Signor Adamo Centurioni, abounding in waters and fountains contrived
in various beautiful and fantastic ways, and also the fountain of the
Captain Larcaro, near the city, which is a most remarkable work; but
beyond all the different kinds of fountains that he has made for many
persons, most beautiful is the bath that he has made in the house of
Signor Giovan Battista Grimaldi at Bisagno. This bath, which in form
is round, has in the centre a little basin wherein eight or ten
persons can bathe without inconvenience; which basin has hot water
from four heads of sea-monsters that appear as if issuing from it, and
cold water from as many frogs that are over those heads of monsters.
Around that basin, to which one descends by three circular steps,
there curves a space wide enough for two persons to walk in comfort.
The circular wall of the whole bath is divided into eight spaces, in
four of which are four great niches, each of which contains a round
basin that is raised a little from the ground, half being within the
niche and half remaining without; and in the centre of each basin a
man can bathe, hot and cold water coming from a great mask that pours
it through the horns and draws it in again when necessary by the
mouth. In one of the other four spaces is the door, and in the other
three are windows and places to sit; and all the eight spaces are
separated by terminal figures, which support the cornice upon which
rests the round vaulting of the whole bath. From the centre of that
vaulting hangs a great ball of crystal-glass, on which is painted the
sphere of the heavens, and within it the globe of the earth, from
certain parts of which, when one uses the bath at night, comes a
brilliant light that renders the place as light as if it were mid-day.
I forbear to speak of the anteroom, the dressing-room, and the small
bath, which are full of stucco-ornaments, and of the pictures that
adorn the place, so as not to be longer than is needful; let it
suffice to say that they are in no way unworthy of so great a work.
In Milan, under the direction of the same Galeazzo, has been built the
Palace of Signor Tommaso Marini, Duke of Terranuova; and also,
possibly, the façade of the fabric of S. Celso that is now being
built, the auditorium of the Cambio, which is round in form, the
already begun Church of S. Vittore, and many other edifices. He has
also sent designs over all Italy and abroad, wherever he has not been
able to be in person, of many edifices, palaces, and temples, of which
I shall say no more; this much being enough to make him known as a
talented and most excellent architect.
I will not omit--seeing that he is one of our Italians, although I do
not know any particulars of his works--that in France, so I am
informed, a most excellent architect, and particularly in the work of
fortification, is Rocco Guerrini of Marradi, who in the recent wars of
that kingdom, to his great profit and honour, has executed many
ingenious and laudable works.
And so in this last part, in order not to defraud any man of the
proper credit of his talent, I have discoursed of some sculptors and
architects now living, of whom hitherto I had not had a convenient
occasion to speak.
DON GIULIO CLOVIO
OF DON GIULIO CLOVIO
MINIATURIST
There has never been, nor perhaps will there ever be for many
centuries, a more rare or more excellent miniaturist, or we would
rather say painter of little things, than Don Giulio Clovio, in that
he has surpassed by a great measure all others who have ever been
engaged in that kind of painting. This master was born in the province
of Sclavonia, or rather, Croatia, at a place called Grisone, in the
diocese of Madrucci, although his elders, of the family of the Clovi,
had come from Macedonia; and the name given to him at baptism was
Giorgio Giulio. As a child he gave his attention to letters; and then,
by a natural instinct, to design. And having come to the age of
eighteen, being desirous to make proficience, he came to Italy and
placed himself in the service of Cardinal Marino Grimani, with whom
for a period of three years he applied himself in such a manner to
drawing, that he achieved a much better result than perhaps up to that
time had been expected of him; as was seen in some designs of medals
and their reverses that he made for that lord, drawn with the pen most
minutely, with extreme and almost incredible diligence. Whereupon,
having seen that he was more assisted by nature in little things than
in great, he resolved, and wisely, that he would give his attention to
miniature, since his works in that field were full of grace and
beautiful to a marvel; being urged to this, also, by many friends, and
in particular by Giulio Romano, a painter of bright renown, who was
the man who before any other taught him the method of using tints and
colours in gum and in distemper.
[Illustration: THE DEPOSITION
(_After the painting upon parchment by =Giulio Clovio=. Florence:
Pitti, No. 241_)
_Mansell_]
Among the first works that Clovio coloured was a Madonna, which, as a
man of ingenious and beautiful spirit, he copied from the book of the
Life of the Virgin; which Madonna was printed in wood-engraving among
the first sheets of Albrecht Dürer. Whereupon, having acquitted
himself well in that his first work, he made his way by means of
Signor Alberto da Carpi, who was then serving in Hungary, into the
service of King Louis and of Queen Maria, the sister of Charles V; for
which King he executed a Judgment of Paris in chiaroscuro, which much
pleased him, and for the Queen the Roman Lucretia killing herself,
with some other things, which were held to be very beautiful. The
death of that King then ensuing, and the ruin of everything in
Hungary, Giorgio Giulio was forced to return to Italy; where he had no
sooner arrived than the old Cardinal Campeggio took him into his
service. Thereupon, being settled to his liking, he executed a Madonna
in miniature for that lord, and some other little things, and disposed
himself to attend at all costs with greater study to the matters of
art; and so he set himself to draw, and to seek with every effort to
imitate the works of Michelagnolo. But this fine resolution was
interrupted by the unhappy sack of Rome in the year 1527, when the
poor man, finding himself the prisoner of the Spaniards and
maltreated, in his great misery had recourse to divine assistance,
making a vow that if he escaped safely from that miserable ruin and
out of the hands of those new Pharisees, he would straightway become a
friar. Wherefore, having escaped by the grace of God and made his way
to Mantua, he became a monk in the Monastery of S. Ruffino, a seat of
the Order of Canons Regular of Scopeto; having been promised, besides
peace and quiet of mind and tranquil leisure in the service of God,
that he would have facilities for attending at times, as it were by
way of pastime, to the work of miniature. Having thus taken the habit
and the name of Don Giulio, at the end of a year he made his
profession; and then for a period of three years he stayed peacefully
enough among those fathers, changing from one monastery to another
according to his pleasure, as has been related elsewhere, and always
working at something. During that time he completed a great choir-book
with delicate illuminations and most beautiful borderings, making in
it, among other things, a Christ appearing to the Magdalene in the
form of a gardener, which was held to be a rare thing. Wherefore,
growing in courage, he depicted--but in figures much larger--the
Adulterous Woman accused by the Jews before Christ, with a good number
of figures; all which he copied from a picture that had been executed
in those days by Tiziano Vecelli, that most excellent painter.
Not long afterwards it happened that Don Giulio, in transferring
himself from one monastery to another, as monks or friars do, by
misfortune broke a leg. Being therefore conveyed by those fathers to
the Monastery of Candiana, that he might be better attended, he lay
there some time without recovering, perhaps having been wrongly
treated, as is common, no less by the fathers than by the physicians.
Which hearing, Cardinal Grimani, who much loved him for his
excellence, obtained from the Pope the power to keep him in his
service and to have him cured. Whereupon Don Giulio, having thrown off
the habit, and his leg being healed, went to Perugia with the
Cardinal, who was Legate there; and, setting to work, he executed for
him in miniature these works; an Office of Our Lady, with four most
beautiful stories, and in an Epistolar three large stories of S. Paul
the Apostle, one of which was sent not long afterwards to Spain. He
also made for him a very beautiful Pietà, and a Christ Crucified,
which after the death of Grimani came into the hands of Messer
Giovanni Gaddi, Clerk of the Chamber.
All these works caused Don Giulio to become known in Rome as an
excellent craftsman, and were the reason that Cardinal Alessandro
Farnese, who has always assisted, favoured, and desired to have about
him rare and gifted men, having heard his fame and seen his works,
took him into his service, in which he has remained ever since and
still remains, old as he is. For that lord, I say, he has executed an
infinite number of the rarest miniatures, of which I shall mention
here only a part, because to mention them all is almost impossible. In
a little picture he has painted Our Lady with her Son in her arms,
with many Saints and figures around, and Pope Paul III kneeling,
portrayed from life so well, that for all the smallness of that
miniature he seems as if alive; and all the other figures, likewise,
appear to lack nothing save breath and speech. That little picture, as
a thing truly of the rarest, was sent to Spain to the Emperor Charles
V, who was amazed by it. After that work the Cardinal caused him to
set his hand to executing in miniature the stories in an Office of Our
Lady, written in lettering shaped by Monterchi, who is a rare master
in such work. Whereupon Don Giulio, resolving that this work should be
the highest flight of his powers, applied himself to it with so much
study and diligence, that no other was ever executed with more;
wherefore he has achieved with the brush things so stupendous, that it
does not appear possible to go so far with the eye or with the hand.
Don Giulio has divided this labour into twenty-six little scenes, each
two sheets being next to one another, the figure and the
prefiguration, and every little scene has around it an ornament
different from the other, with figures and fantasies appropriate to
the story that it represents. Nor do I wish to grudge the labour of
describing them briefly, for the reason that everyone is not able to
see them. On the first page, where Matins begin, is the Angel bringing
the Annunciation to the Virgin Mary, and in the ornament a border full
of little children that are marvellous; and in the other scene Isaiah
speaking with King Ahaz. In the second, for Lauds, is the Visitation
of the Virgin to Elizabeth, which has an ornament in imitation of
metal; and in the opposite scene are Justice and Peace embracing one
another. For Prime is the Nativity of Christ, and opposite, in the
Earthly Paradise, Adam and Eve eating the Fruit; both the one and the
other with ornaments full of nudes and other figures and animals,
portrayed from nature. For Terce he has painted the Shepherds with the
Angel appearing to them, and in the opposite scene the Tiburtine Sibyl
showing to the Emperor Octavian the Virgin with Christ her Son in
Heaven; both the one and the other with ornaments of various borders
and figures, all coloured, and containing the portrait of Alexander
the Great and of Cardinal Alessandro Farnese. For Sext there is the
Circumcision of Christ, where Pope Paul III is portrayed for Simeon,
and in the scene are portraits of Mancina and Settimia, gentlewomen of
Rome, who were of surpassing beauty; and around it a border well
adorned, which likewise encloses with the same design the other story
that is beside it, wherein is S. John the Baptist baptizing Christ, a
scene full of nudes. For Nones he has made there the Magi adoring
Christ, and opposite to that Solomon adored by the Queen of Sheba,
both one and the other with borders rich and varied, and at the foot
of this the whole Feast of Testaccio executed with figures smaller
than ants, which is a marvellous thing to see, that a work so small
should have been executed to perfection with the point of a brush;
this is one of the greatest things that mortal hand could do or mortal
eye could behold, and in it are all the liveries that Cardinal Farnese
devised at that time. For Vespers there is Our Lady flying with Christ
into Egypt, and opposite is the Submersion of Pharaoh in the Red Sea;
with varied borders at the sides. For Complines there is the
Coronation of Our Lady in Heaven, with a multitude of Angels, and in
the other scene opposite is Ahasuerus crowning Esther; with
appropriate borders. For the Mass of the Madonna he has placed first,
in a border in imitation of cameos, the Angel Gabriel announcing the
Word to the Virgin; and the two scenes are Our Lady with Jesus Christ
in her arms and God the Father creating Heaven and Earth. Before the
Penitential Psalms is the Battle in which Uriah the Hittite was done
to death by command of King David, wherein are horses and warriors
wounded or dead, all marvellous; and opposite, in the other scene,
David in Penitence; with ornaments and also little grotesques. But he
who would sate himself with marvelling, let him look at the Litanies,
where Don Giulio has woven a maze with the letters of the names of the
Saints; and there in the margin above is a Heaven filled with Angels
around the most holy Trinity, and one by one the Apostles and the
other Saints; and on the other side the Heaven continues with Our Lady
and all the Virgin Saints. On the margin below he has depicted with
the most minute figures the procession that Rome holds for the solemn
office of the Corpus Christi, thronged with officers with their
torches, Bishops, and Cardinals, and the most Holy Sacrament borne by
the Pope, with the rest of the Court and the Guard of Halberdiers, and
finally Castel S. Angelo firing artillery; all such as to cause every
acutest wit to marvel with amazement. At the beginning of the Office
for the Dead are two scenes; Death triumphing over all mortals, mighty
rulers of States and Kingdoms and the common herd alike, and opposite,
in the other scene, the Resurrection of Lazarus, and also Death in
combat with some on horseback. For the Office of the Cross he has made
Christ Crucified, and opposite is Moses with the rain of serpents, and
the same Moses placing on high the serpent of brass. For that of the
Holy Spirit is that same Holy Spirit descending upon the Apostles, and
opposite is the Building of the Tower of Nimrod.
That work was executed by Don Giulio in a period of nine years with so
much study and labour, that in a manner of speaking it would never be
possible to pay for the work with no matter what price; nor is one
able to see any more strange and beautiful variety than there is in
all the scenes, of bizarre ornaments and various movements and
postures of nudes both male and female, studied and well detailed in
every part, and placed appropriately all around in those borders, in
order to enrich the work. Which diversity of things infuses such
beauty into that whole work, that it appears a thing divine and not
human, and above all because with his colours and his manner of
painting he has made the figures, the buildings and the landscapes
recede and fade into the distance with all those considerations that
perspective requires, and with the greatest perfection that is
possible, insomuch that, whether near or far, they cause everyone to
marvel; not to speak of the thousand different kinds of trees, wrought
so well that they appear as if grown in Paradise. In the stories and
inventions may be seen design, in the composition order and variety,
and richness in the vestments, which are executed with such beauty and
grace of manner, that it seems impossible that they could have been
fashioned by the hand of man. Wherefore we may say, as we said at the
beginning, that Don Giulio has surpassed in this field both ancients
and moderns, and that he has been in our times a new, if smaller,
Michelagnolo.
The same master once executed a small picture with little figures for
the Cardinal of Trent, so pleasing and so beautiful, that that lord
made a present of it to the Emperor Charles V; and afterwards, for the
same lord, he painted another of Our Lady, and with it the portrait of
King Philip, which were very beautiful and therefore presented to the
said Catholic King. For the above-named Cardinal Farnese he painted a
little picture of Our Lady with her Son in her arms, S. Elizabeth, a
young S. John, and other figures, which was sent to Ruy Gomez in
Spain. In another, which the above-named Cardinal now has, he painted
S. John the Baptist in the Desert, with landscapes and animals of
great beauty, and another like it he executed afterwards for the same
lord, for sending to King Philip; and a Pietà, which he painted with
the Madonna and many other figures, was presented by the same Farnese
to Pope Paul IV, who as long as he lived would always have it beside
him. And a scene in which David is cutting off the head of the giant
Goliath, was presented by the same Cardinal to Madama Margherita of
Austria, who sent it to King Philip, her brother, together with
another which that most illustrious lady caused Don Giulio to execute
as a companion to it, wherein was Judith severing the head of
Holofernes.
Many years ago Don Giulio stayed many months with Duke Cosimo, and
during that time executed some works for him, part of which were sent
to the Emperor and other lords, and part remained with his most
illustrious Excellency, who, among other things, caused him to copy a
little head of Christ from one of great antiquity that his Excellency
himself possesses, which once belonged to Godfrey of Bouillon, King of
Jerusalem; which head, they say, is more like the true image of the
Saviour than any other that there may be. Don Giulio painted for the
said Lord Duke a Christ on the Cross with the Magdalene at the foot,
which is a marvellous thing, and a little picture of a Pietà, of which
we have the design in our book together with another, also by the hand
of Don Giulio, of Our Lady standing with her Son in her arms, dressed
in the Jewish manner, with a choir of Angels about her, and many nude
souls in the act of commending themselves to her. But to return to the
Lord Duke; he has always loved dearly the excellence of Don Giulio,
and sought to obtain works by his hand; and if it had not been for the
regard that he felt for Farnese, he would not have let him go when he
stayed some months, as I have said, in his service in Florence. The
Duke, then, besides the works mentioned, has a little picture by the
hand of Don Giulio, wherein is Ganymede borne to Heaven by Jove
transformed into an Eagle, copied from the one that Michelagnolo once
drew, which is now in the possession of Tommaso de' Cavalieri, as has
been told elsewhere. In like manner, the Duke has in his study a S.
John the Baptist seated upon a rock, and some portraits by the same
hand, which are admirable.
Don Giulio once executed a picture of a Pietà, with the Maries and
other figures around, for the Marchioness of Pescara, and another like
it in every part for Cardinal Farnese, who sent it to the Empress, who
is now the wife of Maximilian and sister of King Philip; and another
little picture by the same master's hand he sent to his Imperial
Majesty, in which, in a most beautiful little landscape, is S. George
killing the Serpent, executed with supreme diligence. But this was
surpassed in beauty and design by a larger picture that Don Giulio
painted for a Spanish gentleman, in which is the Emperor Trajan as he
is seen in medals with the Province of Judæa on the reverse; which
picture was sent to the above-named Maximilian, now Emperor.
For the same Cardinal Farnese he has executed two other little
pictures; in one is Jesus Christ nude, with the Cross in His hands,
and in the other is Christ led by the Jews and accompanied by a vast
multitude to Mount Calvary, with the Cross on His shoulder, and behind
Him Our Lady and the other Maries in attitudes full of grace, such as
might move to pity a heart of stone. And in two large sheets for a
Missal, he has painted for that Cardinal Jesus Christ instructing the
Apostles in the doctrine of the Holy Evangel, and the Universal
Judgment--a work so beautiful, nay, so marvellous, so stupendous, that
I am confounded at the thought of it; and I hold it as certain that it
is not possible, I do not say to execute, but to see or even imagine
anything in miniature more beautiful.
It is a notable thing that in many of these works, and particularly in
the Office of the Madonna described above, Don Giulio has made some
little figures not larger than very small ants, with all the members
so depicted and distinguished, that more could not have been done in
figures of the size of life; and that everywhere there are dispersed
portraits from nature of men and women, not less like the reality than
if they had been executed, large as life and very natural, by Tiziano
or Bronzino. Besides which, in some ornaments of the borders there
may be seen little figures both nude and in other manners, painted in
the likeness of cameos, which, marvellously small as they are,
resemble in those proportions the most colossal giants; such is the
art and surpassing diligence that Don Giulio uses in his work. Of him
I have wished to give to the world this information, to the end that
those may know something of him who are not or will not be able to see
any of his works, from their being almost all in the hands of great
lords and personages. I say almost all, because I know that some
private persons have in little cases most beautiful portraits by his
hand, of various lords, their friends, or ladies loved by them. But,
however that may be, it is certain that the works of men such as Don
Giulio are not public, nor in places where they can be seen by
everyone, like the pictures, sculptures, and buildings of the other
masters of these our arts.
At the present day Don Giulio, although he is old and does not study
or attend to anything save to seeking the salvation of his soul by
good and holy works and by a life wholly apart from the things of the
world, and is in every way an old man, yet continues constantly to
work at something, there where he lives well attended and in perfect
peace in the Palace of the Farnesi, where he is most courteous in
showing his work with much willingness to all who go to visit and see
him, as they visit the other marvels of Rome.
DIVERS ITALIAN CRAFTSMEN
OF DIVERS ITALIAN CRAFTSMEN STILL LIVING