Lives of the Most Excellent Painters, Sculptors, and Architects/Michelozzo Michelozzi

by Giorgio Vasari

 

THE FLORENTINE SCULPTOR AND ARCHITECT
MICHELOZZO MICHELOZZI^[1]

[born 1396?—died after the year 1470.]

If all who inhabit this world would consider that they may have to live when they can no longer work, there would not be so many who are reduced to beg that in their old age which they have squandqged without any kind of restraint in their youth, when their large and liberal gains, blinding their judgment, have tempted them to spend beyond what was needful, and much more than was right and suitable. Wherefore, since he who has fallen from possessing much to having little or nothing, is often looked upon but coldly, each should endeavour, but in all rectitude, and preserving the medium, to prepare in such sort that he shall not have to beg in his old age. Thus, he who will do as Michelozzo did (who would not imitate his master, Donatello, in this respect, although he did so in his art), will live honourably all the days of his life, and will not be compelled in his last years to go about, miserably seeking the means of existence.^[2]

Michelozzo studied sculpture and design, in his youth, under Donatello;^[3] and although he experienced some difficulty, he nevertheless pursued his labours to improve himself so steadily, whether in clay, in wax, or in marble, that, in the works which he afterwards produced, he constantly displayed much talent, and even genius. In one respect, however, Michelozzo surpassed many, and on the point in question may be said to have surpassed himself also. We here allude to the fact, that after the death of Brunellesco, Michelozzo was considered the most consistently regular architect of his time, and the one who most suitably and correctly arranged and distributed the different kinds of dwellings, whether palaces, monasteries, or houses, as will be declared in its proper place. Donatello availed himself for many years of Michelozzo’s aid; the latter having acquired great practice in works of marble, as well as in the casting of bronze. Of this we have proof in the sepulchral monument erected, as we have said, in the church of San Giovanni, at Florence, by Donatello, for the Pope Giovanni Coscia, since the greater part of it was executed by him. In the same place there is still to be seen a marble statue of Faith, by Michelozzo; it is two braccia and a half high,^[4] and is very beautiful. This figure was made at the same time with one of Hope, of the same size, and another of Charity, both executed by Donatello, but the work of Michelozzo does not lose by comparison with them.^[5] Over the sacristy and the rooms of the superintendents, which are opposite to San Giovanni, Michelozzo executed a San Giovannino, in full relief, ^[6] which is finished with extreme care, and was much praised. This artist was closely attached to the service of Cosimo de’ Medici, to whom the superiority of his talents was well known, and who consequently caused him to prepare the model for the house and palace situated at the corner of the Via Larga,^[7] and beside San Giovannino; that which had been made by Filippo di Ser Brunellesco appearing to him, as we have said, too sumptuous and magnificent, and quite as likely to awaken envy among his fellow citizens as to contribute to the grandeur and ornament of the city, or to his own convenience. Wherefore, as Cosimo considered the model made by Michelozzo satisfactory, he caused the building to be erected under his care; when it was completed in the manner that we now see, with all the utility, beauty, and graceful decorations so much admired, and which derive majesty and grandeur from their simplicity. Michelozzo deserves all the more credit for this building, since it was the first palace, erected in Florence after modern rules,^[8] and in which the rooms were arranged with a view to convenience as well as beauty. The cellars are excavated to more than half their depth under ground, having four braccia beneath the earth that is, with three above, on account of the lights. There are, besides, butteries, store-rooms, etc. on the same level. In the first, or ground floor, are two court-yards, with magnificent colonnades (loggia), on which open various saloons, bed-chambers, ante-rooms, writing-rooms, offices, baths, kitchens, and reservoirs, with staircases, both for private and public use, all most commodiously arranged. In the upper floors are dwellings and apartments for a family, with all those conveniences proper, not only to that of a private citizen, as Cosimo then was, but sufficient also for the most powerful and magnificent sovereign. Accordingly, in our time, kings, emperors, popes, and whatever of most illustrious Europe^[9] can boast in the way of princes, have been most commodiously lodged in this palace, to the infinite credit of the magnificent Cosimo, as well as to that of Michelozzo’s eminent skill in architecture.^[10]

In the year 1433, when Cosimo was exiled, Michelozzo, who loved him greatly, and was faithfully devoted to his person, voluntarily accompanied him to Venice, and would always remain with him during the whole time of his stay there; wherefore, in addition to the many designs and models which he made in that city for various private dwellings and public buildings which he decorated for the friends of Cosimo and other nobles, Michelozzo constructed the library of the monastery of San Giorgio Maggiore, a house of the Black Monks of Santa Giustina. This was built by the command and at the expense of Cosimo, who completed it, not only externally, and with the wood-work, seats, and decorations required, but also furnished it with many books,.^[11] Such was the occupation, and such the amusement of Cosimo during that exile, from which, having been recalled by his country, in the year 1434, he returned almost in triumph, and Michelozzo with him. The master was thus again in Florence at the time when it was perceived that the public palace of the Signoria began to show symptoms of decay, some of the columns of the courtyard giving way, either because the weight with which they were loaded was too great, or that their foundations were weak and awry, or perhaps because the parts which composed them were not well put together; but whatever may have been the cause of decay, the care of the restoration was entrusted to Michelozzo, who willingly accepted that charge, and the rather as, while in Venice, he had provided against a similar peril which was threatening a house in the neighbourhood of San Barnaba. A gentleman had a palace there which seemed on the point of falling, and he therefore put it into the hands of Michelozzo; whereupon the latter, according to what Michael Angelo Buonarotti formerly told me, caused a column to be constructed secretly, and when he had also prepared a number of props and supports, he concealed the whole in a boat, into which he entered himself, with several builders, when, in one night, he securely propped the house and replaced the column. Emboldened by this experience therefore, Michelozzo repaired the injury received by the palace of the Signoria, to his own honour as well as to the credit of those by the favour of whom such a charge had been committed to him. He refounded and reconstructed the columns, placing them in the condition wherein we now see them. Having first constructed a massive framework of thick beams and very strong uprights, to strengthen the centres of the arches, which were formed of nut-wood, and which he now caused to assist in the support of the weight formerly borne up by the columns alone, he then removed such portions of the latter as were defective, by little and little, replacing the decayed parts by new pieces, prepared with great care; and this he effected in such a manner that the building did not suffer in any way, nor has it ever since sunk a hair’s breadth. And to the end that his columns might be known from the others, Michelozzo constructed some with eight sides, and having capitals carved in foliage, after the modern fashion; others he made round, but all are most; easily distinguished from those previously erected by Arnolfo.^[12] When this had been accomplished, it was determined in pursuance of the advice of Michelozzo, by those who then governed the city, that the weight pressing on the arches of those columns should be diminished, and that the walls of that part should be reconstructed to that end. The buildings surrounding the court, from the arches upwards, were consequently altered; windows being made after the modern fashion, and similar to those which the master had constructed in the palace of the Medici; cavities were moreover hewn in the stones, and in these were placed the golden lilies still to be seen there:^[13] all which Michelozzo caused to be completed with great promptitude. In the second floor, immediately above the windows of the before-mentioned court-yard, the architect contrived circular apertures, to give light to the rooms of the entresol, which are over those of the first floor, and where is now the hall of the Dugento. The third floor, finally, in which resided the Signori and the Gonfaloniere, was more richly adorned, and on the side towards San Piero Scheraggio, Michelozzo arranged a series of rooms for the Signori, who had previously all slept together in one great chamber. These apartments consisted of eight for the Signori, with a larger one for the Gonfaloniere, and they all opened upon a gallery, the windows of which looked on the court-yard. Above these apartments was a range of commodious rooms for the household of the palace, the officers of the courts, etc. In one of these rooms, that namely which is now the treasury, there is the portrait of Carlo Duke of Calabria, son of King Robert, who is represented kneeling before a figure of the Virgin. This picture is by the hand of Giotto.^[14] In like manner, the architect provided rooms for the women-servants, the ushers, doorkeepers, trumpeters, musicians, pipers, mace-bearers, servants of the courts, heralds, and such-like, with all other apartments required in a palace of that character.^[15] On the upper part of the gallery, and entirely around the court, Michelozzo erected a stone cornice, with a reservoir of water, which was filled by the rains, for the use of the fountains that were required to play at certain times. The improvements and decorations of the chapel, wherein mass is performed, were also executed by Michelozzo, and here he likewise constructed several rooms, the ceilings of which were highly enriched with lilies of gold on a ground of blue. At the same time he caused the ceilings of other rooms, both on the upper and lower floors of the palace, to be constructed anew, while the old ones which had been formerly made there in the ancient manner, were covered. In a word, he gave to the whole building that perfection of completeness which is proper to such a palace.^[16] The water from the wells, moreover, he contrived to convey to the first floor, where, by means of a wheel, it could be attained more easily than was usually the case. For one defect only did the ingenuity of Michelozzo fail to discover a remedy: this was the public staircase, which, being ill-arranged from the beginning, and situated in an inconvenient place, was too steep, insufficiently lighted, and in all respects badly constructed, with stairs of wood from the first floor upwards. He nevertheless laboured to such effect that a flight of circular steps was formed at the entrance to the court. He also made a door, with pillars, of pietra forte, and very beautiful capitals, carved with his own hand.^[17] This door had, besides, a cornice and double architrave, of very good design, in the frieze of which he placed the arms of the commune. But, what was more, he made the whole staircase of pietra forte, up to the floor inhabited by the Signoria, and fortified it at the top and in the middle with a portcullis at each point, in case of tumults. At the summit of the stair he further constructed a door, which was called “the chain,” by which there constantly stood a doorkeeper, who opened or closed it, accordingly as he was commanded by those who ruled. Michelozzo also rendered the fabric of the Campanile more secure, by means of very strong iron girders, this building having cracked beneath the weight which is improperly distributed at that part, over the supports of the cross-beams, that is, on the side towards the Piazza. Finally, he so greatly improved, and so ably restored this palace, that he was highly commended by the whole city; and, in addition to other rewards, he was chosen one of the Collegio,^[18] which magistracy in Florence is esteemed highly honourable. And now, if it should appear to any one that I have spoken at more length on this subject than may perhaps seem needful, I deserve to be excused for this, inasmuch as, that, having shown in the life of Arnolfo, that this building was out of square, and destitute of correct proportion at its first erection in 1298; that it had columns of unequal sizes in the courtyard, with arches, some of which were large and some small, stairs ill-contrived, and rooms awry and badly proportioned, it was necessary that I should also show to what extent the building had profited by the skill and judgment of Michelozzi, although even he did not arrange it in such a manner that it could be commodiously inhabited or occupied in any manner without great discomfort and the utmost inconvenience. But when, at length, the Signor Duke Cosimo came, in the year 1538, to make it his habitation, his Excellency began to bring it into abetter shape; yet, as the intentions of the duke were never understood, or as the architects who were employed by him for many years on that work did not know how to execute his purposes, he resolved to try if there were not some means whereby, without destroying the old works, in which there was certainly something good, and proceeding in accordance with the plan he had formed in his mind, the staircases and apartments, ill-contrived and inconvenient as they were, might not be brought into somewhat better order, and arranged with more regard to convenience and proportion.

Having therefore caused the Aretine painter and architect, Giorgio Vasari, to be sent for from Rome, where he was employed in the service of Pope Julius III, the duke gave him a commission, not only to make a new arrangement of the rooms which he had already caused to be commenced in the upper part of the division opposite to the Corn Market (those rooms being also awry in consequence of the defects of the ground plan), but likewise commanded him to consider whether the palace could not, without destroying the work already done, be so contrived internally that communications might be established all over it, from one part to another, and from one room to another, by the means of staircases, private and public, to be constructed in a manner that should make them as easy of ascent as was possible. Giorgio Vasari, therefore, while the above-mentioned rooms, which were already begun, were in process of decoration, the ceilings being enriched with oil paintings and gold, and the walls covered with frescoes, or in other cases adorned with stucco,—Giorgio, I say, examined the whole ground-plan of the palace minutely, both the new part and the old; and after he had determined, with no small labour and study, on the means to be adopted for executing what he proposed to do, he gradually began to bring the building, by little and little, into better form, and succeeded in uniting the rooms formerly separated, of which some were high and others low, almost without destroying any part of what had previously been done. But, to the end that the Signor Duke might see the design of the whole, Vasari prepared, in the space of six months, a model, in wood, representing the exact proportions of the entire fabric, which has rather the form and extent of a castle than of a palace. And this model having been approved by his Excellency, the work proceeded in accordance with it, and many commodious apartments were made, with easy staircases, private and public, which communicate with all the floors, and thus liberate the halls, which formerly were like a public road, since it was not possible to reach the upper stories without first passing through them. The whole was magnificently adorned with various paintings; and finally the roof of the great hall was raised twelve braccia above its previous height; insomuch that if Arnolfo, Michelozzo, and the other masters who had laboured on this building, from its first foundation to the present time, should return to life, they would not know it again; nay, they would rather believe that it was not their work, but a new construction and a different edifice.

But let us now return to Michelozzo: the church of San Giorgio had at this time been given to the monks of San Domenico da Fiesole, but they did not occupy it longer than from about the middle of July to the end of January, because Cosimo de’ Medici and Lorenzo his brother had obtained for them, from Pope Eugenius, the church and convent of San Marco, which had previously been occupied by Salvestrine monks, to whom San Giorgio was given in exchange. Moreover they (Cosimo and Lorenzo de’ Medici), being much devoted to religion, and zealous for the Divine service and worship, gave orders that the above-named convent of San Marco should be entirely rebuilt according to the design and model of Michelozzo, commanding that it should be constructed on the most extensive and magnificent scale, with all the conveniences that those monks could possibly desire. This building the master commenced in the year 1437, and the first part completed was that above the old refectory and opposite to the ducal stables, which had formerly been erected by the Duke Lorenzo de’ Medici. In this place twenty cells were made, the roof was put on, and the various articles of wood work brought into the refectory, which was finished as we see it in our day.^[19] But the edifice was not proceeded with any further at that time, because it was necessary first to see what would be the end of a lawsuit, which a certain Maestro Stefano, general of the aforesaid Salvestrine monks, had commenced against the monks of San Marco in relation to that convent.^[20] At length, the suit having ended in favour of the brothers of San Marco, the construction of the convent was resumed; but it was again interrupted, for the principal chapel, which had been erected by Ser Pino Bonaccorsi, had afterwards devolved on a lady of the Caponsacchi^[21] family, and from her it had passed to Mariotto Banchi. Lawsuits to I know not what amount then ensued; and Mariotto having got through them all, and taken the said chapel from Agnolo della Casa to whom it had been either sold or given by the above-named Salvestrine monks, made it over to Cosimo cle’ Medici, who on his part gave Mariotto 500 scudi for the same. Subsequently, and when Cosimo had in like manner bought from the brotherhood of the Spirito Santo the site whereon the choir now stands, the chapel, the tribune, and the choir were built under the direction of Michelozzo, and were completed and furnished at all points in the year 1439.^[22] The library was afterwards erected, it was vaulted above and below, and had sixty-four bookcases of cypress wood filled with most valuable books.^[23] The dormitory, which was in the form of a square, was next built, and finally the cloister was completed, with all the other truly commodious apartments of that convent, which is believed to be the most perfectly arranged, the most beautiful and most convenient building of its kind that can be found in Italy, thanks to the skill and industry of Michelozzo, who gave it up to its occupants entirely finished in the year 1452.^[24] Cosimo de’ Medici is said to have expended 36,000 ducats on this fabric; it is added that while it was in course of construction, he gave the monks 366 ducats every year for their support. Of the erection and consecration of this temple certain details may be read in an epitaph (sic) of marble placed over the door leading into the sacristy, and which is in the following words.

“Cum hoc templum Marco Evangelista? dicatum magnificis sumptibus Cl. V. Cosmi Medicis tandem absolutum esset, Eugenius Quartus Romanus Pontifex maxima Cardinalium, Archiepiscoporum, Episcoporum, aliorumque sacerdotum frequentia comitatus, id celeberrimo Epiphanies die, solemni more servato, consecravit. Turn etiam quotannis omnibus, qui eodem die festo annuas statasque consecrationis ceremonias casti pieque celebraverint viserintve, temporis luendis peccatis suis debiti septem annos totidemque quadragesimas apostolica remisit auctoritate. A.M.CCCC.XLII. ”

In like manner Cosimo commanded the noviciate of Santa Croce to be constructed after the designs of Michelozzo, with the chapel of the same, and the entrance which leads from the church to the sacristy, and which communicates with the noviciate, as well as with the stair-case of the dormitory.^[25] These works, whether as regards their beauty of form, convenience, or decorations, are not inferior to any of the buildings, whatever their character, erected by the truly magnificent Cosimo de’ Medici, or which were carried into execution by Michelozzo. Among other particulars, was the door leading from the church to the above-named portions of the fabric, which the master executed in the grey stone called macigno, and which was much commended for its novelty, and for the beauty of its decorations; since it was at that time but little the custom to imitate the good manner of the ancients, as Michellozzo did in that case. Cosimo de’ Medici also caused the palace of Cafaggiuolo in Mugello, to be constructed by the advice and after the plans of Michelozzo, who gave it the form of a fortress, surrounded by trenches:^[26] be likewise proceeded to lay out farms, and make roads about the domain, while he further planted gardens, constructed fountains,with groves around them, and made aviaries, with all the other requisites to a complete country residence. At the distance of two miles from the palace, and in a place called the Friars’ Wood, Cosimo completed the erection of a convent, for the barefooted monks of St. Francis; this he also confided to the care of Michelozzo, and a very beautiful work it is.^[27] At Trebbio, in like manner, Michelozzo executed various improvements; as he also did at the palace of Villa Careggi,^[28] which was a rich and magnificent building, whither Michelozzo conducted the water for the fountain which we now see there. For Giovanni, the son of Cosimo de’ Medici, the same architect constructed another magnificent and noble palace at Fiesole, the foundations for the lower part of which were sunk at a very great expense, in the declivity of the hill, but this was not without its equivalent advantage, since the master contrived to place in that portion of the edifice, various cellars, store-rooms, stables, and other handsome and useful appurtenances to the dwelling of a noble. Above these, and in addition to the ordinary halls, chambers, and other apartments usual in such buildings, Michelozzo constructed some for books, with others for music. He gave in short a clear proof, in this palace, of the eminent skill which he possessed in architecture, since in addition to all that we have said, it may be truly affirmed to have been built in such a manner, that although much exposed on that eminence, it has never sunk in the smallest degree. This palace^[29] being completed, Michelozzo built the church and convent of the monks of San Girolamo above it, and almost at the summit of the hill, which was also done at the expense of Giovanni. The design and model of the hospital,^[30] which Cosimo de’ Medici caused to be erected in Jerusalem, for the pilgrims who go to visit the sepulchre of Christ, were furnished by Michelozzo, as was the design for six of the windows in the façade of San Pietro, and which was sent to Rome by Cosimo. These windows were adorned with the arms of the Medici, but three of them have been removed in our own day, and replaced by Pope Paul III, with others bearing the arms of the Farnese family.^[31] At a subsequent period, Cosimo was informed that a grievous dearth of water was suffered at Santa Maria degli Angeli, at Assisi,^[32] to the great inconvenience of the numerous pilgrims who yearly flock to that place, on the 1st of August, for the “Absolution”; he consequently sent Michelozzo thither, when that master conducted a spring which rises mid-way up the hill, to the wells of Santa Maria, which he then adorned with a rich and beautiful colonnade (loggia); the columns whereof, formed of separate pieces, were decorated with the arms of Cosimo. Within the convent also, and in like manner at the command of Cosimo, Michelozzo executed many useful improvements for the monks; these the magnificent Lorenzo afterwards renewed at a greater cost, and with increased beauty of ornament; he likewise caused the wax figure of the Madonna to be made, which is still to be seen there.^[33] Cosimo de’ Medici moreover commanded that the road leading from Santa Maria degli Angeli to the city, should be paved with bricks, and before Michelozzo left that neighbourhood, he prepared the design of the old citadel of Perugia. Returning at length to Florence, he built the house of Giovanni Tornabuoni, at the corner of the Tornaquinci,^[34] which was in almost all respects similar to the palace constructed by the same master for Cosimo, excepting that the fagade has not the carved stone-work and cornices of the latter, but is entirely plain.

After the death of Cosimo, by whom Michelozzo had been as much beloved as a dear friend could be, Piero, his son, caused the master to build the marble chapel of the Crucifix, in San Miniato sul Monte;^[35] and in the semi-circle of the arch Michelozzo sculptured, in mezzo-rilievo, the Falcon, with the diamond, which was the device of Cosimo,^[36] the father of Piero, a work that was truly beautiful. Some time after this was completed, the same Piero de’ Medici, proposing to construct the chapel of the Annunciation, in the church of the Servi, entirely of marble, desired to have the opinion of Michelozzo, who was now become old, respecting the matter, not only because he highly estimated the skill of that master, but also because he knew how faithful a friend and servant the latter had been to Cosimo his father. Michelozzo having accordingly said what he thought of the design, the charge of executing it was entrusted to Pagno di Lapo Partigiani, a sculptor of Fiesole,^[37] who displayed much ability and foresight in the progress of the work, having many things to provide for in a very small space. This chapel is supported by four marble columns, about nine braccia high, with double flutings after the Corinthian manner; the bases and capitals are variously carved, and are duplicate in all their parts. Over the columns are the architrave, frieze, and cornice, all with the parts in like manner doubled and sculptured in various fancies, but more particularly with the arms of the Medici, and with foliage. Between these and other cornices constructed for another range of windows, is a long inscription, beautifully cut in marble; while between the four columns, and forming the ceiling of the chapel, is a canopy of marble, richly carved and decorated with enamels, prepared by the action of fire, and with mosaics of various fancies in gold, and precious stones. The pavement is formed of porphyry, serpentine, vari-coloured and other marbles, and stones of price, distributed and arranged in very beautiful order: the chapel is enclosed within a railing of bronze, above which are chandeliers, fastened into an ornamental frame-work of marble, which makes a most admirable finish to the bronze railing and the chandeliers: the door which closes the chapel is also of bronze, and is very well executed. Piero left commands to the effect that the chapel should be surrounded by lights, arranged in thirty lamps of silver, and this was done; but as these lamps were broken up during the siege, our lord the Puke gave orders many years since that they should be replaced, and the greater part of them are already made, the work being still in progress; but in the meantime there has never ceased to be the same number of lights kindled, thirty namely, as -was commanded by Piero, although the lamps have not been of silver since the period of their destruction.^[38] To these ornaments Pagno added an immense lily, formed of copper, and proceeding from a vase which is placed on the angle of the painted and gilded cornice of wood, whereby the lamps are supported. But this cornice is not suffered to uphold so great a weight alone, the whole being sustained by two branches of the lily, which are of iron, painted green, and which being fixed into the angle of the marble cornice, support the other branches; these last are of copper, and hang freely suspended in the air. This work was certainly executed with judgment, and displays invention, wherefore it deserves to be much commended as a fanciful and beautiful thing.^[39]

Beside the chapel here described, a second was built on the side towards the cloister, which now serves as a choir for the monks. The windows of this last-named chapel receive their light from the court, and illuminate not only the chapel itself, but, standing opposite to two similar windows, they also give light to the room containing the small organ which is beside the marble chapel. On the wall of this choir is a large press or awning, in which the silver vessels of the Nunziata are kept. On all parts of the building and on all these ornaments are to be seen the arms and devices of the Medici.^[40] Without the chapel of the Nunziata and opposite to it, the same master made a large chandelier in bronze, five braccia high: the holy water font of marble at the entrance of the church is likewise by his hand, as is a figure of San Giovanni in the centre of the building, which is a very beautiful work.^[41] Pagno also executed a half-length Madonna in marble, which was placed above the table or counter where the monks sell the candles. The size of the figure is that of life, the Child is in its arms, and the expression is very good.^[42] There is a similar Virgin by the same artist in the rooms used by the superintendents of Santa Maria del Fiore,^[43]

In San Miniuto al Tedesco, likewise, Pagno executed certain figures while still very young, in company with his master Donato, and in Lucca he constructed a marble tomb opposite to the chapel of the Sacrament in the church of San Martino for Messer Piero Nocera, who is there pourtrayed after the life.^[44] Filarete, in the 25th book of his work, has recorded that Francesco Sforza, fourth duke of Milan, presented a most beautiful palace in that city to the magnificent Cosimo de’ Medici, and that the latter, to show the duke how acceptable was the gift, not only adorned it richly with marbles and carvings in wood, but also enlarged it under the direction of Michelozzo, giving it an extent of eightyseven braccia and a half, whereas it had previously measured eighty-four braccia only.^[45] Besides this, he commanded that various pictures should be painted there, more particularly in one of the galleries, where he caused to be represented certain stories from the life of the emperor Trajan.^[46] Among the decorations of these works, Cosimo ordered the portrait of Francesco Sforza to be depicted, with that of the Lady Bianca, duchess of Milan, his consort, and those of their children; the portraits of many other nobles and great personages wrere added, together with those of eight emperors, and with these Michelozzo placed the likeness of Cosimo himself, done by his own hand. All the rooms, moreover, were decorated by the master with the arms of Cosimo, arranged in various modes and accompanied by his device of the Falcon and Diamond. The paintings here described were all by the hand of Vincenzio di Zoppa, a painter who was held in no small esteem at that time and in that country^nota

It appears that the money expended by Cosimo in the restorations of this palace was paid by Pigello Portinari,^nota a Florentine citizen, who then directed the financial and other affairs of Cosimo in Milan and resided in the palace.

There are certain works in marble and bronze by Michelozzo in Genoa,^nota with many others in other places which are known by their manner. But what we have now said of him must suffice; he died in the 68th^nota year of his age, and was buried in his own tomb in the church of San Marco, in Florence. His portrait, by the hand of Fra Giovanni, is in the sacristy of Santa Trinita, in the figure of an old man with a cap on his head, representing Nicodemus,^nota who is taking the Saviour from the cross. ^{[47] [48] [49] [50]} || ^[51]

end of vol. i.

1. Migliore found from the fiscal documents of the period, that this master was sometimes called Michelozzo di Bartolommeo di Gherardo, and sometimes Michelozzo di Borgognone: so far Masselli; the later Florentine commentators add, that in the contract made by Donato with the wardens of the Cathedral of Prato, Michelozzo is called Michele, (see Descrizione della Cattedrale di Plato, p. 77). Respecting the year of his birth there is much doubt; but that stated above, (1386), seems likely to be correct, as being the year most frequently given in the different fiscal documents relating to him, but which vary considerably. — (See Gaye Carteggio ln~ edito, i, 117-120.) See also Rumohr, Italienische Forschungen, ii, 241, 292, 295, and 362; where many interesting details in relation to the works and descendants of this master will be found,
2. The son of Michelozzo, called Ser Niccolo, was employTed in various offices of the state; and Lorenzo, the son of Niccolo, was chosen one of the Priors in 1522.—(See Rumohr ut supra, ii, 241).
3. Before commencing his labours with Donato, Michelozzo had previously studied with Ghiberti, this fact, hitherto unknown, is important, as accounting in part for the progress in art of Michelozzo, and we learn it from a fiscal report, in which he alludes to the part he had taken in the statue of San Matteo, when he was the companion of Lorenzo di Bartoluccio. — See Gaye, Carteggio Inedito, etc., i. 117-120. Ed. Flor. 1846-9.
4. The height of these figures is not quite two braccia.—Masselli.
5. For the Florentine Baptistery Michelozzo also made the silver statue of San Giovanni, attributed byVasari to Antonio del Pollaiuolo. See Gori, Monumenta Basilicae Baptisterii Florentini. See also Rumohr, ut supra, for documents relating to other works of this master in the same building.
6. Now in the often-mentioned corridor of modern bronzes in the Florentine Gallery. Over the door whence this beautiful little statue was taken, is now another in terra-cotta, also representing San Giovannino, and believed to be by Michelozzo.
7. Afterwards enlarged by the Marchese Riccardi, whose name the palace still retains, although it belongs to the government.
8. For many valuable observations respecting the architecture of this palace, see Quatremere de Quincy, Hist. de la Vie et des Ouvrages desplus celebres Architectes, i, 72. See also Milizia, Memorie degli Architetti Antichi e Moderni, vol. i, lib. iii, cap. i, p. 165.
9. Among others must be enumerated Charles VIII, since it was there that the magnanimous action of Pier Capponi was performed. —Masselli.
10. For certain strictures on some parts of this building, the student in architecture is referred to Milizia, ut supra, vol. i, lib. iii, cap. i.
11. Schorn remarks that this library is mentioned by Sansovino, Descrizione di Venezia, p. 81; by Ammirato, Ritratti d’Uomini Illustri di Casa Medici; by Lorenzo Seradero, Monum. Italiae; and at greater length by the Canon Biscioni, in his Preface to the Catalogue of the Medicean Library, Florence, 1752. Vasari himself also alludes to it in his namenti, p. 17. The Marchese Selvatico attributes an efficacious influence on Venetian art to the works of Michelozzo. See his learned Studi sull'Architettura e Scultura in Venizia, Venice, 1847, 8vo.; a work not unfrequently quoted by the later Florentine commentators.
12. The columns, as well as the walls and ceilings of the gallery, were decorated with pictures and ornaments in stucco, for the marriage of Francis de’ Medici (afterwards second Grand Duke) with Joanna of Austria, which took place in the year 1565. These decorations still remain. — Masselli.
13. They were removed in 1809 by the Trench government, then ruling in Florence, who objected to the lilies, as too closely resembling those in the arms of their deposed sovereigns; they also declared that the deep colour of the medallions rendered the court too dark.— Masselli.
14. This picture is no longer visible, as has been observed in the life of Giotto. —Ibid.
15. The architect Giuseppe del Rosso, who directed the alterations made in 1809, published a collection of remarks at Siena in 1815, on the methods pursued by him on that occasion; a work which may be advantageously consulted by any one engaged in making future changes. —Ibid.
16. The reader who may desire minute details respecting the exact dates, etc., of these works, will find them in Gaye, ut supra, vol. i, pp. 554-560, et seq.
17. In some of the magnificent halls of this palace, now used for the Guardaroia, the rich ceilings here described still remain; but the door, with its beautiful capitals, carved by Michelozzo, will be vainly sought in the entrance to the court.— Masselli.
18. The sixteen Gonfalonieri of the people, with the twelve Buonomini, were the two most important magistracies of the city, after the Signoria. They were called colleges, because, says Varchi, “they could never meet apart from each other ancl from the Signoria, whether for the proposal of measures, or for the decision of business.” The having belonged to a college, rendered the descendants of a Florentine eligible to the service of the State in its public offices.
19. The reader who may desire minute details respecting this building, is referred to Gaye, Carteggio inediio di Artisti, for the various dates, etc., and to the Annal. Conv. Sancti Marci de Florentia, for the more extended history of the building and its inhabitants.
20. See the Annal. Conv. Sancti Marci, ut supra.
21. The lady of the Caponsacchi family, here referred to, was the daughter of Ser Pino; and it was by her, and not by her father, that the chapel was founded, as was shewn by an inscription given by Richa, in his Notizie istoriche, etc.; as also by Bottari, in a note on this passage. It was found on a column of the old chapel (which was removed when the new chapel was built) and was as follows:—
    “Hanc capellam fecit fieri Domina Prancisca uxor olim Banchi de Caponsacchis pro remedio animm patris sui Ser Pini Bonaccorsi et filiorum ejus Michaelis, Joannis et Philippi. Anno Domini mdxli, mensa Julii.”
22. Both the tribune and choir were rebuilt in a different form in the year 1678. — Masselli.
23. In this library was deposited the celebrated collection of Niccolo Niccoli, whose liabilities Cosimo had cancelled, on condition that he should have the free disposal of these books, in the arrangement of which he availed himself of the counsels of Thomas of Sarzana, afterwards Pope Nicholas V.— Schorn.
24. This convent, although enlarged and in some parts modernized, still remains for the greater part as it was left by Michelozzo. So far Masselli. The Florentine commentators of 1846-9, adduce the authority of certain chroniclers of the convent, who declare the plan of their monastery to be due to Brunellesco, attributing the direction and execution only to Michelozzo; they further assign the year 1443 as that of the completion of the building, instead of 1452, as given by Vasari.
25. All these works remain as here described, with the door in macigno mentioned immediately after them.— Masselli.
26. The palace of Cafaggiuolo has suffered many changes; it has no longer the trenches here described around it, and has in our days been deprived of one of its towers.—Ibid.
27. The convent of the Zoccolanti is still in existence.—Ibid.
28. Now in the possession of the Orsi family. —Ibid.
29. Now called the Villa Mozzi, from the name of the family by whom it has been long possessed. The building was restored and embellished by the architect Gasparo Paoletti, in 1780.—Masselli.
30. The church and convent were founded by Count Carlo Montegranelli, in the beginning of the century, and were only restored by Michelozzo. The former still exists, with a portico, added in 1634, from the design of Matteo Nigetti; the convent has been turned into a villa, and now belongs to the Cav. Prior Ricasoli. —Schorn.
31. “An example by no means praiseworthy, being injurious to history, and authorizing posterity to inflict similar wrongs on the monuments of those who have failed to respect the memorials of their predecessors.”—Masselli.
32. The earthquakes of 1832 inflicted serious injuries on this celebrated edifice and did great damage to the neighbourhood.—Ibid.
33. At the time of Bottari (who notices the fact in 1759) this figure had already disappeared.
34. This building afterwards belonged to Alessandro de’ Medici, Cardinal of Florence, and is now in the possession of the Corsi family. Bocchi, Bellezze di Firenze, attributes the Iiicasoli palace also, which stands opposite to the Borgo Ognissanti, to Michelozzo.
35. The chapel is in the centre of the church. The crucifix for which it was erected is now in the church of Santa Trinity in Florence, whither it was transported in 1671.
36. The reader who may desire more extended details respecting the arms and devices of the Medici, is referred to Giovio, Dell'Imprese.
37. The marble font in the church of San Giovanni at Siena, is a work of this artist, who gave the design for the palace erected at Bologna by Sante Bentivoglio, in the year 1460.—Ed. Flor. 1846-9.
38. They were subsequently all reconstructed in silver; but towards the close of the last century they were again broken up for the public service. No long time elapsed, however, before the offerings of the faithful repaired the mischief; so that this remarkable chapel is not now deprived of its rich decoration. — Masselli.
39. At the time when Richa wrote his Notizie Storichc delle Chiese Florentine, the lily, with its ramifications, had been removed. — Masselli.
40. About the middle of the seventeenth century, the walls of this choir were inlaid with precious stones, representing emblems and devices alluding to the Virgin. On the spot where stood the press or armory, there is now a tabernacle, in which the crucifix of Antonio da San Gallo, formerly placed over the high altar, is preserved. —Ibid.
41. Neither the chandelier nor the San Giovanni are now to be seen.
42. The counter and the Madonna have alike disappeared. —Masselli.
43. This is parhaps the figure still to be seen in the room opposite to the door of entrance.
44. More correctly, Pietro da Noceta. The tomb is not by Pagno, but by Matteo Civitali, a much-esteemed sculptor of Lucca, whose name it bears.— Masselli.
45. Now the Palazzo Vismana. Of the old part there remain only the court, the external door of marble, exceedingly rich in ornament, with the portraits of Francesco Sforza and Bianca Maria, the devices of the Sforza family, those of the Medici, etc. Cicognara has given an engraving of two of the figures on the sides of the door. Filarate concludes the twenty-fifth and last book of his work, with a description of this magnificent palace, adding a pen-and-ink drawing of the elevation of its façade.— Ed. Flor. 1849.
46. Modern changes have left but few vestiges of these paintings. —Ibid.
47. Foppa, and not Zoppa. See Lanzi, History of Painting, vol. ii, pp. 88, 465, et seq.
48. Pigello Portinari caused a sumptuous chapel to be constructed, under the direction of Michelozzo, in the church of Sant’ Eustorgio in Milan. This he dedicated to the Martyr St. Peter: it is on the model of that erected by Brunellesco for the Pazzi family, in the cloister of Santa Croce.
49. It would not be possible now to ascertain the existence of these works, since Vasari does not describe them, nor are they pointed out in the more recent Guides of this city. — Ed. Flor. 1846 -9.
50. More probably seventy-eight.—Ibid.
51. Vasari here alludes to the Deposition from the Cross of Era Giovanni Angelico, now in the Gallery of the Florentine Academy. The figure of Nicodemus has the halo proper to the head of a saint, and is altogether ideal. The head of Michelozzo is pourtrayed in the figure wearing a black head-dress, and who is speaking to the disciple below, as he resigns the body of the Saviour to his care.