Lives of the Most Excellent Painters, Sculptors, and Architects/Ridolfo Ghirlandajo, and David and Benedetto Ghirlandajo

by Giorgio Vasari

 

RIDOLFO GHIRLANDAJO, AND DAVID AND BENEDETTO GHIRLANDAJO,^[1] PAINTERS OF FLORENCE.

[Flourished from the latter part and close of the 15th century, to somewhat
past the middle of the 16th century.]

Although it appears to be in a certain sort impossible that he who studiously imitates and carefully pursues the footsteps of some excellent master in our arts, should fail to become very nearly similar, at least in certain points, to the person thus imitated, yet we have very frequently to remark that the sons and brothers of distinguished men do but rarely equal their forerunners; nay, rather, that they do wonderfully degenerate from the same; and this is not, as I believe, because the qualities of their blood have failed to inspire them with the same readiness of mind and an equal amount of genius, but comes rather from a totally different cause—from the too perfect ease and enjoyment secured to them namely,' and from that abundance of possessions and indulgences which but too often prevents men from being zealous in their studies and diligent in the labours of their art. Yet I will not affirm this rule to be so entirely without exception, as to preclude the occasional occurrence of the contrary.

David and Benedetto Ghirlandajo were indeed endowed with good genius, and might, without doubt, have pursued the footsteps in art of their brother Domenico; yet they did not do so, but on the death of their said brother they departed to such an extent from the true methods of proceeding, that the one, Benedetto that is to say, wandered long in aimless idleness, and the other spent his time in vainly racking his brains about mosaics.

But to speak first of David, who was much beloved by Domenico his brother, and who also loved him exceedingly, both living and dead; David, I say, finished many works which had been commenced by Domenico, some of which he completed in company with Benedetto, more particularly the picture for the High Altar of Santa Maria Novella, the back part that is to say, which is now turned towards the choir: the gradino of the picture was finished in small figures by some of the disciples of Domenico; by Niccolaio^[2] namely, who, beneath the figure of San Stefano, represented with much care and pains a Disputation, in which that saint was engaged; by Francesco Granacci,^[3] and by Jacopo del Tedesco,^[4] who, together with Benedetto Ghirlandajo, completed the figure of Sant’Antonino, Archbishop of Florence, with that of Santa Caterina da Siena.^[5] These artists likewise finished a picture in the body of the Church, Santa Lucia namely, with the head of a Monk, which was placed nearly in the centre of the building, to say nothing of other pictures and paintings of various kinds which are dispersed among the houses of the citizens.

Benedetto subsequently spent many years in France, where he laboured to some purpose and made large gains, insomuch that he ultimately returned to Florence with many privileges and gifts, whereby the king of the first-named country had borne testimony to the estimation in which his abilities had been held there. Finally, having given his attention not only to painting but to military matters, Benedetto died in the fiftieth year of his age.

Now David, although he worked and designed not a little, did, nevertheless, not greatly surpass Benedetto, a circumstance that may have arisen from the fact that he was too wealthy and too much at his ease, and therefore did not keep his thoughts fixed with sufficient firmness on art, who is never to be found in her perfection but by him who zealously seeks her; being found, moreover, she will not be neglected without at once taking flight.

At the upper end of an avenue in the garden which belongs to the Monks of the Angeli in Florence, there are two figures in fresco by the hand of David Ghirlandajo; they stand at the foot of a Crucifix, and represent San Benedetto and San Romualdo: these works are opposite to the door by which entrance to that garden is obtained.^[6] He did other things of similar kind, but they do not merit that any particular record should be made of them.

But although David would not give much attention to art liimself, it was not a little to his credit that he caused his nephew Ridolfo, the son of Domenico, to devote his hours with all study thereto, and to walk in the footsteps of his father, insomuch that this youth, who was the ward of David, and was endowed with a fine genius, received all possible aid from his uncle, who, having engaged him to study the art of painting, supplied him with all the facilities and encouragement necessary to forward his progress in the same, and this all the more readily, as he had begun to repent when too late of not having laboured earnestly himself, and of having consumed his time with mosaic.

For the King of France,^[7] David Ghirlandajo executed a large picture in mosaic on a thick panel of walnut-wood. The subject of this work is the Madonna, with numerous Angels around her, and the mosaic was very highly praised. David passed much of his time at Montaione, which is a fortified place in the Valdelsa, and he dwelt there, principally because in that place he had furnaces, and could readily obtain the various woods, glass, &c. which he required for his mosaics; he therefore executed many labours in glass as well as in mosaic, at Montaione, more especially certain Vases, which were given to the Magnificent Lorenzo de’ ‘Medici the elder. David likewise produced three heads (those of San Pietro and San Lorenzo namely, with that of Giuliaiio de’ Medici), in a framework of copper, and this is now preserved in the Guardaroba of the Duke.

Ridolfo meanwhile, being frequently engaged in drawing from the Cartoon of Michelagnolo, was reputed to be one of the best artists who studied that work, and was much esteemed by all, but more particularly by Rafiaello Sanzio da Urbino, who at that time, he being also a young man of a great name, was sojourning in Florence, as we have said, for the study of his art.

When Ridolfo had designed much and frequently from the above-mentioned Cartoon, and had besides obtained considerable practice in painting, under Fra Bartolommeo di San Marco, he had made so much progress, according to the opinion of the best artists, that Raffaello, being compelled to leave Florence for Rome, whither he had been invited by Pope Julius IL, left to Ridolfo the care of finishing the blue drapery, with some other small matters, still wanting to the picture of a Madonna, painted by Raffaello for certain gentlemen of Siena,^[8] and which Ridolfo, having completed the same with very great care, did ultimately send to that city. Nor had Raffaello dwelt any long time in Rome, before he began to make all efforts for prevailing on Ridolfo to repair thither also; but the latter, who had never—as the saying is—“lost sight of the Cupola,”^[9] and could in no wise resolve on living out of Florence, would accept no proposal which might compel him to abandon his abode in his native place.

For the Convent of the Nuns of Ripoli, this artist painted two pictures in oil; the one a Coronation of Our Lady, and the other a Madonna surrounded by Saints. In the Church of San Gallo he depicted Our Saviour Christ, bearing his Cross and accorapained by a large body of soldiers; the Madonna and the other Maries, weeping in bitter grief, are also represented, with San Giovanni and Santa Veronica, who presents the handkerchief to Our Saviour; and all these figures are delineated with infinite force and animation. This work, in which there are many beautiful portraits from the life, and which is executed with much love and care, caused Ridolfo to acquire a great name;^[10] the portrait of his father is among the heads, as are those of certain among his disciples, and of some of his friends—Poggino, Scheggia, and Nunziata for example, the head of the latter being one of extraordinary beauty.^[11]

Now this Nunziata, although he was but a painter of puppets, was nevertheless a man of distinguished ability in certain things, more especially in the preparation of fireworks, and those Girandoli, which, as we have said, were made every year for the festival of St. John. He was besides a most amusing and facetious person, insomuch that every one had pleasure in conversing with him. A citizen came to him one day, and, bemoaning the displeasure caused him by such painters as knew only how to produce improprieties, desired that Nunziata would make him a Madonna, and such a one as should be decent and proper, of respectable years that is to say, and not likely to move any one to light thoughts, whereupon Nunziata depicted him a Madonna with a beard. Another, wishing to have a Crucifix for a room on the ground floor of his house, in which he was accustomed to pass the months of summer, could find nothing to say but, I want a Crucifix for summer,” when Nunziata, perceiving the man to be a simpleton, painted him a figure, wearing no other drapery than a pair of stockings.^[12]

But we return to Ridolfo, who, having received the commission for a picture to be painted for the Monastery of Costello, made great efforts to surpass his rivals, and executed that work, the subject of which was the Nativity of Christ, with all the pains and care that he could possibly command; the principal figures are the Madonna, who is in the act of adoring the Divine Child, with San Giuseppo, and two other saints, San Francesco and San Geronimo namely, both kneeling. He added a most beautiful landscape, of a country similar to the Sasso della Vernia, where it was that San Francesco received the stigmata: over the hut wherein is the Infant Saviour, moreover, there are angels singing; the colouring of this work is exceedingly beautiful, and it has great relief.^[13]

About the same time Fidolfo executed a picture which was sent to Pistoja, and commenced two others for the Company or Brotherhood of San Zanobi, who have their seat near the Canonicate of Santa Maria del Fiore; these pictures being intended to stand one on each side of the Annunciation, which had formerly been executed in that place by Mariotto Albertinelli, as we have related in his life. These works Fidolfo brought to conclusion in a manner which was greatly to the satisfaction of the Brotherhood, representing in one of the two, San Zanobi restoring to life a child which had died in the Borgo degli Albizzi, at Florence; this story is depicted with much power and animation, an effect which is heightened by the circumstance that many of the heads are portraits from the life, to say nothing of certain women, whose faces express most truthfully the joy and surprise with which they behold the child revive, and see his spirit return to him.

The second of the pictures painted for the Brotherhood of San Zanobi represents that saint when carried by six bishops from San Lorenzo, where he was first buried, to Santa Maria del Fiore, and when, passing by the Piazza of San Giovanni, an Elm, which had been dried up and dead, being touched by the coffin wherein was the holy corpse, put forth leaves, for such was the will of God, and bore flowers anew. On the place where the tree stood there is now a column of marble with a cross upon it, as a memorial of that miracle. This picture w^as no less beautiful than were those before described as produced by the abovenamed Ridolfo.^[14]

Now these works were all performed by our artist during the lifetime of his uncle David, wherefore that good old man was much rejoiced thereby, and thanked God that he had lived so long as almost to have seen the genius of Domenico living again in Ridolfo. At length, and when, in his seventy-fourth year that is, he was preparing, though then so old, to visit Rome, there to take part in the Holy Jubilee of 1525, he fell sick and died in that same year, lie received sepulture from Ridolfo in the Church of Santa Maria Novella, where the other members of the Ghirlandajo family are buried.

Ridolfo had a brother in the Camaldoline Monastery of the Angeli in Florence; and this ecclesiastic, who was called Don Bartolommeo, was a truly upright and worthy man. Ridolfo, who greatly loved him, painted a picture for him in the cloister which looks on the garden; in the Loggia that is to say, wherein are these stories from the life of San Benedetto, which were painted in Verdaccio by the hand of Paolo Uccello. The subject of Ridolfo’s story, which is on the right of the entrance as you go in by the door of the garden, is the abovenamed Saint seated at table with two Angels beside him; he is waiting until Romano shall send him bread into the grotto, but the devil has cut the cord to pieces with stones. San Benedetto is furthermore depicted as investing a young brother of his order with the monastic habit. But the best of all the figures in that arch of the Loggia is the portrait of a dwarf who was at that time wont to stand at the door of the monastery.

At the same place, and over the Holy Water vase which stands near the entrance of the Church, Ridolfo painted a fresco in colours, Our Lady namely, with the Divine Child in her arms, and little Angels, which are most beautiful, hovering around her; over the door of a small chapel, which is in the cloister opposite to the Capitular buildings also, he painted a fresco in one of the lunettes, San Rornualdo that is to say, with the Church of the Hermitage of Camaldoli in his hand.^[15] No long time aft.er having completed the above, Hidolfo furthermore executed a very fine picture of the Last Supper for the same monks; this work, which is a fresco, is at the upper end of their Refectory: for that painting our artist received his commission from the Abbot Don Andrea Dossi, who had formerly been a monk in the monastery, and who caused his own portrait to be painted in one of the lowermost corners of the picture.

In the little Church of the Misericordia, on the Piazza of San Giovanrri, Ridolfo painted three most beautiful Stories, from the Life of Our Lady, on a gradino or predella, and these are so delicately executed that they appear to be miniatures. For Matteo Cini the same artist painted a Tabernacle at the corner of his house which is near the Piazza of Santa Maria Novella; the subject of the work is Our Lady with St, Matthew the Apostle and San Domenico; two little sons of Matteo Cini, portraits from the life, are represented as kneeling before the Virgin; this picture although but a small one, is exceedingly pleasing and graceful.

For the Nuns of San Girolamo, of the Order of San Francesco de’ Zoccoli, who have their Convent on the height of San Giorgio, this.artist depicted two Stories, the one representing San Girolamo in the act of doing penance, while the Nativity of Our Saviour Christ is set forth in the lunette above; and the other, which is opposite to the first, being an Annunciation; in the lunette above the same is Santa Maria Maddalena receiving the sacrament.^[16] In the palace, which is now the property of the Duke,^[17] Ghirlandajo painted the Chapel, wherein the Signori hear mass, depicting the Most Holy Trinity in the centre of the vaulted ceiling, with figures of Angels in the form of children, and bearing the mysteries of the Passion, in some of the divisions thereof. There are besides the heads of the twelve Apostles, and in the four angles are the whole-length figures of the Four Evangelists; while on the principal wall of the Chapel is the Angel Gabriel approaching with the Annunciation to the Virgin. Ridolfo added a kind of landscape in the back ground, exhibiting the Piazza of the Nunziata in Florence, and continuing even to the Church of San Marco. The whole work is admirably executed, and has numerous and beautiful decorations; when it was finished our artist painted a picture which was placed in the Deanery of Prato, and represents Our Lady offering her girdle to St. Thomas, who is there seen, together with the other Apostles.^[18]

For Monsignor de’ Bonafe, Director of the Hospital of Santa Maria Novella, and Bishop of Cortona, Eidolfo painted a picture to be placed in the Church of Ognissanti; the subject of this work was Our Lady, with San Giovanni Battista and San Eomualdo; and as the Bishop considered himself to have been served well and duly, he caused our artist to execute certain other paintings for him; but of these we need make no further mention. He next copied three pictures which had formerly been painted in the Medici palace by Anton Pollaiuolo, and the subjects of which were taken from the labours of Hercules; these Eidolfo painted for Giovambattista della Palla, by whom they were sent into France.

Having executed these and many other paintings, and finding in his possession all the requisites for mosaic-work, which had belonged to his uncle David, and to Domenico his father, Eidolfo, who had also acquired some knowledge of the processes to be pursued in that work, determined to make an attempt therein. Having completed certain pieces accordingly and finding that he succeeded, he then undertook to decorate in mosaic the arch which is over the door of the Church of the Nunziata, and in this he placed a figure of the Angel who is bringing the Annunciation to the Virgin;^[19] but not having the patience required for joining those innumerable little morsels together, he never attempted anything more in that manner.

For the Company of the Woolcombers, Ridolfo painted a picture in their little Church at the upper end of the Campaccio, the Assumption of Our Lady namely, with a choir of angels and the Apostles standing around her tomb; but it happened unfortunately that in the year of the siege, the place wherein this work was executed being filled with young birches for making fascines, the humidity thus occasioned caused the intonaco to fall ofiT, and the picture was totally destroyed. Ridolfo was, however, commissioned to replace it, and then depicted his own portrait therein.

At the Deanery of Griogoli, and in a tabernacle, which looks towards the high road, Ghirlandajo painted a figure of the Madonna with two Angels; and in another tabernacle, which stands opposite to the mill of the Eremite Fathers of Camaldoli, that last being situate on the Ema, and beyond the Certosa, he executed several figures in fresco. But finding that he was now sufficiently employed, and in the receipt of a very good income, Ridolfo would no longer rack his brains for the sake of attaining to what he might have become in the Art of Painting, but rather began to think of living like a gentleman and taking matters easily.

When Pope Leo visited Florence, Ridolfo did nevertheless prepare the Hall and other apartments of the Medici Palace, and executed nearly all the decorations of the same, in company with his disciples and assistants, causing Pontormo to paint the Chapel as we have before related. He also took part in the preparations made for the marriage of the Duke Giuliano and that of the Duke Lorenzo, for whom he executed the scenic ornaments for the dramatic spectacles which were then exhibited. Being much esteemed by those Signori for his abilities, he was subsequently appointed to various offices by their intervention, and was received as an honourable citizen into the council.

Now Pidolfo did not disdain to paint banners, standards, and matters of similar kind, and I remember to have heard him say that he had three times painted the banners for the Potenze,^[20] who were accustomed every year to hold a tournament and give a festival to the city on St. John’s day. At a word, he permitted all kinds of things to be done in his workshops, insomuch that they were frequented by numbers of young men, each one of whom could there learn what best suited him.

Antonio del Ceraiolo was one of those who, after having been with Lorenzo di Credi, went to Pidolfo, and having subsequently begun to work for himself, he painted numerous pictures and portraits from the life. In San Jacopo-tra-fossi, there is a picture by the hand of this Antonio, which represents San Francesco and Santa Maddalena, at the foot of a Crucifix;^[21] and behind the High Altar in the Church of the Servites he painted a picture of the Archangel Michael, which he copied from one executed by Ghirlandajo, in the Ossa di Santa Maria Nuova.

Mariano da Pescia was also a disciple of Pidolfo, and acquitted himself exceedingly Avell; the picture of Our Lady with the Infant Christ, Sant’ Elizabetta, and San Giovanni, which is in that Chapel of the Palace, painted as we have said, for the Signoria, by Ridolfo,^[22] is by the hand of Mariano, as are likewise the paintings in ckiaro-scuro, which decorate the house of Carlo Ginori, situate in the street which takes its name from that family; the subject of this last-named work has been chosen from the Life of Sampson, and the stories represented therein, are executed in a manner that may be truly called admirable. Nor can it be doubted that Mariano, had he been permitted to enjoy a longer life than was accorded to him, would have become a most excellent painter.

Another disciple of Ridolfo was Toto del Nunziata,^[23] who, in company with his master, painted a picture of Our Lady, with the Infant Christ in her arms, and accompained by two saints, in the Church of San Pietro Scheraggio.

But above all the other disciples of Ridolfo, the one most dear to him was a certain Michele, who had been with Lorenzo di Credi, and was afterwards with Antonio del Ceraiuolo. This youth was one of admirable ability, he worked with the utmost boldness, and was never weary of his labours; continually imitating the manner of Ridolfo, Michele approached him so closely, that whereas he had for a time only a third of the gains, he subsequently received the half of the profit which they made in common. Michele paid to Ridolfo the observance due to a father, nay, he loved and was beloved by his master to such a degree, that he was ever considered as something belonging to Ridolfo, and is still, as he ever has been, known by no other name than that of Michele di Ridolfo.

These two artists then, loving each other as I have said, like father and son, always laboured together, and performed a large number of works in company. For the Church of San Felice—in Piazza, a place belonging to the Monks of Camaldoli, they painted a picture representing Our Saviour Christ and the Virgin in the air;^[24] they are interceding with God the Father for the people praying beneath, and beside whom are kneeling several Saints. In the Church of Santa Felicita, they painted two Chapels in fresco, which are executed with infinite ability; in one of these is seen the Saviour dead, with the Maries around him; and in the other is the Assumption of Our Lady, with certain Saints.^[25] For the Church which belongs to the Nuns of San Jacopo delle Murate,^[26] these artists painted a picture, the commission for which they received from Monsignore de’ Bonafe, Bishop of Cortona; and in the Convent of the Donne di Ripoli they painted another, representing Our Lady, with certain Saints.

For the Chapel of the Segni, which is beneath the Organ in the Church of the Santo Spirito, they also painted a picture of Our Lady with Sant’ Anna and many other Saints;^[27] in a picture for the Company of the Neri they painted the Beheading of St. John the Baptist, and at the Monachine in the Borgo San Friano, they executed one of the Annunciation. For the Church of San Rocco at Prato, they painted a picture, the subject of which was Our Lady with ^an Rocco on one side and San Sebastiano on the other, and for the Brotherhood of San Sebastiano, which is near San Jacopo sopr’ Arno, they also executed a painting of Our Lady, with San Sebastiano and San Jacopo. Another work w'as in like manner undertaken by Ridolfo and Michele, at San Martino alia Palma, and finally they painted one for the Signor Alessandro Vitelli, which last was sent to Citta di Castello; this was a figure of Sant’ Anna, and it was placed in the chapel which belongs to the Signor Alessandro, in the Church of San Fiordo.

The paintings of various kinds which proceeded from the workshops of Ridolfo Ghirlandajo were indeed innumerable; and of the many portraits from the life which he sent forth, I will but say that the Signor Cosimo de’ Medici, while still but a youth, was portrayed by this artist; that likeness was a very beautiful work, as well as an accurate resemblance: the picture is still preserved in the Guardaroba of His Excellency.^[28] Ridolfo was an exceedingly prompt and rapid painter in many kinds of work, more particularly in the preparations for festivals: when the Emperor Charles V. arrived in Florence, he constructed a triumphal arch at the corner of the Cuculia in ten days; and another arch at the gate of Prato was erected by this artist in a very short space of time, this work being constructed for the marriage of the most Illustrious Lady the Duchess Leonora, and on the occasion of her arrival in Florence, as will be related in the Life of Battista Franco.

In a small cloister at the Madonna di Vertigli,^[29] a place which belongs to the Monks of Camaldoli, and is just without the district of the Monte San Savino, Ridolfo, having with him the above-named Battista Franco and Michele, painted all the events of the Life of Joseph in chiaro-scuro; and in the Church he executed the picture for the High Altar, with a fresco representing the Visitation of Our Lady; this last is perhaps as beautiful a work as any fresco ever executed by Ridolfo. But more than all is the figure of San Romualdo, on the above-mentioned Altar-piece, to be extolled, the venerable aspect of the countenance being indeed most beautiful: our artists painted other pictures in the same place, but it shall suffice us to have mentioned these.

In the palace of the Duke Cosimo, and in the Green Chamber, this artist painted grottesche for the decoration of the ceiling, with landscapes on the walls, which greatly pleased the Duke. Finally, having become old, Ridolfo lived a cheerful and quiet life; he had seen his daughters married and his sons were tolerably prosperous, making their way as merchants in France and at Ferrara. It is true that he found himself to be somewhat heavily afflicted with the gout, insomuch that he was compelled to remain almost always in his house, or if he went out had to be carried in a chair, yet he endured that complaint with much patience, and showed similar equanimity in respect of certain misadventures which befell his sons.

In this his old age Ridolfo still bore much love to all connected with art, and liked to hear of, or, when he could, to see, whatever was most commended in the way of buildings, pictures, and such other works of similar kind as were always in course of execution. One day that the Signor Duke had gone out of Florence, Ridolfo caused himself to be carried in his chair to the palace, where he dined and remained the whole day, examining the whole of that building, which was so greatly altered and transmuted from what it had formerly been, that he scarcely knew it again.^[30] In the evening when he departed, the old man said, “Now shall I die content, since I shall be able to carry to our artists who are in the other world intelligence to the effect that I have seen the dead revived, the deformed made beautiful, the old made young again.” Ridolfo lived seventy-five years, and died in the year 1560, when he was buried with his forerunners in Santa Maria Novella.

Michele, the disciple of that master, who, as I have said, is called by no other name than that of Michele di Ridolfo, painted three large arches in fresco over certain of the gates of Florence, and this he did after his master had resigned the practice of art. Over the gate of San Gallo, for example, he painted a figure of Our Lady, with those of San Giovanni and San Cosimo, which are executed in a very able manner; over the gate of Prato, likewise, he painted other figures of similar character; and at that of the Croce he depicted Our Lady with San Giovanni Battista and Sant’ Ambrogio.^[31] Pictures and paintings of all kinds were besides produced by this artist in almost unlimited numbers, and all giving proof of ability. I have myself, in consideration of his goodness and sufficiency, employed him several times with others for the works of the palace,^[32] to my own great satisfaction and that of all besides.

But the thing which most of all pleases me in this Michele is that, to say nothing of his being a truly honest man, of an upright walk and regular life, one who fears God in short; he has always in his workshop a good number of young people to whom he teaches his art with incredible affection.

Carlo Portelli of Loro, in the upper Yal d’Arno, was also a disciple of Ridolfo, and by his hand likewise there are numerous pictures in Florence; several of these are in the Church of Santa Maria Maggiore, and there are a vast number dispersed among the other Churches of the city and neighbourhood; in that of Santa Felicita, for example, some are also in the possession of the Nuns of Monticelli. The picture of the Chapel of the Baldesi family in the Cestello^[33] is also by his hand; it is to the right of the entrance, and the subject of the work is the Martyrdom of San Romualdo, Bishop of Fiesole.^[34]

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1. Of David and Benedetto Ghirlandajo, Vasari has already made mention in the Life of Domenico their brother, for which see vol. ii. of the present work, p. 200, et seq.
2. Bottari considers this Niccolaio to be the person mentioned in the Life of Fra Filippo Lippi, as Niccold Zoccoli, called Cartoni.
3. For the Life of Granacci, see vol. iii. p. 452, et seq.
4. Enumerated among the disciples of Domenico, in the Life of that master, for which see vol. ii. p. 200.
5. These works were removed from the church in the year 1804, and were taken to the Palace of the Medici-Tomaquinci family; they were subsequently sold; when some of the smaller paintings were purchased by Lucien Buonaparte.—Ed. Flor., 1832-8.
6. These works, having suffered by time, were re-painted by a modem artist of very common-place character. —Masselli-
7. Bottari affirms this to have been the first Mosaic sent into France, but it was to the President de Guisnes, who obtained it when be accompanied Charles VIII. to Naples, and not to the king of France, that the work was sent. This is proved by an inscription, also in mosaic, on the lower part of the picture itself, and which is as follows:—
   Dominus Johannes de Ganai praesidens Parisiensis primus adduxit de Italia Parisium hoc opus mosaicum.
8. This circumstance is related, as our readers will remember, in the Life of Raphael. See vol. iii. p. 12,
9. The Cupola of the Cathedral that is to say, of which the Florentines are jestingly declared to be enamoured to such a degree that they cannot contentedly draw the breath of life in any place from which it is not visible.
10. This picture was painted in 1504, and when the artist was but nineteen years old. It was sent in the year 1813 to Paris, where it still remains.
11. The picture is nowin the Palazzo Antinoni. The Church of San Gallo was demolished, as before related, when the city was menaced by the Prince of Orange. — Ed. Flor., 1832-8.
12. This Nunziata was the father of that Toto del Nunziata, of whom mention has been already made, and of whom there is more in a subsequent page.
13. When the Monastery passed from the Cistercian Monks to the Carmelite Nuns of Santa Maddalena de’ Pazzi, this picture was stolen from the building.—Masselli.
14. These works are still in good preservation, and may be seen in the Public Gallery of Florence (the Uffizj), among the paintings of the Tuscan School. — Ed. Flor.., 1832-8.
15. These works were destroyed when the church was restored.—Bottari.
16. These two paintings are still in their places. —Masselli.
17. Commonly called the Palazzo Vecchio. The chapel here in question is now used for the purposes of the Guardaroba. —Ibid.
18. Now in the chantry of the Cathedral at Prato. To have been exact, Vasari should have said, St. Thomas with other Saints, and not “other A postles,” since many of the figures do not represent apostles.—Ed. Flor., 1832-8.
19. A compatriot of our author remarks that, although this fact, which Vasari may have received from Ridolfo himself, is not to be called in question, yet that it ought to have been mentioned earlier, and the mosaicplaced among the works executed during the lifetime of his uncle David, since it was certainly the last-named artist who received the commission for that work from the Monks, and who, if he permitted Ridolfo to execute the same, presented it to those fathers as his own work. The truth of this assertion is made manifest by the following extract from a book of Records still in the Convent of the Most Holy Annunciation, and wherein we find written as beneath:—
    “1509, The Nunziata, on the outside of our church and beneath the Portico, was completed by Davitte di Tommaso, at the cost of the Convent.”
    And in another book we find, “The Nunziata in mosaic over the principal door of our Convent was finished on the 25th Jan. 1509. It was made by Davit di Tommaso, our painter of mosaic, and some difference respecting the price having arisen between him and the Monks, the AVardens of the Monastery commanded, in the presence of the parties, that a person well acquainted with*such matters, should be chosen by each side to be arbiters in that question, and that what they should judge to be just should be accepted in silence and with content.
    “These persons therefore having examined the work, and found the figures to be good and well done, adjudged and decreed that the said Monks should pay to the said Davit seventy-eight crowns, that is 546 lire; which sum was given to him.”
20. Gentlemen forming a company or association, and popularly called “Le Potenze.”
21. This work is in the Gallery of the Uffizj at Florence. The figures of the two saints are in tolerable preservation, but that of the crucified Redeemer has suffered much, from the fact that the colour has peeled away in minute scales.
22. The work of Mariano da. Pescia still retains its place.
23. Toto del Nunziata subsequently went to England, as has been related in the Life of Perino del Vaga. Lanzi and other writers speak of him as one of the most distinguished painters who appeared in this country during the sixteenth century, temp. Henry VIII. He was one of the king’s Serjeant painters (Henry had three), and in a book signed monthly by the king himself we have an entry to the following effect:—“An. reg, xiii., Jan. 23, paid to Antony Toto, by the king’s commandment, £20.” And again, in a different book:—“To Antony Toto and Bartilmew Penn (Bartolommeo Penne), payntours £12 10s., their quarterly payment between them.” Also the following:—“To Antony Toto, his servant, that brought the king a depicted table of Colonia, 7s. 8d.” No works of Toto can now be authenticated, so far as is known to the present writer; some of those attributed to Holbein, ‘‘whose pencil,” remarks Dr. Sarsfield Taylor, “appears, like Aaron’s rod, to have swallowed all its contemporaries are believed to be by Toto.” See Origin, Progress, and Present Condition of the Fine Arts in England and Ireland, vol. i. p. 220.
24. This work is still in the Church of San Felice.
25. The paintings executed in these two Chapels have perished.
26. San Jacopo in Via Ghihellini that is to say. The picture is now in the Academy of the Fine Arts in Florence; it represents the Madonna seated amidst the clouds, with the Infant Christ in her arms; she is accompanied by the SS. Jacopo, Francesco, Lorenzo, and Clara, beneath is the Bishop of Cortona, a kneeling figure, in the habit of a monk.—Ed. Flor., 1832-8.
27. Beneath the organ is the door of tne sacristy, but the picture in question is in the fifth Chapel, and on the right of the entrance. —Ibid.
28. The Florentine commentators of our author declare themselves.unable to find any trace of this portrait.
29. Now called La Madonna delle Vertiglie. —Ed. Flor., 1832-8.
30. Vasari here alludes to the works which, hy commission from the Duke, he was himself executing at that time in the palace.
31. These works are still in existence.
32. That now called the Palazzo Vecchio, and which was then the residence of the Duke.
33. The Church of Santa Maria Maddalena de’ Pazzi, anciently called Cestello. The work of Carlo Portelli, here in question, still retains its place.
34. Bottari, at the close of the Life of Ridolfo, mentions other works of Michele as existing in the Chapel of the Villa di Caserotta, near Casciano. See the Roman Edition of our Author, 1756.