resolved to carry into execution a project that he had had for a long
time, of painting the Great Hall, a conception worthy of his lofty and
profound spirit; I know not whether, as he said, I believe jesting with
me, because he thought for certain that I would get it off his hands, so
that he would see it finished in his lifetime, or it may have been from
some other private and, as has always been true of him, most prudent
judgment. The result, in short, was that he commissioned me to raise the
crossbeams and the whole roof thirteen braccia above the height at that
time, to make the ceiling of wood, and to overlay it with gold and paint
it full of scenes in oils; a vast and most important undertaking, and,
if not too much for my courage, perhaps too much for my powers.
However, whether it was that the confidence of that great Lord and the
good fortune that he has in his every enterprise raised me beyond what I
am in myself, or that the hopes and opportunities of so fine a subject
furnished me with much greater faculties, or that the grace of God--and
this I was bound to place before any other thing--supplied me with
strength, I undertook it, and, as has been seen, executed it in
contradiction to the opinion of many persons, and not only in much less
time than I had promised and the work might be considered to require,
but in less than even I or his most illustrious Excellency ever thought.
And I can well believe that he was astonished and well satisfied,
because it came to be executed at the greatest emergency and the finest
occasion that could have occurred; and this was (that the cause of so
much haste may be known) that a settlement had been concluded about the
marriage which was being arranged between our most illustrious Prince
and the daughter of the late Emperor and sister of the present one, and
I thought it my duty to make every effort that on the occasion of such
festivities that Hall, which was the principal apartment of the Palace
and the one wherein the most important ceremonies were to be celebrated,
might be available for enjoyment. And here I will leave it to the
judgment of everyone not only in our arts but also outside them, if only
he has seen the greatness and variety of that work, to decide whether
the extraordinary importance of the occasion should not be my excuse if
in such haste I have not given complete satisfaction in so great a
variety of wars on land and sea, stormings of cities, batteries,
assaults, skirmishes, buildings of cities, public councils, ceremonies
ancient and modern, triumphs, and so many other things, for which, not
to mention anything else, the sketches, designs, and cartoons of so
great a work required a very long time. I will not speak of the nude
bodies, in which the perfection of our arts consists, or of the
landscapes wherein all those things were painted, all which I had to
copy from nature on the actual site and spot, even as I did with the
many captains, generals and other chiefs, and soldiers, that were in the
emprises that I painted. In short, I will venture to say that I had
occasion to depict on that ceiling almost everything that human thought
and imagination can conceive; all the varieties of bodies, faces,
vestments, habiliments, casques, helmets, cuirasses, various
head-dresses, horses, harness, caparisons, artillery of every kind,
navigations, tempests, storms of rain and snow, and so many other
things, that I am not able to remember them. But anyone who sees the
work may easily imagine what labours and what vigils I endured in
executing with the greatest study in my power about forty large scenes,
and some of them pictures ten braccia in every direction, with figures
very large and in every manner. And although some of my young disciples
worked with me there, they sometimes gave me assistance and sometimes
not, for the reason that at times I was obliged, as they know, to
repaint everything with my own hand and go over the whole picture again,
to the end that all might be in one and the same manner. These stories,
I say, treat of the history of Florence, from the building of the city
down to the present day; the division into quarters, the cities brought
to submission, the enemies vanquished, the cities subjugated, and,
finally, the beginning and end of the War of Pisa on one side, and on
the other likewise the beginning and end of the War of Siena, one
carried on and concluded by the popular government in a period of
fourteen years, and the other by the Duke in fourteen months, as may be
seen; besides all the rest that is on the ceiling and will be on the
walls, each eighty braccia in length and twenty in height, which I am
even now painting in fresco, and hope likewise to discuss later in the
above-mentioned Dialogue. And all this that I have sought to say
hitherto has been for no other cause but to show with what diligence I
have applied myself and still apply myself to matters of art, and with
what good reasons I could excuse myself if in some cases (which I
believe, indeed, are many) I have failed.
[Illustration: FRESCO IN THE HALL OF LORENZO THE MAGNIFICENT
(_After =Giorgio Vasari=. Florence: Palazzo Vecchio_)
_Brogi_]
I will add, also, that about the same time I received orders to design
all the arches to be shown to his Excellency for the purpose of
determining the whole arrangement of the numerous festive preparations
already described, executed in Florence for the nuptials of the most
illustrious Lord Prince, of which I had then to carry into execution and
finish a great part; to cause to be painted after my designs, in ten
pictures each fourteen braccia high and eleven broad, all the squares of
the principal cities of the dominion, drawn in perspective with their
original builders and their devices; also, to have finished the
head-wall of the above-named Hall, begun by Bandinelli, and to have a
scene made for the other, the greatest and richest that was ever made by
anyone; and, finally, to execute the principal stairs of that Palace,
with their vestibules, the court and the columns, in the manner that
everyone knows and that has been described above, with fifteen cities of
the Empire and of the Tyrol depicted from the reality in as many
pictures. Not little, also, has been the time that I have spent in those
same days in pushing forward the construction, from the time when I
first began it, of the loggia and the vast fabric of the Magistrates,
facing towards the River Arno, than which I have never had built
anything more difficult or more dangerous, from its being founded over
the river, and even, one might say, in the air. But it was necessary,
besides other reasons, in order to attach to it, as has been done, the
great corridor which crosses the river and goes from the Ducal Palace to
the Palace and Garden of the Pitti; which corridor was built under my
direction and after my design in five months, although it is a work that
one might think impossible to finish in less than five years. In
addition, it was also my task to cause to be reconstructed and increased
for the same nuptials, in the great tribune of S. Spirito, the new
machinery for the festival that used to be held in S. Felice in Piazza;
which was all reduced to the greatest possible perfection, so that there
are no longer any of those dangers that used to be incurred in that
festival. And under my charge, likewise, have been the works of the
Palace and Church of the Knights of S. Stephen at Pisa, and the tribune,
or rather, cupola, of the Madonna dell' Umilta in Pistoia, which is a
work of the greatest importance. For all which, without excusing my
imperfection, which I know only too well, if I have achieved anything of
the good, I render infinite thanks to God, from whom I still hope to
have such help that I may see finished, whenever that may be, the
terrible undertaking of the walls in the Hall, to the full satisfaction
of my Lords, who already for a period of thirteen years have given me
opportunities to execute vast works with honour and profit for myself;
after which, weary, aged, and outworn, I may be at rest. And if for
various reasons I have executed the works described for the most part
with something of rapidity and haste, this I hope to do at my leisure,
seeing that the Lord Duke is content that I should not press it, but
should do it at my ease, granting me all the repose and recreation that
I myself could desire. Thus, last year, being tired by the many works
described above, he gave me leave that I might go about for some months
to divert myself, and so, setting out to travel, I passed over little
less than the whole of Italy, seeing again innumerable friends and
patrons and the works of various excellent craftsmen, as I have related
above in another connection. Finally, being in Rome on my way to return
to Florence, I went to kiss the feet of the most holy and most blessed
Pope Pius V, and he commissioned me to execute for him in Florence an
altar-picture for sending to his Convent and Church of Bosco, which he
was then having built in his native place, near Alessandria della
Paglia.
Having then returned to Florence, remembering the command that his
Holiness had laid upon me and the many marks of affection that he had
shown, I painted for him, as he had commissioned me, an altar-picture of
the Adoration of the Magi; and when he heard that it had been carried by
me to completion, he sent me a message that to please him, and that he
might confer with me over some thoughts in his mind, I should go with
that picture to Rome, but particularly for the purpose of discussing the
fabric of S. Pietro, which he showed himself to have very much at heart.
Having therefore made preparations with a hundred crowns that he sent me
for that purpose, and having sent the picture before me, I went to Rome;
and after I had been there a month and had had many conversations with
his Holiness, and had advised him not to permit any alterations to be
made in the arrangements of Buonarroti for the fabric of S. Pietro, and
had executed some designs, he commanded me to make for the high-altar of
that Church of Bosco not an altar-picture such as is customary, but an
immense structure almost in the manner of a triumphal arch, with two
large panels, one in front and the other behind, and in smaller pictures
about thirty scenes filled with many figures; all which have been
carried very near completion.
At that time I obtained the gracious leave of his Holiness, who with
infinite lovingness and condescension sent me the Bulls expedited free
of charge, to erect in the Pieve of Arezzo a chapel and decanate, which
is the principal chapel of that Pieve, under the patronage of myself and
of my house, endowed by me and painted by my hand, and offered to the
Divine Goodness as an acknowledgment (although but a trifle) of the
great obligation that I feel to the Divine Majesty for the innumerable
graces and benefits that He has deigned to bestow upon me. The
altar-picture of that chapel is in form very similar to that described
above, which has been in part the reason that it has been brought back
to my memory, for it is isolated and consists likewise of two pictures,
one in front, already mentioned above, and one at the back with the
story of S. George, with pictures of certain Saints on either side, and
at the foot smaller pictures with their stories; those Saints whose
bodies are in a most beautiful tomb below the altar, with other
principal reliques of the city. In the centre comes a tabernacle passing
well arranged for the Sacrament, because it serves for both the one
altar and the other, and it is embellished with stories of the Old
Testament and the New all in keeping with that Mystery, as has been told
in part elsewhere.
I had forgotten to say, also, that the year before, when I went the
first time to kiss the Pope's feet, I took the road by Perugia in order
to set in place three large altar-pieces executed for a refectory of the
Black Friars of S. Piero in that city. In one, that in the centre, is
the Marriage of Cana in Galilee, at which Christ performed the Miracle
of converting water into wine. In the second, on the right hand, is
Elisha the Prophet sweetening with meal the bitter pot, the food of
which, spoilt by colocynths, his prophets were not able to eat. And in
the third is S. Benedict, to whom a lay-brother announces at a time of
very great dearth, and at the very moment when his monks were lacking
food, that some camels laden with meal have arrived at his door, and he
sees that the Angels of God are miraculously bringing to him a vast
quantity of meal.
For Signora Gentilina, mother of Signor Chiappino and Signor Paolo
Vitelli, I painted in Florence and sent from there to Citta di Castello
a great altar-picture in which is the Coronation of Our Lady, on high a
Dance of Angels, and at the foot many figures larger than life; which
picture was placed in S. Francesco in that city. For the Church of
Poggio a Caiano, a villa of the Lord Duke, I painted in an altar-picture
the Dead Christ in the lap of His Mother, S. Cosimo and S. Damiano
contemplating Him, and in the air an Angel who, weeping, displays the
Mysteries of the Passion of Our Saviour; and in the Church of the
Carmine at Florence, in the Chapel of Matteo and Simon Botti, my very
dear friends, there was placed about this same time an altar-picture by
my hand wherein is Christ Crucified, with Our Lady, S. John and the
Magdalene weeping. Then I executed two great pictures for Jacopo
Capponi, for sending to France, in one of which is Spring and in the
other Autumn, with large figures and new inventions; and in another and
even larger picture a Dead Christ supported by two Angels, with God the
Father on high. To the Nuns of S. Maria Novella of Arezzo I sent
likewise in those days, or a little before, an altar-picture in which is
the Virgin receiving the Annunciation from the Angel, and at the sides
two Saints; and for the Nuns of Luco in the Mugello, of the Order of
Camaldoli, another altar-piece that is in the inner choir, containing
Christ Crucified, Our Lady, S. John, and Mary Magdalene. For Luca
Torrigiani, who is very much my intimate and friend, and who desired to
have among the many things that he possesses of our art a picture by my
own hand, in order to keep it near him, I painted in a large picture a
nude Venus with the three Graces about her, one of whom is attiring her
head, another holds her mirror, and the third is pouring water into a
vessel to bathe her; which picture I strove to execute with the greatest
study and diligence that I was able, in order to satisfy my own mind no
less than that of so sweet and dear a friend. I also executed for
Antonio de' Nobili, Treasurer-General to his Excellency and my
affectionate friend, besides his portrait, being forced to do it against
my inclination, a head of Jesus Christ taken from the words in which
Lentulus writes of His effigy, both of which were done with diligence;
and likewise another somewhat larger, but similar to that named above,
for Signor Mandragone, now the first person in the service of Don
Francesco de' Medici, Prince of Florence and Siena, which I presented to
his lordship because he is much affected towards our arts and every
talent, to the end that he might remember from the sight of it that I
love him and am his friend. I have also in hand, and hope to finish
soon, a large picture, a most fanciful work, which is intended for
Signor Antonio Montalvo, Lord of Sassetta, who is deservedly the First
Chamberlain and the most trusted companion of our Duke, and so sweet and
loving an intimate and friend, not to say a superior, to me, that, if my
hand shall accomplish the desire that I have to leave to him a proof by
that hand of the affection that I bear him, it will be recognized how
much I honour him and how dearly I wish that the memory of a lord so
honoured and so loyal, and beloved by me, shall live among posterity,
seeing that he exerts himself willingly in favouring all the beautiful
intellects that labour in our profession or take delight in design.
For the Lord Prince, Don Francesco, I have executed recently two
pictures that he has sent to Toledo in Spain, to a sister of the Lady
Duchess Leonora, his mother; and for himself a little picture in the
manner of a miniature, with forty figures, what with great and small,
according to a very beautiful invention of his own. For Filippo Salviati
I finished not long since an altar-picture that is going to the Sisters
of S. Vincenzio at Prato, wherein on high is Our Lady arrived in Heaven
and crowned, and at the foot the Apostles around the Sepulchre. For the
Black Friars of the Badia of Florence, likewise, I am painting an
altar-piece of the Assumption of Our Lady, which is near completion,
with the Apostles in figures larger than life, and other figures at the
sides, and around it stories and ornaments accommodated in a novel
manner. And since the Lord Duke, so truly excellent in everything, takes
pleasure not only in the building of palaces, cities, fortresses,
harbours, loggie, public squares, gardens, fountains, villas, and other
suchlike things, beautiful, magnificent, and most useful, for the
benefit of his people, but also particularly in building anew and
reducing to better form and greater beauty, as a truly Catholic Prince,
the temples and sacred churches of God, in imitation of the great King
Solomon, recently he has caused me to remove the tramezzo[5] of the
Church of S. Maria Novella, which had robbed it of all its beauty, and
a new and very rich choir was made behind the high-altar, in order to
remove that occupying a great part of the centre of that church; which
makes it appear a new church and most beautiful, as indeed it is. And
because things that have not order and proportion among themselves can
never be entirely beautiful, he has ordained that there shall be made in
the side-aisles, between column and column, in such a manner as to
correspond to the centres of the arches, rich ornaments of stone in a
novel form, which are to serve as chapels with altars in the centre, and
are all to be in one of two manners; and that then in the altar-pictures
that are to go within these ornaments, seven braccia in height and five
in breadth, there shall be executed paintings after the will and
pleasure of the patrons of the chapels. Within one of those ornaments of
stone, made from my design, I have executed for the very reverend
Monsignor Alessandro Strozzi, Bishop of Volterra, my old and most loving
patron, a Christ Crucified according to the Vision of S. Anselm--namely,
with the Seven Virtues, without which we cannot ascend the Seven Steps
to Jesus Christ--and with other considerations by the same Saint. And in
the same church, within another of those ornaments, I have painted for
the excellent Maestro Andrea Pasquali, physician to the Lord Duke, a
Resurrection of Jesus Christ in the manner that God has inspired me, to
please that Maestro Andrea, who is much my friend. And a similar work
our great Duke has desired to have done in the immense Church of S.
Croce in Florence;--namely, that the tramezzo[6] should be removed and
that the choir should be made behind the high-altar, bringing that altar
somewhat forward and placing upon it a new and rich tabernacle for the
most holy Sacrament, all adorned with gold, figures, and scenes; and, in
addition, that in the same manner that has been told of S. Maria Novella
there should be made there fourteen chapels against the walls, with
greater expense and ornamentation than those described above, because
that church is much larger than the other. In the altar-pieces, to
accompany the two by Salviati and Bronzino, are to be all the principal
Mysteries of the Saviour, from the beginning of His Passion to the
Sending of the Holy Spirit upon the Apostles; which picture of the
Sending of the Holy Spirit, having made the design of the chapels and
ornaments of stone, I have in hand for M. Agnolo Biffoli,
Treasurer-General to our Lords, and my particular friend, and I
finished, not long since, two large pictures that are in the Magistracy
of the Nine Conservadori, beside S. Piero Scheraggio; in one is the head
of Christ, and in the other a Madonna.
[Footnote 5: See p. 57, Vol. I.]
[Footnote 6: See p. 57, Vol. I.]
But since I should take too long if I sought to recount in detail the
many other pictures, designs without number, models, and masquerades
that I have executed, and because this much is enough and more than
enough, I shall say nothing more of myself, save that however great and
important have been the things that I have continually suggested to Duke
Cosimo, I have never been able to equal, much less to surpass, the
greatness of his mind. And this will be seen clearly in a third sacristy
that he wishes to build beside S. Lorenzo, large and similar to that
which Michelagnolo built in the past, but all of variegated marbles and
mosaics, in order to deposit there, in tombs most honourable and worthy
of his power and grandeur, the remains of his dead children, of his
father and mother, of the magnanimous Duchess Leonora, his consort, and
of himself; for which I have already made a model after his taste and
according to the orders received from him by me, which, when carried
into execution, will cause it to be a novel, most magnificent, and truly
regal Mausoleum.
This much, then, it must suffice to have said of myself, who am now come
after so many labours to the age of fifty-five years, and look to live
so long as it shall please God, honouring Him, ever at the service of my
friends, and working in so far as my strength shall allow for the
benefit and advantage of these most noble arts.
THE AUTHOR TO THE CRAFTSMEN OF DESIGN