Lives of the Most Excellent Painters, Sculptors, and Architects/Rossellino and Bernardo

by Giorgio Vasari

 

ANTONIO ROSSELLINO, FLORENTINE SCULPTOR; AND BERNARDO, HIS BROTHER.

[Antonio, born 1427, died about 1490—Bernardo, bom 1409, died about 1470.]

It has in truth been ever a priseworthy and virtuous thing to possess modesty, and to be adorned with those amiable qualities and rare gifts, so clearly to be perceived in the honourable conduct of the sculptor Antonio Rossellino,^[1] an artist, who pursued his calling with such devotion and so much grace that he was esteemed something more than man by all who knew him, and was venerated almost as a saint for the admirable virtues which he added to his knowledge of art.

Antonio was called the Rossellino of the Proconsolate,^[2] from the circumstance of his workrooms being in a part of Florence, so called. His works display so much softness and delicacy, with a refinement and purity so entirely perfect, that his manner may be justly called the true and really modern one.

The marble fountain in the second court of the Medici Palace was constructed by Antonio Piossellino, the decorations of this work consist of Children with Dolphins, from the mouths of which the water is poured. The whole is executed with exceeding grace, and finished with the utmost care.^[3] In the church of Santa Croce, and near the holy-water font, this master erected a sepulchral monument for Francesco Nori, with the Virgin above it in basso-rilievo;^[4] and a second figure of Our Lady, in the palace of the Tornabuoni family,^[5] with many other works which were sent abroad into various parts, as for example, to Lyons, in France. For San Miniato al Monte, a monastery of White Friars, outside of Florence, Lossellino was appointed to construct the monument of the Cardinal of Portugal, and this work he executed so admirably, with such extraordinary care and ability, that no artist can ever expect to see any thing which in grace and delicacy could possibly surpass it.^[6] Nay, to him who examines this work it appears not merely difficult, but almost impossible that it should have been brought to such perfection. There are angels who have so much grace and beauty of expression, wdth such an easy flow in the draperies, and so much art in the whole work, that they no longer seem to be of marble, but living beings. Of these angels, one holds the crown of chastity, which belonged to that cardinal, he having died, as it is said, in strict celibacy, the other bears the palm of victory, to intimate the conquest obtained by the Prelate over worldly things. Among other remarkable parts of this work is an arch in the stone called macigno, which supports a marble curtain, so finely arranged, that between the white of the marble and the grey of the macigno this drapery looks much more like real cloth than like marble. On the sarcophagus are figures of children which are truly beautiful, with that of the Prelate himself; there is a Madonna, moreover, in a medallion, which is also very well done: the tomb itself has the form of that constructed in porphyry, which is to be seen in Rome on the Piazza of the Rotunda.^[7] This monument to the Cardinal of Portugal was erected in the year 1459, and its form, with the architecture of the chapel, so greatly pleased the Duke of Malfi, nephew of Pope Pius II., that he caused one to be constructed for his wife in Naples by the same artist, and similar to that of the cardinal in all things, excepting only the figure of the dead.^[8] In the same place, Antonio executed a picture in relief,^[9] representing the Nativity of Christ (the Presepio), a choir of rejoicing angels float over the rude building, and these, singing, with parted lips, are finished in such a manner that they seem to breathe, nay, to all their movements and expressions, Antonio imparted so much grace and refinement that genius and the chisel could produce nothing in marble to surpass this work. For these qualities the works of Antonio Eossellino have alwavs been held in the highest esteem by Michael Angelo, and are ever considered more than excellent by every other artist. In the capitular church of Empoli, this master produced a figure in marble, of San Bastiano, which is held to be a very beautiful thing,^[10] and of this we have a drawing by his own hand in our book, where we have likewise all the architectural details and figures of the before-mentioned chapel of San Miniato al Monte, with the portrait of Antonio Piossellino himself.^[11]

Antonio died in Florence at the age of forty-six, leaving a brother, also an architect and sculptor, called Bernardo. This artist executed the marble monument erected in the church of Santa Croce, to Messer Lionardo Bruni, of Arezzo, who wrote the History of Florence, and was a very learned man, as all the world knows.^[12] Bernardo was much esteemed for his ability in architecture by Pope Nicholas V., who, besides, valued him greatly, and employed him in many of the works which he caused to be constructed during; his pontificate, and of which he would have erected many more, had not death interposed to prevent him.^[13] Among those for which Bernardo was employed by Pope Nicholas, was the rebuilding of the Piazza, or Market, in Fabriano, (according to what we find related by Giannozzo Manetti,^[14] where Bernardo remained during several months, on account of the plague, which was that year raging in Florence. This he enlarged where it was too closely restricted, and brought the whole place into good order, erecting a range of shops around it, which are very useful as well as commodious and liandsome. He then restored the church of San Francesco in the same place, which was going to ruin; and at Gualdo he rebuilt the church of San Benedetto, we may almost say, entirely anew, considering the addition of handsome and well constructed buildings which he made to it. In Assisi, the church of San Francesco was greatly damaged in some parts, and in others was threatening to fall; this building, he likewise repaired and strengthened most thoroughly, covering it also with a new roof. At Civita Vecchia, Bernardo erected many beautiful and magnificent edifices; and at Civita Castellana, he rebuilt more than a third of the city walls in a very good manner. At Narni, also, he rebuilt and enlarged the fortress, adding to it strong and handsome walls. At Orvieto, this artist likewise erected a large fortress, with a most beautiful palace, a work of great cost, and no less magnificence.^[15] At Spoleto, in like manner, he enlarged and strengthened the fortress, constructing dwelling-places therein, so handsome, commodious, and well-arranged, that nothing better can be seen. He restored the baths of Viterbo at great expense and with a most regal spirit, erecting residences there, calculated, not for the rich only, who daily go to bathe there, but worthy to be the lodging of the greatest princes.^[16]

All these buildings were executed at the command of Pope Nicholas V., by Bernardo, in places distant from Rome; but for that city itself he restored, and in many places renewed, the walls which were for the most part in ruins; adding to them certain towers, and comprehending in these, additional fortifications, which he erected outside of the Castle St. Angelo, besides numerous rooms and decorations which he constructed within. This Pontiff had it also in mind to restore and gradually to rebuild, as the occasion should demand, the forty Churches of the Stations instituted by Pope Gregory I., who was called Gregory the Great, and he did complete that work in a great measure, having restored Santa Maria Trastevere, Santa Prassedia, San Teodoro, San Pietro in Yincula, and many others of the minor churches. But with still greater spirit, magnificence, and care was the same work accomplished for six of the greater and principal churches—San Giovanni Laterano, for example, Santa Maria Maggiore, Santo Stephano, in Monte Celio, Sant’Apostolo, San Paolo, and San Lorenzo, extra muros. Of San Pietro I do not speak, because this constitutes an undertaking apart.

Pope Nicholas V. had also proposed to make the Vatican itself into a separate city, and to surround it with fortifications; in pursuance of this plan, he had three roads laid out which should lead to San Pietro; two of these being, as I believe, where the Borgo Vecchio and Borgo Nuovo now are. These he was covering in certain parts with Loggie, containing very convenient shops: the richer and more important trades being separated from the minor and poorer, each class of trades established being in a street by itself. The Round Tower, still called Torrione di Niccola, was already completed. Over these shops and Loggie were to be erected commodious and magnificent houses in a fine style of architecture, and these were so designed that they were defended and sheltered from ail those winds which in Rome are considered insalubrious, and were moreover freed from all the inconveniences of water and other disadvantages likely to generate malaria. All which would have been completed by that Pontiff, had his life been prolonged but for a short time, he being of a great and most determined spirit, well informed also, and so thoroughly skilled in such undertakings, that he directed and governed the architects no less than he was counselled and guided by them. And this is a state of things which causes great undertakings to be brough t easily to a successful termination, for when the founder of the building understands for himself, and is capable of instant decision, the works go forward, but when he is incapable and irresolute, he stands undecided between the yes and the no, suffering time to pass unprofitably amidst various designs and opinions, while nothing useful is effected. But respecting this design of Nicholas, there is no need to say anything more, since it was not carried into effect.

This Pontiff, likewise proposed to reconstruct the papal palace in so vast and magnificent a style, and with so much beauty and convenience, that, in every point of view, it should be the most splendid and extensive building in Christendom. He intended that it should not only be a suitable residence for the person of the supreme Pontiff, the chief of all Christians, and that of the sacred college of cardinals, who, as being his council and assistants, ought to be ever near him; but he also desired that all offices for business of whatever kind, despatches, legal affairs, and all others connected with the Court, should be comprised within it; insomuch, that all these buildings, thus assembled together, offices, courts, and the household, would have presented imposing magnificence, and, if such a term may be used for such a purpose, would have produced a pompous grandeur of inconceivable effect. But what is even much more, preparations were to have been made for the reception of emperors, kings, dukes, and other Christian princes, who, whether for their affairs, or from devotion, should visit that most holy apostolic seat. And who will believe that Pope Nicholas would also have constructed there a theatre for the coronation of the Pohtiffs, with gardens, loggie, aqueducts, fountains, chapels, libraries, and a most sumptuous building set apart for the conclave? This building (I know not whether I should call it a palace, a castle, or a city) would certainly have been the most superb edifice that had ever been erected, so far as we know, from the creation of the world to the present day. What dignity would it not have imparted to the holy Eoman church, to see the supreme Pontiff, the chief thereof, assemble around him all the servants and ministers of God dwelling in the city of Rome, and unite them as in a renowned and most holy monastery, where, as it were in a new terrestrial Paradise, they might have lived a heavenly, angelic, and most holy life, presenting an example to all Christendom, and awakening even the minds of infidels to the true worship of God and the blessed Saviour! But this vast work was left incomplete by the death of the Pope, nay, rather it was scarcely commenced; the little that was done may be known by his arms, or what he used as arms, which were two keys laid cross-wise on a field of red. The fifth work which this Pontiff had proposed to himself to execute, was the church of San Pietro, which he had designed to make so vast, so rich, and so splendidly adorned, that it were better to be silent respecting it than to commence the recital, since I could not fittingly describe even the smallest part of the work, and should fail all the more certainly, because the model prepared for this building has been lost, and others have since been made by other architects. But whoever shall desire to form a clear conception of the great designs entertained in this matter by Pope Nicholas V., let him read what Giannozzo Manetti, a noble and learnEd. Flor.ntine citizen, has written very circumstantially in the life of that Pontiff. For the designs of all the works projected as above described by Pope Nicholas, as well as for others, the latter is said to have availed liimself of the genius and great industry of Bernardo Rossellino.^[17]

Antonio, the brother of Bernardo, (to return at length to the point, whence, for so fair a purpose, I departed), Antonio executed his labours in sculpture, about the year 1490;^[18] and as men for the most part admire such works as are seen to have been produced with care and difficulty, and as his labours are distinguished for these two qualities, he deserves and has obtained fame and honour, as an illustrious example from which modern sculptors may learn how those statues should be executed which are calculated, by the difficulties they present, to secure the greatest amount of praise and renown. For after Donatello, it is Antonio, who has effected the most towards adding a certain delicacy and refinement to works in sculpture, seeking to perforate in some parts, and in others to round his figures in such a manner, that they appear in full relief and well finished in every part, a point which until that time had not been seen to be so perfectly attended to in sculpture, but the method, having been first introduced by him, has since, in the times more immediately following, and in our own, been over adopted and acknowledged to be admirable.

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1. The family name of this artist was Gamberelli, and he was the son of Matteodi Domenico de’ Gamberelli. Rossellino was a bye-name, as we find from a fiscal document, published by Gaye, Carteggio, &c., vol. i. p. 188.
2. The office of the Proconsul was at the corner formed by the Via del Proconsolo, and the Via de’ Pandolfini.
3. This fountain is no longer in the Palazzo de’ Medici (now Riccardi Palace); nor do we know whither it has been transported.—Masselli.
4. This work is opposite to the monument of Michael Angelo. Francesco Nori was killed in the cathedral by Giovanni Bandini, one of the conspirators of the Pazzi party, but the monument had been previously ordered by himself.
5. The fate of this work is not known.
6. The monks have disappeared, and the church is now rarely used, but the monument of the Cardinal is in excellent preservation; an engraving of this tomb will be found in the work of Gonnelli, Monumenti se'polcrali della Toscana.
7. The porphyry tomb has been removed from the Piazza, and now forms the sepulchre of Pope Clement XII., a covercle of the same material having been added to it.—Bottari.
8. The wife of the duke of Malfi, or Amalfi (Antonio Piccolomini), was the daughter of Ferdinand I., King of Naples.
9. Cicognara gives an engraving of this work (Tav. xvi. Part 2.) The presepio itself is still in the church of Santa Maria di Monte, in Naples. The Evangelists, St. Matthew and St. Mark, stand on each side of the scene depicted; while St. Luke and St. John are above them in figures of halflength.
10. It is still to be seen as here intimated.
11. In the Hall of Modern Sculptures, in the Florentine Gallery, are two works by Antonio, which Vasari does not name. A bust of Matteo Palmieri, in advanced age, namely, bearing the name of the artist as follows: Opus Antonii Ghamberelli; and a Madonna; with the Infant Jesus, Joseph and the shepherds appearing behind her.
12. Lionardo Bruni died in 1443. Engravings of his tomb will be found in Gonnelli, Monumenti Sepolcrali, &c., Tav, 2; and in Cicognara, Storia della Scultura, vol. ii. pl. 25. Another work of Bernardo is the tomb of the Beata Villana, in Santa Maria Novella; and the very elegant monument of the great Legis, Filippo Lazzeri, in the church of San Domenico at Pistoja, is also by him. See Gonnelli and Cicognara, ut supra.
13. Nicholas V. died on the 23rd March, 1455.
14. In the Life of Pope Nicholas V. namely, in MS. in the Magliabecchiana Library, and printed by Muratori, Rer. Ital. Script, vol. iii. part 2. Rumohr, Forsch. Ital., vol. ii. p. 193.
15. Della Valle affirms, that the fortress of Orvieto was built some ages earlier than the time of Bernardo, and that the palaces to be found in Orvieto were constructed under the care of the architect, Ippolito Scalza, of Orvieto; he is therefore at a loss to understand what palace Bernardo can have built in that place.
16. These buildings have now fallen into ruin.— Bottari (1759).
17. Rumohr, Ital. Forsch. vol. ii. pp. 180—194, has shown that Bernardo was not only in the service of Nicholas V,, but also in that of Pius II., who (after the short pontificate of Calixtus III.) succeeded him, and is believed to have conducted the works of Pienza, for the last-named Pontiff.
18. Antonio Rossellino also took part in the rilievi of the marble pulpit executed for the cathedral of Prato. See Baldanzi, Descrizione della Chiesa Cattedrale di Prato.