Lives of the Most Excellent Painters, Sculptors, and Architects/Niccolo Soggi

by Giorgio Vasari

 

THE FLORENTINE PAINTER, NICCOLO SOGGI.

[born 1474—died 1554.]

Among the many disciples of Pietro Perugino, there was none, after Raphael of ITrbino, who was more zealous or more persistent in his studies than Niccolo Soggi, whose life we are now about to write. This artist was born in Florence, and was a son of Jacopo Soggi, a decent and upright, but not very rich man. At a later period Niccolo was for some time in the service of Messer Antonio dal Monte, wherefore his father Jacopo, having a farm at Valdichiana, and passing the greater part of his time there, came by the vicinity of their dwellings to have no little intercourse with the abovenamed Messer Anton di Monte.

This Jacopo then, perceiving in his son much inclination for painting, determined to place him with Pietro Perugino,

and in a short time the continual study of Niccolo enabled him to acquire so much facility, that Pietro was early enabled to avail himself of his assistance for the undertakings which he had in hand, and this he did to the no small advantage of Niccold, who so zealously devoted himself to the studies of perspective and to drawing from nature, that he ultimately rendered himself truly excellent in both- Niccolb likewise gave much attention to the preparation of models in clay and wax, over which he afterwards laid parchment, softened by steeping, and covered the whole with draperies; but this practice had the effect of imparting a certain dryness to his manner, insomuch that while he lived, he constantly held to the same, nor could he ever divest himself thereof, notwithstanding all the pains which he took for that purpose.

The first work performed by Xiccolb after the death of his master Pietro, was a picture in oil, which was destined to adorn the back of an altar in the Plospital for Women, founded by Bonifazio Lupi, in the Via Sangallo, at Florence. The subject chosen was an Annunciation, and there is a building in this picture drawn in perspective, and exhibiting arches and a groined ceiling rising above the columns, after the manner of Pietro Perugino.^[1]

In theyear 1512, and after having painted numerous pictures of the Virgin for the houses of the citizens,^[2] with other works of minor importance, such as are in daily request, Niccolo Soggi heard that great things were in process of accomplishment in Rome, wherefore, desiring much to improve in his art, and thinking also that he might obtain the means of laying aside some money by his project, he departed from Florence, and repaired at once to Rome. Here he proceeded to visit Messer Antonio di Monte, who had then become a Cardinal, and by whom he was not only amicably received, but instantly set to work. The time was the commencement of the pontificate of Leo X.; and the commission thus received was a large Escutcheon of the arms of that Pope, to be painted in fresco on the façade of the palace (where is the statue of Maestro Pasquino), and to be placed between the arms of the Roman People, and those of the Cardinal Messer Antonio di Monte above-named. In this work Niccolo did not acquit himself very well, and perceiving, from the effect produced on certain figures, both nude and clothed, which form the ornaments of that shield, that the study of lifeless models is injurious to him who desires to obtain a good manner, he determined to labour for the remedy of that defect. When, therefore, the fresco was uncovered, and, being given to public view, was found not to exhibit the excellence which many had expected, Niccolo set himself to paint a picture in oil. The subject of this work was the martyr Santa Prassedia, pressing blood from a sponge into a vase; and this he executed with so much care, as in part to recover the honour, which it appeared to him that he had lost by the abovementioned escutcheon of arms. The picture was painted by commission from the Cardinal di Monte before-named, who was Titular of Santa Prassedia, and by whose command it was placed over an altar in the midst of that church, beneath which is a well filled with the blood of the Holy Martyrs;^[3] and this site was chosen with much judgment, since the picture alludes to the place where the blood of those martyrs was shed.^[4]

When this work was completed, Niccolo painted another picture, about three quarters of a braccio high, for the same Cardinal, his patron; a Madonna that is to say, with the Divine Child in her arms, and the figure of San. Giovanni, also a child; he added a landscape so well and carefully executed, and the whole work is indeed so delicately finished, that it has the appearance of being in miniature. This picture, which was one of the best works ever produced by Niccolo Soggi, was for many years retained in the apartment of that prelate, but at a later period the Cardinal arriving in Arezzo, and being entertained in the Abbey of Santa Fiore, a place which belongs to the Black Friars of San Benedetto, presented the picture to the Sacristy of that monastery, in acknowledgment of the many courtesies which he had received from the brethren thereof. Here it has ever since been preserved with much care for its merit as a picture, and also as a memorial of the prelate by whom it was presented.^[5]

Niccolo himself repaired to Arezzo with Cardinal di Monte, and remaining almost ever afterwards in that city, then made acquaintance with Domenico Pecori, who was there engaged with the picture of the Circumcision of Christ, which he painted for the Brotherhood of the Trinity; the friendship between these artists subsequently became so intimate, that Niccolo painted for Domenico in that picture a building in perspective, which exhibits a ceiling supported by columns and arches, and decorated with rosettes, according to the custom of that time; a portion of the work, which was then held to be exceedingly beautiful. For the same Domenico, Niccolo Soggi likewise painted on canvas and in oil, a picture of a circular form, which was destined to serve as a canopy, to be borne by the Brotherhood of Arezzo; the subject depicted thereon was the Madonna, with the people of the city in her protection; but the work was consumed by fire, during a festival held in the church of San Francesco, as I have related in the life of Domenico Pecori.^[6]

Niccolo afterwards received the commission for painting a chapel in the above-named church of San Francesco, the second, that is to say, after entering the building, and on the right hand. There he painted the figure of Our Lady, with San Giovanni Battista, San Bernardo, Sant’ Antonio, and San Francesco, all in tempera; three Angels hovering in the air, and singing, with a figure of the Almighty Father in the Tympan which surmounts the picture, complete the work which Niccolo executed wholly in tempera, and, as it were, with the point of the pencil. The whole work may, nevertheless, be considered labour lost, since the strength of the tempera has caused it to peel away; but this Niccolo hazarded for the sake of trying new methods. Ultimately he acknowledged that the true mode of mural painting, was to work in fresco, and seizing the first opportunity that presented itself, he undertook to paint in fresco a chapel in the church of Sant’ Agostino in that city;^[7] the chapel, which is beside the door namely, and to the left of him who enters the church. In this chapel, the commission for which Niccolb received from one Scamarra, a maker of furnaces, our artist painted a figure of the Madonna seen in the air, with the people of a city beneath, and San Domenico and San Francesco, both kneeling: but the best part of all that he did in this chapel, was a figure of San Kocco, which he depicted on the front thereof.^[8]

Now it chanced that the Aretine, Domenico Ricciardi, was greatly pleased with the chapel above-mentioned, and possessing one himself in the church of the Madonna delle Lagrime, he gave the altar-piece of the same to be painted by Niccolb, who, having laid hand to the work, depicted the Nativity of our Saviour Jesus Christ therein, executing the picture with infinite care and forethought; it is true, that he loitered a long time over it, but he finished it so finely that his delays may be excused: nay, rather, he merits very great commendation, seeing that the work is indeed a very beautiful one. The pains he has taken with every part are indeed almost incredible, the most minute trifles offer evidence of careful consideration; a ruined building painted in perspective, close beside the cabin wherein are the Divine Child and the Virgin, may be more particularly mentioned:^[9] the heads of San Giuseppe likewise, with some others in this work, may be enumerated as portraits taken from the life: the painter, Stagio^[10] Sassoli, a friend of Niccolb, with Papino della Pieve, his disciple, are among the number. Of the latter it may be remarked that, had he not died young, he would, without doubt, have done the greatest honour both to himself and his country. Three Angels, singing as they hover in the air, are also executed in so good a manner, that they would of themselves suffice to prove the ability of Niccolb Soggi, and to give evidence of the patient endurance with which he laboured at this work even to the last.

Niccolò had no sooner completed this chapel of the Madonna delle Lagrime, than he received an application from the Brotherhood of Santa Maria della Neve on the Monte San Savino: the men of this company desiring that he should paint them a picture to commemorate the snow, which, falling on the spot whereon stands the church of Santa Maria Maggiore, in Rome, on the 5th day of August, gave ocasion to the erection of that edifice. This work Niccolò completed for the persons above-mentioned with much care, and afterwards executed a painting in fresco at Marciano, which was very highly extolled.

In the year 1524, Messer Baldo Magini, having caused Antonio, the brother of Giuliano da Sangallo, to construct a marble tabernacle in the church of the Madonna delle Carceri, in the territory of Prato, the said Antonio thought to manage in such sort that Messer Baldo should give Niccolò Soggi the commission for the picture which was to adorn that tabernacle; a structure furnished by Antonio with columns, an architrave, cornice, and round arches, all of much beauty. The architect Sangallo had formed a friendship with Niccolò when he worked at Monte San Savino, in the palace of the Cardinal di Monte above-named, and now, having presented him to Messer Baldo Magini, the latter although he had intended to have the tabernacle painted by Andrea del Sarto, as w have related in another place,^[11] resolved at the request and by the advice of Antonio, to entrust the same to Niccolò Soggi. The artist commenced the work accordingly, and laboured with all his power to produce a meritorious performance, but he did not succeed by any means, seeing that, the care bestowed upon the painting excepted, there is neither excellence of design nor any other quality that very greatly deserves praise, to be perceived in it; for Niccolò, proceeding as he did with that hard manner of his, and toiling away over his models of clay and wax, has almost always brought his labours to a painful and displeasing conclusion.

It is true that there was no man who would do more than Niccolò, as regarded the labours of art, nor was there one who worked with more love and diligence, and as he knew that none.    .    .    .    ^[12] he could never for many years persuade himself that others surpassed him in excellence. In this work, then, we have a figure of the Almighty Father, sending the crown of chastity and humility to the Madonna by the hands of angels, who surround the Virgin, some of them playing various instruments.^[13] In this picture Niccolò depicted the portrait of Messer Baldo kneeling at the feet of the Bishop, Sant’ Ubaldo, and on the other side he painted a figure of San Giuseppe. These two figures are placed one on each hand of the Madonna, which has worked miracles in that place. At a later period, Niccolò painted the portrait of Messer Baldo Magini from the life, in a picture three braccia high; he stands upright, having in his hand the church of San Fabriano, which is in Prato, and was bestowed by himself on the Canonicate belonging to the Chapter of the Deanery: the portrait was indeed depicted for that Chapter, which caused it to be placed in the Sacristy,^[14]

as a mark of gratitude to Messer Baldo, and of acknowledgment for the benefit received at his hands: and this was a distinction well merited by that certainly remarkable man, who with admirable judgment, conferred great favours on that the principal church of his native place, one so much renowned too, on account of the Girdle of Our Lady, which is preserved therein. This portrait was one of the best paintings ever executed by Niccolò Soggi.

There is a small picture in the possession of the Brotherhood of San Pier Martire which has its seat on the Piazza of San Domenico in Prato, and which is also believed by many to be by Niccolò Soggi, in which there are many portraits from the life, but in my opinion this work was executed, if indeed it be by Niccolò, before any of those which have been mentioned above.^[15]

After these works Niceolo departed from Prato, where dwelt a young artist, a native of that place, Domenico Giuntalocchi namely, who had studied the principles of the art of painting under his discipline, but although a youth of good genius, yet, having acquired the manner of Niceolo Soggi, he never attained to much distinction in painting, as will be shown hereafter. But returning to Niccolò himself, he departed, I say, from Prato, and repaired to Florence, proposing to remain there, but perceiving that all the works of importance in his art were given to the better and more eminent painters, and that his manner did not approach that of Andrea del Sarto, of Pontormo, or of Rosso, he determined to return once more to Arezzo, in which city he had many friends, greater credit, a higher reputation, and fewer rivals. Arrived there accordingly, Niccolò immediately made known to Messer Giuliano Bacci, one of the principal inhabitants of that cityr, a certain desire which he had formed; that Arezzo namely, should thenceforward be his country, and that he would therefore gladly undertake some work which might afford him an opportunity for the prolonged exercise of the labours of his art, and whereby he might be enabled to render obvious to the people of Arezzo the abilities which he possessed in art.

Messer Giuliano therefore, who was an ingenious man, well pleased to promote the embellishment of his native city, and rejoicing on that account to see artists abounding in the same, did consequently proceed in such sort with the men who were at that time ruling in the Brotherhood of the Annunciation, that they, having just then constructed an extensive vaulting in their church, with the purpose of having it painted, agreed to give the arches of one side to Niccolò, with the further intention of permitting him to paint the remainder, in the event of the part then confided to him being comnleted to the satisfaction of the men of that Brotherhood.

Devoting himself to this work therefore, with the most careful study, in two years Niccolò had painted the half or one arch only, and no more. Here he depicted the Tiburtine Sybil, who is pointing out the Virgin in heaven, with the Divine Child in her arms, to the Emperor Octavian, and that Emperor is adoring the Madonna and Saviour with great reverence. In the figure of Octavian, Niccolò Soggi has given the portrait of Messer Giuliano Bacci, and m that of a tall youth wearing a red vestment, is the likeness of his disciple Domenico Giuntalocchi, other portraits of the artist’s friends also appear in this work;^[16] and upon the whole he acquitted himself in such a manner as respected the picture, that he did not displease the men of that company nor the other inhabitants of the city.

It is true that every one was tired of seeing him so long over his work and labouring so painfully with all that he did, but notwithstanding that circumstance he would without doubt have been appointed to complete the remainder, had not this been prevented by the arrival in Arezzo of the distinguished Florentine painter, II Rosso, to whom, as being put forward by the Aretine painter Giovan Antonio Lappoli, and by Messer Giovanni Pollastra, as we have related elsewhere,^[17] the whole of the work remaining was adjudged, with various marks of favour. This displeased Niccolò Soggi so greatly, that if he had not taken a wife the year before, and then become the father of a son, for which cause he was fixed in Arezzo, there is no question but that he would have instantly departed from the place.

Finally, however, he became pacified, and proceeded to execute a painting for the church of Sargiano, a place situate at the distance of two miles from Arezzo, and where a community of Barefooted Friars have their abode. In this picture is the Virgin received into heaven, whither she is borne by numerous angels in the form of boys; beneath is St. Thomas receiving the girdle, and standing around are San Francesco, San Ludovico, San Giovanni Battista, and Sant’ Elizabetta, queen of Hungary. In some of these figures, but more especially in certain of the children, Niccolò Soggi acquitted himself exceedingly well, as he did also in the predella, where he painted certain stories, the figures of which are small and tolerably well done. In the convent of the Nuns of the Murate in that city, who are of the same order with the Barefooted Friars, our artist also painted a Dead Christ with the Maries, and this, for a work in fresco, is verywell executed. In the abbey of Santa Fiore, which also belongs to the Black Friars, he painted a picture on canvas and in oil, behind the crucifix which is placed on the high altar; this represents Christ praying in the Garden, with the angel, who offers him consolation at the same time that he points to the Cup of the Passion, without doubt a good and beautiful work.^[18] For the Benedictine nuns of Arezzo, who belong to the order of Camaldoli, Niccolò painted a figure of the Virgin on the arch over a door by which they enter their convent. The Madonna was accompanied by San Benedetto and Santa Caterina, but wrhen the church was enlarged this work was destroyed.

Niccolò Soggi frequently passed his time at the Castello of Marciano, in the Valdichiana, where he lived, partly on the proceeds of some property which he possessed in that place, and partly on such gains as he could make there. Here then he commenced a picture, the subject of which was the Dead Christ, with certain other wrorks, over which he occupied himself for some time, and meanwhile, having the youth above-named, Domenico Giuntalocchi, whom he loved as a son, with him, he took great pains to instruct him in his art, teaching him the laws of perspective, making him draw from nature, and labouring to render him excellent in his vocation. In these respects therefore, Domenico succeeded admirably well, showing considerable genius and much judgment, and all this Niccolò did in great measure from the affection which he bore to that youth; but also in the hope that as he was then approaching age, he might thus have some one with him wdio might assist him in his labours, and in the last days of his life might repay him for all those cares and that affection. But Niccolò was of a truth most friendly towards all; of a sincere and upright nature, he was more particularly disposed to aid those whom he saw to be labouring for distinction in art, and whatever he knew he would impart, more than willingly, to every one.

Now it chanced on a certain time, when Niccolò had returned from Marciano into Arezzo, and after Domenico had departed from him, that the men of the Brotherhood, of the Corpo di Cristo, in the last-named city, had a picture to give, and which was to he painted for the high altar of the church of San Domenico. This Niccolò desired to paint, hut so did also Giorgio Vasari, who was then but a youth, when Niccolò comported himself in a manner which few perhaps among those who exercise our art would have imitated. And the matter was on this wise: Niccolò, being himself a member of that Brotherhood, and perceiving that many among them, for the sake of encouraging and putting forward Giorgio, were content that he should receive that commission, remarking also, that Giorgio himself had a very great desire for the same,—Niccolò, I say, resolved, as he beheld the zeal and industry of the youth, to postpone his own necessities and wishes, proceeding in such sort that his companions should give the work to Giorgio Vasari, and looking more to the profit to be derived from that picture by the young artist, than to his own advantage or interest, and as he determined that it should be, so exactly did the men of his Brotherhood decide.

Domenico Giuntalocchi had meanwhile arrived in Rome, where fortune was so favourable to him that, having been made known to Don Martino, ambassador from the King of Portugal, he became attached to his train, and painted for him a picture on canvas, comprising some twenty portraits from the life, iikenesses namely, of the ambassador’s friends and followers, with Don Martino himself in the midst of them, and all represented as engaged in conversation; a work which pleased Don Martino so greatly that he considered Domenico to be the first painter in the world.

Don Ferrante Gonzaga being then made Viceroy of Sicily, and intending to fortify the towns of that viceroyalty, desired to have a young man at his hand who might design, and put on paper for him, all that he was daily planning, wherefore he wrote to Don Martino, requesting the latter to provide a youth who might be capable of doing this, and who would also be willing to enter his service: this person Don Martino was then to send to Don Ferrante with the least possible delay. Thereupon Don Martino first despatched certain designs by the hand of Domenico to Don Ferrante, among them a Colossus, which had been engraved on copper for Antonio Salamanca by Girolamo Fagiuoli of Bologna, but which Domenico had drawn in perspective; with an old man placed in a child’s go-cart, designed by the same and engraved with the inscription, “I am learning still.” Don Martino likewise sent a small picture containing the portrait of himself, by Domenico Giuntalocchi, and shortly afterwards he despatched the young artist in person, as was the desire of Don Ferrante, whom the works of Domenico had greatly pleased.

Arrived in Sicily, there was assigned to Domenico Giuntalocchi a very honourable stipend, with a horse and servant also, at the cost of Don Ferrante; nor had any long time elapsed, before he was set to work on the buildings and fortresses of Sicily, insomuch that having gradually abandoned painting, he betook himself to a different calling, and which for a time was more advantageous to him. Being a man of ready observation and invention, he employed the services of men well inured to heavy labour, collected beasts of burden with people to hold them in charge, and using these to convey sand, chalk, &c., he caused furnaces to be constructed, and in a short time had amassed money enough to purchase offices in Rome,^[19] of which he bought at one time to the value of two thousand crowns, with others besides, which he obtained no long time after.

Being subsequently made keeper of the wardrobe to Don Ferrante, when that Signor was removed from the viceroyalty of Sicily to the government of Milan, Domenico accompanied him to the last-named place, and receiving employment among the fortifications of that district by much industry, and being also rather penurious than otherwise, Domenico Giuntalocchi rendered himself very rich. But what is more, he attained to such credit that in the government of Milan almost everything was regulated by his will. Hearing this, Niccolò Soggi, who was still in Arezzo, and had now become old and needy, without having any work to do, went to seek Domenico at Milan, thinking that as he had not failed Domenico when the latter was a youth, so Domenico would not now fail him, but on the contrary, availing himself of his services, since he had many persons in his employ, would certainly be able to assist him. as he ought to do in that his poverty-stricken age.

But Niccolò discovered to his sorrow that the human judgment in promising itself too much from others very frequently deceives itself, and that men who change their condition, change also for the most part their nature and wishes also. Arrived in Milan, lie found Domenico in so much grandeur, that he experienced the utmost difficulty in getting speech of him; but when, after enduring no little pains, he had done so, the poor Kiccolb related to him all his sorrows, and entreated earnestly that Domenico, by giving him employment and availing himself of his services, would thus come to his aid. Then the latter, not remembering, or rather not chosing to recall, with what affection he had been brought up by Niccolò, even as though he had been a son of his own, presented him with the pitiful misery of a small sum of money, and got rid of him as quickly as he possibly could. The poor Niccolò returned to Arezzo therefore, grievously malcontent, perceiving that, whereas he had hoped with cost and pains, to be rearing himself a son for his old age, he had done little short of making himself an enemy.

To obtain the means of existence therefore, he continued labouring, and executed such works as fell into his hands, as he had been doing for many years previously. Among the many things thus produced w~as a picture painted on cloth for the Commune of Monte Sansavino, whereon he depicted that place with the Madonna in the air above it, and two Saints beside her; this was destined to be fixed on an altar in the church of the Madonna at Yertigli, which belongs to the order of the Camaldoline Monks, and is at no great distance from the Monte, where it has pleased and still pleases the Lord, daily to perform numerous miracles and to confer many favours, on those who there recommend themselves to the Queen of heaven.

Julius III. being then created high Pontiff, Niccolò Soggi, who had been much in the service of the house of Monte, repaired to Rome, being then in his eightieth year, and having kissed the foot of his Holiness, begged the Pope to accept his services for the buildings which were to be erected, as was the report at the Monte, which had been given to the Pontiff as a fief by the Signor Duke of Florence. Julius III. therefore, receiving him very amicably, commanded that he should be furnished with the means of living in Rome, without fatiguing himself by occupation of any kind, and in this manner Niccolò employed his time for several months in that city accordingly, drawing many of the antiquities of the same for his amusement.

Meanwhile the Pope, desiring to promote the welfare of his native place, the Monte Sansavino, resolved to construct an aqueduct there, among other improvements, the place suffering greatly for the want of water. Giorgio Vasari therefore, who had orders from the Pope to cause those buildings to be commenced, recommended Niccolò Soggi very strongly to his Holiness, entreating that the office of superintendent of that work might be conferred on him. Niccolò repaired to Arezzo thereupon with these hopes, but had not been there many days, before, wearied by the cares of this world, by the privations he had suffered, and by the abandonment of those who should least have neglected him, he finished the course of his life, and was buried in the church of San Domenico in that city.

No long time afterwards, Don Ferrante Gonzaga having also died, Domenico Giuntalocchi left Milan, with the intention of returning to Prato, there to live quietly for the remainder of his life, but not finding there either friends or relations, and perceiving that Prato was no place for him, he repented when too late of having conducted himself in so ungrateful a manner towards Niccolò Soggi, and returned to Lombardy, there to serve the sons of Don Ferrante. But no long time elapsed before he fell sick to death, when he made a will, leaving to his native commune of Prato the sum of ten thousand crowns, to the end that the people might buy lands and form funds, whereby a certain number of Pratensian students might be perpetually maintained in such sort, that when some leave their studies, others are taken to replace them. And so has it been done by the men of Prato; wherefore, grateful for that important benefit, which has in truth been a very fruitful one, they have placed in their council chamber the likeness of that Domenico, as being the image of one who had deserved well of his country.

---

1. Still to be seen in the Church ot the above-named hospital.— Masselli.
2. A specimen of these Madonna pictures may be seen in the Pitti Palace. —Ibid.
3. The fate of this picture is not known.— Bottari, Roman Edition of Vasari, 1759.
4. See Mrs. Jameson. Sacred and Legendary Art, vol. ii. p. 243, et seq.
5. Probably taken away during the French domination in Italy.
6. Vasari gives no separate life of “Domenico Pecori,” but names him in that of Giovan-Antonio Lappoli, and others; see ante, p. 193.
7. Arezzo.
8. In the latter part of the eighteenth century, as we are informed by the Signor Raimondo Zaballi of Arezzo, the church was rebuilt, and the works of Soggi were then destroyed.
9. Still in the Church of the Madonna della Lagrime, in Arezzo.
10. See vol. iii. p. 70.
11. In the Life of Andrea del Sarto. See vol. iii. p. 219, et seq.
12. This blank space occurred in the text of the first edition, and was not made good in the second, which are tire only editions published under the eye of Vasari himself, we leave it therefore as we find it.
13. In 1774, when the Ristretto delle Memorie della Citta di Prato, &c, was published, this picture had been removed to the work-rooms of the building, where it then was, but it is not now to be found there, nor can its ultimate fate be ascertained.
14. Still in the Sacristy of the Cathedral, which was then called the Deanery, Prato not having at that time attained the rank of a city.
15. From the learned and courteous Signor Ferdinando Baldanzi of Prato, we (Florentine Editors) learn that the subject of this work which is still in the choir of the Church of the Capuchins at Prato, is the Virgin and Child, with figures of St. Peter the Martyr and St. Jerome, kneeling beside her; these being the only figures of which it is possible to suppose that they were taken from the life.
16. “Over which,” remarks a compatriot of our author, “the profane brush of the white-washer has now passed.”
17. See the Lettere Pittoriche, tom. ii, lettera xvii., written by Vasari himself to Pollastra. See also ante, the lives of Rosso and of Lappoli.
18. This work is believed to have perished in the restoration of the Church.— Ed. Flor. 1832 -8.
19. The reader, who may desire an elucidation of this expression, “to purchase offices in Rome,” will find the same in the works of the German historian, Ranke, who, among other remarks on the subject, has a passage to the following purport:—“There has doubtless been justice in the complaints raised against the exactions of Rome during the fifteenth century, but it is also true that of the proceeds, a small part only passed into the hands of the Pope.   .   .    There is no doubt that money reached the Court, if not in those extravagant sums that many have believed to have been paid into its exchequer, yet to a very considerable extent; but arrived so far, it was at once dispersed through channels innumerable. A large portion, for example, was absorbed by the revenues of those offices which it had long been the practice to dispose of by sale. The income of these offices was principally derived from perquisites and fees, and but slight restraint was imposed on the exactions of those who had purchased them. The jwice at which each of these appointments was re-sold, as it became vacant, was all that accrued to the papal coffers.
    “If then the Pontiff desired to undertake any costly enterprize, he was compelled to find some extraordinary expedient for procuring the means. Jubilees and indulgences were thus most welcome auxiliaries; incited by these, the piety of the faithful secured him an ample resource. He had also another mode of gaining supplies at his need. He had but to create new offices, when the sale of these was sure to afford him a respectable amount. This was an extraordinary sort of loan, and one for which the Church paid heavy interest, which had to be provided for by an increase of the imposts. The practice had long prevailed: an authentic register existing in the house of Chigi enumerates nearly 650 saleable offices, of which the income amounted to about 100,000 crowns. These were for the most part Procurators, Registrars, Abbreviators, Correctors, Notaries, Secretaries, nay, even Messengers and Doorkeepers, whose increased numbers were continually raising the cost of a Bull or a Brief. It was indeed for that very purpose that their offices took the particular form assigned to them. As to the duties connected with each, these were little or nothing. Most curious were the titles that some of these offices bore. There was the 'College of the Hundred Janissaries,’ for example. There were also Stradiotes and Mamelukes, who were however afterwards suppressed; with Cautioners, adds Onuphrius Panormus, “without whom no papers were considered complete.” A College of twenty-six Secretaries was founded by Innocent VIII.; Alexander VI. named eighty Writers of Briefs; and Julius II. added a hundred Writers of Archives”, all purely sinecure.