Evangelists, which were held very beautiful. By reason of this and other
works Andrea began to be watched with great expectation, and with hopes
that he would attain to that success to which he actually did attain;
wherefore Jacopo Bellini, the Venetian painter, father of Gentile and
Giovanni, and rival of Squarcione, contrived to get him to marry his
daughter, the sister of Gentile. Hearing this, Squarcione fell into such
disdain against Andrea that they were enemies ever afterwards; and in
proportion as Squarcione had formerly been ever praising the works of
Andrea, so from that day onward did he ever decry them in public. Above
all did he censure without reserve the pictures that Andrea had made in
the said Chapel of S. Cristofano, saying that they were worthless,
because in making them he had imitated the ancient works in marble, from
which it is not possible to learn painting perfectly, for the reason
that stone is ever from its very essence hard, and never has that
tender softness that is found in flesh and in things of nature, which
are pliant and move in various ways; adding that Andrea would have made
those figures much better, and that they would have been more perfect,
if he had given them the colour of marble and not such a quantity of
colours, because his pictures resembled not living figures but ancient
statues of marble or other suchlike things. This censure piqued the mind
of Andrea; but, on the other hand, it was of great service to him, for,
recognizing that Squarcione was in great measure speaking the truth, he
set himself to portray living people, and made so much progress in this
art, that, in a scene which still remained to be painted in the said
chapel, he showed that he could wrest the good from living and natural
objects no less than from those wrought by art. But for all this Andrea
was ever of the opinion that the good ancient statues were more perfect
and had greater beauty in their various parts than is shown by nature,
since, as he judged and seemed to see from those statues, the excellent
masters of old had wrested from living people all the perfection of
nature, which rarely assembles and unites all possible beauty into one
single body, so that it is necessary to take one part from one body and
another part from another. In addition to this, it appeared to him that
the statues were more complete and more thorough in the muscles, veins,
nerves, and other particulars, which nature, covering their sharpness
somewhat with the tenderness and softness of flesh, sometimes makes less
evident, save perchance in the body of an old man or in one greatly
emaciated; but such bodies, for other reasons, are avoided by craftsmen.
And that he was greatly enamoured of this opinion is recognized from his
works, in which, in truth, the manner is seen to be somewhat hard and
sometimes suggesting stone rather than living flesh. Be this as it may,
in this last scene, which gave infinite satisfaction, Andrea portrayed
Squarcione in an ugly and corpulent figure, lance and sword in hand. In
the same work he portrayed the Florentine Noferi, son of Messer Palla
Strozzi, Messer Girolamo della Valle, a most excellent physician, Messer
Bonifazio Fuzimeliga, Doctor of Laws, Niccolo, goldsmith to Pope
Innocent VIII, and Baldassarre da Leccio, all very much his friends,
whom he represented clad in white armour, burnished and resplendent, as
real armour is, and truly with a beautiful manner. He also portrayed
there the Chevalier Messer Bonramino, and a certain Bishop of Hungary, a
man wholly witless, who would wander about Rome all day, and then at
night would lie down to sleep like a beast in a stable; and he made a
portrait of Marsilio Pazzo in the person of the executioner who is
cutting off the head of S. James, together with one of himself. This
work, in short, by reason of its excellence, brought him a very great
name.
The while that he was working on this chapel, he also painted a panel,
which was placed on the altar of S. Luca in S. Justina, and afterwards
he wrought in fresco the arch that is over the door of S. Antonino, on
which he wrote his name. In Verona he painted a panel for the altar of
S. Cristofano and S. Antonio, and he made some figures at the corner of
the Piazza della Paglia. In S. Maria in Organo, for the Monks of Monte
Oliveto, he painted the panel of the high-altar, which is most
beautiful, and likewise that of S. Zeno. And among other things that he
wrought while living in Verona and sent to various places, one, which
came into the hands of an Abbot of the Abbey of Fiesole, his friend and
relative, was a picture containing a half-length Madonna with the Child
in her arms, and certain heads of angels singing, wrought with admirable
grace; which picture, now to be seen in the library of that place, has
been held from that time to our own to be a rare thing.
Now, the while that he lived in Mantua, he had laboured much in the
service of the Marquis Lodovico Gonzaga, and that lord, who always
showed no little esteem and favour towards the talent of Andrea, caused
him to paint a little panel for the Chapel of the Castle of Mantua; in
which panel there are scenes with figures not very large but most
beautiful. In the same place are many figures foreshortened from below
upwards, which are greatly extolled, for although his treatment of the
draperies was somewhat hard and precise, and his manner rather dry, yet
everything there is seen to have been wrought with much art and
diligence. For the same Marquis, in a hall of the Palace of S.
Sebastiano in Mantua, he painted the Triumph of Caesar, which is the best
thing that he ever executed. In this work we see, grouped with most
beautiful design in the triumph, the ornate and lovely car, the man
who is vituperating the triumphant Caesar, and the relatives, the
perfumes, the incense, the sacrifices, the priests, the bulls crowned
for the sacrifice, the prisoners, the booty won by the soldiers, the
ranks of the squadrons, the elephants, the spoils, the victories, the
cities and fortresses counterfeited in various cars, with an infinity of
trophies borne on spears, and a variety of helmets and body-armour,
head-dresses, and ornaments and vases innumerable; and in the multitude
of spectators is a woman holding the hand of a boy, who, having pierced
his foot with a thorn, is showing it, weeping, to his mother, in a
graceful and very lifelike manner. Andrea, as I may have pointed out
elsewhere, had a good and beautiful idea in this scene, for, having set
the plane on which the figures stood higher than the level of the eye,
he placed the feet of the foremost on the outer edge and outline of that
plane, making the others recede inwards little by little, so that their
feet and legs were lost to sight in the proportion required by the point
of view; and so, too, with the spoils, vases, and other instruments and
ornaments, of which he showed only the lower part, concealing the upper,
as was required by the rules of perspective; which same consideration
was also observed with much diligence by Andrea degli Impiccati[30] in
the Last Supper, which is in the Refectory of S. Maria Nuova. Wherefore
it is seen that in that age these able masters set about investigating
with much subtlety, and imitating with great labour, the true properties
of natural objects. And this whole work, to put it briefly, is as
beautiful and as well wrought as it could be; so that if the Marquis
loved Andrea before, he loved and honoured him much more ever
afterwards.
[Illustration: MADONNA AND ANGELS
(_After the panel by =Andrea Mantegna=. Milan: Brera, 198_)
_Alinari_]
What is more, he became so famous thereby that Pope Innocent VIII,
hearing of his excellence in painting and of the other good qualities
wherewith he was so marvellously endowed, sent for him, even as he was
sending for many others, to the end that he might adorn with his
pictures the walls of the Belvedere, the building of which had just been
finished. Having gone to Rome, then, greatly favoured and recommended by
the Marquis, who made him a Chevalier in order to honour him the more,
he was received lovingly by that Pontiff and straightway commissioned to
paint a little chapel that is in the said place. This he executed with
diligence and love, and with such minuteness that the vaulting and the
walls appear rather illuminated than painted; and the largest figures
that are therein, which he painted in fresco like the others, are over
the altar, representing the Baptism of Christ by S. John, with many
people around, who are showing by taking off their clothes that they
wish to be baptized. Among these is one who, seeking to draw off a
stocking that has stuck to his leg through sweat, has crossed that leg
over the other and is drawing the stocking off inside out, with such
great effort and difficulty, that both are seen clearly in his face;
which bizarre fancy caused marvel to all who saw it in those times. It
is said that this Pope, by reason of his many affairs, did not pay
Mantegna as often as he would have liked, and that therefore, while
painting certain Virtues in terretta in that work, he made a figure of
Discretion among the rest, whereupon the Pope, having gone one day to
see the work, asked Andrea what figure that was; to which Andrea
answered that it was Discretion; and the Pope added: "If thou wouldst
have her suitably accompanied, put Patience beside her." The painter
understood what the meaning of the Holy Father was, and he never said
another word. The work finished, the Pope sent him back to the Duke with
much favour and honourable rewards.
The while that Andrea was working in Rome, he painted, besides the said
chapel, a little picture of the Madonna with the Child sleeping in her
arms; and within certain caverns in the landscape, which is a mountain,
he made some stone-cutters quarrying stone for various purposes, all
wrought with such delicacy and such great patience, that it does not
seem possible for such good work to be done with the thin point of a
brush. This picture is now in the possession of the most Illustrious
Lord, Don Francesco Medici, Prince of Florence, who holds it among his
dearest treasures.
In our book is a drawing by the hand of Andrea on a half-sheet of royal
folio, finished in chiaroscuro, wherein is a Judith who is putting the
head of Holofernes into the wallet of her Moorish slave-girl; which
chiaroscuro is executed in a manner no longer used, for he left the
paper white to serve for the light in place of white lead, and that so
delicately that the separate hairs and other minute details are seen
therein, no less than if they had been wrought with much diligence by
the brush; wherefore in a certain sense this may be called rather a work
in colour than a drawing. The same man, like Pollaiuolo, delighted in
engraving on copper; and, among other things, he made engravings of his
own Triumphs, which were then held in great account, since nothing
better had been seen.
One of the last works that he executed was a panel-picture for S. Maria
della Vittoria, a church built after the direction and design of Andrea
by the Marquis Francesco, in memory of the victory that he gained on the
River Taro, when he was General of the Venetian forces against the
French. In this panel, which was wrought in distemper and placed on the
high-altar, there is painted the Madonna with the Child seated on a
pedestal; and below are S. Michelagnolo, S. Anna, and Joachim, who are
presenting the Marquis--who is portrayed from life so well that he
appears alive--to the Madonna, who is offering him her hand. Which
picture, even as it gave and still continues to give universal pleasure,
also satisfied the Marquis so well that he rewarded most liberally the
talent and labour of Andrea, who, having been remunerated by Princes for
all his works, was able to maintain his rank of Chevalier most
honourably up to the end of his life.
Andrea had competitors in Lorenzo da Lendinara--who was held in Padua to
be an excellent painter, and who also wrought some things in terra-cotta
for the Church of S. Antonio--and in certain others of no great worth.
He was ever the friend of Dario da Treviso and Marco Zoppo of Bologna,
since he had been brought up with them under the discipline of
Squarcione. For the Friars Minor of Padua this Marco painted a loggia
which serves as their chapter-house; and at Pesaro he painted a panel
that is now in the new Church of S. Giovanni Evangelista; besides
portraying in a picture Guidobaldo da Montefeltro, at the time when he
was Captain of the Florentines. A friend of Mantegna's, likewise, was
Stefano, a painter of Ferrara, whose works were few but passing good;
and by his hand is the adornment of the sarcophagus of S. Anthony to be
seen in Padua, with the Virgin Mary, that is called the Vergine del
Pilastro.
But to return to Andrea himself; he built a very beautiful house in
Mantua for his own use, which he adorned with paintings and enjoyed
while he lived. Finally he died in 1517, at the age of sixty-six, and
was buried with honourable obsequies in S. Andrea; and on his tomb, over
which stands his portrait in bronze, there was placed the following
epitaph:
ESSE PAREM HUNC NORIS, SI NON PRAEPONIS, APELLI;
AENEA MANTINEAE QUI SIMULACRA VIDES.
Andrea was so kindly and praiseworthy in all his actions, that his
memory will ever live, not only in his own country, but in the whole
world; wherefore he well deserved, no less for the sweetness of his ways
than for his excellence in painting, to be celebrated by Ariosto at the
beginning of his thirty-third canto, where he numbers him among the most
illustrious painters of his time, saying:
Leonardo, Andrea Mantegna, Gian Bellino.
This master showed painters a much better method of foreshortening
figures from below upwards, which was truly a difficult and ingenious
invention; and he also took delight, as has been said, in engraving
figures on copper for printing, a method of truly rare value, by means
of which the world has been able to see not only the Bacchanalia, the
Battle of Marine Monsters, the Deposition from the Cross, the Burial of
Christ, and His Resurrection, with Longinus and S. Andrew, works by
Mantegna himself, but also the manners of all the craftsmen who have
ever lived.
[Illustration: JUDITH WITH THE HEAD OF HOLOFERNES
(_After the painting by =Andrea Mantegna=. Dublin: National Gallery_)
_Mansell_]
FOOTNOTES:
[29] This seems to be a printer's or copyist's error for Prefetto.
[30] Andrea dal Castagno.
INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME III
Abbot of S. Clemente (Don Bartolommeo della Gatta), _Life_, 203-209. 188
Agnolo, Baccio d', 12
Agnolo di Donnino, 189, 190
Agnolo di Lorenzo (Angelo di Lorentino), 209
Agnolo di Polo, 273, 274
Alberti, Leon Batista, _Life_, 43-48
Albrecht Duerer, 214
Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
Alesso Baldovinetti, _Life_, 67-70. 59, 67-70, 101, 225
Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
Andrea dal Castagno (Andrea degli' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
Andrea della Robbia, 276
Andrea di Cione Orcagna, 223
Andrea di Cosimo, 189
Andrea Mantegna, _Life_, 279-286. 162
Andrea Riccio, 64
Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), 243
Andrea Tafi, 69
Andrea Verrocchio, _Life_, 267-276. 75, 223
Angelico, Fra (Fra Giovanni da Fiesole), _Life_, 27-39. 121
Angelo, Lorentino d'. 22, 23
Angelo di Lorentino (Agnolo di Lorenzo), 209
Antonello da Messina, _Life_, 59-64
Antonio di Salvi, 239
Antonio Filarete, _Life_, 3-7. 47, 92
Antonio (or Vittore) Pisanello, _Life_, 109-113. 105
Antonio Pollaiuolo, _Life_, 237-243. 248, 285
Antonio Rossellino (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
Antonio Viniziano, 176
Apelles, 36, 254, 286
Aretino, Geri, 263, 264
Attavante (or Vante), 36-39, 209, 214, 215
Ausse (Hans Memling), 61
Baccio Cellini, 92, 263
Baccio d' Agnolo, 12
Baccio da Montelupo, 148
Baccio Pintelli, 93-94
Baldinelli, Baldino, 233
Baldovinetti, Alesso, _Life_, 67-70. 59, 67-70, 101, 225
Banco, Nanni d' Antonio di, 28
Bartolommeo Coda, 184
Bartolommeo della Gatta, Don (Abbot of S. Clemente), _Life_, 203-209. 188
Bartoluccio Ghiberti, 237, 238
Bastiano Mainardi (Bastiano da San Gimignano), 225, 230-233
Batista del Cervelliera, 12
Bellini, Gentile, _Life_, 173-184. 280
Bellini, Giovanni, _Life_, 173-184. 280, 286
Bellini, Jacopo, _Life_, 173-175. 280
Benedetto Buglioni, 276
Benedetto Coda, 184
Benedetto da Maiano, _Life_, 257-264. 13, 14, 149. 257-264
Benedetto Ghirlandajo, 222, 229, 233
Benozzo Gozzoli, _Life_, 121-125. 35, 161
Bernardo Ciuffagni, 7
Bernardo Rossellino, _Life_, 139-144. 44, 268
Bernardo Vasari, 55
Berto Linaiuolo, 92
Biagio (pupil of Botticelli), 251, 252
Bicci, Lorenzo di, 20, 213
Boccardino, the elder, 215
Bolognese, Guido, 170
Borghese, Piero (Piero della Francesca, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
Botticello, 247
Bramante da Milano, 18
Bramante da Urbino, 155
Bramantino, 18, 19
Brini, Francesco, 214
Bruges, Johann of (Jan van Eyck), 60-62, 64
Bruges, Roger of (Roger van der Weyden), 61
Brunelleschi, Filippo (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
Buglioni, Benedetto, 276
Buglioni, Santi, 276
Buonarroti, Michelagnolo, 86, 110, 140, 233
Cadore, Tiziano da (Tiziano Vecelli), 179, 183
Callicrates, 55
Camicia, Chimenti, _Life_, 92-93
Campagnola, Girolamo, 279
Capanna (of Siena), 208
Castagno, Andrea dal (Andrea degl' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
Castel della Pieve, Pietro da (Pietro Perugino, or Pietro Vannucci), 23, 188, 204, 273
Castelfranco, Giorgione da, 184
Cecca, _Life_, 193-200. 69
Cecca, Girolamo della, 263
Cellini, Baccio, 92, 263
Cervelliera, Batista del, 12
Chimenti Camicia, _Life_, 92-93
Cieco, Niccolo, 233
Cimabue, Giovanni, 59
Ciuffagni, Bernardo, 7
Coda, Bartolommeo, 184
Coda, Benedetto, 184
Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
Corso, Jacopo del, 105
Cortona, Luca da (Luca Signorelli), 20, 23, 31, 52, 188, 204
Cosimo, Andrea di, 189
Cosimo, Piero di, 189
Cosimo Rosselli, _Life_, 187-190
Cosme, 136
Costa, Lorenzo, _Life_, 161-164. 167
Cozzerello, Jacopo, 130
Credi, Lorenzo di, 274
Cronaca, Il, 260
Dario da Treviso, 280, 285
David Ghirlandajo, 222, 225, 229-231, 233
David Pistoiese, 263
Desiderio da Settignano, _Life_, 147-149. 154, 156, 260
Diamante, Fra, 83, 85-87
Domenico del Tasso, 200, 262
Domenico di Mariotto, 12
Domenico di Michelino, 35
Domenico Ghirlandajo, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
Domenico Pecori, 207-209
Domenico Viniziano (Domenico da Venezia), _Life_, 97-105. 19, 63, 97-105, 173
Don Bartolommeo della Gatta (Abbot of S. Clemente), _Life_, 203-209. 188
Don Lorenzo Monaco, 203
Donato (Donatello), 3, 6, 73, 74, 117, 131, 144, 147, 148, 269, 270, 273
Donnino, Agnolo di, 189, 190
Donzello, Piero del, 13
Donzello, Polito del, 13, 14
Dosso, the elder (Dosso Dossi), 164
Duca Tagliapietra, 169
Duccio, 6
Duerer, Albrecht, 214
Ercole Ferrarese (Ercole da Ferrara), Life, 167-170. 164
Eyck, Jan van (Johann of Bruges), 60-62, 64
Fabiano Sassoli, 54
Fabriano, Gentile da, _Life_, 109-113. 35, 173
Facchino, Giuliano del, 239
Fancelli, Luca, 47
Fancelli, Salvestro, 47
Fermo Ghisoni, 164
Ferrara, Ercole da (Ercole Ferrarese), _Life_, 167-170. 164
Ferrara, Stefano da, 285, 286
Ferrarese, Ercole (Ercole da Ferrara), _Life_, 167-170. 164
Ferrarese, Galasso (Galasse Galassi), _Life_ 135-136
Fiesole, Fra Giovanni da (Fra Angelico), _Life_, 27-39. 121
Fiesole, Mino da (Mino di Giovanni), _Life_, 153-157
Filarete, Antonio, _Life_, 3-7. 47, 92
Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
Filippino Lippi (Filippo Lippi), 83, 87, 259
Filippo Brunelleschi (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
Filippo Lippi (Filippino Lippi), 83, 87, 259
Filippo Lippi, Fra, _Life_, 79-88. 117, 118, 161, 247
Finiguerra, Maso, 238
Foccora, Giovanni, 7
Fonte, Jacopo della (Jacopo della Quercia), 131, 188
Forli, Melozzo da, 124
Fra Angelico (Fra Giovanni da Fiesole), _Life_, 27-39. 121
Fra Diamante, 83, 85-87
Fra Filippo Lippi, _Life_, 79-88. 117, 118, 161, 247
Fra Giovanni da Fiesole (Fra Angelico), _Life_, 27-39. 121
Francesca, Piero della (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
Francesco Brini, 214
Francesco di Giorgio, _Life_, 129-131
Francesco di Monsignore, 63
Francesco di Simone, 273
Francesco Granacci (Il Granaccio), 233
Francesco Peselli (Francesco di Pesello, or Pesellino), _Life_, 117-118. 86
Francesco Salviati, 258, 262
Galasso Ferrarese (Galasso Galassi), _Life_, 135-136
Gatta, Don Bartolommeo della (Abbot of S. Clemente), _Life_, 203-209. 188
Gentile Bellini, _Life_, 173-184. 280
Gentile da Fabriano, _Life_, 109-113. 35, 173
Geri Aretino, 263, 264
Gherardo, _Life_, 213-215. 209, 232
Ghiberti, Bartoluccio, 237, 238
Ghiberti, Lorenzo (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
Ghirlandajo, Benedetto, 222, 229, 233
Ghirlandajo, David, 222, 225, 229-231, 233
Ghirlandajo, Domenico, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
Ghirlandajo, Ridolfo, 233
Ghirlandajo, Tommaso, 219
Ghisoni, Fermo, 164
Giacomo Marzone, 184
Gian Cristoforo, 92
Giorgio, Francesco di, _Life_, 129-131
Giorgio Vasari, see Vasari (Giorgio)
Giorgio Vasari (son of Lazzaro Vasari, the elder), 52, 54-56
Giorgione da Castelfranco, 184
Giotto, 59, 259
Giovanni, Mino di (Mino da Fiesole), _Life_, 153-157
Giovanni Bellini, _Life_, 173-184. 280, 286
Giovanni Cimabue, 59
Giovanni da Rovezzano, 105
Giovanni Foccora, 7
Giovanni Turini, 239
Girolamo Campagnola, 279
Girolamo della Cecca, 263
Girolamo Moretto (or Mocetto), 180
Girolamo Padovano, 209
Giuliano da Maiano, _Life_, 11-14. 74, 257-259
Giuliano del Facchino, 239
Giuliano del Tasso, 200, 262
Giulio Romano, 19
Giusto, 11
Gozzoli, Benozzo, _Life_, 121-125. 35, 161
Graffione, 70
Granacci, Francesco (Il Granaccio), 233
Grosso, Nanni, 273
Guardia, Niccolo della, 92
Guglielmo da Marcilla (Guillaume de Marcillac, or the French Prior), 53
Guido Bolognese, 170
Guido del Servellino, 12
Hans Memling (Ausse), 61
Il Cronaca, 260
Il Granaccio (Francesco Granacci), 233
Impiccati, Andrea degl' (Andrea dal Castagno), _Life_, 97-105. 109, 117, 173, 237, 239, 283
Indaco, Jacopo dell', 233
Jacopo (pupil of Botticelli), 251, 252
Jacopo Bellini, _Life_, 173-175. 280
Jacopo Cozzerello, 130
Jacopo da Montagna, 183
Jacopo del Corso, 105
Jacopo del Sellaio, 86
Jacopo del Tedesco, 233
Jacopo della Quercia (Jacopo della Fonte), 131, 188
Jacopo dell' Indaco, 233
Jacopo Squarcione, 279-281, 285
Johann of Bruges (Jan van Eyck), 60-62, 64
Lappoli, Matteo, 206, 207
Laurati, Pietro (Pietro Lorenzetti), 55
Lazzaro Vasari (the elder), _Life_, 51-56
Lazzaro Vasari (the younger), 55
Lendinara, Lorenzo da, 285
Leon Batista Alberti, _Life_, 43-48
Leonardo da Vinci, 270, 271, 273, 286
Linaiuolo, Berto, 92
Lippi, Filippo (Filippino Lippi), 83, 87, 259
Lippi, Fra Filippo, _Life_, 79-88. 117, 118, 161, 247
Lodovico Malino (Lodovico Mazzolini), 164
Lorentino, Angelo di (Agnolo di Lorenzo), 209
Lorentino d'Angelo, 22, 23
Lorenzetti, Pietro (Pietro Laurati), 55
Lorenzetto, 273
Lorenzo, Agnolo di (Angelo di Lorentino), 209
Lorenzo Costa, _Life_, 161-164. 167
Lorenzo da Lendinara, 285
Lorenzo di Bicci, 20, 213
Lorenzo di Credi, 274
Lorenzo Ghiberti (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
Lorenzo Monaco, Don, 203
Lorenzo Vecchietto, _Life_, 129-131
Luca Fancelli, 47
Luca Signorelli (Luca da Cortona), 20, 23, 31, 52, 188, 204
Luigi Vivarino, 178, 179
Macchiavelli, Zanobi, 125
Maestro Mino (Mino del Regno, or Mino del Reame). _Life_, 91-92. 155
Maiano, Benedetto da, _Life_, 257-264. 13, 14, 149, 257-264
Maiano, Giuliano da, _Life_, 11-14. 74, 257-259
Mainardi, Bastiano (Bastiano da San Gimignano), 225, 230-233
Malino, Lodovico (Lodovico Mazzolini), 164
Mantegna, Andrea, _Life_, 279-286. 162
Marchino, 105
Marcilla, Guglielmo da (Guillaume de Marcillac, or the French Prior), 53
Marco del Tasso, 200, 262
Marco Zoppo, 279, 280, 285
Mariotto, Domenico di, 12
Martin Schongauer, 214
Martini, Simone (Simone Sanese or Memmi), 183
Marzone, Giacomo, 184
Masaccio, 79, 80
Maso Finiguerra, 238
Matteo Lappoli, 206, 207
Mazzingo, 239
Mazzolini, Lodovico (Lodovico Malino), 164
Melozzo da Forli, 124
Memling, Hans (Ausse), 61
Memmi, Simone (Simone Sanese or Martini), 183
Messina, Antonello da, _Life_, 59-64
Michelagnolo Buonarroti, 86, 110, 140, 233
Michele San Michele, 111
Michelino, Domenico di, 35
Milano, Bramante da, 18
Mino, Maestro (Mino del Regno, or Mino del Reame), _Life_, 91-92. 155
Mino da Fiesole (Mino di Giovanni), _Life_, 153-157
Minore, 11
Modanino da Modena, 14
Monaco, Don Lorenzo, 203
Monsignore, Francesco di, 63
Montagna, Jacopo da, 183
Montelupo, Baccio da, 148
Montepulciano, Pasquino da, 7
Moretto (or Mocetto), Girolamo, 180
Myrmecides, 55
Nanni d' Antonio di Banco, 28
Nanni Grosso, 273
Niccolo (goldsmith to Pope Innocent VIII), 281
Niccolo (of Florence), 7
Niccolo Cieco, 233
Niccolo della Guardia, 92
Niccolo Pizzolo, 280
Nicon, 209
Orcagna, Andrea di Cione, 223
Orsino, 275, 276
Padova, Vellano da, _Life_, 73-75. 272
Padovano, Girolamo, 209
Paolo da Verona, 243
Paolo Romano, _Life_, 91-92
Paolo Uccello, 257
Parri Spinelli, 54
Pasquino da Montepulciano, 7
Pecori, Domenico, 207-209
Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
Pesellino (Francesco Peselli, or Francesco di Pesello), _Life_, 117-118. 86
Pesello, _Life_, 117-118. 59
Piero del Donzello, 13
Piero della Francesca (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
Piero di Cosimo, 189
Piero Pollaiuolo, _Life_, 237-243. 105, 248
Pietro Laurati (Pietro Lorenzetti), 55
Pietro Paolo da Todi, 92
Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
Pintelli, Baccio, 93-94
Pisanello, Vittore (or Antonio), _Life_, 109-113. 105
Pistoiese, David, 263
Pizzolo, Niccolo, 280
Polito del Donzello, 13, 14
Pollaiuolo, Antonio, _Life_, 237-243. 248, 285
Pollaiuolo, Piero, _Life_, 237-243. 105, 248
Polo, Agnolo di, 273, 274
Proconsolo, Rossellino dal (Antonio Rossellino), _Life_, 139-144. 44, 253
Quercia, Jacopo della (Jacopo della Fonte), 131, 188
Raffaello Sanzio (Raffaello da Urbino), 18, 19
Ravenna, Rondinello da, 183, 184
Regno, Mino del (Maestro Mino, or Mino del Reame), _Life_, 91-92. 155
Riccio, Andrea, 64
Ridolfo Ghirlandajo, 233
Robbia, Andrea della, 276
Roger of Bruges (Roger van der Weyden), 61
Romano, Giulio, 19
Romano, Paolo, _Life_, 91-92
Rondinello da Ravenna, 183, 184
Rosselli, Cosimo, _Life_, 187-190
Rossellino, Antonio (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
Rossellino, Bernardo, _Life_, 139-144. 44, 268
Rovezzano, Giovanni da, 105
Salvestro Fancelli, 47
Salvi, Antonio di, 239
Salviati, Francesco, 258, 262
S. Clemente, Abbot of (Don Bartolommeo della Gatta), _Life_, 203-209. 188
San Gimignano, Bastiano da (Bastiano Mainardi), 225, 230-233
Sandro Botticelli (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
Sanese, Simone (Simone Martini or Memmi), 183
Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino), 243
Santi Buglioni, 276