Lives of the Most Excellent Painters, Sculptors, and Architects/Morto da Feltro and Andrea di Cosimo de’ Feltrini
THE PAINTERS, MORTO DA FELTRO AND ANDREA DI COSIMO DE’ FELTRINI, OF FLORENCE.
The painter, Morto da Feltro,[1] was a man of great eccentricity in his mode of life as well as of thinking, and equally singular was he in his inventions and in the arabesques which he executed, and which caused him to be very much esteemed. This artist repaired to Rome in early youth, and at the time when Pinturicchio was painting the papal apartments for Pope Alexander VI., with the Loggie and lower rooms in the great tower of the Castello Sant’ Angelo, as well as certain of the upper chambers therein. But Morto, who was of a melancholy temperament, was perpetually studying the antiquities around him, and when he found compartments of vaultings or ranges of walls decorated with grottesche or arabesques, these he studied with untiring pleasure, for in such things he ever took delight; and so perfectly did he acquire the ancient manner of treating foliage, so exactly did he copy the mode of turning the leaves, observable in works of antiquity, that he was second to no master of his time in that particular. There was not a subterranean building in or about Rome that Morto did not frequent, to study the decorations of this character which might be contained in them; his search after such was incessant, and the vaultings which he examined were innumerable.
This artist remained for many months at Tivoli, where he took up his abode in the Villa Adriana, drawing all the pavements and grottoes therein, whether above the earth or beneath it; and hearing that at Pozzuoli, ten miles from the city of Naples, there were entire walls covered with ancient grottesche, in relief and stucco, as well as painted, which were considered very beautiful, he passed many months at that place also, constantly occupied with the same study. In this he gave himself no remission indeed, until he had copied every thing, even to the smallest relic that he could find in the Campana, which is an ancient road or street in that place filled with antique sepulchral monuments. At Trullo, in like manner, which is near the sea-shore, Morto designed many of the Temples and buildings, those beneath the ground as well as those above. He likewise visited Baia and Mercato di Sabato, both places wherein there are innumerable edifices, now ruined, but presenting examples of such works as were sought by Morto, and all of which he examined and copied with such enduring labour and patient love, that his abilities were largely increased by such devotion, and he profited to a vast extent both in power and knowledge.
Having returned to Rome, Morto laboured there several months, giving his attention entirely to figures, wherein he did not consider himself to be as efficient as he was held by others to be in the execution of arabesque ornaments or grottesche. Stimulated by his desire for improvement, therefore, and hearing the rumours of what Leonardo and Michelagnolo had accomplished for art by the cartoons which they had prepared in Florence, he at once departed for that city: but having seen the works, he became convinced that he could never attain to such a degree of perfection in that branch of art as he had already acquired in his own peculiar vocation, wherefore he again returned to labour at his arabesques or grottesche.
At that time dwelling in Florence and a native of that city, was the painter Andrea di Cosimo de’ Feltrini,[2] a young artist of great diligence, who received Morto into his house, entertaining him with the most cordial affection. The branch of art pursued by Morto pleased him greatly, and resolving that he also would turn his own attention to it likewise, he became a very able artist therein. In the course of time, indeed, Andrea was considered by the Florentines to be even more distinguished by his merit in that particular, than Morto himself, and was highly esteemed in his native city, as will be related hereafter.
By the intervention of Andrea di Cosimo, a commission was giv^ to Morto by Pier Soderini, who was then Gonfaloniere, for painting an apartment in the palace, with decorations of arabesques, which were held to be exceedingly beautiful, but they have now been destroyed for the purpose of re-arranging the rooms of the Duke Cosimo, and the spaces occupied by them have been repainted. For Maestro Valerio, a monk of the Servites, Morto executed certain decorations which were considered very beautiful; and for Agnolo Doni he painted a chamber in like manner with arabesques of the most varied and fanciful character. But as this artist still took pleasure in figures[3] also, he executed pictures of the Madonna in the form of medallions, wishing to try if he could herein obtain a reputation equal to that which he possessed in his own vocation.
Becoming weary of his abode in Florence, Morto removed to Venice, where Giorgione da Castel Franco was at that time painting the Fondaco or cloth magazines of the Germans, when Morto set himself to assist in that work, of which he executed the ornaments. Thus he remained in that city several months, being enchained by the enjoyments and pleasures of sense which are always to be found therein.
He next repaired to Friuli, intending to exercise his profession there; but he had not been long in that place when the Venetian nobles beginning to engage soldiers, he also accepted their pay, and before he had become well acquainted with his new profession, was made the captain of two hundred men. The army of the Venetians was at that time before Zara in Sclavonia; and Morto, desirous of obtaining higher reputation in that calling than he had acquired in painting, made himself eminently conspicuous in a smart skirmish that one day took place there; and valorously fighting in that affray, he was left dead, as by name he had ever been,[4] in the forty-fifth year of his age. But in his fame this master will never be dead, seeing that those who execute works of art for eternity, and have these to serve as their memorial after their own departure, are prevented by these their labours from, becoming the prey of death, because the gratitude of the historian supplies a perpetual testimony to their life and merits; zealously therefore should the masters of our arts devote themselves to the attainment of such a consummation by the frequency of their studies, thereby leaving records of their existence, both in their works and in the writings of authors, seeing that they may thus secure immortal life to themselves and an ever-during soul to the works which they leave behind them.
Morto da Feltro restored the practice of executing arabesques more nearly to that of the ancients than any other painter had done, and for this he well deserves enduring praise, the rather because it is to the commencement made by him that we are indebted for the beauty and perfection to which these works have been brought by the hands of Giovanni da Udine, and by the other artists now distinguishing themselves in that branch of art. For although it may have been by Giovanni and others that these decorations have been brought to their ultimate perfection, yet it is not to be forgotten that our first thanks and commendations are due to Morto, who was the first to discover and restore the kind of painting called arabesques and grottesche, seeing that they were for the most part hidden among the subterraneous portions of the ruins of Borne, whence he brought them, devoting all his study to this branch of art; we all know moreover, that it is not difficult to make additions to, and improvements in a thing once discovered.
The painting of arabesque decorations was preserved in Florence after the death of Morto, by Andrea Feltrini, called (U Cosimo, from his having been a disciple of Cosimo Eosselli in the study of figures, as he was afterwards of Morto da Feltro for that of arabesques, as we have before remarked. This artist also had received from nature the gift of a singular power of invention and much grace in that branch of art, insomuch that the decorations executed by him have increased grandeur, richness, and variety. He has besides imparted to them a manner differing from that of the antique, with more regularity in the arrangement, adding figures also which had never been seen in Rome, nor are they to be found in any other place, Florence only excepted, v/here Andrea di Cosimo has executed a large number. He has indeed never been surpassed in excellence, as regards this part of our vocation, by any master whatever; of this we have an example in the painted ornaments of the Predella, Avhich Andrea decorated in small coloured arabesques around the Pi eta previously executed by Pietro Perugino for the altar of the Serristori family;[5] in this work the ground is of black and red mingled, and on this are grottesche in various colours, all executed with a singular boldness, facility, and grace.
It was by Andrea di Cosimo that the practice of covering the fronts of houses and palaces with an intonaco of plaster, wherein the black of ground charcoal or burnt straw had been mixed, was commenced, and which intonaco while in its fresh state, he next covered with white, then, having made such divisions of his work as he desired, he made perforated cartoons of the arabesques or grottesche to be executed therein, and having taken the impressions of these cartoons on the intonaco thus prepared, he then hatched the outline so obtained, with a graving iron, in such a manner that the entire façade was traced over by that instrument, the white being then removed from the grounds of the arabesques so that the dark colour alone remained, he then went over the whole work with a black or darkly tinted water colour, in a liquid or very fluent state, ultimately producing a most pleasing and ricli effect. Of this mode of treatment I have spoken in my theoretic remarks, to he found in the twentysixth chapter, under the head Hatching.
The first façade decorated by Andrea in this manner was that of the Gondi palace in the Borgo Ognissanti, which is a very light and graceful work; he likewise painted one on the Lung’ Arno between the bridge of the Trinita and that of the Carraja and near Santo Spirito, for Lanfredino Lanfredini; this is exceedingly elaborate, and exhibits a rich variety of ornament with well fancied compartments. The house of Andrea and Tommaso Sertini, which is near the church of San Michele on the Piazza di Padella, was also decorated by Andrea di Cosimo with these hatchings, which are here executed in a grander and more varied manner than is even that of the two before mentioned. This artist painted, in chiaro-scuro, the front of the church which belongs to the Servite monks; and for that work he caused the painter Tommaso di Stefano to depict within two niches, the Angel making the Annunciation to the Virgin. In the court also, where Andrea del Sarto had painted the stories of San Filippo, with those from the life of Our Lady, he executed an exceedingly beautiful Escutcheon of Pope Leo X., when that Pontiff, made his visit to Florence. Moreover, Andrea di Cosimo painted many beautiful ornaments of arabesque work for the front of Santa Maria del Fiore, receiving his commission for the same from Jacopo Sansovino, who gave him a sister of his own to wife. Andrea likewise prepared the Canopy beneath which the Pope walked, the upper part thereof being richly adorned all over with arabesque ornaments, and the draperies around it having the arms of the Pontiff,[6] with various devices and emblems of the church by way of decoration: this canopy was afterwards given to the church of San Lorenzo in Florence, Avhere it may still be seen. Many standards and banners were also painted by Andrea for the ceremonies of that public entry of the Pontiff, and in honour of the numerous cavaliers who received knighthood on that occasion from Pope Leo and other princes. These are now hung up in different churches of the same city.
Andrea di Cosimo likewise performed many labours in the service of the house of Medici, to which he was constantly attached. For the marriage of the Duke Griuliano namely, he prepared innumerable ornaments in arabesque, as he did also for that of the Duke Lorenzo. In the obsequies of these princes moreover, this artist was largely employed. The artists, Francia Bigio, Andrea del Sarto, Pontormo, and Pidolfo Ghirlandajo were continually availing themselves of his services; and Granacci, who could do nothing to any purpose without his help, employed him perpetually for the triumphal arches and other festal preparations with which he was engaged.
Andrea di Cosimo was the best and most worthy man that ever touched a pencil; modest and diffident by nature, he would never undertake any ivork above his strength, or even any indeed that was entirely on his own responsibility, partly because he feared to risk the payment for his labours. He delighted in his vocation, and would pursue it the whole day long, but abhorred all disputes and discussions of every kind; he therefore associated himself with Mariotto di Francesco Mettidoro, a person who was one of the most able and practised masters that had ever been known in his vocation, and was particularly acute in all business arrangements, understanding well the most advantageous modes of agreement for the various wmrks confided to him, as well as the gathering in of the payments and all other occasions demanding readiness and prudence. This Mettidoro furthermore induced Paffaello di Biagio to join himself to their company, the three labouring in common and dividing into three parts the gains made by all the works which they executed. This co-partnery endured while the lives of these artists lasted, and Mariotto was the survivor of the other two.
But returning to the works of Andrea di Cosimo, I have to relate that this artist received a commission from Giovanni Maria Benintendi, to decorate all the ceilings of his house, and to prepare all the ornaments for the ante-rooms, wherein are the stories painted by Francia Bigio and Jacopo da Pontormo. With the first-named of these masters Andrea went to Poggio, where he prepared the ornamental framework in terretta for the pictures there executed, in a manner which is so beautiful that nothing better could possibly be seen. He decorated the house of the cavalier Guidotti, which is in the Via Larga, and the front of which is painted by Andrea in the hatched manner above described. Another in like manner was decorated by this artist for Bartolommeo Panciatichi, being the fa9ade of a house which the latter built on the Piazza degli Agli, and which now belongs to Roberto de’ Ricci; this last-mentioned work is most beautiful.[7]
It would not be possible to describe the vast number of decorations in friezes, coffers, and caskets, with the numerous ceilings, wainscots, and other works of similar kind executed by the hand of Andrea di Cosimo, seeing that the whole city is full of them. I must therefore decline the enumeration of these, but I will not omit to mention the circular escutcheons which were prepared by this artist, and that to such an extent that there could scarcely be a wedding solemnized, but that Andrea must have his workshops filled with such works either for one or another of the citizens. Neither could brocades, adorned in various colours or cloth of gold and silver, be woven, but that Andrea must prepare the designs, and this he did with a grace, variety, and beauty, which infused life and spirit into all these things. Had Andrea been fully aware of the extent of his own abilities he might have obtained great riches, but he was content with the means of living and of indulging his love for his art.
Nor will I omit to record that in my youth, and while in the service of the Duke Alessandro de’ Medici, which was at the time when the Emperor Charles Y. came to Florence, I was charged to prepare the Banners for the Castle, or as people now call it the Citadel; among these was a standard of crimson cloth, which was eighteen braccia in width at the staff, and forty braccia in length; this was to be decorated with a bordering in gold carried entirely around it, exhibiting the devices of the Emperor Charles and the house of Medici, and in the centre were to be painted the arms of his majesty. Forty-five thousand leaves of gold were used for this work, and on that occasion I called Andrea di Cosimo to my assistance for the decorations, and Mariotto di Francesco Mettidoro for the gilding,[8] when I learned many things from that good man Andrea, so full of love and kindness as he was towards all who were studying art. And such was the ability which he displayed in this matter, that not only did I avail myself of his assistance in many things required for the triumphal arches which were erected for the entrance of his majesty the Emperor, but had recourse to him also, in company with Tribolo, when Madama Margherita, daughter of Charles V., was married to the Duke Alessandro, seeing that I was commanded to make preparations for their reception at the house of the Illustrious Ottaviano de’ Medici, which is on the Piazza di San Marco, when that edifice was adorned with arabesques by Andrea, and with statues by Tribolo, as well as with figures anti historical representations by myself.
Andrea was also much employed in preparation for the funeral ceremonies of the Duke Alessandro, and still more extensively for the marriage of the Duke Cosimo, all the devices exhibited in the court-yard, and which are described in the account of that solemnity which was written by Messer Francesco Giambullari, being painted by Andrea, who adorned his work with varied and beautiful ornaments.
This master was tormented by a melancholy humour which more than once drove him to the point of self-destruction, but he was closely observed by his companion Mariotto, who guarded him so carefully that he finished the course of his life without violence in the 64th year of his age. He left the reputation of having been a good, nay, excellent and remarkable painter of arabesques of our own time, and has. since been constantly imitated in works of that character, not in Florence only but also in other parts.
- ↑ Lanzi, quoting various manuscripts as his authorities, declares this Morto da Feltro to be the same with Pietro Luzzo da Feltro, called Zaroto or Zarotto, who -was the disciple or assistant of Giorgione. See History of Painting, vol. i. p. IG'5—353, and vol. ii. p. 228.
- ↑ Andrea is supposed to have taken this name from liis second master, as he had taken that of Cosimo from the first, he having been a disciple of Cosimo Rosselli.— Ed. Flor. 1832-8.
- ↑ Lanzi affirms that this artist painted figures exceedingly well, and cites various works hy Morto in proof of his assertion. See History, &c,, ut supra.
- ↑ Cambrucci, as cited by Lanzi, declares that Morto executed certain works in the Loggia, near the Church of San Stefano, in his native place, some time in the year 1519. His death must in that case have occurred at a period subsecpient to that here given.
- ↑ In place of the Pieta and the arabesques here described, there is now a very fine painting, commenced by Cigoli and finished by Biliverti.— Bottari.
- ↑ These arms, as well as the works on the houses, palaces, and churches above described, have alike perished or been destroyed.
- ↑ The decorations of these façades have also perished.
- ↑ The name Mettidoro thus added to that of Mariotto di Francesco, is not that of his family, but of his profession as a gilder, (metter d’ oro, to gild.)