Lives of the Most Excellent Painters, Sculptors, and Architects/Girolamo Genga and Battista San Marino
GIROLAMO AND BARTOLOMMEO GENGA, AND GIOVANBATTISTA SAN MARINO, SON-IN-LAW OF GIROLAMO.
[Flourished from the latter part of the loth to the middle of the 16th century.]
[Girolamo, born 1476—died 1551. Bartolommeo, born 1518—died 1558. Giovan-battista, born 1506—died 1560.]
Girolamo Genga, who was a native of Urbino, was placed at ten years old by his father to learn the art of working in wool, but this calling he exercised with very ill will, and whenever he could find time and space he occupied himself secretly in drawing, either with charcoal or a pen. This being remarked by certain friends of his father, they exhorted the latter to remove him from that trade and to put him to the art of painting; whereupon the father placed his boy with some men of Urbino, but who were of no great name. At length howrever, becoming aware of the fine manner already displayed by his son, and perceiving that he was likely to produce something good, the father engaged him, when he had attained his fifteenth year, to Maestro Luca da Cortona, a most excellent master in painting of that time.
With Luca therefore, Girolamo remained many years, accompanying him to the March of Ancona, to Cortona, and to many other places wherein Luca was occupied by various works, but more particularly have we to mention Orvieto, because of the fact that in the cathedral of that city, Luca Signorelli, as we have related before,[1] was employed to decorate a chapel of Our Lady, in which the above-named Girolamo laboured continually, and was indeed among the best of Luca’s disciples.
Having left Luca Signorelli, Girolamo next attached himself to Pietro Perugino, a painter much esteemed, with whom he remained about three years, giving much of his attention to the study of perspective, the knowledge of which he acquired very perfectly; nay, he became so thoroughly versed therein, that he may truly be declared to have been most excellent in that respect, as may be perceived by his works, whether in architecture or in painting. It was at this same time, that the divine Raffaello da Urbino was studying with Pietro Perugino, and with him Girolamo Genga was always on the most friendly terms.
Leaving Pietro, Girolamo then went of his own accord to Florence, wrhere he studied a considerable time, he subsequently repaired to Siena, where he remained for months, and even years, with Pandolfo Petrucci, in whose house he painted many rooms;[2] these having been well designed and coloured in a very pleasing manner, were deservedly much esteemed and very highly praised by all the inhabitants of Siena, but more especially by Pandolfo himself, by whom Girolamo was ever most kindly treated, and who gave him many proofs of favour.
On the death of Pandolfo,[3] Girolamo returned to Urbino, where he was long kept employed by the Duke Guidobaldo II., who caused him to decorate, among other things, caparisons for horses, such as were then used, in company with Timoteo of Urbino,[4] a painter of good repute, and much experience. Aided by this master Girolamo adorned the chapel of San Martino in the episcopal palace, receiving the commission for that work from Messer Giovampiero Arrivabene, who was then Bishop of Urbino; and here both artists gave proof of very fine genius, as is sufficiently demonstrated by the chapel itself, wherein there is a portrait of the bishop which appears to be alive.
Girolamo was also much employed by the before-mentioned Duke in the preparation of scenic paintings, and other requisites for dramatic representations; and these our artist’s admirable acquirements in perspective, with his profound knowledge of architecture, enabled him to execute with the utmost perfection.
Leaving Urbino, Girolamo repaired to Rome, where he painted a Resurrection of Our Saviour Christ in the church of Santa Caterina, which is situate in the Strada Giulia. Here he made himself known as a most excellent master, having produced figures of admirable design and much beauty of attitude, with fine foreshortenings and agreeable colouring, as all those of our vocation who have seen them can bear ample testimony. [5]
While in Rome, Girolamo gave much time to the study and admeasurement of the antiquities to be found in that city, of which we have proof in the writings composed by himself on that subject, and which are now in the possession of his heirs.
About this time Duke Guido died, when Francesco Maria, the third Duke of Urbino, succeeded him, and that Prince recalled Girolamo from Rome; he was therefore compelled to return, which he did at the time when Francesco Maria took for his wife and brought home to his states, Leonora Gonzaga, daughter of the Marquis of Mantua. On that occasion, Girolamo Genga was employed by his Excellency to erect triumphal arches, and decorations of various kinds, as also to prepare the scenic apparatus for dramatic representations, which were all so well arranged and put in order, that Urbino might safely be compared to a Rome triumphant, a success from which the artist derived great glory and honour.
At a subsequent period, and when the Duke, being driven for the last time from his states, repaired to Mantua, Girolamo Genga followed him, as he had done when the Prince had previously been exiled, and so, constantly sharing the fortunes of his master, he now took refuge with his family in Cesena, where he painted a picture in oil for the high altar of the church of Sant’ Agostino. In the upper part of this work is an Annunciation, and beneath is the figure of the Almighty Father, with that of the Madonna, holding the divine Child in her arms, and surrounded by the Doctors of the church, in the lowermost portion: a truly beautiful work, and one which well merits to be much esteemed.[6]
Girolamo afterwards painted a fresco in one of the chapels of the church of San Francesco at Forli, that namely to the right as you enter the church; the subject of this work is the Assumption of the Virgin, who has numerous angels and other figures, of prophets and apostles that is to say, around her. Here too the artist gave evidence of the admirable genius wherewith he had been endowed, the work being considered an exceedingly fine one.[7] In the same place Girolamo painted the story of the Descent of the Holy Spirit for the physician Messer Francesco Lombardi, and that work he completed in the year 1512. Other paintings also were undertaken by our artist for certain parts of Romagna, and from these also he derived both honour and profit.
The Duke having then returned to his states, Girolamo also reinstated himself in his native city, where he was immediately retained by the Duke and appointed architect for the restorations then undertaken in the old palace, as well as for the erection of a tower added to that of the Imperiale above Pesaro. The last-named Palace was decorated under the direction and after the designs of Genga, with historical representations, the subjects for which were taken from the life and actions of the Duke himself, and were executed by Francesco da Forli,[8] and Raffael dal Borgo,[9] painters of good repute: the Mantuan artist Camillo,[10] who was most excellent in the delineation of landscapes, and remarkable for the beauty of the verdure which he depicted also took part in that work.
Bronzino likewise, who was then a very young man, was employed at this palace, as has been related- in the life of Jacopo da Puntormo;[11] the Ferrarese artists, the Dossi,[12] were also invited for the purpose of decorating an apartment, but the work completed by them not pleasing the Duke, it was destroyed, and the decorations were re-painted by the artists above named. The tower before-mentioned was a hundred and twenty feet in height, and had thirteen flights of wooden steps whereby to ascend to the summit, these being so ingeniously arranged, and connected with the wall in so judicious a manner, that each flight can be withdrawn, story after story; a circumstance which renders that tower wonderfully strong.
The Duke then conceived a wish to fortify Pesaro, and had invited Pier Francesco of Yiterbo, a very excellent architect, to take part in the work; but in all the discussions that intervened respecting the fortifications, Girolamo Genga constantly gave his opinion, all he said being held for good and full of judgment; whence, if it be permitted to me to say so much, the design of that fortress was rather due to Girolamo than to any other, although that kind of architecture was ever very lightly esteemed by that master, because it appeared to him to be but of little value or dignity.
Perceiving how rare a genius he had at his command in Girolamo Genga, the Duke resolved to construct another and entirely new palace, at that same Mount of the Imperiale, and to erect it near the older edifice. He accordingly caused to be completed the one which we now see there, a most beautiful and admirably arranged fabric, amply supplied with handsome apartments, and richly adorned with colonnades, extensive courts, loggie, fountains, and most delicious gardens, insomuch that no Princes pass that way who do not go to visit the same; and it has even merited to receive the honour of a visit from Pope Paul III., who, when on his way to Bologna, went with his whole court to see the place, with which he was entirely satisfied.
It was after the design of the same artist, that the Duke caused the court of the palace at Pesaro to be restored; and in the smaller Park he made Genga construct a house with the form and appearance of a Ruin. This also is an object very pleasant to see: among other things to be remarked there, may be mentioned a staircase, similar to that of the Belvedere in Rome, and which is singularly beautiful.[13] Girolamo was likewise employed by the Duke to restore the Fortress of Gradara, and the Court of Castel Durante; all that is good in those works is indeed entirely due to this admirable genius. It was he who built the Corridor which passes around the court above the Garden at Urbino; and lie furthermore enclosed a second court with a screen of perforated stone-work, executed with infinite care and patience.
The monastery of the Bare-footed Friars on Monte Baroccio, was commenced after the plans of Girolamo, as was also the Santa Maria delle Grazie, at Sinigaglia; but these works remained unfinished, having been interrupted by the death of the Duke. The erection of the episcopal residence at Sinigaglia was also begun by Girolamo Genga, and the model which he prepared for that structure is still to be seen. The same artist likewise produced certain works in sculpture, with figures in full relief, both of clay and wax; they are very well done, and are now in the house of his family at Urbino. For the palace of the Imperiale, Girolamo prepared certain Angels in terra; these he afterwards caused to be cast in plaster, and placed over the doors of rooms in the new palace, which are richly adorned with stucco-work, and are very beautiful.
For the Bishop of Sinigaglia, Girolamo modelled some very fanciful drinking vessels in wax, which were afterwards executed in silver; and for the Credenza or Beaufet of the Duke, he made certain other drinking-cups, which were exceedingly beautiful. He was an admirable inventor of all kinds of maskings and of vestments for festal purposes, as was sufficiently proved in the time of the above-named Duke, by whom his excellent qualities and rare skill were liberally and well rewarded. When that sovereign was succeeded by the Duke Guidobaldo his son, who is still reigning, the latter caused Genga to commence the church of San Giovanni Battista, in Pesaro, which, having been executed according to the model which Girolamo had prepared, by Bartolommeo his son, has proved to be of very beautiful architecture in all its parts, Girolamo having imitated the antique with much fidelity. It is indeed the most beautiful church in that country, as will be at once perceived by him who shall examine the same, the whole structure being well able to endure comparison with the most admired churches of Pome.
It was in like manner after the designs of Genga, but with the execution of the Florentine sculptor Bartolommeo Ammannati, who was then very young, that the sepulchral monument of the Duke Francesco Maria was erected in the church of Santa Chiara, in Urbino, and this, for a simple and far from costly work, has proved to be a very handsome one.
The Venetian painter Battista Franco,[14] was invited to Urbino by Girolamo Genga, and was by him selected to paint the principal chapel of the cathedral, at the time when the decorations of the organ in that church were in course of progress, after Girolamo’s designs. This last-mentioned work is not yet completed.
At a subsequent period, the Cardinal of Mantua wrote to the Duke, with a request that Girolamo might be sent to him, seeing that he desired to have his episcopal palace in that city set in order; our artist proceeded to Mantua accordingly, when he restored the building, effectually providing it with suitable windows, and whatever else the prelate above-named desired to have done therein. The Cardinal likewise proposed to have a new and beautiful façade erected for the same cathedral, when Girolamo was commanded to prepare the model for the work; and this he did in such a manner, that he may truly be said to have surpassed all the architectural productions of his time, since he has here exhibited grandeur, beauty of proportion, and the graces of ornament in equal perfection.
Having then returned to Urbino, and being somewhat advanced in years, Girolamo went to reside at a villa which he possessed in the territory of Urbino, and which was called La Valle, there to enjoy his repose and the results of his many labours. But while there, and that he might not remain idle, he delineated a story in red chalk, the subject of which was the Conversion of St. Paul, the figures and horses of this work are in considerable numbers and of rather large size; and Girolamo completed it with so much care and patience, that more could neither be imagined nor described, as may be seen by examination of the work, which is in the possession of his heirs, who preserve it as a most precious and highly valued production.[15]
In that city, therefore, the place of his rest, Girolamo was living in much repose of mind, when he was attacked by a most virulent fever, and after having received all the sacraments of the church, he there finished the course of his life, to the infinite grief of his wife and children: this happened on the 11th of July, in the year 1.551, and when Girolamo had attained to his seventy-fifth year. His remains were taken from La Valle to Urbino, where they were honourably inhumed in the episcopal church, and in front of the chapel of San Martino, which had been decorated with paintings by his hand, as we have before related: his death caused much sorrow to his kindred and friends, as well as to all the inhabitants of Urbino.
Girolamo was ever noted as a man of the most upright character, insomuch that a bad action committed by him was never heard of. He was not only a painter, sculptor, and architect, but a good musician also; his powers of conversation were remarkable, and his society was most agreeable and entertaining; he was full of kindness and affection towards his kinsfolk and acquaintance, and what, furthermore, is deserving of no slight commendation, his merits enabled him to become the founder of that house of Genga in Urbino, which derives from him its name, its honour, its position, and its property. Girolamo left two sons, one of whom followed the footsteps of his father, and devoted himself to architecture, in which he would have certainly become most eminent, as his first attempts clearly prove, had not an early death cut short the hopes conceived of him. The second son of Girolamo employs himself with the care of his family interests, and still survives.
A disciple of Genga, as we have before related, was Francesco Menzochi, of Forlì,[16] who first, and when he was but a little child, began to draw of his own accord, copying and imitating a picture in the cathedral of Forli, which had been executed by the hand of Marco Palmegiani,[17] also a native of Forlì. The subject of this work was Our Lady, with St. Jerome and other Saints, and it was at that time considered to be one of the best among modern paintings. Francesco likewise imitated the works of Rondinino da Ravenna,[18] the most distinguished painter of the March, who, but a short time previous to that of which we now speak, had placed a very beautiful painting on the high altar of the cathedral of Forli, the subject being Our Saviour Christ dispensing the Last Supper to his Disciples, with a figure of the Dead Christ in the lunette above the picture. In the predella of this work, moreover, there are some very gracefully depicted stories in small figures, the subjects chosen being scenes from the life of Sant’ Elena.[19]
These studies enabled Francesco to make such important advances, that when Girolamo Genga repaired to Forli, as we have related, for the purpose of painting the chapel of San Francesco da Forli, for Messer Bartolommeo Lombardino, Menzochi was found competent to receive his instructions, and went to work with him accordingly. Nor did Francesco cease to avail himself of this opportunity for learning, or become weary of serving his master while the latter lived, but followed him to Urbino, to Pesaro, to the works of the Imperiale, or wherever else Girolamo might be employed, being constantly well esteemed and beloved by that artist. And the disciple did, of a truth, acquit himself most admirably, as may be clearly seen by the many pictures by his hand, executed at Forli, and now dispersed through the different parts of that city. Three of these, which are in the church of San Francesco, may more particularly be mentioned; there are also certain stories in fresco by this painter in the hall of the palace.
In the Romagna Francesco produced numerous works, with many others in Venice for the most Reverend Patriarch Grimani, for whom he executed four large pictures in oil, among other things these are placed in the ceiling of a vast hall in the house of the Patriarch, and surround an octangular work by the hand of Salviati. The subjects of Francesco’s pictures are chosen from the Story of Psyche, and the paintings are considered to be exceedingly beautiful. [20]
But the place in which Francesco did his utmost and made the best efforts in his power, was the chapel of the most Holy Sacrament, in the church of Our Lady of Loretto. Here he painted Angels surrounding a marble tabernacle wherein the body of Our Saviour Christ is usually deposited,[21] with two stories on the façade of the same chapel,[22] one of these relates to Melchisedec, the other describes the Fall of Manna; both are in fresco. In the vaulting likewise are fifteen compartments adorned with various decorations in stucco, and each compartment being filled by the hand of Francesco with a story, the figures of which are small and the subjects taken from the Passion of Our Lord Jesus Christ. Of the divisions above-named nine were executed in painting, and the other six in mezzo-rilievo; a rich and well-considered performance, from which the artist derived so much honour that he was not permitted to depart until he had executed the decorations of another chapel, equal in size to the first, and placed exactly opposite thereto.
The name by which this last-mentioned chapel is entitled is that of the Conception; the vaulting is richly decorated with beautiful works in stucco, wherein Francesco at that time instructed his son Pietro Paolo to labour with him; the young man subsequently did him great honour, and is now become very ably practised in that branch of art. But returning to Francesco himself, I have to relate, that the walls of the chapel in question were painted in fresco by his hand; the subjects chosen were the Birth and Presentation in the Temple of Our Lady; above the altar were depicted Sant’ Anna and the Virgin with the Divine Child in her arms, and two Angels who place a crown on her head.
The works of this master are highly commended by the artists; nor is the mode of his life held in lighter estimation, he having always comported himself as a Christian should do. Francesco ever passed his days in much quietude, and calmly enjoyed that which his labours had secured for him.
Baldassare Lancia of Urbino was also a disciple of Girolamo Genga; this artist turned his attention to many subjects of ingenious inquiry, but subsequently worked for the most part at the fortification of cities, &c. He laboured more particularly for the Signori a of Lucca, from whom he received a fixed stipend, and in whose city he passed some time. He was afterwards attached to the service of the most illustrious Duke, Cosimo de’ Medici, by whom he was employed in the fortifications of Florence and Siena; that Prince has indeed availed himself of Baldassare’s assistance in many ingenious works, and continues to do so, Lancia ever labouring in the most honourable and upright manner, insomuch that he has secured to himself the favour and approbation of the Duke as well as very gratifying and valuable rewards.
Many others were also assistants to Girolamo Genga, but of these there is no need that I should make further discourse since they have not attained to any great excellence.
Now to the above-named Girolamo, there was born a son in the year 1518, and this event took place in Cesena, while the father was following the Duke his master into exile. The child, whom he called Bartolommeo, was brought up in the exercise of all good practices and manners by Girolamo, who sent him when he had attained the proper age to learn the Latin tongue, wherein the boy made a more than ordinary progress: but when Bartolommeo had arrived at the age of eighteen, his father, perceiving that he was more decidedly disposed to the arts of design than to letters, gave him permission to study those arts under his own care for about two years, and these being concluded he then sent him to pursue the studies of design and painting in Florence, where he well knew that the true school of those arts is to be found; by reason of the vast number of works by the most excellent masters, ancient as well as modern, existing in that city.
Dwelling there accordingly, and attending to the study of design and of architecture, Bartolommeo formed a friendship with the Aretine painter and architect, Giorgio Vasari, as well as with the sculptor Bartolommeo Ammannati, from whom he acquired much useful knowledge appertaining to the arts. At length, and after he had remained three years in Florence, he returned to his father, who was then occupied with the construction of the church of San Giovanni Battista in Pesaro; then the father perceived by the drawings of Bartolommeo that his son acquitted himself much better in architecture than in painting, and it appeared to him that he had a very fair aptitude to that vocation. He consequently retained the young man under his own care for some months, during which time he taught him the modes of proceeding in accordance with the laws of perspective, and then sent him to Rome, to the end that Bartolommeo might behold the wonderful buildings, both ancient and modern, which abound in that city. Of all these therefore, during the four years that Bartolommeo Genga remained in Rome, he took the admeasurements, making very great progress during his abode in that place.
Returning at the end of the above-mentioned period to Urbino, he passed through Florence, there to visit Francesco Sanmarino his kinsman, who was then in the service of the Signor Duke Cosimo, as engineer; the Signor Stefano Colonna da Palestrina, who was then General of the Duke’s armies, heard of his abilities on that occasion, and made efforts to secure for himself the services of Bartolommeo, to whom he offered a good stipend, but the latter, considering himself much bound to the Duke of Urbino, would not take service with any other and returned to Urbino, where he was at once received into that of his native sovereign, by whom he was ever after treated with distinguished favour.
No long time after the return of Bartolommeo, and when the Duke was about to take the Signora Vittoria Farnese to wife, our artist received commission from that prince to take charge of the preparations for those nuptials, which he made of the most magnificent and honourable character
- accordingly, erecting among other things an arch of Triumph
in the Borgo of Valbuona, which was most splendid, and so beautiful, that a larger or finer construction of the kind could not well be imagined; hereby moreover there was an occasion offered to Bartolommeo for giving evidence of that extent of knowledge in architecture which he had acquired by his studies in Rome.
The Duke being then called on by his duties as General to the Signoria of Venice, to proceed into Lombardy, there to inspect the fortresses of that province, took Bartolommeo with him, proposing to avail himself of that master’s assistance in the choice of sites, as well as in the preparation of designs for the fortified places, more especially for the works to be constructed at the Gate of San Felice in Verona.
Now while Bartolommeo was in Lombarby, it chanced that the King of Bohemia passed through that province on his return from Spain to his own dominions, when having been honourably received and entertained by the Duke at Verona, he saw the fortifications there, and being pleased therewith he caused Bartolommeo to be presented to him; nay, would very fain have conducted him into his own kingdom to avail himself of our artist’s aid in fortifying his towns, offering him a very handsome stipend; but the Duke not being willing to give permission, the matter went no further.
It was soon after the return of the Duke and Bartolommeo to Urbino, that the father of the latter departed this life, when Bartolommeo was himself made superintendent over all the fabrics of the state by the Duke, in the place of Girolamo. In this capacity he was accordingly sent to Pesaro, where he continued the building of the Church of San Giovanni Battista, after the model prepared by his father. At the same time Bartolommeo erected a suite of apartments in the court of the Palace of Pesaro, and on that side which overlooks the street of the merchants; very beautiful rooms they are, the doors, stair-cases, chimney pieces, and similar parts, of which he was a most admirable architect, being most handsomely decorated, and here it is that the Duke now makes his abode.
Remembering the success of Bartolommeo on this occasion, the Duke Guidobaldo determined that he should construct a range of apartments in the Court or Palace of Urbino likewise, almost all of them being on that side which is opposite to San Domenico. These being finished were found to constitute the most beautiful and most richly decorated dwelling in that Court, or rather Palace. No long time after the completion of the same, the Signori of Bologna begged our artist of the Duke for a few days, and his Excellency very willingly granted them their request. Bartolommeo repaired to their city accordingly, and served them in what they required, in such a manner that they were most amply satisfied, and showed him infinite courtesy.
The Duke subsequently desired to make a sea-port of Pesaro, and Bartolommeo prepared a most beautiful model, which was then taken to Venice to the Count GiovanGiacomo Leonardi, Ambassador from the Duke of Urbino to the Signoria of that city, and was placed in his house to the end that it might be subjected to examination by men conversant with the profession, many of whom were in the habit of assembling, with other persons of fine genius, to hold discussions and disputations on various subjects in the house of the above-mentioned Count, who was indeed a distinguished and remarkable man. Here then, and by such persons, was the model examined, when, having heard the fine discourses of Bartolommeo Genga respecting his work, it was pronounced by all with one accord to be a most beautiful and skilfully contrived model: the master who had prepared it being also declared to be one of extraordinary ability. When Bartolommeo returned to Pesaro he was nevertheless not called on to put that model into execution, because new occurrences of great importance had caused the thoughts of the Duke to be turned in a different direction.
It was about this time that Bartolommeo Genga prepared the design for the church of Monte 1’Abate, as well as that for the church of San Piero, in Mondavio, the building ot which was completed to such perfection by Don Pier Antonio Genga, that for a work of those small proportions I do not think it possible a better one could be seen.
No long time after these things had been done, the election to the papal chair of Pope Julius III. took place, and the Duke of Urbino was by him made Captain General of Holy Church. His Excellency then proceeded to Rome, and with him went also Bartolommeo Genga. Now it was the wish of his Holiness at that time that Borgo should be fortified; wherefore Genga, at the request of the Duke, made some beautiful designs, which with others in considerable numbers are still in the possession of liis Excellency in Urbino. These things caused the fame of Bartolommeo to become widely extended, and while the latter was in Rome with the Duke, a request 'was preferred to that Prince by the Genoese, to the intent that he should permit Bartolommeo to assist them in some of their fortifications; but Guidobaldo would not comply with that prayer, either then or at a subsequent period, when the Genoese again endeavoured to obtain the aid of Genga, after the return of his master and himself to Urbino.
At length, and when Bartolommeo was near the close of his life, the Grand Master of Rhodes despatched two of the knights of St. John of Jerusalem to Pesaro, with an entreaty that his Excellency would be pleased to grant them the services of our artist, to the end that they might conduct him to the Island of Malta, where that Order was minded, not only to construct very extensive fortifications, for the defence of the place against the Turks, but also to found two cities, or rather to unite and draw together several villages, which were already there, into one or two cities or towns. Then the Duke, with whom these knights had been labouring vainly for two months, in respect to that matter of Bartolommeo, but yet could not succeed, although they had availed themselves of the assistance of the Duchess and others; the Duke, I say, did finally comply with their request; he permitted Genga, that is, to accompany them for a term fixed on, at the entreaty of a good Capuchin father, to whom Guidobaldo bore the warmest affection, and whom he never refused any favour that he desired. Nor was the method adopted by that holy man to obtain his purpose other than a most praiseworthy and commendable one, seeing that he made it a matter of conscience with the Duke, whom he assured that the works in question concerned the interest of the whole republic of Christendom, and that he ought consequently to comply with the Grand Master’s request.
On the 20th of January, in the year 1558, therefore, Bartolommeo departed, nor had he ever received a greater favour or higher honour than was this invitation;—he departed from Pesaro, I say, with the two knights above-mentioned, but being impeded by the fortune of the sea, and compelled to make delays in Sicily, they did not reach Malta until the 11th of March, when they were most joyfully received there by the Grand Master.
Being thereupon informed of what he was desired to do, Bartolommeo Genga acquitted himself so well in respect to those fortifications, that words could not do adequate justice to his success, insomuch that to the Grand Master and all those Signori the Knights, it appeared that they had found another Archimedes; of this they offered ample testimony in the rich presents which they made him, and by holding him in the utmost veneration as a most remarkable and extraordinary person. Bartolommeo meanwhile prepared the model for a city, with designs for several churches, and for the palace and residence of the above-mentioned Grand Master, in all which he displayed admirable powers of invention, and profound knowledge of his vocation. But having done thus much he was seized with his last illness, and the matter fell out on this wise. The heats in those islands being insupportably violent, Bartolommeo had placed himself between two doors, one day in the month of July, in the hope of finding a fresher air; but he had not been long there before he was taken with insufferable pains of the body, accompanied by a fearful dysentery, and in seventeen days these destroyed his life, to the infinite grief of the Grand Master and of all those most honourable and most valiant knights, who, just as they had believed themselves to have found a man after their own hearts, were deprived of him by death.
When the sorrowful intelligence was conveyed to the Signor Duke of Urbino, he was struck with indescribable sorrow, and bewailed the loss of the poor Genga most bitterly; he then determined to prove the love which he had borne to him by his bounties to the five children whom Bartolommeo had left behind, and all of whom he took into his particular and most affectionate care.
Among the gifts of Bartolommeo Genga was that of much skill in the invention of maskings, and in preparing the scenic decorations for dramatic spectacles he was most excellent. He delighted in making sonnets, and in other compositions, whether in verse or prose, and in the ottava-rima there was none who could do better than himself, that being a manner of writing in which he was a much extolled composer. Bartolommeo died in 1558, having then attained his fortieth year.
Now as Giovan-Battista Bellucci of San Marino was the son-in-law of Girolamo Genga, I have judged that it would not be well to omit mentioning what I have to relate of him, after having disposed of the lives of Girolamo and Bartolommeo Genga; and the rather, as my doing so may serve to show that everything is possible to men of genius, when once they exert the force of their will, even though they set themselves late in life to honourable and difficult undertakings; nay, when zealous effort has been aided by good natural dispositions, how often have we not seen results produced that may well be considered most admirable.
Giovanni Battista, then, was born at San Marino, on the 27th day of September, in the year 1506, and was the son of Bartolommeo Bellucci, a person of very fair station in that place. Having received early instruction in letters, GiovanBattista was sent to Bologna by his father, the above-named Bartolommeo, there to give his attention to commerce, under the care of Bastiano di Ronco, a merchant of the guild of Woolstaplers. When the young man had been in Bologna about two years, he returned to San Marino, ill of a quartan fever, from which he did not become wholly free until after the lapse of two years more; but being at length entirely cured, he set up for himself in the calling of a wool merchant, in which he continued until the year 1535, when his father, perceiving him to have got tolerably forward in the world, gave him the daughter of Guido Peruzzi, of Cagli, to wife, that Guido being a man of good standing in his native place.
But the wife of Giovan-Battista died no long time after the marriage, and he then repaired to Rome, there to visit his brother-in-law Domenico Peruzzi, who was Master of the horse to the Signor Ascanio Colonna, with whom Giovanni abode in the manner of a nobleman for two years, after which he returned to his home.
It then chanced that he went frequently to Pesaro, when Girolamo Genga, perceiving him to be an upright and well-conducted young man, bestowed on him one of his daughters in marriage, and took him into his own house, where it soon became obvious that Giovan-Battista had a great inclination to the study of architecture. He devoted himself thereto very zealously, therefore, diligently labouring in those works with which his father-in-law was then occupied, and soon beginning to display considerable ability as an architect: he studied Vitruvius carefully, whence it happened, that by gradual acquirement, and between what he learned by his own efforts, and that which Girolamo taught him, he soon deserved and attained a good reputation, more particularly as respected fortifications and all other matters relating to war.
In the year 1541, Giovan-Battista lost his second wife, who left him two sons, when he remained until the year 1543, without having taken any resolution as to his future life. Then it happened that, in the month of September of that year, a certain Signor Gustamante, a Spaniard, arrived in San Marino, having been despatched to the Republic to arrange certain affairs for his Imperial Majesty, and he, discovering in Giovan-Battista an excellent architect, was the occasion of his being summoned no long time afterwards to enter the service of Duke Cosimo, as an engineer. Having arrived in Florence accordingly, Giovan-Battista was subsequently sent by his Excellency to all the different fortresses of the state, as his presence was demanded in each by the incidents daily occurring. Among other works San Marino completed the fortifications of Pistoja, which had been commenced many years before, and which he now entirely finished at the desire of the Duke, to his great credit and praise, although the works are not particularly extensive.
A very strong bastion was then constructed at Pisa, under the direction of the same architect, and his modes of proceeding being highly satisfactory to Duke Cosimo, that prince then commanded him to construct the outworks and bastions which defend one of the gates in the wall, which, as we have before related, had been previously built at the Poggio di San Miniato, outside the city of Florence. This wall extends from the gate of San hsiccolo, to that of San Miniato, and the works above-mentioned surround the church and monastery of San Miniato, formerly a species of fortress, on the summit of the Mount which dominates the whole city, and looks on the other side towards the south and east: this work, also, was very highly extolled.
San Marino likewise prepared numerous plans and designs for various parts of his Excellency’s States, and especially for the different fortifications; he made sketches and models in clay moreover, all which are now in possession of the Signor Duke. Endowed with considerable ability, and very zealous in study, Giovan-Battista wrote a small book on the subject of fortifications, which is a good and useful work: it is now in the possession of Messer Bernardo Puccini, a Florentine gentleman, who was the intimate friend of this San Marino, from whom he acquired much knowledge of matters connected with architecture and fortification.
In the year 1554, and after Giovan-Battista had designed many bastions to be added to the walls which rise around the city of Florence, and some of which were already in a forward state of progress; after having done this, I say, San Marino accompanied the Illustrious Signor, Don Garzia di Toledo, to Monte Alcino, where he formed trenches; and having mined his way beneath a bastion, he dislodged the same to such an extent, that he threw down the breastwork, but at the moment of its fall was himself struck by a musket ball, and wounded in the thigh. Some time afterwards, and when his wound had been cured, Giovan-Battista repaired secretly to Siena, there to take the plan of the city and of the earth-works, which had been constructed by the Sienese at the gate of Camollia. This plan of the fortifications he afterwards laid before the Signor Duke and the Marquis of Marignano, showing them, in the clearest manner, that it would be in nowise difficult for them to make themselves masters of that portion of the defences, when they might easily hold it also, and could thus press the city from that side of the works which looks towards Siena. The truth of all which was made manifest on the night when those works were taken by the above-mentioned Marquis, whom GiovanBattista had attended in his operations, by the orders of, and with a commission from the Duke.
That success caused the Marquis to set great store by San Marino, and, perceiving that he should have much need of his judgment and ability in the field, during the war with Siena that is to say, he so laboured with the Duke, that his Excellency at length despatched San Marino to the General, according to his desire, and with a commission as captain of a large company of infantry; wherefore the master served ever after as a valiant soldier, no less than as an ingenious architect and engineer. At length, Giovan-Battista was sent by the Marquis to Aiuola, a fortress in the Chianti, when, as he was disposing the artillery, he was wounded in the head by a musket ball, and being carried by his soldiers to the deanery of San Paolo, in the bishopric of Ricasoli, he there died in a few days. His remains were borne to San Marino, where he received honourable sepulture at the hands of his children.
Very greatly does Giovan-Battista merit to be extolled, for not only was he truly excellent in his profession, but it is furthermore to be remembered, that as he did not adopt the same till late in life, in his thirty-fifth year namely, it is all the more remarkable that he should have attained to so much eminence in art; and we may reasonably conclude that he would have been indeed most extraordinary had he commenced in his youth, or at the usual age.
San Marino was somewhat obstinate, and to make him change an opinion which he had once adopted, was a difficult undertaking. He found singular delight in the reading of historical relations, and even made a great collection of such himself, writing down the most notable circumstances of each narrative with great pains and labour. His death caused much grief to the Duke and to his very numerous friends; wherefore, when his son Giovan-Andrea came to kiss the hand of the Duchess, he was most kindly received by her, and, in consideration of his father’s merits and fidelity, many advantageous offers of service and advantage were made to him.
San Marino died in his forty-eighth year.
- ↑ In the Life of that artist. See vol. ii. p. 347, et seq.
- ↑ The works here executed about 1499, by Luca da Cartona and Girolamo, are no longer in existence, but two frescoes, which were painted by
- ↑ Pandolfo Petrucci died in the year 1512.
- ↑ Timoteo Vite, for whose life see vol. iii., p. 109, et seq.
- ↑ This work is still in good preservation, but is unhappily very badly lighted.— Bottari.
- ↑ Now at Milan, in the Gallery of the Brera namely.
- ↑ Algarotti, Saggio sopra la Pittura, refuses to assent to the praise bestowed by Vasari on this work, but the levity with which that writer sometimes judges of paintings is well known. No trace of the painting now remains.
- ↑ Francesco Minzocchi, or Menzochi, as he is called in a succeeding page.
- ↑ Better known as Raffaellino dal Colle. See his life in vol. 2.
- ↑ Many fine frescoes by this master are still to he seen in his native city, but he would seem to have worked more in Venice, Urbino, and the Ducal Palace of Pesaro, than at Mantua. There was an apartment in the above-named palace painted by Camillo, and afterwards turned into a stable, the pictures of which are finished with so much care, that every' leaf on the trees may be counted. — Lanzi.
- ↑ See ante, p. 369.
- ↑ See vol. iii., p. 257, et seq.
- ↑ Bottari remarks that the staircase here meant is the spiral stair constructed by Bramante for the Palace on the Quirinal in Rome, and adds the observation, that there is one of similar character in the Borghese Palace, with another, which he designates “most beautiful,” erected by Bernini in the Palazzo Barberini.
- ↑ Battista Franco, named II Semolei, whom Lanzi calls “a Venetian by his birth, but a Florentine by his style he died in the year 1561.
- ↑ Speaking of this master, Lanzi, Storia Pittorica, has a remark to the effect, that although Luca Signorelli was the first to enlarge the prevailing style, yet that Genga must be allowed to have surpassed him. He adds, that his figures display great power, u so great indeed that he might have served as a model for Andrea del Sarto and Michelagnolo.” See vol. i. p. 345, note, of Mr. Roscoe’s Translation.
- ↑ This artist, who was called the Elder of San Bernardo, pursued his studies under Pordenone also, to whose manner his later works are considered by the best authorities to approach very closely. — Ed. Flor., 1832-8.
- ↑ The works of Marco Palmegiani of Forlì, date from 1513 to 1537.
- ↑ Or rather Rondinello, as Vasari has himself called this artist in the life of Palma Vecchio.
- ↑ Lanzi considers that Vasari has been led by the similarity of style to attribute this work to Rondinello, but he remarks that it was in fact painted by Marco Palmegiani, and his opinion is supported by that of other good authorities.
- ↑ The Venetian edition of our author describes these works as still adorning the Palace of the Grimani family at Santa Maria Formosa.
- ↑ The Host that is to say.
- ↑ Count Alessandro Maggiori, in a little work entitled Indicazione delle Pitture, Sculture, &c., dello Sacrosanto Basilica di Loreto, gives details of some interest as regards these productions.
one or other of those masters in that jmlace, are now in the Institute of the Fine Arts at Siena.