Lives of the Most Excellent Painters, Sculptors, and Architects/Giovanni Francesco Penni and Pellegrino da Modena

by Giorgio Vasari

 

THE FLORENTINE PAINTER, GIOVANNI FRANCESCO, CALLED IL FATTORE; AND OF THE PAINTER, PELLEGRINO DA MODENA.

[born 1486—died 1528, ch'ca.] [born 1480—died 1523.]

The Florentine painter, Giovanni Francesco Penni, surnamed Il Fattore, was indebted to fortune no less than to the excellence of his own dispositions, seeing that Raffaello da Urbino, attracted by his good conduct, his love for painting, and other estimable qualities, received him into his house, and brought him up together with Giulio Romano, treating them always as he would have done had they been his sons. Nay, so dearly did he hold both these disciples, that he proved his affection to them at his death, by leaving them heirs to his art and property alike.^[1]

Giovanni Francesco having begun from a boy, and when he first went into the house of Raphael, to be called Il Fattore, retained that name ever after. He imitated the manner of his master in drawing, and constantly remained faithful to that manner, as may be seen by certain of his designs which we have in our book: nor is it to be wondered at, if we find vast numbers of these, since Giovan Francesco took more pleasure in drawing than in painting, and all his designs are finished with extraordinary care.

The first works of Il Fattore were executed in the Papal Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and other distinguished masters: in these first performances we perceive remarkable grace, and many proofs that they are the productions of an artist who was labouring earnestly to attain perfection; he was a man of extensively varied practice in his art, and delighted in the execution of landscape and of architectural structures, as well as in that of figures. He painted finely in oil, in fresco, and in tempera, drew admirably well from the life, and was in every respect highly favoured by nature, seeing that he readily acquired all that appertained to his vocation with but very little study. This rendered him very useful to Raphael, whom he assisted in painting the greater part of the cartoons for the Tapestries of the Pope’s chapel, and for those of the Consistory, helping him more particularly in the decorations of these works. He also painted numerous pictures after the cartoons, and under the direction of Raphael; the ceiling of Agostino Chigi’s Palace in the Trastevere is by Giovanni Francesco,^[2] as are many frescoes, panel pictures, and other works of various kinds, connected with the numerous undertakings of his master, by whom the excellent manner in which he acquitted himself, and his deportment on all occasions, caused him to be daily more and more beloved.

In the Monte Giordano at Rome, Giovan Francesco painted a fa9ade in chiaro-scuro; and in Santa Maria dell’ Anima, he painted in fresco a San Cristofano eight braccia high, which is an admirable work. This figure will be found near the side-door which leads towards the Pace; there is, besides, a Hermit, represented standing within his cell, or grotto, and holding a lanthorn in his hand: the drawing of this figure, also is very good, the execution very graceful, and the whole work is remarkable for its harmony and the care with which it has been finished.^[3]

At a later period Giovanni Francesco visitEd. Flor.nce, where he painted a tabernacle at Montughi, a place without

the gate of San Gallo, for Ludovico Capponi, with a figure of Our Lady, which has been very highly extolled.^[4]

The death of Raphael then took place, when Giulio Romano and Giovan Francesco, who had been his disciples, remained for a long time together, and together completed the works which were left unfinished by Raphael; more particularly such as he had commenced in the Vigna of the Pope,^[5] with those in the great hall of the Palace, wherein are depicted by these two masters events from the history of Constantine, with figures of great beauty, executed with infinite, skill and in an excellent manner: it is true, that the invention and sketches of these stories proceeded in part from the hand of Raphael.^[6]

While these works were in course of execution, the distinguished painter, Perino del Vaga,^[7] took the sister of Giovan Francesco to wife, for which cause these two last-named artists subsequently executed many works in company, but Giulio and Giovan Francesco also continued to labour together; and, among other works, they jointly executed a picture in two parts, representing the Assumption of Our Lady, which was sent to Monteluci, near Perugia:^[8] other pictures and works of various kinds by the same artists were in like manner despatched to other places.

Having at a later period received a commission from Pope Clement VII., to paint a picture similar to that of Raphael, which is in San Pietro-a-Montorio,^[9] and which His Holiness proposed to send into France, seeing that the first (that executed by Raphael, namely) had been destined for that country: the two masters commenced the work together accordingly, but discord soon afterwards arising, and having separated them, they divided the possessions which had belonged to Raphael, his drawings and all besides that he had left to them, when Giulio Romano departed, and repaired to Mantua. There he executed numerous works for the Marchese, and soon afterwards Giovan Francesco also arrived in that city, either attracted thither by his friendship for Giulio, or by the hope of being employed there. But he was received with so little affection by Giulio Romano, that he left Mantua immediately, and having first travelled through all Lombardy, then returned to Rome. From that city he next proceeded to Naples, in the galleys with the Marchese del Vasto, carrying with him the completed picture which had been intended for San Pietro-in-Montorio, with other works: these last were taken to Ischia, an island belonging to the Marchese, but the picture first mentioned was placed in the Church of the Santo Spirito, which belongs to the hospital of the Incurables at Naples, where it is still to be seen.^[10]

Giovan Francesco then settled in Naples, where he was entertained in the most friendly manner by the Florentine merchant, Tommaso Campi, by whom the affairs of the Marchese were managed. But he did not long dwell in that city, for being of a delicate constitution, he fell sick and died there, to the great regret of the above-named Signor Marchese, and of all who had been acquainted with him.

This master had a brother called Luca, who was also a painter, and worked in Genoa with Perin del Vaga his brother-in-law. In Lucca also, and many other parts of Italy, this artist laboured, but subsequently went to England, where, having executed certain works for the king and for different merchants, he finally attached himself to the occupation of preparing designs for copper plates, which he caused to be engraved by Flemings: of these he sent considerable numbers to different parts, they are known not only by their manner but by his signature, which he inscribed on them. Among the works of this artist is one representing Women bathing,^[11] the original drawing of which, by Luca’s own hand, is in our book.^[12]

Leonardo, called Pistoja^[13] because he belonged to that city, was a disciple of Giovanni Francesco; he executed certain works in Lucca, and took numerous portraits from the life in Rome: at Naples also, he painted a picture representing the story of St. Stephen for Diomede Caratfa, Bishop of Ariano, who is now a cardinal; this work is in the church of San Domenico, and in a chapel which belongs to the above-named prelate. In Monte Oliveto also, Leonardo painted a picture, which was placed on the high altar, but was removed thence, to make way for one of similar invention, by the hand of the Aretine, Giorgio Vasari. This artist gained large sums of money from those Neapolitan nobles, but he did not accumulate anything, because he spent all quite as rapidly as he obtained it, and finally died, leaving the reputation of having been a good colourist, but not that of a master distinguished for excellence in design.

Giovan Francesco lived forty years, and his works were performed about the year 1512.^[14] The friend of the last named artist, and like himself a disciple of Raphael, was Pellegrino da Modena,^[15] who had acquired the name of a good master in his native place, but having heard of the wonderful works performed by Raffaello da Urbino, he resolved to repair to Rome, to the end that by renewed endeavours he might justify the expectations which had been formed of him. Being received into the school of Raphael, who never refused any request made by a man of good parts, he there laboured in company with many other young men devoted to the study of painting, and who emulously strove to surpass each other, in the hope of obtaining the favour of Raphael, and of securing a name in the world at the same time. Pursuing his studies without remission, Pellegrino became exceedingly skilful in design, evincing great mastery over other departments of his art likewise; and when Leo X. caused Raphael to paint the loggie, he also worked there in company with the other disciples, succeeding so well that Raphael afterwards availed himself of his services on many other occasions.

There are three figures in fresco by this master over one of the altars, near the entrance to the church of Sant’ Eustachio in Rome; and in the church which belongs to the Portuguese at the Scrofa, he painted the chapel of the high altar in fresco, and executed the altar-piece likewise.^[16] The Cardinal Alborense having subsequently caused a chapel in the church of San Jacopo, which belongs to the Spanish nation, to be richly decorated with marbles, and having also placed therein a marble statue of San Jacopo, four braccia and a half high, the last a much-extolled work by Jacopo Sansovino, determined to have that chapel further decorated with paintings in fresco by Pellegrino. That master accordingly depicted events from the life of the apostle San Jacopo,^[17] giving the figures an exceedingly pleasing expression, in imitation of his master Raphael, and arranging the whole composition with so much ability, that this work made Pellegrino fully known, as a man who possessed much judgment and a fine genius for painting. Having finished these works, he executed many others in different parts of Rome, some wholly by himself, and some in company with other artists.

But eventually occurred the death of Raphael, when Pellegrino returned to Modena, where he executed numerous works. Among these is one for a Confraternity of Battuti; a picture in oil namely, representing the Baptism of Christ by St. John; he likewise painted another picture for the church of the Servites, and herein he represented S.S. Cosimo and Damiano, with other figures.

At a later period of his life, Pellegrino took a wife^[18] and had a son, but the latter was the cause of his death, and that happened on this wise. The youth, falling into strife with one of his companions, young Modanese like himself, killed one of them,^[19] and this being told to the father, he was about to take measures for securing the flight of his son, to the end that he might not fall into the hands of justice. Setting off for this purpose accordingly, he had not got far from his own house, before he was met by the kinsmen of the slain youth, who were proceeding to seek the homicide. Thus encountering Pellegrino, who had not time to flee, and enraged that they could not discover his son, these men inflicted so many wounds on the former, that they left him dead on the earth.^[20]

This event caused great regret to the people of Modena, who knew well that by the death of Pellegrino they had been deprived of a truly excellent and noble genius. Among the contemporaries of this master, was the Milanese Guadenzio, a clever, bold, and good painter, who worked with great rapidity, and executed numerous works in Milan, more particularly a very beautiful fresco of the Last Supper, which he executed for the Brothers of the Passion, but this picture was never entirely finished, being left incomplete by the death of the master. Guadenzio painted exceedingly well in oil likewise, and there are many works by his hand at Vercelli and Veralla, all of which are very highly esteemed.^[21]

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1. They inherited the property connected with art only, as we have remarked in the life of Raphael. See ante, p. 60.
2. All the pictures from the fable of Love and Psyche, in the hall of the Famesina, were executed after Raphael’s cartoons, by Giulio Romano and Francesco Penni, who were assisted, as regarded the decorations, by Giovanni da Udine.
3. These works are now whitened over. —Bottari, writing in 1759.
4. This work is no longer to be seen.
5. Very probably the pictures in the chapel of the small hunting palace at Magliano. See Passavant, Rafael von Urbino. See also Hahn, in the Blatt fur literarische Unterhaltungen for 1841, by whom these works are described in detail.
6. The picture painted by Penni represents Constantine receiving the rite of Baptism from Pope Sylvester.—Masselli.
7. Pietro Bonaccorsi of Florence, called Perino del Vaga, whose life follows.
8. The picture of Monteluci is now in the Gallery of the Vatican, and is in good preservation. The drawing for this work had been prepared by Raphael himself, but this was not closely followed by his disciples. The upper part of the picture is by Giulio; the lower part by Giovanni Francesco. See Platner and Bunsen, Beschreihung der Stadt Rom. See also Gaye, in the Kunstblatt for 1836, No. 34.
9. The Transfiguration, that is to say, which was in the church of San Pietro-in-Montorio, in Vasari’s time, and remained there until the close of the last century.
10. Bottari was of opinion that this picture had been sent into Spain; but even in his day nothing certain was known respecting it, nor can we now obtain any well authenticated information in regard to its fate.
11. In addition to the Women in the Bath here alluded to, may be mentioned another, called the Tessitrici (women weaving), to which Vasari alludes in the life of Marcantonio Raimondi.
12. For other engravings by this artist, the reader may consult Brulliot, Dictionaire des Monogrammes, &c., Munich, 1832. A short list of them, with his monogram, may also be found in Bryan’s Dictionary of Painters and Engravers.
13. As respects the family name of this master, the authorities are not agreed; by some he is called Malatesta; by others, Giielfo; while some call him Tronci. See Tolomei, Guida di Pistoja. Consult also Lanzi, vol. i. pp. 169, 400, vol. ii. p. 23.
14. The epitaph inscribed to his memory is as follows:—

    Occido surreptus primaevo flore juventae
    Cum clara ingenii iam documenta darem.
    Si mea vel justos cetas venisset ad annos,
    Pictura aeternum notus et ipsa forem.

15. In the Cronaca of Ancellotti, this artist is called Aretusa alias di Munari; but Munari would seem to be his true name, since Tiraboschi, Notizie degli Artifici Modanesi, speaks of him as receiving his first instructions in painting “from his father, Giovanni Munari.”
16. We learn from Bottari that the fresco paintings in the church of St. Eustachius, and those in St. Anthony have been alike destroyed; respecting the Altar-piece we have not been able to obtain information of any kind.
17. This picture was still in the church of the Servites, when Vedriani, Vite de Pittori, &c. Madanesi, wrote; but in the time of Tiraboschi, Notizie, &c., it had already disappeared.
18. This he must have done before proceeding to Rome, as appears horn the following note.
19. According to Vedriani, Vite de Pittori Modanesi^ and Ancellotti, Cronaca, &c., this must have taken place in December, 1525. The death of Raphael occurred in 1520, the marriage of Pellegrino must consequently have preceded his visit to Rome, which terminated with the death of Raphael.
20. The following epitaph was written to his memory:—>

    Exegi monumenta duo: longinqua vetustas
    Quae monumenta duo nulla abolere potest.
    Nam quod servavi natum per vulnera, nomen
    Praeclarum vivet tempus in omne meum.
    Fama etiam volitat totum vulgata per orbem
    Primas picturm ferme mihi deditas

21. Guadenzio Ferrari of Valdugia, in the Milanese, was a painter of high merit, and is accounted among the most distinguished masters of the school of Raphael. For more extended details respecting the works of Guadenzio Ferrari, see Lomazzo, Trattato dell’Arte della Pittura, but the accusation brought by this writer against Vasari, to the effect that the latter “intended to depreciate the Milanese school, while he desired to exalt his own, that of Tuscany namely, to the skies,” is wholly without foundation. But we may safely leave the case of our author to its merits; his best defence is in the evidence of impartiality presented by every page of his work.