Lives of the Most Excellent Painters, Sculptors, and Architects/Lione Lioni
THE ARETINE, LIONE LIONI, AND OTHER SCULPTORS AND ARCHITECTS.
[Flourished for the most part from the end of the 15th, to somewhat beyond the middle of the 16th century.]
What we have previously said of the Aretine Sculptor, the Cavalier Lione Lioni, having been spoken incidentally, it will not be amiss that we should here enumerate in order the works performed by him, and which well merit to be retained in the memory of future ages. Lione first studied the art of the goldsmith, and in his youth produced many good works, more especially dies for medals, cut in steel, and representing portraits from the life; nay, so excellent did he become in a few years, that his ability made him known to many princes, more particularly to the Emperor Charles Y., who, perceiving his value, employed him in occupations of more importance than that of preparing medals.
No long time after the first presentation of Lione to the Emperor, that monarch commissioned him to execute a Statue of himself in bronze; this figure, which was somewhat larger than life, Lione invested with a splendid suit of armour, by means of two very thin plates of metal, which could easily be put on or taken off*: the effect is most graceful, and the artist has managed his work so perfectly, that whoever sees the figure clothed would never suppose it to be sometimes nude; and whoever sees the nude Statue would find it difficult to believe that it could ever be armed.
Eesting on the left foot, the Emperor’s right foot is placed on a chained figure, lying beneath him, and representing Rage or Fury, with a torch, and various arms. On the pedestal of the Statue, which is now in Madrid, are the words:—
cæaris virtute furor domitus.
Having completed that figure, Lione then made a large die for the purpose of striking medals of the Emperor, with Jupiter launching his thunderbolts at the Titans, on the reverse. For these works his Majesty gave the artist a pension of a hundred and fifty ducats per annum, secured on the Mint of Milan, with a commodious house in the Contrada de’ Moroni. Charles also made him a Knight, conferring at the same time a patent of nobility on his descendants; and while Lione was in Brussels, he had rooms, in the palace of the Emperor, who sometimes amused himself by going to see the artist at his work.
Lione subsequently made a Statue in marble, of the Emperor, with others of the Empress and King Philip; he executed a Bust of Charles also, which was to be placed in a high position, between two rilievi in bronze. He made a bust in bronze, of the Queen Maria, likewise; with one of Ferdinand, then King of the Romans; another of Maximilian, now Emperor, and many more, which were placed in the gallery of the Palace at Brindisi, by Queen Maria, at whose command they were executed. But they did not remain there long, seeing that Henry, King of France, set fire to the building out of vengeance, and left the following words written on the walls:—“Vela fole Maria”[1] I say out of vengeance, because that Queen had done nearly the same thing to Henry, some years previously However this may be, the gallery made no progress, and the Statues are now partly in the Palace of the Catholic King at Madrid, and partly in Alicant, a sea-port whence her Majesty intended to ship them to Granada, where all the Spanish Kings are buried. On his return from Spain, Lione brought with him two thousand ducats in money, besides the many gifts and favours which he had received from that Court.
For the Duke of Alva, Lione Lioni has executed a bust of himself, with one of Charles V., and another representing King Philip. For the most reverend D’Arras, now called the Grand Cardinal Granvella, he has executed numerous pieces in bronze, of an oval form, each of two braccia, and divided into compartments, with half-length figures in them. One of these exhibits Charles V.; another. King Philip; and a third, the Cardinal himself; all portraits from the life, and each placed on a basement adorned with little figures of infinite grace. For the Signor Yespasiano Gonzaga, Lione has made the portrait of Alva, in a large bust of bronze, which Yespasiano now has in his house; and for the Signore Cesare Gonzaga, he has executed a Statue four braccia high, also in bronze, and having a figure beneath him, around which is entwined a Hydra. This group is intended to signify the bravery and excellence of Ferrante, the father of Cesare, who had overcome the wickedness and envy which had sought to bring him into disgrace with Charles Y., in regard to the affairs of the government of Milan. This Statue wears the Toga, it is armed partly in the ancient and partly in the modern manner, and is to be taken to Guastalla, as a memorial of that Don Ferrante, who was indeed a most valiant Captain.
The same artist, as we have related elsewhere, constructed the Tomb of the Signor Giovan-Jacopo de’ Medici, Marquis of Marignano, and brother of Pope Pius IV.; this Tomb is in the Cathedral of Milan. The monument is about twentyeight palms long and forty high. The tomb is of Carrara marble, adorned with four columns, two white and two black, which were sent from Rome by the Pope, as a great rarity; there are also two larger columns of a varicoloured marble, resembling jasper; these columns are all arranged under the same Cornice, in a manner no longer used, but as the Pope desired that they should stand. His Holiness having caused the whole to be arranged after the designs of Michelagnolo, with the exception of five figures in bronze, which are by the hand of Lione. The first and largest of these figures is the Statue of the Marquis, larger than life, and standing upright; he has the baton of a General in one hand, and rests the other on a helmet, richly decorated, which is placed on a genealogical tree. To the left of this figure is a smaller statue, representing Peace; and on the right a second, which signifies Military Virtue, both seated. Of the other two, which are on the upper part of the tomb, one represents Providence, the other Fame, and between them is a beautiful basso-rilievo in bronze, representing the Nativity of Christ. At the summit of the whole are two figures in marble, and these support an escutcheon of arms bearing the balls of the Medici. For this work Lioni was paid seven thousand eight hundred crowns, according to an agreement made in Rome, between the most Illustrious Cardinal Morone and the Signor Agabrio Serbelloni. The same artist has executed a Statue, also in bronze, for the Signor Giovambattista Castaldo; this, with certain decorations, is to be placed in some Monastery, of which I do not know the name. For the Catholic King, Lioni has executed a figure of Christ, more than three braccia high, with the Cross and other mysteries of the Passion; this work is much admired. He has now in hand the Statue of the Signor Alfonso Havalo, the renowned Marquis del Vasto, the commission for which he has received from the Marquis of Pescara, son of Davalo. The figure, which is four braccia high, is expected to prove a beautiful casting, seeing that he is giving the utmost care to the execution of the same, and has always been singularly fortunate in the casting of his bronzes. This Lione, to prove the boldness of his spirit, the fine genius which he has received from Nature, and the favour always granted to him by Fortune, has erected a house, at great cost and with infinite beauty of architecture, in the Contreda of the Moroni at Milan. This is so filled with fanciful inventions, that there is perhaps not such another in all the city. On the façade are six figures in stone, which stand on pilasters; they represent Captives, and are six braccia high. Between them, in niches made to imitate the antique, are windows, terminal figures, and cornices, entirely different from those in general use, but all very graceful. The decorations of the lower part are in admirable harmony with those of the upper part, and the frieze represents various instruments used in the arts of design. From the principal door you pass through a vestibule into the Court, wherein there are erected four columns, which support a copy, in plaster, of that Equestrian Statue of Marcus Aurelius, which is on the Capitol, By thus placing this statue in that place, Lione is supposed to have dedicated his house to Marcus Aurelius, but the signification which he meant to attach to the Captives before-mentioned is matter of conjecture. In addition to this Horse, Lione Lioni has collected into that beautiful and commodious habitation of his, very numerous casts in plaster, of such works of merit as he could obtain, whether ancient or modern, and in bronze as well as marble.
A son of this master, called Pompeo, is now in the service of the King of Spain, and is by no means inferior to his father in the preparation of steel dies for casting medals. Pompeo also produces figures in plaster, of extraordinary beauty, and is the competitor in that Court of the Florentine Giovampaolo Poggini, who is also in the service of King Philip, and has executed many beautiful medals. But as to Pompeo, having served the King many years, it is now his purpose to return to Milan, and there enjoy his Aurelian house, with all the other acquisitions made by that true friend of distinguished men, his excellent father.
I will now say a few words respecting medals and dies of steel, in which I believe I may truly affirm, that the moderns have approached the ancient Romans as respects the beauty of the figures, while in the excellence of the letters and some other particulars, they have surpassed them. And of this we have proof in twelve reverses to the medals of Duke Cosimo (among other things), lately executed by Pietro Paolo Galeotti. These represent Pisa restored bj the Duke almost to her pristine condition, he having drained the marshes around the city and effected other improvements; the Aqueducts whereby Florence has been supplied with water brought from divers places; the magnificent and beautiful edifice erected for the magistrates; the Union of the States of Florence and Siena; the erection of a City and two Fortresses in the Island of Elba; the Column brought to Florence from Home, and set up in the Piazza della Trinit'a; that work of public utility, the preservation, enlargement, and completion of the Library of San Lorenzo; the institution of the Knights of San Stefano; the resignation of the government to the Prince; the fortification of the State; the Militia, or armed bands of the country; and finally, the Palace of the Pitti, with its magnificent and royal gardens, fountains, and other decorations. Of these works I do not now propose to give the legends, or their explication, intending to speak of these elsewhere,* but they are all very beautiful, and are executed with much care, in a very graceful manner; as is the head of Duke Cosimo, which is a work of perfect beauty. Medals and other works in stucco are also made in the present day, with the utmost perfection, as I have said before. The Anconitan, Mario Capocaccia, for example, has just completed busts and portraits in coloured stuccoes, enclosed within small cases, which are of the most perfect beauty. Among them is one of Pope Pius V., which I saw no long time since, and another of the Cardinal Alessandrino. I have likewise seen very fine portraits of similar character by the sons of the Perugian painter, Polidoro.
But to return to Milan. About a year since I was again looking over the works of the sculptor Gobbo,[2] of whom we have spoken before, but I saw nothing beyond the common, with the exception of an Eve, a Judith, and a Sant’ Elena, in marble, which are placed around the Cathedral, with two other statues representing the dead bodies of Lodovico il Moro, and of Beatrice his wife, which are to be placed on the tomb by Giovan-Jacomo dalla Porta, sculptor and architect to the Duomo of Milan.[3] This Giovan Jacomo produced many good works in his youth, under the discipline of the said Gobbo, and the works just alluded to are finished with much propriety. This artist has also executed many sculptures for the Certosa of Pavia, more especially at the Tomb of the Counts of Virtu, on the front of the church. From Gio-Jacomo, his nephew Guglielmo[4] acquired the art of the sculptor, and, about the year 1530, he gave the most earnest attention to the copying of Leonardo da Vinci’s works, from which he derived great advantage. Having accompanied his uncle to Genoa, when the latter was invited thither in 1531, to erect the Sepulchre of San Giovanni Battista, he furthermore devoted himself with much zeal to the study of design, under Perino del Vaga, but did not neglect his labours in sculpture, and executed one of the six pedestals to be seen at that Sepulchre in so effective a manner that he was then commissioned to prepare all the rest.
Guglielmo afterwards produced two Angels in marble, which are now in the Compagnia of San Giovanni, and for the Bishop of Servega he made two portraits in marble, with a figure of Moses, larger than life, which was placed in the Church of San Lorenzo. Having subsequently executed a Ceres in marble, which stands over a door of the house of Ansaldo Grimaldi, Guglielmo made a figure of Santa Caterina, the size of life, to go over the Gate of the Cazzuola in that city, with the Three Graces, also in marble, and four Children, which were sent to Flanders, to the Grand Esquire of the Emperor Charles V., accompanied another statue of Ceres, of the size of life. All these works were produced by these artist in six years, and in 1537 he repaired to Rome, where he was warmly recommended to the good ofiices of the Venetian painter. Fra Bastiano del Piombo, by his uncle Giovan-Jacomo, who was the friend of that Frate. Sebastiano then presented Guglielmo to Michelagnolo, as Giovan-Jacomo had begged him to do; and Buonarroti, perceiving that Guglielmo was a spirited and industrious artist, began to conceive an affection for him. He therefore set him first of all to restore certain antiquities in the Casa Farnese, and in these he acquitted himself so well that Michelagnolo put him into the service of the Pope, having previously seen a further specimen of his ability in a tomb, principally of metal, erected by Guglielmo for the Bishop of Sulisse, at the Botteghe Scure. This work, adorned with many graceful figures and stories in bassi-rilievi, that of the Bishop himself namely, with those of the Cardinal Virtues, and others, was ultimately sent to Salamanca in Spain.
While Guglielmo was restoring the antiquities of the Casa Farnese, which are now in the Loggia before the Upper Hall, it chanced that FraBastiano, who held the office of the Leaden Seal, departed this life, when Guglielmo contrived in such sort, by means of Michelagnolo and others, that he obtained the office in question, with the commission for erecting the Sepulchre of Pope Paul IIL, which was to be placed in San Pietro. For this tomb he used the models of the Cardinal and Theological Virtues, which he had prepared for that of the Bishop of Sulisse,[5] but with improved design, placing four Children, with inscriptions, at the four angles, and adding the seated statue of the Pontiff, in the act of giving the benediction: this last figure, which is seventeen palms high, is in bronze. Fearing that the mass of the metal might get cold, and so endanger the success of his casting, Guglielmo kept it in the lower furnace constantly heated, and caused it to be brought gradually into the mould above; this unusual mode of proceeding turned out so well, that the work came forth clean and equal, as wax, so that the very surface was suffered to remain as it came from the fire, having no need of polishing. This figure may be now seen under the first arches of the Tribune in the New San Pietro.
To this Sepulchre, which according to the design of Guglielmo was to be entirely isolated, there were to be added four figures in marble, which he had himself prepared with admirable inventions, as he had been directed to do by Annibale Caro, who had received the care of the same from the Pope and Cardinal Farnese. One of these represents Justice, a nude figure, recumbent amidst beautiful draperies, and with the cincture of the sword across the breast, the sword itself being concealed: in one hand are the fasces of Consular Justice, and in the other is a flame of fire: the countenance is youthful, the hair waving, the nose aquiline, the whole aspect full of fine expression. The second figure is Prudence; her form is that of a matron, but one still young, she has a mirror in her hand, with a closed book, and is partly nude, but also partially draped. The third is Abundance, a maiden crowned with ears of corn, and bearing the horn of plenty in one hand, with the ancient corn-measure in the other: her dress is such as to render the nude form visible beneath its folds. The fourth and last of these figures represents Peace; it is that of a matron with a child, which has its eyes taken out, and bears the Caduceus of Mercury. For the same tomb, and likewise under the direction of Annibale Caro, this artist also prepared a Story in bronze,[6] with two figures of River-gods; the one representing a lake, and the other a river in the domains of the Farnese family. There was also to have been an eminence, covered with lilies and the Bow of Iris; but many of these things were omitted, for reasons which have been mentioned in the Life of Michelagnolo.[7] It is true, that to judge from the beauty of these works, they would have had a good effect if erected in the position destined to them; meanwhile, it is also true, that the light of the place itself is that which finally decides the effect that a work will have, whether as to its whole or in the details.
This Fra Guglielmo has been for some years preparing fourteen Stories from the Life of Christ, which are to be cast in bronze; each of them is four palms broad and six high, with the exception of one, which is twelve palms high and six wide. This last exhibits the Birth of Christ, with figures of very fanciful invention. The other thirteen represent:— the first. Our Lady, with the Infant, proceeding to Jerusalem on an Ass; it comprises two figures in high relief, with many others in half and low relief. This is followed by the Last Supper, with thirteen well-composed figures, and an exceedingly rich building; then follow the Washing of the Disciples’ Feet; Christ in the Garden, with five figures, and a crowd of infinitely varied character; Our Saviour led before Annas, with six large figures, many others beneath them, and one in the distance; the Scourging; the Crowning with Thorns; the Ecce Homo; Pilate Washing his Hands; Christ Bearing his Cross, with fifteen figures; Christ Crucified, with eighteen figures; and the Deposition from the Cross. All these compositions, if cast, would certainly prove a work of extraordinary merit, seeing that it has been prepared with infinite care and labour.
Pope Pius IV. had intended to employ Guglielmo to execute one of the Gates of San Pietro, but His Holiness being overtaken by death, had not time to set the artist to work. Fra Guglielmo has been lately making models in wax, for the decoration of three altars in San Pietro. The Deposition of Christ from the Cross namely; St. Peter receiving the Keys of the Church; and the Descent of the Holy Spirit; which will doubtless be very beautiful stories. At a word, this artist has had and has many favourable occasions for distinguishing himself by fine works; and the rather as the office of the Piombo, producing a sufficient income, gives the recipient leisure for study, and permits him to labour for glory alone, which cannot be done by those who have not such an advantage. Yet, from 1547 to the present year of 1567, Fra Guglielmo has produced no finished work. For it is the peculiarity of this office that it renders him who holds it fat and lazy; the truth of which may be proved by the fact, that before he obtained it, Guglielmo had executed many busts and other works in marble besides those we have named. It is true that he has made four large figures of Prophets in stucco, which are in the niches between the piers of the first large arch of San Pietro, and did also employ himself to some extent for the Chariots used in the Festival of the Testaccio and other maskings which were held some years since in Pome.
A disciple of this artist was a certain German called Guglielmo, who, among other works, has executed a rich and beautiful frame, decorated with several figures in bronze which are imitations of the best antiques, for a Study (as they call it) in wood work, which the Count of Pitigliano presented to Duke Cosimo. These little figures are copies of the Equestrian Group on the Capital, of that on the Monte Cavallo of the Farnese Hercules, the Antinous and the Apollo of the Belvedere; to these were added the Heads of the twelve Caesars, with others, all executed with infinite care.
Milan also had another sculptor called Tommaso Porta,[8] but he died during the present year. This artist worked admirably well in marble, he imitated antique heads so perfectly that his productions in that kind have been sold for those of antiquity, and his masks have never been equalled. I have one of these last myself; it is in marble, and I have placed it in a chimney-piece of my house at Arezzo, where all men take it to be an antique. Tommaso likewise executed the heads of the twelve Caesars, of the size of life, and these, too, are singularly fine. Pope Julius III. took them, and kept them in his own apartments for many months as a work of great rarity. His Holiness then presented the artist with an office of a hundred crowns per annum, but the envy of Fra Gruglielmo, as it is thought, co-operating with that of others, caused the heads eventually to be sent back to the sculptor; they were, however, finally purchased at a good price by the merchants, who sent them into Spain. None of the copyists of the ancient works have surpassed Tommaso, and I have therefore thought him worthy of a memorial, the rather as he has departed to a better life, leaving behind him a very fair reputation for his ability and excellence.
The Florentine sculptor Nanni di Baccio Bigio, of whom we have spoken in other places, gave some hope of future distinction in his youth, and when the disciple of Raffaello da Montelupo, by the manner in which he executed certain small works in marble. Repairing to Rome with the sculptor Lorenzetto, he gave his attention to architecture as his father had done, but at the same time received the commission for a Statue of Pope Clement YIL, which is now' in the Choir of the Minerva, and for a Pieta in marble, copied from that of Michelagnolo. This last was placed in Santa Maria de’ Anima, the Church of the Germans, as a work of great merit, which it certainly is. No long time after having finished it, Nanni Bigio made another of similar kind for the Florentine merchant Luigi del Riccio, and this is now in a chapel belonging to that Luigi in the Church of San Spirito;[9] nor was the merchant less extolled for his liberality towards his native city than was the sculptor for the love and care with which he had finished the Grroup.
Ultimately Nanni Bigio devoted himself more especially to architecture, under Antonio da Sangallo, and while the disciple of the latter, Nanni Baccio worked with him at the Church of San Pietro, where he fell from a scaffold sixty braccia high, and hurt himself so grievously that it was a marvel he escaped with life. This artist has erected many buildings both in Rome and without the city; many others and of more important character he has laboured to obtain the care of, as we have said in the Life of Michelagnolo. The Palace of Cardinal Montepulciano in the Strada Gulia is Nanni’s work, as is one of the Gates of Monte Sansavino, erected by order of Pope Julius III., with a reservoir of water not yet finished; a Loggia and entire apartments added to the Palace formerly built by the elder Cardinal di Monte. The house of the Mattel family, with many other edifices, either completed or in course of construction at Rome, are in like manner the work of Nanni Bigio.
The Perugino Galeazzo Alessi is also among the most renowned architects of our day. In his youth he was chamberlain to the Cardinal of Rimini, and among his first works were certain apartments in the Fortress of Perugia, which he rebuilt at the desire of that prelate, completing them in so beautiful a manner and rendering them so commodious, that, the small space he had to work in considered, they caused amazement in all who saw them; the Pope and all his court having been more than once accommodated therein. After the execution of many other works for the same prelate, Galeazzo, to his great honour, was invited to enter the service of the Genoese republic. His first work was to restore and fortify the Port and Pier, which he greatly improved, extending the former into the sea for a considerable distance, and adding a semi-circular haven richly adorned with rustic columns and niches, while at the extremities of the half-circle are two Bastions which defend the same.
On the piazza above the pier and behind the haven, on the side towards the city, Galeazzo furthermore erected a very large Portico of the Boric order, for the accommodation of the Guard; and above this building is a platform for the Artillery, of the same size with itself, and extending besides over the two bastions and the gate. This is continued over the pier also, in the manner of a cavalier, and defends the port from all attack, whether from within or without. The work is now completed, and the city is furthermore about to be enlarged and beautified after the designs of the same master, who is acquiring great honour by these and other works. The model he has exhibited has already been approved by the Signoria, and the new Street which he has laid out in Genoa has so many palaces in the modern manner, erected along the range thereof after his designs, that many affirm it to be as magnificent a street as can be found in any city of Italy; nay, for the many rich palaces which the Genoese nobles have built by the persuasions and under the direction of Galeazzo, to say nothing of its noble width and extent, some declare that it has no equal. All the Genoese confess themselves greatly indebted to the architect meanwhile, he having been the inventor as well as executor of works by which their city is so much embellished. Galeazzo has laid out other streets leading from Genoa, and among them that which, departing from the Ponte Decimo, commences the road into Lombardy. He has restored the city wall towards the sea, moreover, and has added the Tribune with a Cupola to the Cathedral. Many private residences have been constructed by this master, the Country House of Messer Luca Justiniano for example, with that of the Signor Attaviano Grimaldi. The Palaces of two Doges are in like manner among his works, as is one for the Signor Pattista Grimaldi and many others, which need no further mention.
But I will not omit to say that the Lake and Island so beautifully adorned with rich and fancifully decorated Fountains, which belongs to the Signor Adano Centurioni, are also of Galeazzo’s design, as is the Fountain of the Captain Learco, near the city, a truly noble work. He lias, indeed, constructed numerous fine fountains for many persons, but more beautiful than all else is the Bath which has been formed after his design, in the house of the Signor Battista Grimaldi at Bisagno. This, which is of a round form, has a basin in the centre within which eight or ten persons can bathe commodiously. Warm water is poured into the basin from four heads of marine monsters, which appear to proceed from the basin itself; while the cold water is supplied by as many frogs which are placed above the heads of those monsters. Around the basin, into which there is a commodious descent by circular steps, there is a space in which two persons can walk together conveniently.
The wall of the building is divided into eight compartments, in four of which are large niches, each of them having a circular basin, but slightly raised from the ground, and half within the niche, while the other half projects beyond it; this basin, which is large enough for a man to bathe therein, receives cold and hot water from the horns of a great mask which takes the same in again at its mouth. In one of the other four compartments is the door, the remaining three divisions having windows and seats in them. These eight compartments are separated by terminal figures which support the cornice whereon the circular vaulting of the whole fabric reposes: from the centre of the ceiling hangs a large ball of crystal, on which is depicted the celestial sphere, and within this is the Griobe of the Earth, from various parts of which proceed lights to illumine the Bath, when any one desires to use it at night: these lights render the whole building as clear as it is at mid-day. I omit all description of the ante-room, dressing chambers, and small bathing room, which are finely adorned with stuccoes, and do not enumerate the pictures which embellish the place, that I may not be more prolix than is needful; suffice it to say, that they are by no means unworthy of the structure.
The Milanese Palace of the Signor Tommaso Marini, Duke of Terra-Nuova, has been also erected after the design of Galeazzo; and by the same artist, very probably, are the fa9ade of the building, now in course of erection at San Celso, with the circular Hall of the Exchange, the latelycommenced Church of San Vittore, and many other edifices.
When Galeazzo has not been able himself to be present, he has sent designs for Palaces, Churches, and other buildings, into every part of Italy; but of these I will not now speak further, what I have said being sufficient to make him known as an excellent and able architect.[10]
There is one artist more, whom, as he is one of our Italians, I will not omit to mention, although I do not know the particulars of his works; this is Rocco Guerrini, of Marradi, now in France, where, as I am told, he is proving himself a very good architect, more especially as regards fortifications, having effected many creditable and useful works during these last wars.
Here, then, and at this last moment, that I may not defraud any one of the credit due to his abilities, I have mentioned certain sculptors and architects now living, of whom I have not had a convenient opportunity for speaking elsewhere.
- ↑ Bottari tells us that Mariette explained to him these obscure words in the following story. “In the year 1533 Queen Mary set fire to the Chateau of Folembrai; and in the year following Henry, to avenge himself for this, attacked and burnt a small fortress in Upper Hainault, which had been built by the Queen; on the ruined walls of the fort he then attached the words, “Voilà pour Folembrai,” out of which Vasari, his copyist, or Imprinter, has made the “Vela fole Maria” of the text.
- ↑ Cristofano Solari, called II Gobbo (the Hunchback), and mentioned in the Life of Ridolfo Ghirlandajo, see vol. iv. p. 543.
- ↑ For the Life of this artist, see Baglioni, Vite de' Pittori.
- ↑ The Life of Guglielmo della Porta will also be found in Baglioni, ut supra.
- ↑ Or, according to a letter from Annibale Caro, to Elio da Capo d’Istria, Bishop of Pola, relating to this tomb, the Bishop Del Solis. See the Sienese Edition of our author, where this letter was published for the first time, in a note, by the Padre Della Valle.
- ↑ This rilievo was never placed on the tomb.—Bottari.
- ↑ See also the Lettere Pittoriche, vol. iii. The reader may likewise consult the letter of Annibale Caro as before cited.
- ↑ Of the same family with Giovan-Jacomo and Guglielmo.
- ↑ Where it still remains.
- ↑ For details respecting Galeazzo Alessi, the reader may consult Milizia, Memorie degli Architetti, tomo ii. p. 1.