Lives of the Most Excellent Painters, Sculptors, and Architects/Polidoro and Maturino

by Giorgio Vasari

 

THE PAINTERS POLLDORO OF CARAVAGGIO, AND MATURINO OF FLORENCE.

[born end of I5th century—died 1543.] [born 149...—died 1530.]

In our modern age of gold, for so may the fortunate pontificate of Leo X. be called, for all noble artists and men of ability,—in that our modern age of gold, I say, a distinguished position was obtained by Polidoro of Caravaggio^[1] in Lombardy, who took place among the highest in art, not by means of long and patient study, but because he had been born and produced by nature to be a painter.

This artist arrived in Home at the time when the Loggie of the Papal Palace were in course of construction, under the direction of Raffaello da Urbino, and there he carried the hod or pail for the masons up to his eighteenth year. But when Giovanni da Udine commenced the decoration of the Loggie, and the building and painting of work proceeded together, the great inclination for painting which had always been felt by Polidoro, who was strongly disposed to the arts of design, did not fail to render itself manifest. He so conducted himself, moreover, that after no long time he was admitted to the intimacy of many among the most able of the young men who there exercised the art; when observing their drawings, with the methods pursued by them in their work, he also began to attempt drawing.

But among all those who were then working in that place, Polidoro selected for his companion Maturino of Florence, who was at that time in the chapel of the Pope, and was considered to be an excellent designer of antiquities. By his intercourse with Maturino, therefore, the love of Polidoro for painting increased to such a degree, that in a few months he attained the power of performing works which sufficiently proved the extent of his abilities, and utterly astonished those who had so lately seen him in the condition we have described. Wherefore, as the works of the Loggie were continually proceeding, Polidoro found opportunity so zealously to employ himself in competition with the other young men working there, and he distinguished himself so creditably even among the best and most skilful of them, that he acquired his art to perfection, nor did he depart from that work until he had obtained the true glory of being reputed to possess the finest and most noble genius of all who were then employed thereon.

Meanwhile the love of Maturino for Polidoro, and that of Polidoro for Maturino, had so greatly increased, that they resolved, in the manner of true brothers and faithful companions, to live and die together;^[2] wherefore having united their projects, their purses, and their labours, they began with one accord to work together. But there were at that time many painters in Rome who held much higher rank in art than themselves, and who merited, as they possessed, the reputation of giving to their works a more life-like and animated colouring, with a more noble and chastened manner, than had been acquired by our two artists; they consequently determined to imitate the methods of the Sienese master Baldassare, who had decorated several fronts of palaces in chiaroscuro; and seeing that this mode of ornament was much prevailing, they resolved to give their attention thenceforward to that branch in particular.

Their first work in this manner was commenced by our artists on Montecavallo, opposite to San Silvestro, where they laboured in company with Pellegrino da Modena, and that work gave them courage to attempt an undertaking well calculated to assist their decision as to whether this were to be their peculiar branch of art or not. They accordingly proceeded to decorate in a similar manner the fagade of a building opposite to the lateral door of San Salvatore del Lauro; they also painted an historical representation near the side door of the Minerva, with another at San Rocco-a-Ripetta, the last mentioned being a frieze composed of sea monsters. During this first period of their career many other works, some of less merit than those just named, were executed by Polidoro and Maturino in various parts of Rome, but these we need not further enumerate, since they afterwards produced examples in the same manner of much higher merit.

Encouraged by their success, the friends devoted themselves zealously to the study of the antiquities abounding in Rome, imitating the works in marble with their chiaro-scuro; and herein they proceeded with so much diligence that there did not remain a column, a tomb, a vase, a statue, or a story in relief, whether entire or broken, which they did not copy and eventually turn to their purposes. The constancy and determination with which they gave their whole mind to this vocation was such, that they both acquired the most perfect facility in copying the manner of the antique, and the labours of the one were so exactly similar to those of the other, that as the minds of both were actuated by one will only, so did the hands of each express precisely the same idea; and although Maturino was not so powerfully endowed by nature as was Polidoro, yet the perpetual imitation of the same style by the former in company with the latter, and their incessantly labouring together, had produced such an effect, that their performances were exactly similar; whichever placed his hand to the work the effect appeared the same, whether as regarded composition, expression, or manner.

On the Piazza di Capranica, as you go into the Colonna,^[3] these artists painted a fagade whereon they depicted the Theological Virtues, with a frieze of remarkable invention beneath the windows; this last exhibited, as the most prominent figure, a draped statue of Rome typifying the Faith, holding the chalice and the Host^[4] in her hands, and having subjugated all the nations of the earth, whose people are unanimously flocking to offer her tribute; last of all are seen the Turks, who have likewise submitted themselves to the yoke, and are shooting with arrows at the tomb of Mahomet. The whole ending in the fulfilment of the words of Scripture, that “there shall be one fold under one shepherd.” Andofa truth these artists had no equals in richness of invention, whereof we have ample proof in all their works, which exhibit a surprising variety of habiliments and decorations for every part of the person, with the most singular fancies of every kind, all executed in a very careful and most admirable manner. A further testimony to the value of their labours is in the frequency with which they have been and are copied and imitated by foreign masters, wherefore it may safely be averred that by the fine manner they have displayed, and by the admirable facility of their execution, these artists have rendered more important services to art than have been performed by all the other masters from Cimabue downwards. It has accordingly always been remarked in Rome, and so continues to be, that the designers working in that city are more frequently to be seen employed about the works of Polidoro and Maturino than about those of all the other modern painters.

In the Borgo Nuovo these masters painted a façade in the manner called graffito, with another at the corner of the Pace in a similar manner; and at no great distance from the last-mentioned, at the house of the Spinoli namely, as you go towards the Parione, they painted a fagade whereon are represented games performed, and sacrifices offered after the custom of the ancients, with the death of Tarpia. Near the Torre di Nona, likewise, on the side towards the bridge of Sant’ Angelo, there is a small fagade of their work, representing the Triumph of Camillus, with a Sacrifice after the antique.^[5] In the road which leads to the Madonna del Ponte there is also an exceedingly beautiful fa9ade by these masters, with the story of Perillus, who is represented when about to be shut up in the brazen bull which he had fabricated; and here the force which is used by those who are compelling him to enter the bull, with the terror of the spectators who are Waiting to behold a manner of death so unwonted, are expressed with great ability. There is besides the seated figure of Phalaris (as I believe),^[6] who commands that execution with an expression of imperious determination, which is very beautifully rendered; thus showing that so he has resolved to punish the too ferocious invention of him who had contrived that new method of destroying life M'ith so fearful an addition of torment. This work is furthermore enrielied by a most beautiful frieze of children and other figures, painted to imitate bronze. Higher up in the street, and on the façade of the house where the figure called the Image of the Bridge is placed, Polidoro and Maturino depicted historical representations, the figures of which are clothed in the old Roman vestments, many of them wearing the senatorial habit.

On the piazza of the Dogana^[7] and near the church of Sant’ Eustachio, there is a faQade whereon these artists have depicted battle-pieces; and within the church above-named, in a small chapel near the entrance and on the right hand, are certain figures painted by Polidoro.^[8] Above the Farnese palace also the two artists painted a fagade, that of the Cepperelli palace namely, with one behind the Minerva, in the street that leads to the Maddaleni; in the last-named of which are stories from the Roman history. Among other beautiful parts of this work may be specified a Triumphal Procession of Children, painted to represent bronze; these are finished with the most perfect grace, and exhibit the very perfection of beauty. On the façade of the Boni Auguri, which is near the Minerva, are stories by these artists from the life of Romulus, which are very fine; they exhibit the hero when he is tracing out the limits of his future city with the plough, and also at the moment when the vultures are flying over his head: in this work, the figures, faces, and vestments of the ancient Romans are imitated with such remarkable exactitude, that the spectator cannot but believe himself to be gazing on the very men themselves in their living persons.

In this branch of art it is indeed certain that none have’ ever shown equal mastery, none have ever exhibited so much beauty of design, so fine a manner, such perfect facility, and such remarkable promptitude, as have distinguished these masters; their works are considered with increased admiration by all artists each time that they behold them, and every one is struck with astonishment at the manner in which nature in this our age has caused her wonders to be placed before us by such men.

Beneath the Corte Cavella, in the house bought by the Signora Costanza, Polidoro and Maturino painted a story showing how the Sabines were borne away by the Romans, and in this work we have not only the desire and necessity felt by the men of Rome to carry otf these women, but also the wretchedness and terror of the poor creatures so borne away; some who were thus captured are in the act of attempting flight, others are being borne along by the different soldiers, some on horseback, some in other ways. Nor is it in this story only that we And these evidences of thought, they are to be perceived in an equal or perhaps greater degree in that of Mutius, in that of the Horatius,^[9] and in the Flight of Porsenna, king of Tuscany.

For the garden of Messer Stefano dal Buffalo, which is near the fountain of Trevi, these masters painted exceedingly beautiful pictures representing the fountain of Parnassus,^[10] decorating the same place moreover with grottesche or arabesques, and with small figures very beautifully painted. In the house of Baldassino da Sant’ Agostino, they likewise executed graffiti, and pictures of various kinds, with heads of the emperors, which they painted over the windows in the court-yard. On Montecavallo, near the Church of Sant’ Agata, there is a façade by Polidoro and Maturino, whereon they have depicted a vast number of stories much varied in subject; among others is that of the Vestal Tuzia bearing water from the Tiber to the temple of Vesta in a sieve, with that of Claudia, who is drawing the ship with her girdle. The commotion excited by Camillus when Brennus is weighing the gold^[11] is also represented on this fa9ade. On another wall of the same building, Romulus and his brother are seen nursed by the wolf, with the terrible combat of Horatius, who is defending the entrance of the bridge alone and with his single arm, against the swords of thousands; behind him is a crowd of figures beautifully drawn and in the most admirable attitudes, who, with axes in their hands, are hewing away the bridge with the most eager haste. The story of Mutius Scasvola is also depicted in the same place, he is exposing his own hand to the flames in the presence of the King Porsenna, thereby punishing the member for the error which it has committed in killing the king’s minister instead of himself; the countenance of Porsenna expresses contempt with a desire for vengeance.. The interior of this house is also decorated with landscapes by Polidoro and Maturino.

On the front of San Pietro-in-Vincola these masters painted stories from the life of San Pietro, with colossal figures of Prophets. The fame of our artists was so widely extended, by the many works thus beautifully executed by them in so large a number of public places, that they not only obtained the highest commendations during their lives, but have likewise secured infinite and perpetual glory after death, by the number of their imitators and copyists.^[12] On the Piazza, whereon stands the palace of the Medici, and on the front of a house behind the Naona,^[13] Polidoro and Maturino painted the Triumph of Paulus Emilius, with many other representations from the history of Rome.^[14]

At San Silvestro, on the Monte Cavallo, they painted some few small pictures for Fra Mariano, in the garden as well as in the monastery; they likewise decorated his chapel in the church of San Silvestro with two coloured pictures from the life of Santa Maria Maddalena. In these works there are certain parts of the landscapes which give proof of extraordinary ability, and exhibit a grace which is most attractive: indeed Polidoro executed landscapes, groups of trees, and rocks, better than any other master, and it is to him that art is indebted for the facility wherewith painters now execute that part of their works.

Many apartments and friezes in the various dwellings of Rome were adorned by these artists with coloured fresco paintings and works in tempera, but these things were for the most part done as trials only, seeing that they could never attain to the high degree of perfection in colours which they constantly exhibited in chiaro-scuro, in works imitating bronze, or in terretta. A proof of what is here affirmed may still be seen in the palace which formerly belonged to the Cardinal da Torre-Sanguigna at Volterra, on the front of which these artists painted a decoration in chiaro-scuro, which is exceedingly beautiful, while certain figures painted in colours at the same place are so badly done, that even the excellence of design for which they are generally remarkable is not to be perceived in these figures; and this is rendered all the more evident by the fiict that close beside them is an Escutcheon of Pope Leo, with nude figures by Giovanni Francesco Vetraio, who would certainly have distinguished himself very highly, had he not been removed by death in the midst of his career.

Polidoro and Maturino were, nevertheless, not thereby cured of their ill-placed confidence in their own ability to execute such works, and undertook certain figures of Children in colours for the altar of the Martelli family, in the church of Sant’ Agostino, in Rome, where Jacopo Sansovino erected a Madonna in marble, as the completion of the fabric; but these Children could never be supposed to be the wOrk of illustrious artists; on the contrary, they have all the appearance of having been painted by persons utterly incapable, and but just beginning to acquire the rudiments of their art. On the side where the altar is in part concealed by the altar-cloth, Polidoro executed a small figure representing our Saviour lying dead with the Maries around the body, which is, on the contrary, exceedingly beautiful^[15]* and serves to show that the manner therein adopted, and not the use of colours,^[16] was in fact the true vocation of those masters.

Having returned to their accustomed work therefore, our artists decorated two fa9ades on the Campo Martio, both of which are most admirable; in one of these is the story of Ancus Martins, and in the other are the Feasts of the Saturnalia, which were wont to be celebrated in that place. The chariots, some with two, others with four horses, which are here seen to be careering around the obelisks, are justly considered to be worthy of the highest commendation, seeing that they are executed in such a manner, whether as regards design or execution, that they place the spectacles they are intended to represent in all their reality before the eyes of the spectator. At the corner of the Chiavica, on that side Avhich leads to the Corte Savella, there is a façade by Polidoro and Maturino, which is divinely beautiful; insomuch, that among all the admirable works for which we are indebted to these artists, this is adjudged to be the most admirable. The principal part of the representation consists of young girls passing the Tiber; but beneath this and nearer to the gate, is a Sacrifice, which gives evidence of the most extraordinary patience and the most admirable knowledge of art: every kind of instrument and utensil proper to the due performance of those ancient customs is here depicted most faithfully, with every particular of the solemnities which it was customary to observe on these occasions.

On a façade near to the Popolo,^[17] and beneath San Jacopo degl’ Incurabili, are stories from the life of Alexander the Great by Polidoro and Maturino; these also are considered to be very fine, and among them our artists depicted those antique statues of the Nile and Tiber which are in the Belvidere. They also painted the façade of the Gaddi Palace, at San Simeone, which is a work well calculated to awaken astonishment, by the number and variety of the ancient vestments, arms, and ornaments represented therein; the antique helmets, tunics, and buskins of different forms; the beaks of varied shapes and character, and the profusion as well as grace of the rich ornaments dispersed over every part of the picture is such, that only the most fanciful and inventive imagination could even conceive them: the memory is loaded with the vast amount of admirable objects here presented to the eyes; the statues of sages, the forms of beautiful women, the numerous circumstances attendant on the celebration of the ancient sacrifices, are all presented here, with the embarkation of armaments, the struggle of the combatants, the infinite variety of armour and wmrlike implements, every part and each object being depicted with such perfect grace and finished with so much skill, that the eves and mind are alike dazzled and confounded amidst the crowd of rich inventions presented to them.^[18]

Opposite to this is a smaller fa9ade by the same masters, but one that for beauty and variety could not possibly be improved; here in the frieze we have the story of Niobe; she is first seen when commanding the adoration of the people, and receiving tribute and homage from vast crowds who are approaching her with vases and gifts of various kinds: every circumstance in this story is depicted with a novelty, grace, ingenuity, force of relief, and knowledge of art, which Avould take us too far were we to attempt describing them. Afterwards follows the anger of Latona, and the fearful vengeance which she takes on the children of the too proud Niobe, whose sons are slain by Phoebus, and whose daughters fall by the arrows of Diana. A large number of figures, in imitation of bronze, are admired in this portion of the works, and truly do they merit admiration, since they do not seem to be merely painted, but really appear to be the metal statues which they represent.^[19]

Above these pictures are others, wherein there are vases of gold imitated with infinite exactitude, and other fanciful decorations of such extraordinary ingenuity, that mortal thought could not conceive nor could mortal eye behold any thing more singular or more beautiful; among them are Etruscan helmets, but, at a word, the memory becomes confused amidst the vast abundance and varied character of these original and fanciful delineations, which have been copied and imitated by a large number of those who make this branch of art their study. The court-yard and the loggie of this house were in like manner decorated by these masters with very small arabesques of various kinds, and which are esteemed divinely beautiful. All that they touched, in short, in this manner, was completed with a grace and beauty, which can only be justly expressed by declaring them to be of absolute perfection, insomuch that if I were to name all the works of merit performed by them, I should make an entire book of these two masters alone, seeing that there is scarcely a palace, villa, garden, or apartment in Rome, which does not boast of some fine work by Polidoro and Maturino.

But now, while the city was rejoicing over and embellishing herself with their labours, and that the masters were hoping for the due reward of all their pains, envy and their evil destiny sent Bourbon to Rome; this happened in the year 1527, when the whole place was given over to sack and plunder. Then was divided the companionship not of Polidoro and Maturino only, but of many thousands besides: friends and relations who for so many years had there eaten their bread together. Maturino at once took to flight, but no long time had elapsed, as it is believed in Rome, before he died, first being worn out by the sufferings he had endured during the siege and in the sack of the city, and then beingattacked by the pestilence, which ended his life, and he was buried at Sant’ Eustachio.

Polidoro took the road to Naples and reached that city in safety, but the gentry of that place having but little interest in the excellent works of art, and being but slightly curious in matters of painting, he was on the point of dying of hunger in that town of theirs:^[20] at length he did obtain employment from certain painters, when he executed a figure of San Pietro in the principal chapel of Santa Maria della Grazia, giving his aid to those painters in many other things also, but more to obtain the means of life than from any other motive. The report of liis abilities did nevertheless become bruited abroad, and he received a commission from the Count —————— to paint a ceiling in tempera, with other pictures on various walls of a palace, all of which are esteemed to be very beautiful. He likewise painted the court-yard of the Signor —————— in chiaro-scuro, with certain loggie which are very rich in ornaments, and are well and finely done. For the Church of Sant’ Angelo which is near the Pescheria, in the city of Naples, Polidoro undertook a small picture in oil; in this work he depicted a figure of the Virgin, with various nude forms representing souls in purgatory; this also is held,to be exceedingly beautiful, but more for the design than the colouring. There are besides some other pictures, each of one figure only, by this master, in the chapel of the High Altar in the same church, and which are executed in a similar manner.

Finding his abilities to be but poorly appreciated in Naples, Polidoro determined to depart and leave people who made more account of a horse that could leap than of a master wdio could give life to the paintings depicted by his hands. Wherefore, embarking in one of the galleys which were proceeding to Messina, he repaired to that city. Here, findingmore sympathy and more regard, he set himself to work, and labouring without intermission, he acquired considerable skill and good practice even in the use of colours, producing numerous works, which are dispersed about in different places. He likewise gave a portion of his time to the study of architecture, and furnished proof of his ability by the construction of several buildings. When the Emperor Charles y. landed at Messina, on his return from his victories at Tunis, it was by Polidoro that the triumphal arches prepared to do him honour were erected, and the master thereby acquired much credit as well as a large reward.

But the longing desire to return to Rome which is always felt by those who have long lived there, when in other countries, was perpetually urging Polidoro to departure from Sicily; he therefore commenced a picture of Christ bearing his Cross, as the last work which he was to perform in that country; this he painted in oil with admirable manner and very agreeable colouring.^[21] A crowd of persons are represented as following the Saviour to his death; Soldiers, Pharisees, Horses, Women, and Children, form this throng: the Thieves being led to their punishment in the front of all. In this work Polidoro kept constantly before his eyes the consideration of how such an execution should be depicted, and seems to have exerted all the powers of his nature for the purpose of worthily accomplishing this work, which is indeed a most excellent one: having completed it, his every thought was turned to the means of freeing himself from that country, although he had been well received there, and was indeed detained for some time by a lady to whom he had long been attached, and whose sweet words and flatteries availed for a certain period to delay his departure. His earnest desire to see Rome once again, and to rejoin the friends whom he had left there, did nevertheless prevail; and having taken from the bank a good sum of money which he had there deposited, he prepared to set forth on his way.

Polidoro had for some time retained an assistant who was a native of Sicily, and had more affection for the moneys of his master than for his person, but this gold having been kept in the bank, as we have said, he could never find an opportunity to lay his hands on it and carry it off; the cruel and wicked thought of how he might best accomplish that object possessed his mind nevertheless, he consequently resolved to call in the aid of certain companions of his own, and, murdering Polidoro while he slept, then to divide with them the sum of money which he coveted. On the following night therefore, while Polidoro wms in his first sleep and slumbered deeply, they assailed him accordingly, and strangled him with a cloth, after which, giving him numerous wounds, they accomplished his death. They then carried him to the door of the lady whom he had loved, hoping thus to turn suspicion from themselves and to cause the belief that he had been assassinated by her kindred, or other persons belonging to the house. The greater part of the gold thus acquired was given by the wicked youth to those wretches who had assisted him to commit so cruel an outrage, and having bidden them depart, he repaired in the morning to the abode of a certain Count, who had been the friend of his master, relating to him with many tears the occurrence that had taken place: much search was then made, but with all the diligence that could be used, many days elapsed before anything was brought to light. It was not the will of God, nevertheless, that nature and virtue should be thus aggrieved by the hand of Fortune, and hence it happened that one who had no interest in the matter declared it to be impossible that any but the youth himself could have committed the deed. The Count caused him to be seized accordingly, when being brought to the torture, he did not wait to endure any further martyrdom, but at once confessed his crime. He was then condemned to the gallows, and being first tormented with red hot pincers on his way to execution, was afterwards quartered.^[22]

All this was nevertheless insufficient to restore Polidoro to life, nor could it bring back to painting that extraordinary and varied genius which had so long surpassed all that the world had for many ages possessed, in his branch of art. If invention, grace, and force in the delineation of figures, could have been rendered mortal and subject to death, they would have died with him. Happy was the union of nature and art, when a spirit so noble was endued with human form; but alas, for the envy and hatred of cruel Fortune by which he was subjected to so grievous a death; yet though thus she has deprived him of life, never through all time shall envious Fate prevail to rob him of his name and renown. His obsequies were performed with the utmost solemnity, and to the infinite grief of all Messina, in the cathedral church of that city, wdiere he received the rites of sepulture in the year 1543.

Great is the debt of gratitude which is due from the masters of our arts to Polidoro, seeing that by him painting has been enriched with a vast abundance of beautiful and fanciful vestments of all kinds, as well as with a profusion of singular and varied ornaments, not to mention the grace and excellence of which he has left us examples in all his works. To him also is art further indebted for innumerable figures of every kind; animals, buildings, and grottesche that is to say, with landscapes, which are so beautiful, that all who have succeeded Polidoro have sought to imitate his manner whenever they have proposed to secure to themselves the praise of excellence. From his fate also we may learn to comprehend and to fear the instability of Fortune, and the strange events that she is capable of producing. Men from whom a totally different result might have been expected, she permits suddenly to attain the summit of excellence in some profession, to the no small discomfiture of many who have vainly toiled for many years in the same art; yet shall this same Fortune allow those so favoured to arrive, after heavy trials and labours, at a most miserable and cruel end, which she suffers to come upon them at the moment when they were hoping to enjoy the reward of all their pains: nay, this will sometimes happen in so horrible and monstrous a fashion, that pity itself flies affrighted, virtue is outraged, and benefits are repaid by an incredible and wonderful ingratitude. By as much, therefore, as the Art of painting may rejoice in the richly productive life of Polidoro, by so much may she justly complain of Fortune, who showed herself friendly to this great genius at one moment, only that she might afterwards, and when it was least expected, conduct him to a painful and melancholy death.^[23]

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1. The family name of Caravaggio was Caldara.
2. How beautiful was the character of these two artists,” exclaims an admiring compatriot; “Maturino, already a master in art, feels no jealousy of the youth who thus suddenly presumes to emulate himself, nor does Polidoro repay the instructions and assistance rendered to him by Maturino with ingratitude. Not, indeed, that the conduct of Polidoro in this matter should or ought to awaken surprise, nor would it do so, were not examples to the contrary so grievously frequent.”
3. Into the Piazza diColonna namely.
4. This work was engraved by Gio. Battista Cavalieri in 1581, but in this print the figure of Faith has neither Host nor Chalice: Pietro Santi Bartoli and Cherubino Alberti also engraved the same. For details respecting the works of these masters and the engravings made from them, See Bottari’s Annotations to the Homan edition of Vasari.
5. Of this Sacrifice there is said to he an old engraving by Cherubino Alberti, but that engraving is not known to the present writer.
6. This work was engraved by Stefano della Bella, as also by Laurenzani and Galestruzzi, the friend of Stefano.
7. The Custom House.
8. The pictures executed in the Church were destroyed when the fabric was rebuilt, those on the various fapades also have perished in like manner, but engravings of most of them will be found in Santi Bartoli and other engravers.
9. Engraved by Laurenziani in 1635.—Förster, German Edition of Vasari.
10. Of this work also there is a good old engraving, and a copy of the same with the inscription, Apud F. Frey.
11. Engraved by Golzius, as a pattern for all who shall desire to distinguish themselves in painting.”
12. Bottari remarks that Vasari was mistaken if he supposed that the works of these masters could secure them undying fame, seeing that they have, for the most part, perished, but we retain a certain portion of these labours in the engravings before mentioned; and another compatriot of our author justly remarks, that if the works of the masters have perished, we are all the more indebted to Vasari for the care with which he has described them.
13. Piazza Navona.
14. Among the few remains of these masters still to be seen, are the frescoes in the Garden of the Palazzo Bufalo, where the Perseus and Andromeda, the Danse extending her arms to catch the golden shower, a Sacrifice, a long Frieze, wherein is depicted the Garden of the Hesperides, and several combats, are still easily to be distinguished.—Förster.
15. These paintings are still in the place here indicated. — Förster.
16. The work thus eulogized is in chiaro-scuro.
17. The Piazza del Popolo.
18. The façade of the Gaddi Palace represented a Pilgrimage of Egyptians or Arabians.—Bottari, There is a good engraving of it in four plates, by Pietro Santi Bartoli.
19. The story of Niobe was among the best of the works of these masters, and is one of those which, according to Lanzi, has “suffered the least from time and barbarous treatment.” It was engraved in eight plates, by Vischer in 1594, and by H. Golpius, whose work is dedicated to the Duke Federigo Cesi of Aquasparta; it has likewise been engraved by Saenredam, Galestruzzi, and others.— Förster.
20. Lanzi denies that Polidoro was in danger of starvation at Naples, affirming that he was there received into the house of Andrea di Salerno, who had previously been his fellow disciple, “by whom he was made known to that city, where he performed works not a few before proceeding to Sicily.” See History of Painting, Neapolitan School, epoch 2, vol. ii., p. 19. There are, nevertheless, but few of his works to be found in Naples; the best of them is an Altar-piece in St. Elmo.
21. That Polidoro had not distinguished himself as a colourist before his residence in Sicily, proceeded manifestly from want of practice: in that island he established a school of art, which produced many very able artists. See Lanzi, ut supra, vol. ii., p. 21, note.
22. This wretch, whose name was Tonno, belonged to the school moutioned in the preceding note.
23. Engravings from this master’s works have been made by Sadeler, Venturi, Guidi, Bonasone, Niccola of Vicenza, and some others. In the Cathedral of Messina, at Catania, and in Naples, some few of his paintings may still be found. The Monochrome pictures in the Socle of the Sala della Segnatura in the Vatican, are also ascribed to this master.