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Lives of the Most Excellent Painters, Sculptors, and Architects/Fra Bartolommeo di San Marco

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Lives of the Most Excellent Painters, Sculptors, and Architects
Giorgio Vasari, translated by Mrs. Jonathan Foster
Fra Bartolommeo di San Marco
Mariotto Albertinelli
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THE FLORENTINE PAINTER, FRA BARTOLOMMEO DI SAN MARCO.

[born 1469[1]—died 1517.]

In the vicinity of Prato, which is at the distance of some ten miles from the city of Florence, and at a village called Savignano, was born Bartolommeo, according to the Tuscan practice called Baccio. From his childhood, Bartolommeo evinced not only a great inclination but an extraordinary aptitude for the study of design, and by the intervention of Benedetto da Maiano, he was placed under the discipline of Cosimo Roselli, being taken into the house of certain of his kinsfolk who dwelt near the gate of San Piero Gattolini, where Bartolommeo also dwelt many years, for which reason he was always called Baccio della Porta,[2] nor was he known by any other name. After Baccio had left Cosimo Roselli, he began to study the works of Leonardo da Vinci with the most devoted zeal, and in a short time had made so great a progress that he was early considered one of the mosi distinguished of the younger painters, whether as regarded design or colouring. In the company of Baccio lived Mariotto Albertinelli,[3] who in a short time acquired his manner to a very satisfactory degree, when they executed together numerous pictures of the Madonna, which are dispersed throughout Florence. To ​enumerate all these works would take me too far, but there are some so admirably executed by Baccio that they must not pass without notice. One of these paintings, a figure of the Virgin namely, is in the house of Filippo, son of Averardo Salviati, it is a.singularly beautiful picture, and is highly valued by its possessor: another of them was purchased, no long time since, by Pier Maria of the Wells, a lover of paintings, who found it in a sale of old furniture, but being capable of appreciating its beauty, he would not afterwards part with it, for all the money that could be offered to him. This also is a Madonna, and is executed with extraordinary care[4] Piero del Pugliese had a small Virgin in marble, sculptured by the hand of Donatello in very low relief, a work of exquisite beauty, for which Piero, desiring to do it the utmost honour, had caused a tabernacle in wood to be made, wherein it was enclosed by means of two small doors. This tabernacle he subsequently gave for its ultimate decoration to Baccio della Porta, who painted on the inner side of the door, two historical events from the life of Christ, one of which represents the Nativity, the other the Circumcision of the Saviour. The little figures of these scenes were executed by Baccio after the manner of miniatures, so delicately finished that it would not be possible for anything in oilpainting to exceed them. When the doors are shut, a painting in chiaro-scuro is perceived to decorate the outer side of them; this also represents Our Lady, receiving the Annunciation from the Angel, and is likewise painted in oil. The tabernacle is now in the study or writing-chamber of the Duke Cosimo, a place wherein are kept all the small bronze figures from the antique, with the medals and other rare pictures in miniature, possessed by his most illustrious Excellency; who treasures it as an extraordinary work of art, which in fact it is.[5]

Baccio della Porta was much beloved in Florence, not ​only for his talents but for his many excellent qualities: devoted to labour, of a quiet mind, upright by nature, and duly impressed with the fear of God; a retired life was that of his choice, he shunned all vicious practices, delighted greatly in the preaching of pious men, and always sought the society of the learned and sober. And of a truth, it is seldom that Nature gives birth to a man of genius, who is at the same time an artist of retired habits, without also providing him, after a certain period, with the means of repose and a quiet life, as she did for Baccio, who ultimately obtained all that was demanded by his moderate desires, as will be related in its due place. The report that this master was no less excellent in character than able as an artist, being disseminated abroad, he soon became highly celebrated, and Gerozzo di Monna Yenna Dini confided to him the commission to paint the chapel, wherein the remains of the dead are deposited, in the cemetery of the hospital of Santa Maria Nuova. Here Baccio commenced a painting in fresco, of the Last Judgment, which he executed with so much care and in so admirable a manner, in the portion which he finished, that he acquired a still further increase of reputation. He was extolled above all for the remarkable ability wherewith he has depicted the glories of the blessed in Paradise,[6] where Christ with the twelve apostles is seated in judgment on the twelve tribes, the figures being most beautifully draped and the colouring exquisitely soft. One part of this work remained unfinished, the condemned dragged away to hell namely; of these forms we have the outline only. The design of the master has, nevertheless, made the shame, despair, and dread of eternal death, as clearly manifest in the expression of their faces, as are content and joy in the countenances of those who are saved, although the picture, as we have said, was left unfinished, our artist having a greater inclination for the practices of religious worship than for painting.

Now it happened at the time of which we now speak that Fra Girolamo Savonarola, of Ferrara, a renowned theologian of the order of Preachers, was in the convent of San Marco; where Baccio attended his preaching with infinited evotion, ​and with all the respect which he felt for the person of the preacher: he thus becanre closely intimate with Fra Girolamo, and spent almost all his time in the convent, having contracted a friendship with the other monks also. Girolamo meanwhile continued to preach daily; and his zeal increasing, he daily declaimed from the pulpit against licentious pictures, among other things; showing how these, with music and books of similar character, were calculated to lead the mind to evil; he also asserted his conviction, that in houses where young maidens dwelt, it was dangerous and improper to retain pictures wherein there were undraped figures. Now it was the custom in that city to erect cabins ot fire-wood and other combustibles on the public piazza during the time of Carnival, and on the night of Shrove Tuesday, these huts being set a-blaze, the people were wont to dance around them while thus burning, men and women that is to say, joining hands, according to ancient custom, encircled these fires, with songs and dances. On the return of the Carnival following the period of which we now speak, however, Fra Girolamo’s exhortations had so powerfully affected the people, that instead of these accustomed dances, they brought pictures and works in sculpture, many by the most excellent masters—all which they cast into the fire, with books and musical instruments, which were burnt in like manner—a most lamentable destruction; and more particularly as to the paintings. To this pile brought Baccio della Porta all his studies and drawings which he had made from the nude figure, when they were consumed in the flames. His example was followed by Lorenzo di Credi, and by many others, who received the appellation of the Piagnoni.[7]

No long time after this, Baccio della Porta, moved by the love which he bore to Fra Girolamo, painted a picture wherein was his portrait, which is indeed most beautiful. This work was at the time transported to Ferrara, but was ​brouglhit back to Florence not a great while since, and is now in the house of Filippo, the son of Alamanni Salviati, by whom, as being a work of Baccio’s, it is held in the highest estimation.[8]

It happened afterwards that the party opposed to Fra Girolamo rose against him, determining to deliver him into the hands ofjustice, and to make him answerable for the insurrections which he had excited in the city; but the friends of the monk, perceiving their intention, assembled also, to the number of five hundred, and shut themselves up in San Marco; Baccio della Porta joining himself to them, for the very great affection which he bore to Fra Girolamo. It is true that having but very little courage, being indeed of a timid and even cowardly disposition, he lost heart, on hearing the clamours of an attack, which was made upon the convent shortly after, and seeing some wounded and others killed, he began to have grievous doubts respecting his position. Thereupon he made a vow, that if he might be permitted to escape from the rage of that strife, he would instantly assume the religious habit of the Dominicans. The vow thus taken he afterwards fulfilled to the letter; for when the struggle was over, and when the monk, having been taken prisoner, had been condemned to death,[9] as will be found circumstantially related by the historians of the period, Baccio della Porta departed to Prato, where he assumed the habit of San Domenico on the 26th of July, in the year 1500, as we find recorded in the chronicles of that convent. This determination caused much regret to all his friends, who grieved exceedingly at having lost him, and all the more as he had resolved to abandon the study of painting.

At the entreaty of Gerozzo Dini, the friend and companion of Fra Bartolommeo—so did the prior call Baccio della Porta, on investing him with the habit—Mariotto Albertinelli undertook the work abandoned by Baccio, and con​tinued the paintings of the chapel in the cemetery, to their completion. In this work he placed the portrait of the then Director, with those of certain Monks, who were eminent for their knowledge of surgery. He added the likeness of Gerozzo himself, who had caused the painting to be executed, with that of his wife, whole-length figures; the former kneeling on one side, the latter on the other. In one of the nude and seated figures of this picture, Mariotto Albertinelli painted the portrait of his pupil Giuliano Bugiardini, a youth with long hair, as it was then the custom to wear it, and so carefully has the work been executed, that each separate hair might almost be counted. The portrait of Mariotto himself is also in this painting—in the head, with long hair, of a figure emerging from one of the tombs there, as is also that of the painter Fra Giovanni da Fiesole, whose life we have written. This last is in that portion of the picture which represents the blessedness of the just. The work was all executed in fresco, both by Fra Bartolommeo and Mariotto; it has maintained and continues to maintain its freshness admirably, and is held in great estimation by artists, seeing that, in this manner, there scarely could be anything better effected by the art of the painter.[10]

When Fra Bartolommeo had been several months in the convent of San Marco, he was sent by his superiors to Florence, they having appointed him to take up his abode as a Monk, in the convent of San Marco in that city, where his talents and good qualities caused him to receive numberless marks of kindness from the Monks with whom he dwelt. At that time Bernardo del Bianco had caused to be constructed in the abbey of Florence a chapel, richly and beautifully erected, of cut stone, after the designs of Bernar dino da Rovezzano; a work, which was then and is now much admired for its varied beauty. And to complete the decorations, Benedetto Buglioni had prepared angels and other figures of vitrified terra-cotta in full relief, placed within niches, with friezes consisting of the arms and devices of Bianco, mingled with heads of cherubims. For this chapel, Bernardo desired to obtain an altar-piece, which should be ​worthy of its beauty; and feeling convinced that Fra Bartolommeo would be exactly the person to execute what he wished, he used every possible means, by the intervention of friends, and by all other methods, to dispose the Monk to that undertaking. Fra Bartolommeo was then in his convent, exclusively occupied with his attention to the religious services, and to the duties imposed by the rule of his Order, although frequently entreated by the Prior, as well as by his own dearest friends, to commence some work in painting. Four years had now passed since he had refused to execute any labours of that kind, but on the occasion we are now describing, being pressed by the importunities of Bernardo del Bianco, he was at length prevailed on to begin the picture of St. Bernard. The Saint is represented as writing, when the Virgin appears to him, holding the Divine Child in her arms, and borne by numerous figures of children and angels, all painted by the master with exceeding delicacy. Beholding this appearance, St. Bernard is lost in adoring contemplation, and there is a certain inexpressible radiance of look, which is so to speak, celestial, in his countenance, and which seems, to him who considers the picture attentively, to become diffused over the whole work. There is, besides, an arch above this painting which is executed in fresco, and is also finished with extraordinary zeal and care.[11]

Fra Bartolommeo painted certain other pictures soon after that here described, for the cardinal Giovanni de’ Medici, with a figure of the Virgin, of exquisite beauty, for Agnolo Doni, which last is still on the altar of a chapel in his house.[12]

About this time the painter, Raffaello da Urbino, came to study[13] his art in Florence, when he taught Fra Barto​lommeo the first rules of perspective,[14] and was constantly in his company, being desirous of acquiring the monk’s manner of colouring; the harmony perceptible in his works, and his mode of treating them having pleased Katfaello very greatly. Fra Bartolommeo was then painting at San Marco, in Florence, a picture with innumerable figures, which is now in the possession of the King of France;[15] it was presented to that monarch after having been kept to be shown in San Marco for several months. He afterwards painted another in the same convent, to replace that which was sent into France; this last also has an infinite variety of figures, among which are children hovering in the air, and holding an open pavilion or canopy; they are very well drawn, and in such powerful relief, that they appear to stand out from the picture; the colouring of the flesh displays that beauty and excellence which every able artist desires to impart to his works, and the painting, even in the present day, is esteemed to be most excellent.[16] The Virgin in this work is surrounded by numerous figures, all well executed, graceful, full of expression, and highly animated; they are coloured in so bold a manner, that they would rather seem to be in relief than parts of a level surface, the master desiring to show, that he could not only draw, but give force, and add the fitting degree of shadow to his figures, and this he has amply etfected in a canopy or pavilion, upheld by certain children who are hovering in the air, and seem to come forth from the picture.[17] There is also a figure of Christ, as an infant, espousing the Nun, St. Catherine; the ​treatment is bold and free, nor is it possible to imagine anything more life-like than this group: a circle of saints, receding in perspective on each side, disappears within the depth of a large recess, and this train of figures is arranged with so much ability that they seem to be real. It is obvious, that in the colouring of this work Bartolommeo has closely imitated the paintings of Leonardo da Yinci, more particularly in the shadows, for which he has used printer’s smoke or printer’s black, and the black of burnt ivory or ivory-black. These two blacks have caused the picture to darken greatly, they having constantly become deeper, so that the work is now much heavier in the shadows than it was when first painted.[18] Before the principal figures in this picture there is a San Giorgio in armour, bearing a standard in his hand, an imposing, powerful, and life-like figure, the attitude of which is very fine. No less worthy of praise is the San Bartolommeo standing upright in the same work; and equally excellent are two children seated, the one playing on a lute, the other on a lyre, the first of these has his leg raised and bent, he is supporting his instrument thereon, and his fingers move the strings in the act of playing: the ear is bent in rapt attention to the harmony, the head is turned upwards, and the mouth is slightly opened, with so life-like an effect, that while looking at it, the spectator cannot persuade himself that he does not hear the sound of the voice. The other child, leaning on one side, bends his ear to the lyre, and seems to be listening intently, with the purpose of marking the degree of its accord with the lute and voice: occupied with his efforts to bring his instrument into harmony with that melody, he has his eyes riveted to the ground, and turns the ear attentively towards his companion, who is singing and playing. All these varied expressions are rendered with much ingenuity; the children are both sitting, as we have said, and are clothed in veils, every part is admirably executed by the able hand of Fra Bartolommeo, and the whole work comes out most harmoniously from its dark shadows,

A short time after the completion of this picture, our artist painted another, which is also considered a good one; ​the subject is Our Lady with saints around her.[19] Fra Bartolommeo obtained much commendation for his manner of drawing figures, which he did with such remarkable softness of outline, that he added to the art by this means a great increase of harmony; his figures really aj)pear to be in relief, they are executed in the most animated manner, and finished with the utmost perfection.

Having heard much of the excellent works which Michael Angelo and the graceful Raphael were performing in Rome, and being moved by the praises of these masters, for the Monk was perpetually receiving accounts of the marvels effected by the two divine artists, he finally, having obtained permission of the Prior, repaired to Rome. He was there received and entertained by the Frate del Piombo,[20] Mariano Fetti, for whom he painted two pictures, at the Convent of San Silvestro, on Monte Cavallo, to which Fra Mariano belonged,[21] the subjects SS. Pietro and Paolo.[22] But the labours undertaken by Fra Bartolommeo in the air of Rome, were not so successful as those executed while he breathed that of Florence; among the vast numbers of works, ancient and modern, which he there found in such overwhelming abundance, he felt himself bewildered and astounded; the proficiency in art which he had believed himself to possess, now appeared to him to be greatly diminished,[23] and he de​termined to depart, leaving to Raffaello the charge of completing one of the above-mentioned pictures, which he could not remain to finish, the San Pietro namely; that work, therefore, retouched in every part by the admirable Raffaello, was then given to Fra Mariano.

Thus Fra Bartolommeo returned to Florence, and as he had been frequently assailed there with declarations to the effect that he was not capable of painting nude figures, he resolved to show what he could do, and prove that he could accomplish the highest labours of the art as well as other masters; to this end he painted a San Sebastian, wholly undraped, by way of specimen; the colouring of this figure is like that of the living flesh, the countenance most beautiful, and in perfect harmony with the beauty of the form; the whole work, in short, is finished with exquisite delicacy, insomuch that it obtained him infinite praise from the artists.

It is said that when this painting was put up in the church, the Monks discovered, from what they heard in the confessionals, that the grace and beauty of the vivid imitation of life, imparted to his work by the talents of Fra Bartolommeo, had given occasion to the sin of light and evil thoughts; they consequently removed it from the church and placed it in the Chapter House, but it did not remain there long, having been purchased by Giovanni Batista della Palla,[24] who sent it to the King of France.[25]

Fra Bartolommeo had often felt greatly displeased with the joiners who prepared the frames and external ornaments of his pictures, for these men had the custom then as they have now, of concealing one-eighth of the picture by the projection of their frames, he determined therefore to invent some contrivance by which he might be enabled to dispense with these frames altogether; to this end he caused the panel of the San Sebastiano to be prepared, in the form of a semicircle; on this he then drew a niche in perspective, ​which has the appearance of being carved in relief on the panel; thus painting an ornament, which served as a frame to the figure which he had executed in the middle of his work; he did the same thing for the San Vincenzio, as well as for the San Marco, of which we shall speak again hereafter. Fra Bartolommeo painted a figure in oil over the door which leads into the sacristy of the Convent, the subject being San Vincenzio, who was a Monk of his own order, preaching on the rigours of the Divine Justice. In the attitude of this figure, but still more in the head, there is all that sternness and imposing severity, usually manifest in the countenance of the preacher who is labouring to induce men, obstinate in their sins, to amendment of life, by setting before them the terrors of the justice of God;[26] not painted, but really in life, does this admirable figure appear to him who regards it attentively, so powerful is the relief with which it is executed, and very much is it to be lamented, that the painting is rapidly becoming a ruin, being cracked all over from having been painted with fresh colours on a fresh ground, as I have remarked respecting the works of Pietro Perugino, painted in the Ingesuati.[27]

Our artist had been told that his manner was minute, and felt inclined to show that he was not unequal to the delineation of large figures; he therefore painted a picture on panel for the wall in which is the door of the choir, representing St. Mark the Evangelist, a figure five braccia high, in which he exhibited admirable design and great mastery of his art.[28]

The Florentine merchant, Salvatore Billi, on his return from a sojourn in Naples, having heard the fame of Fra Bartolommeo, and having seen his works, caused him to paint a picture, representing Christ the Saviour, in allusion to his own name.[29] The Redeemer is surrounded by the four Evangelists, and has at his feet two children, who support the globe of the world; these children are admirably ​painted, their forms having all the tender freshness proper to their youth; the whole work is equally excellent, the figures of two Prophets more particularly, which are highly extolled.[30] This painting is placed in the Nunziata at Florence, beneath the great organ, such being the desire of Salvatore; it is indeed a beautiful thing, and was executed by the monk with infinite love, so that he brought it to a most felicitous conclusion; there is now placed around it a rich decoration, all sculptured in marble, by the hand of Pietro Roselli.[31]

After completing this work it became necessary to Fra Bartolommeo to take change of air, and the Prior, who was then his friend, sent him to a monastery of their Order which was situated at a certain distance without the city.[32] While abiding in that place he finally arrived at the wished for power of accompanying the labour of his hands with the uninterrupted contemplation of death. For the church of San Martino in Lucca this master painted a picture of the Madonna, with an angel playing on a lute at her feet; San Stefano stands on one side of the Virgin, and San Giovanni on the other; the work is a good one, whether as regards design or colouring, and afibrds full proof of the master’s ability.[33] In the church of San Romano also there is a picture by Fra Bartolommeo, the Madonna della Misericordia namely, the painting is on canvas, and is placed on a projection of stone, angels support her mantle, and around her is a concourse of people scattered over a flight of steps, some seated, others standing, but all with their looks turned earnestly towards a figure of Christ appearing in the heavens, and showering down lightnings and thunder-bolts upon the people.[34] In this picture Fra Bartolommeo has given ​proof of his power over the difficulties of his art, the perfection with which he knew how to manage the gradual diminution of the shadows, and the softening of the darker tints, imparting extraordinary relief to his work, and showing his admirable excellence in colouring, design, and invention; in a word, this is as perfect a picture as ever proceeded from his hands. In the same church he painted another picture also on canvas, the subject our Saviour with St. Catherine the Martyr,[35] and St. Catherine of Siena, the latter in an ecstacy, rapt from earth, a figure than which it is not possible that anything better can be done in that manner,.[36]

Having returned to Florence Fra Bartolommeo occupied himself much with music, and finding great pleasure therein he would sometimes sing for his amusement. In Prato he painted a picture of the Assumption,[37] opposite to the prison of the city; for the House of Medici also this master painted certain pictures of the Madonna, with other works for different persons: among these is a figure of the Virgin, which is now in the possession of Ludovico, son of Ludovico Capponi, with another, also of Our Lady holding the divine Child in her arms, and with the heads of two Saints beside her: this last belongs to the very excellent Signor Lelio Torelli, principal secretary to the most illustrious Duke Cosimo, by whom it is held in the highest estimation,[38] not only for the ​sake of Fra Bartolommeo, but also from the love which he had ever borne to the art, and to those who are distinguished in it, whom he constantly favours, as he does all men of genius.

In the house formerly belonging to Pier Pugliese, now that of Matteo Botti, a Florentine citizen and merchant. Fra Bartolommeo painted a figure of St. George, in a recess on the summit of a staircase;[39] the Saint is on horseback, armed and engaged in conflict with the dragon. The picture, which is a highly animated work, is a chiaro-scuro in oil: it was a frequent custom with this master to treat his paintings in that manner, or to sketch them in the manner of a cartoon, shading them with ink or asphalte before he coloured them, as may still be seen by many things which he left unfinished at his death. There are also numerous drawings in chiaro-scuro by Fra Bartolommeo still remaining, the greater part of which are now in the monastery of Santa Caterina of Siena, which is situate on the Piazza of vSan Marco; they are in the possession of a nun,[40] who occupies herself with painting, and of whom mention will be made in due course. Many of the same kind, and also by his hand, enrich our book of designs, and others are in the possession of the eminent physician, Messer Francesco del Garbo.

Fra Bartolommeo always considered it advisable to have the living object before him when he worked; and the better ​to execute liis draperies, arms, and things of similar kind, he caused a figure, the size of life, to he made in wood, with the limbs moveable at the joints, and on this he then arranged the real draperies,[41] from which he afterwards produced admirable paintings, seeing that he could retain these things in the desired position as long as he pleased. This model, worm-eaten and ruined as it is, we keep in our possession as a memorial of this excellent master.

At the Abbey of the Black Friars in Arezzo, Fra Bartolommeo painted the head of Christ in dark tints, a very beautiful picture. He also painted the picture for the Brotherhood of the Contemplanti, which last was long preserved in the palace of the illustrious Messer Ottaviano de’ Medici, and has now been deposited in the chapel of that house by his son Messer Alessandro, who has placed it therein with many decorations, holding it in most precious estimation in memory of Fra Bartolommeo, and also because he takes infinite delight in paintings.[42]

In the chapel of the Novitiate of San Marco there is a picture of the Purification by this master; a very pleasing work, well drawn, and equally well finished;[43] and at the monastery of Santa Maddalena, a house belonging to the Domenican Monks, at some distance from Florence, there is a figure of the Saviour, with one of Mary Magdalene, which Fra Bartolommeo painted while dwelling there for his recreation. He likewise executed certain pictures in fresco for the Cloister of the Convent.[44] In an arch over the Stranger’s apartments in the Monastery of San Marco, Fra Bartolommeo also painted a fresco, the subject is the Meeting of our Saviour with Cleophas and Luke; in this work the master placed the portrait of Fra Niccolo della Magna, who was ​then young, but who aiterwards became Arclibishop of Capua, and was finally created a Cardinal.[45] In San Gallo he commenced a picture, which was afterwards finished by Giuliano Bugiardini, and is now at the altar of San Jacopo-fra-Fossi, at the corner of the Alberti.[46] Another work, begun by the same master, representing the Abduction of Dina, was subsequently coloured by the same Giuliano; there are in this picture certain buildings, with many other peculiarities therein, which have been very highly extolled; it is now in the possession of Messer Cristofano Rinieri.[47]

From Piero Soderini, Fra Bartolommeo received a commission to paint a picture for the Hall of Council; and this he commenced so beautifully in chiaro-scuro, that it would without doubt have done him infinite honour had it been completed; unfinished as it is, this work ha[48]§ been placed with great honour in the chapel of the illustrious Ottaviano de’ Medici, in San Lorenzo.[49] In the picture now in question, are the figures of all the Patron Saints of Florence, as well as those of all the other Saints on whose days the city has gained victories in war. The portrait of Fra Bartolommeo himself will also be found in this work, painted by his own hand, with the aid of a mirror.

The master had entirely completed the design of the above described picture, when, in consequence of having laboured perpetually beneath a window, the rays from which poured constantly on his back, one side of his body became paralyzed, ​and lie could not move himself. He was therefore advised Oy his physician to proceed to the baths at San Filippo, but although he remained there a considerable time, he became but very little better. Fra Bartolommeo was a great lover of fruit, finding the flavour particularly grateful to him, although it was exceedingly injurious to his health; wherefore one morning, having eaten very plentifully of figs, he was attacked, in addition to his previous malady, with a violent access of fever, which finished the course of his life in four days, and when he had attained the age of forty-eight years; he retained his consciousness to the last, and with humble trust resigned his soul to Heaven.

The death of Fra Bartolommeo caused infinite grief to his friends, but more particularly to the monks of his order, who gave him honourable sepulture in San Marco on the 8th October, 1517. He had received dispensation from attending to the duties of the choir, and was not required to take part in other offices, so that all the profit resulting from his works, was the property of the convent, he retaining in his own hands only so much money as was necessary for the purchase of colours and other materials requisite for his paintings.

The disciples of Fra Bartolommeo were Cecchino del Frate, Benedetto Cianfanini, Gabbriel Rustici,[50] and Fra Paolo Pistolese,[51] who became the possessor of all that he left behind him. Fra Paolo executed numerous pictures of various kinds, after the death of Fra Bartolommeo, from the drawings which thus fell into his hands; three of the works thus executed are now in the church of San Domenico at Pistoja,[52] and one is at Santa Maria del Sasso, in Casentino. Fra Bartolommeo gave to his pictures such admi​rable colouring, and enriched them with beauty of a character so truly original, that for these reasons he well merits to be numbered among the benefactors of our art.



  1. ↑ According to Baldinucci.
  2. ↑ Bat of the gate.
  3. ↑ The life of this artist follows that of Bartolommeo della Porta.
  4. ↑ The mode in which Vasari speaks of these pictures does not enable us to distinguish them from others by the same master, nor can we now indicate their probable locality.” —Ed. Flor., 1838.
  5. ↑ The pictures here described are still in perfect preservation; they are in the room appropriated to the smaller paintings of the Tuscan School, in the Florentine Gallery. These are the miniatures to which Vasari has referred in the life of Donatello. —See vol. i. of the present work.
  6. ↑ Of this celebrated picture very little is now to be seen. — Masselli.
  7. ↑ That the followers of Savonarola were so called has been already remarked in the life of Sandro Botticelli: that party, in its political character, had declared against the exaltation of the House of Medici; their opponents, who were called the Arrabbiati, were equally averse to the supremacy of that house, but joined the followers of the Medici in their enmity to Savonarola on the ground of what they considered the “intolerant liypocrisy” of the Piagnoni.— See Varchi, Storie Florentine.
  8. ↑ A fine portrait of Savonarola, by Fra Bartolommeo, is now in the Academy of the Fine Arts, in Florence. It has a deep wound on the head, doubtless in allusion to his martyrdom, and is therefore not likely to be that here alluded to, although some annotators appear to consider that it may be the one mentioned by Vasari as in the possession of Filippo Salviati.
  9. ↑ This martyred reformer was publicly burnt on the 23rd of May, 1498. —See Varchi, Storie Fiorentine.
  10. ↑ But little of the upper part of this work, that executed by Fra Bartolommeo, now remains; and still less is to he seen of that executed by Mariotto Albertinelli, the lower compartment namely. —Ed. Flor., 1832-8.
  11. ↑ This picture, now in the Florentine Academy of the Fine Arts, was much injured during the last century by barbarous retouching. —Ed. Flor., 1832-8.
  12. ↑ Now in the Corsini Gallery, in Rome. — Bottari. It is declared by Lanzi to be perhaps the most beautiful and graceful work ever executed by this master.” —See the History of Painting, Florentine School, Epoch 2nd, vol. i. p. 150.
  13. ↑ The expression of Vasari is here imparare, ‘‘to learn,” for which his Italian critics reprove him sharply, affirming that Raphael had already learned his art when he arrived in Florence; but the “graceful master,” as our author delights to call him, may very well have come to study his art in the fine works to be seen at Florence, and we know that the hand of the excellent Giorgio was more familiar with the pencil than the pen; let us, therefore, be at peace with him, even though, as he declares himself, his “fashion of writing” be “uncultivated and simple,” and “not worthy of Tour Excellency’s ear.”
  14. ↑ Bottari doubts this, but Lanzi justly remarks that Raphael, having studied perspective under Perugino, who was deeply versed in its laws, may well have taught the rules to Fra Bartolommeo, and the rather as he had given proof of his own proficiency at Siena, before visiting Florence.
  15. ↑ Still in the Louvre: it bears the inscription, F. Barto., 1515. —See Waagen, Künstler and Kunstwerke, in England and Paris, vol. iii. p. 427.; German edition of Vasari.
  16. ↑ Now in the Pitti Palace.
  17. ↑ A slight inadvertence on the part of our author or his copyist will here be perceived, in the repetition of a passage to be found immediately above.
  18. ↑ A defect which is constantly increasing, insomuch that the picture is now loaded with gloomy and monotonous shadows.
  19. ↑ This picture is still in the church of San Marco, and although not equal in merit to that previously described, is thought to have so much of the manner of Raphael—his second manner that is to say—that, according to Bottari, it was mistaken by Pietro da Cortona for a work of that great painter.
  20. ↑ Frati del Piombo, Monks of the Signet. This name was given to those persons, whether laymen or churchmen, to whom was confided the office of appending the seals of lead to the pontificial diplomas. Bramante held this appointment, as we have just said in his life, and after the death of the Fra Mariano here alluded to, it was obtained by the painter Sebastiano Luciani, thence called Sebastiano del Piombo, whose life follows.
  21. ↑ Fra Mariano had been endowed by Pope Julius IL, with extensive powers in all things relating to the buildings of San Silvestro-a-MonteCavailo, after-wards given to the Theatines, and now belonging to the Fathers of the Mission.
  22. ↑ These paintings are now in that part of the Papal Palace of the Quirinal, which is called the Apartments of the Princes. For engravings of these works, sec the Ape Italiana.
  23. ↑ The same thing happened, according to Lanzi, to Andrea del Sarto, to II Rosso, and other truly great painters, whose modesty “is strongly contrasted,” he remarks, “with the self-sufficiency of the numberless mediocrities who have since walked the sacred city under the ægis of their slender abilities.”
  24. ↑ Mentioned again in the life of Andrea del Sarto, as being, according to Bottari, in the habit of “buying up the pictures of the masters and sending them out of Florence.“
  25. ↑ The fate of this work is not known.
  26. ↑ Now in the Academy of the Fine Arts in Florence, but much injured by retouching.
  27. ↑ See ante, p. 313-14.
  28. ↑ Now in the Pitti Palace, and, without doubt, the master-piece of the painter. — Ed. Flor., 1832-8.
  29. ↑ Salvatore, the Saviour.
  30. ↑ These are the figures of Job and Isaiah; they are now in the Tribune of the Uffizj.—Ed. Flor., 1832-8.
  31. ↑ Now in the Pitti Palace, and engraved, as is tire St. Mark, by Lorenzini, but not in a manner suitable to the merit of the work: better engravings of both are to be found in the Gallerie de Florence et du Palais Pitti, Paris, 1789, 1807. — Masselli.
  32. ↑ The convent of the Maddalena, near Mugnone, on the road to Mugello.— Ibid.
  33. ↑ Still in the church of San Martino. It has been engraved by the Saxon engraver, Moritz Steinla.
  34. ↑ This picture, which is still in the church, is considered, as regards the composition, to be the finest ever painted by Fra Bartolommeo. The original sketch for the work was among those in the collection of Sir Thomas Lawrence, and subsequently passed into that of the King of Holland.
  35. ↑ Of the six saints called Catherine, it is not easy, without a more minute description than is here given, to be quite certain as to the one meant; an examination of the painting itself would assist us to a solution, if the master has given the Saint her proper attributes, as he most probably has done, but this is for the moment not possible to the present writer. The probability, meanwhile, is in favour of St. Catherine of Alexandria, sometimes called by the Italians, St. Catherine of the Wheels (delle ruote), in allusion to her deliverance by the angels from the first attempt made to subject her to martyrdom, her death being ultimately effected by the sword; this Saint may, with great propriety, be designated as in the text.
  36. ↑ Still in the church of San Romano.
  37. ↑ The present place of this picture is not known. There is an Assumption painted by Fra Bartolommeo, in company with Mariotto Albertinelli, in the Gallery of Berlin. — Waagen.
  38. ↑ Of the two pictures painted for Ludovico Capponi and Lelio Torrelli, the Florentine and German commentators alike declare themselves unable to procure authentic information.
  39. ↑ The house of the Pugliese family was in the Via Chiara, hut the St. George has been whitewashed; at what time this happened cannot now be ascertained. — Bottari.
  40. ↑ The convent of St. Catherine was suppressed in 1812, when the building was added to that of the Academy of the Fine Arts. The Nun here alluded to is the paintress, Sister Plautilla Nelli; the drawings formerly in her possession, as well as those belonging to Francesco del Garbo, and to A^asari himself, are now dispersed. Some very precious remains of these collections are, however, in the Florentine Gallery; others, said to be a portion of those belonging to the Nun Plautilla, were in the collection of Sir Thomas Lawrence; these treasures are said to have been rescued from the ignorant Sisterhood of St. Catherine, after the death of Plautilla, but not until the Nuns had consumed many of them for the kindling of their kitchen fires! They were then sold to the Grand Duke of Tuscany, from whose library they were tranferred to England and fell into the hands of Sir Benjamin West. On his death they were purchased by Sir Thomas Lawrence, and were afterwards in the possession of the King of Holland. For good copies of many of these works see Mety, Imitations of Drawings; see also Mr. Young Ottley’s Italian Schools of Design.
  41. ↑ The well-known lay figure, now so indispensable a piece of furniture in the studio of every painter.
  42. ↑ The fate of this work is not known.
  43. ↑ Now in the Imperial and Royal Gallery of Vienna. There is a replica in the Florentine Gallery, but smaller than the original, and somewhat injured by retouching.
  44. ↑ The Saviour, the Magdalen, and an Annunciation, also by Fra Bartolommeo, are still to be seen in that convent. Some heads which were there have been carried away, and, after having remained for some time in the Florentine Convent of San Marco, are now in the Academy of the Fine Arts.
  45. ↑ This picture is still in the place here mentioned, which is now the refectory.
  46. ↑ Now in the Pitti Palace; it represents the Dead Christ, supported in the arms of John the Baptist, the Virgin, who is weeping, and Mary Magdalen, who embraces the feet of the Saviour.
  47. ↑ The Abduction of Dina was not coloured, but merely finished by Bugiardini; the original was sold by Rinieri to a Bishop of Ricasoli, in its unfinished state. It subsequently passed into the possession of our countryman, the painter Ignatius Hugford, on Avhose death it Avas purchased by the English Consul at Venice, Mr. Smith. It is now, most probably, in England.
  48. ↑ The Grand Hall of the Council was to have been adorned with paintings by Leonardo da Vinci, Michael Angelo, and Fra Bartolommeo di San Marco, but unhappily not one of these masters ever completed a work there. —Ed. Flor., 1832-8.
  49. ↑ This picture is now in the Gallery of the Uffizj, in the great room of the Tuscan School.
  50. ↑ Of these three masters no well-authenticated work can now be pointed out. —Ed. Flor., 1832-8.
  51. ↑ Fra Paolo, of Pistoja, was of the Signoracci family; his father, Bernardino, was also a painter, and follower of the manner of Domenico Ghirlandajo. This master died at Pistoja in the year 1547.—Ibid.
  52. ↑ Tolomei, Guida di Pistoja, speaks of two only as now existing in the church of San Domenico, an Adoration of the Magi and a Crucifix, with the Madonna and St. Thomas Aquinas. There is, however, a third in the Sacristy, representing the Madonna, with the Saviour, Santa Caterina of Siena, Santa Maria Maddalena, and San Domenico; this last was brought to the church from the convent of Santa Caterina.
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