Lives of the Most Excellent Painters, Sculptors, and Architects/Divers Flemish Artists

by Giorgio Vasari

 

OF DIVERS FLEMISH ARTISTS.

Now in many places I have already spoken of the works performed by certain Flemish artists, of much excellence, and more especially of their engravings, but this I have done somewhat vaguely, and will therefore here add the names of some others, who have been in Italy for the purpose of acquiring knowledge in art, and who have for the most part been known to myself, although I have not been able to obtain notices of their works, they meriting, as I think, to be here recorded for their industry, and the labours they have endured for our arts.

I say nothing further of Martin d’Olanda^[1] Griovan Eyck of Bruges, and Hubert his brother, who in 1510 brought to light the invention of painting in oil, because I have spoken of them elsewhere: the latter, having left many works by his hand, as we have before related, in Ghent, Ypres, and Bruges, where he lived and died honourably. But I proceed to say, that after them came Roger Van der Weide, of Brussels, who executed numerous works in various places, but more especially in his native city. In the Town Hall, for example, are four beautiful pictures in oil, the subjects relating to matters that appertain to the administration of justice. This master had a disciple named Hansse,^[2] from whose hand we have a small picture in Florence, representing the Passion of Christ, which is now in possession of the Duke. Next followed the Fler^ings, Ludvig der Loviano Luven,^[3] Peter Christo,^[4] Justus of Ghent,^[5] Hugo of Antwerp,^[6] and many others, who never left their native country, and constantly abode by the Flemish manner; nay, even Albert Dürer, though he did come into Italy, as we have before said, yet always held to the same manner, exhibiting extraordinary animation and power in his heads, as is well known to all Europe.

But leaving these, with Luca d’Olanda,^[7] and others, in the year 1532, I became acquainted, in Rome, with a certain Michelo Cockuysen,^[8] who gave considerable attention to the Italian manner, and painted many frescos in that city, more particularly two Chapels in Santa Maria de' Anima. He subsequently returned to his country, where he proved himself an able artist. I hear that among other works, he copied, for the King of Spain, a picture by Giovanni Eyck, which is in Ghent. The subject of this painting, which was sent into Spain, is the triumph of the Agnus Dei. A short time after, Martin Hernskerck,^[9] was studying at Rome, an excellent master of figures and landscape he is, and in Flanders he has produced numerous pictures, with designs for engravings, these last have been executed by Jeronimo Cocca (as we have said elsewhere), and whom I also knew while I was at Rome, in the service of the Cardinal Ippolito de’ Medici. All these artists have been excellent inventors of Stories, and careful observers of the Italian manner.

In the year 1545, I became known to, and contracted much friendship with Giovanni Calcar, a Flemish painter of great merit, who so successfully practised the Italian manner, that his works were not always perceived to be those of a Fleming; but he died at Naples, while still young, and when the fairest hopes had been conceived respecting his future progress. The anatomical drawings for the work of Vesalio were made by Calcar. But before these, Divile da Lovarico^[10] had been in high repute as a good master, in that manner, with Quintin,^[11] who came from the same country, and who faithfully adhered to the truth of Nature in all his figures, as did a son of his called Giovanni. Gios di Cleves^[12] was a great colourist, and an admirable portrait painter, in which branch of art he was much employed by King Francis of France, for whom he painted many of his nobles and ladies.

Kenowned painters of those lands have been, and in part still are, Giovanni d’Hemsen;^[13] Mathias Cook, of Antwerp;^[14] Bernhard, of Brussels;^[15] Giovanni Cornelis, of Amsterdam;^[16] Lambert of the same place;^[17] Heinrich, of Dinant; Joachim von Partenier, of Bovines, and Johann Schoreel, Canon of Utrecht, who took from Italy into Flanders many new modes of painting. In addition to these, I may name Giovanni Bellagamba, of Houai; Dierich d’Haarlem,^[18] of the same place; and Francesco Mostaert,^[19] who displayed much ability in landscapes painted in oil, and in the painting of phantasies, dreams, and other imaginations. He was imitated by Girolamo Hertoghen Bos, and Peter Breughel of Breda. A certain Lancelotto was excellent at painting fires, nights, meteors, devils, and such like; while Piero Coek displayed much invention in his stories, and made excellent Cartoons for tapestry and cloth of arras; he had also a good manner, and considerable practice in architecture; wherefore he has translated into the German tongue, the architectural work of the Bolognese, Sebastiano Serlio.

Giovanni di Mabuse was almost the first who took the true method of representing nude figures and poetical inventions, from Italy into Flanders. The great Tribune of the Abbey of Middleburg in Seeland, is by his hand. Of all these I have received notice from the painter. Maestro Giovanni della Strada,^[20] of Bruges, and from Giovanni Bologna of Douai, the sculptor,^[21] both Flemings and excellent artists, as we shall furthermore observe in the treatise on the Academicians.

As to such of the masters belonging to those parts as are still living and in repute, the more remarkable among them, both for paintings and copper-plates, is Franz Floris,^[22] of Antwerp, disciple of Lambert Lombardo. This artist is considered an excellent one in every branch of his vocation, and it is said that none can exhibit more effectually the expression of grief, gladness, or other passions: he is also much admired for the originality of his fancies, so that, comparing him to the Urbinate, his people call him the Flemish Raphael. It is true that the plates from his works do not very satisfactorily prove to us the justice of that appellation; but however excellent the engraver, he rarely gives full effect to the design and manner of him who first conceived the work. A fellow disciple of Floris was Guglielmo Cay^[23] of Breda, who also studied at Antwerp; a sober-minded, grave, and judicious man, who studied nature with infinite care, and was endowed with good powers of invention. His pictures are remarkable for their harmony, and have much grace and softness, if not equal force and boldness, with those of his fellow student Floris. Cay is, in short, considered to be an admirable artist.

Michele Cockuysen, of whom I have spoken above, remarking that he had taken the Italian manner into Flanders, is also much celebrated among the Flemish painters, being one who imparts an imposing gravity and force to his figures, for which cause the Fleming, Messer Domenico Lampsonio, of whom we shall have more to say in due time, speaking of the artists before mentioned and of Michele, declared that they resembled a fine trio in music, wherein each performer plays his part to perfection. Among the Dutch artists, Antonio Moro,^[24] of Utrecht, painter to the Catholic King, is also greatly admired, and of his colours it is said, that in whatever he pleases to design, these colours rival nature herself, and effectually deceive the spectator. Lampsonio writes to me that Moro, who is a man of the most pleasing manners and greatly beloved, has lately painted a resurrection of Christ, with two Angels, and SS. Piero and Paolo, which, as he tells us, is a production of singular beauty.

A good colourist and esteemed original in his inventions, is Martin Vos,^[25] who paints admirably from the life; but for the execution of fine landscapes, Jacob Grimmer,^[26] Hans Bolz,^[27] and some few other artists of Antwerp, are said to be unequalled: yet, I have not been able to obtain minute particulars of these able men. Peter Arsen,^[28] called Lungo, has painted a picture with folding wings, in his native city of Amsterdam; the subject. Our Lady with Saints. This work cost two thousand crowns. Lambert of Amsterdam ^[29] is also much spoken of as a good painter. He passed many years in Venice, and obtained considerable practice in the Italian manner. He had a son named Federigo, of whom, as he was one of our Academicians, I propose to speak elsewhere. Peter Breughel of Antwerp, and Lambert Van Hort, of Amersfort in Holland, are also excellent; while Gilis Mostaert,^[30] brother of the above-named Franz, is considered a good architect. Peter Pourbus^[31] likewise, although still but a youth, has already given proof that he will eventually become a distinguished painter.

And now, that we may not be wholly unacquainted with the miniaturists of those lands, I add that the masters named below are excellent in that branch of art. Marino of Siressa,^[32] Lucas Hurembout^[33] of Ghent, Simon Benich of Bruges,^[34] and Gherardo, also of Ghent.^[35] There are besides certain women who have herein distinguished themselves; as, for example, Susanna, the sister of Lucas above-named, who was invited to England by Henry VIIL, and lived there in great honour her whole life long; Clara Skeysers of Ghent, who died unmarried at the age of eighty; Anna, daughter of the physician, Maestro Segher; Levina, daughter of the above-named Maestro Simon of Bruges, who was nobly married in England by Henry YIII., was held in great esteem by Queen Mary, and is now in much favour with Queen Elizabeth, have all obtained a name in this art; as hath also Caterina, the daughter of Maestro Giovanni d’Hemsen, who went into Spain, and entered the service of the Queen of Hungary with a very good stipend. There are besides many other excellent miniaturists among the women of those parts.^[36]

In the art of glass and window painting there have also been many masters of great ability in those countries. Among them are Art Van Hort of Nymvegen;^[37] Borghese,^[38] of Antwerp; Jacob Felart;^[39] Dittick Stas of Campen; and Johann Ack of Antwerp; by the last of whom are the windows in the Chapel of the Sacrament, in the Church of St. Gudule, at Brussels. We have also two able Flemish painters in Tuscany, Walter and George namely, who have painted several windows for the Duke, at Florence, after the designs of Vasari.

In architecture and sculpture, the most renowned artists among the Flemings are Sebastian d’Oia of Utrecht,^[40] who served Charles V. in his Fortifications, as he afterwards did Philip II. Wilhelm of Antwerp, Wilhelm Cucur of Holland,^[41] a good architect and sculptor; Johann Yan Dale, a sculptor, poet, and architect; with Jacob Brucer,^[42] a sculptor and architect, who has executed numerous works for the Queen Regent of Hungary; these and some others have all distinguished themselves. The latter mentioned was master of Giovanni Bologna of Douai, our academician, respecting whom we shall have more to say hereafter.

Johan Yan Minescheren, of Ghent, is likewise held to be a good architect, and Matteo Manemacken, of Antwerp, is reported to be an excellent sculptor; the latter is now with the King of the Romans. Cornelius Floris, a brother of the above-named Franz, is distinguished in sculpture and architecture; it was by him that the art of executing grottesche was first taken into Flanders. Wilhelm Palidamo, the brother of Heinrich, with Johann Van Sart, of Nymwegen, a most diligent and able sculptor; Simon of Delft, and Gios Jason, of Amsterdam, all give earnest attention to sculpture, as does likewise Lambert Suave, of Liege; all have indeed attained considerable reputation: the last-named of these masters is an excellent architect and engraver of prints with the burin. He has been followed by George Robin, of Ypres, Divick Volcaerts, and Philip Galle:^[43] the two last, both of Amsterdam; with Lucas, of Leyden, and many others, have all been in Italy, to design the antiquities, and improve themselves in their art, when they have for the most part returned to their country, and become excellent artists.

But all these have been much surpassed by the beforementioned Lambert Lombard of Liege, a distinguished man of letters, a most judicious painter, and an admirable architect, the master of Franz Floris, and of Wilhelm Cay. Of the ability displayed by this Lambert and others, I have received notices in the various epistles sent me by Messer Domenico Lampsonio of Liege, a person admirably skilled in letters, and possessing infinite judgment in all things; he was attached to the service of Cardinal Pole, while that Prelate lived, having accompanied him to England, and is now Secretary to Monsignore, the Prince Bishop of Liege, Messer Domenico Lampsonio, I say, formerly sent me the Life of Lambert, written in Latin, and I have often received greetings from him in the name of many of our artists, belonging to those lands. One of his letters, dated Oct. 30th, 1564, is of the tenor here following:—

“During four years I have had it in my mind to thank your honourable worship for two important benefits received at your most courteous hands, I know that this exordium may appear strange to you as coming from one whom you have never seen or known; and so it might be, if you, in like manner, were unknown to me; but the matter stands on this wise, my happy fortune, or more properly the goodness of God, had put into my hands your most excellent writings concerning the architects, painters, and sculptors, but at that time I did not understand a word of Italian, whereas now, although I have never seen Italy, yet I thank Heaven that by reading your works I have acquired such little knowledge as emboldens me to write to you as I am now doing. Your writings have inspired me with a wish to learn your language, what perhaps no other book could have done, and to the study of this I was furthermore impelled by the profound and natural love which from my childhood I have borne to those three arts whereof you treat, but most especially to that which gratifies every age, sex, and condition, doing good to all and hurting none, your own art of painting. It is true that when I commenced the reading of your works I was in perfect ignorance respecting those arts, and had no judgment in the matter, but by the frequent and reiterated perusal of your writings, I have acquired so much that, even though it be but little, or almost nothing, does yet suffice to add a cheerfulness and joy to my life, procuring me a pleasure which I value above all the honours, enjoyments, or riches of this world.

And the little whereof I speak is this, that I design or occasionally paint in oil the natural objects before me, more particularly figures nude or draped, but I have not courage to go further and attempt such things as require a firmer and more practised hand, landscapes, trees, waters, clouds, fires, meteors, &c., although it is true that in a case of necessity, and up to a certain point I could perhaps show that the above-named reading of your works has enabled me to do some little even in these matters.^[44] For the present I have nevertheless contented myself with the limning of portraits, and the rather as the numerous duties, necessarily enforced upon me by mine office, do not leave me leisure for more.

“It was my wish, that I might show you my gratitude for having by your means acquired a most beautiful language, and learned to paint, to have sent you herewith a small portrait of my face, taken by myself with the aid of a mirror, but I am doubtful whether this my letter will find you in Rome or not, seeing that you may perhaps now be at Florence or in your native city of Arezzo.’^ In addition to the above, this letter contains many other particulars which need not be repeated here, and in other epistles that have followed, the writer has begged me, in the name of many able men of those countries, who have heard that these Lives are about to be reprinted, to add three Treatises on sculpture, painting, and architecture to the same, with designs, by way of elucidation, where such might be needful, and so to enforce the rules of art, as Albert Diirer, Sebastian Serlio, and Leon Battista Alberti have done, and whose writings have been translated by the Florentine gentleman and academician, Messer Cosimo Bartoli.

And this I would have done more than willingly, but my intention has been solely to write the Lives and record the works of our Artists, and not to teach the arts, or the method by which the lines are to be drawn in painting, architecture, and sculpture. The work has besides for many causes already grown much upon my hands, and has perhaps become too long, even without the addition of all those three Treatises thus proposed to me. Yet I could not have abridged more closely, or done otherwise than I have done, since it was not fitting ^that I should defraud any man of his due praise and honour, nor yet that the world should be deprived of the pleasure and profit which I hope that it may derive from the knowledge of the distinguished persons here named, and from these my labours.

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1. Martin Schöngauer. Our readers know that Vasari frequently confounds Holland, Flanders, and Germany.
2. Hans Memling, called in the Life of Antonello, Anse.
3. This is the Dutch painter, Dierk Von Stuerbout. — German Edition of Vasari.
4. Peter Christophson; many small works by whom are at Frankfort. See the Kunstblatt for 1841, p. 15, and for 1843, p. 230.
5. See the Kunstblatt for 1841, p. 16. See also Bryan, Dictionary of Painters, and the Handbook of Kugler, where (vol. ii. of English Edition) there is an elaborate description of his celebrated picture, the Last Judgment, in the Church of St. Mary, at Dantzic.
6. Hugo Von der Goes. Works by this artist may be seen at Berlin, Munich, &c,, and there is one in the Church of Santa Maria Nuova, at Florence.
7. Lucas of Leyden.
8. Michael Coxcie.
9. The principal work of this master is the Theban Legion in the High Church of Zante.
10. Dierk Von Stuerbout.
11. Quintin Metsys.
12. Johann Van Cleef; much valued by Henry VIII., and whose vanity is said to have driven him mad.
13. The principal works of this artist are in the Imperial Collections at Vienna.
14. Brother of Hieronimus.
15. Bernhard Von Horley. His works are also at Vienna.
16. This is the painter Vermeyen. —German Edition of Vasari.
17. Lambert Susterman.
18. This is again Dierk Von Stuerbout.
19. Who worked principally in Spain.
20. Called Stradano. He was ten years with Vasari. See Borghini, Riposo, vol. ii. See also Baldinucci, Notizie de' Professori, tomo vii. p. 136.
21. For details respecting whom, see Baldinucci, Notizie, &c., ut supra.
22. Born at Antwerp in 1520, and died there in 1570.
23. Wilhelm Kay, or Key, is said to have died of grief for the death of Count Egmont, whose fate he heard Alva determine while painting the portrait of that scourge of his kind and disgrace to humanity.
24. Anton Moor, a disciple of Johaim Schoreel, and good portrait painter.
25. A scholar of Floris, bom 1520, died 1604. For details respecting the numerous masters named thus rapidly, the reader is referred to the authorities before cited, or may consult Bryan, Dictionary of Painters and Engravers.
26. A disciple of Michael Coxcie and Christian Queebora.
27. n engraver as well as painter.
28. Called Long Peter, for his great height; painted principally still-life and glass windows for chambers—Förster.
29. Lambert Sustris, flourished and lived principally at Munich. He is not to be confounded with Lambert Lombard, or Susterman.—German Edition of Vasari.
30. The twin brother of Franz, and so like him that their own father could not always distinguish the one from the other.
31. This must be Franz, the son of Peter, who was born in 1513, and was not a youth when Vasari wrote this (in 1567). Franz Pourbus was an excellent portrait painter, as was his son, also called Franz.
32. Of this artist the present writer can find no authentic account.
33. Gerard Lucas Horebout was in the service of Henry VIII., and died at London in 1558.
34. Who likewise passed some time in England.
35. This Gerard of Ghent is believed by Morelli, Notizia di disegno, &c., to be Gerard Van der Meer; other authorities consider him to be Gerard Horebout. He painted twenty-five miniatures in a MS. for the Library of San Marco in Venice.
36. Of these ladies the present writer can find no well-authenticated details of interest.
37. Arnold Von der Hout; sometimes, but incorrectly, called the inventor of burning the colours into glass. “He is probably," says the German Förster, “the same person with the above-named Lambert Van Hort."
38. Mentioned by Guicciardini, in his description of the Netherlands, but believed to be the same with Simon Benich.
39. Named by Guicciardini, but unknown to the German writers, as are the two artists whose names follow that of Felart in the text.
40. He died in 1557, at the age of thirty, but his works are not known.
41. Believed to be the before-mentioned Peter Koek.—I.
42. Jacob von Breuck, who performed important works at St. Omer and Mons, about 1520-24.
43. He was born at Haarlem in 1537. and died in 1612, and was the first of a family of artists; for details respecting whom the English reader may consult Bryan, Dictionary of Painters, &c.
44. The writer of this courteous and gratifying letter, which it rejoices us to imagine our good Giorgio as reading, here alludes to the practical Treatise of our Author, which does not appear in the present edition, which comprises the “Lives” only; his letters and other works not entering into our present plans.