Lives of the Most Excellent Painters, Sculptors, and Architects/Vittore Scarpaccia

by Giorgio Vasari

 

VITTORE SCARPACCIA,^[1] PAINTER,

and other venetian and lombard painters.

It is a well-known fact that when masters of our arts begin to distinguish themselves in any particular district, they are followed by many more, one after another, insomuch that there are frequently a large number in one and the same place. Emulation, the - struggle for distinction, and the connexion in which one of these artists may happen to stand with one great master, and one with another, combine to make all labour the more zealously for pre-eminence; each seeking to surpass the others as much as he possibly can. Or if even many are connected with and depend on one master, still they soon divide, either on the death of that master, or for some other cause; when different tendencies soon be- come manifest among them: each seeks the reputation of being first, and labours to become chief in his turn: all, therefore, do their utmost to give proof of their ability. Of many, therefore, who flourished about the same time and in the same place, but respecting whom I could not discover, nor would it suit me to write, every particular, I now propose to speak shortly; to the end that, finding myself now at the close of this the second part of my work, I may not neglect and leave omitted any who shall have laboured to adorn the world by their works. But of these, I repeat, not only have I been unable to procure the entire history of their lives, but I have also found it impossible to obtain their portraits, that of Scarpaccia excepted, whom I have, on that account, made the head of the others. Let my reader, therefore, be pleased to accept such as I can offer, since I am not able to do all that I could wish.^[2] There flourished, then, in the March of Treviso, and in Lombardy, taking a series of several years, Stefano V eronese, Aldigieri da Zevio, Jacopo Davanzo,^[3] of Bologna, Sebeto da Verona, Jacobello di Flore, Guariero da Padova, Giusto and Girolamo Campagnuola, with Giulio, son of the latter; Vicenzio Bresciano, (of Brescia), Vittore, Sebastiano, and Lazzaro Scarpaccia, all Venetians; Vincenzio Catena, Luigi Vivarini, Gio Batista da Conegliano, Marco Baserini, Giovanetto Cordegliaghi, II Bassiti, Bartolommeo Vivarino, Giovanni Mansueti, Vittore Bellino, Bartolommeo Montagna of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many others, of whom it is not needful that I should now make any further mention.

To begin with the first-named of these painters, then, I may remark, that Stefano of Verona, of whom I have already said some few words in the life of Agnolo Gaddi, was a more than tolerable painter of his time, and, when Donatello was working in Padua, as we have related in his life, and went, on a certain occasion among others, to Verona, he professed himself astonished at the works of Stefano, affirming that the paintings executed by him in fresco were the best that, up to that time, had ever been executed in those parts. The first works of this master were performed in the transept of the church of Sant’ Antonio in Verona, at the extremity of the wall on the left, and immediately beneath the arch of the vault: the subject is a Madonna, with the Infant in her arms, San Jacopo is on one side, and Sant’ Antonio on the other. This work is still considered very beautiful in that city, the figures having a certain animation of character, more especially in the heads, which Stefano painted with much grace. In San Niccolo, a parish church, also in Verona, this artist painted a figure of the titular saint, San Niccolo, in fresco, which is most beautiful; and on the wall of a house in the Via San Polo, which leads to the gate of the Episcopal Palace, he painted a Virgin with angels, which are also very beautiful, together with a figure of Cristofano. In the Via del Duomo, over the wall of the church of Santa Consolata,^[4] Stefano Veronese painted a Madonna in a recess, with various birds, more particularly a peacock, which was the device of this artist. In Santa Eufemia, a convent of the Eremite monks of Sant’ Agostino, he depicted the figure of that saint over the side-door, with two other saints, and beneath the mantle of Sant’ Agostino are several monks and nuns of his order. But the most beautiful part of this work are two prophets, half-length figures of the size of life: these are the most beautiful and most animated heads ever painted by Stefano; the colouring of the whole work, having been executed with extraordinary care, has remained fresh and beautiful even to our own days, although it has been much exposed to rain, wind, and frost: and this is the result of their not having been retouched a secco, the artist having taken great care to paint the wliole well a fresco; insomuch that these works, had they been under shelter, would have been still as fresh and lively as they were when they first proceeded from his hands; as it is, they are now somewhat faded.^[5] Within the church, in the chapel of the Sacrament namely, this master painted angels flying around the tabernacle; some of these are singing, others are sounding different instruments, and others again are offering incense to the sacrament; on the summit of all, and as a finish to the tabernacle, our artist painted a figure of the Saviour, who is supported by other angels, clothed in long white vestments reaching to the feet and ending in clouds: this was the manner in which Stefano most commonly draped his angels, to whom he always gave most graceful and beautiful features, with a charming expression. In the same work are figures of Sant’ Agostino and San Girolamo, the size of life; they stand on each side, and, as it were, support the church oi God, as if it were proposed to show that both have defended Holy Church by their learning against heretics, and that they still uphold the same. On a pillar of the principal chapel, in the same church, this master painted a Santa Eufemia, giving her a very beautiful and graceful expression of countenance: on this work he wrote his name in letters of gold, perhaps because it appeared to him, as it is in effect, to be one of the best paintings that he had ever executed. According to his custom, Stefano introduced a beautiful peacock into this picture, with two young lions, but these last are not very well done, because he could not then see them in life, as was the case with the peacock. Stefano likewise painted a picture for the same church, containing several half-length figures in one picture as was then the custom; San Niccola da Tolentino namely, with other saints: the predella he covered with historical subjects in small figures, representing events from the life of San Niccolo. In San Fermo, a church of Franciscan monks, in the same city, Stefano painted twelve prophets, half-length figures the size of life, and these served as the frame or ornament to a Deposition of the Cross, which was opposite to the side-door of the church: at their feet are lying the figures of Adam and Eve; the accustomed peacock is also there, and is, indeed, almost to be considered as the signature or anagram of this master.^[6]

In Mantua, Stefano also executed certain works, among which is an exceedingly beautiful Madonna, in the church of San Domenico, situated near the gate of the Martello. Now it chanced that the monks were obliged to make alterations in that part of the church, but they removed the head of this Madonna with great care, and placed it in one of the chapels of the transept, that of Sant’ Ursula namely, which belongs to the family de’ Recuperati, and where there are some paintings in fresco by the same master. In the church of San Francesco, likewise, on the right hand of him who enters by the principal door, there is a range of chapels, built in former times by the noble family Della Ramma, in one of which this master has depicted seated figures of the four Evangelists on the ceiling; behind them, in the manner of a background, are espaliers of roses, with a wicker-work of oval form, above which are sev(U'al trees and shrubs of different kinds;' among these are seen birds, but more especially peacocks; there are, besides, some very beautiful angels in this work. In the same church Stefano painted a figure of Santa Maria Maddalena, of the natural size, on a column to the right of the entrance, and in the street called Rompilanza, in the same city, he painted a Madonna, with a Child in her arms, over the door of a palace; this is a fresco: there are angels kneeling before the Virgin, and in the background are trees covered with fruit.

These, then, are the works that I find to have been executed by Stefano, although, as he lived to a tolerably advanced age, it may well be supposed that he produced many others; but I have not been able to discover any of them, nor can I ascertain his family name, nor the baptismal name of his father; neither have I obtained liis portrait, or any further particulars. Some affirm that, before he came to Florence,'he was the disciple of the Veronese ])ainter, Maestro Liberale,^[7] but this is of little consequence; it is sufficient to observe, that he learnt all we find good in him in Florence from Agnolo Gaddi.

Of the same city of Verona was Aldigieri da Zevio,^[8] who was ever in close connexion with the Signori della Scala, and who painted, among many other works, the great Hall of their Palace, which is now inhabited by the Podesta. Here he depicted the Siege of Jerusalem, as it has been described by Josephus, a work in which Aldigieri displayed infinite ability and judgment, representing one historical scene only on each wall of the apartment, and adding to each a frame or decoration, which surrounded it on all sides. On the upper part of this decoration, and, as it were, to finish all, he placed a range of medallions, in which, as it is believed, there are the portraits of many distinguished persons, taken from the life, more especially those of men belonging to the Della Scala family: there is, nevertheless, but little certainly known concerning them. Of those portraits, therefore, I will say nothing further; but I will not omit to remark that, in this work, Aldigieri proved himself to possess genius, judgment, and invention, having neglected no one point that ought to be considered in the representation of a violent and obstinate conflict. The colouring, moreover, has maintained its freshness exceedingly well, and there are many portraits of renowned and learned, or otherwise distinguished men, among which that of Messer Francesco Petrarca may be found.

In the works of this Hall, the Bolognese painter, Jacopo Avanzi, took part with Aldigieri: beneath the above-named pictures, and, like them, in fresco, he painted two very beautiful triumphal processions, executed in so good a manner, and with such consummate art, that Mantegna, as we are assured by Girolamo Campagnuola, commended them as pictures of extraordinary beauty.^[9] In Padua, Jacopo Avanzi assisted, with Aldigieri and Sebeto^[10] of Verona, to paint the chapel of San Giorgio, which stands beside the church of Sant’ Antonio, a work executed according to the commands of more than one Marquis of Carrara, directions to that effect having been left in the testaments of succeeding nobles. The upper part was painted by Jacopo Avanzi: beneath were certain stories from the life of Santa Lucia, with a Last Supper, by Aldigieri, and Sebeto depicted events from the life of San Giovanni.^[11] At a later period, these three masters, having all returned to Yerona, painted together in the palace of the Counts Serenghi, the subjects of these works being representations of wedding feasts, wherein there were numerous portraits and a variety of vestments proper to that time. This was considered to be the best of all the labours executed by Jacopo Avanzi, but, as mention has already been made of him in the Life of Niccolo d’ Arezzo, in reference to the works performed by him at Bologna, in competition with the painters Simone, Christofano, and Galasso, I will say no more respecting him in this place.

There was, at the same time, a painter who was held in good esteem at Venice, although he adhered to the Greek manner: this was Jacobello di Flore, who executed a considerable number of works in that city, more particularly an altar-piece for the Nuns of the Corpus Domini, which is placed on the altar of San Domenico, in their church. A competitor of this master was Giromin Morzone,^[12] who painted numerous pictures in Venice and many other cities of Lombardy; but as he pursued the old manner, and made all his figures standing on the points of their feet, I will say nothing more of him, except that there is a picture with numerous saints in it,^[13] by his hand, on the altar of the Assumption in the church of Santa Lena (St. Helena). A much better master than Morzone was the Paduan painter, Guariero,^[14] who, in addition to many other works, adorned the principal chapel of the Eremite monks of Sant’ Agostino, in Padua; with another chapel in the first cloister, also for those monks. He likewise painted a small chapel in the palace of Urbano Perfetto,^[15] and the hall of the Roman Emperors, where the students go to dance in Carnival time, Vvms also painted by him. In the chapel of the Podesta, there are besides, events from the Old Testament painted in fresco by this master.^[16]

Giusto,^[17] who was also a Paduan painter, not only depicted various stories from the Old Testament in the chapel of San Giovanni Battista, which is beside the episcopal church, but also the whole series of events related in the Apocalypse of San Giovanni; and in the upper part of this work he represented Paradise, with numerous choirs of angels and other embellishments, executed with considerable ability and judgment.^[18] In the church of Sant’ Antonio, this master painted the chapel of San Luca in fresco,^[19] and in one of the chapels, in the church belonging to the Eremite monks of Sant’Agostino, he painted figures representing the liberal arts, with those of the virtues and the vices; and as he there celebrates various persons who have been renowned for their excellencies, so are there certain others, infamous for their vices, depicted as condemned to the extremity of sulFering and sinking into the lowest deeps of hell.^[20]

At the same time with Giusto, there w^as a painter of Ferrara, named Stefano, working in Padua, who adorned the chapel and tomb wherein repose the remains of Sant’ Antonio, with numerous paintings, as we have before related.^[21] This Stefano also painted the Virgin called Our Lady of the Pillar.^[22]

According to what we find related in Filarete, there w^as a painter of Brescia, called Vincenzio,^[23] who was held in much esteem at this time, as was also Girolamo Campagnuola, a painter of Padua, and disciple of Squarcione; Giulio the son of Girolamo^[24] was likewise a painter, and also worked in Padua, where he executed many admirable pictures, as he did in other places, with copper plate engravings and works in miniature. In the same city of Padua, flourished Niccolò Moreto,^[25] who lived to the age of eighty, and as he never ceased to exercise his art until his death, he produced a large number of works. There were besides these I have mentioned, many other painters who belonged to the school of Gentile and Giovanni Bellini; but Vittore Scarpaccia was without doubt the first among them who execaled works of importance. The earliest pictures of this master were painted in the Scuola di Sant’ Ursula, where the principal part of the stories on canvas, representing the life and death of that saint, are by his hand.^[26] The labours of this undertaking he conducted with so much skill and assiduity, that he acquired from them the reputation of being an able and experienced master; and this, as it is said, induced the Milanese people to give him tlie commission for a picture in tempera, containing numerous figures, to be placed in the chapel of Sant’ Amhrogio, which belonged to the Friars-Minors.^[27] For the Altar of the Resurrection of Christ in the church of Sant’ Antonio, this master depicted the appearance of the Saviour to Mary Magdalen, and the other Maries, with the perspective view of a distant landscape, which diminishes very finely.^[28] In another chapel Vittore painted the History of the Martyrs, their crucifixion that is to say, and in this work there are more than three hundred figures large and small, with many horses and numerous trees; the opening heavens, the various attitudes of the figures, clothed and nude, the many foreshortenings, and the multitude of other objects represented in this painting, prove that the master could not have executed his work but with extraordinary labour and care.^[29]

For the altar of Our Lady in the church of St. Job, in Canareio, Vittore painted the Madonna presenting the infant Christ to Simeon; the Virgin is depicted as standing upright, and Simeon, in the Cope or Pluvial, is placed between two ministering priests, who are clothed as cardinals; behind the Virgin are two women, one of whom holds a pair of doves, and beneath are three boys sounding musical instruments, the first a lute, the second a wind instrument of a spiral form, and the third a lyre or kind of viol; the colouring of all this picture is exceedingly pleasing and graceful.^[30] Vittore was without doubt a very diligent and able master; many of the pictures executed by him in Venice and other places, with numerous portraits from the life by his hand are held in great esteem as works of that time. Scarpaccia taught his art to two of his brothers, both of whom imitated him closely; one of these was called Lazzaro, the other Sebastiano.^[31] There is a picture by these artists in the church belonging to the nuns of the Corpus Domini,^[32] it stands on the altar of the Virgin, and represents her seated with St. Catherine on one side and St. Martha on the other: there are besides other saints, with two angels playing musical instruments, and a perspective view of buildings, which forms the back ground of the whole work and is very beautiful. Of this we have the drawings by the hands of the masters themselves in our book.

A painter who lived at the same time with the above named, and was considered a tolerably good one, was Vincenzio Catena^[33]:]: who occupied himself much more with portraits from the life, than with any other kind of pictures, and certainly, some of those by his hand which we have seen are most admirable: among others is that of a German of the Fugger family, an honourable person, and held in much esteem, who was at that time dwelling in Venice, at the merchants’ hall belonging to the Germans; this portrait is a most animated likeness.

About the same time many works were executed in Venice by Giovanni Battista da Conigliano,^[34] a disciple of Giovanni Bellino: among them is a picture by this artist, on the altar of San Pietro Martire, in the before-mentioned church of the nuns of the Corpus Domini; it represents San Pietro Martire himself, with San Niccolo and San Benedetto; there is besides a perspective view of the distant country, and an angel playing on a cithern; with many small figures more than tolerably painted: indeed, if this artist had not died young, we may reasonably infer that he would have equalled his master.

The name of a good master in the art was enjoyed about the same period by Marco Basarini:^[35] this painter was born in Venice, of Greek parents. For the church of San Francesco della Vigna, in his native city, Basarini painted a Deposition from the Cross on panel,^[36] and in the church of St. Job there is another picture, also on panel, by his hand; the subject is Christ in the Garden; the three Apostles, sleeping, are below, and there are besides figures of San Francesco, San Doinenico, and two other saints;^[37] but the part of this work most frequently extolled is a landscape, with many small figures, executed with much grace. In the same church, this Marco painted a figure of San Bernardino standing on a rock, and surrounded by other saints.

Giannetto Cordegliaghi^[38] likewise painted a vast number of Cabinet pictures in the same city, indeed, he scarcely gave his attention to any other kind of work, and in that sort of painting he certainly had a very soft and delicate manner, much better than that of the artists above named. This master painted a San Pietro for the church of San Pantaleone, in the chapel which is next to the principal one that is to say; San Pietro is represented in disputation with two other saints, who are clothed in admirably executed draperies, the whole work being painted in a very go6d manner.

Marco Bassiti was also an artist of good reputation, who flourished about this period; there is a work by his hand in the church of the Carthusian Friars at Venice; this is a large picture representing Christ standing between Peter and Andrew, on the shores of Lake Tiberius, with the sons of Zebedee also making part of the principal group. In this work there is an arm of the sea, a mountain, and part of a city, with a crowd of persons, the figures very small. Many other works of this artist might be enumerated, but it is sufficient to have mentioned this, which is the best.^[39]

Nor did Bartolommeo,^[40] of Murano, acquit himself less creditably in the works executed by him, as may be seen among many other instances from the picture which he painted for the altar of San Luigi, in the church of San Giovanni e Polo (Paolo), and wherein he depicted San Luigi seated, and wearing ecclesiastical vestments. San Gregorio, San Bastiano (Sebastian), and San Domenico stand on one side of him. San Niccolo, San Girolamo, and San Rocco on the other: above these are half-length figures of other saints.^[41]

The works of Giovanni Mansueti^[42] were also very carefully executed, and this artist took great pleasure in the imitation of natural objects, as figures and distant landscapes; he copied the manner of Gentile Bellini with tolerable exactitude, and painted many pictures in Venice. In the Scuola of San Marco,^[43] at the upper end of the audience-chamber, Giovanni Mansueti painted a San Marco, whom he represents preaching on the Piazza, he also gives the fa9ade of the church, and among the multitude of men and women who are listening to the saint are Turks, and Greeks,—faces in short of men belonging to divers nations, and clothed in vestments of varied and peculiar character. In the same place this master depicted another event from the life of San Marco, who heals a sick man, and here Mansueti has given a perspective view of stairs and loggie, or galleries. In a third picture also, near to that just mentioned, is another San Marco, who converts a vast crowd of men to the faith oC Christ, and in this work the artist painted an open temple, within which is seen the crucifix on an altar | throughout the work there is besides an infinite variety in the features, attitudes, and vestments of the different personages represented therein.^[44]

After this master there followed in the same edifice Vittore Bellini,^[45] who also painted events from the life of San Marco, whom he represents taken prisoner and bound. In this picture is a perspective view of buildings which are tolerably well done, with a good number of figures wherein lie imitated his predecessors. After Vittore may be mentioned Bartolommeo Montagna of Vicenza, also a tolerably good painter, who always dwelt in Venice, and executed many works there: there is a picture by this master in the church of Santa Maria d'Artone,^[46] in Padua. Nor was Benedetto Diana less meritorious in art than the abovenamed, as we find proved, among other works, by one from his hand in the church of San Francesco della Vigna, in the city of Venice, where, for the altar of San Giovanni, he painted a figure of that saint, standing between two others, each of whom has a book in his hand.

Giovanni Buonconsigli was also accounted a good master, and at the altar of St. Thomas Aquinas, in the church of San Giovanni e Paolo, is a painting by this artist, wherein he has depicted the first named saint surrounded by numerous figures, to whom he is reading the holy Scriptures: in that picture there is a perspective view of buildings which is not unworthy of commendation.^[47] The Florentine sculptor, Simon Bianco also lived throughout the greater part of his life in Venice, as did Tullio Lombardo^[48] an exceedingly skilful engraver.^[49]

Among the eminent masters of Lombardy, were the sculptors Bartolommeo Clemente, of Reggio, and Agostino Busto. In carving there were Jacopo Davanzo, a Milanese, with Gaspero and Girolamo Misceroni. In Brescia, the painter, Vincenzio Verchio, was accounted a skilful and experienced master in fresco, and his admirable works in that branch of art acquired him a very great name in his own country. As much may be said of Girolamo Bomanino, who was most excellent in design, as is clearly proved by his works in Brescia, and for many miles around that city. Nor was Alessandro Moretto^[50] inferior to these masters, nay rather, he surpassed them; the colouring of his pictures is most admirable, and his works give ample proof of the diligence with which he laboured.

But to return to Verona. In this city there have always flourished most excellent masters, and these still abound more than ever. Among those formerly distinguished were Francesco Bonsignori, and Francesco Caroto,^[51] both very eminent, and after them came Maestro Zeno,^[52] also a Veronese, who painted the picture of San Marino, in Eimini, with two others, all executed with infinite care. But the artist who surpassed all these in the many admirable figures which he portrayed from the life, was II Moro of Verona, or as others call him, Francesco Turbido,^[53] by whom there is now a picture in the palace of Monsignor de’ Martini, in Venice; in this work is the portrait of a gentleman of the house of Badovaro, painted in the character of a shepherd, and so truly life-like, that it may bear comparison with any work that has been executed in those parts. A son-in-law of the last-mentioned artist, named Battista d’Angelo,^[54] is also very pleasing as a colourist, and so excellent in design, that he may rather be said to surpass the Moro than to remain his inferior: but as it is not my intention to speak at present of the living, it shall suffice me to have said some little in this place of those masters respecting whom, as I before remarked, I have not been able to gather any minute particulars; but thus much I have done to the end that their gifts and merits, whereunto I would fain do more ample justice, may at least receive that little which I am able to render.

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1. Scarpaccia is the corruption of this artist’s name, which was Carpaccio, and since it is by his true name that he is most commonly known, it is that which we propose to adopt in our notes to his life: in the translation of tho text we abide as usual by the reading of our author.
2. To give details respecting these masters would lead us too far, we shall for the most part content ourselves with intimating the writers, if any, by whom they are mentioned, so far as these writers may be within our knowledge.
3. Whom Vasari shortly afterwards calls more correctly Avanzi.
4. Or the church of Santa Maria Consolatrice,—Bottari.
5. These pictures are still to be seen. Persico, Descrizione di Verona, vol. i. p. 143. Those painted within the church are no long:er to be found.
6. These Prophets also, which are in fresco, are still visible. There are besides, other frescoes by the same master in this church, as there aje also in Sant’ Anastasia, San Lorenzo, and other churches of Verona.
7. Liberate was not born until the year 1451, he could not therefore have been the master of Stefano da Verone, who flourished about the year 1400. —Ed. Flor., 1832-8.
8. Lanzi assigns the year 1382 as the period about which this artist flourished. No work by his hand is now to be found in Verona; but, according to Forster, there may be some in Padua. — See Briefe aus Italien, in the Kunstblalt for 1838, pp. 10. 22.
9. Vasari appears to have taken the principal part of the notices of Lombard painters here given, from the letter of Campagnuola to Leonico Tomeo, See ante, the life of Mantegna, p. 263.
10. Brandolese conjectures, and perhaps with some reason, that this Sebeto, who was unknown to Maffei and Lanzi, as well as to himself, never had existence. He believes that Vasari has mistaken Jebeto, the Latin form adopted by the writer for Zevio, the birth-place of Aldigieri, which was once called Jebetum, for the name of a person instead of a place.—See Lanzi, History of Fainting, vol. ii. p. 76.
11. The paintings in the chapel of San Giorgio de’ Lupi were so covered with the dust of ages that they were considered to be totally spoiled, until the German, Dr. Ernest Forster, discovered them during a prolonged residence in PaAia, when they were carefully cleaned.
12. According to Zanotti, the name of this artist was Morazone; but Moschini calls him Moroceni.
13. The church having been abandoned to secular uses, this picture has been removed to the Gallery of the Academy in Venice.
14. This name should be Guariento, most probably an error of the press or the copyist.
15. Vasari should here say of the Capitanio, he is evidently writing from the letter of Campagnuola to Leonico Tomeo, where the magistrate is called Urhanus prmfectus.— See ante, life of Mantegna, p. 263, note (§).
16. The chapels painted for the Augustine Monks were early injured bv restoration. One of the pictures from these was engraved by Novelli, and repeated by d’Agincourt. The remainder of the works here described can no longer be distinguished.— See Forster, Briefe aus Italien. Kunstblatt, 1838, No. 17; see also Ridolfi, Meraviglie dell'Arte, 8i.c., vol. vi.
17. Giusto the son of Giovanni Menabuoi, a scholar of Giotto, is sometimes called a Florentine, from having been born in Florence, sometimes a Paduan, from having been admitted to the rights of citizenship in that city, where he also died.— See Morelli, Notizia, &c., &c., p. 102, note. His gravestone may be seen in the Baptistery, and bears the following inscription:—
    Hic jacet Dominicus et Daniel fratres et filii (?) quondam magistri Justi pictoris qui fuit de Florencia, migravit ad Dominum die S. Michaelis Miiii. (1400), die xxviiii Septembris.
    Fürster, Briefe aus Italien.
18. These works have perished.— Ed. Flor., 1832-8.
19. The pictures of this chapel were grievously injured by retouching or restoration in the year 1786.—Ibid.
20. These paintings also have perished, or rather were destroyed, to build a chapel for the Brotherhood of the Battuti della cintura. For various particulars respecting this master see Forster, as cited above.
21. In the life of Mantegna.
22. This work is still in existence. There is a Virgin enthroned, by the hand of this master, in the Brera (Milan).
23. This is Vincenzio Foppa, called by Vasari, in the life of Michelozzi, (vol. i.); and by Filarete, in his Trattato, &c., Vincenzio Zoppa.
24. Of Girolamo Campagnuola, as a painter, and man of letters, some few words have been said in the life of Mantegna, see p. 263,
25. See Lanzi, History of Painting, vol. ii. pp. 12, 13.
26. They now adorn the Academy of the Fine Arts,” remarks the Italian Editor of 1832-8; ‘‘and consist of nine pictures, including that which represents the Glorification of the Saint and her companions.”
27. The picture in Santa Maria Gloriosa de' Frati, is affirmed by Ridolfi and Zanotti to have been finished only by Carpaccio; and Moschini cites an inscription on the work itself, which declares it to have been commenced by one of the Vivarini, and completed by Marco Basaiti.
28. The knowledge which this master possessed of the laws of perspective obtained for him the commendations of Barbaro in the introduction to that author’s work, the Pratica della Prospettiva. —Ed. Flor., 1832-8.
29. Now in the Academy of the Fine Arts in Venice. —See Kugler, Geschichte der Materei, vol. i. p. 125.
30. This work is also in the Venetian Academy, and is engraved, with another by the same master, in the same gallery, by Zanotti, in his Pinacoteca della Veneta Accademia, &c.
31. he scholars of Vittore Carpaccio were, Benedetto Carpaccio, probably a brother, or nephew, and Lazzaro Sebastiani, not Lazzaro and Sebastiano his brothers. The reader, who shall desire minute details, may find them in the works of Zanotti before cited, and in those of Moschini, Venice, 1807.
32. The church and convent have both ceased to exist.
33. For details respecting this artist, see Ridolfi, Maraviglie, &c.
34. According to Ridolfi, Giovanni Battista Cima, da Conigliano, who copied the manner of his master so closely that his works have been taken for those of Gio. Bellini. He is considered to have been among the best masters of the Bellini school, and had a son Carlo, also a painter, whose works are sometimes taken for his own.
35. “Neither Basarini, nor Bassiti as called below, but Basaiti,” observe the Italian annotators. This master’s works come down to the year 1420; he was one of the most distinguished artists of his time, after the Bellini.
36. Still in a chapel of that church.
37. One of these is St. Louis, king of France. Lanzi bewails the injury which this work has suffered from time. But Moschini consoles himself by the fact that it has not yet been subjected to the misfortune of restoration.”
38. Or Cordelia; the Italian commentators conjecture that his true name was Cordelia Aghi. The manner of this master stifiiciently proves him to have been a disciple of Giovanni Bellini. —For details respecting his works, &c., see Zanetti, Della Pittura Veneziana.
39. This picture is now in the Gallery of the Venetian Academy. The inscription M. Baxit, written on it, has doubtless led our author into the error of making two artists of one and the same person. The Imperial Gallery of Vienna possesses a replica of this work, whereon we have the inscription Marcus Baxaitj, f., &c. It was engraved by David Teniers.—Bottari, and the German translation of Vasari. See p. 340, note (*).
40. In the Gallery of Bologna is a picture executed jointly by Bartolommeo Vivarini and his brother Antonio, which bears the following inscription:—

    Anno Domini m.ccccl. Hoc opus inceptum fait Venetiis, et perjectum ah Antonio et Burtholomeo de Murano, etc.

    It is described under the No. 205, in the catalogue di G. Giordani.— Ed. Flor., 1832-8. For details respecting this family of artists, see Ridolfi, Maraviglie, &c.; see also Zanotti, as above cited.

41. In the church of San Giovanni e Paolo, there are now three halflength figures only by this master; these are St. Augustine standing between St, Mark and St. John the Baptist. The cartoons for the painted window over the door of the same church were painted bv Bartolommeo. —Ed. Flor., 1832-8.
42. A disciple of Gentile Bellini.— Ibid.
43. It has already been remarked (see p. 157, note ), that the Italian Scuola of the period here in question, was usually a charitable brotherhood or institution for the care of the sick, or of orphan children, for the ransom of Christian prisoners from the infidel, &c., and for other purposes of similar kind. The Scuola of San Marco was one of these, but its revenues, with those of many other associations of like kind, and of numerous sacred edifices, were appropriated some years since for the erection and to the uses of a military Hospital, by command of the Austrian rulers.
44. One of the best works of this master is that called the Miracle of the Cross, painted for the Scuola of St.John the Baptist, but now in the Gallery of the Venetian Academy of Fine Arts. It has been engraved by Zanotti, Pinacoteca, &c., &c.
45. Or Vittore Belliniano, who was a Venetian; the picture here mentioned by Vasari bears the inscription mdxxvi. Victor Bellinianus.—See Zanetti, Della Pittura Veneziana, &c.
46. Santa Maria di Monte Ortone, according to some commentators. There is also a fine work by this master in Santa Maria in Vanzo, the church of the Seminario in Padua.— See Lanzi, Moschini, &c., &c.
47. For details relating to these artists, the reader is referred to Lanzi, Zanotti, and the other authorities above cited.
48. Lombardo is the family name of this master, not that of his country, since he was without doubt born in the city of Venice. The reader will find a short notice of Tullio Lombardo in Cicognara, Storia della Scultura, &c.
49. The intagliatore of Vasari may here mean carver in wood, or artist in relief, as well as engraver. Tullio Lombardo was a sculptor and architect, as was his father Pietro.
50. Alessandro Bonvicino, called the Moretto, was a scholar of Titian. — See Ridolfi, vol. i. p. 246. Of the Brescian masters immediately preceding the above-named, certain details will be found in Passavant.—Reiträge znr Geschichte der alien Malerschulen in der Lombardei. (In the Kurisinstblatt for 1838, No. 67.)
51. Of these two painters, Vasari speaks more at length when treating of other Veronese artists at the end of the lives of Fra Giocondo and Liberale, where he calls the first Monsignori, and the second Giovanni Francesco Caroto.
52. Del Pozzo, in his Vite de' Pittori Veronesi, adds nothing to the slight notice of Vasari. The pictures of Zeno (Donato, called Maestro Zeno), here alluded to, are not now-to be found in Rimini.
53. Francesco Turbido is also named among the artists mentioned in the life of Fra Giocondo.
54. Called Battista del Moro.— See life of Fra Giocondo, which follows.