with that of this altar-piece; some of these are now dispersed among the houses of the citizens, and others have been sent into foreign lands.
Granacci was of an amiable disposition, and as he displayed considerable address in the preparation of certain decorations which it is customary to prepare for the festivals of the Carnival in the city of Florence,[1] he was constantly employed by Lorenzo the Magnificent, in all works of similar character, which the latter might require to have performed; as, for example in that masquerade wherein there was represented the Triumph of Paulus Emilius, after the victory which he had obtained over certain foreign nations; and in this spectacle, which was rich in beautiful and ingenious inventions, Granacci, though still but a youth, acquitted himself so well that he obtained the highest commendations..Nor will I here omit to repeat, that the above-named Lorenzo the Magnificent was the inventor, as I have before said, of those masquerades wherein some definite subject is represented, and which in Florence are called Canti[2] since it is not known that any thing of the kind was ever exhibited in earlier times.
Granacci was also employed for the magnificent and sumptuous preparations which were made in the year 1515, on the arrival in Florence of Pope Leo X., of the house of Medici, when the Council of Eight commissioned Messer Jacopo Nardi, a very learned man, and of a most fertile genius, to compose a splendid masquerade; Messer Jacopo accordingly selected the Triumph of Camillus as his subject, and this spectacle, in so far as regarded the painting, was so well arranged, so beautifully represented, and so richly adorned, that nothing better could possibly be imagined. The words of the Canzone, as composed by Jacopo, began thus:—
“Behold to what high glory thou art raised,
Thrice blessEd. Flor.nce,
Since from heaven descends,” &c., &c.
- ↑ See the Life of Piero di Cosimo, voL ii.
- ↑ They were called Canti or Songs, because songs or short poems were sung by the Masks, and these were afterwards known by the name ot “Carnival Songs.” They were admired for their wit, and for the grace and purity of their language, but were sometimes reprehensible for the licence which their authors permitted themselves.—Bottari.
