Lives of the Most Excellent Painters, Sculptors, and Architects/Bartolommeo da Bagnacavallo

by Giorgio Vasari

 

BARTOLOMMEO DA BAGNACAVALLO, AND OTHER PAINTERS OF ROMAGNA.

[Born towards the end of the 15th century, and died within the first half of the 16th century.]

There is no doubt that the emulation to which artists are impelled by their desire for glory is for the most part to be highly extolled, but whenever it happens that he who thus strives for distinction is too much inflated by vanity and pride, the ability of which he has sought to obtain the reputation is usually seen to resolve itself, after a certain lapse of time, into mere smoke and mist. Never will that artist advance to perfection who cannot perceive his own defects, and who has no fear of flnding himself surpassed by the works of others; much more safely does the hope of the modest and timid student conduct him towards his object, while, earnestly pursuing an upright walk in life, he does due honour to the works of good masters and labours with all diligence to imitate their productions,—much more certainly, I say, does the hope of such a student conduct him to the end in view, than does that of one who has his head full of vapour and vain-glory, as was the case with Bartolommeo da Bagnacavallo,^[1] Amico of Bologna,^[2] Girolamo da Codignuola and Innocenzio da Imola, all painters who, living in Bologna at the same period, were so bitterly envious of each other, that nothing worse could well be imagined.^[3] Nay, what is yet more, the pride and self-sufficiency of these artists, not being founded on the possession of great abilities, seduced them from that true path which does eventually lead all those to immortality who labour in the hope of doing well, rather than with the purpose of merely becoming victors in the struggle. But from this their defect, it resulted that these painters did not in the end attain to that excellence of which the commencement they had made warranted the expectation, seeing that they too lightly presumed themselves to be masters, and were thus turned from the true and safe way.

Bartolommeo da Bagnacavallo arrived in Rome at the time when Raffaello da Urbino was in that city,^[4] proposing to give evidence by his works of that perfection which he believed himself endowed with the power of attaining. Having as a youth acquired some reputation in Bologna, certain hopes had been conceived respecting him, and he was appointed to execute a work in the church of the Pace; this was a picture in the first chapel on the right hand of the principal entrance, and which is immediately above the chapel of the Sienese Baldassare Peruzzi.^[5] But as he did not appear to have produced so good an effect as he had expected from this attempt, Bartolommeo returned to Bologna, where himself and the artists above-mentioned undertook to execute certain paintings for the church of San Petronio in competition with each other, each depicting a story from the Life of Christ and the Virgin Mother in the chapel of the Madonna, which is near the principal door and on the right hand on entering the church.^[6] There is but little difference to be distinguished in the degree of merit which these works, exhibit, but Bartolommeo was adjudged to have a softer as well as a more powerful manner than his competitors. For although in the story of Maestro Amico there was a vast number of somewhat remarkable circumstances, as for example the Soldiers at the Resurrection of the Saviour, who are represented in stooping and distorted attitudes, while many are depicted as crushed and struggling beneath the stone of the sepulchre which has fallen upon them, yet the work of Bartolommeo, having more unity of design and greater harmony of colouring, was adjudged by artists to be the best. Bartolommeo then joined himself to Biagio of Bologna,^[7] who had more facility than true excellence in the art, and these two painted together a refectory for the Scopetine Monks in San Salvatore;^[8] this work they executed partly in fresco and partly a secco, the subject chosen being the Miracle performed by Our Saviour in feeding five thousand persons with five loaves and two fishes. On one of the walls of the library also these artists painted the Disputation of Sant’ Agostino,^[9] and here they depicted certain views in perspective which are tolerably well done. Having seen the wmrks of Raffaello and worked with him, these masters had acquired a certain method which, upon the whole, appeared as though it might be good, and yet they did not of a truth give that attention to the nicer peculiarities of art which they should have done. Still, as at that time there were no painters in Bologna who knew better than themselves, they were considered by those who were then ruling, as well as by the people of that city, to be the best masters in Italy. Beneath the vaulting of the palace of the Podesta, there are some pictures of a circular form by the hand of Bartolommeo,^[10] and opposite to the palace of the Fantucci, in San Vitale, there is a painting by the same artist, which represents the Visitation of Our Lady to St. Elizabeth.^[11] In the monastery of the Servites at Bologna, there are certain Saints painted in fresco by Innocenzio da Imola,^[12] around a picture of the Annunciation, in oil: and in San Michele-in-Bosco, Bartolommeo painted a chapel in fresco, for Ramazzotto, the leader of the party of Scaricalasino in Romagna.^[13] In one of the chapels of San Stefano, also, the last-named artist painted two Saints in fresco, with Angels represented as Children in the air above, which are tolerably well done;^[14] and in the church of San Jacopo, this master decorated a chapel for Messer Annibale del Corello; the subject of the work, which comprises a considerable number of figures, being the Circumcision of Our Lord.^[15] The lunette above is occupied by a picture representing Abraham about to offer the Sacrifice of his son to Cod, also by the hand of Bartolommeo; and this is a work which was in truth conducted in a very good and able manner.

Bartolommeo likewise painted a small picture in tempera for the Misericordia, which is situate at a short distance from Bologna; herein he represented the Madonna with certain Saints.^[16] He executed many other pictures for different parts of the city, with other works, which are in the possession of various owners among the citizens.^[17] It is indeed certain, that both in his life and works Bagnacavallo was above mediocrity, and much superior to the other artists of whom we are now speaking: his drawing and invention also were of greater merit than those of the others abovenamed. Of the truth of what is here said, an example may be seen in our own book of drawings, which contains one by this artist, wherein he has delineated our Saviour Christ Disputing with the Doctors in the Temple, with a building, which is very ably and judiciously designed. Bagnacavallo ended his life at the age of fifty-eight.^[18] He had been always much envied by the Bolognese Amico, who was a self-willed and eccentric man; the figures of Amico also are in like manner contorted and half wild, so to speak. Examples of these capricious performances may be seen in many parts of Italy, but more particularly in Bologna, where he spent the greater part of his time.

But if Amico had followed up the many pains which he gave himself in drawing, with an execution of the true and right kind, and not as chance and caprice dictated, he might, peradventure, have passed beyond many who have been considered good and able artists; nay, so much is done by the mere persistence in practice, that among the works of a master who has produced large numbers, it is almost impossible but that something good should be found, and such, accordingly, among the many by this artist, is the fa9ade of a building which he painted in fresco, on the piazza of the Marsigli. It presents numerous divisions, in which are represented stories, and above these is a frieze of animals engaged in combat; these last are depicted with great spirit and boldness, and may be considered the best work ever produced by this master.^[19] Another façade was painted by Amico at the gate of San Mammalo;^[20] likewise executed the frieze around the principal chapel of San Salvatore; but this last is so extravagant, and so full of absurdities in every part, that it might well make a man laugh, even when he was most disposed to weep. In a word, there is scarcely a church or street in Bologna which does not exhibit some daub from the hand of Amico.^[21]

This artist painted not a little in Rome also; and in the church of San Friano, at Lucca, he decorated a chapel, Avhich, with many strange and extravagant fancies, has some things worthy of praise, as are, for example, the Stories of the Cross, and others from the life of St. Augustine, wherein there are numerous portraits of distinguished persons belonging to the city of Lucca.^[22] This was indeed the most meritorious fresco in varied colours ever executed by Amico. There are besides certain stories from the life of San Niccolo by the same master, at the altar of that saint, in the church of San Jacopo in Bologna, with a series of views in perspective beneath them, which merit commendation.^[23]

When the Emperor Charles V. visited Bologna, Amico erected an Arch of Triumph at the gate of the palace; the statues in relief, for the decoration whereof, were executed by Alfonso Lombardi; and if, in works of this kind, Amico displayed more aptitude than some other masters have done, that can occasion no surprise, if we remember that he is said to have wandered over all Italy, like an eccentric and singular person as he was, drawing and copying everything that he could find, whether in painting or relief, and whether a good work or a bad one; thus he could scarcely fail to acquire a certain amount of facility in practice. But it is reported of Amico, that when he discovered any thing fit for his purposes, he gladly laid his hands upon it, but destroyed or spoiled it after he had done, that none other might avail himself thereof. And the result of all his pains and labours was the strange and fantastic manner which we see.

Having reached the age of seventy, while still pursuing this extraordinary mode of life, and eccentric manner in art, Amico finally became quite mad. Messer Francesco Guicciardini, a noble Florentine, and the veracious historian of his own times, who was then at the head of the government in Bologna, found much amusement in the singularities of this artist, as did the whole city of Bologna. Many persons are nevertheless of opinion that this madness of his was mingled with a certain amount of craft and cunning. He once, while half crazed, and in very great need, sold some of his goods at a very low price, but after a time, and when he had somewhat recovered himself, he demanded to have them restored to him, and did accordingly obtain the restitution of the same, under certain conditions, having sold them, as he averred, while in a state of complete insanity; whereas the case may have been totally different. Not that I will affirm it to have been thus; but what I may say is, that I have many times heard it related in that wise.

Amico gave a certain portion of his time to sculpture, and executed, as he best might, a group in marble, for the church of San Petronio. The subject of this work is the Dead Christ supported by Nicodemus, and Amico treated it in the manner which he had adopted for his paintings. This artist was in the habit of painting with both hands at the same time, holding the pencil with the lighter tints in one hand, and that with the darker colours in the other, but the best of all, and what was more laughable than any thing else, was the fact that he would bind a leather girdle round his waist, and would have this hung about with little pots filled with colours prepared for use, in such sort that he looked like the Devil of San Macario, with all those bottles of his; and when he was thus working, with his spectacles on his nose, he was a figure that might have made the very stones laugh, more particularly when he began to chatter, for Amico would gabble enough for twenty men, and as he said the strangest things in the world, his manner of proceeding was a perpetual jest. It is true that he never spoke well of any one, however distinguished by excellence and ability, or however well endowed, whether by nature or the gifts of fortune. His best delight was, as we have said, in babbling and gossip. One evening, about the time of the Ave Maria, Amico met another painter of Bologna who had been buying cabbages in the market, and whom he kept listening to his stories and talk of various kinds beneath the loggia^ of the Podesta until the night was almost spent, the poor man not being able to find any means of delivering liimself from his prate. At length, and when the day was almost on the point of appearing, Amico exclaimed, “There, get away, and boil thy cabbage, for the time is getting on.”

Many other jests and follies of a similar kind are related of Amico, but of these I will make no further mention, since it is now time to say some few words of Girolamo da Codignuola.^[24] This artist painted many pictures and portraits from the life in Bologna, and among them are two in the palace of the Vinacci family, which are exceedingly beautiful. He also took the likeness of Monsignore di Foix, after the death of that leader, who was killed at the rout of Ravenna; and no long time after having painted this, he depicted a portrait of Maximilian Sforza. In the church of San Giuseppe, there is a picture by the hand of Girolamo Codignuola, for which he obtained great commendation;^[25] and the picture in oil, which is in the chapel of San Benedetto, in the church of San Michele, in Bologna, is by this artist. This last work caused Girolamo to receive a commission for a part of the paintings drawn in fresco, and executed a secco around that church, which he completed in company with Biagio of Bologna, and wherein there may be found evidence of considerable ability, as we have remarked when speaking of the manner of the above-named Biagio.^[26]

In the Church of Santa Colomba at Rimini, Girolamo painted a figure of Santa Lucia; this work he executed in competition with Benedetto da Ferrara and Lattanzio; it occupies an angle of the building, and the expression is rather voluptuous than appropriate or beautiful. In the apsis of the same church, he depicted a Coronation of Our Lady, with the twelve Apostles and the four Evangelists, but the heads are so large and frightful that they are a shame to behold. Returning to Bologna, Girolamo did not remain there any great length of time, but repaired to Eome, where he painted manj great personages from the life, the Pope, Paul III. among others. But finding that to be a country which would not do for him, and one wherein he could have but slight hope of acquiring honour, profit, or reputation among all the most noble artists labouring there, Girolamo departed to Naples, where he found some friends who favoured him to the utmost of their power. Among these w^as Messer Tommaso Cambi, a Florentine merchant, who was a zealous lover of paintings and antiquities in marble, by whom he was more particularly assisted, and who supplied him with all things whereof he had need.

Having, then, set himself to work, Girolamo painted a picture in oil for the chapel of a certain Messer Antonello, bishop of I know not what place, the subject chosen being the Adoration of the Magi. He also painted another picture, likewise in oil, for the Church of Sant’ Aniello, and in this he depicted Our Lady, San Paolo, and San Giovanni Battista: many portraits of the nobles were also taken from the life by our artist in that city. Being somewhat advanced in years, Girolamo lived sparingly, and endeavoured to lay by money, but after no great lapse of time, on finding that he had nothing more to do in Naples, he returned to Rome.

Here certain acquaintances of his, having heard that he had saved a few crowns, persuaded him that, for the better regulation of his life, he would do well to marry, whereupon, believing that he should improve his condition, as they said, he suffered himself to be prevailed on by those men, who for their own convenience then imposed on him a wretched prostitute previously entertained by themselves. But soon discovering his misfortune, the popr man w^as so overwhelmed with grief, that in a few weeks he died thereof, being then in his sixty-ninth year.

And now to say somewhat of Innocenzio da Imolo.^[27] This artist was many years in Florence with Mariotto Albertinelli,^[28] and having subsequently returned to Imola, he there performed numerous works; but being afterwards persuaded by the Count Giovanni Battista Bentivogli to settle in Bologna, he repaired to that city accordingly. Among the first of his works produced there, was a copy that he made from a picture which had been painted by Raffaello da Urbino for the Signor Lionello da Carpi, and he also executed a Fresco about the same time for the Monks of San Michelein-Bosco. This work is in the Chapter-house; the subjects are the Death of the Virgin and the Resurrection of Our Saviour; and Innocenzio may certainly be said to have completed it with very great care and much delicacy. The picture of the High Altar in the church of the same convent is also by this master, and the upper part of it exhibits a very good manner.^[29]

For the Servites of Bologna, Innocenzio painted an Annunciation,^[30] with a figure of Christ on the cross, for San Salvatore,^[31] and many pictures of various kinds by his hand may be found dispersed all over that city. At the Viola he painted three Loggie in fresco for the Cardinal of Juvrea, two stories in each, that is to say; these he depicted after the designs of other masters, but they are executed with much care.^[32] In San Jacopo this artist painted a picture in fresco with one in oil for Madonna Benozza, which cannot be considered as less than a tolerably good work.^[33] Among many other portraits, Innocenzio took that of the Cardinal Francesco Alidosio; this I have myself seen at Imola, together with that of the Cardinal Bernardino Carvirale, and they are both tolerably good.

Innocenzio was a person of modest and upright character, wherefore he constantly avoided the society of those Bolognese painters who were of contrary dispositions. It was the habit of this artist to subject himself to more severe labour than his strength was able to endure; wherefore, in the fifty-sixth year of his age, having fallen sick of a pestilential fever,^[34] the disease found him in so weak and exhausted a state, that his life was destroyed by its violence in a very few days. He had undertaken a work to be executed at a short distance from Bologna, but as this remained unfinished, or rather scarcely well commefted at his death, it was completed at his own desire by the Bolognese painter Prospero Fontana,^[35] who acquitted himself of his task to admiration. The works of all the above-named artists were performed between the years 1506 and 1542, and there are drawings by them all in our collection of designs.^[36]

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1. The family name of this artist was Ramenghi; Bagnacavallo was the place of his birth. Malvasia, Felsina Pittrice, repeats the account hero given by Vasari, with few additions, but with a manifest disposition to attribute every mistake of our author to evil intention. For minute details respecting this artist, the reader is referred to Vaccolini, Della Vita di B. Ramenghi, &c., Lugo, 1835.
2. Amico Aspertini, already alluded to in the life of Properzia de’ Rossi.
3. Here Vasari has somewhat unjustly attributed to four artists a vice with which, according to good authorities, one only of their number, Amico Aspertini namely, was truly chargeable.
4. Bagnacavallo was a disciple of Francia, and was employed by Raphael in the fresco painting of the Vatican.— Förster.
5. The pictures of Baldassare still remain in the Church of the Pace, but there are none by Bartolommeo da Bagnacavallo, It has even been conjectured that the chapel called della Pace, in the church of San Petronio, in Bologna, is the place here meant.
6. These works have been destroyed.
7. Biagio Pupini, or Maestro Biagio delle Lame. Vasari is said to have had frequent dissensions with this artist.
8. The Monastery of San Salvatore having been turned into barracks, the paintings of the Refectory have been left to the mercy of the soldiery.
9. Lanzi speaks of this work in more favourable terms. See History of Painting, vol. iii. p, 36.
10. These paintings have been destroyed.
11. Still to he seen in the church of San Vitale.
12. These works also are in good preservation.
13. The paintings in the chapel of Ramazzotto have been destroyed, with the exception of a portion representing Jehovah and certain prophets.— Förster.
14. There is now only the Madonna crowned by the Saviour remaining, and this is in the cloister of San Stefano.—Ed. Flor. 1832 -8.
15. The same subject is still to be seen depicted in this place, but is by Sammacchini.—Ibid.
16. These works have been destroyed.
17. Among these may be enumerated a Madonna, with the Divine Child, in the Piazza di San Domenico, and a picture in the Gallery of the Academy of Bologna. There are some others in Dresden also. See Lanzi, History, &.C., vol. iii. p. 35, et seq.
18. Bartolommeo Bagnacavallo died in the year 1542. —Ed. Flor. 1832-8.
19. The pictures painted on this façade have perished.
20. There is also a picture by this master in the Church of San Martino at Bologna, the colouring of which is very good.—Masselli.
21. There are nevertheless many works in Bologna by his hand, which are far from deserving to be described as danbs; witness those in the ruined chapel of St. Cecilia. —Förster.
22. The paintings of the Chapel of Sant’ Agostino have been very judiciously restored by Ridolfi. —Ibid.
23. The paintings executed by Amico in San Jacopo have been destroyed.— Masselli.
24. Girolamo Marchesi, called “Ii Cotignuola,” from the place of his birth, was a disciple of Francia, and an imitator of Raphael. He died in Rome during the potificate of Paul III.—Ed. Flor. 1832-8. In 1550 namely, and in his sixty-ninth year.
25. Now in the Gallery of the Academy of Bologna. See Giordani, Catalogo, &c.
26. The paintings executed in San Michele have perished, with the exception of figures representing the four Evangelists, which are in the sacristy.
27. Innocenzio Francucci of Imola, who was born about 1494. — Ed. Flor. 1832 -8.
28. Malvasia cites a note from the day-book of Francia, whereby we learn that Innocenzio was first the disciple of that master, and which is as follows:—“1568, 7th May, this day I took into my school Nocenzio Francuccio, an Imolese,” &c.
29. Now in the Gallery of the Academy in Bologna. The subject is Our Lady in Glory, with S.S. Michael, Peter, and Benedict.
30. Still in the church of the Servites, and bears the date 1517.
31. This work also retains its place.
32. See the Discorso of Giordani, Milan, 1819.
33. There is a Marriage of St. Catherine by Innocenzio, in the Church of San Jacopo, with a small picture of the Birth of Christ.
34. His death must have taken place after the year 1549, since he painted the Crucifix of San Salvatore in that year.
35. Prospero di Silvio Fontana was born at Bologna in 1512, and died in 1597. He was the companion of Vasari, and the first master of Ludovico Caracci. He was a better painter of portraits than of historical representations, and had a daughter named Lavinia, who also painted well, but distinguished herself more in portraits than in any other branch of art.— Ed. Flor. 1832 -8.
36. Two pictures by this master are mentioned by Förster as omitted here: the one a Madonna in Glory, with St. Aid, patron of the Blacksmiths, and St. Petronius, protector of Bologna, in the Gallery of Berlin; and the other is of similar character and arrangement, but the saints are S.S. Geminianus, Francis, Clara, and Mary Magdalen; this is in the Pinacothek at Munich.— German Translation of Vasari.