Giovannino.[1] Of the two pictures by Pietro, which, as we have said, were on the above-mentioned screen, the one represented Christ in the Garden with the Apostles, who are sleeping; in this work Pietro shows how effectual a refuge is sleep from the cares and pains of life, he having depicted the disciples of Christ in attitudes of the most perfect ease and repose.[2] The other painting is a Pieta, the Saviour lying dead that is, in the lap of Our Lady, around whom are four figures not inferior to others executed in the manner of that master. Among the various characteristics of this work, it is to be remarked that the figure of the Dead Christ here described is benumbed and stiffened, as if it had been so long on the cross that the time and cold had brought it to that appearance. St. John and the Magdalen, i[3]
In another picture, executed with infinite care, is the Saviour on the Cross, at the foot of which is the Magdalen, with St. Jerome, St. John the Baptist, and the Beato, Giovanni Colombini, the founder of that order to which the monks belonged.[4] These three pictures have suffered considerably, in the shadows and on all the dark parts there are numerous cracks,[5] and this has happened from the circumstance, that when the first colour was laid on the ground, it had not perfectly dried before the second (for there are
- ↑ This church then began to be called della Colza, a name which had its origin in the singular form of the head-dress worn by those monks, and which it still retains,—Masselli.
- ↑ This work is now in the Florentine Academy of the Fine Arts. The sleep here described is not a heavy lethargic slumber, but is indeed a most refreshing one. — Schorn, German translation of Vasari.
- ↑ This also is in the Florentine Academy, but having been taken to Paris, was there restored with so little mercy, that the softness and harmony of the work was carried off together with the dust and smoke. — Masselli.
- ↑ Now on a lateral altar of the church of the Calza. — Ibid.
- ↑ “The injury here deplored by Vasari, is but slight,” remarks the Italian commentator, “and may be easily passed over; not so those daily inflicted on the works of the best masters by audacious cleaners, who pretend to make that new which was executed three or four centuries since, a labour for which they are little likely to receive thanks; but were some of these gentry to be repaid according to their deserts, they might have fewer imitators than they now unfortunately find.”
