Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/569

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giorgio vasari.
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di Castello; the subject is the Coronation of Our Lady: in the upper part is a choir of Angels, and beneath are numerous figures larger than life. This picture was placed in the Church of San Francesco in that city.[1] For the Church of Poggio a Cajano, a villa belonging to the Signor Duke, I painted Our Saviour Christ lying dead in the lap of his Mother; San Cosimo and San Damiano are in contemplation of the Virgin, and a weeping Angel, seen in the air above, is bearing the Mysteries[2] of our Saviour’s Passion. In the Church of the Carmine at Florence there was placed, about the same time, a picture also by my hand, which I had painted for the Chapel of Matteo and Simon Botti, my intimate friends; in this there is Christ Crucified, with Our Lady, San Giovanni, and the Magdalene weeping.[3] I afterwards painted two large pictures, for Jacopo Capponi; the subjects of these, which were to be sent into France, are, of the one. Spring; of the other. Autumn; the figures in both are large, and each exhibits a certain novelty in the composition. In another and still larger picture, I delineated a Dead Christ sustained by two Angels, above whom is seen the figure of the Almighty Father. For the Nuns of Santa Maria Novella in Arezzo, I painted an Annunciation of the Virgin, with two Saints beside her, which I sent to their convent about this time or shortly before;[4] and for the Nuns of Luco di Mugello, who are of the Order of Camaldoli, I painted a picture which is now in their inner Choir; it represents Christ Crucified, with Our Lady, St. John the Baptist, and Mary Magdalen.

For Luca Torrigiani, who is my intimate and very good friend, I painted a large picture, which he, desiring to have a work from my hand among the many productions of our arts in his possession, now keeps in his house; the subject is Venus, a nude figure surrounded by the Graces, of whom one adorns her head, while the second holds a mirror, and the third pours water into a vase. This picture I laboured to execute to the very best of my ability, as well to content

  1. Where it still remains.
  2. Our readers will not require to be reminded that the material emblems are here alluded to.
  3. Bocchi, Bellezze di Firenza, has described and greatly eulogizes this picture, which is still in the church.
  4. This is now in the Louvre, having been taken to Paris in 1813.