Lives of the Most Excellent Painters, Sculptors, and Architects/Vincenzio of San Gimignano, and Timoteo of Urbino

by Giorgio Vasari

 

THE PAINTERS, VINCENZIO OF SAN GIMIGNANO, AND
TIMOTEO OF URBINO.

[born about 1468. —died 1530.] [born about 1470—died 1523.]

PIaving written the life of Andrea of Fiesole, I am next to set forth those of two excellent painters, Yincenzio of San Gimignano in Tuscany namely, and Timoteo of Urbino.^[1] I will therefore first speak of Vincenzio, since it is the portrait of this artist which stands above.^[2] But I propose to mention Timoteo immediately after because they were close contemporaries while both were disciples and friends of Raphael da Urbino.

Vincenzio,^[3] then, who laboured in the Papal Loggie for the graceful Raphael in company with many artists, acquitted himself in such a manner that he was commended by Raphael himself as well as by all besides. He therefore received a commission to paint a façade in terretta which is opposite to the palace of Messer Giovanni Battista dell’ Aquila, and there to his great credit he executed a frieze, wherein he delineated the Nine Muses with Apollo in the centre, above these figures are lions, as being the device of the Pontifi' then occupying the seat of St. Peter, and which are held to be most beautiful.

The manner of Vincenzio was very carefully considered, his colouring was soft and harmonious, his figures were of very pleasing aspect; in short, he did his utmost continually to imitate the manner of Raphael da Urbino, an evidence of which may be seen in the same Borgo, on the façade of a house which stood opposite to the palace of the Cardinal of Ancona, and was built by Messer Giovanni Antonio Battiferro, of TJrbino. The design for that fa§ade was obtained from Raphael by Messer Giovanni Antonio because of the intimate friendship subsisting between them; the master likewise procured Battiferro many other advantages, and even obtained for him a large revenue from the court for the same reason. In one part of the design just alluded to, Raphael included the Cyclops preparing thunderbolts for Jove, in allusion to the name of the Battiferro family;^[4] and in another portion he represented Vulcan forging the arrows for Cupid with many beautiful nude figures, various historical delineations, and several statues, all of which are likewise exceedingly beautiful.

On the Piazza of St. Louis of the French, also, in the city of Rome, this same Vincenzio painted numerous stories on another façade, the death of Ccesar namely, and a Triumph of Justice, with a frieze whereon there is a combat of horsemen, exhibiting remarkable spirit, and executed with extreme care; between the windows immediately beneath the roof of this building there are certain allegorical figures of the Virtues, moreover, which are exceedingly well done. On the front of the Epifani, which stands behind the Curia of Pompey, and near the Campo di Fiore, Vincenzio painted in like manner a representation of the Magi, whom he has depicted in the act of following the star. He executed a large number of other works in that city,^[5] the air and position whereof would seem to be well calculated for causing the minds of men to produce beautiful and admirable labours. Experience has indeed amply taught us, that the same master has not always the same manner in different places, he cannot produce works of equal beauty in all situations, but rather accomplishes some better, and others worse, according to the quality of the air and place wherein he is labouring.

Vincenzio had attained to a very fair reputation in Rome, when in the year 1527 the ruin and sack of that unhappy city, which had been the mistress of the nations, took place; whereupon, being grieved beyond measure at the destruction he had witnessed, our artist returned to his native place of San Gimignano. The sufferings which he had undergone may perhaps have diminished his devotion to the studies of art, and the being deprived of that air from which the spirits of those who produce the beauties and marvels of art derive their nourishment, may also have affected him; be this as it may, Yincenzio suffered a grievous change, and although he did execute certain works at a later period, yet I prefer to pass them over in silence, that I may not obscure the renown and the greatness of that name which he had so honourably acquired for himself in Rome.^[6] Let it suffice to remark, that adverse fate is but too frequently seen to turn the mind from its first object of pursuit, and does indeed sometimes compel the pilgrim into a totally opposite path. This happened also in the case of a companion of Yincenzio called Schizzone, who performed works in the Borgo which were highly commended, as he likewise did in the Campo Santo of Rome, and in San Stefano degf Indiani, but he also was led by the disorders of the soldiery to abandon the path of art, and in a very short time lost his life. Yincenzio died in his native place of San Gimignano, having had but little enjoyment of his life after his departure from Rome.

The painter, Timoteo of Urbino was the son of Bartolommeo della Vite, a citizen of decent condition, and of Calliope, the daughter of Maestro Antonio Alberto of Ferrara,^[7] a tolerably good painter of his time, as his works at Urbino and elsewhere sufficiently demonstrate. His father died while Timoteo was still a child, and he was left to the guardianship of his mother Calliope, but under good auspices and a fortunate augurj, since Calliope is one of the nine muses, and seeing too the close conformity which exists between painting and poetry. After the child therefore had been carefully brought up by the prudent mother, and had been by her initiated into his earliest studies, that of drawing among the rest, the youth entered on his first acquaintance with the world at the time when the divine Raphael Sanzio was flourishing. Having been placed in the first instance to learn the calling of the Groldsmith, he was summoned by his elder brother, Messer Pier Antonio, who was then studying in Bologna, to that most noble city, to the end that he might there pursue that vocation, for which he seemed to have a natural inclination, under the discipline of some good master.

From that period Timoteo dwelt for a considerable time in Bologna, where he was much esteemed, and by the magnificent and noble Messer Francesco Gombruli was received into his house with every kind of courtesy. Passing his time entirely with virtuous and ingenious men, Timoteo was in a few months well known as a promising and deserving youth, v^ho was much more decidedly inclined to the art of painting than to that of the goldsmith. Of this he gave evidence in certain portraits of his friends and others, which were exceedingly well executed, insomuch that it appeared most desirable to the elder brother above-named, that a free development should be afibrded the genius of the youth, and furthermore that to this end it would be proper to remove him from the files and chisels, thus enabling him to devote himself wholly to the study of design; Pier Antonio was moreover persuaded to adopt that course by many of liis friends, and Timoteo, being greatly rejoiced at this decision, instantly applied himself to drawing and the various labours of art, copying and designing with great assiduity all the best works to be found in that city, and always frequenting the society of painters.^[8] He entered with so much zeal on his new path, that the progress which he made from day to day was matter of astonishment, and the rather as he readily acquired the most difficult parts of his art, without having been placed under the discipline of any appointed master.^[9] Enamoured of his profession, he attained to the knowledge of its various mysteries merely by the occasional observation of such painters as he saw preparing their colours or using their pencils. Guided by himself alone, and by the force of nature, he began boldly to handle the colours, adopting a very pleasing manner, and one very similar to that of his compatriot the new Apelles, although he had seen but a few of his works, which were at Bologna.

Having thus very successfully completed several pictures, both on panel and in fresco, by the aid of his good ability, and guided by his fair j udgment; and then feeling convinced that in all these things he had acquitted himself very well, as compared with what had been accomplished by other painters, Timoteo continued the study of his art with great courage, and that to such good purpose, that in process of time he gained a firm footing in his vocation, obtaining the good opinion of all, and awakening the highest expectations. He returned to his native place a man of twenty-six years old,^[10] and there he remained for some months, giving very satisfactory proof of his ability. The excellent picture of the Madonna, which is on the altar of the holy cross in the cathedral of Urbino, is by his hand; in this, beside the Virgin, he depicted San Crescentio and San Vitale,^[11] with a little angel seated on the ground and playing on a viol: the childlike simplicity and grace of this little figure are truly angelic, and the whole work is executed with much art and judgment.^[12] Timoteo also painted the picture for the high altar of the Church of the Santa Trinità, with a figure of Sant’ Apollonia^[13] to the left of the altar.

These works, and some others of which I do not propose to make further mention, caused the name and fame of Timoteo to be bruited about, and he was very pressingly invited by Raphael to Rome; he proceeded thither accordingly with very good will, and was received with that friendliness and cordiality by which Raphael was distinguished, no less than by his excellence in art. In little more than a year from the time when he began to work with Raphael, Timoteo was found not only to have made great progress in painting, but also to have acquired large gains, seeing that within the above-named period he is known to have remitted considerable sums of money to his home. In the company of his master he worked in the church called “della Pace,” where he painted the Sybils of the lunettes to the right of the church, with his own hand, and those figures, so highly esteemed by all painters, are of his own invention also. There are persons still surviving who remember to have seen Timoteo working on these Sybils, and the fact that they were executed entirely by himself, is shown by the Cartoons, which are still in the possession of his successors.^[14]

In the Scuola of Santa Caterina of Siena, this artist painted the Catafalco, or bier on which reposes the corpse, with all those works around it, which have been so much commended, and which were also entirely of his own invention. It is true that certain of the Sienese, from an overweening love of their native place, have attributed these productions to others;^[15] but it is perfectly easy to perceive that they are the work of Timoteo, not only by the grace and beauty of the colouring, but also by the other memorials of himself which he has left in that most noble school of excellent painters.

Now Timoteo was very fortunately and even honourably placed in Rome, yet he could not, as so many do, support the separation from his native place, to which his return was besides perpetually entreated by his kinsmen; he was moreover attracted tliitlier by the counsels of his friends, and these, with the prayers of his mother, who was now become old, induced him to leave Home and return to Urbino, much to the regret of Raphael, by whom, for his many good qualities, he was much beloved. No long time after having done so, Timoteo was persuaded by his kinsfolk to take a wife,^[16] when he became more than ever attached to his fatherland, wherein he moreover perceived himself to be highly honoured; his family also began to increase, and he consequently made a resolution to depart from his home no more, nor was he to be moved from this determination, although he was entreated by Raphael, as may still be seen from various letters, to rejoin him in Rome.

But Timoteo did not cease to labour; on the contrary, he executed numerous ’works in Urbino, and all the cities around it. In Forli, for example, he painted a chapel, in company with his friend and compatriot, Girolamo Genga.^[17] He likewise produced a picture on panel in the same place, which was afterwards sent to Citta di Gastello, with another of similar kind, for the people of Cagli.^[18] At Castel Durante, Timoteo executed various works in fresco, which arc truly deserving of commendation, as indeed are all the works of this master, since all prove him to have had an exceedingly graceful manner, not only in his figures, but in landscape, and every other department of art.

At the request of the Bishop Arrivabene, of Mantua, Timoteo painted a chapel in the Church of San Martino; this he did in company with the above-named Genga; but the altar-piece and central paintings of that chapel are entirely by the hand of Timoteo.^[19] In the same church is a figure of the Magdalen, also by this master: she is standing upright, her vestment is a short mantle, but the figure is covered principally with the long hair, which falls to her feet; and this is so beautiful and natural, that, while observing it, one cannot but fancy that the light silky tresses are stirred by the wind. The countenance, also, has the most divine beauty of expression, and clearly exhibits the love which this Saint bore to her Lord.^[20]

In the church of Sant’ Agatha, likewise, there is a picture by the hand of Timoteo, with exceedingly well-executed figures.^[21] And in the church of San Bernardino, which is situate without the city of Urbino, there is a work by our artist which has ever been highly and deservedly commended. This is on the right hand of him who enters the building, and at the altar of the Bonaventuri, a noble family of that city, the subject is an Annunciation, and the Virgin, who stands upright with folded hands, and with her head and eyes raised towards heaven, is depicted with the most exquisite grace. Over this figure, and in the air, there is the Divine Child portrayed in the centre of a broad blaze of light; his foot is on the Holy Spirit in the form of a Dove; in his left hand is a globe, to signify his dominion over the world; and his right is in the act of benediction. On the right side of the Child is an Angel, who is pointing him out to the Madonna with his finger. On the lower plane, on the level of the Madonna that is to say, stands the Baptist; he is on the right hand, and is clothed in a garment of camels’ hair, which is torn, to the end that the nude figure may be seen. To the left of the Virgin is San Sebastiano, entirely undraped and bound to a tree. The attitude of this figure is exceedingly beautiful, it could not possibly have more relief than the master has here given, nor could any figure be depicted with more beauty in all its parts.^[22]

In the palace of the most illustrious the Dukes of Urbirio, there is a picture by Timoteo della Vite, which is beautiful to a miracle; the subject is Apollo with two of his Muses, the figures partially undraped. This painting is in a retired study, or writing-chamber, used by the Dukes themselves. Timoteo executed many other paintings for the same princes, and produced numerous decorations, which are singularly beautiful,^[23] for their apartments. He also contributed, with Genga, in whose company he worked, to the decoration of certain caparisons for horses, which were sent to the King of France; these he adorned with figures of various animals, so finely depicted, that they appear to the spectator to be possessed of life and movement. This master likewise prepared triumphal arches, resembling those of the ancients, for the reception of the most illustrious the Duchess Leonora, on her marriage with the Duke Francesco Maria. To that prince Timoteo was highly acceptable, as he was indeed to the whole court, and he consequently remained in the service of the ducal family for many years, receiving a very honourable provision.

This master was very bold in design, but was still more remarkable for the soft and pleasing character of his colouring, his works were indeed executed with a care and delicacy that could not be surpassed.^[24] He was a man of a cheerful disposition, social and festive in his habits, very dexterous in all personal exercises, abounding in witticisms, and most acute as well as facetious in conversation; he delighted in music, and performed well on every kind of instrun^nt, but more particularly on the lyre, to which he sang improvisations, with the most extraordinary grace.

Timoteo died in the year of our salvation 1524,^[25] when he had reached the fifty-fourth year of his age, leaving his country as much enriched by his fame and excellencies, as it was grieved by his loss.^[26] He left certain unfinished works in Urbino, and these, having been afterwards completed by others, serve to show, by the comparison, how great the power and ability of Timoteo must have been.^[27]

I have several very fine drawings by the hand of this master in my book, and these I have received from his son, the very excellent and amiable Messer Giovanni Maria. They are all of great beauty and merit; among them is a sketch for the portrait of the illustrious Giuliano de' Medici, done with the pen; which was executed by Timoteo at the time when the above-mentioned Giuliano had repaired to the court of Urbino, and to its most renowned University. I have besides a Noli me tangere, and a figure of San Giovanni Evangelista, who is represented asleep, while the Saviour is praying in the Garden.^[28] All these works are exceedingly beautiful.^[29]

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1. Timoteo della Vite. The life of this artist does not appear in the first edition of Vasari’s Lives.
2. In the second, or Giunti edition, that is to say, which, like the first edition, was published with portraits under the superintendence of the author himself.
3. The family name of Vincenzio was Tamagni.— Coppi, Annali de San Gimignano.
4. The word Battiferro literally meaning iron-beater.
5. The works of Vincenzio here alluded to by Vasari, have all perished.
6. In the church of Sant’ Agostino, at San Gimignano, are the pictures of the Cintola, and that of the altar of Sant’ Anna, both by Vincenzio. The picture of the High Altar in the church of San Girolamo, at the same place, is also by his hand. In the suppressed Convent of Santa Caterina, there is a Marriage of St. Catherine in fresco, by Yincenzio, and in the Dresden Gallery is an exquisite Madonna by this master, which is well known by engravings.
7. For minute details respecting this artist, the reader is referred to Pungileoni, Elogio Storico di Timoteo Viti, Urbino, 1835. See also Grossi, Commentario degli Uomini Illustri d’Urbino.
8. From documents cited by Malvasia, we find that Timoteo studied nearly five years with Francia, by whom he was greatly beloved. See the Felsina Pittrice, p. 55.
9. That this is an error will be sufficiently manifest from what has been said in the preceding note.
10. Timoteo returned to Urbino in the year 1495, as we find from the Journal of Francia himself, as cited by Malvasia, and wherein we have the following affectionate and touching entry:—“4th April. This day departed my dear Timoteo: may God give him every blessing.”
11. See Mrs. Jameson, Poetry of Sacred and Legendary Art, vol. ii. p. 282.
12. This painting is on canvas; it was transferred from the cathedral to the oratory, which belongs to the Brotherhood of the Holy Cross.—Ed. Flor. 1832-8. It is now in the Brera, at Milan. See Passavant, Rafael von Urbino, vol. i. p. 376.
13. The figure of Sant’ Apollonia, which is an exceedingly graceful work, is still in the Church of the Trinity.
14. In the life of Raphael, Vasari speaks of these works as among the best of those executed by Raphael himself, (see ante, p. 24.) For certain details on this subject, see also Passavant, Rafael von Urbino, vol i, p. 192. vol. ii, p. 166.
15. To Pacchierotto, according to Della Valle, (Lettere Sanesi, tom. iii. p. 181;) according to Giulio Mancini, (who nevertheless cites Della Valle,) to Baldassare Peruzzi, to whom Vasari himself also ascribes them in his life of Peruzzi, which follows.
16. Timoteo della Vite married Girolama Spacioli, who survived him, continuing in a state of widowhood for thirty-two vears.— Schorn, German Edition of Vasari.
17. The works performed by Timoteo Vite and Girolamo Genga in common, were in the church of San Francisco, but that edifice has now been destroyed.—Ed. Flor. 1832 -8.
18. This picture represented St. Martin, and is said by Lanzi to be one of the best by this master now remaining to us. See History of Painting, (English Edition) Roman School, Epoch ii. vol. i. p. 398.
19. The altar-piece, representing St. Martin himself, is now in the sacristy of the church dedicated to that saint; the Pope, St. Martin, as well as St. Martin the Bishop, is depicted thereon, with two votive portraits. In this work the master approaches the manner of Francia, reminding the spectator of that of Perugino also. —Ed. Flor. 1832.
20. This work is now in the Gallery of Bologna. See the Catalogue of Giordani. See also Passavant, ut supra.
21. The authorities on this subject declare that no work of Timoteo della Vite ever appeared in the church of St. Agatha.
22. This picture is now at Milan, in the Gallery of the Brera. Outlines, and a description of it, may be found in the published work relating to this gallery. See also Passavant, and the Elogio Storico of Pungileoni.
23. Many paintings belonging to the Dukes of Urbino were transferred by inheritance to the Medici family, but the fate of the work here described is not known.
24. In the Memorie di Timoteo Vite d'Urbino, published by Andrea Lazzari, at that city, in 1800, we have mention of many works not alluded to by Vasari: there was an Exaltation of the Cross for example, which was formerly in the church of San Francesco, at Pesaro, but was lost at sea by the wreck of the vessel in which it was about to be transported into foreign lands. An Urbinese gentleman, named Antaldo Antaldi, now (1838) resident in Pesaro, has a highly-finished and well-preserved miniature by this master, in his possession; the subject is Christ on the Mount of Olives, and the work is one of high value.—Masselli.
25. In the Book of the Brotherhood of St. Joseph, to which Timoteo belonged, the death of this master is recorded as having taken place on the 10th of Oct., 1523.
26. Timoteo della Vite left two sons, Giovanni (whom Pungileoni calls Francesco) Maria, and Pietro; the first entered the church, the second became a tolerably clever painter.
27. One of the works of Timoteo, a picture called the Conception namely, painted for the church of the Osservanti in Urbino, is now in the Finacoteca of Munich.
28. Among the drawings in the Florentine Collection of the Uffizj, there are four by Timoteo della Vite, one of which represents Christ in the Garden, with St. John sleeping, as here described.
29. Minute details respecting this master will be found in the Elogio Storico of the Padre Luigi Pungileoni, as cited above.