthy of the highest commendation. Our artist afterwards painted several pictures representing poetical subjects, in the beautiful gardens of the learned Doctor, Messer Barnaba del Pozzo,^[22] and in the before-mentioned Church of Santa Maria di Campagna, he painted a picture of Sant’ Agostino, this is on the left hand as you enter the church.^[23]

All these admirable works moved certain gentlemen of Piacenza, who ever held the master in the highest esteem, to propose that he should take a wife from that city, which was done accordingly. At a later period he repaired to Venice, where, after having executed some works previously, he was commissioned to paint the fagade of San Geremia, which is on the Grand Canal; as also a picture in oil containing many figures, for the Church of the Madonna del Orto: but the master more especially laboured to make his abilities manifest in the Church of Giovanni Battista.^[24] Pordenone furthermore painted several stories in fresco on the front of a house situate on the Grand Canal before-mentioned, and belonging to Martin d’Anna;^[25] among these is more particularly to be remarked a figure of Curtius on horseback, very finely foreshortened, and which appears as though it were in full relief and entirely detached from the surface, as does that of a Mercury floating in the air. There are besides a vast number of other particulars of great merit in this work, which pleased the whole city of Venice beyond measure, insomuch that Pordenone was extolled by the Venetians more than any artist who had laboured in their city up to that time had ever been.

But among the various motives whereby Pordenone was incited to exertion, was that of his rivalry with the most excellent Titian: perpetually endeavouring to surpass that master, he promised himself that by continual study, by a bold style of execution, and by his rapid and able mode of working in fresco, he should deprive the latter of that preeminence which he had acquired by so many admirable works; he laboured hard to attain his purpose by other means also, taking great pains to prove himself always courteous and obliging, and being careful to associate as much as was possible with great personages, all with the one object and to the same intent. Nor did this rivalry and emulation fail to produce a good effect, since they caused Pordenone to give the utmost study to his works and to execute all with the most unwearied diligence, by which means he has rendered them worthy of ever-during praise.

The advantages thus obtained caused Pordenone to receive a commission from the wardens of San Rocco, who appointed him to paint the chapel of that Church, with the whole of the Tribune, in fresco.^[26] He commenced the work accordingly, depicting a figure representing God the Father in the tribune above-mentioned, with a large number of Angels in the form of children, moving around him in beautiful and varied attitudes. On the frieze of the same tribune he painted eight figures from the Old Testament, with the four Evangelists in the angles; and over the High Altar he placed the Transfiguration of Christ, while the two lunettes at the sides are occupied by the four Doctors of the church. There are besides two large pictures in the centre of the church, by the hand of the same master, the one representing Christ restoring a number of sick persons to health, the figures of the latter being exceedingly well done^[27] and the other exhibiting a San Cristoforo bearing the Infant Christ on his shoulders. On the tabernacle of wood belonging to this church, and wherein the vessels of silver are kept, Pordenone painted a figure of San Martino on horseback, with a crowd of poor offering their vows within a building which is seen in perspective.^[28]

This work, which was highly and deservedly extolled, increased the riches as well as the fame of the master, and caused Messer Jacopo Soranzo, who had become his intimate and zealous friend, to make efforts for procuring him a commission to paint the decorations of the Hall of the Pregai^[29] in competition with Titian, an appointment which he received accordingly. Here Pordenone executed various pictures, with figures which foreshorten as they are viewed from below, and are exceedingly beautiful.^[30] He also painted a frieze around the hall, the latter being composed of marine monsters, depicted in oil. All these works were so acceptable to the Senate, and rendered him so great a favourite, that they conferred a very considerable pension on the master, which he received during the remainder of his life.

The desire of Pordenone to contend with Titian causing him always to wJfeh for opportunities of painting in places wherein the latter had laboured, he depicted a San Giovanni Elemosinario in the act of giving alms to the poor, for the church of San Giovanni-in-Pialto; and on one of the altars of the same church he placed a picture representing San Rocco, San Sebastiano, and other saints; a very fine production,^[31] but yet not equal to the work of Titian, although many persons but more from malignity of feeling than a desire to uphold the truth—have unduly exalted that of Giovan Antonio.

Many pictures in fresco, representing events from the Old Testament, with one from the New Testament, were painted by Pordenone, in the cloister of San Stefano; mingled with these were figures of different Virtues, wherein he exhibited the most extraordinary foreshortenings. This master was indeed exceedingly fond of such foreshortenings, and took great pleasure in employing them for all his compositions, seeking by preference for such as were most difficult; and he certainly executed them better than any other painter.^[32]

The Prince‘Doria of Genoa had built a palace close to the sea shore,^[33] and had caused the renowned painter, Perin del Vaga, to decorate a large number of halls, antechambers, and apartments of all kinds, in oil and in fresco. These rooms are most admirable for the richness and beauty of their paintings. But as Perino was not at that time pressing forward the work with great vigour. Prince Doria, by way of giving an impulse to his movements, and also desirous of* awakening a degree of emulation which might induce him to attempt more than he might perhaps accomplish if left to himself, the prince, I say, caused Pordenone to be summoned; and that master there commenced the decoration of an open terrace. In his accustomed manner, he executed a frieze, whereon he depicted a number of Children busily occupied with the unlading of a barque filled with merchandize from foreign parts: they move about in all directions, and their attitudes are most graceful. He likewise painted a large picture, wherein he represented Jason demanding permission from his uncle to depart in search of the Golden Fleece. But Prince Doria, who soon perceived that he had made no advantageous exchange in taking the works of Pordenone for those of Perino,^[34] dismissed the former, and caused Domenico Beccafumi of Siena to be summoned in his place, an excellent artist, and much better master than Pordenone.^[35] Domenico would not refuse to abandon his native place, where there are so many admirable works from his hand, since he was called on to serve so great a prince; but he did not execute more than one picture in Genoa,^[36] because Perino brought all the rest to completion with his own hand.

Giovan Antonio then returned to Venice,^[37] where he was given to understand that Ercole, duke of Ferrara, had brought a large number of masters from Germany to the last-named city, and had caused them to commence the weaving of various stufi's in silk, gold, spun-silk, and wool, according to his own fancy and for his use; but that there was a lack of good designers of figures in Ferrara, seeing that Girolamo da Ferrara^[38] was better versed in the taking of portraits and such matters, than in the composition of difficult stories, for which all the resources of art and power of design were requisite. It was therefore intimated to Pordenone that he might do well to enter the service of that prince, and he, being no less anxious to acquire fame than to obtain riches, departed from Venice, and when he arrived at Ferrara was received by the duke with much kindness.

But a short time after his arrival in that city, Pordenone was assailed by a very grievous disease of the chest, which forced him to lay himself half dead in his bed; when the malady becoming continually worse, and no remedy being found for his sufferings, in three days or something more, he finished the course of his life, at the age of fifty-six years.^[39] This appeared to the duke to be a strange thing, as it did to many of Pordenone’s friends, and for many months there were not wanting numerous persons who believed that he had died of poison. The body of Giovanni Antonio was honouraWy interred, and his death was regretted by many, more especially in Venice, seeing that he was exceedingly ready of speech, a pleasant companion, and the favoured associate of many among the citizens: he delighted in music, and having given considerable attention to the Latin tongue, he had much force and grace of manner in his discourse.^[40]

This master drew his figures in a large and grand style, he was exceedingly rich in invention, and possessed the power of imitating whatever he beheld to perfection, but was above all skilful and bold in works of fresco. One of his disciples was Pomponio Amateo da San Vito, who by favour of his good qualities was accepted by Pordenone as his son-in-law.^[41] Pomponio always followed the manner of his master very closely, he acquitted himself exceedingly well in all his works, instances of which may be seen in Udine, where he painted the new doors of the organ in oil, depicting the Saviour expelling the Buyers and Sellers from the Temple, on the outer surface of the doors, and the story of the Pool of Bethesda, with that of the Raising of Lazarus, on the inner side of the same. In the church of San Francesco in the same city, there is a painting in oil by the hand of Pomponio, it represents San Francesco receiving the Stigmata, with an exceedingly beautiful landscape, the moment chosen being that of the sun’s rising, and from the centre of the light there stream forth beams of seraphic splendour, which fall directly on the hands, feet, and side of the Saint; the latter, kneeling devoutly, with an expression full of love, is receiving the divine emanations, while a companion depicted near him, a figure much foreshortened, stands gazing at San Francesco with the aspect of one Avho is overwhelmed with the extremity of his amazement.

Pomponio likewise painted a fresco for the monks of Xia Vigna at the end of their refectory, the subject Our Lord between the two disciples, at Emmaus. In the little town of San Vito, his native place, which is at the distance of about twenty miles from Udine, he painted a fresco in the church of Santa Maria, decorating therewith the chapel of the Madonna above-named in so beautiful a manner, and so much to the satisfaction of all, that he received from the most reverend Cardinal, Maria Grimani, patriarch of Aquileia and lord of San Vito, the distinction of being enrolled among the nobles of that place.

In this life of Pordenone it has been my wish to leave a memorial of these excellent artists of Friuli,^[42] because it appears to me that their endowments have well merited the same, and to the end that what is here said shall make known how many have been those who, since that beginning, have proved themselves to possess even much higher excellence, as we remarked in the commencement, and as will be further mentioned in the life of Giovanni Picamatori^[43] to whom our age has been so largely indebted for his works in stucco, and for the grottesche and arabesques executed by his hand.

But to return to Pordenone: after having performed all those works which we have enumerated as executed by him at Venice, in the time of the most illustrious Gritti, this master died in the manner we have related and in the year 1540. He was among the most able artists that our age has possessed, his figures more particularly appear entirely round and as if detached from the wall, seeming rather in relief than a mere level surface, he may therefore be justly enumerated among those by whom the art has been enriched and who have contributed to the general progress and benefit thereof^[44]

1. In the documents of his native place he is called, according to Lanzi, Giovanni di M. Martino, or the son of M. Martino. See History of Painting.
2. This picture was painted in the year 1501. —Lanzi.
3. The year of Giovan Antonio Licinio’s death is not known with certainty, but we learn from Lanzi that memorials of his existence are found as late as the year 1515.
4. The St. Joseph was painted a year after the St. Mark, according to Lanzi, who describes the first named work as much faded and injured.”
5. This picture, which is still in the church of Santa Maria de Battuti in Civitale, represents the Madonna seated, with the four Virgins of Aquileia, St. John the Baptist, St. Donatus, and an Angel; it bears the date 1539. This picture is very highly prized. —Förster
6. He died shortly after having done so, in 1545 namely.—Lanzi.
7. In his pictures this master subscribes himself Florigerio.—Ed. Flor. 1838.
8. “This picture alone would suffice to ennoble a painter,” remarks Lanzi. There are two pictures by Florigerio in the Academy of the Fine Arts at Venice; one of these was taken from the church of the Servites in that city, the other from the church of San Bovo, at Padua.
9. The frescoes executed by this master in Udine have perished, but there are still some of his works in Padua; at the church of St. Bovo, for example, near the gate of the Palace of the Capitani there is also one which bears the date mdxxii., and which is still in good preservation.
10. This artist was still working in the year 1533.—Lanzi.
11. The likenesses of Francesco are much extolled by Lanzi, from whom we learn that there is a picture by this artist in Udine, bearing the date of 1586.
12. Ridolfi, Le maraviglie dell'Arte, ovvero le Vite degl'illustri Pittori Veneti, &c., calls this artist Gennesio,
13. Where he was bom in the year 1483, to Angelo Maria de Lodesanis, of the ancient family of the Sacchi, called also Corticellis or Cuticelli. He assumed various names, now calling himself Licinio, now Di Regillo, but more frequently Pordenone, which is the name found on most of his pictures.—See Zanotto, Pinacoteca Veneta illustrata.
14. Some writers declare Pordenone to have been a student in the school of Giorgione, others affirm him to have been a fellow disciple of Tizian under Giovan Bellini; but Lanzi denies the truth of both these assertions, and inclines rather to the opinion expressed by Ridolfi, Maraviglief &c., who considers Pordenone to have first imitated the manner of Pellegrino at Udine, and afterwards completed his education by the study of Giorgione.
15. Some of these fresco paintings are still preserved in the neighbourhood of Pordenone. —Ed. Flor. J 832-8.
16. This work has been totally ruined by recent restoration. — Förster.
17. Or, according to Ridolfi, Tigni; the palace afterwards became the property of the Bianconi family. —Masselli.
18. This is written Vicenza in most of the editions of our author, but that is a manifest error which we here correct,—Florentine Editors of the Passigli Edition of Vasari.
19. A gentleman of the Ceresari family.— Masselli.
20. These letters form the following inscription:—

    ceresariorum domus et amicorum.

21. Piacenza, in his additions to Baldinucci, affirms that this master is Bernardino Lanino, but Lanzi and others, with better reason, believe the artist here meant, to be Bernardino Galli, called the Soiaro, who was a native of Vercelli, though some consider him to belong to Cremona, and others to Pavia.
22. Mythological representations that is to say, Actseon and Diana namely: with the Judgment of Paris, &c.: they have been destroyed by time.
23. St. Augustine is not a picture on panel, as the iavola of our author would imply, but is a mural painting, and one still remaining in tolerable preservation, although it has not wholly escaped injury. —Ed. Flor. 1832 -8.
24. It represents San Lorenzo Guistiniani, accompanied by three Canons Regular, and bears the inscription:—

    Joannis Antonii Portunaensis.

    This picture was among those taken to Paris, but is now at Venice, in the Gallery attached to the Academy of the Fine Arts.

25. Martin d’ Anna was a Flemish merchant established in Venice; the paintings executed on his house have perished.
26. The pictures of Pordenone in the church of San Rocco, having suffered greatly from the effects of time, were re-painted in the old outlines in the eighteenth century, by Gius. Angeli.— Ed. Flor. 1832-8.
27. This is the picture of the Pool of Bethesda, but it is by Tintoretto, not Pordenone. —Masselli. This work is not now to be found enumerated among the paintings of San Rocco. —Förster
28. The St. Christopher and St. Martin over the picture of furniani, which exhibits Christ Driving the Money-changers from the Temple, between the Altar of the Annunciation namely, and that of the Discovery of the Holy Cross.—Moschini. Guida per Venezia.
29. Called also the Sala della Scrutinio.
30. In twelve compartments of the ceiling, Pordenone also painted twelve allegorical figures, but these were afterwards replaced by paintings which were executed by Fra Bassano, Ballini, A. Vicentino, and other artists.
31. It is still to be seen in the church, but is not well placed, and has Buttered greatly from the effects of time. —Ed. Flor. 1832 -8.
32. Ridolfi affirms, that while Pordenone was painting in this cloister, he constantly worked with a sword girt to his side and a shield suspended from his arm, adding that he did so in consequence of the hitter enmity subsisting between himself and Titian.
33. This is the Palace of Prince Doria, at Passuolo.
34. Italian and German commentators alike dispute the propriety of our author’s opinion as respects these masters, affirming that if Perino be remarkable for the correctness and purity of his style, Pordenone also possessed very high qualities in art.
35. ‘‘Neither will it be conceded by all authorities,” observes an Italian commentator, “that the merit of Beccafumi was so greatly superior to that of Pordenone.”
36. The works executed there by Pordenone and Beccafumi have alike perished.
37. Vasari omits to mention here the pictures painted by Pordenone in the Cathedral of Cremona, but names them hereafter in the life of Girolamo da Carpi.
38. Girolamo da Carpi.
39. Ridolfi gives the same age, but Maniago, Storia delle Belle Arti Friulesi, and the Giunti edition of Vasari, make l?ordenone fifty-nine at the time of his death.
40. There are several works of importance by Pordenone, which our author omits to mention. An Adoration of the Magi in the cathedral of Treviso, for example, with numerous frescoes in the church of San Salvatore di Casa Colalto, near Treviso. The picture of the High Altar in that church is likewise by Pordenone; this last, if the recollection of the present writer be not at fault, is a Tryptica, the centre compartment representing the Transfiguration of Christ; on the wings or folds are figures of saints, St. Peter and St. John the Baptist namely, -with SS. Prosdocimus and Jerome. These works are all in good preservation, and are powerfully drawn; the colouring also is full of energy, and is exactly what might be expected from the boldness of manner attributed to this master. Other works, likewise nnmentioned by Vasari, also exist; for details respecting which the reader is referred to the Kunstblatt for 1844, No. 38.
41. Ridolfi gives a short account of Pomponio da San Vito. He was bom in 1505, and died about 1588. Examples of his works may be seen at Obcrzo; in the cathedral of Treviso, and in that of Ceneda,
42. For numerous details respecting the artists of Friuli, which cannot here find place, the reader is referred to Mariago, as above cited, and to Rcnaldis, Saggio della Pittura Friulana. See also Lorenzo Crico, Lettere sulle belle Arti Trivigmne, Treviso, 1833.
43. Giovanni da Udine, a disciple of Raphael.
44. “And he who writes thus,” exclaims a compatriot of Vasari justly indignant at the groundless accusation of partiality sometimes brought against our author,—he who writes thus, can he be the envious and jealous enemy of the painters of the Venetian School!”