Movisti superum invidiam, indignataque mors est,
Te dudum extinctis reddere posse animam.
Et quod longa dies paullatim aboleverat, hoc te
Mortali spreta lege parare iterum.
Sio miser heu, prima cadis intercepte juventa;
Deberi et morti nostraque, nosque mones.
THE FRENCH PAINTER AND MASTER IN GLASS-PAINTING, GUGLIELMO DA MARCILLA[1]
[born 1475-died 1537.]
At this same time, wherein our arts were endowed by God with as much prosperity as well might be, there flourished Guglielmo da Marcilla, a Frenchman, who from his long residence in, and for the affection which he bore to the city of Arezzo, may be said to have chosen it for his adopted country; insomuch that he was reputed by all men to be an Aretine, and was constantly so called. And of a truth it may be said, that among the benefits to be derived from art, is this, that provided a man possess distinguished ability and give proof of such possession, by the work of his hands in any branch of our honourable vocation, let him be of what foreign or distant region he may, and however barbarous and unknown the nation to which he may belong, yet no sooner does he appear in any city, wherein abiding, he sets forth evidence of his power, than his name, such is the influence of meritorious performances, immediately begins to pass from mouth to mouth, he quickly makes himself a reputation, and his qualities being appreciated, he finally becomes most highly honoured.
Many are the artists who, having left their native land far
- ↑ Or Da Marsiglia, as Della Valle found the name written in several documents,—William of Marseilles that is to say. See Lettere Sanesi. See also the Carteggio Inedito d'Artisti of Gaye, who considers Marcillat to have been his family name, and not that of his birth-place. This author cites a document, preserved among the archives of the Bishopric of Arezzo, wdierein he is called “Messer Guillelmo di Piero, Franceza, Priore de San Tibaldo,” and he subscribes himself as below, Guillelmo di Piero de Marcillat.” From this it would appear that Piero was the name of his father, and Marcillat that of his family, an opinion wherein Gaye is supported by Marchese, Vite de' Pittori Domenicani, vol. ii. p. 212.
