Lives of the Most Excellent Painters, Sculptors, and Architects/Guglielmo da Marcilla

by Giorgio Vasari

 

THE FRENCH PAINTER AND MASTER IN GLASS-PAINTING, GUGLIELMO DA MARCILLA^[1]

[born 1475-died 1537.]

At this same time, wherein our arts were endowed by God with as much prosperity as well might be, there flourished Guglielmo da Marcilla, a Frenchman, who from his long residence in, and for the affection which he bore to the city of Arezzo, may be said to have chosen it for his adopted country; insomuch that he was reputed by all men to be an Aretine, and was constantly so called. And of a truth it may be said, that among the benefits to be derived from art, is this, that provided a man possess distinguished ability and give proof of such possession, by the work of his hands in any branch of our honourable vocation, let him be of what foreign or distant region he may, and however barbarous and unknown the nation to which he may belong, yet no sooner does he appear in any city, wherein abiding, he sets forth evidence of his power, than his name, such is the influence of meritorious performances, immediately begins to pass from mouth to mouth, he quickly makes himself a reputation, and his qualities being appreciated, he finally becomes most highly honoured.

Many are the artists who, having left their native land far behind them, and having chanced upon a country where the people are lovers of talent, and friendly to foreigners; by the prudent regulation of their walk and life, have found themselves to be so amicably received and appreciated in such a manner, that they forget their earliest home and the cradle of their birth, choosing a new one for the repose of their last years, as Guglielmo chose Arezzo for his ultimate abiding place.

In his youth and while still in France, Guglielmo da Marcilla had given his attention to the arts of design, devoting himself more particularly to the painting cf glass windows, on which he depicted figures in various colours as softly blent as if the work had been a finely executed picture in oil.

Moved by the entreaties of certain among his friends, Guglielmo had suffered himself, while still in his native country, to be present at a brawl, which resulted in the death of one who was their enemy, for which cause he was compelled to take the habit of a Monk in the order of San Domenico, as the sole means of escaping from the vengeance of 'the court and the pursuit of justice; but although he never abandoned the religious habit, thus assumed in France, he continued his studies in art nevertheless, pursuing them indeed until he had attained to the highest perfection.

Pope Julius II. had commissioned the architect Bramante to cause numerous windows in painted glass to be prepared for his palace, when it chanced that the latter, making inquiry for the most distinguished among those employed in that branch of art, received intelligence respecting certain masters who were then executing admirable works of the kind in France, and had the opportunity of examining a specimen by means of the French ambassador, who was then at the Court of His Holiness: this was a window enclosed within a frame which the ambassador had in his study, and whereon was a figure painted with various colours on white glass, which had afterwards been submitted to the action of fire. Letters were thereupon written to France by order of Bramante, requesting those masters to proceed to Rome, and offering them liberal appointments. Maestro Claudio, therefore, a Frenchman, and the chief of that vocation,^[2] having received this intelligence, and knowing the excellence of Gnglielmo, easily induced him by money and fair promises to leave his brethren of the cloister: nor was it difficult indeed to separate him from those monks, seeing that the discourtesies which he had experienced at their hands, and the envious jeers which are constantly in action among them, had rendered him more desirous to depart than Maestro Claudio was to remove him thence.^[3] They repaired to Rome accordingly, and there the habit oF San Domenico was changed for that of San Piero.

Bramante had at that time caused two windows to be constructed in the stone called Travertine, for the palace of the Pope: they were in the hall which is before the chapel,^[4] and which is now embellished by the erection of a vaulted ceiling, and by the addition of admirable works in stucco, the first by Antonio da San Gallo, the second by the Florentine Perino del Vaga.^[5] These windows were then decorated by Maestro Claudio and Guglielmo, but were afterwards taken to pieces, during the sack of Rome that is to say, and to the end that the lead might be made into musket balls. Many other windows beside these were executed by the same artists * for the papal chambers, but they had a similar fate with those cited above, there is nevertheless one of their works still remaining, that namely which is in the room over the Torre Borgia, wherein is represented the Conflagration painted by Raphael;^[6] on this are depicted Angels who support the escutcheon of Leo X. They likewise painted two windows for the Church of Santa Maria del Popolo; these are in the chapel behind the Madonna, and exhibit historical events from the life of Our Lady^[7] They are greatly extolled by those conversant in that art, and acquired for the artists good name and fame, no less than the advantages of gain.

But Maestro Claudio being very immoderate in eating and drinking, as is the custom of his nation, a practice which is an exceedingly dangerous one in the air of Rome, fell sick of a fever, and this became so violent, that in six days he departed to another life., Guglielmo was then left alone, and being deprived of his companion was almost as one lost. He painted a window nevertheless some time afterwards entirely by himself in Santa Maria dell’ Anima, the Church of the Germans in Rome: this work, also in glass, caused Silvio, Cardinal of Cortona,^[8] to make him advantageous offers, and to enter into an agreement with him to the effect that he should execute certain windows and other works in his native city of Cortona, whither the cardinal conducted him accordingly, that he might abide therein. The first work undertaken in Cortona by Guglielmo, was that part of the Cardinal’s palace which is turned towards the Piazza, and which the artist painted in chiaro-scuro, representing thereon the figure of Croton, with those of the other founders of that city. This being completed, the Cardinal, who perceived that Guglielmo was no less excellent as a man than distinguished as a master in art, then caused him to construct the window of the principal chapel in the capitular residence of Cortona, where the artist painted the Birth of Christ, with the Adoration of the Magi.^[9]

Guglielmo was a man of an active mind and great intelligence, he had much experience and singular facility in the management of painting on glass, disposing the colours, to speak more particularly, in such sort, that the brightest were always given to the most prominent figures, while the darkest tints were used in duly graduated proportions for those receding into the distance, a point wherein his practice was truly excellent. He displayed much judgment also in the painting of his figures, which he treated with great care, observing all due relations, and causing each to advance or recede by just degrees, so that none seem to be clinging to the buildings or the landscapes, but all have the appearance of having been painted on panel, or rather of being works in relief. Guglielmo possessed ample powers of invention, and there is great variety in the composition of his stories, which are exceedingly rich, the figures being well grouped and arranged; his works have contributed largely to enlighten those who came after him, as to the best methods of executing such paintings as are formed from pieces of glass; an undertaking which to all who have not much practice and dexterity, must needs appear to be an exceedingly difficult operation, as in fact it is.

This master designed the pictures for bis windows with so good a method and order, that he brought the joinings of lead and iron, by which they are traversed in various parts, to arrange themselves among the conjunctions of his figures, and within the folds of their vestments, and this he did with so much skill, that they are not only never disadvantageously conspicuous, but are even made to lend a new grace to the painting; the pencil itself could not effect this object better, and thus the master has found means to turn a necessity into * a beauty and advantage.

For the shadows of those glasses which he proposed to subject to the action of fire, Guglielmo used two colours only, scales of iron and scales of copper namely: with the darker, or that of iron, he shaded the dresses, hair, buildings, &c., but the lighter, (or scales of copper, which is of a tawney colour,) was that which he used for the flesh tints. He likewise made considerable use of a hard stone which comes from France and Flanders, this is called Lapis Amotica,^[10] and is very serviceable in the burnishing of gold;^[11] for this purpose it is first brayed in a brass mortar, and then rubbed on a plate of iron or copper with an iron muller; it is tempered with gum, and the effect produced on glass is admirable.

When Guglielmo first arrived in Rome, although well informed as to other particulars, he was not extensively practised in drawing; but becoming fully aware of the importance of this matter, he then studied very zealously, although he was already pretty well advanced in years: and giving considerable attention to the practice of design, he ameliorated his drawing by degrees, and the extent to which he did so mav be seen in the windows which he afterwards executed for the above-named Cardinal, in Cortona; in ‘another work outside the city; in a round wdndow of the capitular residence above-mentioned; in the front namely, on the right hand of him who would enter the church, and where are the armorial bearings of Leo X. All these are very different from his earlier works, and much superior to them; the same may be said of two windows which are in the Brotherhood of Jesus, on one of wLich is the figure of Christ, on the other that of San’ Onofrio.

At the time when, as we have said, Guglielmo was dwelling in Cortona; Fabiano di Stagio Sassoli, of Arezzo, departed from life in that city: this artist had been an excellent master in the painting of large windows, for which reason the superintendent of works for the Episcopal Church, had given a commission to Stagio, son of the above named Fabiano, and to the painter Domenico Pecori, to prepare three windows for that building; they are in the principal chapel, and are each twenty braccia in height. But when these works were completed, and the windows fixed in their places, they did not entirely satisfy the people of Arezzo, although they were in fact tolerably well done, nay, are rather praiseworthy than not. Now it chanced at this time, that Messer Lodovico Bellichini, an eminent physician, and among the first of those who were then governing the city of Arezzo, was called on to repair to Cortona, there to attend the mother of the above named Cardinal; he then became well acquainted with Guglielmo, with whom, when he had time, he always conversed very gladly; Guglielmo, too, on his part, who was then called the Prior, from having just about that time received the benefice of a Priory, conceived a cordial friendship for that physician. The latter therefore one day asked him if he would be willing to proceed to Arezzo, for the purpose of painting certain windows in that city, provided the good will and consent of the Cardinal could be obtained; when, having received his promise to that effect, Messer Lodovico, with the permission and good favour of the Cardinal conducted him thither. Then Stagio, of whom we have made mention above, having separated himself from the company of Domenico, received Guglielmo into his house, and the latter, for his first work in Arezzo, painted a picture of Santa Lucia, in the chapel of the Albergotti family, which is in the Episcopal Church of that city. The subject of this work is the above mentioned Saint, who is depicted together with San Silvestro, and both are so beautifully done, that they may truly be said to present the appearance, not of mere figures in coloured and transparent glass, but of most animated and life-like beings, fully equal at the very least to what we find accomplished in the most admired and excellent of paintings.^[12] Of the works of Guglielmo it is further to be remarked, that in addition to his masterly method of treating the carnations, they exhibit other peculiarities, among these was that which I will now describe. It was his frequent custom to scale or grind away the glass in certain places, when, having removed the outer surface, he would afterwards colour that part with another hue; on red glass for example, thus scaled, he would impose a yellow colour, or would lay white or green on a blue glass, which is an exceedingly difficult and remarkable operation in that branch of art. By this process, the real or first colour is that which alone appears on the one side, whether it be red, blue, or green, while the other, which has about the thickness of the blade of a knife, or something more, remains white. There are many who from not having great practice or facility in the handling, do not use a point of iron for scaling the glass, because they fear to break the panes; but instead of this, and for the greater security, these artists avail themselves of a small copper wheel, to which an iron is affixed, and with which they gradually excoriate the glass by means of emery, until they leave at length nothing but the white surface of the glass, which by this method is obtained in much purity. If to the glass thus left white, the artist should then desire to impart a yellow colour, immediately before he places it in the fire for the burning, he lays on it a coat of calcined silver,^[13] which has very much the colour of bole, and which he applies somewhat thickly; this, when placed in the fire, melts, on the glass, to which, when perfectly fused, it attaches itself, penetrating the substance of the glass, and imparting a very beautiful yellow to the same. With these modes of proceeding no master was better acquainted than the Prior Guglielmo, nor did any artist apply them with more skill and judgment than himself: and herein consists the difficulty, seeing that to paint or tinge the glass in colours, with oil or other vehicles, is of little or no moment, nor is it of great importance that the glass should be clear or transparent; but to heat them with fire and so to manage that they shall resist the effects of rain, and shall be capable of perpetual endurance, this indeed is a labour which merits commendation. Highly worthy of praise, therefore, is this excellent master, seeing that there is no one in that vocation who has effected so much as himself, whether we consider his powers of invention, design, colour, or the general excellence of the work.

In the same Episcopal church,^[14] Guglielmo executed the large rose window whereon is depicted the Descent of the Holy Spirit, with the Baptism of Jesus Christ by St. John.^[15] The master has here represented Christ as standing in the Jordan awaiting St. John, who has taken a vessel of water into his hand, with which he is about to baptize the Saviour. An old man, already divested of his clothing, is standing near in the act of taking off his shoes; angels are preparing the vestments of Christ, and above all is the Almighty Father, who sends down the Holy Spirit on his Son. This window is immediately over the baptismal font of the Cathedral, and in the same building the Prior Guglielmo painted a window whereon is represented the Resurrection of Lazarus, on the fourth day of his burial. It is difficult to imagine how the master has been able to arrange so many figures, all in the most appropriate attitudes, within so small a space, nor do we fail to perceive the expression of terror and amazement in that crowd of people at this awakening of the dead; their perception of the fetor exhaled from the body of Lazarus is equally manifest, while the tears of emotion and the rejoicing of his sisters are also finely expressed. In this work are many instances of those excoriations and of that colour laid upon colour in the glass, which we have described above, and every part of the whole, even the smallest, does certainly exhibit the utmost animation, each in its separate kind and place.

But whoever shall desire to ascertain of what the skilful hand of the Prior has been capable in this branch of art, let him examine the window of St. Matthew, which is over the chapel dedicated to that Apostle, and let him observe the admirable composition of the story there depicted, for in this he may well believe himself to see Christ truly in life. The Saviour is represented as calling St. Matthew from the bench of the money-changers, and the latter extending his arms, as one who would receive the Redeemer to his inmost heart, abandons the riches and treasures he has amassed, ready to leave all and follow his master. At the foot of a flight of steps is seen one of the Apostles lying asleep, while another is in the act of awaking him, which he does with extreme vivacity of movement: equally excellent is the figure of San Piero, who is in conversation with San Giovanni, both of whom are so entirely beautiful that they truly appear to be divine. In this same window there are besides perspective views of temples, flights of stairs, &c.; the figures also are so admirably grouped, and the landscapes so well represented, that no one would ever suppose them to be merely painted glass, but might rather believe them to have been rained from heaven for the consolation of men.^[16] Guglielmo painted the window of Sant’ Antonio and that of San Niccolo in the same church, both of which are exceedingly beautiful;^[17] he also executed two others in that building, one of these represents the Saviour expelling the buyers and sellers from the Temple, the other exhibits the story of the woman taken in adultery, and the whole of these works are deservedly held to be truly excellent and admirable.^[18]

So fully were the many good qualities, the talents, and the labours of the Prior Guglielmo appreciated by the people of Arezzo, and with so many praises, caresses, and rewards were they acknowledged, that the master was with reason entirely satisfied and content, insomuch that he finally formed the resolution of adopting that city as his home, and from a Frenchman as he had originally been, he determined to become an Aretine.

At a later period, considering within himself that the art of painting on glass could not secure a long duration to the works of those who attach themselves thereto, seeing that they are perpetually liable to destruction, Guglielmo conceived the desire of devoting himself to painting generally, and accordingly accepted a commission from the superintendents of works to the Episcopal church of Arezzo for the decoration in fresco of three very large vaultings, these being labours in which he hoped to leave an enduring memorial of his existence. When this undertaking was completed, the people of Arezzo presented the master with a small estate which had belonged to the confraternity of Santa Maria della Misericordia; it was situated near the town and was the site of several very good houses, this they desired that he should enjoy for the remainder of his life. They further decreed, that the work, on being finished, should be estimated by an artist of due distinction, and that the superintendents of the Cathedral should then make over to Guglielmo the full sum thus awarded.^[19]

In this work the Prior was desirous of showing what he could do, and resolved to have the pictures of very large size in imitation of those executed by Michael Angelo in the Sistine chapel. He was indeed so fullj possessed with the desire to attain excellence in that branch of art, and to that end made etforts so zealous, that although then fifty years old he nevertheless improved by steady and constant progression, to such an extent, that he gave as manifest proof of power to understand the beautiful, as he had in his works furnished evidence of delight in the imitation of the good.^[20] In the three large vaultings he had represented the earlier events recorded in the beginning of the Old Testament, wherefore he afterwards depicted those related in the commencement of the New:^[21] and what was herein effected by Guglielmo gives me reason to believe, that every man of genius who is determined to attain perfection, will be found to possess the power (if he will but endure the labour) of approaching those limits which have been set to the endeavours of men, in any science. It is true that this master was at first somewhat alarmed at the magnitude of his undertaking, and at a labour in which he had so little experience; for which cause he iuduced the French miniature painter Maestro Giovanni, to leave Rome and join him in Arezzo, when the latter, having reached that city, painted the picture of Christ in fresco on an arch above Sant’ Antonio: he also executed the banner which the Brotherhood of Sant’ Antonio are wont to bear in procession, and these works, for which he had received his commission from the Prior, he conducted to completion with great diligence.^[22]

At the same time, Guglielmo painted the round window of the Church of San Francesco, a work of great importance. In this he depicted the Pope in Consistory with the Conclave of Cardinals. San Francesco also, is here portrayed bearing the Roses of January^[23] to the Pope and proceeding to Rome, whither he repairs to obtain confirmation for the Rule of his Order. In this painting the master has shown the perfection to which he understood the composition of his works; insomuch that one may safely affirm him to have been born for that vocation. On this point indeed, there is no artist who has ever hoped, to surpass him, whether we consider the beauty or the vast number and grace of the figures.^[24] A large variety of exceedingly beautiful windows by his hand, may be found in different parts of the city, among others, that of Santa Maria delle Lagrime, the large rose window namely, with the Assumption of the Virgin and the figures of the Apostles; there is also a very beautiful Annunciation^[25] by this master on another window of the same church.

A circular window, wherein there is the Marriage of the Virgin, with a second representing San Girolamo, were likewise painted by the Prior for the Church of the Spadari, he also executed three more in the same place, but the latter being for the lower church.^[26] For the Church of San Girolamo he painted a rose window, with the birth of Christ very beautifully delineated, as he did likewise another for the Church of San Rocco.

Many of the works of this master, were sent into other cities also, as for example to Castiglione del Lago; he likewise sent certain specimens to Florence, to Ludovico Capponi; one of these was for the Church of Santa Felicita, wherein there is a picture by the eminent painter, Jacopo da Pontormo, with a chapel, also painted by the last named artist, with mural pictures in oil, as well as in fresco, and decorated with others on panel, also by the hand of Jacopo.^[27] This window of Santa Felicita fell into the hands of the Frati Ingesuati, who executed many works of that kind in Florence,

• and by them it was taken to pieces, to the end that they

might ascertain the processes by which it was accomplished; they even carried off numerous pieces, by way of patterns for themselves, for which they substituted new ones; nay, by these practices they ultimately changed the work to so great an extent, that it became quite a different thing from what it had originally been. Guglielmo greatly desired to paint in oil likewise, and, in the Church of San Francesco in Arezzo, he executed a picture for the Chapel of the Conception, wherein there are certain vestments which are very well done, with several heads of great animation, and so beautiful, that the master was always much esteemed for this work, seeing that it was the first he had ever executed in oil.

The Prior Guglielmo was a man of most honourable and upright life; he delighted greatly in useful occupation, and would have all about him in good order: wherefore, having purchased a very handsome house, he made great improvements and changes in every part, enriching and beautifying all. As a man of religion, his habits were ever strictly regular, and the remorse of conscience which he suffered from having abandoned the Brotherhood in which he had taken orders, oppressed him greatly. Moved by this cause, he constructed a most beautiful window for the chapel of the High Altar in San Domenico, the Convent of his Order in Arezzo: on this he painted a Vine, which he figured as proceeding from the body of San Domenico, and whereon he depicted a vast number of monks, renowned for their sanctity: so that the whole represents the Tree of Religion. At the summit is Our Lady, with Christ, who espouses Santa Caterina of Siena, a work of masterly excellence, and which has been very highly extolled; yet Guglielmo would accept no reward for the exeeution thereof, considering himself to be greatly indebted to that Order. To Perugia he despatched a very beautiful window for the Church of San Lorenzo, and sent many others to several other places around Arezzo.

This master took great pleasure in architecture, and made designs for numerous fabrics erected by the citizens of his adopted country, with ornamental structures of various kinds for many cities of the Aretine territory; the two stone doors of SanRocco, for example, with the decorations in macigno,^[28] which were added to the picture of Maestro Luca in San Girolamo, are from his designs; he likewise executed certain embellishments in the Abbey of Cipriano d’Anghiari, and constructed an ornamental framework for the Chapel of the Crucifix which belongs to the Brotherhood of the Santa Trinita. The exceedingly rich lavatory in the sacristy of that church was also designed by the Prior Guglielmo; and these things were executed with much diligence and perfect success by the stone-cutter Santi.

Delighting in labour and occupying himself continually, winter and summer, with mural paintings, a practice calculated to render the most robust unhealthy, Guglielmo suffered greatly from the humidity amidst which he worked; disease ensued, for which he was treated by physicians: but unable to endure the operation to which they submitted him, he sank beneath his sufferings after a few days’ illness, resigning his soul into the hands of Him who had given it; first receiving the sacraments of the church as befitted a good Christian, and making his will. Entertaining a particular veneration for the Eremite monks of Camaldoli, who have their abode on the summit of the Apennines, at the distance of twenty miles from Arezzo or thereabout; to them it was that the Prior Guglielmo left his property and his body. His glasses, implements of labour, and drawings, he left to his disciple, Pastorino of Siena, who had been with him many years. We have ourselves a specimen of the latter in our book of designs, the subject of the work being the Submersion of Pharaoh, King of Egypt, in the Red Sea.

Pastorino afterwards occupied himself with many branches of art, and among them, with the preparation of painting on glass, although he did not produce many works of that kind; Masso Porro, of Cortona, was also a zealous follower of the Priors method, but succeeded better in burning and joining the glass than in painting it. Battista Borro, of Arezzo, was among the pupils of Guglielmo, and still continues to imitate him much in the windows he executes. The Prior likewise taught the first principles of art to Benedetto Spadari and to Giorgio Vasari of Arezzo. He lived to the age of sixtytwo, and died in the year 1537. Infinite praises are due to this artist, since it was by him that the art of painting on glass, with all the delicacy and perfection that can be desired, was brought into Tuscany; wherefore, since he has conferred upon us so great a benefit, we also will show ourselves friendly to him by unceasing praise and honour, exalting him continually, both in his life and in his works.^[29]

1. Or Da Marsiglia, as Della Valle found the name written in several documents,—William of Marseilles that is to say. See Lettere Sanesi. See also the Carteggio Inedito d'Artisti of Gaye, who considers Marcillat to have been his family name, and not that of his birth-place. This author cites a document, preserved among the archives of the Bishopric of Arezzo, wdierein he is called “Messer Guillelmo di Piero, Franceza, Priore de San Tibaldo,” and he subscribes himself as below, Guillelmo di Piero de Marcillat.” From this it would appear that Piero was the name of his father, and Marcillat that of his family, an opinion wherein Gaye is supported by Marchese, Vite de' Pittori Domenicani, vol. ii. p. 212.
2. For details respecting the early history of painting on glass, see Gessert, Die Glasmalerei in Frankreich, and Le Vieil, Art de la Peinture sur verre. See also Langlois, Essai Historique et Descriptive sur la Peinture sur verre, and Lastevrie, Histoire de la Peinture sur verre.
3. Monsignore Bottari thinks it desirable that onr author should be reproved for having spoken thus indiscriminately of the regular clergy, without limit or modification; our readers will consequently be pleased to administer such reproof as each, in foro conscientiae, shall find him to merit.
4. The Sala Regia namely.
5. Whose life follows.
6. The burning of the Borgo.
7. Each window contains six separate events: those on the first relate to the childhood of Christ, the pictures on the second to events in the life oi the Virgin. — Ed. Flor. 1832-8.
8. Silvio Passerini.
9. Two windows, painted by Guglielmo da Marcilla are still to be seen in Cortona; on the one is the Birtlr of Christ, on the other is the Adoration of the Magi. Both are in good preservation, and are in the possession of the Signor Corazzo of Cortona.— L. Schorn
10. Probably Haematite, or the red ore of iron, called by Cennino Cennini and other old writers, amotito.
11. For numerous details of the highest interest on the subject of glass painting, the reader is referred to Mrs. Merrifield’s admirably treated Translation of Ancient MSS. relating to the Practice of Painting as before cited: see Introduction, p. liv. et seq.
12. The figures of these two saints are still to he seen, but several of the panes having been broken, have been replaced by others of a different kind and dissimilar character.
13. According to Le Vieil, Art de la Peinture sur verre, p. 108, the dis covery of this property in calcined silver was made by accident, and in the manner following. Fra Giacomo da Urbino one day placing his glass in the furnace, chanced to let a silver button fall from one of his sleeves, but without perceiving that he did so; the button fell into the lime, which is placed in the furnace beneath the glass, and imparted a yellow stain to the glass above it. See Mrs. Merrifield, ut supra. See also Gessert, Die Glasmalerei, &c., with I’hibaud, and other writers, as cited above.
14. That of Arezzo namely.
15. Various parts of these windows having suffered injury, and several pieces being lost, they have been very ably re-placed within our own days, remark the Italian commentators, by the Aretine artist, tlaimondo Zaballi, who has discovered the method of fixing the colours in the fire, as used by Guglielmo.
16. The large windows above described still remain in a state of excellent preservation.— Ed. Flor. 1832-8.
17. The Chapel of the Baptistry is now on this site, and the works of the Prior are no longer to be seen.—Ed. Flor. 1832 -8.
18. These works still maintain their place.—Ibid.
19. This occurred in the year 1524, and the Prior received four hundred ducats for two of these vaulted ceilings, according to the estimation of Ridolfo Ghirlandajo. See Gaye, Carteggio Inedito d’Artisti, p. 450.
20. These works remain in good preservation.
21. Most probably in the six smaller compartments.— Gaye, as above cited.
22. The banner was a copy of that painted on canvas by Lazzaro Vasari. See vol. ii. p. 52.
23. The roses namely which St. Francis had caused to bloom in that month “by miracle.”
24. The window of San Francesco still remains 'in excellent preservation. —Ed. Flor. 1832 -8.
25. The Assumption is still in its place, but the Annunciation is no longer to be seen.— Ibid.
26. These works also have disappeared.— Ibid.
27. This window is now in the private chapel of the Capponi family, at their palace of the Rovinate. It is in good preservation, and represents the bearing of Christ to the tomb. —Ibid.
28. The stone so called.
29. “Here,” remarks an Italian writer, “we have another proof of Vasari’s impartiality, in his designation of a stranger as most excellent, in an art which had already been so long known and practised in Tuscany.