But whatever efforts Ottaviano made to forward this work —whatever sums of money he promised, and even paid to the artists, he could by no means accomplish the completion of the decorations. It is true that Andrea finished one façade with great assiduity, but this was all. The subject there represented, was Caesar receiving tribute of all kinds of animals[1] The drawing for this picture is among those in our book, with many others by the same artist; it is in chiaro-scuro, and is the most carefully finished of any that Andrea ever executed.[2] In this work the master, desiring to surpass Franciabigio and Jacopo, subjected himself to labours that were no longer usual, exhibiting a magnificent view of buildings in perspective, with a flight of steps exceedingly difficult and intricate in character, which formed the ascent to the Throne of Caesar. These steps he adorned with statues admirably arranged, not allowing himself to be satisfied with the rich and varied powers of invention which he had displayed in the great diversity of the figures by whom the difierent animals are borne or led forward. Among these is an Indian in a yellow cassock or tunic, and bearing on his back a cage, which is drawn in perspective, and is filled with parrots of extraordinary beauty; while others, equally rare, are on the outer side. The figures, who are leading Indian Goats, Lions, Giraffes, Panthers, Wolves, Lynxes, Apes, &c., many of whom are Moors, have also great merit, and are exceedingly well arranged; the fresco, in which they are all depicted, being a work of the very highest perfection.
On the steps that we have mentioned as making part of the painting just described, is a Dwarf who holds a box or case, wherein there is a Chameleon, so admirably well done, that it would not be possible to imagine the deformity of that 1 strange creature more correctly or more justly represented. But the whole work was not finished, as I have said; and I although when Pope Leo died the Duke Alessandro de’ Medici
- ↑ It still remains in tolerable preservation. Lanzi praises this work very i highly, but other writers speak less favourably of an effort “altogether fc different from Andrea’s natural manner.” See Reumont, as before cited.
- ↑ The drawing here mentioned by Vasari passed at a later period into the collection of the French king, but had then received considerable injury. —Bottari.
