ings of importance in which they did not take part, as may be proved from numerous inscriptions in addition to those above cited. While speaking of these two sculptors and architects, I have alluded, on various occasions, to the works of art preserved in Pisa. I will, therefore, not omit to mention, that on the steps in front of the new hospital there may be seen a vase, placed on a column of porphyry, supported by a lion, and on the pedestal of the whole are engraved the following words :—
“This is the talent which the Emperor Caesar gave to the people of Pisa, to the intent that by this they should regulate the tribute which they paid him. The said talent was placed on this column and lion in the time of Giovanni Rosso, master of the works of Santa Maria Maggiore, in Pisa, on the second day of March a.d. mcccxiii.”
ANDREA TAFI,[1] PAINTER, OF FLORENCE.
[1213-1294.]
As the works of Cimabue awakened no small admiration in the men of his time, who were accustomed to the Greek manner only (he having certainly given better design and form to the art of painting), so the works in Mosaic of Andrea Tafi, who belonged to the same period, were also greatly admired, and himself considered an excellent, nay, a divine [1] artist, on their account ; people not supposing that better could be produced in that art, because nothing better had come under their notice.[2] But Andrea, certainly not considering himself to be the most excellent artist in the world, and reflecting on the durability of works in Mosaic, left Florence and betook himself to Venice, where certain Greek painters were then working in Mosaic in the church of St. Mark. Forming a close intimacy with these artists, Andrea Tafi so contrived, that by promises, money,
- ↑ 1.0 1.1 For some valuable details respecting Andrea Tafi, see Lanzi, History of Painting, vol. i, p. 49, et seq.
- ↑ All the commentators on Vasari, widely as they differ on other points, agree in the expression of their astonishment, that he should permit himself these remarks ; but although the Byzantine glass mosaics were familiar in Sicily and the South, and at Venice, it does not follow that the art was much known, or practised, at Florence.
