Lives of the Most Excellent Painters, Sculptors, and Architects/Fra Giovan’ Agnolo Montorsoli

by Giorgio Vasari

 

THE SCULPTOR, FRA GIOVANN’AGNOLO MONTORSOLI.

[born 1428—died 1563-4.]

To a certain Michele, the son of Agnolo, of Poggibonzi, and at a village called Montorsoli, which is situate about three miles from Florence on the road to Bologna, where Michele had a good and tolerably large farm, there was born a male child, to whom he gave the name of his own father and the boy’s grandfather, Agnolo that is to say. The child growing up and evincing a decided inclination for design, he was placed by his father, who acted in pursuance of advice given him by various friends, to learn stone carving with certain masters who were then occupied among the quarries of Fiesole, very nearly opposite to Montorsoli; continuing his labours under these men, therefore, in company with Francesco del Tadda,^[1] who was then a youth, and with others, many months had not elapsed before the young Agnolo knew perfectly well how to handle his tools, and executed not a few works proper to that vocation.

Having subsequently, and by means of Del Tadda, become known to Maestro Andrea, a sculptor of Fiesole,^[2] the latter was so greatly pleased with the character of the child, that he began to give him instructions; and his affection for the boy increasing, he kept him in his workshop for three years.

About that time Michele, the father of Agnolo, being dead, he set off with other young stone-cutters to Rome, whither many of that calling then repaired; and there, having set himself to work in the building of San Pietro, he carved several of those rosettes which are in the great cornice that passes entirely around the Church, which he did to his great advantage, receiving good pay for the same. Departing afterwards from Rome, I know not why, he engaged himself in Perugia with a master stone-cutter, by whom, at the end of a year, he was entrusted with the care of all the undertakings passing through his hands: but knowing that his continued abode in Perugia was not advisable, since he was not learning anything there, Agnolo removed to Yolterra, having found a favourable opportunity for doing so, and there worked at the tomb of Messer Raffaello Maffei, called Il Volterrano and for this monument, which was in course of being executed in marble, Agnolo carved ornaments, which clearly showed that he would some day render himself remarkable, and produce works meriting remembrance.

That sepulchral monument being completed, Agnolo, hearing that Michelagnolo Buonarroti was then employing the best carvers and stone-cutters that he could find, for the buildings of the Sacristy and Library of San Lorenzo, —Agnolo, I say, departed from Yolterra and repaired to Florence, where he at once began to work. But he had no sooner done so, than Michelagnolo perceived that the youth, from whose hand he had seen various ornaments, was one of a bold spirit and excellent genius, who performed more work in one day than was produced by many older and more experienced masters in two, wherefore Buonarroti caused to be paid to him, though still but a mere boy, the same salary that was given to those of advanced age.

These buildings having been suspended in the year 1527, by the outbreak of the plague and other causes, Agnolo, not knowing what else to do with himself, set off for Poggibonzi, where his father and grandfather had received their birth, and there he remained for some time with his uncle, Messer Giovanni Norchiati, a pious and learned man,f in whose house he employed his time solely in drawing and studying. But finding that the world seemed all to be turning upside-down, he formed the resolution of becoming a monk, and devoting his time to the calm pursuits of the cloister and the salvation of his own soul; whereupon he betook himself to the Hermitage of Camaldoli. This life he tried for a time; but finding that he could not support the discomforts thereof, nor endure the perpetual fasts, and that abstinence from all the enjoyments of life which was there

• A man renowned for his learning and the excellence of his life. —

Bottari.

t Chaplain, and afterwards canon of San Lorenzo as will be seen hereafter.— Ibid. the rule, he would not remain. Yet daring the time that he did abide in that place, he made himself particularly acceptable to those fathers, because he was of an excellent disposition. The amusement of Agnolo while at the Hermitage, consisted in carving the heads of men and different animals, with other fanciful inventions, on the upper ends of the stick or staff which each- of those good fathers was accustomed to carry, when he proceeded from Camaldoli to the Hermitage, or went into the woods for amusement, at which time the rule of maintaining silence is dispensed with.

Having left the' Hermitage with the permission and good favour of the Principal, but feeling still strongly disposed to become a monk, Agnolo then repaired to La Vernia, where he also remained for some time, frequenting the choir and holding converse with the fathers. But neither did that mode of life suit him on a further acquaintance; wherefore, having received certain intimations in respect to the manner of proceeding observed by various religious communities in Florence and Arezzo, he visited some of these on leaving La Vernia; and finding that he could not continue his care for the welfare of his soul with the desired attention to the studies of design, in any other convent so conveniently as in that of the Ingesuati of Florence, he presented himself to those fathers, and entered their monastery, which is situate at the Pinti Gate; he was very willingly received by those monks, the more so as they, labouring much in the painting of glass windows, had great hope that in him they should find a very useful and valuable assistant.

Now it has not been the custom with the Padri Ingesuati to read Mass, but according to their manner and the rule of their order, they keep a priest, who performs that office every morning; their Chaplain at that time being a Servite Monk named Fra Martino, who was a man of fair judgment and respectable life. This chaplain, perceiving the genius and aptitude of the youth, considered that he would not find exercise for the same among the Frati Ingesuati, who do nothing but say paternosters, make glass windows, distil herbs for sweet waters, dig their gardens, and perform other works of similar kind, but do not study or cultivate letters, wherefore he did and said so much that Agnolo went forth from the Ingesuati, and finally took the monastic habit among the Servile Monks, in the Monastery of the Nunziata at Florence. This he did on the 7th day of October, in the year 1530, receiving the name of Giovann’ Agnolo.

In the year 1531, having acquired the requisite knowledge of such ceremonies and offices as are practised there, while he also studied the works of Andrea del Sarto which are in that place, Giovanffi Agnolo made what they call his profession; and the following year, to the entire satisfaction of those fathers, and after having received the full consent of his kindred, he sang his first mass with much pomp and ceremony.

On the expulsion of the Medici, the wax figures of Leo, Clement, and other members of that most noble family which had been placed in the Cloisters of the Servites in pursuance of a vow, had been much injured by some young people, more out of their folly than from the bravery and good motives which they would fain have had attributed to them, when the Monks resolved that those works should be restored; and Gio vann’ Agnolo, with the aid of some others among them, who had given their attention to the making of images, undertook to repair such as were old and injured by time, while he moulded anew the Popes Leo and Clement, whose figures, as he made them, are still to be seen in that place.^[3] Shortly afterwards he executed figures of the King of Bossina,^[4] and of the old Signor da Piombino; in these works Fra Giovann’ Agnolo gave evidence of having made considerable progress in his art.

In the meanwhile Michelagnolo was in Eome with Pope Clement, by whom he had been summoned, because his Holiness desired that the works of San Lorenzo should be continued; the Pontiff also required Buonarroti to find him a young man who could restore some ancient statues which were in the Belvedere and had been broken; whereupon Michelagnolo, remembering Fra Giovanni, proposed him to the Pope, and his Holiness requested his presence by a brief to the General of his order, who granted it, because he could not do otherwise, but with a very ill will. The young monk having arrived in Rome accordingly, was at once set to work in certain rooms of the Belvedere which were assigned to him by the Pope as his abode and place of labour; here he restored the left arm of the Apollo and the right arm of the Laocoon, both of which are in that place he made arrangements for the restoration of the Hercules also.

Now Pope Clement was then accustomed to frequent the Belvedere very much, repairing thither almost every morning for his diversion, or to perform his devotions; the monk therefore, profiting by these occasions, made a portrait of his Holiness in marble, which.was so good a one, that the work obtained for him much praise. He became very acceptable to the Pontiff also, and the rather because the latter observed that Pra Giovanni was most studious of his art, and found too that he occupied a part of every night in making designs, to the end that he might have something new to show his Holiness every morning, nor did Pope Clement fail to take infinite pleasure in those productions.

About that time a Canonicate of San Lorenzo in Florence, which is a Church that was built and endowed by the Medici, had fallen vacant, when Fra Giovann’ Agnolo, who had laid aside his monkish vestments, obtained it for Messer Giovanni Norchiati his uncle, who was a chaplain in that Church as we have said.

Pope Clement having then determined that Buonarroti should return to Florence, there to finish the works of the Sacristy and Library of San Lorenzo, gave him orders, seeing that many of the statues were still wanting there, as will be related in the Life of Michelagnolo, to the effect that he should secure the services of the most able men that could be found, but more particularly of the Frate, Giovann’ Agnolo: Buonarroti, being commanded to proceed as Antonio San Gallo had done, when engaged on the completion of the works at the Madonna di Loretta.

Michelagnolo and the Frate repaired to Florence accordingly, and in the execution of the statues of the Duke Lorenzo and of Giuliano, Buonarroti availed himself constantly of Giovann’ Agnolo’s assistance in the polishing of the same, and in the performance of certain delicacies of execution connected with the hollowing out and placing in such relief as to be entirely detached from the marble beneath, of certain parts in those works; on which occasion Giovann’ Agnolo found means to acquire the knowledge of many things from that truly divine master Buonarroti, by whose side he would stand during long hours, attentively watching his labours and observing the most minute circumstance connected with them.

Among the other statues still wanting to the completion of that work, were those of SS. Cosiino and Damiano, which were to stand one on each side of Our Lady; Michelagnolo, therefore, took measures for the execution of the same, and gave one of them, the San Damiano, to Raffaello da Montelupo;^[5] the other, San Cosimo, he commissioned II Frate Giovann’ Agnolo to prepare. The latter set himself to his labours with very great care accordingly, and made a large model of the figure, which was retouched in many parts by Buonarroti, or rather Michelagnolo himself made the head and arms in clay, these being still in Arezzo in the hands of Giorgio Vasari, who preserves them among his most valued possessions, as proof of his regard to the memory of so great a man.^[6] It is true that there are not wanting those who have censured Michelagnolo for that circumstance, saying that he had given evidence of but little judgment in confiding the commission for that statue to Giovann’ Agnolo, and had made a bad choice; yet the result proved not only that Michelagnolo Buonarroti had chosen most judiciously, but that the Frate was a very able man.

Having completed and erected in their places the statues of the Duke Lorenzo and of Giuliano, which he did with the assistance of Giovanni Agnolo, Michelagnolo was recalled by the Pope, who desired that he should make arrangements for the execution in marble of the façade of San Lorenzo; he returned to Rome therefore, but had not been there long before Pope Clement died, when all those undertakings were left unfinished. The statue of the Frate Giovann’ Agnolo was meanwhile given to public view at Florence with the rest; and, unfinished as it was. that work obtained very high commendation.^[7] Of a truth, indeed, whether it is to be attributed to the diligence and care of the artist, or to the assistance of Michelagnolo, this figure proved to be the best ever executed bj the Frate among all that he produced in his whole life, and is without doubt entirely worthv of the place assigned to it.^[8]

Buonarroti, being freed from his engagements at San Lorenzo by the death of the Pontiff, now turned histhoughts towards the fulfilment of that which he had contracted for the sepulchral monument of Julius II.; but knowing that he should have need of assistance in his work, he sent for the Frate, who did not however proceed to Pome until he had first entirely completed the figure of the Duke Alessandro in the Nunziata. This he executed in a very beautiful manner, and one altogether different from that adopted by those artists who had previously treated the same subject; he has represented the Duke in his armour that is to say, and kneeling on a casque of the Burgundian fashion, as if in the act of recommending himself to the protection of the Madonna, beside whom he is placed. Having finished this work the monk then went to Pome, where his assistance was the utmost value to Michelagnolo, in the preparation of that sepulchral monument for Pope Julius alluded to above.

The Cardinal Ippolito de’ Medici was meanwhile given to understand that Cardinal Tournon was desirous of taking with him a sculptor required at that time for the service of the King of France, and therefore proposed to him the Frate Giovann’ Agnolo, who being earnestly advised by Michelagnolo with many arguments to accept the appointment, did accordingly consent to accompany the Cardinal de Tournon to Paris. Arrived in that city, he was introduced to the King, and very favourably received by that monarch, who very soon afterwards assigned him a pension in addition to his stipend, with orders that he should at once commence the execution of four large statues. But of these the Frate had not yet finished the models, when the King, being at a distance, and occupied on the borders of his kingdom, in wars with the English, he found the treasurers disposed to refuse him his pension; in effect, he could neither obtain his appointments nor anything else that he required, and with which the monarch had commanded that he should be supplied.

Offended by this treatment, and perceiving that men of ability were as much despised and maltreated by the ministers of that magnanimous king, as they were valued and honoured by the sovereign himself, Giovann’ Agnolo departed, and this notwithstanding that all the arrears of his stipend were paid to him by the treasurers (who were made aware of his displeasure), even to the uttermost farthing. Before he left Paris, however, Giovann’ Agnolo declared his purpose of doing so, bv his letters to the King as well as to the Cardinal.

From the capital of France he proceeded to Lyons, and thence by Provence to Genoa, but did not remain there long, leaving that city in company with several of his friends, with whom he visited Venice, Padua, Verona, and Mantua, where, to his great pleasure, he saw and sometimes designed, many fine buildings, sculptures, and paintings. But that which pleased him more thafi all in Mantua, was the examination which he had opportunities for making of the paintings executed in that place by Giulio Romano, some of which he copied with much care. Having afterwards been informed, (while at Ferrara and Bologna,) that his brethren of the vServites were holding a ‘general Chapter of their Order in Budrione,he repaired thither to meet the many of his acquaintance, who were certain to be found there, more particularly the Florentine Maestro Zaccheria, who was his most intimate friend; and at the entreaty of this Maestro Zaccheria, Giovanni Agnolo there produced in a day and a night, two figures in terra^ of the size of life, representing Faith and Charity, which were coloured to imitate white marble, and served as ornaments to a Fountain contrived by him, with the aid of a great copper vessel, for the occasion. This fountain continued to throw water during the whole of the day on which the Chanter was held, to the reat honour and glory of the Frate.

With the same Maestro Zaccheria, Giovann’ Agnolo then returned to Florence, and to his Convent of the Servites, where he executed two figures, also in terra, and larger than life, which were placed in two niches of the Chapter House; these represented Moses and St. Paul, and were very highly extolled.^[9] He was afterwards sent to Arezzo, by Maestro Dionisio, who was then General of the Servites, and was eventually made Cardinal by Pope Paul III.; that Dionisio considering himself under great obligations to Angelo the General of his Order at Arezzo,^[10] by whom he had been brought up and instructed in good letters; and having commissioned Giovann’ Agnolo to erect a magnificent sepulchral monument of macigno stone in the Church of San Piero, in that city,^[11] for the said Aretine General, adorning the same with many carvings and statues. On the Sarcophagus is the figure of the General Angelo, a portrait from the life, with two nude figures of children, in full relief, represented as weeping while they extinguish the torches of human life; there are besides other ornaments, which render that work extremely beautiful; but it was not entirely completed when Giovann’ Agnolo was recalled to Florence, and compelled to depart, his presence being required in the last-named city, by the preparations which the Duke Alessandro was then making for the expected arrival of the Emperor Charles V., who was at that time returning victorious from Tunis.

Having reached Florence, the Frate at once proceeded to construct a colossal figure of eight braccia high, which he placed on a broad pedestal at the Bridge of the Trinità; this, which represented the River Arno, was in a recumbent position, and appeared to be rejoicing with the Rivers— Rhine, Danube, Biagrada, and Ibero,^[12] (which had been made by other artists) at the coming of his Majesty; this figure of the Arno was a very good and beautiful one. The same Frate made a statue, twelve braccia high, for the angle of the Carnesecchi, a Jason, Leader of the Argonauts, namely; but this, being as it was of immoderate size, and the time for its preparation being short, was not of equal perfection with the first-mentioned, nor indeed was another, representing Royal Gladness, which the Frate added at the corner of the Cuculia. The rapidity with which he had completed these works was nevertheless taken into the account, and Giovann’ Agnolo obtained much credit for his labours from artists, as well as from the people generally.

Giovann’ Agnolo afterwards returned to finish his work at Arezzo, and having there heard that Girolamo Genga^[13] was about to execute a monument in marble at Urbino, the Frate went to seek him; but no conclusion having been arrived at, h^ turned his face towards Rome, where however he did not long delay, but went on to Naples, with the hope of being commissioned to construct the sepulchral monument of Jacopo Sannazzaro, a Neapolitan gentleman, and poet of truly singular merit and admirable qualities. Now Sannazzaro had built a magnificent and very commodious habitation, at a place which enjoys a most beautiful, nay rather, an exquisite view on the Margoglino^[14] that is to say, which is situate at the end of the Chiaja, in the city of Naples, and directly faces the shore; this dwelling, which had the form proper to a monastery,^[15] with a very beautiful little church,^[16] was enjoyed by Sannazzaro during his life;^[17] his death he bequeathed it to the Servite Monks, commanding the Signor Cesario Mormerio, and the Conte di Lif,^[18] executors of his will, to construct his sepulchral monument in the church wTich had been erected by himself as we have said, and desiring that therein, wRere the above named fathers were always to officiate, his own remains should be deposited.

The question of making this tomb being then discussed, the Servite Monks proposed to the executors that the commission for the same should be given to Giovann’ Agnolo, and he, going, as we have said, in that expectation to Naples, the work was finally accorded to him:^[19] his models were indeed found to be much better than those which had been prepared by many other sculptors, and he consequently received a good share of the 1000 crowns advanced for them. Giovann’ Agnolo then sent Francesco del Tadda, of Fiesole,^[20] an able carver, to superintend the *excavation of the marbles, having given him directions to get forward with all such rough hewings, dressings, and carvings, as should be demanded for the work, to the end that it might proceed with the greater rapidity.

While the Monk was thus making his arrangements for the construction of the above-mentioned sepulchre, the Turkish army entered Apuglia, and the people of Naples, being thrown into no small terror by that event and by the near vicinity of the foe, orders being given for the fortification of the city; four men of eminent distinction, and whose judgment was much relied on, being charged with the care of the works. These persons, requiring the assistance of an able architect, bethought themselves of the Frate, but some slight rumour of what was intended having reached his ears, and he not thinking that it beseemed a man of religion as he was, to meddle with matters of war, left Naples, but first gave the executors of Sannazzaro’s testament to understand that he would prepare his tomb either at Carrara, or Florence, and would take care that it should be finished and erected in its place within the appointed time.

He thus departed, as I have said, from Naples, and repaired to Florence, where he at once received commands from the Signora, Donna Maria, Mother of the Duke Cosimo, to the effect that he should finish the figure of San Cosimo, which he had formerly commenced under the direction of Buonarroti, for the tomb of the Magnificent Lorenzo the Elder;^[21] Whereupon, having set hand to the same, he completed it entirely; and that being done, the Duke, who had then constructed the more important part of the conduits for the great fountain of his Villa at Castello, also required his. services: and the matter was on this wise. ‘The decorations of the summit of that Fountain were to consist of a figure of Hercules, in the act of strangling Antaeus, out of whose mouth, in place of breath, there issues water, which ascends into the air to a considerable height; and for this it was that the Frate was commanded to make a model of tolerably large size; that model pleased his Excellency greatly, when Giovann’ Agnolo received commission to execute the work, and was ordered to repair to Carrara for the purpose of excavating the marbles.

For Carrara the Frate departed accordingly and with great good will, seeing that he had thus an opportunity for getting forward with the above-mentioned monument of Sannazzaro, more especially with a story in figures of mezzorilievo, which he desired to prepare with his own hand. While Giovann’ Agnolo was thus at Carrara it chanced that the Cardinal Doria wrote from Genoa to the Cardinal Cibo, who was also at Carrara; and his Ictter was to the effect that as Bandinelli had never completed the Statue of Prince Doria, and as he, Cardinal Doria, had no one ready to finish it, so he begged that Cibo would endeavour to procure some able artist by whom that work might be accomplished, he being very anxious to have it done. On the receipt of this letter, Cibo, who had long before obtained some knowledge of the Frate, used many efforts to prevail on him to go to Genoa; but he declared that he neither could nor would do anything for the service of his most reverend Lordship, •until he had first fulfilled the promise which he had given to the Duke Cosimo, and had completed the engagement which he had made with that Signore.

While these matters were in discussion, the Frate had got rapidly forward with the Tomb of Sannazzaro, and having also sketched for Duke Cosimo the Hercules in marble, he then proceeded with it to Florence, where, with much promptitude and diligence, he conducted it to such a degree of forwardness that little more was required for the entire completion of the figure, which would indeed have been presently finished had Griovann’ Agnolo continued to work at it. But a rumour had got abroad, to the effect that the marble statue was not by very much so beautiful as the model had given cause to expect that it would be, and that the Frate would find infinite difficulty in fixing the legs of the Hercules to the trunk, seeing that they were not adapted to the torso which he had prepared for them. This went so far, that Messer Pier-Francesco Eiccio, the Majordomo,^[22] from whom Giovaii’ Agnolo was accustomed to receive his stipend, permitting himself to be influenced more readily than a grave man should do, became very backward in his payments to the Frate, listening too credulously to Bandinelli, who left nothing undone that could injure the Monk, by way of avenging himself for the wrong which, as it appeared to him, he had received from Giovann’ Agnolo in the promise which the latter had given to finish the Statue of Prince Doria, so soon as he should have fulfilled his engagement with the Duke.^[23]

There was also an opinion prevailing that the favour enjoyed by Tribolo, who was executing the decorations for the Castello, was in no way serviceable to the Frate; however this may have been, Giovann’ Agnolo, a proud and choleric man, perceiving himself to be maltreated by Eiccio, set off at once for Genoa, where he was instantly commissioned by the Cardinal and the Prince to execute the Statue of the latter, which was to be placed on the Palazzo Doria. He set hand to the work accordingly, but without altogether neglecting the Tomb of Sannazzaro, for which Tadda was executing the remainder of the carvings and decorations at Carrara; and while these were in course of preparation, the Frate finished the Statue of Doria, to the great satisfaction of the Prince and all the people of Genoa.

Now the above-mentioned statue was intended, as we have said, to be placed on the Piazza Doria, but the Genoese made so much ado in the matter, that notwithstanding the protestations of Giovann’ Agnolo, the figure was in fact erected on the Piazza della Signoria. It was in vain that the Frate declared the statue to have been executed with a view to its being placed on a pedestal and in an isolated position in the midst of an open space, adding, that it could not therefore have its due effect if placed, as was now proposed, at the angle of a wall; all that he could say availed nothing. Yet to tell the truth, it is certain that there cannot be a more injurious act than that of placing a work intended for some particular place in a different position, seeing that the artist, as he proceeds with his labour, has a view to the place where the sculpture or painting is to be fixed, and accommodates himself thereto in respect to the lights and other circumstances.

After this, and when the Genoese had seen the stories and other figures which Giovann’ Agnolo had executed for the Tomb of Sannazzaro, which pleased them greatly, they determined that the Frate should have the commission for a figure of San Giovanni Evangelista, which was to be placed in their Cathedral Church; and when this was completed, they were so abundantly satisfied therewith, as to declare themselves amazed by its beauty.^[24]

Leaving Genoa, Fra Giovanni at length proceeded to Naples, there to erect the Tomb of Sannazzaro in its place, and the manner of that monument is on this wise: at the outer angles of the base are two pedestals, on each of which are carved the arms of Sannazzaro, and between them is a stone tablet of a braccio and a half in width, on which is inscribed the epitaph^nota which was written by Jacopo Sannazzaro himself, the tablet is supported by two little boys. On each of the two pedestals, moreover, is a Statue of marble, four braccia high; these figures are seated, and represent, the one Minerva, the other Apollo.^nota Between these figures, and in the midst of two consols, which stand at the sides, is a basso-rilievo two braccia and a half in the square; and here are sculptured Fawns, Satyrs, Nymphs, and other figures singing, and sounding various instruments, after the manner described in Sannazzaro’s very learned Poem of the “Arcadia,” and in the pastoral verses of that most eminent man.

Above this rilievo is an Urn, of a round form and very beautiful character, being richly adorned moreover, nay covered, so to speak, with sculptures; in this Urn are the remains of the Poet; and over it, placed on a pedestal in the centre, is the bust of Sannazzaro, a portrait from the life, with these words beneath it, actius sinceris; the portrait is accompanied by two boys, bearing wings in the manner of Loves; and having books around them. In two niches, which are beside the Tomb and in the walls of the Chapel, are two figures in marble, standing on pedestals, and representing, the one St. James the Apostle, the other San Nazzaro.^nota The Frate having erected this ^{[25] [26] [27]} work, in the manner here described, the above-named Signori executors declared themselves to be most perfectly satisfied, as did the whole city of Naples.

Giovann’ Agnolo then remembered that he had promised Prince Doria to return to Grenoa, there to erect the sepulchral monument of that Sovereign himself. This was to be constructed in the Church of San Matteo, and the Frate was furthermore to decorate the entire church. He departed from Naples, therefore; and having arrived in G-enoa, at once, prepared the models for such works as the above-named Signori had commanded, and which pleasing the latter greatly, Griovann’ Agnolo set hand to the same. Prince Doria allowing him a good stipend, and the monk being assisted by a fair number of masters. Thus dwelling in Grenoa, Griovann’ Agnolo made many friends among the Grenoese nobles and men of distinction, but more especially with certain physicians, and these persons were of great use to him, seeing that they dissected large numbers of human bodies; and, mutually aiding each other, they studied architecture and the laws of perspective in common; by which means Griovann’ Agnolo rendered himself most excellent in his art.

Labouring in this manner, the days of the monk passed on, the Prince going frequently to the place where he was at work, finding much pleasure in his conversation, and ultimately conceiving a great friendship for him. Now about this time one of the nephew^s of Giovann’ Agnolo, whom he had left in the custody of Maestro Zaccheria, was sent to him at Genoa, and this one, called Angelo,^[28] was a youth who then gave promise of fair ability and very good dispositions. At the same time there was sent to the Frate by the same Maestro Zaccheria, another young man called Martino, the son of Bartolommeo, a tailor. Both these youths whom the monk instructed as carefully as he might or could have done had they been his own sons, he now set to work on the undertaking which he had in hand; and having at length completed the several parts, he constructed the chapel, erected the tomb, and arranged all the ornaments which he had prepared for the Church. The nave of that building forms a single cross at the upper part of the same, and at the lower end there are three crosses; the High Altar is in the centre, being wholly isolated in its upper part.

The Chapel of which there has been mention above, is supported at the angles by four large pillars, which also serve to sustain the cornice passing around it, and above which rise four round arches, turned immediately over the pillars. Of these arches, three are occupied by windows of no great size, and over them passes a cornice of a round form, which forms four angles between arch and arch at the lower edge, but takes the form of a basin or depressed cupola in the upper part.

For the four sides of the Altar, Fra Griovann’ Agnolo had prepared rich ornaments in marble, and above them he placed an exceedingly beautiful and splendidly decorated vase, also in marble, for the most holy Sacrament, two Angels of the natural size, and in marble like the rest, standing on each side thereof. Around the edge is a decoration formed of various stones inlaid on the marble ground, and exhibiting a beautiful and varied arrangement of marbles in different colours, and other precious stones, as for example, serpentines, porphyries, and jaspers. At the upper and principal wall of the Chapel, moreover, Giovann’ Agnolo prepared a base or socle, richly encrusted with similar vari-coloured marbles and stones, which extends from the floor to a height equal to that of the summit of the altar, and this forms the basement to four columns of marble which enclose three spaces; the central and largest of which contains a tomb, holding the relics of I know not what Saint; while in those on each side are two statues in marble representing two of the Evangelists.

Above the range of columns here described is a cornice, and over the cornice four more columns, but of smaller size: these support another cornice, divided into three square compartments, corresponding with the open spaces between the first range of columns: in the central compartment is the Resurrection of Our Saviour Christ in full relief; the figures, which are in marble, being larger than life. On the sides are ranges of columns in like manner, and in the middle, above the before-mentioned tomb, is a figure of Our Lady in mezzo-rilievo, with the Dead Christ: on each side of the Madonna are figures representing King David and St. John the Baptist, St. Andrew and the Prophet Jeremiah occupying the spaces at the opposite end. In the lunettes of the arches and above the greater cornice where are the windows, is a rich decoration in stucco-work, with figures of Children who appear to be employed in adorning those windows. In the angles beneath the cupola are four Sybils also in stucco, works in which material likewise decorate the whole of the vault, being formed into grottesche of various kinds.

Beneath this chapel is a subterraneous chamber, into which there is a descent by means of marble stairs; and having entered it, you perceive a marble tomb at the upper -end with figures of Angels in the form of children above it; and here were to be deposited, after his death, the remains of the above-named Signore, Andrea Doria, as I believe has been done. On an altar placed opposite to the Tomb is a beautiful Vase in bronze, cast and polished most admirably by whomsoever may have done it,^[29] and within this vase is laid a piece of the wood of the most holy cross whereon our Saviour Christ was crucified, that morsel of the cross having been given to the Prince Doria by the Duke of Savoy. The walls of this sepulchral chamber are wholly encrusted with marble, and the vault is decorated with stucco-work and gold, exhibiting stories from the life and great deeds of Doria himself;^[30] the pavement also is composed of varicoloured marbles and precious stones, the divisions of the same corresponding with those of the vault.

In the transept of the church above are two sepulchral monuments in marble, with tablets in mezzo-rilievo: in one of these lies entombed the Signore, Count Filippino Doria, and in the other is buried the Signor Giannettino, also of the Doria family. Against the pillars at the commencement of the middle aisle are t-wo beautiful pulpits in marble, and throughout the side aisles are distributed chapels of admirable architecture, the whole of them being richly adorned with columns and other ornaments, by all which this fabric is rendered a truly rich and magnificent edifice. Having completed the church. Prince Doria then caused the Prate Giovann’ Agnolo to set hand to his palace, making large additions to the building, and also laying out very beautiful gardens, which were in like manner committed to the superintendence of the Frate.

Finally, Giovann’ Agnolo constructed a fish-pond before the front of the palace, and for this he prepared an ornament in marble; the subject chosen, and which was executed in full relief, being a Marine Monster, by which water in vast quantities is poured into that fish-pond. He likewise executed a colossal figure of Neptune^[31] in stucco, which was placed on a pedestal in the garden of the prince: two Portraits of the same Doria, and two of the Emperor Charles V., which were taken into Spain, are also to be enumerated among the works of Giovann’ Agnolo.

While this artist abode in Genoa, Messer Cipriano Pallavicino, the Signor Abate Negro, Messer Giovanni da Montepulciano, and the Signor Prior of San Matteo, were all of the number of his friends, as, at a word, were all the first nobles and gentlemen of that city, wherein the Prate acquired both fame and riches: of Messer Cipriano Pallavicino in particular it may be remarked that, as he possesses much judgment in matters concerning our arts, so does he willingly associate himself with the most eminent artists, whom he favours upon all occasions.

Having finished the above-mentioned works, Fra Giovann’ Agnolo departed from Genoa and repaired to Rome, there to visit Buonarroti, whom he had not seen for many years, and also to try if he could by any means renew his connexion with the Duke of Plorence, in such sort that he might return thither to complete the Hercules which he had left unfinished. But having arrived in Eome, where he bought himself the dignity of a Knighthood oT San Pietro, he there heard, by letters which he received, from Florence, that Baccio Bandinelli, pretending to want marble, and affecting to consider the Hercules as a piece of marble spoiled, had broken it to pieces by permission received from the Majordomo Biccio, and had used it to make cornices for the tomb of the Signor Giovanni, which was then in process of construction: hearing of this act of Bandinelli, I say, Giovann’ Agnolo was so much displeased that he would not then even hear of revisiting Florence, since it appeared to him that the presumption, arrogance, and insolence of that man had been and was too easily supported.

While the Frate was thus passing his time in Rome, the Messinese were deliberating on the construction of a Fountain which they desired to have erected on the Piazza of the Cathedral, and resolving to have this work richly decorated with statues, they had despatched messengers to Rome with command to select a sculptor of eminence for that service. These men had engaged Raffaello da Montelupo, but he falling sick just at the time when he was on the eve of departing with them for Messina, they determined to take Giovann’ Agnolo instead, who had indeed given himself infinite pains and made much interest to obtain the commission for that work.

The Frate first placed his nephew Angelo, who turned out to have much less ability than the uncle had expected, with a joiner in Rome; he then departed for Messina with his disciple Martino, and they arrived in that city in the month of September, 1547. They were at once accommodated with rooms, and without loss of time they began to prepare the conduits for bringing the water, which was to come from a distance, as also to arrange matters for the excavation of marbles in Carrara, and for the transport of those marbles from that place to Messina. With the aid of numerous stone-cutters, therefore, they brought that fountain, in due time, to completion, and the manner of the work is on this wise.

The fountain has eight sides or faces, four larger or principal namely, and four smaller; two of the four greater, projecting forwards, present an angle to the centre, and the other two receding, are connected with a level or plane surface which joins the four remaining and smaller sides, making in all the eight above-mentioned. The four angular faces which project forward, forming a kind of ressault, leave space to four plane surfaces which all recede; and in the midst is a Basin of considerable size, which receives water in great abundance from four river-gods of marble: these figures are so placed that they surround the body of the basin and are seen on all the eight faces of the fountain.

The whole fabric of the fountain is raised on four steps, which have twelve sides or faces, eight larger, which present an angular form, and four smaller on which are placed vases. Beneath the four river-gods are balusters five palms high, and on each corner (of which there are in the whole twenty) there is placed the ornament of a Terminal figure. The circumference of the first basin is a hundred and two palms, and the diameter of the same is thirty-two palms; in each of the above-mentioned twenty angles there is a story in marble carved in basso-rilievo, the subjects of poetical invention, but appropriate to the place, and all touching waters and fountains—Pegasus that is to say, the blow of whose foot produces the Fount of Castaly, Europa borne through the sea, Icarus attempting to fly across and falling into the same, Arethusa turned into a Fountain, Jason traversing the Sea with the Golden Fleece, Narcissus changed into a Fountain, Diana surprised in the Bath and turning Actacon into a Stag, with other subjects of similar character.

In the eight angles which divide the ressaults from the steps of the fountain, two flights of which ascend towards the vases and the river-gods, while four are directed on the angular planes, are eight Marine Monsters in various forms: they are raised on socles in a recumbent position, with the fore-paws stretched in front of them, and reposing on masks, whence there pours water into smaller vases, or basins of a circular form. The river-gods, which are ranged on the edge, and which are placed on socles of such a height as to give them the appearance of being seated in the water, are the Nile, with seven children, the Tiber, surrounded by a vast number of palm-trees &nd trophies, the Ebro, with various symbols of the victories obtained by Charles V., and the Cremano, near Messina, from whose bed has been taken the water to supply this fountain. They are accompanied by figures of Nymphs and by stories, all giving proof of much thought and careful consideration. At the height of ten palms from the ground there are sixteen very ample jets of water, eight of them are thrown by the masks above-mentioned, four by the rivergods, and four by fishes seven palms high, which stand erect in the basin, and, with their mouths turned outwards, cast water from the same towards the side of the larger planes.

In the centre of the octangular basin, and on a socle formed to receive them, are Syrens, one at each angle namely, they have wings instead of arms, and these meeting in the centre support four Tritons, eight palms high,^nota the tails of the latter are intertwined, and in their hands they hold an immense Tazza, into which^nota water is poured from four gigantic masks superbly sculptured. From the centre of that Tazza there rise two very hideous masks, purporting to represent Scylla and Charybdis; on these rest the feet of three Nymphs, nude figures, each six palms high, who bear the last Vase of the Fountain on high with their arms. In the Vase just mentioned are four Dolphins, their heads downwards, and their tails borne aloft to form a basement, whereon is a ball, from the midst of which proceed four heads, and these cast the waters of the fountain into the air, as do also the Dolphins before mentioned, on which are mounted four nude figures of children. Lastly, and on the uttermost summit of the Fountain, is an armed figure representing the Constellation Orion, bearing on a shield the arms of the city of Messina, of which it is related, or more properly fabled, that Orion was the founder.

This then is the Fountain of Messina, but it is manifestly not so easy to describe it in words as it would be to show it by a drawing:^nota the Messinese, meanwhile, were so entirely satisfied with the work that they commissioned Fra Giovann' ^{[32] [33] [34]} Agnolo to construct a similar fountain on the Strand near the side of their Custom-Chouse: this also proved to he a very magnificent and beautiful production. It has eight sides like the first, but is nevertheless entirely different from the above described erection. The steps, for example, are divided into four ranges, the three which ascend the larger facets having rectangular fronts, and those on the smaller sides of the fabric presenting a semicircular form: above these flights of steps stands the fountain with its eight sides. The balustrade of the larger and lowermost basin, also exhibiting an octangular figure, has a richly sculptured pedestal at each of its angles, and in the centre of four out of the eight faces or planes is another pedestal of similar character. On the sides to which you mount by the circular steps there is a marble vase or basin of an oval shape into which there falls water in vast abundance from two masks, which are fixed on the basement of the carved balustrade. In the centre of the principal vase of this fountain is a pedestal, of proportions justly adapted thereto, and on this pedestal are exhibited the Arms of Charles V., with a Sea-horse at each angle of the basement, from between the feet of which spring jets of water; in the frieze of the same, beneath the upper cornice that is to say, are eight large masks, which pour streams of water downwards. On the summit is a figure of Neptune, five braccia high; the sea-god holds his trident in his hand, and beside him is a Dolphin.

On the two sides^[35] of the great basin are two other pedestals, on which are Scylla and Charybdis, in the forms of two monsters, with heads of Dogs, and surrounded by Furies, the whole extremely well done,^[36] and this work also, when brought to completion, gave entire satisfaction to the Messinese, who, having found a man to their mind, had no sooner beheld their fountains completed,^[37] than they determined to commence the façade of their Cathedral, which they also carried forward to a considerable height.^[38] They subsequently commissioned Giovann’ Agnolo to construct twelve chapels within the Church; for these he was required to select the Corinthian order, and they are placed six on each side, all being decorated with statues of the apostles five braccia high, and executed in marble. Of these chapels four only were finished by the Frate, the two statues of San Pietro and San Paolo being entirely by his own hand, and both very good figures: he was also commanded to place a figure of our Saviour Christ, in marble with rich decorations around it, at the upper end of the principal chapel, with a story in basso-rilievo to be placed beneath the statues of the twelve apostles; but for that time he did not proceed further with the work.

On the Piazza of the same Cathedral, Giovann’ Agnolo superintended the erection of a church to San Lorenzo; the architecture of this fabric proved to be exceedingly beautiful, and he was very highly commended for the same. The Tower of the Pharos, which is on the shore of the sea, was also constructed under his direction, and while these works were in course of progress, he likewise superintended the building of a chapel in the Church of San Domenico, for the Captain-General Cicale, executing for that fabric a figure of the Madonna, in marble, as large as life. For the cloister of the same church, and in a chapel belonging to the Signore Agnolo Borsa, Giovanni Agnolo also executed a basso-rilievo in marble; this story, which was finished with great care, was in like manner considered to be a very fine work.

The Frate furthermore conducted water by the wall of Sant’ Agnolo, to a fountain, for which he prepared a colossal figure in marble with his own hand; the statue though large, is that of a Child, and it pours water into a basin which is very richly decorated as well as judiciously arranged for its purpose; this likewise was reputed to be a highly creditable production. At the Wall of the Virgin he likewise constructed a fountain, the water from which falls into a basin; this he adorned with a figure of the Madonna, by his own hand. For the fountain which is erected near the Palace of the Signore, Don Filippo Laroca, Giovann’ Agnolo sculptured the figure of a Boy from a certain stone much used in Messina: the Child is surrounded by marine animals, and pours water into a vase. He also executed a statue, four braccia high, of the Virgin Martyr, Santa Caterina; this work, which was an exceedingly beautiful one, was sent to Taurinima,^[39] a place which is situate some four and twenty miles from Messina.

While Giovann Agnolo thus dwelt at Messina, he had for his friends and associates the above named Signore, Don Fillipo Laroca, and Don FVancesco, who- was of the same family with Messer Bardo Corsi, Giovanfrancesco Scali, and Messer Lorenzo Borghini; all three Florentine gentlemen then in Messina. Serafino da Fermo was also one of his intimates, as was the Grand Master of Rhodes, who frequently invited them to go to Malta, and would willingly have made him a knight; but the Frate replied that he had no mind to confine himself to that island; he had indeed become dissatisfied with himself, for not wearing the habit of his Order, and frequently entertained thoughts of returning to the Cloister. Indeed, I know of my own knowledge, that if he had not been in a certain manner forced to defer his purpose, he would have retaken the habit, as I have said, and returned to live in the manner of a pious monk. When, therefore, it was decreed, in the year 1557, and during the pontificate of Pope Paul IV., that all the apostates, or, more properly, all those who had left their monasteries, and laid down the habit, should be compelled to return under the heaviest penalties, Fra Giovann’ Agnolo abandoned the work which he had in hand, and, leaving his disciple Martino, in Messina, he departed from that city in the month of May, and repaired to Naples, proposing thence to return to the Monastery of the Servites.

But before completing that arrangement, and to the end that he might devote himself entirely to God, Giovann’ Agnolo bethought himself of the best mode in which he might suitably dispose of his large gains. He first gave certain of his nieces, who were very poor, in marriage, as he did some other young girls belonging to his native place, or to the neighbourhood of Montorsoli, and furthermore commanded that a sum of 1000 crowns should be given to that nephew, Angelo, of whom we have before made mention as having been left in Rome, for the purpose of buying him a Knighthood of the Lily:^[40] he also disbursed a considerable amount of money for two Hospitals in Naples, giving to each a large sum in alms; and to his own Monastery of the Servites he left 4000 crowns to buy a farm, endowing those Monks with that likewise which had belonged to his own forefathers at Montorsoli, but on condition that twenty-five crowns yearly should be paid to each of two of his nephews, who were like himself monks of that Order, with certain other charges, of which we shall make further mention hereafter.

All these matters being settled, Giovann’ Agnolo presented himself openly in Rome, and resumed the habit of his Order, to the infinite delight of his brethren, and more especially of Maestro Zaccheria.

He then repaired to Florence, where he was also received with indescribable rejoicing and gladness, by his kinsfolk and friends. But although the Frate had now determined to devote the remainder of his days to God and to spend his life in the service of Our Lord, remaining quietly at peace in the enjoyment of a Knight’s revenue,^[41] which he had reserved to himself; yet this was not so easily effected as he had supposed it might be. For being pressingly invited to repair to Bologna by Messser Giulio Bovio, the uncle of Vascone Bovio, to the end that he might direct the construction of the High Altar in the church of the Servites, with a richly decorated tomb, he could not refuse to comply with that entreaty, and the less as the work to be performed was for a church of his own Order.

The above-named altar was to be of marble, and to stand entirely isolated, the tomb was in like manner to be encrusted with marble, and furthermore to be enriched with elaborate ornaments of vari-coloured stones. Giovann’ Agnolo repaired to Bologna accordingly, and having set hand to the work, he completed the same within the space of twentyeight months; constructing the above-named altar, which occupies the entire space between pillar and pillar, and enclosing the whole choir of the monks, which is all of marble, both on the inner and outer side. In the centre he placed a nude figure of Our Saviour Christ, two braccia and a half high, with other statues at the sides.^[42]

The architecture of this work is of a truly beautiful character, every part being well arranged, and all so carefully conjoined, that no better workmanship could be executed. The pavement also, beneath which is the sepulchre of Bovio, is formed in well fancied compartments, and there are chandeliers in marble of much beauty, with small figures and minute stories in relief, which are also of considerable merit; the whole fabric is rich in carvings, but the figures—to say nothing of their being small, which arises from the difficulty experienced in the transport of large masses of marble to Bologna—are not equal to the architecture, nor do they deserve very high commendation.^[43]

While Fra Giovann’ Agnolo was occupied at Bologna with this undertaking, he gave much consideration to the question as to where, among the dwellings belonging to his Order, he might most commodiously pass the remainder of his days; a matter on which he had come to no definite resolution, when his most intimate friend Maestro Zaccheria, who was then Prior of the Nunziata at Florence, desiring much to attract him to that place and to fix him there, spoke of his friend to the Duke Cosimo, recalling to the memory of his Excellency the great merits of the monk, and entreating him to command, his services. To this the Duke replied with much favour, and added, that he would find occupation for Giovann’ Agnolo, so soon as he should have returned from Bologna: when Maestro Zaccheria wrote him an account of all that had passed, sending him also, shortly afterwards, a letter from the Cardinal Giovanni de’ Medici,^[44] in which that Signore encouraged him to return and distinguish himself in his own country, by some important work.

Having received these letters, and remembering that Messer Francesco Riccio,^[45] after having lived for many years in a state of idiocy, had at length died, while Bandinelli also had departed this life; the Frate, to whom these two persons had not been very kindly disposed, wrote replies to the effect that he would not fail to return for the service of his most Illustrious Excellency, so soon as he possibly could, but adding that he desired to be useful in matters that were not of a worldly character, and would be glad to employ himself in some sacred work, seeing that his whole heart was turned to the service of God and of his saints.

In the year 1561, therefore. Fra Giovann’ Agnolo at length returned to Florence, when, as the Duke and Cardinal were at Pisa, he repaired with Maestro Zaccheria to that city, there to present his duty to their most illustrious lordships. He was received by each of those Signori with the most affable kindness; and the Duke, having added that, on his own return to Florence the Frate should be at once employed on some work of importance, Giovann’ Agnolo went back to the last-named city.

Shortly afterwards, and by the intervention of Maestro Zaccheria, Giovann’ Agnolo obtained permission from his brethren of the Nunziata to erect in the chapter-house of that convent, where he had many years before produced the figures of Moses and of San Paolo in stucco,^[46] as we have related above, a very beautiful sepulchre, occupying the centre of the place, and destined for the tomb of himself and such other professors,^[47] persons belonging to the arts of design, painters, sculptors, and architects, as might be unprovided with a burial-place of their own; proposing to make an arrangement, as he subsequently did, for the settlement of his property on the monks, under the condition that on certain festival days, as well as on ordinary occasions, they should there perform mass for the good of the souls of those to be interred in that Chapter-house. He stipulated, moreover, that on the festival of the Most Holy Trinity in each year, high mass should be read and a solemn festival held, while, on the day following, the office for the dead should be performed; all being intended for the good of the souls of the persons above-mentioned.

This plan was imparted by Fra Giovann’ Agnolo to Maestro Zaccheria and to Giorgio Vasari, who was their intimate friend; when they held much discourse together concerning the affairs of that Company or Brotherhood of Artists which had been instituted in the time of Giotto,^[48] and had established their rooms in Santa Maria Nuova at Florence, as appears by a memorial still to be seen at the high altar of the Hospital,^[49] which has remained from those days even to our own: eventually, they resolved to take that opportunity for reviving and restoring the Company, which, having been removed from their place at the high altar abovementioned, had been transported (as will be related in the Life^[50] of Jacopo Casentino) to that part of the vaults beneath the Hospital of Santa Maria Nuova, which are close to the corner of the Via della Pengola; but finally, driven thence also, the place having been taken from them by Don Isidoro Monteguti, director of the hospital,—the Brotherhood had almost entirely dispersed, and no longer held its assemblies.^[51]

But the Frate, Maestro Zaccheria, and Giorgio Vasari, having then discoursed, as I have said, at much length, on the state of that Company, Giovann’ Agnolo proceeded to speak of the matter with II Bronzino, Francesco Sangallo, Ammannato, Vincenzio de’ Rossi, Michele di Ridolfo, and many other painters and sculptors of the first rank, and having explained his intentions, all the most noble and excellent artists belonging to the vocations of design were found, when the morning of the Most Holy Trinity had arrived, to have assembled themselves in the above-named Chapter-house. Here, a most solemn festival had been arranged. The tomb before-mentioned being then completed, and the altar so nearly finished that it wanted nothing with the exception of certain figures in marble, which were to be placed thereon.

A solemn mass was then said, after which a fine oration was made by one of the Servite fathers in praise of Fra Giovann’ Agnolo, and of the magnificent liberality which he had displayed in the gift thus bestowed on the above-named Company, conferring on them, that is to say, that chapterhouse, that tomb, and that chapel, wherein, and to the end that they might at once take possession thereof, it was then determined to deposit the body of Pontormo, which had previously reposed in the first small cloister of the Nunziata, but was now to be laid at rest within the tomb in question. High mass and the oration being finished, the Company all went into the church, where the remains of the abovenamed Pontormo had been placed on a bier; this was raised on the shoulders of the younger members, and each man taking a light in his hand, they first passed in procession around the Piazza, and then bore the corpse to the chapter-house, where, in place of the cloth of gold with which it had been previously adorned, they found it all hung with black, whereon were paintings of the dead and other objects of similar character: after this manner was the above-named Pontormo deposited in the new sepulchre.^[52]

The Company being then dismissed, it was arranged that the first meeting should be held on the following Sunday, by way of making a commencement; when the laws of the Society were to be examined, a selection was to be made from the best among the members who were then to serve as administrators, and an Academy to be instituted, where the inexperienced might learn, while those already competent might be impelled to further efforts and acquirements bj an honourable and commendable emulation.

Now Giorgio had meanwhile made mention of these matters to the Duke, begging him to favour and promote the study of those noble Arts (as he had done that of Letters, by the re-opening of the University of Pisa, by the institution of a College for students, and by the establishment of the Florentine Academy), when Vasari found His Excellency perfectly well disposed to favour the undertaking, insomuch that nothing better could be desired.

But some time afterwards the Servite Monks, having thought further of the business, resolved, and gave the Company to understand as much, that they would not permit their Chapter-house to be used for any other purpose than those of holding festivals, hearing mass, and burying the dead; in regard to the assemblies and sittings, therefore, the monks declared that they would have no proceeding of the kind in their convent.

Of all this Giorgio Vasari then spoke to the Duke, requesting him to bestow a place of assembly on the Company, whereunto His Excellency replied that he had been thinking of providing one for them, where they might not only establish their Brotherhood, but might also have space enough, to give evidence of their ability in the works which they might execute therein. A short time afterwards, therefore, the Duke wrote to Messer Lelio Torelli,^[53] to the Prior, and to the Monks of the Angeli, giving them to understand that they were to accommodate the aforesaid Company in the 'Temple which had been commenced in their monastery by Filippo Scolari, called Lo Spano.^[54] The monks obeyed, and the Company was furnished with certain rooms, wherein they assembled many times with the good favour of those fathers, who received them even in their chapter-house also on several occasions and with infinite courtesy.

It chanced, nevertheless, at no very distant period, that some of the monks showed themselves to be by no means satisfied at this assemblage of the Company within their borders, seeing that the monastery was thereby in a certain sort embarrassed and rendered dependent; as to the Temple which the artists talked of filling with their works, the monks, so far as they were concerned, thought it just as well that it should remain as it was. His Excellency therefore caused it to be signified to the men of the Academy, which had already made a commencement, and had solemnized the festival of San Luca in that Temple; that since the monks of the Angeli, from what he could learn, did not receive them very willingly in their house, he would himself take care to provide them with a place of their own. The Signor Duke added further, like a truly magnanimous prince as he is, that he would not only ever continue to favour the said Academy, but would himself be the head thereof, its chief, its guide, and its protector; appointing to that end a representative of his person, who should be constantly present at the meetings of the body; and should be chosen year by year as lieutenant of His Excellency. Acting on this suggestion, there was then elected as the first of these representatives, the Reverend Don Vincenzio Borghini, Director of the Hospital of the Innocents; for all which favours and proofs of affection granted by the Signor Duke to his new Academy he received the thanks of the same through a deputation of ten belonging to the oldest and most eminent of their number.

But of this matter I will not speak further on the present occasion, seeing that the reform of the Company and the rules of the Academy are treated of at great length in the report prepared by the men chosen and selected for that purpose from the whole body, with the assistance of the above-named representative or deputy of the Duke, and confirmed by subsequent reference to His Excellency. I will but add the names of the members to whom the reform and the preparation of rules was committed'; and these were. Fra Giovanni’ Agnolo, Francesco da Sangallo, Agnolo Bronzino, Giorgio Vasari, Michele di Ridolfo, and Pier Francesco di Jacopo di Sandro.^[55]

I must, however, not omit to mention, that as the old seal and arms, or rather device of the Company, the winged Ox lying down namely, which is the animal that always accompanies St. Luke the Evangelist, was displeasing to many among them, so they determined to choose another, and every member was called on to give his opinion on the subject, either by word of mouth or in a drawing. The most singular fancies, and the most beautiful as well as whimsical and extravagant of inventions, were accordingly presented. It is, however, not yet decided as to which of all among these proposals will be finally accepted.^nota

Martino meanwhile, the disciple of Giovann’ Agnolo, having arrived in Florence from Messina, departed this life in the first-named city, but a few days after his arrival there; he was then buried in the new sepulchre which his master had constructed, and where no long time after, in the year 1564 that is to say, that Father, Fra Giovann’ Agnolo himself, was likewise interred with the most honourable obsequies. Among the solemnities was a very fine oration in praise of that excellent sculptor, and this was publicly pronounced in the Church of the Nunziata, by the most reverend and very learned Maestro Michelagnolo.

Our arts may indeed be truly said to be deeply indebted in many ways to Fra Giovann’ Agnolo, who bore infinite love to the same as well as to the artists by whom they are exercised; for, to say nothing of all besides, how largely serviceable has already been, and still more will be, that Academy to which he, in the manner above-described, may be almost said to have given origin, and which is now under the protection of the Signor Duke Cosimo, by whose command the society is at this time holding its assemblies in the new sacristy of San Lorenzo, wherein there are so many works in sculpture, by Michelagnolo Buonarroti.

Here then there have been, and still are, very many admirable productions displayed by our artists, moved as they are by emulation among themselves, and by the wish to prove themselves not unworthy academicians. In the obsequies of the above-named Buonarroti himself, for example, ^[56] which were, I do not say magnificent only, but little less than regal in their splendour, they very greatly distinguished themselves, and still more on occasion of the Nuptials of the most Illustrious Signor, the Don Drancesco Medici, Prince of Plorence, and of the most exalted Queen, Joanna of Austria, wherein they did indeed perform admirable works, as has been fully and with good order related by others, and as will be repeated in a more suitable place and more at length, by ourselves.

And now, since not only from the life of the above-mentioned Father Fra Giovann’ Agnolo, but also from those of others, of whom we have before held discourse, it has been shown, and is continually seen, that a truly good monk is useful to the world; not only in letters, in the education of youth, and in the councils of the Church, but also in the arts and other noble vocations, wherein they have by no means cause to be ashamed of comparison with others;—since it is thus, I say, we may perhaps be suffered to declare that those who too broadly affirm the contrary, and declare that monks select their mode of life because they are incapable, from poverty of spirit, of taking care of themselves, have done so unadvisedly, and that such opinion is maintained rather from anger or from some private pique, than with any good reason and from a love of truth. But may God forgive them for that error. Fra Giovann’ Agnolo lived sixty five years, and died on the last day of August, 1563.

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1. The name of this artist was Francesco Ferrucci. He was of the same family with the artist of his name who is mentioned in a note to the Life of Tribolo, as being the first to execute statues in porphvry. See vol. iv. p. 182.
2. Who was also of the Ferrucci family.
3. They are no longer there, having been removed during the last century. —Ed. Flor., 1832-8.
4. This is probably the last King cf Bosnia, Matthias Huniades, whose power was annihilated at the Battle of Mohacz, in the year 1527.
5. See the Life of Raffaello da Montelupo, vol. iii. p. 140.
6. Now unhappily lost, with the many other precious works of art collected by Vasari.— Ed. Flor., 1832-8.
7. Cicognara speaks in terms of high praise of the head of that figure but does not express satisfaction with other parts. He has given an outline engraving of the work in the Storia della Scultura, plate lxv. See also tomo ii. p. 309.
8. The work is still in its place.
9. These figures are still in the Chapter House, which is now called the Chapel of the Painters, &c. They stand one on each side of Bronzino’s picture representing the Most Holy Trinity, —Masselli.
10. The general of the Servites here meant is the Cardinal Dionisio Laurerio, of Benevento.— Bottari.
11. This monument still retains its place.— Ed. Flor., 1832-8.
12. The Ebro, or as some say the Tiber, for authorities differ on that point, which we leave to the research of our readers.
13. Whose Life will be found in vol. iv. of the present work, o. 398
14. Now called the Mergellina.
15. The Palace was built by Frederick of Arragon, and that prince, on his accession to the throne, presented it to Sannazzaro, who had been his secretary.
16. The Church was dedicated to Santa Maria del Parto, by Sannazzaro himself, who, as our readers will remember, was the author of the Latin poem, De Partu Virginis. At a later period it was taken from the Servite Monks, and given to a secular body.
17. This is not strictly correct, the palace having been razed to the ground by Philibert de Chalons, Prince of Orange, in the struggle between the Imperialists, commanded by himself, and the French, led by Marshal Lautrec. Sannazzaro did indeed erect the building “in the form of a monastery,” on the ruins of the palace, and he also did ultimately dispose of the same, as Vasari proceeds to relate.
18. The Count D’Aliffe that is to say. —Ed. Flor., 1832-8.
19. Piacenza (in his additions to Baldinucci) affirms that the commission for this tomb was first given to. Girolamo Santacroce, of whom Vasari has made mention in vol. iii. p. 253, et seq., and that he had commenced the work, but being interrupted by death, Montorsoli was then appointed to replace him, in consequence of the protection accorded to his pretensions by the Servite Monks. But Domenici, who is the authority best informed, as regards Neapolitan affairs, maintains that the monks favouring their co-religionist, and the executors their fellow citizen, the dispute which ensued, was adjusted by the two candidates dividing the work between them. Domenici has indeed assured us that he saw the contract for this arrangement in the archives of the building.
20. See note *, p, 86, of the present Life.
21. From these words we (the Florentine Editors of the Passigli Edition of Vasari) are first made aware of the fact that the group of the Madonna, with the two Saints, Cosimo and Damiano, was intended for the tomb of Lorenzo the Magnificent, whom Vasari, as our readers will have remarked, always calls “the Elder,” to distinguish him from Lorenzo, Duke of Urbino, whose sepulchral monument had been erected by Michael Angelo in the same place.
22. Of whom there has before been mention, more.particularly in the Life of Tribolo, anti who is alluded to in subsequent pages, but rarely to his honour.
23. A fact alluded to in the Life of Baccio Bandinelli, for which see vol. iv.
24. It was placed in one of the four principal tribunes of the cathedral.—Masselli.
25. The epitaph to be read on this tomb is hj Bembo, and is as follows:—

    Da sacro cineri flores. Hic ille Maroni
    Syncerus Musa proximus ut tumulo.
    Vixit an. lxxii. obiit mdxxx.

    Beneath these lines are inscribed the following:

    Fr. Io. Ang. Flor. Or. S. fa. Masselli.

26. “Exceedingly beautiful statues,” remarks an Italian commentator, “beneath which are now inscribed the names David and Judith. It is said that this change of names was effected by the monks, to save the works from the rapacity of a Spanish governor, who, pretending that, being heathen gods, they were pot well-adapted to that sacred place, was on the point of making himself master of them.”
27. These two statues,” remarks the Italian quoted above, Avhich allude to the baptismal and family names of the poet, Jacopo Sannazzaro (Azzio Sincero being hfs academical name), are works of the most common-place character, and cannot be attributed with truth either to Santacroce or Montorsoli, whose abilities have been rendered manifest by so many other works, that there is no excuse for doing them the injury of attributing these to their hand. Engenio, whose injudicious partiality for his native country has induced him to attempt the degradation of Montorsoli, by comparing these statues with those executed in other places by Sautacroce, has found no one to support his opinion. Dominici indeed, Vite dei Pittori Scultori e Architetti Napolitani, denies that they are by either of the two artists above-named, nor does Vasari attribute them to Montorsoli, but merely mentions them as being among the other sculptures in the chapel which he is describing.”
28. Or Agnolo; the two being identical, and merely different forms of the same name.
29. The present writer has not been able to obtain even a conjecture from any writer of authority with respect to the author of this work.
30. The stucco-work on the vaulting of the chapel does not represent the actions of Doria, but of other Genoese rulers. — Piacenza.
31. The figure is not of Neptune, but of Jupiter.—Piacenza.
32. Here there would seem to be a slight inaccuracy, since, to judge from a plate of this Fountain given in the Architecture Moderne de la Sicile, by Hittorff and Zanth, Paris, 1822, the Tritons are supported, not on the wings, but on the interlaced tails of the Syrens; and this may even be gathered from Vasari’s own words, since he says, “the tails of the Tritons are also intertwined.” It is to be remarked, however, that the present writer has not seen the Fountain in question, and cites the work of Hittorff and Zanth from memory only, not having it at hand.
33. The masks pour the water into the low^er basin rather.
34. See the Architecture Moderne, as above cited, where, if the present writer remembers correctly, the various details and accessories are to be found, as well as the ground-plan of the work.
35. The two longer sides namely, for the fountain is not a regular octangle, it has two longer and six shorter planes.
36. They still retain their places, and are in good preservation.
37. The second Fountain will also be found described in the work of Hittorff and Zanth before cited.
38. This, according to more than one authority of good credit, is an error; the façade of the Messinese Cathedral having been commenced in 1.320. We are doubtless, therefore, here to understand that Montorsoli was commissioned to re-commence the suspended work of a restoration, previously contemplated and resolved on, and undertaken at that moment because the Messinese had, as our author says, “found a man according to their taste.”
39. Taormina.
40. For certain details relating to these knighthoods, their origin, the mode of their distributfon, the incomes derived from them, &c., the reader is referred to vol. iv. of the present work, p. 169, et seq. See also Ranke, History of the Popes, English Edition, vol. i. p. 309, et seq.
41. See Ranke, loc. cit.
42. These are the figures of St, Peter and St. Paul standing upright, with those of Adam and Moses, seated at the sides of the altar. The local writers speak highly of their beauty and excellence. See Giordani.
43. Many authors affirm these statues to be exceedingly beautiful. Certain compatriots of our author, defending him from the charge sometimes brought against him by cavillers, of partiality to the Florentines, point out the opinion here given as one among many proofs of his strict impartiality.
44. Giovanni, the son of Cosmo I.— Bottari.
45. See ante, p..9B, note *.
46. See ante, p. 94, note *.
47. See vol. iv. of the present work, p. 382.
48. The Company was in fact founded in the year 1349, about twelve years after the death of Giotto that is to say. —Ed. Flor., 1832-8.
49. It is no longer there. —Ibid.
50. Or rather, “as has been related.” See the Life of Jacopo di Casentino, vol. i.
51. From the records of receipt and outlay of the Brotherhood, it would seem that the payments for these solemnities were still made, but the zeal of the members having cooled, they were probably not much frequented. — Masselli.
52. On the stone which closes the sepulchre are sculptured the instruments used in the arts of design, and around it is the motto, Floreat semper vel invita morte. The Tuscan laws do not now permit burial in churches, and the last artist interred there was the celebrated architect, Gaspero Faoletti, who was buried in that place in the year 1813, during the French domination. Ed. Flor., 1832-8.
53. “Messer Lelio Torelli, of Fano, Auditor to the Duke Cosimo, excellent in letters, profound in the laws, remarkable for sagacity.” —Bottari.
54. Of this temple, commenced by Filippo Brunelleschi, there has already been mention in vol. i, of the present work.
55. This is the same Pier-Francesco who is mentioned among the disciples of Andrea del Sarto. — Ed. Flor., 1832-8.
56. The device of the above-named Company and Academy of the Fine Arts, was eventually, and still is, formed of three chaplets intertwined, to indicate the three arts of design, with the following motto: —

    Levan di terra al ciel nostro intelletto.
    They raise our minds from earth to heaven.