Lives of the Most Excellent Painters, Sculptors, and Architects/Andrea dal Castagno

by Giorgio Vasari

 

ANDREA DAL CASTAGNO OF MUGELLO, AND DOMENICO VENIZIANO, PAINTERS.

[Andrea, born within the first ten years of the fifteenth century, died about 1480.? Domenico born in the second decade of the same century, died about 1460.?]

How reprehensible is the vice of envy in a distinguished artist: envy, which never should be permitted to exist in any mind. Above all, how fearful and horrible a crime is that of seeking, under the guise of friendship, to annihilate the fame and honour, nay, to extinguish the life of another! How atrocious such a crime is no words can possibly express,

the depravity of the action, rendering all power of language, however eloquent, inadequate to describe it. Therefore, without further insisting on that matter, I will only say, that in men, capable of such wickedness, there dwells a spirit, not merely savage and inhuman, but wholly cruel and fiend-like; nay, so utterly destitute of all worth are such beings, that they no longer merit the name of men, or even of animals, but are altogether unfit to breath the breath of life. For, inasmuch as a virtuous emulation and the effort to acquire glory and honour, by surpassing men more distinguished than himself, is praiseworthy in the artist, as necessary to his progress and useful to society; insomuch, nay much more, is the wickedness of envy to be scorned and vituperated; envy, which, not being able to endure the praise and glory of another, is therefore resolved to deprive him of life, whom it cannot despoil of honour, as was done by the unhappy Andrea dal Castagno, who was in truth, excellent as a painter, and a great master in design, but was still more remarkable for the rancour and envious hatred by which he was inspired towards other painters, insomuch that, by the weight and darkness of his crime, he has inhumed and obscured the splendour of his talents.

This master, having been born at a small farm called Castagno, situate in the Mugello, a district of the Florentine territory, adopted that name as his surname when he came to take up his abode in Florence, which happened on this wise. His father died while he was in his first childhood, and left him to the care of an uncle, who set him to herd his cattle. In this occupation he spent several years, displaying great readiness and intelligence; he was besides so strong and powerful that he was not only capable of guarding and keeping his cattle in subjection, but also of protecting the pastures, and whatever else was placed within his care, from all attack and aggression. One day, while employed in this manner, he was seeking shelter from the rain, when he chanced to enter a house where one of those painters of the district, who make pictures for small prices, was painting an oratory or tabernacle, for a countryman. Whereupon, Andrea, wdio had never before seen a thing of the kind, was seized with instant admiration, and began to look attentively at the work, and examine the manner of its execution; as he did so, a sudden inclination was awakened in him, and this became so passionate a desire for art, that he began without loss of time to scratch figures of animals on the walls and on stones with the point of his knife, and to draw them with pieces of charcoal, in such a manner that he caused no little amazement in those who beheld them. The report of Andrea’s new studies was soon bruited about among the country people, and reached the ears (as his good fortune would have it) of a Florentine gentleman called Bernardetto de’ Medici, whose property was situated in that neighbourhood. This gentleman then desired to know the boy, and having seen him, and found that he replied to his questions with considerable intelligence, he asked him if he would like to become a painter. To this Andrea made answer, that nothing could happen to him that would be so welcome, nor would any thing please him so much; wherefore, to the end that he might be made perfect in the art, Bernardetto took the boy with him to Florence, where he engaged him to work with one of those masters who were then esteemed the best.^[1]

Thenceforward Andrea continued to practise the art of painting, and devoting himself entirely to the studies connected therewith: he displayed very great intelligence in the difficulties of his calling, and more particularly in design. Tn the colouring of his works, he was not so happy; here there was a something crude and harsh, which detracted greatly from the beauty and grace of the picture, depriving it of the charm of softness, which in his colouring was never to be found. He displayed extraordinary power in the movements of his figures, and great force in the heads, whether male or female, giving them aspects of much gravity and an extreme earnestness of expression. He drew them also exceedingly well. Among the earliest works of this master, are those in San Miniato at Monte, which he executed in his first youth. They are in the cloister as you ascend from the church to go into the convent; and here he painted a fresco, wherein is depicted the parting of San Miniato and San Cresci from their father and mother.^[2] In San Benedotto, a most beautiful monastry situate without the Pinti Gate, there were many pictures by Andrea dal Castagno, both in the church and convent, but of these I need make no further mention, since they were destroyed in the siege of Florence. In the city itself, and in the monastery belonging to the Monaci degli Angeli, Andrea dal Castagno painted a Crucifix (which is still there), in the first cloister, and opposite to the principal door, with Our Lady, San Giovanni, San Benedetto, and San Romualdo:^[3] and at the end of the cloister which is above the kitchen-garden, he painted another, nearly similar, the heads only, with a few other smaller particulars, being slightly varied.^[4]

In the church of Santa Trinita, near the chapel of Maestro Luca,^[5] this artist painted a Sant’ Andrea.^[6] For Pandolfo Pandolfini, he depicted certain illustrious persons in one of the halls of his palace at Legnara.^[7] And for the Brotherhood of the Evangelist he painted a Banner, to be carried in their processions, which was esteemed to be a very beautiful thing. In the convent belonging to the Servites in the same city, are certain frescoes by this master, painted in three shallow niches of different chapels. One of these chapels, is that dedicated to San Giuliano, where there are stories from the life of the Saint, with a considerable number of figures and a dog, foreshortened, which has been greatly extolled. Above these, in the chapel of San Girolamo (St. Jerome), that saint is delineated, his body wasted, and with the head shaven; the figure well-drawn and very carefully painted. Over it is the Trinity with a Crucifix, which is also foreshortened, and so well done, that Andrea merits great praise for that work, he having executed the foreshortening in a much better and more modern manner than any master among those who preceded him had done. But this fresco can no longer be seen, a picture having been suspended over it by the Montaguti family. In the third chapel (which stands beside the last-mentioned, the place of which is beneath the organ), erected at the command of Messer Orlando de’ Medici, Andrea painted Lazarus, Martha, and Mary Magdalen.^[8] For the Nuns of San Giuliano, he executed a Crucifix in fresco, over the door, with figures of Our Lady, San Domenico, San Giuliano, and San Giovanni, a picture which is considered one of the best that Andrea ever painted, and which has been commended by all artists.^[9]

In Santa Croce, there is a work by this master in the chapel of the Cavalcanti family, a San Giovan Batista, and San Francesco namely, both considered very beautiful figures. But one which caused astonishment in all artists, was that in the new cloister of the convent of Santa Croce: at the head of it, that is to say, opposite to the door: where Andrea dal Castagno, painted a fresco, representing Christ bound to the column and scourged, which is most beautiful in itself; but in addition, there is a Loggia, with the columns drawn in perspective, the cross-vaulting and ribs diminishing so finely, and the walls (partitioned into oval compartments) being depicted with so much art and knowledge, that he proved himself to understand the difficulties of perspective as perfectly as he did the art of design in painting^[10] The attitudes of the men who are scourging the Saviour in this fresco, are exceedingly fine, and display extraordinary force; their faces betray their rage and hatred, while that of Christ is equally expressive of patience and humility.^[11] In the person of the Saviour, which is fast bound to the column with cords, it would seem that Andrea desired to exhibit the suffering endured by the flesh, while at the same time, the Divinity concealed in that body makes itself manifest in a certain nobility and splendour, by which Pilate, who is sitting among his councillors, appears to be moved, and seeks to discover an opportunity for setting him free. This picture is, in fine, of such merit, that were it not for the carelessness which has permitted it to be scratched and injured by children and simple folks, wdio have maltreated the head, arms, and almost the entire persons of the Jews, as though they would thereby avenge the injuries inflicted on the Saviour, this work would, without doubt, be the most beautiful of all that Andrea executed. Had nature conferred on this artist the gift of imparting softness to his colouring, as liberally as she bestowed on him those of invention and design, lie would have justly merited to be considered most admirable.^[12]

In Santa Maria del Fiore, Andrea dal Castagno depicted the likeness of Niccolò da Tolentino^[13] on horseback; and while engaged on this work, a child who was passing by, shook the ladder on which he stood; when Andrea, like a brutally violent man as he was, got down and ran after him to the corner of the Pazzi. Beneath the charnel-house in the cemetery of Santa Maria Nuova, he painted a figure of Sant’ Andrea, which gave so much satisfaction that he was at once appointed to paint a picture of the Last Supper in the refectory used by the servants and other officials of the house.^[14] These works obtained him great favour with the superintendent of the hospital and the Portinari family; and procured him a commission to decorate a portion of the principal chapel with pictures; a second part being confided to Alesso Baldovinetti; and the then renowned painter, Domenico Veneziano, being engaged to execute the third; he having been invited to Florence on account of the new method, which he had acquired, of painting in oil.^[15] Each of these artists, therefore, gave his attention to his own division of the work, but Andrea was in the highest degree envious of Domenico, because, although he felt conscious that he was himself superior to the Venetian painter in design, he was, nevertheless, enraged to see that he, who was a foreigner, received marks of esteem and friendship from his own fellow citizens. So powerful indeed were these emotions of anger and bitterness, that Andrea began to consider if he could not by one means or another remove this competitor from his sight. Andrea dal Castagno was no less subtle in dissimulation than clever as a painter; he could assume a cheerful countenance at his pleasure, had a ready tongue, was a man of a bold spirit, and was as decided in acting as in resolving; he had the same dispositions towards others as towards Domenico; and when he perceived a fault in the work of an artist, would mark it secretly with his nail.^[16] But when, in his youth, his own works were censured by any one, he would fall on such critics with blows and other injurious retorts, giving them to understand that he was always both able and willing to avenge himself in one mode or another on all who might offend him.

But before we speak of the paintings in the above-named chapel, we will say a few words of Domenico. This master, in company with Piero della Francesca, had executed different works in the Sacristy of Santa Maria, at Loretto, before repairing to Florence; and these paintings, displaying much grace and beauty, had caused his fame to be known in the last-named city, a result to which other works, in various places (in Perugia, for example, where he had painted a chamber in the palace of the Baglioni family, which palace is now destroyed), had also contributed. Being invited to Florence, therefore, the first thing that he did was to paint a Tabernacle in fresco, at the corner of the Carnesecchi, in the angle of the two roads, leading, the one to the new, the other to the old Piazza of Santa Maria Novella. The subject of this work is a Virgin surrounded by various Saints,^[17] and as it pleased the Florentines greatly, and was much commended by the artists of the time, as well as by the citizens, this picture awakened still more bitter rage and envy against poor Domenico, in the ill-regulated mind of Andrea, who determined to accomplish by treachery the purpose which he could not bring about openly, without manifest danger to himself. He, therefore, affected a great friendship for Domenico, and the latter, being of a good and kindly disposition, returned his pretended cordiality with sincere good-will, and willingly accepted his advances, Andrea seeming to him a clever and amusing person. This friendship, therefore, on the one side feigned, on the other sincere, proceeding to intimacy, Domenico, who was very fond of music, and played on the lute, passed the greater part of his evenings with Andrea, when they amused themselves in company, or went together to serenade their “inamorate;” all which greatly delighted Domenico, who sincerely regarding Andrea, instructed him in the method of painting in oil, which was at that time not known in Tuscany.^[18]

Things being thus, Andrea, to relate what occurred in due order, depicted an Annunciation on the portion of the chapel appropriated to him; this work is esteemed to be very beautiful, and is much admired for the attitude of the Angel, whom he represents to be hovering in the air, a thing which had not previously been done. But a much finer work is that in which he has depicted the Virgin ascending the steps of the Temple, whereon are grouped many figures of mendicants: among these is one lifting his cruise, with which he smites one of his fellows on the head, an extremely fine figure, as indeed are all the others.^[19] Andrea, having bestowed much study on the work, and being incited by his emulation with Domenico, finished every part with great care. In the same picture is an octagonal temple, in the midst of a piazza, drawn in perspective: the building is isolated, it exhibits numerous columns, niches, &c., and the principal front is beautifully adorned with statues painted to imitate marbles. Around the piazza, magnificent buildings, in great variety, are represented, and on one side of these, the shadow of the temple, the scene, being one of sun-light, falls with admirable effect, all the difficulties incident to the subject being handled with infinite judgment.

On his part Maestro Domenico depicted the Visit of Joachim to his wife Santa Anna, and beneath this is the birth of Our Lady; the place represented being a chamber, decorated with great splendour. In that picture is a beautiful Child, striking on the door of the room with a hammer: the action of this figure is full of grace. The Marriage of the Virgin follows, and in this part of the work are many portraits from the life, among them those of Messer Bernardetto de’ Medici, constable of the Florentines, wearing a red barett-cap or morion; of Bernardino Guadagni, who was Gonfaloniere; and of Folco Portinari, with other members of his family. The master has likewise presented a Dwarf breaking a staff, and in this action also there is extraordinary animation displayed; there are besides several female figures, wearing vestments such as were customary at the period, all painted with exceeding grace and beauty: this work, however, remained unfinished, for causes which will be related hereafter.

Andrea, meanwhile, had painted the Death of Our Lady in oil on the front of the Chapel; and, whether moved by emulation of Domenico, or simply by the desire to make himself known for the able artist that he certainly was, he bestowed inexpressible care and pains on the work, more particularly on the bier, foreshortened, within which the Virgin is seen lying dead,^[20] and which, though not more than a braccio and a half in length, appears to be fully three. Around the bier are the Apostles; and these figures are treated in such a manner, that, although the satisfaction they feel at seeing their Madonna borne to heaven by Jesus Christ is manifest in their faces, there is yet to be perceived the bitterness of their regret at being left on earth without her. Among these figures of the Apostles are mingled Angels, who bear lighted torches; they have beautiful expression in the heads, and are so well executed as to make it obvious, that Andrea knew how to manage the colours in oil, as well as his competitor Domenico. In this picture Andrea painted the portraits of Messer Rinaldo degli Albizzi, Puccio Pucci, Falganaccio,^[21] by whom the liberation of Cosimo de’ Medici was effected, and Federigo Malavolti,^[22] who kept the keys of the Alberghetto.^[23] He likewise depicted the resemblance of Messer Bernardo di Domenico della Volta, superintendent of the hospital belonging to the convent of Santa Maria Nuova; this figure is on its knees, and is so well done that it might be supposed to breathe On a sort of medallion, at the commencement of the work, Andrea dal Castagno placed his own portrait also, with a face like that of Judas Iscariot,^[24] whom he did indeed resemble, both in person and character.^[25]

Having brought his work thus far towards a successful termination, Andrea, blinded by envy at the praises which he heard given to the abilities of Domenico, determined to rid himself of his presence, and after having reflected on various methods of accomplishing this evil design, he at length fixed on one, which he put in execution in the following manner:—

One evening, in the summer time, Domenico, taking his lute, as was his custom, went forth from Santa Maria Nuova, leaving Andrea in his room drawing, the latter having refused his invitation to accompany him to their amusements as usual, under the pretext that he had to prepare certain drawings of importance. Domenico, having thus gone forth alone to his recreations, Andrea, disguising his person, set himself to wait for his companion’s return at the corner of a street; and when Domenico, on his way home, arrived at the place, he fell upon him with a certain leaden weight, and therewith crushed the lute and chest of his victim with repeated blows. But even this did not appear to him sufficient for his purpose, and with the same weapon he struck his victim heavily on the head; then, leaving him lying on the ground, he returned to his room in Santa Maria Nuova, where, having locked the door, he sat down to his drawing as he had been left by Domenico.

Meanwhile the noise had been heard, and the servants hastening out, and, finding what had happened, went first to call Andrea, and to relate the bad news to the traitor and murderer himself; who, running to where the others all stood around Domenico, was not to be consoled, nor did he cease from crying, “Alas my brother! alas my brother!”^[26] Finally, the murdered man expired in his arms, and in spite of all the efforts made to discover who had committed that homicide, it was never known, nor would the truth ever have been made manifest, if Andrea himself, finding his death approaching, had not divulged it in confession.^[27]

In San Miniato-fra-le-Torri, in Florence, Andrea dal Castagno painted a picture, the subject of which is an Assumption of the Virgin, with two figures; and in a tabernacle at Lanchetta, beyond the gate of the Croce, he painted another, also representing Our Lady. The same artist depicted the effigies of certain celebrated men in the house of the Carducci family, now belonging to the Pandolfini. These are partly imaginary and partly portraits; raong them are Filippo Spano degli Scolari, Dante, Petrarch, Boccaccio, and others.^[28] At the Scarperia in Magello, he painted an undraped figure of Charity over the door of the vicar’s palace; it was a very beautiful thing, but has been destroyed. In the year 1478, when Giuliano de’ Medici was killed, and Lorenzo his brother wounded in the church of Santa Maria del Fiore, by the Pazzi and others, their adherents and fellow conspirators; it was resolved by the Signoria, that all who had taken part in the plot should be painted as traitors on the fagade of the palace of the Podesta: whereupon, the work being offered to Andrea dal Castagno, he, as the servant of, and much beholden to the house of Medici, accepted the office very willingly; and having set himself to the work, he executed it in such a manner that it was a perfect wonder. It would indeed not be possible adequately to describe the art and judgment displayed in these figures, for the most part copied from the life, and hung up by the feet in the strangest attitudes, which were infinitely varied and exceedingly fine.^[29] The approbation which this work obtained from the whole city, but more especially from those who were well versed in the art of painting, caused the artist to be no longer named Andrea dal Castagno, but he was ever afterwards called Andrea degl’ Impiccati.^[30]

This master lived in a very honourable manner; but as he spent freely, more particularly in dress and liberal housekeeping, he left but little property; when, at the age of seventyone, he departed to another life.^[31] A short time only had elapsed after his death, before the impious crime he had committed against Domenico, who had been so truly his friend, became known, and he was buried, not with honourable obsequies, but with marks of disgrace, in Santa Maria Nuova,^[32] where, in his fifty-sixth year, the unfortunate Domenico had also been buried. The work which the last-mentioned master had commenced in Santa Maria Nuova remained incomplete, nor was it ever finished. The picture of the High Altar of Santa Lucia de’ Bardi is also by Domenico Yeneziano, and in this he has represented Our Lady with the Child in her arms, San Giovanni Batista, San Niccolo, San Francesco, and Santa Lucia,^[33] an admirably executed picture, and one which the master had brought to the utmost perfection but a short time before his death.

The disciples of Andrea dal Castagno were Jacopo del Corso, who was a tolerably good master; Pisanello, Marchino, Piero del Pollaiuolo, and Giovanni da Rovezzano.

---

1. Baldinucci considers Andrea dal Castagno to have been a scholar of Massaccio. Lanzi calls him the imitator of that master. —See History of Painting (English edition), vol. i. p. 80.
2. These paintings are destroyed.
3. This work was for many years believed to have perished, but a certain Fra Lorenzo, a lay brother and lover of the fine arts, perceivirig them to be only whitened over, set himself diligently to remove the covering and restored them to the light of day. From the various changes made in thp edifice, the place where this painting is to be seen, has now become one oi the rooms of the Chancery. In the Etruria Pittrice will be found an engraving of this work, plate xxii.—Masselli.
4. This work is totally lost.
5. See Richa, Chiese Fiorentine, vol. iii. pp. 66, 67.
6. In the Florentine edition of Vasari, published 1771, there is a note to the effect that this work might still be seen, but that is no longer the case. It has perhaps disappeared under the brush of a white-washer.
7. All the earlier editions of Vasari speak of these paintings as lost, but the latest Florentine edition has a note to the following effect:—The villa now belongs to the Marchese Rinuccini. The first writer who men*tions the work is the priest Francesco Albertini, who speaks of the beautiful Halls of Pandolfo Pandolfini, decorated by the hand of Andreino, with ‘sybils and famous men of Florence.’ After Vasari no writer named them, and this silence caused it to be believed that they were lost, but having been informed by our friend, the artist Emilio Burci, that they were still in existence, we proceeded to visit the place for the purpose of affording correct information to our readers concerning them. Of the four walls, the paintings on one only remain untouched, those of the other three are whitewashed or perhaps destroyed. In the upper part of the wall are figured six men and three women, all eminent persons, placed within a sort of square niche, supported by pilasters painted in perspective with much judgment. The figures are four braccia high, they stand upright, are clothed according to the grade and condition of each, and display a knowledge of designs and force of execution, which justify the remark of Vasari. The first of these personages is Filippo Scolari (see Life of Dello, vol. i.), called Pippo Spano, as we are informed by the inscription beneath. Farinata degli Uberti follows. Next comes the Grand Seneschal of the kingdom of Naples, Niccolo Acciainoli; beside whom is the Sibilla Cumana quæ prophetavit adventum Christi, as the inscription declares. Over the door, which is in the centre of the wall, is Queen Esther, and next to her is the figure of “Tomiri” with the following motto:—Thomir Tartaro vindicavit se de filio et patriam liberavit suam. The seventh figure is that of Dante, Petrarch stands beside him; and the last is Boccaccio. In the architrave of the door are the arms of the Pandolfini family, and the cornice presents a frieze decorated with figures of boys, most gracefully depicted; but this part of the work is unhappily much injured.” —Ed. Flor. 1849.
8. None of these paintings are now to be seen.
9. Notwithstanding the many changes suffered by this building, the lunette over the door of the church has escaped destruction. —Masselli,
10. Baldinucci bewails the loss of this work, which was replaced in his own day (1693) by another painting.
11. The nature of Andrea dal Castagno was so thoroughly saturated with these evil passions, that he sometimes involuntarily imparted the expression of them to the heads of his saints. The face of St. John the Baptist, for example, in the chapel of the Cavalcanti, has an expression much more appropriate to the executioner who beheads him, than to that of a saint. The loss of the work here described is thus all the more to be deplored, as he had apparently sought to avoid this defect in the countenance of the Saviour as there depicted.—Masselli.
12. The three pictures by this master are still remaining in the Florentine gallery—St. Jerome, Mary Magdalen, and John the Baptist, namely; all display the defects of his colouring, which is excessively hard, dark, and dry in all; the faces also have something low and evil in them. —Masselli, and Germ. Ed. vol. iii. p. 37.
13. Niccolò di Giovanni de’ Maurucci of Tolentino, elected captain-general of the Florentines in 1433. He was made prisoner in the same year by the Milanese general, Niccolò Piccinino, and died shortly afterwards, not without suspicion of poison.
14. The Sant’ Andrea and Last Supper have both disappeared.
15. Among the many observations of the various writers rvho discuss the question of when oil-painting was first practised among the Italians, is one by Della Valle, who remarks on this passage, that “painting in oil could not have been new in Tuscany at that time, since there is an oil-painting in Siena with the following inscription;—Hoc opus Johannes Pauli de Senis, pinxit mccccxxx. Lettere Sanesi, 3, 54. To some of the numerous writers who treat on this subject, the reader has already been referred. See note, p. 58.
16. The German commentator, Forster, gives a somewhat different reading of this passage; but the one here given appears to the present writer to be Vasari's true meaning.
17. This work is still in existence.
18. The only painting by Domenico of which the authenticity is indubitable, that in Santa Lucia de’ Magnoli, namely, is affirmed by Rumohr, and other competent authorities, who examined it before its restoration, to be painted, not in oil, but in tempera. The later Florentine annotators question whether Domenico did receive instruction from Antonello da Messina, and incline to the opinion that he did not.
19. “A vulgar idea,” remarks the latest Florentine annotator, “by no means in harmony with the subject of the picture. Its introduction here must be attributed to the peculiar character of the artist.”—Ed. Flor. 1849.
20. The Italian cataletto is but poorly represented by the English word bier, on which the body simply reposes. The Italian bier is a canopied structure of elaborate decoration, and occupying a large space, within which the corpse is placed: this may very well present sufficient opportunity to the artist for the display of his knowledge in perspective, which the simple bier would but insufficiently do, except under peculiar circumstances of position, &c.
21. Vasari, in his Ragionamenti (Giornata 2, Ragionamento 1), calls this person Fargagnaccio; and Cavalcanti (Storie Fiorentine, 1, 526, 27.) Ferganaccio; he effected the liberation of Cosimo by offering a bribe of 1000 florins to the Gonfaloniere, Bernardo Guadagni.
22. See Cavalcanti, ut supra, for the noble words with which Federigo Malavolti rejects the proposal of Mariotto Albertinelli, who would have poisoned Cosimo, and the firm opposition he made to those members of the Council of Eight, who desired to have him strangled.
23. A small room, still to be seen in the tower of the Palazzo Vecchio, wherein Cosimo de’ Medici was imprisoned in consequence of the intrigues of Rinaldo degli Albizzi. —See Machiavelli, Storie Fiorentine, lib. 4.
24. “A curious instance of remorse of conscience,” remarks Mrs. Jameson. —Poetry of Sacred and Legendary Art, vol. i. p. 260.
25. These works were all destroyed, those of Domenico and Alesso, as well as that of Andrea, when the ciborium (sanctuary for holding the sacrament) of marble was erected in the principal chapel of the church. — Förster.
26. Some doubt has of late been thrown on this story, which does not appear to rest on any very good authority. The motive for the committal of that atrocious crime, by which the memory of Andrea dal Castagno has been rendered for ever odious, has been usually said to have been his desire to be the sole possessor of the secret imparted to him by Domenico, a motive of which Vasari says nothing, and which later writers, Rumohr and Gaye, for example, declare could not have existed. For the reasons with which they support this opinion, we refer the reader to their works so often cited.
27. Della Valle, who accepts the usual version of this story, accounts for the secrecy of the confessional having been violated by the supposition that Andrea had charged the priest to make known his guilt, to the intent that no innocent person should thenceforward be unjustly suspected of the crime.
28. The later Florentine annotators are inclined to think that Vasari has made two works of one, and inquire if he may not be thinking of the work executed forPandolfo Pandolfini at Legnara. See ante, p. 95. Their conjecture receives a certain degree of confirmation from the fact that no trace of the works here described can be found.
29. This work has long been lost.
30. Andrea of the hanged, or “gibbeted.”
31. Filarete, in his Trattato, mentions a painter named Andrea among those who died in the year 1460; to this name there is appended, in the codex of the Magliabecchiana, the words “degl’ Impiccati,” a circumstance which has caused some writers to conjecture that Andrea degl’ Impiccati was a different person from Andrea dal Castagno.
32. Where, as we find in the first edition of Vasari, the following epitaph was erected to him.

    “Castaneo Andrece mensura incognita nulla,
    Atque color nullus, linea nulla fuit.
    Invidia exarsit, fuitque proclivis ad iram;
    Domitium (sic) hinc Venetum sustulit insidiis
    Domitium illustrem pictura; turpat acutum
    Sic saepe ingenium vis inimica mali.”

33. This picture, still in good preservation, is now on one of the lateral altars; it is authenticated by the name of the master inscribed on its base, an a,dmirable work, remark the Florentine commentators of all periods, and one that fully suffices to justify the fame of this artist. Rumohr declares the face of Santa Lucia to be worthy of Fra Angelico. The predella of the pictures also is mentioned by Lanzi, but this is no longer to be found. An engraving of this work will be found in Rosini.—Storia della Pittura Italiana. It is affirmed by Forster, Kunstblatt, 1830, p. 67, to be painted in oil. Rumohr and Gaye, on the contrary, consider it to be in tempera.