Lives of the Most Excellent Painters, Sculptors, and Architects/Mino da Fiesole

by Giorgio Vasari

 

MINO DA FIESOLE, SCULPTOR.

[born 1400—died I486.]

When artists seek no more, in the works they produce, than to imitate their masters, or some other eminent person, whose manner may please them, in the attitudes of their figures, the air of their heads, or the folds of their draperies, and confine themselves to the studying of these particulars; although, with time and labour, they may execute works similar to those they admire, yet they never attain, by these means alone, to the perfection of their art, since it is obvious that he rarely presses forward who is content to follow behind.^[1] And the imitation of Nature herself is at an end for that artist whom long practice has confirmed in the manner he has adopted: for as imitation is the fixed art of representing exactly what you desire to copy, so it is a very fine thing, provided that you take pure Nature only for your guide, without the intervention of your master’s manner, or that of others, who have also reduced to a manner what they first took from Nature: seeing that, however truthful and natural the works of any master may appear, it is not possible that with all his diligence, he can make it such as that it shall be equal to Nature herself, nay, even though he select the best parts, he can never set them together into a body of such perfection as to make Art outstrip Nature. Then, if this be so, it follows, that objects taken directly from Nature are alone calculated to make painting and sculpture perfect, and that he who studies artists only, and not bodies and things natural, must of necessity have his works inferior to the reality, nay, less excellent than those of the master from whom he takes his manner,^[2] Accordingly, it has happened to many of our artists, that not having studied anything but the manner of their masters, and having thus left Nature out of view, they have failed to acquire any knowledge of her, neither have they got beyond the master they have imitated, but have done great wrong to their own genius.^[3] Whereas, if they had studied the manner of their masters and natural objects at the same time, they would have produced more effectual fruits than they have now done. An instance of this may be seen in the works of the sculptor, Mino daFiesole, who, possessing genius whereby he might have accomplished whatever he had chosen to attempt, was yet so enamoured of the manner of his master, Desiderio da Settignano, that the grace imparted by that artist to his heads of women, to his boys, and to all other figures executed by him, appeared to Mino something superior to Nature herself; insomuch that, solely occupied in following his master, he abandoned the study of natural objects as superfluous, whence he became rather graceful in manner than solidly based in art.

It was on the hill of Fiesole, a most ancient city, now in decay, near to Florence, that the sculptor, Mino di Giovanni was born: and he, being placed as a stone-cutter with Desiderio da Settignano, a young sculptor of great excellence, displayed much attachment to his calling; and while occupied with the squaring of stones, he acquired the art of imitating in terra the works executed by Desiderio in marble. These he copied so closely, that his master, seeing him likely to make progress in art, took pains to bring him forward, and set him to execute certain parts of the sculptures in m.arble on which he was himself engaged. Thus employed, Mino gave the most earnest attention to his work, keeping carefully close to the sketch before him; nor had any long time elapsed before he attained to considerable proficiency. This pleased Desiderio greatly, but still more entirely was Mino satisfied with the great kindness of his master, whom he found always ready to instruct him how best to avoid the errors into which those who exercise that art are liable to fall. When Mino was thus entering on the path to excellence in his profession, his evil fortune would have it that Desiderio should depart to a better life; and this loss was so great a calamity to Mino, that, full of despair, he departed from Florence, like one desperate, and repaired to Rome. In that city he became assistant to the masters who were then occupied with different works in marble (tombs of cardinals and other things), for the church of San Pietro, but which, in the erection of the new fabric, have now been destroyed. Mino soon became known as an able and experienced artist, and he was engaged by the Cardinal Guglielmo Destovilla,^[4] whom his manner greatly pleased, to construct the marble altar in the church of Santa Maria Maggiore, beneath which repose the remains of San Girolamo St. Jerome. This he decorated with stories in basso-rilievo, the subjects being events in the life of the Saint,^[5] a work which he conducted to great perfection, adding the portrait of the cardinal taken from the life.

Pope Paul II., a Venetian, was at this time erecting his palace of San Marco, and employed Mino to execute certain armorial bearings for its decoration. After the death of that Pontiff,^[6] the commission for constructing his tomb was given to Mino, who erected it in San Pietro, where he completed the whole in the space of two years. This tomb was at that time considered the most magnificent and most richly decorated sepulchre that had ever been erected to any Pontiff whatever; it was cast down by Bramante in the demolition of San Pietro, and remained buried amidst the rubbish for several years; but in 1547, certain Venetians caused it to be reconstructed in the old building of San Pietro, against a wall near the chapel of Pope Innocent.^[7] And although some believe that that tomb is by the hand of Mino del Reame, who lived about the same time with Mino da Fiesole, it is without doubt by the latter. It is true that some of the small figures of the basement, which can be distinguished from the rest, were executed by Mino del Reame, if, indeed, his name were Mino, and not Dino, as some affirm that it was. But to return to our artist. When he had acquired a name in Rome by this tomb, and by the sarcophagus which he constructed in the church of the Minerva, for Francesco Tornabuoni, whose statue in marble, after the life, and considered an admirable work, he placed upon it.^[8] After these and other works had secured him an esteemed name I say, he returned to Fiesole with but short delay, bearing thither a tolerable amount of money which he had saved, and there he took a wife. No long time after that, he was employed by the Nuns of the Murate to construct a marble tabernacle, decorated in mezzo-rilievo, for the sacrament, a work which he conducted to perfection with all the diligence of which he was capable.^[9] He had not yet fixed the tabernacle into its place, when the Nuns of Sant’ Ambruogio (who desired to have an ornament of similar construction, but more richly adorned, to contain the Miracle of the Sacrament^[10]), having heard the ability of Mino greatly extolled, invited him to execute that work; and the master completed it with so much care, that the Nuns, highly satisfied with his labours, gave him all that he demanded as the price thereof.^[11] A short time after this, he undertook, at the instance of Messer Dietisalvi Neroni, to prepare a picture in mezzo-rilievo, the subject of which is Our Lady with the Child in her arms, having San Lorenzo on one side, and San Lionardo on the other; this was intended for the priests of the chapter of San Lorenzo, but has remained in the sacristy of the Abbey of Florence.^[12] For the same monks, Mino executed a medallion in marble, with Our Lady, in relief, holding the Divine Child in her arms; this they placed over the principal door of entrance into the church;^[13] and as it gave universal satisfaction, the artist received a commission for the erection of a sepulchral monument to the illustrious cavalier, Messer Bernardo de’ Griugni, who, having been a most honourable person, and very highly esteemed, had merited and received that memorial from his brethren. In this work, to say nothing of the sarcophagus, and the portrait of Messer Bernardo, taken from nature, which the artist placed on it, there is a figure of Justice, which is very much after the manner of Desiderio, but the draperies are wanting in grace, and are rendered somewhat common-place by the mode of handling.^[14] This monument caused the abbot and monks of the Abbey of Florence, in which building it was erected, to entrust Mino with that of Count Ugo,^[15] son of the Marquis Uberto di Madeborgo, who bequeathed large possessions to that Abbey, on which he also conferred many privileges. Wherefore, the Monks desiring to do him all possible honour, caused Mino to prepare a sepulchral monument in marble of Carrara, which was the most beautiful work ever performed by this master. There are certain boys, for example, by whom the arms of the Count are borne, and whose attitudes have much spirit, with a childish grace, which is very pleasing. On the sarcophagus, is the statue of the dead Count, and on the wall, above the bier, is the figure of Charity, with children, well grouped and very carefully finished. The same may be remarked of a Madonna, in a half-circle, with the Child in her arms, in which Mino has imitated the manner of Desiderio, to the utmost of his power: and if he had improved his mode of proceeding by reference to the life, there is no doubt that he would have attained great proficiency in art. This monument, with all its consequent expenses, cost 1600 livres; it was finished in 1481; and the artist derived great credit from his work, which was, besides, the cause of his obtaining the commission for constructing another funereal monument, in a chapel in the Episcopal Church of Fiesole, near the principal chapel, and on the right hand, in ascending to the high altar. This was to the memory of the Bishop Lionardo Salutati, Suffragan of that see;^[16] and Mino here represented the Prelate himself in his episcopal robes; a portrait from the life, which was as close a resemblance as could possibly be imagined.^[17] For the same Bishop, our artist executed a bust of the Saviour, in marble, the size of life, a very well-finished work, which Avas left among other bequests to the Hospital of the Innoeenti,^[18] and is now in the possession of the Very Reverend Don Vineenzo Borghini, Prior of that house, who esteems it among the most precious specimens of those arts; wherein he takes more pleasure than I could sufficiently express.

In the Capitular church of Prato, Mino constructed a pulpit entirely of marble; the ornaments are stories from the life of the Virgin, the whole admirably well done, and the joinings are effected with so much care, that the work appears to be entirely of one piece.^[19] Over the pulpit, at one side of the choir, and almost in the centre of the church, are certain ornaments, also executed under the care of the same master. He likewise took the portrait of Piero di Lorenzo de’ Medici, with that of his wife, both from nature, and presenting an exact resemblance to the originals. These two busts stood for many years over two doors in the chamber of Piero, in the Medici palace, within lunettes; they were however afterwards placed, with the likenesses of many other illustrious persons of that house, in the guardaroba of the Lord Duke Cosimo.^[20]

The figure of Our Lady in marble, now in the audiencechamber of the Guild of Manufacturers, is also by the hand of Mino,^[21] who likewise sent a work in marble to Perugia for Messer Baglione Bibi. This was placed in the chapel of the Sacrament, in the church of San Piero, and presents a Tabernacle, with figures of San Giovanni on one side, and San Girolamo (St. Jerome) on the other; both very well executed in mezzo-rilievo.^[22] The Tabernacle of the Sacrament in the cathedral of Volterra, is also by this master; and two Angels standing one on each side of it, are so well and carefully done, that this work has been deservedly extolled by all artists.^[23] Finally, desiring one day to move certain stones, and not having the needful assistance at hand, Mino fatigued himself too violently, insomuch that an inflammatory disease ensued which caused his death. This took place in the year 1486, when the artist was honourably interred by his relations and friends in the Canonicate of Fiesole.

The portrait of Mino is among those in our book of drawings, but I do not know by whose hand; it was given to me, with certain designs in black-lead, by himself, and which are tolerably good.^[24]

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1. A saying of Michael Angelo’s.
2. In this exordium Vasari inculcates excellent principles, and proves his good faith as a writer, his own practice having been iir a totally opposite direction.—Ed. Flor., 1838.
3. A result experienced by Vasari himself, as it was by all who, like him, too closely pursued the footsteps of Michael Angelo. — Ibid.
4. Cardinal D’Estouteville, that is to say.—Ed. Flor., 1849.
5. The stories here mentioned are not now on the altar of Saint Jerome in Santa Maria Maggiore. — Ed. Flor., 1832-8.
6. In 1471.
7. It is now in the old subterranean church of the Vatican (“Grotte Vaticane vecchie.”)—Bottari.
8. This monument is still in existence.— Ed. Flor., 1838.
9. This tabernacle is now in the chapel of the Novitiate in the church of Santa Croce. —Ed. Flor., 1838.
10. The history of this miracle is related by Villani, in his Cronaca, lib. vi. cap. viii.
11. This ornament, or rather altar-piece, for it extends the whole width of the altar, and occupies the entire height of the wall behind it, has a recess in the centre, which is closed by a grating of gilded bronze, within which is kept the Sacred Relic. On the socle, the story of the Miracle is delineated in small and graceful figures: between the socle and the picture above, are the words, Opus Mihi. — Ed. Flor., 1849.
12. It is no longer in the sacristy, but in the small chapel of the monastery. There is an engraving of it in Cicognara, tom. ii. tav. iv.
13. It is still in its place.—I.
14. Gonnelli, Monumenti Sepolcrali della Toscana, gives an engraving of this tomb, pl. xxvii.
15. See Dante, Paradiso, xvi.
16. The Bishop is supposed to have ordered this tomb during his lifetime. —Ed. Flor.,1849.
17. In the same chapel is a small altar, whereon there is a relief by Mino, respecting which Cicognara has the following remark. “Never was marble better treated by the Tuscan chisel; and if artists, more imaginative as regards invention, and more learned in composition, had bestowed equal pains on the execution of their works with those given by Mino, they might have approached much nearer to perfection than they have done.” Cicognara has also given an engraving of this work. See tav. xxxi. tom. ii.
18. It is believed to be now placed over a press in the secretary’s office of the hospital. —Ed. Flor., 1832-8.
19. The pulpit still retains its place in the cathedral of Prato.
20. The bust of Piero, called the limping or gouty, is still in the Florentine Gallery, in the frequently cited Corridor of Modern Bronzes; but that of his wife is not to be found. In the same place is another bust by Mino, which Vasari has omitted to mention, that of Rinaldo della Luna namely, around which is the following inscription:—
    Rinaldo della Luna Sue. etatis. anno. xxii. opus Mini ne (sic) mcccclxi.
21. This work is lost.
22. Vermiglioli, Biografia degli Scrittori Perugini, gives an engraving of this work, which is still in the northern aisle of the same church.
23. This tabernacle, of very gracefm workmanship, was for some time in one of the store-rooms of the cathedral. The latest Florentine edition informs us that it is now in the church of the Baptistery in the same city.
24. In the collection of drawings preserved in the Gallery of the Uffizj, (Portfolio 1. in the Press 1.) is the design of a bust, presenting the profile of a young woman, on which Baldinucci has written as follows:—“This is by the hand of Mino da Fiesole, and the writer has in his possession a basso-rilievo, life-size, by the same master, and which represents the woman here delineated.”—Ed. Flor., 1849.