Lives of the Most Excellent Painters, Sculptors, and Architects/Buonamico Buffalmacco

by Giorgio Vasari

 

BUONAMICO BUFFALMACCO, PAINTER OF FLORENCE.

[born....—was living in 1351.]

The Florentine painter, Buonamico di Cristofano, called Buffalmacco, was a disciple of Andrea Tafi, and is celebrated by Messer Giovanni Boccaccio, in his Decameron, as a man of most facetious character. He was besides, as is well known, the intimate companion of Bruno and Calandrino,both painters of joyous life, and, like himself, exceedingly fond of their jest. Buonamico was moreover endowed with considerable judgment in his art, as his works, scattered throughout Tuscany, sufficiently prove. Among the three hundred stories of Franco Sacchetti, we find it related—to begin with what our artist did while still a youth—that whdn Buffalmacco was studying with Andrea Tafi, his master had the habit of rising before daylight when the nights were long, compelling his scholars also

to awake and proceed to their work. This provoked Buonamico, who did not approve of being aroused from the sweetest of his sleep: he bethought himself therefore of finding some means by which Andrea might be prevented from rising so early, and soon discovered what he sought. From a badly swept cellar he collected some thirty large beetles, and on the back of each he fastened a minute taper, by the aid of short and fine needles. These tapers he lighted at the time when Andrea Tafi was accustomed to awake, and sent the beetles one by one into the chamber of his master, through a cleft in the door. The latter aroused himself at the hour when he was wont to call Buffalmacco, but seeing these lights wandering about his room, he began to tremble, like an old goose as he was, and in great terror repeated his prayers and psalms, recommending himself to God: finally, hiding his head within his bed-clothes, he made no attempt to call Buffalmacco that night, but lay trembling and terrified till the morning. Having risen when it was quite light, Tafi. inquired of Buonamico if he had seen more than a thousand demons, as he had himself done. Buonamico replied that he had seen nothing, having kept his eyes closed; and wondered that he had not been called to work. “ Call thee to work!” exclaimed the master; “ I had other things to think of beside painting, and am resolved to stay in this house no longer’7. The following night, although Buonamico put three beetles only into the chamber of his master, yet Tafi, what with the terror inspired by the past night, and the fear of those few demons that he saw remaining, could get no sleep, and no sooner beheld the daylight than he rose and left the house, resolving never to return to it again; and many persuasions were needed to make him change his purpose. Finally, Buffalmacco having brought him the priest of their parish, the latter comforted him as well as he could; and Tafi, discoursing of the affair with Buonamico, the disciple remarked, that he had ever been taught to consider the demons as the greatest enemies of God, and that, by consequence, they must also be most deadly adversaries to the painters: “ For,” said Buffalmacco, “ besides that we always make them most hideous, we think of nothing but painting saints, both men and women, on walls and pictures; which is much worse, since we thereby render men better and more devout, to the great despite of the demons; and for all this the devils being angry with us, and having more power by night than by day, they play these tricks with us. I do believe, too, that they will get worse and worse, if this practice of rising to work in the night be not altogether abandoned.” By these and other discourses of the kind, Buffalmacco managed his master so well, the priest supporting his assertions and opinions, that Tafi ceased to rise in the night, and the devils ceased to carry lights about the house. But, a few months after, incited by the love of gain, and forgetting his terrors, Andrea Tafi began to arise as before, and to call Buffalmacco to work in the night. The beetles also then recommenced their wanderings, so that Andrea was compelled by his fears to desist entirely from that practice, being earnestly advised to do so by the priest. Nay, the story becoming known through the city, produced such an effect that neither Tafi nor other painters dared for a long time to work in the night.

Some time after this event, as Franco Sacchetti further relates, Buffalmacco having become a tolerably good master, left Andrea Tafi and began to work for himself; nor did he ever want commissions. Now it happened that he took a house, wherein he made his dwelling as well as studio, and where he had a weaver of wool for his neighbour. This fellow, a rich man for his station, was a sort of upstart, on whom his neighbours had imposed the name of Capodoca,^[1] and who compelled his wife to rise before dawn, which was about the time when Buffalmacco, who had worked till then, was going to bed. This woman placed herself at her wheel, which she had unluckily planted exactly opposite to the pillow of Buonamico, where she span so industriously, that he could get no sleep for the noise. Finding this, our painter betook himself to considering how best he could remedy the evil; nor was it long before he discovered the means of doing so. His room was separated from that of Capodoca by a wall of bricks only, behind which was the hearth of his troublesome neighbour; and by means of a cavity between the bricks, Buonamico could see what she wms doing about her fire. Never slow at inventing mischief, the painter made a long tube, which he filled with salt, and choosing the moment when the wife of Goosehead was not on the watch, he poured the contents of his tube, as often as he thought meet, into the good woman’s pot. In due time, Capodoca returned to dinner or supper, as the case might be, but he could not swallow a mouthful of his soup or meat, which was all rendered uneatable by the inordinate quantity of salt. Once and again he endured this with patience, only grumbling a little; but when he found that words did not suffice, he showered a storm of blows on the poor woman, who fell into despair, knowing how cautious she was in the salting of her cookery. One day that her husband was beating her for this cause, and that she was seeking to excuse herself, he fell into a worse rage than before, and so maltreated her, that, crying with all her might, she brought the whole neighbourhood to her aid. Buffalmacco was among the rest; and having heard the accusation brought by Goosehead against his wife, with the excuses she offered, he took up the word. “ Faith, comrade,” said he, “ you should be a little more reasonable: you complain that your dish is too much salted morning and night; but I marvel, for my part, that your good wife can do any thing right. I know not how she keeps on her feet in the day, seeing that she spends the best of her night at the spinning-wheel, and has not half sleep enough. Let her sleep at her ease till a reasonable hour, and you’ll see that she’ll then have her wits about her in the day, and not make blunders of this sort.” He then turned to the other neighbours, and so placed the matter before them, that they all fell into his opinion, and told Capodoca that Buonamico was right, and that his advice ought to be taken. The husband believing that it was so, commanded his wife to abstain from rising in the night; when the cookery was salted as it ought to be; but if the woman recommenced her early rising, Buffalmacco resorted to his remedy, until Goosehead caused her entirely to abandon the practice.

Among the first works of Buffalmacco, was one which he undertook for the convent of the nuns of Faenza, which was situated where the citadel of the Prato^[2] now stands; here he painted the whole church with his own hand, representing stories from the life of Christ, all extremely well done; among these was the Slaughter of the Innocents by Herod, wherein he has given remarkable energy of expression both to the executioners and other figures; some of the mothers and nurses tearing their children from the grasp of the murderers, defend them with their hands, their nails, and their teeth, exhibiting in every movement of their bodies the rage and fury, as well as the grief, with which their hearts are filled.

This monastery is now destroyed, and the only relic of the work remaining is a coloured drawing in my book of designs, where the scene just described is depicted by the hand of Buonamico himself. While this work for the nuns of Faenza was in progress, those ladies sometimes took a peep at the painter through the screen that he had raised before his work. Now Buffalmacco was very eccentric and peculiar in his dress, as well as manner of living, and as he did not always wear the head-dress and mantle usual at the time, the nuns remarked to their intendant, that it did not please them to see him appear thus in his doublet; but the steward found means to pacify them, and they remained silent on the subject for some time. At length, however, seeing the painter always accoutred in like manner, and fancying that he must be some apprentice, who ought to be merely grinding colours, they sent a message to Buonamico from the abbess, to the effect, that they would like to see the master sometimes at the work, and not always himself. To this Buffalmacco, who was very pleasant in manner, replied, that as soon as the master came to the work, he would let them know of his arrival; but he perceived clearly how the matter stood. Thereupon, he placed two stools, one on the other, with a water-jar on the top; on the neck of the jar he set a cap, which was supported by the handle; he then arranged a long mantle carefully around the whole, and securing a pencil within the mouth on that side of the jar whence the water is poured, he departed. The nuns, returning to examine the work through the hole which they had made in the screen, saw the supposed master in full robes, when, believing him to be working with all his might, and that he would produce a very different kind of thing from any that his predecessor in the jacket could accomplish, they went away contented, and thought no more of the matter for some days. At length, they were desirous of seeing wliat fine things the master had done, and at the end of a fortnight (during which Buffalmacco had never set foot within the place), they went by night, when they concluded that he would not he there, to see his work. But they were all confused and ashamed, when one, bolder than the rest, approached near enough to discover the truth respecting this solemn master, who for fifteen days had been so busy doing nothing. They acknowledged, nevertheless, that they had got but what they merited—the work executed by the painter in the jacket being all that could be desired. The Intendant was therefore commanded to recall Buonamico, who returned in great glee and with many a laugh, to his labour, having taught these good ladies the difference between a man and a water-jug, and shown them that they should not always judge the works of men by their vestments. A few days from this time, Buffalmacco completed an historical painting, which pleased the nuns greatly, every part being excellent in their estimation, the faces only excepted, which they thought rather too pale and wan. Buonamico, hearing this, and knowing that the abbess had the very best Vernaccia^[3] that could be found in Florence, and which was, indeed, reserved for the uses of the mass, declared to the nuns that this defect could be remedied only by mixing the colours with good Vernaccia, but that when the cheeks were touched with colours thus tempered, they would become rosy and lifelike enough. The good sisters, who believed all he said, on hearing this, kept him amply supplied with the very best Vernaccia, during all the time that his labours lasted, and he, joyously swallowing this nectar, found colour enough on his palette to give his faces the fresh rosiness those good dames desired.^[4]

Having completed this work, Buonamico next painted stories from the life of San Jacopo, in the chapel of the cloister dedicated to that saint, in the abbey of Settimo. On the ceiling he painted the four Patriarchs and the four Evangelists, and among these figures there is one thing veryremarkable, the action of St. Luke namely, who blows into his pen for the purpose of making the ink flow, in a manner most perfectly natural. In the pictures on the walls, moreover, of which there are five, the attitudes of the figures are very beautiful, and the whole work gives proof of a rich invention and much judgment. But as Buonamico, desirous of imparting transparency to his carnations, was in the habit of using a blue lake, as we see in this work, which in the course of time produces a salt, whereby the white and other colours are corroded and destroyed, so it is not wonderful that these paintings are much injured, while many others, executed long before, are still perfectly well preserved. I formerly thought that these works had suffered from the damp, but I have since become convinced, by experience, having carefully examined others by the same master, that it has been by this peculiarity in the practice of Buffahnacco, and not from damp, that his pictures have suffered. And they have been injured to such an extent, that neither design nor anything else is now perceptible: where the carnations have been, there remains nothing but the tinge of violet. No artist who desires long life for his pictures, therefore, should use this method. When the works just described were completed, Buonamico painted two pictures in distemper, for the Carthusian Friars of Florence: one of these is in the place where the choral books for the use of the choristers are kept; the other is in the old chapel below. In the Abbey of Florence, Buffahnacco painted, in fresco, the chapel of the Gfiochi and Bastari family, which is near the principal chapel; and this chapel, although afterwards resigned to the Boscoli family, still retains these works of Buonamico.^[5] Their subject is the life and passion of Christ, pourtrayed with great beauty and much feeling. In the countenance of Jesus, while washing the feet of his disciples, there is extreme humility and sweetness, while the faces of the Jews who lead him to Herod express the utmost fierceness and cruelty. But more particularly has the artist displayed power and facility in a Pilate, whom he has depicted in prison, and in a Judas, who is hanging on a tree; whence one may easily believe what is affirmed of this facetious painter, namely, that when it pleased him to practise care and diligence—which but rarely happened—he was in nowise inferior to any painter of his time. Further testimony to the truth of this remark is borne by the frescoes of Buffalmacco in Ognissanti, where the cemetery now is. These works were executed throughout with so much care, and so many precautions, that the rain which has poured on them for so many years, has not been able to destroy them, or to prevent the spectator from still perceiving their excellence. One reason of their remaining in such good preservation doubtless is, that they were painted immediately on the fresh plaster. On these walls, then, that is, above the burial-place of the Aliotti family, he painted the Birth of Christ, and the Adoration of the Magi. After having completed this work, Buonamico repaired to Bologna, where he painted in fresco the chapel of the Bolognini family, in San Petronio; he commenced certain stories in the ceiling, that is to say, but by some accident, with the nature of which I am not acquainted, he left them unfinished.^[6]

In the year 1302, Buffalmacco was invited to Assisi, where, in the church of San Francesco, he painted iri fresco the chapel of Santa Caterina, with stories taken from her life.^[7] These paintings are still preserved, and many figures in them are well worthy of praise. Having finished this chapel, Buonamico was passing through Arezzo, when he was detained by the Bishop Guido, who had heard that he was a cheerful companion, as well as a good painter, and who wished him to remain for a time in that city, to paint the chapel of the episcopal church, where the baptistery now is. Buonamico began the work, and had already completed the greater part of it, when a very curious circumstance occurred; and this, according to Franco Sacchetti, who ref lates it among his Three Hundred Stories, was as follows: The bishop had a large ape, of extraordinary cunning, the most sportive and mischievous creature in the world. This animal sometimes stood on the scaffold, watching Buonamico at his work, and giving a grave attention to every actiont with his eyes constantly fixed on the painter, he observed him mingle his colours, handle the various flasks and tools, heat the eggs for his paintings in distemper—all that he did, in short; for nothing escaped the creature’s observation. One Saturday evening, Buffalmacco left his work; and on the Sunday morning, the ape, although fastened to a great log of wood, which the bishop had commanded his servants to fix on his foot, that he might not leap about at his pleasure, contrived, in despite of the weight, which was considerable, to get on the scaffold where Buonamico was accustomed to work. Here he fell at once upon the vases that held the colours, mingled them all together, beat up whatever eggs he could find, and, plunging the pencils into this mixture, he daubed over every figure, and did not cease until he had repainted the whole work with his own hand. Having done that, he mixed all the remaining colours together, and getting down from the scaffold, he went his way. When Monday morning came, Buffalmacco returned to his work; and, finding his figures ruined, his vessels all heaped together, and everything turned topsy-turvy, he stood amazed in sore confusion. Finally, having considered the matter within himself, he arrived at the conclusion that some Aretine, moved by jealousy, or other causes, had worked the mischief he beheld. Proceeding to the bishop, he related what had happened, and declared his suspicions, by all which that prelate was greatly disturbed; but, consoling Buonamico as he best could, he persuaded him to return to his labours, and repair the mischief. Bishop Guido, thinking him nevertheless likely to be right, his opinion being a very probable one, gave him six soldiers, who were ordered to remain concealed on the watch, with drawn weapons, during the master’s absence, and were commanded to cut down any one, who might be caught in the act, without mercy. The figures were again completed in a certain time; and one day that the soldiers were on guard, they heard a strange kind of rolling sound in the church, and immediately after saw the ape clamber up to the scaffold and seize the pencils. In the twinkling of an eye, the new master had mingled his colours; and the soldiers saw him set to work on the Saints of Buonamico. They then summoned the artist, and showing him the malefactor, they all stood watching the animal at his operations, being in danger of fainting with laughter, Buonamico more than all; for, though exceedingly disturbed by what had happened, he could not help laughing till the tears ran down his cheeks. At length he betook himself to the bishop, and said: “ My lord, you desire to have your chapel painted in one fashion, but your ape chooses to have it done in another.” Then, relating the story, he added: “ There was no need whatever for your lordship to send to foreign parts for a painter, since you had the master in your house; but perhaps he did not know exactly how to mix the colours; however, as he is now acquainted with the method, he can proceed without further help: I am no longer required here, since we have discovered his talents, and will ask no other reward for my labours, but your permission to return to Florence.” Hearing all this, the bishop, although heartily vexed, could not restrain his laughter; and the rather, as he remembered that he who was thus tricked by an ape, was himself the most incorrigible trickster in the world. However, when they had talked and laughed over this new occurrence to their hearts’ content, the bishop persuaded Buonamico to remain; and the painter agreed to set himself to work for the third time, when the chapel was happily completed. But the ape, for his punishment, and in expiation of the crimes he had committed, was shut up in a strong wooden cage, and fastened on the platform where Buonamico worked; there he was kept until the whole was finished; and no imagination could conceive the leaps and flings of the creature, thus enclosed in his cage, nor the contortions he made with his feet, hands, muzzle, and whole body, at the sight of others working, while he was not permitted to do anything. When the works of the chapel were completed, the bishop ordered Buonamico—either for a jest, or for some other cause—to paint, on one of the walls of his palace, an eagle on the back of a lion, which the bird had killed.^[8] The crafty painter, having promised to do all that the bishop desired, caused a stout scaffolding and screen of wood-work to be made before the building, saying that he could not be seen to paint such a thing. Thus prepared, and shut up alone within his screen, Buonamico painted the direct contrary of what the bishop had required—a lion, namely, tearing an eagle to pieces; and, having painted the picture, he requested permission from the bishop to repair to Florence, for the purpose of seeking certain colours needful to his work. He then locked up the scaffold, and departed to Florence, resolving to return no more to the bishop. But the latter, after waiting some time, and finding that the painter did not reappear, caused the scaffolding to be taken down, and discovered that Buonamico had been making a jest of him. Furious at this affront, Guido condemned the artist to banishment for life from his dominions; which, when Buonamico learnt, he sent word to the bishop that he might do his worst: whereupon the bishop threatened him with fearful consequences. Yet, considering afterwards that he had been tricked, only because he had intended to put an affront upon the painter, Bishop Guido forgave him, and even rewarded him liberally for his labours. JNTay, Buffalmacco was again invited to Arezzo, no long time after, by the same prelate, who always treated him as a valued servant and familiar friend, confiding many works in the old cathedral to his care, all of which, unhappily, are now destroyed. Buonamico also painted the apsis of the principal chapel in the church of San Giustino in Arezzo.

Some writers relate that this artist, after his return to Florence, resorted frequently to the shop of Maso del Saggio,^[9] with his companions and friends; and was there, with many ethers, assisting in the arrangements for a festival, which was given on the first of May, by the inhabitants of the suburb of San Friano, in boats on the'Arno, when it chanced that the bridge of the Carraja, which was then of wood, gave way beneath the weight of the multitudes who had crowded upon it to see the spectacle. Many lives were lost; and Buffalmacco himself escaped only because, at the very moment when the bridge fell on the machinery intended to represent hell in boats on the Arno, he had gone from the place to purchase certain articles required for the show.^[10]

No long time after these events, Buonamico proceeded to Pisa, where he painted many pictures in the abbey of St. Paul, on the shore of the Arno, which then belonged to the monks of Vallombrosa. He covered the entire surface of the church, from the roof to the floor, with stories from the Old Testament, beginning with the creation of man, and continuing to the building of the tower of Babel. In this work, although now for the most part destroyed, we yet perceive much animation in the figures, with good colouring and clever treatment; the whole proves that the hand of Buonamico could well express the conceptions of his mind, but does not evince much power of design. On the wall of the south transept, and opposite to that wherein is the side-door, in certain stories from the life of St. Anastasia, are many very beautiful costumes and head-dresses of women, which are painted with a charming grace of manner. No less beautiful are some other figures, in various and striking attitudes, in a boat; among these is a portrait of Alexander VI,^[11] which Buonamico is reported to have received from his master Tafi, who had executed the likeness of that pontiff in mosaic for the church of San Pietro. In the last of these stories, moreover, wherein the martyrdom of St. Anastasia and others is depicted, Buonamico has admirably pourtrayed the fear of death in some of the faces, with the grief and terror of those who stand around, beholding the torments and death of the saint, as she is fixed to the stake and sus~ pended over the fire. The painter Bruno di Giovanni,^[12] so called in the old book of the Company of Painters, was associated with Buonamico in this work. He too is celebrated by Boccaccio, as a man of joyous memory; and when the stories of the faqade were finished, he painted, in the same church of St. Anastasia, the altar of St. Ursula^[13] with her company of virgins. In one hand of this saint, the artist placed a standard, bearing the arms of Pisa—namely, a white cross on a field of red; the other hand is extended to a woman, who, climbing between two rocks, has one foot in the sea, and stretches out both hands to the saint in the act of supplication. This female form represents Pisa. She bears a golden horn upon her head, and wears a mantle sprinkled over with circlets and eagles. Being hard pressed by the waves, she earnestly implores the help of the saint.

While employed on this work, Bruno complained that his faces had not the life and expression distinguishing those of Buonamico; when the latter, in his playful manner, undertook to shew him how his figures might be rendered, not life-like only, but even eloquently expressive. He then bade Bruno paint words proceeding from the mouth of the woman who is recommending herself to the saint, with those which the saint utters in reply proceeding in like manner from the mouth of the latter; which BufFalmacco had seen done in the works of Cimabue. And this method, as it pleased Bruno and other dull people of that day, so does it equally satisfy certain simpletons of our own, who are well served by artists as commonplace as themselves. It must, in truth, be allowed to be an extraordinary thing, that a practice thus originating in a jest, and in no other way, should have passed into general use; insomuch, that even a great part of the Campo Santo, decorated by much esteemed masters, is full of this absurdity.^[14]

The works of Buonamico greatly pleased the people of Pisa, and he was therefore employed by the superintendent of the Campo Santo, to paint four historical pictures in fresco for that cemetery. The events depicted commence with the creation of the world, and close with the building of Noah’s ark. Around these stories was painted an ornamental border, wherein the artist placed his own portrait. It will be found in the frieze, in the middle of which, and on the corners, are several heads, and among them that of Buffalmacco himself, as I have said, the head bearing a cap, exactly as he is seen in the portrait we have here given.^[15] In this work is represented the Father of Creation, supporting the heavens and the earth—nay, the whole uni verse—by the force of his hand, and Buonamico, willing to explain the picture in verses similar to the paintings of that time, wrote a sonnet with his own hand, in capital letters, beneath the pictures. I add these verses here, for the sake of their antiquity, and also that the reader may be made acquainted with the simple modes of speech proper to those days; otherwise I do not think them likely to give much pleasure, although they may perhaps be welcome, as shewing of what the men of those times were capable:—

“ Voi che avvisate questa dipintura
Di Dio pietoso soramo creatore,
Lo qual fe tutte cose con amore,
Pesate, numerate, ed in misura.

In nove gradi angelica natura
In ello empirio ciel pien di splendore.
Colui che non si muove, ed e motore
Ciascuna cosa fecie buona e pura.

Levate gli occhi del vostro intelletto,
Considerate quanto e ordinato
Lo mondo universale; e con atfetto

Lodate lui che l’ha si ben creato:
Pensate di passare a tal diletto
Tra gli angeli, dove e ciascun beato.

Per questo mondo si vede la gloria,
Lo basso e il mezzo, e l’alto in questa storia.”^[16]

But, to confess the truth, Buonamico certainly exhibited great courage, when he undertook to execute a figure of God the Father, five braccia high, with the hierarchies, the heavens, the angels, the zodiac, and all things belonging to the upper regions, even to the firmament of the moon with the elements, fire, water, earth, and finally the centre. To fill up the two angles below this picture, he placed a St. Augustine in one, and a St. Thomas Aquinas in the other. In the same Campo Santo, and in that part where the tomb of Corte^[17] now stands, Huonamico painted the Passion of Christ,^[18] with a great number of figures on foot and on horseback, all in varied and beautiful attitudes, and continuing the story, he added the Resurrection of Christ, with his appearance to the Apostles, all very well done.^[19] These labours being brought to a conclusion, and with them all that he had gained in Pisa—which was no small amount—Buffalrhacco returned to Florence as poor as he had left it. Here he painted many pictures, and worked much in fresco; but of these productions nothing more needs to be said. Meanwhile, his intimate friend Bruno (who had returned with him from Pisa, where they had both merrily squandered all they had earned) received a commission to execute some of the works of Santa Maria Novella; but as Bruno had no great power of invention or design, Buonamico designed all that Bruno afterwards executed on the wall of that church opposite to the pulpit, the length of the work being the entire space from column to column. The subject was the story of St. Maurice and his companions, who were decapitated for their adherence to the faith of Christ.^[20] This picture was painted by Bruno for Guido Campese, then Constable of the Florentines, whose portrait Bruno had taken before bis death, which occurred in 1312; and this he now placed in the work, armed, as was the custom of those times. Guido is followed by a troop of soldiers, also armed in the ancient manner, and presenting a very fine spectacle. The Constable himself is kneeling before an image of the Virgin holding the Child, and seems to be recommended to her favour by San Domenico and Santa Agnese, who stand one on each side of him. This picture can scarcely be called a very fine one, but is nevertheless worthy of some consideration, as well for the design and invention of Buffalmacco, as for the variety of vestments, helmets, and other armour used in those times; and from which I have myself derived great assistance in certain historical paintings, executed for our lord the Duke Cosmo, wherein it was necessary to represent men armed in the ancient manner, with other accessories belonging to the same period: and his illustrious excellency, as well as all else who have seen these works, have been greatly pleased with them; whence we may infer the valuable assistance to be obtained from the inventions and performances of these old masters, and the mode in which great advantage may be derived from them, even though they may not be altogether perfect; for it is these artists who have opened the path to us, and led the way to all the wonders performed down to the present time, and still performing even in these our days.

While Bruno was occupied with this work, there came a countryman to Buonamico, desiring him to paint a San Cristofano, respecting which they made their agreement in Florence; and the contract was on this wise:—the figure was to be twelve braccia high, and the price eight florins. But wdien Buffalmacco proceeded to look at the church for which it was required, he found the building to be but nine braccia high, and the same in length. He was thus unable to place his work in a good position, either within the edifice or without, and determined, as he could not paint San Cristofano upright, to make him lying down within the church. But even in this way he had not room for the whole length; wherefore he bent the legs at the knees, and turned them up against the opposite wall. The work was finished, but the countryman would by no means pay for it, declaring that he had been cheated. Whereupon the matter was referred to the authorities, by whom Buonamico was adjudged to have performed his contract.

Another and very fine picture, from the hand of Buffalmacco, was the Passion of Christ, in the church of San 'Giovanni fra l’Arcore; and, among other much esteemed parts of this work, was a Judas hanging on the tree, painted with admirable judgment, and in an excellent manner. An old man blowing his nose, is also most natural; and the Maries, drowned in tears, have an expression of such deep sadness, that—considering the age to have been one when artists had not attained facility in expressing emotion—this work can scarcely be praised too highly. Another good figure in this painting was, a St. Ivo of Brittany, at whose feet are many widows and orphans; two angels hovering in the air, and crowning the saint, are also painted with infinite sweetness and feeling. This building, with the pictures contained in it, was demolished in the war of 1529.^[21]

Buonamico also painted many pictures in the episcopal church of Cortona, for Messer Aldobrandino, bishop of that city, more particularly the chapel and picture of the High Altar; but, as all these works were destroyed when the palace and church were rebuilt, we need say nothing more respecting them. In San Francesco, however, and in Santa Margarita, two churches of the same city, there still remain some paintings by the hand of Buonamico. From Cortona, this master proceeded once again to Assisi, where he painted, in fresco, the entire chapel of Cardinal Egidio Alvaro, a Spaniard; and, having acquitted himself extremely well, was liberally rewarded by that prelate.^[22] Finally, having painted many pictures for the whole March,^[23] Buonamico returned to Florence, but was delayed for some time at Perugia, on the way to his native city, where he painted the chapel of the Buontempi, in the church of San Domenico, the subject being stories, in fresco, from the life of the virgin-martyr St. Catherine.

On one of the walls in the old church of San Domenico, he also executed a'fresco, representing the same Catherine, daughter of King Costa, when, disputing with certain philosophers, she converts them to the faith of Christ. This work is more beautiful than any other painted by Buffalmacco; and it may with truth be said, that on this occasion he surpassed himself, insomuch that the people of Perugia were moved to require, according to what Franco Sacchetti^[24] has written, that he should paint Sant’ Ercolano, bishop and protector of Perugia, in the market-place of their city. Having agreed on the price, an enclosure of planks and matting was erected on the spot where the master was to work, that he might not be overlooked at his labours; which done, he commenced his operations. But ten days had not elapsed, before every man who passed the scatfolding, inquired “ when this picture would be finished?” as though they fancied works of that kind were to be cast in a mould; so that Buonamico became thoroughly wearied of their outcries. Wherefore, having brought the matter to an end, he resolved within himself to take a bit of quiet vengeance on the people for their troublesome importunities; nor did he fail to execute this determination. Keeping the work still enclosed, he admitted the Perugini to examine it, when all declared their entire satisfaction; but when they desired to remove the planks and matting, Buonamico requested that they should be suffered to remain for two days longer, as he wished to retouch certain parts when the painting was fully dried. This was agreed to; and Buonamico, who had made a great diadem for the saint in rilievo of plaster, richly gilt, as was then the custom, instantly mounted his scaffold, and replaced this ornament by a coronet or garland of gudgeons, which wholly encircled the head. That accomplished, he paid his host one fine morning, and set off to Florence.

Two days having passed, the Perugini, not seeing the painter going about as they were accustomed to do, inquired of his host what had become of him, and hearing that he had departed to Florence, they hastened to remove the planks that concealed the picture, when they discovered their saint solemnly crowned with gudgeons. This affront was at once made known to the authorities, who instantly sent horsemen in pursuit of Buonamico,—but all in vain, the painter having found shelter in Florence. They set an artist of their own, therefore, to remove the crown of fishes, and replace the diadem of the saint, consoling themselves by hurling all the abusive words they could think of at the head of Buonamico and of every other Florentine. But Buffalmacco, safe in his own citv, cared but little for the outcries of the Perugini, and set himself to execute many works, of which, for the sake of' brevity, I will not now speak further. One only shall here be mentioned, namely, the figure of our Lady with the Child in her arms, which he painted in fresco at Calcinaia. But the man for whom he had executed this work, gave him only words in place of payment, and Buonamico, who was not accustomed to be trifled with or made a tool of, resolved to have his due by some means. He repaired one morning therefore to Calcinaia, and turned the child which he had painted in the arms of the Virgin into a young bear (but using watercolours only). This change being soon after discovered by the countryman who had had it painted, he hurried in despair to Buonamico, and implored him to remove the bear’s cub and replace the child as before, declaring himself ready to pay all demands. This Buffalmacco amicably agreed to do, and was paid at once both for the first and second painting, a wet sponge having sufficed him to restore all to its pristine beauty.^[25] But it would occupy too much time if I were to recount all the pictures painted, and all the jests made by Buonamico, more particularly while he frequented the shop of Maso del Saggio, which was the general resort of all the jovial spirits and facetious companions to be found among the citizens of Florence. Here, then, I will make an end of my discourse concerning Buffalmacco. He died at the age of seventy-eight; and being extremely poor, because he had spent more than he had gained, which was ever his custom, he was succoured in his last illness by the Confraternity of the Misericordia, in the hospital of Santa Maria Novella, and being dead, wras buried with the other poor in the Ossa (for so they call the cloister or cemetery of the hospital), in the year 1340.^[26] The works of this painter were praised during his life, and since his death have ever been highly valued among the productions of that age.

1. Goosehead.
2. The citadel of St. John the Baptist, called the lower fortress.
3. A kind of Tuscan wine, highly prized.
4. Bottari relates that Buonamico was once surpi’ised by the nuns I while drinking the Vernaccia, but hearing one of them say to the others, “ See now, he is drinking it himself”,—he instantly threw forth all that I he had in his mouth on the picture, whereby the nuns were fully satisfied.—Roman ed. 1759.
5. All these paintings, as well as those described below, have now perished.
6. There arc documents in the archives of Bologna which prove that if the church of San Petronio was not commenced until the year 1390; it iiiis thus impossible that Buffalmacco, whom Yasari declares to have died ti in 1340, could have painted in it.—Bottari, Rom. Ed. 1759.
7. Now the chapel of the Crucifixion. The learned doubt whether or not these pictures are from the hand of Buffalmacco.
8. In the notcs of the Roman and other earlier editions of Vasari, we are told that the lion being the insignia of Florence, and the eagle that of Arezzo, the bishop herein designed to assert his own superiority over the former city, he being lord of Arezzo, but later commentators affirm that Guido, being a furious Ghibelline, intended rather to offer an affront to the Guelfs, by exalting the eagle, which was the emblem of the Ghibelline party, over that of the Guelphic party, which was the lion.
9. Maso del Saggio was an agent, or broker, of joyous character and very witty; he is described by Boccaccio, in his seventy-third story.— Bottari, Roman edition, 1759.
10. See Villani (lib. viii. cap. 70), for a minute account of this festival, which ended in a tragedy that cost many lives.—Rom. Ed.
11. Alexander VI reigned from 1254 to 1261. Vasari tells us, in the life of Tafi, page 82, that Buffalmacco received the portraits of the popes Celestine IV and Innocent IV, but does not mention that of Alexander.
12. Few traces now remain of the frescoes painted by Buffalmacco and Bruno, in the church of San Paolo a Pupa d’Arno, in Pisa.
13. This picture is now in the Academy of the Fine Arts at Pisa
14. That this practice is much older than the time of the masters hero named, and was no jest in those earlier times, will require no proof.
15. In Vasari’s second edition.
16. 
    “ Ye, who God’s image here depicted see—
    The High—the Merciful—who by His love
    All things created, and perfected all—
    Giving to each due weight and order due:
    
    Who to the choirs angelic their true grades
    Hath meted; whom the splendent heavens obey—
    Sun, moon, and stars; who moves and governs all
    His fair pure world—Himself immoveable.
    
    To Him, ye who here gaze, lift up your hearts,
    Adoring:—offer praise to Him whose hand
    Formed all, and all sustains. Raise, too, your thoughts
    

    To those blest regions, where, with angel bands.

    Ye, too, shall find a home; ye, too, shall rest

    Where life is joy unmixed for each and all.

    Here, too, is this world’s glory—full pourtrayed

    In all its ranks—midmost, beneath, above.

17. This tomb was erected in 1544, by order of Cosmo I, to Matteo Corte. a celebrated physician of Pavia.
18. This picture still remains, in tolerable preservation. —Ed. Flor. 1846.
19. Few traces of these two pictures now remain.
20. This work has been destroyed, having been partly covered by the altar, and partly whitewashed.
21. See Borghini, Origini di Firenze, and Manni, Terme Florentine
22. Old documents shew that Buonamico also painted the chapel of Santa Maria Maddalena, for Monsignor Pontani, Bishop of Assisi. These works still remain, but are much blackened by smoke.
23. The March of Ancona.
24. See the hundred and sixty-ninth story of Sacchetti.—Bottari.
25. In a room of the priory of Calcinaia, are still to be seen the remains of a picture on the wall, representing the Madonna with the Child in her arms, and other saints; without doubt a work of the fourteenth century; and a tradition, preserved to this day, declares that painting to be the one here alluded to.—Ed. Flor. 1846.
26. Vasari is certainly in error when he places the death of Buonamico in 1340, since we find him notified, in the old Book of the Company of Painters, under the date 1351; whence it becomes doubtful whether Vasari has correctly given the year of his birth (1262). Baldinucci declares Buffalmacco to have lived later than 1358.