Giorgio with more gladness than if he had been his brother, as was indeed due to one by whom Vasari knew himself to be so much beloved, and who desired nothing more earnestly than to pass the rest of his life beside him. From Arezzo they both then proceeded to Florence, where Cristofano instantly went to kiss the hand of the Duke, who was much pleased with him, and not a little surprised also, for whereas he had expected to see some great ruffianly bravo, he beheld before him the most good-natured looking little man in the world.
Cristofano was in like manner received with the utmost kindness by Messer Sforza, who took a great liking to him, and our artist then at once set hand to the often-mentioned façade, Giorgio, who could not yet begin his labours in the palace, sometimes assisting him, at his earnest request, more especially ’in the preparation of designs for certain of the stories. Vasari also drew portions of the work for him on the fresh intonaco, many of the figures now seen there being by his hand.[1] But although there are some parts re-touched by Vasari, yet that façade, with the greater part of the figures, and all the ornaments, festoons, and large compartments, are by the hand of Cristofano, of whom it may of a truth be said, that he handled the colours in fresco with so much ability (as maybe clearly seen), and was so well-skilled in his art, as to merit the reputation—and Vasari confesses it—of knowing more than he (Giorgio) did himself.[2]
It may indeed be very truly affirmed, that if, in his youth, Cristofano had devoted himself zealously to the studies of his art (but he never practised drawing unless when he had some work for execution immediately before him), and had he given himself heartily to the pursuits connected therewith, he would scarcely have had an equal, seeing that by the excellence of his judgment, the strength of his memory, and his facility
- ↑ The paintings of this façade are no longer in existence. —Ed. Flor., 1832-8.
- ↑ Bottari notices this among other proofs of the good faith and sincerity with which Vasari maintains his character as an impartial historian, speaking of himself as well as others, the pro and the con, as they presented themselves to his apprehension. Vasari was not infallible—where is the man who can pretend to be so —but he was most strictly honest and impartial, of which we have here one proof among very many.
