Lives of the Most Excellent Painters, Sculptors, and Architects/Jacopo
THE PAINTER, JACOPO, CALLED L’lNDACO.[1]
[Lived during the latter part of the 15th century, and the first half of the 16th century.]
Jacopo, called l’Indaco, was a disciple of Domenico del Ghirlandajo, and worked in Eome with Pinturicchio: he was a tolerably good master in his day, and, although he brought but few works to completion, yet those few are abundantly worthy of commendation. It cannot, however, be any matter of astonishment, that few works only proceeded from the hands of this artist, since he, being a facetious merry fellow, and a lover of good cheer, who harboured few serious thoughts, would never work but when he was compelled to do so. It was his custom to declare that “labouring and toiling for ever, without giving one’s self a taste of pleasure in this world, was not fit for a Christian man.”[2] Jacopo lived in very close intimacy with Michelagnolo, for when that master, excellent above all that ever lived, desired to recreate himself, after the continued studies and perpetual fatigues to which he subjected both mind and body, there was no one more acceptable to him, or more after his own heart, than Jacopo l’Indaco.
This artist laboured many years in Rome, or, to be more exact, he lived many years in Rome, but laboured there very little: the first chapel to the right of the entrance in the church of Sant’ Agostino, as you enter by the door of the principal front, was painted by his hand. On the ceiling are the Apostles receiving the Holy Spirit, and there are two historical pictures on the wall beneath, representing events in the life of Christ: in one of these the Saviour is depicted calling Peter and Andrew from their nets, and in the otlier is the Supper of Simon and the Magdalen: in the latter is a ceiling of woodwork, which is painted with remarkable fidelity.[3] The altar-piece for the same chapel is also by his hand: this he painted in oil: it represents the Dead Christ, executed and finished with great diligence and ability. In the church of the Trinity, in Rome, there is also a small picture by Jacopo l'Indaco, a Coronation of the Virgin namely.[4] But why need we say more? or, what more can be said of this artist? Let it suffice to record that he was ever as ready and willing to prate and make merry as he was backward and unwilling to work and to paint.
Michelagnolo, as I have before said, did sometimes take pleasure in the babble of this man, and in the jests which he very often made. He, therefore, had him almost constantly at his table; but, finding him one day become troublesome, as such people very frequently do become to their friends and patrons, with their perpetual gabbling (for one cannot call it conversation), v/hich is frequently ill-timed and divested of all discretion, seeing that there is rarely either judgment or measure in men of this class,—being weary of him, as I said, Michelagnolo sent him forth to buy some figs, by way of getting rid of him, at a time, perhaps, when he had more important thoughts to occupy him. The moment Jacopo had got out of the house, Michelagnolo fastened the door behind him with the determination not to open it when he should return. Accordingly, when L’ Indaco came back from the market, he perceived, after having knocked for a time, that Michelagnolo would not open the door to him, whereupon, becoming very angry, he took the leaves and figs, which he scattered all over the threshold of the door, and, having done that, he went his way. From that time he would not speak to Michelagnolo for many months, but at length, being appeased, he became more his friend than ever. Having attained the age of sixty-eight, Jacopo l’Indaco died at Rome.
Not unlike to him was a younger brother, whose proper name was Francesco, but who was also called L’ Indaco, and was, in like manner, a more than tolerable painter and man of good ability. He was not dissimilar, I say, for he also worked very reluctantly, though he was ever ready to talk; but in one thing he went far beyond Jacopo, seeing that he spoke ill of every one, and constantly censured the performances of all other artists. After having executed certain works, both in painting and terra, at Montepulciano, he painted a small picture in Arezzo for the Brotherhood of the “Nunziata.” The work was intended for their Hall of Audience, and was an Annunciation, with the figure of G-od the Father above, surrounded by numerous angels in the forms of children.[5] In the same city, on occasion of the first visit paid to it by the Duke Alessandro, this artist constructed a very beautiful triumphal arch at the gate of the palace of the Signoria, with numerous figures in relief. There were, besides, many other preparations made for the entry of the Duke, and this master, in competition with other artists, painted the decorations of a dramatic spectacle, which were considered very beautiful.[6]
Having proceeded to Rome at the time when the Emperor Charles V. was expected to visit that city, Francesco there executed certain figures in terra; and on the Capitol he painted the Arms of the Roman people in fresco, which was much commended. But the best work that ever proceeded from the hands of this artist was one executed in the Medici Palace; an Escritoire namely, for the Duchess Margaret of Austria, so finely ornamented with stucco, and so richly adorned, that it is not possible to see anything better; nay, I even believe that it would be impossible, in a certain sense, to do as much in silver as L’ Indaco has here done in stucco.[7] From these things it is inferred, that if this master had taken pleasure in labour, and had made good use of his abilities, he might have become very eminent.
Francesco drew tolerably well, but Jacopo much better, as may be seen from the drawings in our book.
- ↑ Lanzi remarks that this painter is one of those whose fame has expired. He is indeed so little known, that but for his intimacy with Michael Angelo, he would most probably not have received a separate biography from Vasari.
- ↑ Bottari thinks it desirable to warn us that this must be considered nothing more than a jest; we are therefore not to take it for a maxim in morals that the whole business of a Christian man is to please himself.
- ↑ This work is no longer in existence, it was probably destroyed in the various restorations received by the church. — Ed. Flor., 1832-8.
- ↑ This picture, which is mentioned by Titi, Nuov. Stud., &c., was formerly in the Borghese chapel in the church of the Trinita di Monte, wellknown to all acquainted with Rome; its present locality is not known.
- ↑ Said to be now in the choir of the “Nuns of the most Holy Annunciation,” in the small church of St. Ursula.
- ↑ All these things have disappeared.— Ed. Flor., 1838.
- ↑ Schorn remarks that decorations in stucco are somewliat unusual for such a purpose.