Lives of the Most Excellent Painters, Sculptors, and Architects/Bastiano, called Aristotile da San Gallo

by Giorgio Vasari

 

THE FLORENTINE PAINTER AND ARCHITECT, BASTIANO,
CALLED ARISTOTILE DA SAN GALLO.

[born 1581—died 1551.]

When Pietro Perugino, then an old man, was painting the picture for the high altar of the Servites, in Florence, a nephew of Giuliano and Antonio da San Gallo, called Bastiano, was placed with him to learn the art of painting. But the youth had not been long with Perugino, when he saw the work of Michelagnolo in the house of the Medici, the Cartoon, that is to say, of which we have so frequently spoken, and became so fervid an admirer of the great artist’s manner, that he would no longer frequent the workshops of Pietro, seeing that the manner of the latter, in comparison with that of Buonarroti, appeared to him to be dry and minute; a manner, in short, that was by no means to be imitated.

Now among all the artists who were then engaged in copying that Cartoon, which was at one time the school of all who wished to devote themselves to painting, the most able was considered to be Ridolfo Ghirlandajo; wherefore Bastiano selected that Ridolfo for his companion, to the intent that from him he might learn to paint, and thus they became very intimate friends. But not for this did Bastiano neglect the study of the above-named Cartoon, or the copying of the nude figures thereof; on the contrary, he drew the whole composition in a smaller size, designing every figure in the different groups, a thing which none had previously done, no one but himself having copied the work as a whole.

All this Bastiano did with the utmost care and attention that he could possibly command, devoting himself to the study of the work with such earnest zeal, that he finally became capable of rendering an exact account, not only of the attitudes and muscles of those figures, but of the forces exerted by the latter; nay, he was even ready on every occasion to assign the motive which had induced Buonarroti to adopt certain attitudes, such namely as presented more than common difficulty of execution; and in doing this he would pronounce his opinions with a gravity, deliberation, and sententiousness, which caused a party of very clever artists to fix on him the name of Aristotile,^[1] and this was considered to be all the more suitable because it appeared that, according to an ancient portrait of the great writer and secretary of nature, Aristotle, the face of Bastiano bore a very close resemblance to that of the Stagirite.

But to return to the small Cartoon designed by Bastiano. This was held by the artist himself in such account, that when the original work had come to an evil end, he was not to he induced to part with his copy, neither for gold nor for any other price; nor would he permit it to be copied; nay, he would never even suffer it to be seen except by his dearest friends, to whom he showed it as one does something very precious and as a great favour. At a subsequent period, in the year 1542 that is to say, this design was copied in oil by Aristotile in pursuance of the counsels of Giorgio Vasari, who was his intimate friend; it was copied, I say, in chiaroscuro, and sent by means of Monsignore Giovio to Francis King of France, by whom it was greatly prized, and who largely rewarded San Gallo. This was done by Vasari, to the end that the work of Michelagnolo might be preserved, seeing that designs on paper are very liable to be lost.

In his youth, Aristotile took great pleasure in architecture, as all those of his family had done, and occupied himself with measuring the plans of buildings; he studied the details of perspective also with much care, and in this he was greatly assisted by his brother Giovan Francesco, who was employed as an architect in the fabric of San Pietro under the Proveditor Giuliano Leni.

By this Giovan Francesco therefore, Aristotile was induced to visit Rome, where his brother set him to keep the accounts of a large establishment, consisting of Tufa and Puzzolana works, from the numerous furnaces of which Giovan Francesco derived large gains. Bastiano remained therefore, for some time at that occupation, doing nothing, as respected art, but draw in the chapel of Michelagnolo, except that he sometimes resorted, by the intervention of Messer Giannozzo Pandolfini, Bishop of Troja, to the house of Raffaello da Urbino.

Now about this time Raphael had prepared for the abovenamed Bishop, a design for a palace, which the latter proposed to erect in the Yia di San Gallo at Florence, when the before-mentioned Giovan Francesco was despatched to put the design of Raphael into execution, which he did accordingly, using all the promptitude with which such a work can be carried forward. But in the year 1530, Giovan Francesco being dead, and the siege having caused many changes in Florence, this building was left unfinished, as will be related hereafter. The completion of that edifice^[2] was subsequently committed to Aristotile, the brother of Giovan Francesco, who had returned to Florence, after having accumulated a large sum of money, under the abovementioned Giuliano Leni, and by pursuing the path which had been laid open to him by Giovan Francesco.

With a part of the money thus obtained, Bastiano was persuaded by his friends, Luigi Alamanni and Zanbio Buondelmonte, to purchase the site of a house behind the convent of the Servites and near to the dwelling of Andrea del Sarto, where he afterwards built a small but very commodious habitation, intending to take a wife and there settle quietly. Having thus returned to Florence, Aristotile, who had given much time to the study of perspective in Rome under Bramante, then seemed to care for no other occupation, although he would now and then take a portrait from the life, and also painted two large pictures in oil, the subjects of which were the Fall of Adam and Eve, with their Expulsion from Paradise: but these he had executed from copies which he had made in Rome, after the works depicted by Michelagnolo in the chapel; for which reason, and because they were borrowed from another master, Aristotile received but little commendation for them.

But, on the other hand, all the works that Bastiano accomplished in Florence when Pope Leo arrived in that city, were very highly extolled, he having among other things erected an Arch of Triumph in company with Francesco Granacci opposite to the gate of the abbey, and this being adorned with historical representations, which were indeed most beautiful. At the marriage of the Duke Lorenzo de Medici in like manner, Bastiano was of essential service in all the preparations, more especially in those required for the dramatic shows, in all which he mightily assisted Franciabigio and Ridolfo Ghirlandajo, who had charge of the whole.

At a later period Aristotile painted many pictures of Our Lady in oil, partly after his own invention, but partly copied from the works of others. Among these pictures was one similar to that which Raphael had depicted for the Church of Santa Maria del Popolo in Rome, and wherein the Madonna is represented as covering the Infant Christ with a veil: this work of Bastiano’s is now in the hands of Filippo d'Antella, and there is another also by Aristotile which is in the possession of the heirs of Messer Ottaviano de’ Medici, as is also a portrait of the above-mentioned Lorenzo de’ Medici, which Bastiano copied from that made by Raphael. He executed many other pictures in like manner about the same time, some of which were sent into England.

But knowing that he had no power of invention, and aware of the profound study and well-grounded knowledge of design required by painting, Aristotile determined, since the want of these qualities would prevent him from attaining to any great excellence; he determined, I say, that his calling should be architecture and perspective, but he readily prepared scenic decorations for the drama whenever he had an opportunity, that being a kind of work in which he delighted exceedingly. When the above-named Bishop of Troja recommenced the building of his palace in the Via di San Gallo, Aristotile received charge of that work; and this, much to his credit, he conducted in due time to the state in which we now see it.

Bastiano had meanwhile formed a great friendship with Andrea del Sarto, his neighbour, from whom he acquired knowledge which contributed much to the perfection of his works, but he still devoted himself with particular zeal to the study of perspective, insomuch that his assistance was often used in the festivals which, in that time of quiet for Florence, were given by certain companies of gentlemen then in the city. When the company of the Cazzuola, for example, performed the amusing comedy of the Mandragola in the house of Bernardino di Giordano, which is situate at the corner of the Monteloro, Andrea del Sarto and Aristotile prepared the scenic decorations, which were most beautiful. In another comedy by the same author, which was performed no long time after the above, in the house of the kiln-master Jacopo, at the gate of San Friano, Aristotile also prepared the scenes. These things greatly pleased the people at large, but they were more particularly acceptable to the Signors Alessandro and Ippolito de’ Medici, who were then in Florence under the care of Silvio Passerini, Cardinal of Cortona.

By these works Aristotile acquired so great a name, that he resolved to abide by them as his vocation, and matters of that kind were ever afterwards his principal occupation; there are indeed some who affirm that his name of Aristotile was given to him because he was considered to be in perspective what Aristotle was in philosophy.

But as it often happens that from the summit of peace and tranquillity there is a change to wars and discords, so, with the year 1527, all joy and gladness in Florence was transmuted into sorrows and troubles, for the Medici being then driven out and the pestilence and the siege coming after, many years passed over, during which people lived in perpetual turmoils. Wherefore, as no good could be done by artists at that time, Bastiano then remained always in his house occupied with his studies and whimsies.

Matters afterwards beginning to clear up a little, on the Duke Alessandro assuming the government of Florence, the young people belonging to the company of the “Children of the Purification,” which has its seat opposite to San Marco, determined to perform a Tragi-comedy composed by Giovan Maria Primerani, the subject was taken from the Book of Kings, and the plot turned on the troubles which followed the violence suffered by Tamar. The care of the scenic decorations was given to Aristotile, who, the capabilities of the place considered, produced a more beautiful performance than had ever before been executed for a similar purpose. But besides the merit of the decorations, the drama, a very fine one in itself, was extremely well performed and greatty pleased the Duke Alessandro and his sister, who heard it; wherefore their Excellencies caused the author of it, who was then in prison, to be liberated, but on condition that he should write another drama, the choice of subject being left to himself.

Primerani having written his work accordingly, Bastiano constructed a most beautiful proscenium in the Loggia of the garden of the Medici on the Piazza di San Mlarco, which he richly embellished with columns, recesses holding statues, and many other fanciful ornaments which had never before been applied to such purposes; but all this gave infinite pleasure, and the custom thus introduced has added greatly to the beauty of that sort of painting. The subject of the drama was from the History of Joseph, and displayed him first as falsely accused of offering violence to his master’s wife, and next as imprisoned, but ultimately set at liberty by virtue of his interpretation of the King’s dream. These decorations also pleased the Duke exceedingly; and as the time for his nuptials with Madama Margherita of Austria approached, he commanded that another drama should be prepared, and that the scenic preparations for representing the same should be made by Aristotile at the house which belongs to the Company of Weavers, and which is close to the abode of the Illustrious Ottaviano de’ Medici, in the Via di San Gallo.

Aristotile set hand to the work accordingly, giving all the care and attention of which he was capable thereto, and completing it to the utmost perfection, but as Lorenzo di Pier Francesco de’ Medici,^[3] who had composed the drama to be performed,^[4] and had charge of the whole representation, as well as of the music—as Lorenzo I say, was then fully occupied with the thought of how best he might compass the death of the Duke, by whom he was so much beloved and favoured, so he now believed that means for accomplishing his purpose might be found in the preparations for that representation. With this intent Lorenzo gave orders that the walls on both sides of the curtain, at that point where the floor of the stage terminated in the staircase leading behind the scenes namely, should be removed to the extent of eighteen braccia, in order that a capacious recess or chamber might there be prepared with its floor on a level with that of the stage, for the convenience of the singers.

But above this first floor Lorenzo proposed to have a second for the musical instruments, organs, harpischords, and others of such kind as are not easily moved or changed, while the space left by the wall which he had caused to be thrown down, he desired to have covered with canvas painted in buildings and perspective views, all which pleased Aristotile greatly, because the proscenium was enriched thereby, and the floor of the stage was at the same time disencumbered of the musicians. There was, however, one thing which did not please him, namely, that the principal support of the roof, now left without the wall on which it had been sustained at that part, was not to be formed, as was fitting, of a large double arch, the strength of which would be very great, but by the wish of Lorenzo the security of the same was to depend entirely on a few props, so that the roof was to receive no support that could in any way interfere writh the sound of the instruments; to the end, as he averred, that no interruption might be given to the music.

But Aristotile clearly perceived that in this plan there was a danger by which many lives might be destroyed, since the fall of this construction must involve a large number of persons in its ruin; he could, therefore, by no means be brought to agree with Lorenzo on that point, and it is certain that the intention of the latter was no other than the destruction of the Duke, by means of that contrivance.

Aristotile therefore, not being able to get the good reasons which he offered into the head of Lorenzo, had resolved to withdraw himself from that undertaking, and with the blessing of God to depart from the place, when Giorgio Vasari, who, though then but a youth, was in the service of the Duke Alessandro, and much favoured by Ottaviano de’ Medici, chanced to hear the contention between Lorenzo and Aristotile, as he was painting certain of the decorations for the proscenium. Throwing himself dexterously between them, therefore, he then heard what each had to say, and perceiving clearly the danger threatened by the method which Lorenzo would have adopted, he proposed a plan by which the place might be rendered sufficiently secure without constructing an arch or in any way impeding the effect of the music. He proposed to lay two double beams namely, of fifteen braccia each, the whole length of the wall, and to fasten these with iron clamps to the main timbers of the roof in such sort that the central beams could then repose thereon, which they might do as securely as on an arch, neither more nor less.

Lorenzo would, nevertheless, not listen either to Giorgio who proposed, or to Aristotile who approved this plan; he would have nothing done, in short, but what he had from the first desired, yet he offered no opposition to the opinions given, only such manifest sophistries and cavils that his evil intentions became obvious to every one. Wherefore Giorgio, well knowing the frightful consequences that might result from Lorenzo’s design, and certain that this was no other than a plan for the wilful slaughter of some three hundred persons, declared that he would very certainly describe the method to the Duke, when his Excellency might send to examine the matter and provide against the consequences to be expected. Hearing this, and fearing to be discovered, Lorenzo, after many words, gave Aristotile permission to follow the plan proposed by Giorgio, which was accordingly done.

These decorations were the most beautiful, not only of all that had ever before been prepared by Aristotile, but of all that had ever been executed by any one up to that time, since Bastiano there constructed wings or side scenes, with a magnificent arch of triumph at the extremity of the stage, which last was painted to represent marble, the whole adorned with historical delineations and statues, to say nothing of perspective views representing streets, &c. stretching far away into the distance, and of many other embellishments, all giving proof of the most incredible care and forethought.

When the Duke Alessandro was ultimately assassinated by the above-named Lorenzo, and when the Signor Cosimo, after being created Duke in the year 1539, was to celebrate his nuptials with the Signora, Donna Leonora di Toledo, a truly distinguished lady, and one of such great and incomparable excellence that she may be compared without dispute to all that have been most renowned and extolled in the ancient histories, nay, perchance, may well be placed before them; when this marriage, I say, which was solemnized on the 27th June, 1539, was to take place, Aristotile constructed another scenic representation in the great Court of the palace of the Medici, that namely wherein is the fountain. In this scene, which presented the city of Pisa, Bastiano surpassed himself, displaying a richer variety of invention and better execution than he had ever before done.

It would indeed not be possible to bring together a more admirably varied arrangement of windows and doors, more fanciful and remarkable fronts of palaces or streets, and of lines retiring more naturally into the far distance; all being clone in strict accordance with the rules of perspective. There was to be seen the leaning tower of the Cathedral, with the Cupola, the round Church of San Giovanni, and other peculiarities of that city; of the flights of steps which Bastiano added, and of the deception which these caused to all who beheld them, I will say no more, lest I should appear to be merely repeating what has been related before, and will but remark that those steps which had the appearance of ascending from the ground to the stage, were of an octagonal form in the centre, while at the sides they were quadrangular, being managed in such sort as to display a degree of simplicity which was the perfection of art, and adding to the decorations above them a grace and finish the beauty of which could not be surpassed in that kind of work.

Behind all the buildings of this scene Bastiano, moreover, constructed, with great ingenuity, an arch whereon was erected a species of lanthorn made of wood, with a Sun measuring a braccio in diameter, which was formed of a ball of crystal filled with distilled water; behind the ball were kindled torches, which caused it to shine in such sort that the ceiling, the decorations, and the stages were all illuminated by that splendour in a manner which made it appear to be the true and natural Sun. This Sun being surrounded by rays of gold which covered the curtain, was gradually drawn up by means of a windlass in a fashion which caused it to appear that the sun had risen as the representation of the drama commenced; and having ascended to the centre of the arch, it then began to descend in like manner, so that at the close of the drama the sun had the appearance of having set.

The author of this comedy was Antonio Landi, a Florentine gentleman, while Giovan-Battista Strozzi, then a youth, and one of admirable parts, received charge of the interludes and music. But as there was enough written at the time concerning the interludes, music, and other circumstances whereby this drama was accompanied, I will say nothing more of them, except that the whole was arranged by GiovanBattista Strozzi, Il Tribolo, and Aristotile, yet I will not omit to mention the names of certain artists by whom pictures for those decorations were executed.

The side walls beneath the stage were divided into six compartments, in each of which was painted a picture eight braccia high and five braccia wide; every one being surrounded by an ornamental frame-work, a braccio and twothirds in width. This bordering, which formed a kind of frieze, had the inner angles, or those towards the pictures, cut off; and on these were four medallions lying on a cross, for each picture, two of which had mottoes in Latin, while the other two had trophies or devices suitable to the subject of the painting. The space above these works was entirely covered with a bordering of blue baize, except at the part where the proscenium interposed, at which point there was a canopy, also of blue baize, and which extended over the whole court. On the border of baize, which passed above the pictures, were the arms of some of the most illustrious of the families connected with the house of, Medici.

I begin with the first picture on the eastern side, and next the stage; this was by the hand of Francesco Ubertini, called II Bacchiacca, and the subject chosen was the Return from Exile of the Illustrious Cosimo de’ Medici: the device was a golden branch bearing two doves, and the arms in the frieze or border were those of the Signor Duke Cosimo. In another, which was by the same artist, was the visit of Lorenzo the Magnificent to Naples; the device being a Pelican, and the arms those of the Duke Lorenzo of the house of Medici and Savoy. The third picture was painted by Pier Francesco di Jacopo di Sandro, and represented Pope Leo X. when, on his visit to Florence; he is borne along under a canopy, carried by the men of his native city: the device was a right arm, the arms were those of the Duke Giuliano of the house of Medici and Savoy. The fourth picture, also by Pier Francesco, represented the Signor Giovanni issuing in triumph from Biegrassa, which place he had taken by the might of his arms. The device of this picture was the thunderbolt of Jove, and the arms in the frieze were those of the Duke Alessandro, and displayed the coats of Austria and of Medici.

The fifth picture showed Pope Clement VII. crowning the Emperor Charles Y. in Bologna: the device was a Serpent biting his own tail, and the arms were those of France and Medici. This picture was by the hand of Domenico Conti, a disciple of Andrea del Sarto, but he did not give proof of much ability therein,^[5] having been disappointed of the aid of certain young men from whom he had expected assistance, seeing that all the artists were then in full occupation, the bad as well as the good. His failure caused Domenico to be much laughed at, but principally, because he had at other times shown himself prompt to ridicule others, and that with but little discretion. For the sixth story, which was the last on that side, and was executed by the hand of Bronzino,^[6] the subject chosen was the Dispute which the Duke Alessandro had with the Florentine exiles in Naples and before the Emperor Charles V. The river Sebeto, with numerous figures, was delineated in this picture, which was, indeed, the best of all, and a singularly beautiful work. The device was a Palm, and the arms were those of Spain.

On the other side of the stage, and corresponding to the Beturn of the Illustrious Cosimo, was the fortunate Birth of the Duke; the device being a Phoenix, and the arms on the frieze or border exhibiting a Bed Lily, which is the impress of the City of Florence. Next to this was the creation or election of Cosimo to be Duke, the device being the Caduceus of Mercury, and the arms those of the Castellan of the Fortress. Now, this picture had been designed by Francesco Salviati, but, as he was obliged to leave Florence just at that time, it was finished—and admirably well—by Carlo Portelli da Loro.^[7] In the third picture were the three proud Campanian Orators expelled from the Boman Senate, as a requital for their presumption, as we find related by Titus Livius, in the twentieth book of his History; but, on that occasion, these orators were intended to signify three cardinals, who had vainly beset the Duke Cosimo, with the hope of depriving him of the government. Of this the device was a Winged Horse, and the arms were those of Salviati and Medici.

The fourth story exhibited the Taking of Monte Murlo; the device chosen being the Horned Owl of Egypt, placed over the head of Pyrrhus; the arms were those of the House of Sforza and of the Medici. This picture was executed by Antonio di Donnino,'^[8] a painter who gave considerable animation to his figures, and in the distance of whose picture there was so admirable a skirmish of cavalry, that this artist, reputed to be of no great distinction, was found on that occasion to have succeeded much better than some others who were great men, but only according to report. In the fifth painting was seen the Duke Alessandro invested by his Imperial Majesty with all the ensigns of his ducal dignity: the device was a Magpie, with a Branch of Laurel in its bill, and the arms on the frieze were those of the Medici and of Toledo. This picture was by the hand of the Venetian, Battista Franco.^[9]

The last of all these pictures exhibited the Marriage of that same Duke Alessandro, which had been decided on in Naples, and in the device were two Crows, the crow being an ancient symbol of marriage. The arms on the frieze were those of Don Pietro, viceroy of Naples, and this work, which was by the hand of Bronzino, was painted with so much grace that it surpassed, as that before-mentioned had done, all the stories that were executed by the other masters. Aristotile himself depicted a frieze on the Loggia, with small historical representations and warlike trophies; they were exceedingly well done, and the whole work pleased the Duke greatly; his Excellency therefore rewarded Bastiano very largely.^[10] That artist thenceforward continued for some time to prepare decorations of similar kind, almost every year, for the dramas performed during the Carnival, having obtained so much facility from his extensive practice, to say nothing of his natural endowments, that he had intended at one time to write on the subject, and to teach others. But this undertaking he afterwards abandoned, partly because he found it more difficult of accomplishment than he had expected, but partly also because the preparation of such works was afterwards committed, by those who, at a later period, held the government of the palace, to Bronzino and Francesco Salviati, as will be related in due course.

Finding himself therefore to be left for some time without employment, Aristotile departed from the city of Florence, and repaired to Borne, there to seek his cousin Antonio da San Gallo; and after having been received very gladly, and treated in the most friendly manner by Antonio, Aristotile was employed by that master to superintend certain buildings then in progress, with a stipend of ten crowns per month; he was afterwards sent to Castro, where he remained several months, having received a commission from Pope Paul III. to superintend the erection of a large part of the walls of that place, after the design and under the directions of Antonio.

But Aristotile, having been brought up with Antonio from a child, and having accustomed himself to treat him familiarly, was now held at a distance, as it is reported, by his cousin, because he would never adopt the habit of saying “you” to Antonio, but constantly addressed him as “thou,” even though it were in the presence of the Pope himself— to say nothing of a circle of nobles and gentlemen, after the manner still practised by Florentines accustomed to the ancient fashions, who give the “thou ” to every one as though they came out of Norica, they not being able to accommodate themselves to the modern modes of address, as do those who gradually adopt the usages which they see practised around them: but how strange this must have appeared to Antonio, accustomed as he was to be honoured by Cardinals and other great men, let every one judge for himself. His stay at Castro thus became irksome to Aristotile, and he begged Antonio to arrange for his being sent back to Rome; with this request Antonio complied willingly, but observed to Bastiano that he must acquire better manners, and treat him in a different fashion, more especially when they were in the presence of great personages.

Now it happened that Roberto Strozzi making a banquet, at the time of Carnival, in one of those years which Bastiano spent at Rome, for certain Signori who were his friends, and having to perform a drama in his house, employed Aristotile to make due preparation for the same in the Great Hall, which he did in a manner so pleasing, so graceful, and so beautiful (the space at his command not being very great), that every one was astonished at the sight thereof. Among those who thus admired this work was the Cardinal Farnese, but that prelate, not content with admiring, caused Aristotile to arrange a theatre for himself in his palace of San Giorgio, wherein is the Chancery, and in one of those halls which look on the garden, and are in the story beneath the principal floor of the Palace; commanding him, moreover, so to construct the same, that it might remain permanent, and thus be ready for his use at any time when he might require or wish to avail himself thereof. This work also Aristotile conducted with all the care and study that he could possibly bestow thereon, which caused the Cardinal to be infinitely pleased with it, and the result was equally satisfactory to every one connected with art.

Now the Cardinal had committed the care of paying Aristotile to Messer Curzio Frangipani, and the latter, desiring as a prudent man should, to do what was right, but not to overpay the artist, called on Perino del Vaga^[11] and Giorgio Vasari to estimate the work. This was just then particularly agreeable to Perino, for he detested Bastiano, and felt much displeased that he had received the commission for that work, which he’thought should of right have been given to himself, as being a servant of the Cardinal; he was besides full of anxiety and jealousy because the Cardinal had not only availed himself of Bastiano’s services, but was at that time employing Vasari also, to whom he had given a thousand crowns for having painted in fresco the Hall of the “Parco Maiori,” in the Chancery, a work completed by Giorgio in a hundred days. Moved by these causes, therefore, Perino determined to estimate the abovenamed decorations of Aristotile at so small a sum as should make him repent of having undertaken them.

But Aristotile, having heard who were the artists appointed to estimate his work, went to speak to Perino, and at the very first word he began, as was his custom, to cast his “thou ” at Perino’s beard, as speaking to one who had been well known to him, nay, was a friend of his in his youth. Thereupon Perino, already ill-disposed towards him, became so angry, that without being aware of what he was doing, he all but laid open the design which he had so maliciously formed; all which being related by Aristotile to Giorgio, the latter bade him not to have any anxiety, but to be of good cheer, since no wrong should be done him.

Shortly afterwards, Perino and Giorgio met by appointment to put an end to that affair, when Perino, speaking first, as being the older man, began to depreciate the work, and to declare that it was but an affair of a few baiocchi,^[12] adding, that since Aristotile had received money on account, and had besides been paid for all the assistants whom he had employed, so he was already more than handsomely remunerated for his labour: he further remarked, “Had I received the commission for this work I would have done it in a very different manner, and with another sort of stories and decorations than has been exhibited by this fellow, but the Cardinal is perpetually favouring somebody who does him. but little credit.”

From these words and others of similar kind, Vasari perceived clearly that Perino was better disposed to give evidence of his displeasure with the Cardinal, and avenge himself on Aristotile, than to guard with a friendly mind the interests of a good artist, and to see that he was properly repaid for his toils and cares; wherefore speaking in a very gentle manner, Vasari replied to Perino in these words:— “Although I do not pretend to more than ordinary knowledge of such works, yet have I seen such from the hands of those who knew perfectly how to do them, and it appears to me that this is an exceedingly well executed performance; not meriting, as you say, a few baiocchi only, but rather worthy to be estimated at many crowns. Neither does it appear to me fair or just that he who labours at his desk to produce designs, which are afterwards to he executed in large paintings, comprising so many and such varied subjects, should then receive for the laborious thought of his nights, and the toils, perhaps of many weeks, only so much as one would pay the daily work of him who, instead of having to rack his brains in the manner that Aristotile has done, is only called on to copy and imitate, without any fatigue of mind, and but little in comparison of hand or body.

“But suppose that you had, as you say, received the commission for this work, although you might have added more stories and richer ornaments, as you affirm, yet you would perhaps not have produced a more graceful result than is exhibited by Bastiano, who in this kind of work has very judiciously been considered by the Cardinal to be superior to yourself. Above all, you are to remember that by judging this matter unjustly, it is not to Aristotile alone, but to the knowledge and ability of artists in general that you do wrong; most of all, however, do you injure your own soul and offend your conscience, if you depart from the uprightness of duty for the sake of anger and private vexation: be certain, also, that good judges, who cannot but perceive the work to be a fair one, will not censure the artist, because it has been unduly estimated, but will blame the weakness of our judgment, or perhaps the malignity and envy of our nature. Nay, we know well, moreover, that whether we attempt to over-estimate the works we are called to judge for the sake of winning favour from the artist, or whether we depreciate and censure the good works of another to avenge ourselves of an injury received, we must needs be ultimately known to men as well as to God for what we are; malignant, ignorant, and wicked. Consider, too, you who have a hand in all the works executed in Borne, what would you think if others were to estimate your works as you judge theirs? Put yourself, I beseech you, in the place of this poor old man, for then you will see to how great an extent you are departing Ifom reason and justice in this matter.”

These words and others, which were spoken in the most friendly way by Vasari to Perino, produced such an effect, that they did at length agree upon an upright estimation. Bastiano was well satisfied, therefore; and with that money, with the savings which he had made from his stipend, and with the sum received for the picture, which, as we related at the commencement, he had sent into France, he returned joyfully to Florence. Nay, although Michelagnolo, who was his friend, had intended to avail himself of Aristotile’s services in the building which the Romans were proposing to erect on the Capitol, he was not to be detained even by that offer, but determined to return at once to his native place.

This he did in the year 1547, and presenting himself to kiss the hand of the Signor Duke Cosimo, he begged his Excellency, since he had commenced the erection of numerous buildings, to be pleased to accept his services in aid of those works, and that Prince, having received him kindly, as he has never failed to receive all men of worth, commanded that he should be paid a stipend of ten crowns per month, assuring him that he should be employed as occasion might arise. Receiving this stipend, therefore, Bastiano lived peaceably some years without labour of any kind, and finally died at the age of seventy, on the last day of May in the year 1551, when he was buried in the church of the Servites. Some of the drawings of this artist are in our book, and others are in the hands of Antonio Particini; among the number are several plates with views in perspective, which are exceedingly beautiful.

Contemporaries and friends of Aristotile were two painters, of whom I will here make some brief mention, seeing that certain truly praiseworthy performances which they have produced, give them a right to be named among the masters here recorded. The first was Jacone,^[13] and the second Bacchiacca^[14] The works of Jacone were not very numerous, he being one of those men who pass their time in gossiping and jesting, and contenting himself with what little Fortune and his idleness permitted him to obtain, which was indeed often less than his necessities demanded. As lie had frequent intercourse with Andrea del Sarto, Jacone designed exceedingly well and with much boldness, he also showed considerable fancy and originality in the attitudes of his figures, turning and contorting the same in all directions, seeing that lie sought to vary and make each one different from the others in all his compositions, and of a truth he frequently gave evidence of much power of design, being fully capable of imitating the good when he chose to do so.

While still very young, Jacone painted numerous pictures of Our Lady in Florence, and many of these were sent to France by the Florentine Merchants. At Santa Lucia, which is in the Via de’ Bardi, he painted a picture of God the Father, the Virgin Mary, and Our Saviour Christ, with other figures in the same work.^[15] At Montici, on the corner of the house of Ludovico Capponi, he painted two figures in chiaroscuro, one on each side of a Tabernacle. At San Romeo,^[16] also, Jacone painted a picture, Our Lady namely, with two saints.

Having afterwards heard the façades which Polidoro and Maturino had executed in Rome, highly extolled, Jacone, without saying a word of his intention to any one, repaired to that city, where he remained several months, during which time he executed numerous copies, and made so much progress in his art that he was afterwards enabled on many occasions to prove himself a very good painter. The Cavaliere Buondelmonte gave Jacone a house of his, which he had built opposite to Santa Trinità at the entrance of the Borgo Sant’ Apostolo, to paint in chiaro-scuro, and here the artist executed stories from the life of Alexander the Great; these are in many parts exceedingly beautiful, and have been conducted with such excellence of design and so much grace, that many believe Andrea del Sarto himself to have furnished the designs for the whole.^[17]

The example which Jacone had given of his ability in this work gave rise to the expectation that he would in time accomplish great things; but as his head was ever running on amusements, and he continually employed his time in suppers and feastings of all kinds with his friends, instead of giving it to labour and study, he was constantly observed rather to degenerate than to make new acquirements. But a circumstance, which I scarcely know whether to deride or to compassionate, is to be related of Jacone: he belonged, that is to say, to a company or rather a horde of young men, who, under the pretext of living like philosophers, demeaned themselves rather like so many swine or other brute-beasts, never did they wash either hands or face, or head or beard; they did not sweep their houses, they never made their beds save twice in each month only, they used the cartoons of their pictures for their tables, and drank only from the bottle or the pitcher; this pitiable coarseness and contemptible folly all the while appearing to them to be the finest life in the world. But it is certain that external habitudes are not unfrequently the index of what may be found within, and indicate the mental characteristics of the man: I am well persuaded therefore, as I have remarked at other times, that these men were but little less impure and brutal in their minds and lives than they were in their outward appearance.

On the Festival of San Felice in Piazza (the Annunciation of Our Lady namely, of which mention has been made in another place), which in the year 1525 was exhibited by the Company of the Orciuolo,^[18]Jacone was commissioned to execute a handsome Triumphal Arch, large, double, and standing entirely apart from all other buildings; it had eight columns, with pilasters and a pediment, the whole fabric being of great height: this our artist caused to be erected by Piero da Sesto, a most able and experienced master in wood-work, who acquitted himself of his part to perfection. Jacone then painted nine stories, partly with his own hand, and these were the best, but partly with the help of Francesco Ubertini Bacchiacca, the subjects of all being taken from the Old Testament, and principally from the life and acts of Moses.

Now Jacone had a kinsman who was a Scopetine Monk, and by the intervention of this Frate he was invited to Cortona, where he painted two pictures in oil for the church of the Madonna which is outside the city; in one of these is Our Lady, with San Bocco, San Sebastiano, and many other saints, and in the other is a figure of the Almighty Father who is crowning the Virgin; two Saints are represented as standing at the foot of the picture, and in the centre is San Francesco receiving the Stigmata; both of these works were exceedingly beautiful. Having completed them, our artist then returned to Florence, when he decorated a vaulted chamber for Bongianni Capponi, with certain others for the same person in his Villa at Montici.

When Jacopo da Pontormo was painting, for the Duke Alessandro, that Loggia at the Villa of Careggi, whereof there has already been made mention in his life, Jacone assisted him in that work; the greater part of the grottesche and other decorations being by his hand; after this he occupied himself in various trifling matters of which it is not needful to speak further, the sum of the matter being that he spent the best time of his life in jesting, in buffoonery, in aimless musing, or in speaking evil, now of one person and now of another: art having just at that time fallen in Florence into the hands of a company of persons who thought more of amusing and enjoying themselves, than of the labour required for the success of their works; their principal delight being to get together in the wine-shops and other places, where, in their absurd jargon, they would decry the productions of other artists, or would censure the lives of those who laboured steadily and passed their time with respectable companions.

The chiefs of this party were Jacone, the goldsmith Piloto, and the wood-worker Tasso; but the worst of all was Jacone, seeing that among his other fine qualities he had that of maligning some one in the bitterest manner whenever he opened his mouth. Wherefore it could scarcely surprise any one, that from the proceedings of such a company there should in time arise much mischief, and as will hereafter be related, many contentions; in one of these Piloto was killed by a young man whom his offensive words had enraged against him, a most appropriate consequence of their disorderly habits.

The mode of life and proceedings of men thus constituted could not but render them unacceptable to persons of respectable condition; and they were in the frequent habit, I will not say all of them, but some at least, of lounging about under the walls, as do the wool-workers and other mechanics, playing at various games; or at other times they would haunt the taverns. One day, therefore, that Giorgio Vasari was returning from Monte Oliveto, a Monastery outside of Florence, where he had been to visit the reverend and very excellent Don Miniato Pitti,^[19] who was then Abbot of that Monastery, he found Jacone with the greater part of his band at the corner of the Medici, when that person, as I have since been told, hoped, with some of his useless remarks, uttered half in jest and half in earnest, to hit upon something whereby Vasari might be offended. When the latter, who was on horseback, entered the midst of the troop, therefore, Jacone cried out, “Well done, Giorgio! how goes it with your worship? ” “It goes excellently well with my worship, good Jacone,” responded Giorgio, “seeing that I, who was once as poor as any one of you all, can now count my three thousand crowns or more. You have considered me a simpleton, but the monks and priests hold me to be something better; formerly I was serving among you, but now this servant whom you see serves me as well as my horse. I used to wear such clothes as we painters are glad to put on when we are poor, but now I am clothed in velvet. In old times I went on foot, now I ride on horseback; thus you see, my good Jac.o, my worship does excellently well in sooth. God give you good day, Jacone.”

When the poor Jacone heard all this tirade poured forth in a breath, he lost all presence of mind, standing silent and confounded, as one whose own condition of misery is suddenly brought home to him, and who perceives that the man who intends to be the assailant, sometimes falls at the feet of him whom he meant to assail.

Finally, being much reduced by sickness, while he was at the same time very poor, entirely destitute of aid, with none to nurse liim, and unable to help himself from having lost the use of his limbs, Jacone died in great wretchedness, and with no better abode than a miserable cabin which he had in a little remote street or rather alley called Codarimessa. His death occurred in the year 1553.

Francesco Ubertino, called Bacchiacca, was an industrious painter, and although he was the friend of Jacone, he always lived in a decent manner and like an honest man: he too was an associate of Andrea del Sarto, and was ever much favoured and assisted in matters of art by that master. Francesco, I repeat, was a diligent painter, and was more particularly successful in the execution of small figures, which he executed to perfection and with infinite patience; an instance of this may be seen in San Lorenzo at Florence, where there is a predella by his hand to the picture of the Martyrs painted by Giovan Antonio Sogliani.^[20] There is also another predella by Francesco in the chapel of the crucifix, a work of admirable beauty.

In that apartment of the house of Pier Francesco JBorgherini, of which there has so frequently been mention made, Bacchiacca painted in company with the other artists employed there, executing many small figures on the cabinets and wainscot. In the ante-room of Giovan Maria Benintendi, which has likewise been more than once alluded to, Bacchiacca painted two pictures, the figures of which are small, and these too are singularly beautiful. The subject of one of them is the Baptism of Our Saviour Christ by St. John in the river Jordan:;^[21] this has a larger number of figures and is a better work than the other. He executed many other pictures also for different persons, but these have for the most part been sent into France or England.

Ultimately Bacchiacca was received into the service of Duke Cosimo, seeing that he was excellent in the delineation of all kinds of animals, and was therefore employed to decorate a study for his Excellency, which he did with great ability, covering the same with birds of various kinds, together with rare plants and foliage, all which he executed in oil most admirably well. He then prepared cartoons with so vast a number of figures, that they may truly be declared infinite, the subjects representing the twelve months of the year, which were then woven into magnificent cloth of arras made of silk and gold by Marco di Maestro Giovanni Rosto the Fleming, who completed them with a care and forethought, by which they were rendered such that better works in that kind could not be seen.

At a later period Bacchiacca painted in fresco the grotto of a fountain which is in the garden of the Pitti palace, and also prepared the designs for hangings of a bed to be richly embroidered all over with stories in small figures, this being considered the most gorgeous decoration of the kind that has ever been executed in similar work, seeing that the designs of Francesco have been worked in embroidery, thickly mingled with pearls and other costly materials, by Antonio Bacchiacca,^[22] the brother of Francesco, who is an excellent master in embroidery. But as Francesco died before the bed was finished, it was subsequently completed with the designs and under the directions of Giorgio Vasari, being that which has served for the most fortunate nuptials of the illustrious Signor Don Francesco, Prince of Florence, and of the most Serene Princess, Queen Joanna of Austria.

Francesco died in Florence in the year 1557.

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1. Our readers will perceive that Vasari subsequently gives another and less probable reason for his choice of a soubriquet.—Ed. Flor. 1832-8.
2. The Palazzo Pandolfini has never been entirely completed according to the original plan. Documents relating to the part of Giovan-Francesco San Gallo therein will be found in Gaye, Carteggio inedito, vol. ii. p. 160.
3. Lorenzo the Traitor, called Lorenzino de’ Medici.— Masselli.
4. The title of this comedy was “L’Alidosio. —Bottari.
5. Of whom mention has been made in the Life of Andrea del Sarto. An Italian commentator remarks that if he were not a distinguished, he was at least a grateful disciple of his master, since it was by him that the momument to Andrea’s memory was erected. See vol. iii. p. 234.
6. Angiolo Allori, of whom there is further mention hereafter.
7. Of Carlo Portelli also there is mention made in a subsequent page.
8. A disciple of Francia Bigio, in whose life he has been mentioned. See vol. iii. p. 343.
9. Whose Life follows.
10. It is to be regretted, as the learned Quatremere de Quincy has remarked, in relation to the works of similar kind prepared by another San Gallo on the Piazza San Marco at Venice, that these labours—some of which might have been of the utmost value to art, had they been executed in durable materials—should have been so treated as to have glittered for a moment only, and then departed, leaving no trace: by engravings only, adds the writer above-mentioned, can we hope to perpetuate such works, the preservation of which might perhaps be more advantageous to art than at a first glance we might imagine. Qnatremere proceeds to explain his idea at more length, and to his writings wre refer our readers, who will not fail to perceive the advantages to be derived from the preservation of works, the very slightness of which permitted the masters to give the reins to their imagination in a manner which the cost would render impossible, where buildings in permanent forms, and to be executed in expensive materials, were to be designed.
11. Whose Life makes part of the present volume.
12. The baioccho is a very small fraction more than a halfpenny.
13. Mentioned with credit in the Life of Andrea del Sarto, vol. iii. p. 234.
14. Already more than once alluded to in these volumes.
15. Still in existence, but much injured. —Ed. Flor., 1832-8.
16. San Remigio that is to say.—Ibid.
17. These works have entirely perished.
18. Orciuolo, a little jug. The trivial and even absurd names adopted by many of the Companies at this period will be familiar to most of our readers.
19. Don Miniato Pitti had given Vasari some assistance in certain parts of the first edition of these Lives, which were published by Torrentino in the year 1550.
20. The predella still retains its place.— Ed. Flor., 1832-8.
21. In all probability the Baptism of Christ by this master, now in the Gallery of Berlin, is that here in question.— Note to the German Translation of Vasari.
22. In the life of Pietro Perugino, vol. ii. p. 326, there is mention of this Ubertini, the embroiderer, brother of II Bacchiacca, but he is there called Baecio, and not Antonio. Benvenuto Cellini enumerates this Ubertini, the embroiderer, among those who were present during the dispute which he held with Duke Cosimo in relation to the value of a very costly diamond.