Lives of the Most Excellent Painters, Sculptors, and Architects/Rosso

by Giorgio Vasari

 

THE FLORENTINE PATNTER, ROSSO.

[born 1496—died 1541.]

When able men devote themselves to some particular study, and pursue the same with all the power of their minds, they are sometimes, and at a moment when it was least expected, exalted before the eyes of all men, and called to distinguished honours, as was exemplified, after many labours endured in his vocation, in the case of the Florentine painter, Rosso.^[1] It is true that his abilities did. not receive their due appreciation from those who might have worthily rewarded them in Rome and Florence; but in France, on the other hand, they were so fully acknowledged, that the glory he there acquired might well have sufficed to quench the utmost thirst of fame, and to satisfy the most exacting ambition that could possibly be entertained by any artist whatsoever. Higher dignities and honours, or a more exalted distinction, he could not have obtained in this life, seeing that by so great a monarch as is the King of France, he was valued and regarded beyond any other man exercising his vocation. But of a truth, the merits of this artist were such that Fortune would have done him a very great injustice had she offered him anything less.

In addition to his gifts as a painter. Rosso was endowed with great personal advantages; he was graceful and impressive in discourse, was an excellent musician, and possessed extensive acquirements in philosophy. As respects his own art, the quality more to be prized than all others by which he was distinguished, was the truly poetical character which he constantly imparted to all the figures in his various compositions. In design he was bold and firm; his manner was exceedingly graceful; he displayed extraordinary force in all cases demanding that quality, and gave further proof of his ability in the admirable grouping of his figures. The architectural works of Rosso are singularly meritorious, and in all things, however poor his condition, he ever proved himself rich in spirit, and replete with greatness of mind. Wherefore, whoever shall pursue the manner adopted in his works by this artist, may be certain that his labours shall be for ever renowned, as were those of Rosso, which in respect of boldness have not their equal; they show no trace of an overlaboured effort, and are wholly free from that dryness and tedium to which so many subject themselves, in the hope of bringing their works from their real nothingness to the appearance of something great.

Rosso studied drawing in his youth from the Cartoon of Michelagnolo,^[2] and would follow but very few of the masters in art, having a certain opinion of his own, which did not entirely accord with the manner pursued by them. This is at once perceived in his works, and an example of it may be seen in a Tabernacle painted by him in fresco at Marignolle, which is at some little distance from the Gate of San Piero Gattolini at Florence: here Posso depicted a figure of the Saviour after his Death, for Pietro Bartoli; and in this work he began to show the great desire which he felt for the attainment of a grander and bolder style, and for a more graceful and beautiful manner than had been exhibited by others.

When Lorenzo Pucci was raised to the rank of Cardinal by Pope Leo, the Escutcheon of the Pucci family was painted over the door of San Sebastiano by Rosso, who was then but a youth, with two figures, which at that time awakened astonishment in all the artists who beheld them, seeing that so fine a performance had not been expected from him^[3] His courage increasing with success. Rosso, who had painted a half-length figure of Our Lady, with a head of San Giovanni Evangelista for Maestro Jacopo, a Monk of the Servites, allowed himself to be persuaded by the latter, who gave much of his attention to poetry, to attempt certain works in the cloister of the Servite monastery. Thereupon he commenced an Assumption of the Virgin,^[4] near the Visitation, which had been painted by Jacopo da Pontormo, and herein he depicted a Choir of Angels in Heaven; they are in the form of naked children, and, making a circle, they hover around Our Lady in graceful attitudes, dancing and wheeling about in the air; these figures are admirably foreshortened, and had the colouring of Rosso then attained to the maturity of art which it afterwards exhibited, there is no doubt that he would have greatly surpassed all the works previously executed in that place, seeing that he fully equalled them in grandeur of conception and excellence of design. It is true that the figures of the Apostles which he has painted there are too heavily loaded with draperies, and these last are too ample in their folds,^[5] but the attributes and some of the heads are more than beautiful.^[6]

Having received a commission for a picture from the Director of the Hospital of Santa Maria Nuova, Rosso commenced the sketch accordingly; but in this there were many faces to which the artist had given a wild and desperate looking air in the sketch, as was his custom, but which he afterwards invariably softened and brought to the proper degree of expression in the finished work. But the Director, seeing this, and having very little acquaintance with matters of art, thought all the saints sketched in the picture no better than so many demons, and he rushed out of the house declaring that the artist had deceived him, and that he would have nothing to do with such a picture.^[7]

Over one of the doors in the cloister of the Servites this artist painted the Arms of Pope Leo, with two Children, but that work is destroyed. He also executed numerous pictures and portraits, which are still to be seen in the houses of the Florentine citizens. When Pope Leo arrived in Florence, a very beautitul Arch of Triumph was erected for the occasion by Rosso, at the corner of the Bischeri; and at a later period he painted a most admirable picture of the Dead Christ for the Signor di Piombino, for whom he also decorated a little chapel. At Volterra likewise, our artist depicted the Deposition from the Cross, a work of singular beauty.^[8]

His fame and credit increasing, Rosso undertook to complete the picture which had been commenced by Raffaello da XJrbino for the Dei family, but which had been abandoned by that master when he repaired to Rome. This work was executed with exceeding grace and beauty of design by Rosso, and exhibits also a very pleasing animation in the colouring;^[9] nor need any one expect to discover more power or greater beauty in any work, than may be found in this when viewed from the projDer distance; the boldness of the figures, and the peculiarities of the attitudes, which were such as no longer appeared in the works of the other painters, caused it to be considered somewhat singular at the time; but, although it was not then much extolled, the world has gradually attained to the perception of its excellences: the picture has now, therefore, received its due meed of praise. The parts which are most in relief, and those whereon the high lights are brought out most clearly, blend gradually with the parts which are more in shadow, with so much softness and harmony as they sink into the deepest shades, and the degrees of light are managed so judiciously, and with so much knowledge of art, while the intermediate shadows are brought in with such good effect, that every figure stands well out from the rest, and each assists in imparting relief to the other. This work has, indeed, so much force that we may truly affirm it to have been conceived as well as executed with more judgment and mastery than any other that has ever been painted by any master, however judicious.^[10]

In the church of San Lorenzo this artist painted a picture for Carlo Ginori which is considered exceedingly beautiful, it represents the Espousals of the Virgin, and exhibits a facility in the treatment which was a quality wherein it is certain that Rosso was never surpassed; nay more, it may be with truth averred that in versatility and dexterity of hand no one ever approached him; his colouring was most harmonious, and his draperies were truly graceful in their rich variety; his love of art was apparent in all that he did, and secures him the high commendation and glory which his works so well merit.^[11] Whoever shall examine the paintings of Rosso with due care, will acknowledge that what I have here said is strictly true; more particularly let him remark the nude figures, and he cannot but perceive the admirable manner in which they are rendered, and the careful attention given by this master to all the details of the anatomy. His women also are singularly beautiful, their draperies are graceful, and the decorations of every part are fanciful and appropriate. In the heads of the old, likewise. Rosso was careful to exhibit the hard lines and sharp angles proper to their age, while to those of women and children he imparted a pleasing expression, and gave a delicate softness of feature. His inventive powers, moreover, were so rich that he never had any portion of his picture remaining unoccupied, every part was appropriately used, and all were executed with so much facility and grace that they cannot be sufficiently extolled.

For Giovanni Bandini, Rosso painted a picture of Moses slaying the Egyptian, the nude figures of this work exhibit extraordinary beauty,^[12] and there are besides many other particulars therein which are highly worthy of commendation. The picture was sent, as I believe, into France. Another, which he painted for Giovanni Cavalcanti, was forwarded to England; the subject of this last is Jacob requesting to drink from the Women at the Well; it was considered an exquisite work, the artist having therein exhibited his power in the treatment of the nude figure, and having also given to the female forms those slight half transparent draperies, those waving or gracefully arranged tresses, and those delicately fancied and skilfully managed habiliments with which he delighted to invest the women of his pictures.

While Rosso was occupied with this work he had his abode in the Borgo de’ Tintori, in a house the windows of which looked into the gardens belonging to the monks of Santa Croce. The painter had at that time a monkey in whose pranks he found great pleasure, and who had the intelligence rather of a man than of a mere animal; for this cause he was held in the utmost affection by Rosso, who loved him as himself, and, availing himself of the extraordinary cleverness exhibited by the creature, he employed his monkey in every kind of service. This ape took a great fancy to one of the disciples of Rosso, a youth of a most beautiful aspect called Battistino, at whose lightest sign the animal understood all that was required of him, and did everything that his dear Battistino commanded. Now against the wall of the back rooms of Rosso’s house which was that turned towards the gardens of the monks, there grew a vine belonging to the Intendant, and which was covered with fine large grapes of the kind called San Colombo. The vine was at a considerable distance from the windows of the painter, but his youngmen sending down their ape, to which they had fastened a rope, drew him up again by this means, when he ever returned with his hands filled with grapes.

Now the Intendant soon remarked that his vine was thinned of its grapes without knowing who had done it, and suspecting that mice had been there, he set a trap for them accordingly: but one day he beheld the monkey of Rosso in the very act of descending, and, falling into a fury of rage, he seized a stick, and rushing towards him, prepared with uplifted hands to administer the cudgelling which he thought necessary. Then the monkey, perceiving well that if he attempted to ascend to his home, the Intendant would reach him, while if he remained still he would be equally in danger of the stick, began to spring about and destroy the vine, making at the same time as though he would throw himself upon the monk, and holding fast by his hands to the external bars of the trellis. The Intendant meanwhile approached with uplifted stick, and the monkey, shaking the trellis mightily, tore the staves and rods loose from their fastenings, and brought the whole down with the vine and himself, all falling together on the monk. The latter instantly set up loud outcries, calling for mercy with all the force of his lungs, while Battistino and the others drawing the rope, enabled the monkey to ascend in safety to the room whence he had departed.

But the Monk having disentangled himself from the ruins, got away to a certain terrace which he had there, and began to say things that are not in the mass; full of anger and ill-will he then set off to the council of eight, a tribunal much feared in Florence, and having there made his complaint. Rosso was summoned to appear, v/hen the monkey was jestingly condemned to wear a weight fastened to his tail, to the end that he might no more be able to leap as he had before done down upon the vine. A piece of wood in the form of a cylinder was ordered to be prepared accordingly, and this Rosso fastened to the monkey with a chain which permitted him to leap about the house, but he could no longer get to the houses of the neighbours.

The monkey, thus condemned to bear his punishment, appeared to divine that he was indebted for it to the Intendant, he therefore exercised himself daily in the act of springing step by step with his feet, while he held the weight with his hands, until he became sufficiently expert to secure the success of his purpose. One day therefore, when he was left free to spring about the house, he got out on the roof, and, clambering in the manner described from one roof to another, he arrived at length on that which covered the chamber of the monk, which he reached at the time when the latter was absent at vespers; there he suffered the wooden weight to fall, and danced about with so much good-will, using his club also to such purpose for half an hour, that there was not a tile or lath left whole upon the roof. Having broken all, the animal then returned home. Three days after there came a deluge of rain, and I leave you to judge if the complaints of the Intendant made themselves heard.

Having completed his labours in Florence, Rosso set off for Rome with Battistino and the ape. Much expectation had been awakened respecting him in that city, and his works were earnestly sought for, some of the drawings made by him having already been seen and acknowledged to be most beautiful, as they doubtless were, seeing that Rosso drew to admiration. In the church of the Pace therefore, he painted a picture^[13] over those executed by Raffaello, than which he never depicted a worse in all his days. Nor can I conceive whence this has proceeded, unless we are to conclude that in his case, as in that of many others, we have an instance of a fact which appears to me to be a very extraordinary thing, and one of the secret wonders of nature, that many persons, namely, when they change their country and place, appear to change their character, talents, habits and modes of life also, insomuch that they sometimes no more appear like themselves, but like some others, nay, not unfrequently are as people bewildered and stultified. Now this may have happened to Rosso in the air of Rome, where he beheld the works in architecture and sculpture, the pictures and statues of Michelagnolo, which may have disturbed his self-possession, producing on him the effect perceived in Fra Bartolommeo and Andrea del Sarto, who were driven by the discouragement they experienced in Rome to flee from that city, without having left therein any work to serve as a memorial of their visit. Be the cause what it may. Rosso never produced a picture of so little merit, which is rendered all the more obvious as this work has to endure comparison with those of Raffaello da Urbino.

At that time Rosso painted a picture of a Dead Christ, supported by two Angels, for the Bishop Tornabuoni, who was his friend; this work, which is an exceedingly beautiful one, is now in the possession of the heirs of Monsignore della Casa. For the Baviera^[14] he prepared drawings of all the Gods, for copper-plates; these were afterwards engraved by Jacopo Caraglio:^[15] among these drawings are Saturn turning himself into a horse, and Pluto carrying off Proserpine, which is more particularly worthy of remark. Rosso likewise gave the sketch of the Beheading of St. John the Baptist, which is now in a small church on the Piazza de’ Salviati in Rome.

Meanwhile the sack of the city took place, and the unfortunate Rosso was made prisoner by the Germans, from whom he received grievous maltreatment, seeing that, besides despoiling him of his clothing, they compelled him to go barefoot, and without any covering on his head, to the shop of a victualler, whose whole stock they forced him to bear away at repeated visitations on his bare back. Thus illtreated by his captors, but not closely watched by them, he contrived with great pains to escape to Perugia, where he was most amicably received and supplied with clothing by the painter Domenico di Paris,^[16] for whom he designed a cartoon for a picture of the Magi, which is a most beautiful thing, and may now be seen in the house of Domenico. But Rosso did not long remain in Perugia, having there heard that the Bishop Tornabuoni had also escaped from the plundered city, and was in Borgo,^[17] whither Rosso thereupon proceeded to join him, the Bishop being his intimate friend, as we have before observed.

The painter, Ratfaello del Colle, a disciple of Giulio Romano, was at that time in Borgo, and this master, having undertaken to paint a picture for the Brotherhood of the Battisti, or Flagellants, to be placed in the church of Santa Croce, in his native city, resigned that commission in favour of Rosso, as a mark of friendship to him, and to the end that he might leave a memorial of himself in that place. The Brotherhood complained of this transmission, but the bishop showed Rosso great favour, and rendered him all needful assistance for the completion of his work. Having painted the picture, which acquired much reputation for the artist, the work was fixed in the place designed for it, in the Santa Croce; the subject is the Deposition from the Cross, and the painting is one of great beauty and excellence; it is, moreover, particularly to be remembered that the master has rendered by his colours the sort of darkness which expresses the eclipse whereby the death of our Saviour was accompanied, and the whole work w’as executed with extraordinary care.^[18]

Rosso afterwards accepted a commission for a picture to be painted at the Citta di Castello; but while preparing the ground for commencing his work, a roof falling on the place wherein it had been placed, destroyed it entirely, and as Rosso was at that time attacked by so violent a fever that he was on the point of death, he caused himself to be transported from Castello to Borgo. His malady afterwards changing to a quartan fever, he proceeded to the Deanery of San Stefano for change of air, and finally departed to Arezzo, where he was received into the house of Benedetto Spadari. who bestirred himself in such sort, with the aid of the Aretine Giovanni Antonio Lappoli and of such kinsmen and friends as they had, that Rosso was appointed to paint in fresco the ceiling in the Madonna delle Lagrime, which had previously been confided to the painter Niccolo Soggi. The price fixed for the monument of his skill, which Rosso was thus to leave in that city, was three hundred gold scudi, and he commenced his cartoons for the same in a room which had been made over to him in a place called the Murello, where he completed them. In one of these he represented our first Parents fastened to the tree of the fall, and Our Lady is taking their sin from their mouth in the form of the apple: beneath the feet of the Virgin is the serpent, and in the air above (the painter proposing to indicate that the Virgin is clothed with tfie sun and moon) are nude figures of Phoebus and Diana.^[19]

In the second cartoon is Moses bearing the Ark of the Covenant, which is represented by the Madonna surrounded by five Virtues. In the third is the Throne of Solomon, also prefigured by the Madonna,^[20] to whom are presented votive offerings, which signify those who have recourse to her for aid and favour, with other fanciful inventions, which were elaborated by the fine genius of Messer Giovanni Pollastra a Canon of Arezzo, and the friend of Rosso, in compliment to whom that master prepared an exceedingly beautiful model of the whole work, which is now in my own house at Arezzo. He likewise designed a study of nude figures for this work, which is a truly beautiful thing; and had the proposed undertaking been carried forward, and painted in oil instead of in fresco, as was intended, it would have been a perfect miracle. But Rosso was ever an enemy to fresco, and therefore delayed the execution of the cartoons, with the intention of having them ultimately done by Raffaello dal Colle and other artists, until the end of the matter was that they were never finished at all.

At the same time Rosso, who was a very obliging and friendly person, made numerous designs for pictures and buildings both in the city of Arezzo and its neighbourhood; among others, one for the Rectors of the Fraternita, and which consisted of a chapel^[21] constructed at the lower end of the Piazza, and in which is now the Yolto Santo. He had also prepared a design of a picture, which he was to execute for that chapel and for the same persons; the subject chosen being Our Lady, under whose mantle a people is depicted as taking shelter. This design, which was not executed, is now in our book, with many other very beautiful drawings by the hand of this master.

But to return to the work which was to have been performed by Rosso in the Madonna delle Lagrime. His most faithful and affectionate friend, the Aretine Giovanni Antonio Lappoli, who had laboured to do him service in all ways and by every means in his power, had offered himself as his security for the due completion of this contract. But in the year 1530, when the city of Florence was closely besieged, the people of Arezzo, being freed from all restraint, in consequence of the want of prudence betrayed by Papo Altoviti, invested the citadel, and razed it to the ground. Our artist, therefore, knowing that the people of Arezzo were by no means friendly to the Florentines, would not confide his safety to the former, and departed to Borgo-a -San Sepolcro, leaving his cartoons and designs for the works above-named stowed away in the citadel.

Now the people of Gastello, from whom Rosso had received the commission for a picture, as we have said before, were anxious that he should finish his work, but, remembering the sickness he had endured there, the master would not return to Castello; he completed their picture at Borgo therefore, nor would he ever permit them to enjoy the pleasure of seeing it while in course of execution. The subject represented was a vast crowd of men with Our Saviour Ghrist in the air receiving the adoration of four figures^[22] in this picture the artist depicted Moors, Gypsies, and the most singular things in the world, insomuch that with the exception of the figures, which are perfect, he may be truly said to have considered any thing in this composition but the wish of those who had ordered the work. While occupied therewith. Rosso disinterred dead bodies from the burial ground of the Episcopal palace, in which he had his abode, and made very fine anatomical studies: this master was of a truth very zealous in the study of all things appertaining to his art, and few days passed wherein he did not paint some nude figure from the life.

Rosso had always expressed a desire to end his days in France, in order to deliver himself, as he said, from a certain poverty and need of condition to which those men are so frequently subjected who pass their lives labouring in Tuscany, or in whatsoever country it may be wherein they were born. He therefore determined to depart, and with this end in view he had even studied the Latin tongue, hoping thereby to appear more competent in all matters, and to obtain the reputation of more extended acquirements. Now it so chanced that an occurrence took place whereby he was induced to hasten his departure, and that happened on this wise. Having gone with one of his disciples on the evening of Holy Thursday to be present at the ceremonies in a church some short distance out of Arezzo, the boy made a shower of sparks and flame with a lighted match and some tar, at the very moment when what is called “the darkness” was in course of proceeding. Thereupon certain priests reproached and even struck the child, which Rosso, who had the boy seated beside him, perceiving, started up in great anger with the priests. An uproar ensuing, and no one knowing how the disturbance had arisen, swords were drawn on poor Rosso, who was seen to be in strife with the ecclesiastics, and he was compelled to take flight. It is true that he gained his own rooms in safety, and without being injured or even overtaken by any one; but he nevertheless considered himself to have been affronted, and having finished the picture which he was then working at for the people of Castello, he set off in the night without regarding the contract into which he had entered with the Aretines, and leaving their commission, for which he had already received a hundred and fifty scudi, unfulfilled; nor did he in any way trouble himself with the injury which he was doing to Giovan Antonio, who had become security for him.

Taking the road by Pesaro, our artist repaired to Venice, and there, being entertained by Messer Pietro of Arezzo, he made a drawing for Messer Pietro, on a sheet of paper, which was afterwards engraved, and wherein he represented Mars sleeping; with Venus, the Loves and the Graces, who despoil the God of his arms and are bearing olf his cuirass. Leaving Venice, Rosso then proceeded to France, where he was received with many marks of friendship by those of the Florentine people abiding there. Here, having painted certain pictures, which were afterwards placed in the gallery at Fontainebleau, he presented the same to the King Francis, whom they pleased infinitely, but still more acceptable to that monarch were the appearance, manners, and discourse of Rosso, who was tall and majestic in person, of a ruddy complexion, as was expressed by his name, and in all his actions of a grave, commanding, and thoughtful presence, giving evidence at all times of much judgment and ability.^[23]

The King at once appointed him a stipend of four hundred crowns per annum, and also presented him with a house in Paris, but this he did not often occupy, remaining for the greater part of his time at Fontainebleau. There he had apartments in the palace, and lived in the manner of a gentleman, the King having made him chief and superintendent over all the buildings, paintings, and other decorations of that place, where Rosso commenced the construction of a gallery over the lower court. This he did not finish with a vaulting, but with a ceiling, or rather wood-work, very beautifully divided into compartments. The side-walls of the gallery he decorated entirely in stucco-work, with new and fanciful methods of dividing the spaces, and with cornices richly and variously carved. The piers were adorned with figures of the size of life, and on the entire space beneath the cornice were ornaments composed of exceedingly rich festoons, of fruit and foliage passing from pillar to pillar, some in stucco-work, and others painted.

In a large space of these walls likewise, if I have been rightly informed, this master caused some four and twenty pictures, from the life, as I believe, of Alexander the Great, to be painted after his designs. Rosso preparing, as I have said, all the drawings, which were in cliiaro-scuro executed in water colours.^[24] At the two ends of this gallery are two pictures in oil by his own hand, designed and painted with so much ability that few better things are to be seen in the art. In one of these are Bacchus and Venus, executed with remarkable judgment, and showing great knowledge of art: the figure of Bacchus is that of a youth undraped, the form so blooming, delicate, and soft, that it looks as if it were indeed the yielding and palpable fl.esh, seeming rather to be alive than merely painted. Around this work are vases painted to imitate gold, silver, and crystal, or different precious stones, with so many other fanciful decorations that all who see them are amazed at the infinite variety of invention displayed therein. Among other things is a Satyr who is raising one side of a tent or pavilion, and the head of which, notwithstanding its goat-like character, is of marvellous beauty, the radiance of the smiles and the pleasure which he seems to feel at the sight of so beautiful a youth, being particularly remarkable. There is a Child also of extraordinary loveliness mounted on a bear, with many other graceful and beautiful ornaments in every part of the work.

In the second picture are Cupid and Venus with numerous figures of great merit; but that to which Rosso gave his most particular attention was the Cupid: he has represented him as a boy of twelve years old, but well grown and with more development of feature than is expected at that age. Every part of this figure is eminently beautiful.^[25] When these works were made known to the king, they pleased him so greatly that he became most favourably disposed towards Rosso, and no long time had elapsed before his Majesty presented the painter with a Canonicate in the Holy Chapel of the Madonna of Paris,^[26] with other revenues and marks of kindness, insomuch that Rosso lived in the fashion of a nobleman with a large number of servants and horses, giving fine banquets, and showing all manner of courtesies to his friends and acquaintance, but more especially to the Italian strangers who chanced to arrive there.^[27]

After the completion of these works. Rosso adorned another hall which is called the Pavilion,^[28] because it is in the form of a tent, and is over the apartments of the first floor, being above all the others composing that part of the building. In this apartment Rosso lavished a profusion of rich and varied ornaments in stucco from the floor even to the summit, figures in full relief namely, placed at equal distances, with children, festoons, and various kinds of animals. In the different compartments of the walls, also, are seated figures in fresco, and that in such vast numbers^[29] that all the gods and goddesses of the old Gentiles may there be seen; above all these, and over the windows, is a frieze, entirely covered with ornaments in stucco, and very rich, but without paintings.

In other chambers, ante-rooms, and apartments of various character in the same palace, there are many other works of this master, paintings as well as stuccoes: some of these have been copied, and others are made known to distant countries by means of copper-plates. They are very graceful and beautiful, as are also an infinity of designs made by liosso for salt-cellars, vases, basins, and other fancies which the king afterwards caused to be executed, all in silver, and of which there were such vast numbers that it would take too much time even to make mention of all: wherefore, let it suffice to say that this artist made designs for all the vessels appertaining to the side-table or beaufet of a king, and for all such matters. For the decoration of horse furniture moreover, for masquerades and triumphal processions, with every other kind of thing that could be imagined. Rosso likewise prepared designs, evincing so singular and varied a power of fancy in all, that it would not be possible to do better.

In the year 1540, when the Emperor Charles V. repaired to France,^[30] under the safeguard of King Francis, and visited Fontainebleau, with a retinue consisting of no more than twelve persons, the half of the decorations which the French monarch caused to be prepared for the due and honourable I'eception of so great an emperor was confided to the care of Rosso, the other half being undertaken by the Bologn6se, Francesco Primaticcio. The constructions thereupon executed by Rosso in arches, colossal statues, and other works of similar character, were the most astonishing, according to what was said at the time, and the most stupendous that ever had been exhibited up to that period. But the greater number of the apartments which this master decorated at Fontainebleau were altered, and the works he had executed in them destroyed after his death, by the above-named Francesco Primaticcio, who has replaced them by new and larger fabrics.^[31]

Among the artists who laboured with Rosso in the abovementioned works of stucco and relief, were the Florentine, Lorenzo Naldino, Maestro Francesco d’Orleans, Maestro Simon of Paris, and Maestro Claude, also a Parisian, with IMaestro Laurence of Picardy, all of whom were highly acceptable to him; and many others whom I do not name. But the best of all was Domenico del Barbieri, who is a most excellent painter and master in stuccoes, being a very extraordinary designer, as is made sufficiently obvious by his engraved works, which may truly be accounted among the best in the world. The painters also whom Rosso employed in the works at Fontainebleau were Luca Penni, brother of Giovanni Francesco, called the Fattore, and who was a disciple of Raffaello da Urbino; the Fleming Leonard, who was a very able painter, and who rendered admirably with his colours the designs prepared by Rosso; the Florentine Bartolommeo Miniati, Francesco Caccianimici, and Giovanni Battista da Bagnacavallo; the two last-mentioned artists having offered their services to Rosso while Primaticcio was gone to Rome, whither he had repaired for the purpose of modelling the Laocoon, the Apollo, and many other of the finest antiquities, which it was proposed afterwards to cast in bronze.^[32] I do not here name the masters in woodwork, the carvers, and many others in great numbers, of whose assistance Rosso availed himself in these labours, since it is not needful to speak of all, although many of them produced works that are worthy of high commendation.

In addition to the labours which have been mentioned above, Rosso likewise painted a San Michele, which is an admirable thing; he also executed a picture of a Dead Christ for the Constable, which is likewise a work of great merit, and is now at a place called Escovan,^[33] belonging to that noble. Rosso painted many exquisite pictures in miniature moreover, for the King of France, and a book of anatomical designs was in like manner prepared by this master, whose design it was to have it printed in France; of this certain portions by bis own hand are now in our book. These singularly beautiful cartoons were found among his possessions at the time of his death; one of them is a Leda of admirable excellence, the other is the Tibertine Sybil, who is showing the glorious Virgin, with the Divine Child in her arms, to the Emperor Octavian. In this last is the King Francis, with his Queen, their guard, and a concourse of people, presenting a vast number of figures, all so well done that this work may with truth be declared one of the best that Rosso ever produced.

These, and other productions of which nothing is known,^[34] rendered Rosso exceedingly agreeable to the king, whose liberality some short time before his death had raised his income to more than a thousand crowns yearly, in addition to all that he received for his separate labours, which must have been very considerable; he therefore no longer lived in the manner of a painter, but rather in that of a prince, having numerous servants, many horses, and a house furnished with tapestries, silver utensils, and other muniments and possessions of great value. But Fortune, which seldom or never permits those who confide too much in her promises to remain long in an exalted condition, brought this artist to destruction in the strangest manner imaginable. And that happened on this wise. While Rosso was in the frequent habit of familiarly receiving the visits of the Florentine Francesco di Pellegrino, who greatly delighted in painting and was very intimate with Rosso, the latter was robbed of some hundreds of ducats, when, believing that no other than Francesco could have done this, he caused him to be apprehended and brought before the courts, where he was subjected to a very rigorous examination and put to the torture. But Francesco, who knew himself to be innocent, confessing nothing, was finally released, and moved by a just anger, felt compelled to resent the injurious charge which Rosso had brought against him. Wherefore, having made his complaint for the wrong committed, Francesco pressed him so closely, that finding no help and having no defence to olfer. Rosso beheld himself reduced to a very evil plight, manifestly perceiving that he had not only falsely accused his friend, but blighted his own honour, while the retractation of his words, or the adoption of any other method then within his power,^[35] would leave him equally in danger of being called a treacherous and worthless man; wherefore he determined to take his own life rather than abide any punishment that might be inflicted on him by others.

One day therefore, when the king was at Fontainebleau, Rosso sent a countryman to Paris for a poisonous liquid, pretending to require the same for the preparation of colours or varnishes, but with the resolution to poison himself therewith, as in effect he did. And such was the malignity of the poison thus used, that the countryman, having held his thumb on the mouth of the phial, was on the point of losing that member, seeing that the venom, although well corked and covered with wax, had nevertheless so deadly a force as to corrode the finger, which was not saved without difficulty. This poison Rosso took, and being then in perfect health he yet died a few hours after having taken it, the venom killing him, as it was his purpose that it should do.

When the news of this event was taken to the king it caused him indescribable regret, since it was his opinion that in losing Rosso he had been deprived of the most excellent artist of his time. But to the end that the works undertaken might not remain unfinished, he caused them to be continued by the Bolognese Francesco Primaticcio, who had already performed various labours for him, as we have said, and to whom he gave a good abbey as he had given Rosso a canonicate.

Rosso died in the year 1541,^[36] leaving his friends and brother artists in great sorrow for their loss. By his example they were taught what eminence in the service of a prince may be attained by him who possesses extensive acquirements, and is in all ways agreeable and well-mannered as he was;^[37] many are the reasons indeed for which Rosso deserved to be admired, seeing that he was without doubt most truly excellent.^[38]

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1. In the Records of the Convent of the Most Holy Annunciation in Florence, this painter is called Giovanni Battista di Jacopo del Rosso, and sometimes Giovanni Battista, called Del Rosso. In the French archives he is designated, Rosso del Rosso.
2. That prepared for the great Hall of the Council namely.
3. These figures have perished.
4. Still to be seen in the Cloister of the Servites. This work has been engraved for the Etruria Pittrice.
5. In the greater part of the Apostles neither the hands nor the feet are visible.
6. The head of St. James, who is clothed in the habit of a pilgrim, is the portrait of Francesco Bemi, who is looking smilingly upward, “in allusion,” quoth M. Bottari, “to the facetious style of his works.”
7. It was nevertheless accepted when finished, either by that Director himself or his successor, since it is now in one of the apartments devoted to their use in the Hospital. The subject of this work is the Virgin with St. John the Baptist, St. Anthony the Abbot, St. Stephen, and St, Jerome.
8. In the Cathedral, in the Chapel of St, Carlo.
9. Now in the Pitti Palace. A copy by Francesco Petrucci replacing it in the Chapel of the Dei family. The subject is the Madonna, with St. Mary Magdalen and other saints.
10. See Borghini, Riposo, for certain details respecting the execution of this work, which cannot here find place.
11. Still in the church, and in the second chapel on the right of him who enters by the principal door. Borghini, as above cited, makes cerUiin remarks on this work also, and to him, Riposo, &c., the reader is referred. The colouring of this work has suffered greatly by cleaning and retouching.
12. There is a picture in the Florentine Gallery of the Uffizj, left sketched by Rosso, and representing the Daughters of Jethro defended by Moses from the Midianitish herdsmen. There is also a small picture in that collection by the same master, and which exhibits a little graceful figure of Love playing on a lute.
13. Still to be seen in the church; according to Bottari, it is a work of some merit, and one which does not wholly justify the censure of Vasari,
14. A youth admitted as a grinder of colours by Raphael, who afterwards employed him in many other offices. See ante, p. 38.
15. Gio-Jacopo Caraglio, of Verona, a celebrated copper-plate engraver and worker in gems; he cast medals also, and was much employed at the court of Sigismund I., King of Poland.
16. Of Domenico di Paris Alfani, and of Orazio his brother, mention has already been made in the life of Pietro Perugino. See vol. ii. In the church of Sant’Agostino in Perugia is a picture painted by Orazio, after the cartoons of Rosso.
17. Then the small village, and nov; the town of Jiorgo a San Sepolcro.
18. It was painted for the Church of Santa Chiara, where there is now old copy of the work.—Lanzi, History of Paintiny, vol. i. p. 162.
19. Bottari remarks, and with reason, that this was “a singular agglomeration of personages, more especially, as considering it to be the invention of a priest.”
20. The drawing of this Solomon’s Throne is still in existence, but is so fantastic and extravagant that but for the explanation here given by Vasari, it would not be possible to divine its meaning.
21. The chapel, the model, and the cartoons are alike destroyed.— Ed. Flor., 1832-8.
22. A Transfiguration of Christ, that is to say. The picture is still in the Cathedral of Citta di Castello, where it occupies a place in the Chapel of the Sacrament, but is not in a good light. Lanzi reprehends, and with justice, the eccentric humour of the master, who has brought, as he says, “a family of gypsies into a place where they are by no means appropriately represented.”
23. A compatriot of our author remarks, that “the quarrel of Rosso with the priests, and his abandonment of his friend, do but poorly accord with this description of a thoughtful and judicious person.”
24. These pictures from the life of Alexander the Great, on what was called the Escalier du Roi at Fontainebleau, were repainted by Primaticcio and Niccolo, and have since been restored by Abel du Pujol.—Förster, German Translation of Vasari, 1845.
25. The pictures painted by Rosso in the Gallery of Fontainebleau were destroyed immediately after his death, and were replaced by those of Primaticcio. —Bottari. In our own times certain traces of paintings by Rosso have been discovered beneath the whitewash which had covered them, in the portico called Porte Dorfee. They were restored by the painter Picot, by order of the late King Louis Philippe, and present mythological representations: Aurora and Cephalus, the Battle with the Titans, Diana and Endymion, the Argonautic Expedition, Tithon and Axirora, and Paris wounded by Pyrrhus. There are two other paintings; Hercules and Omphale namely, with the same hero between Pleasure and Virtue, but these have been taken from old copper-plates by M. Picot, and are entirely new.—Ibid.
26. Bottari observes that the Canonicates presented by the king of France, were not, as Vasari supposes, in the Church of Notre Dame, which disposes of its own Canonicates, but in the Church of the Holy Cross of Jerusalem. But what the learned and very pious churchman, Bottari, does not remark, is the singular disposition here niade of church property and preferment.
27. Cellini, in his autobiography, describes himself as by no means satisfied with his own reception by Rosso, when he visited the latter in Paris.
28. The apartment here described has been altered to make way for a staircase, on and about which, according to Bottari, the figures in stucco, and other decorations executed by Rosso, were afterwards placed.
29. The Italian editors of our author affirm, and with reason, that the printers of the first edition must have omitted certain words belonging to this passage, thereby leaving the sense imperfect. Piacenza, in his additions to Baldinucci, has rectified the passage in the following manner: “in each compartment is a seated figure in fresco, with other figures, in such vast numbers that all the gods and goddesses,” &c., &c.
30. Charles repaired to France in 1539, but did not enter Paris until New Year’s Day in 1540. — Masselli.
31. Many of the works performed by Primaticcio himself were subjected to a similar fate after his death.
32. According to Benvenuto Cellini, Primaticcio suggested to King Francis the idea of making casts from the best statues of antiquity, to the end that the works thus performed by Primaticcio might rival those of Benvenuto himself.
33. According to Bottari, Ecouen, or perhaps Ecuette, near Fontainebleau. And in’s edition calls the place “Cevan.”
34. In the Gallery of the Louvre there is a large and valuable picture by Rosso; the subject is a Visitation of the Virgin to Elizabeth. There are also certain allegorical paintings, alluding to events in the life of Francis I. at Fontainebleau. They are in the Gallerie de Francois Mere, and have in part been engraved by Reni, Boivin, and others. These pictiues were restored some years since.—Förster.
35. An Italian commentator justly remarks, that the reparation of so grave an offence by retractation could not have been at any time considered disgraceful, but must have been a just and honourable proceeding.
36. To this Piacenza adds, “and in the forty-fifth year of his age.”
37. In the first or Torrentino edition of our author, we have the following epitaph, which Bottari censures, as wanting the true name, and neglecting to add the age and date of the master’s death; he furthermore reproves the writer for his irreligion;—

    d. m.
    ROSCIO FLORENTINO PICTORI.
    Tum inventione ac dispositione,
    Tum varia morum expressione,
    Tola Iialia Galliaque celeberrimo,
    Qui dum poenam talionis effugere vellet
    Veneno laqueum rependens,
    Tam magno animo quam facinore,
    In Gallia miserrime periit.
    Virtus, et desperatio Florentiae
    hoc monumentum erexere.

38. The edition of Vasari above cited, mentions a cartoon executed by Rosso for the Chapter to which he belonged as canon, but we have not been able to obtain further information respecting it.