NOTES.

I., line 1, p. [187].

The family of the Tatti in Florence is recorded in the books of the Commune from the year 1300, because, having come from Lucca, a very noble city of Tuscany, it was always abundant in industrious and honoured men, and they were most highly favoured by the House of Medici. Of this family was born Jacopo, of whom we are writing in this place; and he was born from Antonio, a most excellent person, and from his wife Francesca, in the month of January, 1477. In the first years of his boyhood he was set, as is usual, to learn his letters; and, after beginning to show in these vivacity of brain and readiness of spirit, not long afterwards he applied himself of his own accord to drawing, giving evidence in a certain sort that nature was inclining him much more to this kind of work than to letters, for the reason that he went very unwillingly to school and learned much against his will the scabrous rudiments of grammar. His mother, whom he resembled strongly, perceiving this and fostering his genius, gave him assistance, causing him to be taught design in secret, because she loved the thought that her son should be a sculptor, perchance in emulation of the then rising glory of Michelagnolo Buonarroti, who at that time was still quite young; and also moved by a certain fateful augury, in that Michelagnolo and this Jacopo had been born in one and the same street, called Via S. Maria, near the Via Ghibellina. Now the boy, after some time, was placed to learn the trade of a merchant; in which delighting even less than in letters, he did and said so much, that he obtained leave from his father to attend without hindrance to that towards which he was urged by nature.

There had come to Florence at that time Andrea Contucci of Monte Sansovino, a township near Arezzo, risen to great fame in our days from having been the birthplace of Pope Julius III; which Andrea, having acquired in Italy and in Spain the name of the best sculptor and architect that there was in art after Buonarroti, was staying in Florence in order to execute two figures of marble. Etc.

II., line 18, p. [197].

(And he was executing many works of the greatest importance for all those lords), having been recognized by three Pontiffs, and especially by Pope Leo, who presented him with a Knighthood of S. Pietro, which he sold during his illness, doubting lest he might die; (when God, etc.).

III., line 22, p. [198].

Having then entered on that office, he began to occupy himself with every care, both with regard to buildings and in the management of the papers and of the books that he held by virtue of his office, acquitting himself with all possible diligence in the affairs of the Church of S. Marco, of the Commissions, which are a great number, and of the many other matters that are in the charge of those Procurators; and he showed extraordinary lovingness towards those Signori, in that, having turned his whole attention to benefiting them and to directing their affairs to the aggrandizement, embellishment, and ornamentation of the church, the city, and the public square (a thing never yet done by any other in that office), he provided them with various advantages, profits, and revenues by means of his inventions, with his ingenuity of brain and readiness of spirit, yet always with little or no expense to the Signori themselves. Among which benefits, one was this; in the year 1529 there were between the two columns in the Piazza some butchers' stalls, and also between the one column and the other many wooden cabins to accommodate persons in their natural necessities—a thing most filthy and disgraceful, both for the dignity of the Palace and of the Piazza Pubblica, and for the strangers who, coming into Venice by way of S. Giorgio, saw first of all on arrival that filthiness. Jacopo, after demonstrating to the Prince Gritti the honourable and profitable nature of his design, caused those stalls and cabins to be removed; and, placing the stalls where they now are and making certain places for the sellers of herbs, he obtained for the Procurators an additional revenue of seven hundred ducats, embellishing at the same time the Piazza and the city. Not long afterwards, having perceived that in the Merceria (on the way to the Rialto, near the Clock), by removing a house that paid a rent of twenty-six ducats, a street could be made leading into the Spadaria, whereby the rent of the houses and shops all around would be increased, he threw down that house and increased their revenues by one hundred and fifty ducats a year. Besides this, by placing on that site the hostelry of the Pellegrino and another in the Campo Rusolo, he brought them in another four hundred ducats. He obtained for them similar benefits by the buildings in the Pescaria, and, on divers other occasions, by many houses and shops and other places belonging to those Signori, at various times; insomuch that the Procurators, having gained by his care a revenue of more than two thousand ducats, have been rightly moved to love him and to hold him dear.

Not long afterwards, by order of the Procurators, he set his hand to the very rich and beautiful building of the Library opposite to the Palazzo Pubblico, with such a variety of architecture (for it is both Doric and Corinthian), and such a wealth of carvings, cornices, columns, capitals, and half-length figures throughout the whole work, that it is a marvel; and all without any sparing of expense, since it is full of the richest pavements, stucco-work and scenes throughout the halls of that place, and public staircases adorned with various pictures, as has been related in the Life of Battista Franco, not to speak of the appurtenances and rich ornaments that it has at the principal door of entrance, which give it majesty and grandeur, demonstrating the ability of Sansovino. Which method of building was the reason that in that city, into which there had not entered up to that time any other method but that of building their houses and palaces in one and the same order, each man always continuing the same things with the same measurements and ancient use, without varying according to the sites as they found them, or according to convenience; it was the reason, I say, that buildings both public and private began to be erected with new designs and better order, and according to the ancient teaching of Vitruvius; and that work, in the opinion of those who are good judges and have seen many parts of the world, is without any equal.

He then built the Palace of Messer Giovanni Delfino, situated on the Grand Canal on the other side from the Rialto, opposite to the Riva del Ferro, at a cost of thirty thousand ducats. He built, likewise, that of Messer Leonardo Moro at S. Girolamo, a work of great cost, which has almost the appearance of a castle. And he erected the Palace of Messer Luigi de' Garzoni, wider by thirteen paces in every direction than is the Fondaco de' Tedeschi, with so many conveniences, that water runs through the whole fabric, which is adorned with four most beautiful figures by Sansovino; which palace is at Ponte Casale, in the neighbourhood of Venice. But the most beautiful is the Palace of Messer Giorgio Cornaro on the Grand Canal, which, without any doubt surpassing the others in convenience, majesty, and grandeur, is considered perhaps the finest that there is in Italy. He also built (to have done with speaking of private edifices) the Scuola or Confraternity of the Misericordia, a vast work costing one hundred and thirty thousand crowns, which, when carried to completion, will prove to be the most superb edifice in Italy. And his work, also, is the Church of S. Francesco della Vigna, where the Frati de' Zoccoli have their seat, a work of great size and importance; but the façade was by another master. The Loggia about the Campanile of S. Marco, in the Corinthian Order, was from his design, with a very rich ornament of columns, and with four niches, in which are four supremely beautiful figures in bronze, little less than the size of life, which are by his hand, together with various scenes and figures in low-relief. That work makes a most beautiful base to the said campanile, which has a thickness, on one of the sides, of thirty-five feet, which is about the extent of Sansovino's ornamentation. In height, from the ground to the cornice where are the windows of the bells, it is one hundred and sixty feet; from the level of that cornice to the other above it, where the corridor is, twenty-five feet; and the other dado above has a height of twenty-eight feet and a half. From that level of the corridor up to the pyramid is sixty feet; at the summit of which spire, the little square, upon which rests the Angel, is six feet high, and the said Angel, which turns with every wind, is ten feet high; insomuch that the whole height comes to be two hundred and ninety-two feet.

But the finest, richest, and strongest of his edifices is the Mint of Venice, all of iron and stone, for there is not in it one single piece of wood, in order to render it absolutely safe from fire. And the interior is distributed with such order and convenience for the sake of the many artificers, that there is not in any part of the world a treasury better ordered, or with greater strength, than that one, which he built entirely in the Rustic Order and very beautiful; which method, not having been used before in that city, caused the inhabitants to marvel not a little. By his hand, also, may be seen the Church of S. Spirito on the lagoons, of a very delicate and pleasing workmanship; and in Venice there is the façade of S. Gimignano, which gives splendour to the Piazza, in the Merceria the façade of S. Giuliano, and in S. Salvadore the very rich tomb of the Prince Francesco Veniero. He also erected in the Rialto, on the Grand Canal, the new fabrics of the vaults, with such good design, that almost every day there assembles there a very convenient market of townsmen and of other persons who flock to that city. And a very marvellous thing and new was that which he did for the Tiepoli at the Misericordia, in that, they having on the canal a great palace with many regal chambers, and the whole building being badly founded in the water, so that it was likely enough that in a few years the edifice would fall to the ground, Sansovino rebuilt all the foundations in the canal below the palace with very large stones, maintaining the house on its feet with a marvellous support of props, while the owners lived in their house with perfect security.

Nor for all this, while he has given his attention to so many buildings, has he ever ceased to occupy himself every day for his own delight with vast and beautiful works of sculpture, in marble and in bronze. Over the holy-water font of the Friars of the Cà Grande there is by his hand a statue made of marble, representing S. John the Baptist, which is very beautiful and highly extolled. At Padua, in the Chapel of the Santo, there is a large scene in marble by the same hand, with very beautiful figures in half-relief, of a miracle of S. Anthony of Padua; which is much esteemed in that place. For the entrance of the stairs of the Palace of S. Marco he is even now executing in marble in the forms of two very beautiful giants, each of seven braccia, a Neptune and a Mars, signifying the power which that most illustrious Republic has on land and sea. He made a most beautiful statue of Hercules for the Duke of Ferrara; and for the Church of S. Marco he made six scenes of bronze in half-relief, one braccio high and one and a half long, for placing on a pulpit, with stories of that Evangelist, which are held in much estimation for their variety. Over the door of the same S. Marco he made a Madonna of marble, the size of life, which is held to be a very beautiful thing; and at the entrance to the sacristy of that place there is by his hand the door of bronze divided into two most beautiful parts, with stories of Jesus Christ all in half-relief and wrought excellently well. And over the door of the Arsenal he made a very beautiful Madonna, who is holding her Son in her arms, of marble. All which works not only have given lustre and adornment to that Republic, but also have caused Sansovino to be better known every day as a most excellent craftsman, and loved and honoured by the magnificent liberality of those Signori, and likewise by the other craftsmen, every work of sculpture and architecture that has been executed in that city in his time being referred to him. And in truth the excellence of Jacopo has well deserved that he should be held in the first rank among the craftsmen of design in that city, and that his talents should be loved and revered by all without exception, both nobles and plebeians, for the reason that, besides other things, as has been told, with his judgment and knowledge he has brought it about that the city has been made almost entirely new and has learned the true and good method of building.

Three most beautiful figures in stucco by his hand, also, may be seen in the possession of his son, one a Laocoon, another a Venus standing, and the third a Madonna with many children about her; which figures are so rare, that in Venice there is seen nothing to equal them. The said son also has in drawing sixty plans of temples and churches of Sansovino's invention, which are so excellent that from the days of the ancients to our own there have been seen none better conceived or more beautiful. These I have heard that the son will publish for the benefit of the world, and already he has had some pieces engraved, accompanying them with designs of the numberless labours that have been carried into execution by Sansovino in various parts of Italy.

For all this, although occupied, as has been related, with the management of so many things both public and private, and both in the city and abroad (for strangers, also, ran to him for models and designs of buildings, for figures, or for counsel, as did the Duke of Ferrara, who obtained a Hercules in the form of a giant, the Duke of Mantua, and the Duke of Urbino), he was always very zealous in the private and particular service of each of his own Lords Procurators, who, availing themselves of him both in Venice and elsewhere, and not doing a single thing without his assistance or counsel, kept him continually at work not only for themselves, but also for their friends and relatives, without any reward, he consenting to endure any inconvenience and fatigue in order to satisfy them. But above all he was greatly loved and held in infinite price by the Prince Gritti, who delighted in beautiful intellects, by Messer Vettorio Grimani, brother of the Cardinal, and by Messer Giovanni da Legge the Chevalier, all Procurators, and by Messer Marc'Antonio Justiniano, who became acquainted with him in Rome. For these illustrious men, exalted in spirit and truly regal in mind, being conversant with the affairs of the world and well informed in the noble and excellent arts, soon recognized his merit and how worthy he was to be cherished and esteemed, and availed themselves of him in due measure; and they used to say, in accord with the whole city, that the Procurators never had and never would have at any time another equal to him, for they knew very well how celebrated and renowned his name was with the men and princes of intellect in Florence and Rome and throughout all Italy, and every one held it as certain that not he only but also his descendants and all his posterity deserved to be endowed for ever in return for his singular genius.

Jacopo was in body of ordinary stature, without any fat, and he walked with the person upright. He was white in complexion, with the beard red; and in his youth he was very graceful and handsome, and therefore much beloved by various women of some importance. After he became old, he had a venerable presence, with a beautiful white beard, and walked like a young man, insomuch that, having come to the age of ninety-three, he was still very strong and healthy and could see every least thing, however distant it might be, without spectacles, and when writing he kept his head erect, not bending over at all as is done by others. He delighted to dress handsomely, and was always very neat in his person; and he always took pleasure in women down to extreme old age, and much loved to talk of them. In his youth, by reason of his excesses, he was not very robust; but when he had become old he never suffered any illness, insomuch that for a period of fifty years, although at times he felt indisposed, he would never avail himself of any physician; nay, having had an apoplectic stroke for the fourth time at the age of eighty-four, he recovered by staying only two months in bed in a very dark and warm place, despising medicines. He had so good a stomach, that he was not afraid of anything, making no distinction between food that might be good and food that might be harmful; and in summer he lived almost entirely on fruits, eating very often as many as three cucumbers at a time, and half a citron, in his extreme old age. As for his qualities of mind, he was very prudent and foresaw future events in the matters of the present, weighing them against the past; and he was zealous in his affairs, not considering any fatigue, and never left his business to follow pleasures. He discoursed well and with many words upon no matter what subject that he understood, giving many illustrations with much grace; on which account he was very dear both to the great and to the small, and to his friends. And in his last years he had a memory still very fresh, and remembered in detail his childhood, the sack of Rome, and many things, fortunate or unfortunate, that he experienced in his time. He was courageous, and from his youth took delight in contending with those greater than himself, because, he used to say, by contending with the great a man advances, but against the little he lowers himself. He esteemed honour above everything in the world, wherefore in his affairs he was most loyal and a man of his word, and so pure in heart, that no offer, however great, could have corrupted him, although he was put to the test several times by his Signori, who for this and for other qualities regarded him not as their protomaster or minister, but as a father and brother, honouring him for his goodness, which was in no way feigned, but real. He was liberal with every man, and so loving towards his relatives, that he deprived himself of many comforts in order to assist them; although he lived always in repute and honour, as one who was observed by everyone. At times he let himself be overcome by anger, which was very great in him, but it soon passed; and very often with a few humble words you could make the tears come to his eyes.

He had a surpassing love for the art of sculpture; such a love, indeed, that, to the end that it might be dispersed widely in various parts, he formed many disciples, making as it were a seminary of that art in Italy. Among these, very famous were Niccolò Tribolo and Solosmeo, Florentines; Danese Cattaneo of Carrara, a Tuscan, of supreme excellence in poetry as well as in sculpture; Girolamo da Ferrara, Jacopo Colonna of Venice, Luca Lancia of Naples, Tiziano da Padova, Pietro da Salò, Bartolommeo Ammanati of Florence, at the present day sculptor and protomaster to the great Duke of Tuscany, and, finally, Alessandro Vittoria of Trento, a rare master in portraits of marble, and Jacopo de' Medici of Brescia; who, reviving the memory of the excellence of their master, have employed their talents on many honoured works in various cities.

Sansovino was much esteemed by Princes, among whom Alessandro de' Medici, Duke of Florence, sought his judgment in building the Citadel of that city. And Duke Cosimo in the year 1540, Sansovino having gone on his affairs to his native city, not only sought his counsel in the matter of that fortress, but also strove to engage him in his service, offering him a good salary; and on his return from Florence Duke Ercole of Ferrara detained him about his person and proposed various conditions to him, making every effort to keep him in Ferrara. But he, being used to Venice, and finding himself comfortable in that city, where he had lived a great part of his life, and having a singular love for the Procurators, by whom he was so much honoured, would never listen to any of them. He was also invited by Pope Paul III, who wished to advance him to the charge of S. Pietro in the place of Antonio da San Gallo, and with this Monsignor della Casa, who was then Legate in Venice, occupied himself much; but all was in vain, because he said that he was not minded to exchange the manner of life of a republic for that of living under an absolute Prince. And King Philip of Spain, on his way to Germany, showed him much kindness at Peschiera, whither Jacopo had gone to see him.

He had an immoderate desire of glory, and by reason of that used to spend his own substance on others (not without notable harm to his descendants), in the hope that there might remain some memory of him. Good judges say that although he had to yield to Michelagnolo, yet in certain things he was his superior. Thus in the fashioning of draperies, in children, and in the expressions of women, Jacopo had no equal, for the reason that his draperies in marble were very delicate and well executed, with beautiful folds and curves that revealed the nude beneath the vestments; his children he made tender and soft, without those muscles that adults have, and with their little arms and legs as if of flesh, insomuch that they were in no way different from the life; and the expressions of his women were sweet and pleasing, and as gracious as could be, as is clearly seen from various Madonnas made by him in many places, of marble and in low-relief, and from his statues of Venus and other figures.

Now this man, having thus become celebrated in sculpture and in architecture a master without a rival, and having lived in the grace of mankind and also of God, who bestowed upon him the genius that made him illustrious, as has been related, when he had come to the age of ninety-three, feeling somewhat weary in body, took to his bed in order to rest; in which having lain without any kind of suffering, although he strove to rise and dress himself as if well, for a period of a month and a half, failing little by little, he asked for the Sacraments of the Church, which having received, while still hoping to live a few years, he sank gradually and died on the 2nd of November in the year 1570; and although in his old age he had run the whole course of nature, yet his death was a grief to all Venice. He left behind him his son Francesco, born at Rome in the year 1521, a man learned both in the law and in the humanities, from whom Jacopo saw three grandchildren born; a male child called, like his grandfather, Jacopo, and two female, one called Fiorenza, who died, to his infinite grief and sorrow, and the other Aurora. His body was borne with much honour to his chapel in S. Gimignano, where there was erected to his memory by his son the marble statue made by Jacopo himself while he was alive, with the epitaph given below in memory of his great worth:

JACOBO SANSOVINO FLORENTINO QUI ROMÆ JULIO II, LEONI X, CLEMENTI VII, PONT. MAX., MAXIME GRATUS, VENETIIS ARCHITECTURÆ SCULPTURÆQUE INTERMORTUUM DECUS PRIMUS EXCITAVIT, QUIQUE A SENATU OB EXIMIAM VIRTUTEM LIBERALITER HONESTATUS, SUMMO CIVITATIS MŒRORE DECESSIT, FRANCISCUS F. HOC MON. P. VIXIT ANN. XCIII. OB. V. CAL. DEC. MDLXX.

His obsequies were likewise celebrated publicly at the Frari by the Florentine colony, with no slight pomp, and the oration was delivered by Messer Camillo Buonpigli, an excellent man.

LEONE LIONI OF AREZZO

OF LEONE LIONI OF AREZZO, AND OTHER SCULPTORS AND ARCHITECTS

Since that which has been said above, here and there, of the Chevalier Leone, a sculptor of Arezzo, has been said incidentally, it cannot but be well to speak here in due order of his works, which are truly worthy to be celebrated and to pass into the memory of mankind. This Leone, then, having applied himself in the beginning to the goldsmith's art, and having made in his youth many beautiful works, and in particular portraits from life in dies of steel for medals, became in a few years so excellent, that he came to the knowledge of many great men and Princes, and particularly of the Emperor Charles V, by whom, having recognized his talents, he was set to works of greater importance than medals. Thus, not long after he became known to his Majesty, he made a statue of that Emperor in bronze, larger than life and in the round, which he then furnished with a very delicate suit of armour formed of two very thin shells, which can be put on and taken off with ease, and all wrought with such grace, that whoever sees the statue when covered does not notice it and can scarcely believe that it is nude below, and when it is nude no one would believe without difficulty that it could ever be so well clad in armour. This statue rests on the left leg, and with the right foot tramples on Fury, which is a recumbent figure bound in chains, with the torch beneath it and arms of various kinds. On the base of this work, which is now in Madrid, are these words:

CÆSARIS VIRTUTE FUROR DOMITUS.

After these statues Leone made a great die for striking medals of his Majesty, and on the reverse the Giants being slain by Jove with thunderbolts. For all which works the Emperor gave to Leone a pension of one hundred and fifty ducats a year on the Mint of Milan, with a very commodious house in the Contrada de' Moroni, and made him a Chevalier and of his household, besides giving him many privileges of nobility for his descendants. And while Leone was with his Majesty in Brussels, he had his rooms in the palace of the Emperor himself, who at times would go for recreation to see him at work. Not long afterwards he made another statue of the Emperor, in marble, and also those of the Empress and King Philip, and a bust of the same Emperor for placing on high between two panels in bronze. He made, likewise in bronze, the head of Queen Maria, that of Ferdinand, at that time King of the Romans, that of Maximilian his son, now Emperor, and that of Queen Leonora, with many others, which were placed in the Gallery of the Palace of Binche by Queen Maria, who had caused them to be made. But they did not stay there long, because King Henry of France set fire to the building by way of revenge, leaving written there these words, "Vela fole Maria";[14] I say by way of revenge, because a few years before that Queen had done the same to him. However it may have been, the work of that gallery did not proceed, and those statues are now partly in the Palace of the Catholic King at Madrid, and partly at Alicante, a sea-port, from which her Majesty intended to have them conveyed to Granada, where are the tombs of all the Kings of Spain. On returning from Spain, Leone brought with him two thousand crowns in cash, besides many other gifts and favours that were bestowed upon him by that Court.

TOMB OF GIAN JACOPO MEDICI
(After Leone Lioni. Milan: Duomo)
Alinari
[View larger image]

For the Duke of Alva Leone has executed a head of the Duke, one of Charles V, and another of King Philip. For the very reverend Bishop of Arras, now Grand Cardinal, called Granvella, he has made some pieces in bronze of an oval form, each of two braccia, with rich borders, and containing half-length statues; in one is Charles V, in another King Philip, and in the third the Cardinal himself, portrayed from life, and all have bases with little figures of much grace. For Signor Vespasiano Gonzaga he has made in a great bust of bronze the portrait of Alva, which Gonzaga has placed in his house at Sabbionetto. For Signor Cesare Gonzaga he has executed, likewise in metal, a statue of four braccia, which has beneath it another figure that is entwined with a Hydra, in order to denote his father Don Ferrante, who by his worth and valour overcame the vicious envy that had sought to bring him into disgrace with Charles V in the matter of the government of Milan. This statue, which is clad in a toga and armed partly in the ancient and partly in the modern fashion, is to be taken to Guastalla and placed there in memory of that Don Ferrante, a most valorous captain.

The same Leone has made, as has been told in another place, the tomb of Signor Giovanni Jacopo Medici, Marquis of Marignano and brother of Pope Pius IV, which stands in the Duomo of Milan, about twenty-eight palms in length and forty in height. This tomb is all of Carrara marble, and adorned with four columns, two of them black and white, which were sent by the Pope as rare things from Rome to Milan, and two others, larger, which are of a spotted stone similar to jasper; which are all accommodated under one and the same cornice, an unusual contrivance, by the desire of that Pope, who caused the whole work to be executed after the directions of Michelagnolo, excepting only the five figures of bronze that are there, which are by the hand of Leone. The first of these, the largest of them all, is the statue of the Marquis himself, standing upright and larger than life, which has in the right hand the baton of a General, and the left hand resting on a helmet that is on a very richly adorned trunk. On the left of this is a smaller statue, representing Peace, and on the right another signifying Military Virtue; and these are seated, and in aspect all sad and sorrowing. Of the other two, which are on high, one is Providence and the other Fame; and between them, on the same level, is a most beautiful Nativity of Christ in bronze, in low-relief. At the summit of the whole work are two figures of marble, which support that lord's escutcheon of balls. For this work seven thousand and eight hundred crowns were paid, according to the agreement made in Rome by the most illustrious Cardinal Morone and Signor Agabrio Scierbellone.

The same master has made for Signor Giovan Battista Castaldo a statue likewise in bronze, which is to be placed in I know not what monastery, with some ornaments. For the above-named Catholic King he has executed a Christ in marble, more than three braccia high, with the Cross and with other Mysteries of the Passion, which is much extolled. Finally, he has in hand the statue of Signor Alfonso Davalos, the Marchese del Vasto of famous memory, which was entrusted to him by the Marchese di Pescara, his son; four braccia high, and likely to prove an excellent figure when cast, by reason of the diligence that he is devoting to its execution, and the good fortune that Leone has always had in his castings.

Leone, in order to display the greatness of his mind, the beautiful genius that he has received from Nature, and the favour of Fortune, has built at great expense and with most beautiful architecture a house in the Contrada de' Moroni, so full of fantastic inventions, that there is perhaps no other like it in all Milan. In the distribution of the façade there are upon pilasters six captives each of six braccia and all of pietra viva, and between these, in certain niches, Fates in imitation of the antique, with little terminal figures, windows, and cornices all different from the common use and very graceful; and all the parts below correspond with beautiful order to those above, and the frieze-ornaments are all of various instruments of the arts of design. From the principal door one enters by a passage into a courtyard, in the centre of which, upon four columns, is the horse with the statue of Marcus Aurelius, cast in gesso from the original which is in the Campidoglio. By means of that statue he has intended that his house should be dedicated to Marcus Aurelius; and as for the captives, that fancy is interpreted by various persons in various ways. Besides the horse, he has in that beautiful and most commodious habitation, as has been told in another place, as many casts in gesso as he has been able to obtain of famous works in sculpture and casting, both ancient and modern.

A son of Leone, called Pompeo, who is now in the service of King Philip of Spain, is in no way inferior to his father in executing dies of steel for medals and in casting figures that are marvellous. Wherefore at that Court he has been a competitor of Giovan Paolo Poggini, a Florentine, who also works in the service of that King and has made most beautiful medals. But Pompeo, having served that King many years, intends to return to Milan in order to enjoy his Aurelian house and the other labours of his excellent father, the loving friend of every man of talent.

And now to say something of medals, and of the steel dies with which they are made. I believe that it may be affirmed with truth that our modern intellects have achieved as much as the ancient Romans once did in the excellence of the figures, and that in the lettering and in other parts they have surpassed them. Which may be seen clearly in twelve reverses—besides many others—that Pietro Paolo Galeotto has executed recently in the medals of Duke Cosimo, and they are these; Pisa restored almost to her pristine condition by means of the Duke, he having drained the country round and dried the marshy places, and having made many other improvements; the waters conducted to Florence from various places, the ornate and magnificent building of the Magistrates erected for the public convenience, the union of the States of Florence and Siena, the building of a city and two fortresses in Elba, the column conveyed from Rome and placed on the Piazza di S. Trinita in Florence, the preservation, completion and enlargement of the Library of S. Lorenzo for the public good, the foundation of the Order of the Knights of S. Stephen, the resignation of the government to the Prince, the fortifying of the State, the militia or trained companies of his dominion, and the Pitti Palace with its gardens, waters, and buildings, a work of such regal magnificence; of which reverses I do not give here either the lettering that they have around them, or their explanation, having to treat of them in another place. All these twelve reverses are beautiful to a marvel and executed with much diligence and grace, as is also the head of the Duke, which is of perfect beauty; and medals and other works in stucco, likewise, as I have said on another occasion, are being made of absolute perfection at the present day. And recently Mario Capocaccia of Ancona has executed with coloured stucco, in little cases, heads and portraits that are truly most beautiful; such as a portrait of Pope Pius V, which I saw not long since, and that of Cardinal Alessandrino. I have seen, also, portraits of the same kind by the hands of the sons of Polidoro, a painter of Perugia, which are very beautiful.

But to return to Milan; looking again a year ago over the works of the sculptor Gobbo, of whom mention has been made in another place, I did not see anything that was otherwise than ordinary, excepting an Adam and Eve, a Judith, and a S. Helena, in marble, which are about the Duomo; with two other statues of dead persons, representing Lodovico, called Il Moro, and Beatrice his wife, which were to be placed upon a tomb by the hand of Giovan Jacomo della Porta, sculptor and architect to the Duomo of Milan, who in his youth executed many works under the said Gobbo; and those named above, which were to go on that tomb, are wrought with a high finish. The same Giovan Jacomo has executed many beautiful works for the Certosa of Pavia, and in particular on the tomb of the Conte di Virtù and on the façade of the church. From him one his nephew learned his art, by name Guglielmo, who in Milan, about the year 1530, applied himself with much study to copying the works of Leonardo da Vinci, which gave him very great assistance. Whereupon he went with Giovan Jacomo to Genoa, when in the year 1531 the latter was invited to execute the sepulchre of S. John the Baptist, and he devoted himself with great study to design under Perino del Vaga; and, not therefore abandoning sculpture, he made one of the sixteen pedestals that are in that sepulchre, on which account, it being seen that he was acquitting himself very well, he was commissioned to make all the others. Next, he executed two Angels in marble, which are in the Company of S. Giovanni; and for the Bishop of Servega he made two portraits in marble, and a Moses larger than life, which was placed in the Church of S. Lorenzo. And then, after he had made a Ceres of marble that was placed over the door of the house of Ansaldo Grimaldi, he executed for placing over the Gate of the Cazzuola, in that city, a statue of S. Catharine of the size of life; and after that the three Graces, with four little boys, of marble, which were sent into Flanders to the Grand Equerry of the Emperor Charles V, together with another Ceres of the size of life.

EVE
(After Cristofano Solari. Milan: Duomo)
Brogi
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Having executed these works in six years, Guglielmo in the year 1537 made his way to Rome, where he was much recommended by his uncle Giovan Jacomo to the painter Fra Sebastiano Viniziano, his friend, to the end that he might recommend him, as he did, to Michelagnolo Buonarroti. Which Michelagnolo, seeing Guglielmo to be spirited and very assiduous in labouring, began to conceive an affection for him, and, before any other thing, caused him to restore some antique things in the Farnese Palace, in which he acquitted himself in such a manner, that Michelagnolo put him into the service of the Pope. Another proof of his powers had been seen already in a tomb that he had executed at the Botteghe Scure, for the most part of metal, for Bishop Sulisse, with many figures and scenes in low-relief—namely, the Cardinal Virtues and others, wrought with much grace, and besides these the figure of the Bishop himself, which afterwards went to Salamanca in Spain. Now, while Guglielmo was engaged in restoring the statues, which are now in the loggia that is before the upper hall in the Farnese Palace, there took place in the year 1547 the death of Fra Sebastiano Viniziano, who, as has been told, had administered the office of the Piombo. Whereupon Guglielmo, with the favour of Michelagnolo and of others, so wrought upon the Pope, that he obtained the said office of the Piombo, with the charge of executing the tomb of Pope Paul III, which was to be placed in S. Pietro. For this he availed himself in the model, with better design, of the scenes and figures of the Theological and Cardinal Virtues that he had made for the above-named Bishop Sulisse, placing at the corners four children in four partitions, and four cartouches, and making in addition a bronze statue of the said Pontiff seated, giving the benediction; which statue was seventeen palms high. But doubting, on account of the size of the casting, lest the metal might grow cold and the work therefore not succeed, he placed the metal in the vessel below, in such a way that it might be gradually sucked upwards. And with this unusual method that casting came out very well, and as clean as the wax, so that the very surface that came from the fire had no need at all to be polished, as may be seen from the statue itself, which was placed below the first arches that support the tribune of the new S. Pietro. On this tomb, which according to a design by his hand was to be isolated, were to be placed four figures, which he executed in marble with beautiful inventions according as he was directed by M. Annibale Caro, who had the charge of this from the Pope and Cardinal Farnese. One was Justice, which is a nude figure lying upon some draperies, with the belt of the sword across the breast, and the sword hidden; in one hand she has the fasces of consular jurisdiction, and in the other a flame of fire, and she is young in countenance, and has the hair plaited, the nose aquiline, and the aspect full of expression. The second was Prudence in the form of a matron, young in aspect, with a mirror in the hand, and a closed book, and partly nude, partly draped. The third was Abundance, a young woman crowned with ears of corn, with a horn of plenty in one hand and the ancient corn-measure in the other, and clothed in such a manner as to show the nude beneath the draperies. The fourth and last was Peace, who is a matron with a boy that has lost his eyes, and with the Caduceus of Mercury. He made, likewise, a scene also of metal and after the directions of the above-named Caro, which was to be placed in the work, with two River Gods, one representing a lake and the other a river that is in the domains of the Farnesi; and, besides all these things, there was to be there a mount covered with lilies, and with the rainbow of Iris. But the whole was not afterwards carried into execution, for the reasons that have been given in the Life of Michelagnolo. It may be believed that even as these parts are in themselves beautiful and wrought with much judgment, so they would have succeeded as a whole together; and yet it is the air of the piazza [15] which gives the true light and enables us to form a correct judgment of a work.

TOMB OF POPE PAUL III
(After Guglielmo della Porta. Rome: S. Peter's)
Alinari
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The same Fra Guglielmo has executed during a period of many years fourteen stories of the life of Christ, for casting in bronze; each of which is four palms in breadth and six in height, excepting only one, which is twelve palms high and six broad, wherein is the Nativity of Jesus Christ, with most beautiful fantasies of figures. In the other thirteen are, Mary going with the Infant Christ on the ass to Jerusalem, with two figures in strong relief, and many in half-relief and low-relief; the Last Supper, with thirteen figures well composed, and a very rich building; the Washing of the Disciples' feet; the Prayer in the Garden, with five figures, and at the foot a multitude of great variety; Christ led before Annas, with six large figures, many lower down, and one in the distance; the Scourging at the Column, the Crowning with Thorns, the "Ecce Homo," Pilate washing his hands; Christ bearing the Cross, with fifteen figures, and others in the distance, going to Mount Calvary; Christ Crucified, with eighteen figures; and Christ taken down from the Cross. All which scenes, if they were cast, would form a very rare work, seeing that they have been wrought with much study and labour. Pope Pius IV had intended to have them executed for one of the doors of S. Pietro, but he had not time, being overtaken by death. Recently Fra Guglielmo has executed models in wax for three altars in S. Pietro; Christ taken down from the Cross, Peter receiving the Keys of the Church, and the Coming of the Holy Spirit, which would all be beautiful scenes.

In short, this man has had, and still has, the greatest opportunities to exert himself and to execute works, seeing that the office of the Piombo gives such a revenue that the holder can study and labour for glory, which he who has not such advantages is not able to do; and yet Fra Guglielmo has executed no finished work between 1547 and this year of 1567. But it is the characteristic of those who hold that office to become sluggish and indolent; and that this is true, a proof is that this Guglielmo, before he became Friar of the Piombo, executed many heads in marble and other works, besides those that we have mentioned. It is true, indeed, that he has made four great Prophets in stucco, which are in the niches between the pilasters of the first great arch of S. Pietro. He also occupied himself much with the cars for the feast of Testaccio and other masquerades, which were held now many years ago in Rome.

A pupil of this master has been one Guglielmo Tedesco, who, among other works, has executed a very rich and beautiful ornamentation of little statues in bronze, imitated from the best antiques, for a cabinet of wood (so it is called) which the Count of Pitigliano presented to the Lord Duke Cosimo. Which little figures are these; the horse of the Campidoglio, those of Monte Cavallo, the Farnese figures of Hercules, the Antinous and the Apollo of the Belvedere, and the heads of the Twelve Emperors, with others, all well wrought and very similar to the originals.

Milan has also had another sculptor, dead this year, called Tommaso Porta, who worked marble excellently well, and in particular counterfeited antique heads in marble, which have been sold as antiques; and masks he made so well that in them no one has equalled him, of which I have one in marble by his hand, placed on the chimney-piece of my house at Arezzo, which everyone takes for an antique. This Tommaso made the heads of the Twelve Emperors in marble, the size of life, which were the rarest things. These Pope Julius III took, making him a present of an office of a hundred crowns a year in the Segnatura; and he kept the heads I know not how many months in his chamber, as choice things. But by the agency (so it is believed) of the above-named Fra Guglielmo and others who were jealous of him, such measures were taken against him, that, with no regard for the dignity of the gift bestowed upon him by that Pontiff, they were sent back to his house; where they were afterwards bought from him on better terms by merchants, and then sent to Spain. Not one of our imitators of antiques was superior to this Tommaso, of whom it has seemed to me right that record should be made, and the rather as he has passed to a better life, leaving name and fame for his ability.

Many works, likewise, have been executed in Rome by one Leonardo, a Milanese, who has made recently two statues of marble, S. Peter and S. Paul, for the Chapel of Cardinal Giovanni Riccio da Montepulciano, which are much extolled and held to be good and beautiful figures. And the sculptors Jacopo and Tommaso Casignuola have made in the Chapel of the Caraffi, in the Church of the Minerva, the tomb of Pope Paul IV, and, besides other ornaments, a statue formed of pieces which represents that Pope, with a mantle of veined brocatello marble, and the trimming and other things of veined marbles of various colours, which render it marvellous. And so we see added to the other industries of our modern intellects this new one, and that sculptors proceed with colours in their sculpture to imitate painting. Which tomb has been executed by means of the great saintliness, goodness and gratitude of Pope Pius V, a Pontiff and Holy Father truly most saintly, most blessed, and most worthy of long life.

Of Nanni di Baccio Bigio, a Florentine sculptor, besides what has been said of him in other places, I have to record that in his youth, under Raffaello da Montelupo, he applied himself in such a manner to sculpture, that in some little things that he did in marble he gave great promise that he would prove to be an able man. And having gone to Rome, under the sculptor Lorenzetto, while he gave his attention as his father had done also to architecture, he executed the statue of Pope Clement VII, which is in the choir of the Minerva, and a Pietà of marble, copied from that of Michelagnolo, which was placed in S. Maria de Anima, the Church of the Germans, as a work that is truly very beautiful. Another like it he made not long afterwards for Luigi del Riccio, a Florentine merchant, which is now in S. Spirito at Florence, in a chapel of that Luigi, who is no less extolled for such piety towards his native city than is Nanni for having executed the statue with much diligence and love. Nanni then applied himself under Antonio da San Gallo with more study to architecture, and gave his attention, while Antonio was alive, to the fabric of S. Pietro; where, falling from a staging sixty braccia high, and shattering himself, he escaped with his life by a miracle. Nanni has erected many edifices in Rome and in the country round, and has sought to obtain even more, and greater, as has been told in the Life of Michelagnolo. His work, also, is the Palace of Cardinal Montepulciano on the Strada Giulia, and a gate at Monte Sansovino built by order of Julius III, with a reservoir for water that is not finished, and a loggia and other apartments of the palace formerly built by the old Cardinal di Monte. And a work of Nanni, likewise, is the house of the Mattei, with many other buildings that have been erected or are still being constructed in Rome.

A famous and most celebrated architect, also, among others of the present day, is Galeazzo Alessi of Perugia, who, serving in his youth the Cardinal of Rimini, whose chamberlain he became, executed among his first works, at the desire of that lord, the rebuilding of the apartments in the Fortress of Perugia, with so many conveniences and such beauty, that for a place so small it was a marvel, and many times already they have accommodated the Pope with all his Court. Then, after many other works that he executed for the said Cardinal, he was invited by the Genoese with much honour into the service of that Republic, for which the first work that he did was to restore and fortify the port and the mole; nay rather, to make it almost entirely different from what it was before. For, reaching out over a good space into the sea, he caused to be constructed a great and most beautiful port, which lies in a semicircle, very ornate with rustic columns and with niches about them, at the extremities of which semicircle there meet two little bastions, which defend that great port. On the piazza, then, above the mole and at the back of the great port, towards the city, he made a very large portico of the Doric Order, which accommodates the Guard, and over it, comprising all the space that it covers and likewise the two bastions and the gate, there is left a platform arranged for the operations of artillery, which commands the mole in the manner of a cavalier and defends the port both within and without. And besides this, which is finished, arrangements are being made for the enlargement of the city after his design, and his model has already been approved by the Signoria; and all with much praise for Galeazzo, who in these and other works has shown himself to be a most ingenious architect. The same Galeazzo has executed the new street of Genoa, with so many palaces built in the modern manner after his designs, that many declare that in no other city of Italy is there to be found a street more magnificent and grand than that one, nor one more full of the richest palaces, all built by those Signori with the persuasion and directions of Galeazzo, to whom all confess that they owe a very great obligation, in that he has been the inventor and executor of works which render their city, with regard to edifices, incomparably more grand and magnificent than it was before. The same master has built other streets without Genoa, and among others that which starts from Ponte Decimo on the way to Lombardy. He has restored the walls of the city towards the sea, and the fabric of the Duomo, making therein the tribune and the cupola; and he has built, also, many private edifices, such as the country palace of Messer Luca Giustiniano, that of Signor Ottaviano Grimaldi, the Palaces of two Doges, one for Signor Battista Grimaldi, and many others of which there is no need to speak.

PALAZZO GRIMALDI
(After Galeazzo Alessi. Genoa)
Alinari
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Now I will not omit to say that he has made the lake and island of 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.

THE DEPOSITION
(After the painting upon parchment by Giulio Clovio. Florence: Pitti, No. 241)
Mansell
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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

There is now living in Rome one who is certainly very excellent in his profession, Girolamo Siciolante of Sermoneta, of whom, although something has been said in the Life of Perino del Vaga, whose disciple he was, assisting him in the works of Castel S. Angelo and in many others, nevertheless it cannot but be well to say also here so much as his great excellence truly deserves. Among the first works, then, that this Girolamo executed by himself, was an altar-piece twelve palms high painted by him in oils at the age of twenty, which is now in the Badia of S. Stefano, near his native town of Sermoneta; wherein, large as life, are S. Peter, S. Stephen, and S. John the Baptist, with certain children. After that altar-piece, which was much extolled, he painted for the Church of S. Apostolo, in Rome, an altar-piece in oils with the Dead Christ, Our Lady, S. John, the Magdalene, and other figures, all executed with diligence. Then in the Pace, in the marble chapel that Cardinal Cesis caused to be constructed, he decorated the whole vaulting with stucco-work in a pattern of four pictures, painting therein the Nativity of Jesus Christ, the Adoration of the Magi, the Flight into Egypt, and the Massacre of the Innocents; all which was a work worthy of much praise and executed with invention, judgment, and diligence. For that same church, not long after, the same Girolamo painted an altar-piece fifteen palms high, which is beside the high-altar, of the Nativity of Jesus Christ, which was very beautiful; and then in another altar-piece in oils, for the Sacristy of the Church of S. Spirito in Rome, the Descent of the Holy Spirit upon the Apostles, which is a work full of grace. In like manner, in the Church of S. Maria de Anima, the church of the German colony, he painted in fresco the whole of the Chapel of the Fugger family (for which Giulio Romano once executed the altar-piece), with large scenes of the Life of Our Lady. For the high-altar of S. Jacopo degli Spagnuoli he painted in a large altar-piece a very beautiful Christ on the Cross with some Angels about Him, Our Lady, and S. John, and besides this two large pictures that are one on either side of it, each nine palms high and with a single figure, S. James the Apostle and S. Alfonso the Bishop; in which pictures it is evident that he used much study and diligence. On the Piazza Giudea, in the Church of S. Tommaso, he painted in fresco the whole of a chapel that looks out over the court of the Cenci Palace, depicting there the Nativity of the Madonna, the Annunciation by the Angel, and the Birth of Our Saviour Jesus Christ. For Cardinal Capodiferro he painted a hall in his palace, which is very beautiful, with stories of the ancient Romans. And at Bologna he once executed for the Church of S. Martino the altar-piece of the high-altar, which was much commended. For Signor Pier Luigi Farnese, Duke of Parma and Piacenza, whom he served for some time, he executed many works, and in particular a picture that is in Piacenza, painted for a chapel, wherein are Our Lady, S. Joseph, S. Michael, S. John the Baptist, and an Angel, of eight palms.

THE MARTYRDOM OF S. CATHARINE
(After the painting by Sermoneta. Rome: S. Maria Maggiore)
Alinari
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After his return from Lombardy he painted in the Minerva, in the passage of the sacristy, a Christ on the Cross, and another in the church. Then he painted in oils a S. Catharine and a S. Agatha; and in S. Luigi he executed a scene in fresco in competition with Pellegrino Pellegrini of Bologna and the Florentine Jacopo del Conte. In an altar-piece in oils, sixteen palms high, executed not long since for the Church of S. Alò, opposite to the Misericordia, a Company of the Florentines, he painted Our Lady, S. James the Apostle, and the Bishops S. Alò and S. Martino; and in S. Lorenzo in Lucina, in the Chapel of the Countess of Carpi, he painted in fresco a S. Francis who is receiving the Stigmata. In the Hall of Kings, at the time of Pope Pius IV, as has been related, he executed a scene in fresco over the door of the Chapel of Sixtus; in that scene, which was much extolled, Pepin, King of the Franks, is presenting Ravenna to the Roman Church, and is leading as prisoner Astulf, King of the Lombards; and we have the design of it by Girolamo's own hand in our book, with many others by the same master. And, finally, he has now in hand the Chapel of Cardinal Cesis in S. Maria Maggiore, for which he has already executed in a large altar-piece the Martyrdom of S. Catharine on the wheel, which is a most beautiful picture, as are the others on which both there and elsewhere, with much study, he is continually at work. I shall not make mention of the portraits and other pictures and little works of Girolamo, because, besides that they are without number, these are enough to make him known as a valiant and excellent painter.

Having said above, in the Life of Perino del Vaga, that the painter Marcello Mantovano worked many years under him at pictures that gave him a great name, I have to say in this place, coming more to particulars, that he once painted in the Church of S. Spirito the whole Chapel of S. Giovanni Evangelista and its altar-piece, with the portrait of a Knight Commander of the same S. Spirito, who built that church and constructed that chapel; which portrait is a very good likeness, and the altar-piece most beautiful. Whereupon a Friar of the Piombo, having seen his beautiful manner, caused him to paint in fresco in the Pace, over the door that leads from the church into the convent, Jesus Christ as a boy disputing with the Doctors in the Temple, which is a very lovely work. But since he has always delighted to make portraits and little things, abandoning larger works, he has executed an infinite number of these; and among them may be seen some of Pope Paul III, which are beautiful and speaking likenesses. In like manner, from the designs of Michelagnolo and from his works he has executed a vast number of things likewise small, and among these he has depicted in one of his works the whole façade of the Judgment, which is a rare thing and executed excellently well; and in truth, for small paintings, it would not be possible to do better. For which reason, finally, that most gentle Messer Tommaso de' Cavalieri, who has always favoured him, has caused him to paint after the design of Michelagnolo an altar-picture of the Annunciation of the Virgin, most beautiful, for the Church of S. Giovanni Laterano; which design by Buonarroti's own hand, imitated by this Marcello, Leonardo Buonarroti, the nephew of Michelagnolo, presented to the Lord Duke Cosimo together with some others of fortifications and architecture and other things of the rarest. And this must suffice for Marcello, who has been attending lately to working at little things, executing them with a truly supreme and incredible patience.

Of Jacopo del Conte, a Florentine, who like those named above dwells in Rome, enough will have been said, what with this and other places, after certain other particulars have been given here. This Jacopo, then, having been much inclined from his earliest youth to portraying from the life, has desired that this should be his principal profession, although on occasions he has executed altar-pictures and works in fresco in some numbers, both in Rome and without. Of his portraits—not to speak of them all, which would make a very long story—I shall say only that he has portrayed all the Pontiffs that there have been from Pope Paul III to the present day, and all the lords and ambassadors of importance who have been at that Court, and likewise the military captains and great men of the house of Colonna and of the Orsini, Signor Piero Strozzi, and an infinite number of Bishops, Cardinals, and other great prelates and lords, not to speak of many men of letters and other men of quality; all which has caused him to acquire fame, honour, and profit in Rome, so that he lives honourably and much at his ease with his family in that city. From his boyhood he drew so well that he gave promise, if he should persevere, of becoming excellent, and so in truth he would have been, but, as I have said, he turned to that to which he felt himself inclined by nature. Nevertheless, his works cannot but be praised. By his hand is a Dead Christ in an altar-piece that is in the Church of the Popolo, and in another that he has executed for the Chapel of S. Dionigi in S. Luigi, with stories, is the first-named Saint. But the most beautiful work that he ever did was in two scenes in fresco that he once painted, as has been told in another place, in the Florentine Company of the Misericordia, with an altar-picture of Christ taken down from the Cross, with the Thieves fixed on their crosses, and the Madonna in a swoon, painted in oil-colours, all beautiful and executed with diligence and with great credit to him. He has made many pictures throughout Rome, and figures in various manners, and has executed a number of full-length portraits, both nude and draped, of men and women, which have proved very beautiful, because the subjects were not otherwise. He has also portrayed, according as occasions arose, many heads of noble ladies, gentlewomen and princesses who have been in Rome; and among others, I know that he once portrayed Signora Livia Colonna, a most noble lady, incomparable in her illustrious blood, her virtue, and her beauty. And let this suffice for Jacopo del Conte, who is still living and constantly at work.

I might have made known, also, many from our Tuscany and from other parts of Italy, their names and their works, which I have passed over lightly, because many of them, being old, have ceased to work, and others who are young are now trying their hands and will become known better by their works than by means of writings. But of Adone Doni of Assisi, because he is still living and working, although I made mention of him in the Life of Cristofano Gherardi, I shall give some particulars of his works, such as are in Perugia and throughout all Umbria, and in particular many altar-pieces in Foligno. But his best works are in S. Maria degli Angeli at Assisi, in the little chapel where S. Francis died, wherein are some stories of the life of that Saint executed in oils on the walls, which are much extolled, besides which, he has painted the Passion of Christ in fresco at the head of the refectory of that convent, in addition to many other works that have done him honour; and his gentleness and courtesy have caused him to be considered liberal and courteous.

In Orvieto there are two young men also of that same profession, one a painter called Cesare del Nebbia, and the other a sculptor, both well on the way to bringing it about that their city, which up to the present has always invited foreign masters to adorn her, will no longer be obliged, if they follow up the beginnings that they have made, to seek other masters. There is working at Orvieto, in S. Maria, the Duomo of that city, a young painter called Niccolò dalle Pomarancie, who, having executed an altar-piece wherein is Christ raising Lazarus, has given signs—not to speak of other works in fresco—of winning a name among the others named above.

And now that we are come to the end of our Italian masters still living, I shall say only that no less service has been rendered by one Lodovico, a Florentine sculptor, who, so I am told, has executed notable works in England and at Bari; but, since I have not found here either his relatives or his family name, and have not seen his works, I am not able (as I fain would) to make any other record of him than this mention of his name.

DIVERS FLEMINGS

OF DIVERS FLEMINGS

Now, although in many places mention has been made of the works of certain excellent Flemish painters and of their engravings, but without any order, I shall not withhold the names of certain others—for of their works I have not been able to obtain full information—who have been in Italy, and I have known the greater number of them, in order to learn the Italian manner; believing that no less is due to their industry and to the labour endured by them in our arts. Leaving aside, then, Martin of Holland, Jan van Eyck of Bruges, and Hubert his brother, who in 1510 invented and brought to light the method of painting in oil-colours, as has been told elsewhere, and left many works by his hand in Ghent, Ypres, and Bruges, where he lived and died in honour; after them, I say, there followed Roger van der Weyden of Brussels, who executed many works in several places, but principally in his native city, and for the Town Hall four most beautiful panel-pictures in oils, of things appertaining to Justice. A disciple of that Roger was Hans,[16] by whom, as has been told, we have in Florence the Passion of Christ in a little picture that is in the hands of the Duke. To him there succeeded the Fleming Louis of Louvain, Pieter Christus, Justus of Ghent, Hugo of Antwerp, and many others, who, for the reason that they never went forth from their own country, always adhered to the Flemish manner. And if Albrecht Dürer, of whom we have spoken at some length, did once come to Italy, nevertheless he kept always to one and the same manner; although he was spirited and vivacious, particularly in his heads, as is well known to all Europe.

But, leaving these, and together with them Lucas of Holland and others, I became acquainted in Rome, in 1532, with one Michael Coxie, who gave no little study to the Italian manner, and executed many works in fresco in that city, and in particular two chapels in S. Maria de Anima. Having then returned to his own country and made himself known as an able man, I hear that among other works he executed for King Philip of Spain an altar-picture copied from one by the above-named Jan van Eyck that is in Ghent; and in that copy, which was taken into Spain, is the Triumph of the Agnus Dei. There studied in Rome, not long afterwards, Martin Heemskerk, a good master of figures and landscapes, who has executed in Flanders many pictures and many designs for copper-engravings, which, as has been related elsewhere, have been engraved by Hieronymus Cock, whom I came to know in Rome while I was serving Cardinal Ippolito de' Medici. And all these have been most beautiful inventors of stories, and close observers of the Italian manner.

PORTRAIT OF A MAN
(After the painting by Johannes Calcar. Paris: Louvre, No. 1185)
X phot.
[View larger image]

In Naples, also, in the year 1545, I came to know Johann of Calcar, a Flemish painter, who became very much my friend; a very rare craftsman, and so well practised in the Italian manner, that his works were not recognized as by the hand of a Fleming. But he died young in Naples, while great things were expected of him; and he drew for Vessalio his studies in anatomy. Before him, however, there was much in repute one Dirk of Louvain, a good master in that manner; and also Quentin of the same place, who in his figures always followed nature as well as he was able, as also did a son of his called Johann. Joost van Cleef, likewise, was a great colourist and rare in making portraits from life, for which King Francis of France employed him much in executing many portraits of various lords and ladies. Famous painters of the same province, also, have been—and some of them still are—Jan van Hemessen, Matthys Cock of Antwerp, Bernard of Brussels, Jan Cornelis of Amsterdam, Lambert of the same city, Hendrik of Dinant, Joachim Patinier of Bouvignes, and Jan Scorel, Canon of Utrecht, who carried into Flanders many new methods of painting taken from Italy. Besides these, there have been Jean Bellegambe of Douai, Dirk of Haarlem, from the same place, and Franz Mostaert, who was passing skilful in painting landscapes in oils, fantasies, bizarre inventions, dreams, and suchlike imaginings. Hieronymus Bosch and Pieter Brueghel of Breda were imitators of that Mostaert, and Lancelot Blondeel has been excellent in painting fires, nights, splendours, devils, and other things of that kind. Pieter Koeck has had much invention in stories, and has made very beautiful cartoons for tapestries and arras-hangings; with a good manner and practice in matters of architecture, on which account he has translated into the Teuton tongue the works on architecture of Sebastiano Serlio of Bologna. And Jean Gossart of Mabuse was almost the first who took from Italy into Flanders the true method of making scenes full of nude figures and poetical inventions; and by his hand is a large altar-piece in the Abbey of Middelburg in Zeeland. Of all these information has been received from Maestro Giovanni Strada of Bruges, a painter, and from Giovan Bologna of Douai, a sculptor; both Flemings and men of excellence, as we shall relate in the Treatise on the Academicians.

As for those of the same province who are still living and in repute, the first among them, both for his works in painting and for his many copper-plate engravings, is Franz Floris of Antwerp, a disciple of the above-mentioned Lambert Lombard. This Floris, who is held to be most excellent, has worked in such a manner in every field of his profession, that no one, they say there, has expressed better the emotions of the soul, sorrow, gladness, and the other passions, and all with most beautiful and bizarre inventions; insomuch that, likening him to the Urbinate, they call him the Flemish Raffaello. It is true that this is not demonstrated to us fully by the printed sheets, for the reason that the engraver, be he ever so able, never by a great measure equals the originals or the design and manner of him who has drawn them. A fellow-disciple with Floris, learning under the discipline of the same master, has been Willem Key of Breda, and also of Antwerp, a temperate, serious, and judicious man, and a close imitator of the life and the objects of nature, and in addition passing fertile in invention, and one who more than any other executes his pictures with good gradation and all full of sweetness and grace; and although he has not the facility, boldness, and terrible force of his brother-disciple Floris, for all that he is held to be truly excellent. Michael Coxie, of whom I have spoken above, saying that he carried the Italian manner into Flanders, is much celebrated among the Flemish craftsmen for being profoundly serious and making his figures such that they have in them much of the virile and severe; wherefore the Fleming Messer Domenicus Lampsonius, of whom mention will be made in the proper place, discoursing of the two masters named above and of this Michael, likens them to a fine trio in music, in which each plays his part with excellence. Much esteemed, also, among the same men, is Antonius Moor of Utrecht in Holland, painter to the Catholic King, whose colours, they say, in portraying whatever he may choose from nature, vie with the reality and deceive the eye most beautifully. The same Lampsonius writes to me that Moor, who is a man of very gentle ways and much beloved, has painted a most beautiful altar-picture of Christ rising from the dead, with two Angels, S. Peter, and S. Paul, which is a marvellous thing. Marten de Vos, who copies excellently well from nature, is held to be good in invention and colouring. But in the matter of making beautiful landscapes, none are equal to Jakob Grimmer, Hans Bol, and others, all of Antwerp and able men, of whom, nevertheless, I have not been able to obtain particular information. Pieter Aertsen, called Long Peter, painted in his native city of Amsterdam an altar-picture with wing-panels, containing Our Lady and other Saints; which whole work cost two thousand crowns. They also celebrate as a good painter Lambert of Amsterdam, who dwelt many years in Venice, and had the Italian manner very well. This Lambert was the father of Federigo, of whom, from his being one of our Academicians, record will be made in the proper place. Pieter Brueghel of Antwerp, likewise, they celebrate as an excellent master, and Lambert van Noort of Amersfort in Holland, and as a good architect Gilis Mostaert, brother of the above-named Franz; and Pieter Pourbus, a mere lad, has given proof that he is destined to become an excellent painter.

Now, that we may learn something of the miniaturists of those countries: they say that these have been excellent there, Marinus of Zierickzee, Lucas Horebout of Ghent, Simon Bening of Bruges, and Gerard; and likewise some women, Susanna, sister of the said Lucas, who was invited for that work into the service of Henry VIII, King of England, and lived there in honour all the rest of her life; Clara Skeysers of Ghent, who at the age of eighty died, so they say, a virgin; Anna, daughter of Meister Seghers, a physician; Levina, daughter of the above-named Meister Simon of Bruges, who was married by the said Henry of England to a nobleman, and held in estimation by Queen Mary, even as she is now by Queen Elizabeth; and likewise Catharina, daughter of Meister Jan van Hemessen, who went to Spain into the service of the Queen of Hungary, with a good salary. In short, many other women in those parts have been excellent miniaturists.

In the work of glass and of making windows there have been many able men in the same province; Arthus van Noort of Nymwegen, Borghese of Antwerp, Dierick Jacobsz Vellaert, Dirk van Staren of Kampen, and Jan Haeck of Antwerp, by whom are the windows in the Chapel of the Sacrament in the Church of S. Gudule in Brussels. And here in Tuscany many very beautiful windows of fired glass have been made for the Duke of Florence by Wouter Crabeth and Giorgio, Flemings and able men, from the designs of Vasari.

In architecture and sculpture the most celebrated Flemings are Sebastian van Oja of Utrecht, who served Charles V in some fortifications, and then King Philip; Willem van Antwerp; Willem Keur of Holland, a good architect and sculptor; Jan van Dalen, sculptor, poet and architect; and Jakob Breuck, sculptor and architect, who executed many works for the Queen Regent of Hungary, and was the master of Giovan Bologna of Douai, one of our Academicians, of whom we shall speak in a short time. Jan de Mynsheere of Ghent, also, is held to be a good architect, and Matthaeus Manemaker of Antwerp, who is with the King of the Romans, an excellent sculptor; and Cornelis Floris, brother of the above-named Franz, is likewise an excellent sculptor and architect, and the first who introduced into Flanders the method of making grotesques. Others who give their attention to sculpture, with much honour to themselves, are Willem Paludanus, a very studious and diligent sculptor, brother of the above-named Heinrich; Jan der Sart of Nymwegen, Simon van Delft, and Joost Janszoon of Amsterdam. And Lambert Suavius of Liège is a very good architect and master in engraving prints with the burin, wherein he has been followed by Joris Robyn of Ypres, Dirk Volkaerts and Philip Galle, both of Haarlem, Lucas van Leyden, and many others; who have all been in Italy in order to learn and to draw the antiquities, and to return home, as for the most part they have done, excellent masters. But greater than any of those named above has been Lambert Lombard of Liège, a man great in letters, judicious in painting, and excellent in architecture, the master of Franz Floris and Willem Key; of the excellencies of which Lambert and of others I have received much information in letters from M. Domenicus Lampsonius of Liège, a man well lettered and of much judgment in everything, who was the familiar confidant of Cardinal Pole of England during his lifetime, and now is secretary to Monsignor the Prince Bishop of Liège. That gentleman, I say, once sent me the life of the said Lambert written in Latin, and he has saluted me several times in the name of many of our craftsmen from that province; and a letter that I have by his hand, dated October 30, 1564, is written in this tenor:

"For four years back I have had it constantly in mind to thank you, honoured Sir, for two very great benefits that I have received from you, although I know that this will appear to you a strange exordium from one whom you have never seen or known. And strange, indeed, it would be, if I had not known you, which has been from the time when my good fortune, or rather, our Lord God, willed that by His Grace there should come into my hands, I know not in what way, your most excellent writings concerning the architects, painters, and sculptors. But at that time I did not know one word of Italian, whereas now, thanks be to God, for all that I have never seen Italy, by reading your writings I have gained such little knowledge as has encouraged me to write you this letter. And to this desire to learn your tongue I have been attracted by your writings, which perhaps those of no other man could have done; being drawn to seek to understand them by a natural and irresistible love that I have borne from childhood to these three most beautiful arts, but above all to that most pleasing to every age, sex, and rank, and hurtful to none, your art of painting. In which art, although I was at that time wholly ignorant and wanting in judgment, now, by means of the frequently reiterated reading of your writings, I understand so much—little though it may be, and as it were nothing—as is yet enough to enable me to lead an agreeable and happy life; and this I value more than all the honours, comforts and riches of this world. By this little I mean only that I could copy with oil-colours, as with any kind of drawing-instrument, the objects of nature, and particularly nudes and vestments of every sort; but I have not had courage enough to plunge deeper, as for example, to paint things more hazardous which require a hand more practised and sure, such as landscapes, trees, waters, clouds, splendours, fires, etc. And although in these things, as also in inventions, up to a certain point, it is possible that in case of necessity I could show that I have made some little proficience by means of the reading I have mentioned, yet I have been content, as I have said, to confine myself to making only portraits, and the rather because the many occupations which my office necessarily involves do not permit me to do more. And in order to prove myself in some way appreciative and grateful for these benefits, that by your means I have learned a most beautiful tongue and the art of painting, I would have sent you with this letter a little portrait of my face, taken with a mirror, had I not doubted whether my letter would find you in Rome or not, since at the present moment you might perchance be living in Florence or your native city of Arezzo."

This letter contains, in addition, many other particulars that are not here to the point. In others, since, he has prayed me in the name of many honourable gentlemen of those parts, who have heard that these Lives are being reprinted, that I should add to them three treatises on sculpture, painting, and architecture, with drawings of figures, by way of elucidation according to necessity, in order to expound the secrets of the arts, as Albrecht Dürer and Serlio have done, and Leon Battista Alberti, who has been translated by M. Cosimo Bartoli, a gentleman and Academician of Florence. Which I would have done more than willingly, but my intention has been only to describe the lives and works of our craftsmen, and not to teach the arts, with the methods of drawing the lines of painting, architecture, and sculpture; besides which, the work having grown under my hands for many reasons, it will be perchance too long, even without adding treatises. But it was not possible or right for me to do otherwise than I have done, or to defraud anyone of his due praise and honour, nor yet the world of the pleasure and profit that I hope may be derived from these labours.

INDEX OF NAMES
OF THE CRAFTSMEN MENTIONED IN VOLUME IX

Abate, Niccolò dell' (Niccolò da Modena), [148]
Adone Doni, [261]
Aertsen, Pieter, [268]
Agnolo, Baccio d', [40], [41], [194]
Agnolo Bronzino, [118], [125], [128], [133], [137], [252]
Agnolo di Donnino, [29], [30]
Agresti, Livio (Livio da Forlì), [155]
Aimo, Domenico (Vecchio), [189]
Alberti, Leon Batista, [271]
Albrecht Dürer, [163], [246], [265], [271]
Alessandro Allori (Alessandro del Bronzino), [133], [138]
Alessandro (Scherano da Settignano), [55]
Alessandro Vittoria, [204]-206, [223]
Alessi, Galeazzo, [239]-242
Alesso Baldovinetti, [182]
Alfonso Lombardi, [167]
Allori, Alessandro (Alessandro del Bronzino), [133], [138]
Alonzo Berughetta, [20], [189]
Ammanati, Bartolommeo, [69], [70], [73], [118], [125], [126], [129], [207], [208], [223]
Amsterdam, Lambert of (Lambert Lombard), [266]-268, [270]
Andrea Calamech, [129]
Andrea Contucci (Andrea Sansovino), [15], [40], [41], [187], [202], [216]
Andrea del Minga, [131]
Andrea del Sarto, [20], [43], [188], [193], [194]
Andrea Mantegna, [211]
Andrea Palladio, [211]-214
Andrea Sansovino (Andrea Contucci), [15], [40], [41], [187], [202], [216]
Anna Seghers, [269]
Antonio Begarelli (Modena), [113]
Antonio da San Gallo (the elder), [16], [40], [41]
Antonio da San Gallo (the younger), [61]-67, [196], [197], [224], [239]
Antonio di Gino Lorenzi, [131]
Antonio di Marco di Giano (Carota), [51]
Antonio Mini, [47]-51, [69], [81], [107], [109]
Antonius Moor, [268]
Antwerp, Hugo of, [265]
Antwerp, Willem van, [269]
Apelles, [133], [168]
Arca, Niccolò dell', [11]
Aretino, Leone (Leone Lioni), Life, [229]-232. [95], [233]
Aristotile (Bastiano) da San Gallo, [20], [29], [30]
Arnolfo di Lapo, [194]
Arthus van Noort, [269]
Ascanio Condivi (Ascanio dalla Ripa Transone), [5], [107]

Baccio Bandinelli, [20], [49], [126], [190]
Baccio d'Agnolo, [40], [41], [194]
Baccio da Montelupo, [55], [188], [190], [239]
Bagnacavallo, Bartolommeo da, [147]
Bagnacavallo, Giovan Battista da, [147], [148]
Baldassarre Peruzzi, [65], [196]
Baldovinetti, Alesso, [182]
Bandinelli, Baccio, [20], [49], [126], [190]
Bandini, Giovanni di Benedetto (Giovanni dell'Opera), [126], [130], [140], [141]
Barbara de' Longhi, [155]
Barbiere, Domenico del, [149]
Barozzi, Jacopo (Vignuola), [102], [146], [147]
Bartolommeo Ammanati, [69], [70], [73], [118], [125], [126], [129], [207], [208], [223]
Bartolommeo Bozzato (Girolamo Bozza), [183]
Bartolommeo da Bagnacavallo, [147]
Bartolommeo Montagna, [211]
Bartolommeo Passerotto, [156]
Bartolommeo Suardi (Bramantino da Milano), [190]
Bassano, Jacopo da, [175], [176]
Bastiano (Aristotile) da San Gallo, [20], [29], [30]
Battista del Cavaliere (Battista Lorenzi), [131], [140], [141]
Battista del Cinque, [51]
Battista del Tasso, [51]
Battista di Benedetto Fiammeri, [126]
Battista Farinato, [214]
Battista Franco, [199], [205], [217]
Battista Lorenzi (Battista del Cavaliere), [131], [140], [141]
Battista Naldini, [134]
Begarelli, Antonio (Modena), [113]
Bellegambe, Jean, [266]
Bellini, Giovanni, [159], [160], [162], [163]
Benedetto da Rovezzano, [191]
Bening, Levina, [269]
Bening, Simon, [268]
Benvenuto Cellini, [51], [118], [125]
Benvenuto Garofalo, [202]
Bernard of Brussels, [266]
Bernardino Pinturicchio, [190]
Bernardo Timante Buontalenti, [135]-137
Bertoldo, 8
Berughetta, Alonzo, [20], [189]
Bigio, Nanni di Baccio, [69], [76], [100], [101], [113], [239]
Blondeel, Lancelot, [267]
Bol, Hans, [268]
Bologna, Giovan, [267], [269]
Bologna, Ruggieri da, [147]
Bolognese, Pellegrino (Pellegrino Pellegrini, or Tibaldi), [151]-154, [258]
Bonifazio (of Venice), [214]
Bordone, Paris, [178]-182
Borghese (of Antwerp), [269]
Bosch, Hieronymus, [267]
Bosco, Maso dal (Maso Boscoli), [55]
Boscoli, Giovanni, [156]
Boscoli, Maso (Maso dal Bosco), [55]
Bozzato, Bartolommeo (Girolamo Bozza), [183]
Bramante da Urbino, [27]-29, [31], [65], [71], [188]-190
Bramantino da Milano (Bartolommeo Suardi), [190]
Bresciano, Jacopo (Jacopo de' Medici), [206], [207], [223]
Breuck, Jakob, [269]
Bronzino, Agnolo, [118], [125], [128], [133], [137], [252]
Bronzino, Alessandro del (Alessandro Allori), [133], [138]
Brueghel, Pieter, [267], [268]
Brunelleschi, Filippo, [43], [44], [133]
Brussels, Bernard of, [266]
Bugiardini, Giuliano, [29], [30], [95]
Buglioni, Santi, [132]
Buonarroti, Michelagnolo, Life, [3]-141. [145], [153], [162], [170], [171], [187], [193]-195, [215], [216], [224], [231], [235], [236], [239], [246], [250], [251], [259]
Buontalenti, Bernardo Timante, [135]-137
Butteri, Giovan Maria, [131]

Cadore, Tiziano da (Tiziano Vecelli), Life, [159]-178. [48], [145], [153], [159]-179, [182], [183], [201], [202], [247], [252]
Calamech, Andrea, [129]
Calamech, Lazzaro, [129]
Calcagni, Tiberio, [83], [84], [98]-100
Calcar, Johann of (Giovanni Fiammingo), [178], [266]
Capocaccia, Mario, [233]
Caravaggio, Polidoro da, [170]
Carota (Antonio di Marco di Giano), [51]
Carpaccio, Vittore (Vittore Scarpaccia), [210], [211]
Carrara, Danese da (Danese Cattaneo), [176], [204], [208]-210, [214], [223]
Casignuola, Jacopo, [238]
Casignuola, Tommaso, [238]
Castel Bolognese, Giovanni da, [164]
Castelfranco, Giorgione da, [159]-162, [165], [179]
Catharina van Hemessen, [269]
Cattaneo, Danese (Danese da Carrara), [176], [204], [208]-210, [214], [223]
Cavaliere, Battista del (Battista Lorenzi), [131], [140], [141]
Cavalori, Mirabello (Mirabello di Salincorno), [126]
Cellini, Benvenuto, [51], [118], [125]
Cesare Cesariano, [190]
Cesare del Nebbia, [261]
Cesariano, Cesare, [190]
Christus, Pieter, [265]
Ciappino, [51]
Ciciliano, Jacopo, [98]
Cimabue, Giovanni, [133]
Cinque, Battista del, [51]
Cioli, Valerio, [129], [140], [141]
Clara Skeysers, [269]
Cleef, Joost van, [266]
Clovio, Don Giulio, Life, [245]-253
Cock, Hieronymus, [266]
Cock, Matthys, [266]
Colonna, Jacopo, [202], [203], [223]
Condivi, Ascanio (Ascanio dalla Ripa Transone), [5], [107]
Conte, Jacopo del, [95], [152], [258], [260], [261]
Contucci, Andrea (Andrea Sansovino), [15], [40], [41], [187], [202], [216]
Cornelis Floris, [269]
Cornelis, Jan, [266]
Coxie, Michael, [266]-268
Crabeth, Wouter, [269]
Credi, Lorenzo di, [190]
Cristofano Gherardi, [261]
Cristofano Gobbo (Cristofano Solari), [14], [234]
Cristofano Rosa, [177]
Cristofano Solari (Cristofano Gobbo), [14], [234]
Crocifissaio, Girolamo del (Girolamo Macchietti), [126]

Dalen, Jan van, [269]
Danese Cattaneo (Danese da Carrara), [176], [204], [208]-210, [214], [223]
Daniello Ricciarelli (Daniello da Volterra), [95], [100], [101], [103], [107], [121], [122]
Dante, Girolamo (Girolamo di Tiziano), [183]
Danti, Vincenzio, [128], [139]
David Ghirlandajo, [5], [6], [182]
Delft, Simon van, [269]
Dierick Jacobsz Vellaert, [269]
Dinant, Hendrik of, [266]
Dirk of Haarlem, [266]
Dirk of Louvain, [266]
Dirk van Staren, [269]
Dirk Volkaerts, [270]
Domenico Aimo (Vecchio), [189]
Domenico del Barbiere, [149]
Domenico Ghirlandajo, [5]-9, [182]
Domenico Poggini, [131]
Domenicus Lampsonius, [268], [270], [271]
Don Giulio Clovio, Life, [245]-253
Donato (Donatello), [8], [10], [111], [133], [138], [169]
Doni, Adone, [261]
Donnino, Agnolo di, [29], [30]
Dosso Dossi, [163]
Dürer, Albrecht, [163], [246], [265], [271]

Eyck, Hubert van, [265]
Eyck, Jan van, [265], [266]

Fabbro, Pippo del, [192]
Fabrizio Viniziano, [215]
Faenza, Jacopone da, [154]
Faenza, Marco da (Marco Marchetti), [155], [156]
Fallaro, Jacopo, [214]
Farinato, Battista, [214]
Federigo Fiammingo (Federigo di Lamberto, or Del Padovano), [127], [268]
Ferrarese, Girolamo (Girolamo Lombardi), [202], [223]
Fiammeri, Battista di Benedetto, [126]
Fiammingo, Federigo (Federigo di Lamberto, or Del Padovano), [127], [268]
Fiammingo, Giorgio, [269]
Fiammingo, Giovanni (Johann of Calcar), [178], [266]
Fiesole, Simone da, [15], [16]
Filippo Brunelleschi, [43], [44], [133]
Filippo Lippi, Fra, [119], [133]
Floris, Cornelis, [269]
Floris, Franz, [267]-270
Fontana, Prospero, [147], [148], [150]-152
Forlì, Livio da (Livio Agresti), [155]
Fra Filippo Lippi, [119], [133]
Fra Giovanni Agnolo Montorsoli, [51], [117], [133]
Fra Guglielmo della Porta, [68], [69], [234]-238
Fra Sebastiano Viniziano del Piombo, [68], [106], [109], [111], [162], [235]
Francesco del Tadda, [97]
Francesco Francia, [26], [27]
Francesco Granacci, [5], [6], [8], [20], [29], [30]
Francesco Primaticcio, Description of Works, [145]-150. [151], [156]
Francesco Salviati, [133]
Francesco Verbo (Verlo), [211]
Francia, Francesco, [26], [27]
Francia, Piero, [130]
Franciabigio, [20]
Franco, Battista, [199], [205], [217]
Franz Floris, [267]-270
Franz Mostaert, [266]-268
Franzese, Giovanni, [88]

Gaddi, Taddeo, [133]
Galeazzo Alessi, [239]-242
Galeotto, Pietro Paolo, [233]
Galle, Philip, [270]
Garofalo, Benvenuto, [202]
Gerard, [268]
Ghent, Justus of, [265]
Gherardi, Cristofano, [261]
Gherardo, [182]
Ghiberti, Lorenzo, [114]
Ghirlandajo, David, [5], [6], [182]
Ghirlandajo, Domenico, [5]-9, [182]
Ghirlandajo, Michele di Ridolfo, [130]
Ghirlandajo, Ridolfo, [20]
Gian Maria Verdezotti, [178]
Giano, Antonio di Marco di (Carota), [51]
Gilis Mostaert, [268]
Giorgio Fiammingo, [269]
Giorgio Vasari. See Vasari (Giorgio)
Giorgione da Castelfranco, [159]-162, [165], [179]
Giotto, [3], [119], [133], [182]
Giovan Battista da Bagnacavallo, [147], [148]
Giovan Bologna, [267], [269]
Giovan Jacomo della Porta, [234], [235]
Giovan Maria Butteri, [131]
Giovan Paolo Poggini, [232], [233]
Giovanni (of Vicenza), [211]
Giovanni Agnolo Montorsoli, Fra, [51], [117], [133]
Giovanni Antonio Licinio (Pordenone), [160], [167], [168]
Giovanni Bellini, [159], [160], [162], [163]
Giovanni Boscoli, [156]
Giovanni Cimabue, [133]
Giovanni da Castel Bolognese, [164]
Giovanni da Udine, [42], [51]
Giovanni dell'Opera (Giovanni di Benedetto Bandini), [126], [130], [140], [141]
Giovanni Fiammingo (Johann of Calcar), [178], [266]
Giovanni Franzese, [88]
Giovanni Pisano, [11]
Giovanni Speranza, [211]
Giovanni Strada (Jan van der Straet), [134], [135], [267]
Girolamo Bozza (Bartolommeo Bozzato), [183]
Girolamo da Sermoneta (Girolamo Siciolante), [152], [257]-259
Girolamo Dante (Girolamo di Tiziano), [183]
Girolamo del Crocifissaio (Girolamo Macchietti), [126]
Girolamo di Tiziano (Girolamo Dante), [183]
Girolamo Ferrarese (Girolamo Lombardi), [202], [223]
Girolamo Macchietti (Girolamo del Crocifissaio), [126]
Girolamo Miruoli, [156]
Girolamo Pironi, [211]
Girolamo Siciolante (Girolamo da Sermoneta), [152], [257]-259
Giuliano Bugiardini, [29], [30], [95]
Giuliano da San Gallo, [16], [29], [30], [188], [189]
Giulio Clovio, Don, Life, [245]-253
Giulio Romano, [146], [168], [245], [257], [258]
Giuseppe Salviati (Giuseppe Porta), [214]
Gobbo, Cristofano (Cristofano Solari), [14], [234]
Gossart, Jean, [267]
Granacci, Francesco, [5], [6], [8], [20], [29], [30]
Grimmer, Jakob, [268]
Guerrini, Rocco, [242]
Guglielmo della Porta, Fra, [68], [69], [234]-238
Guglielmo Tedesco, [237]

Haarlem, Dirk of, [266]
Haeck, Jan, [269]
Hans Bol, [268]
Hans Memling, [265]
Heemskerk, Martin, [266]
Heinrich Paludanus, [269]
Hemessen, Catharina van, [269]
Hemessen, Jan van, [266], [269]
Hendrik of Dinant, [266]
Hieronymus Bosch, [267]
Hieronymus Cock, [266]
Horebout, Lucas, [268]
Horebout, Susanna, [268], [269]
Hubert van Eyck, [265]
Hugo of Antwerp, [265]

Indaco, Jacopo L', [29], [30]
Irene di Spilimbergo, [175]

Jacopo Barozzi (Vignuola), [102], [146], [147]
Jacopo Bresciano (Jacopo de' Medici), [206], [207], [223]
Jacopo Casignuola, [238]
Jacopo Ciciliano, [98]
Jacopo Colonna, [202], [203], [223]
Jacopo da Bassano, [175], [176]
Jacopo da Pontormo, [20], [107], [110], [133], [134]
Jacopo de' Medici (Jacopo Bresciano), [206], [207], [223]
Jacopo del Conte, [95], [152], [258], [260], [261]
Jacopo di Sandro, [29], [30]
Jacopo Fallaro, [214]
Jacopo L'Indaco, [29], [30]
Jacopo Palma, [160]
Jacopo Pisbolica, [214], [215]
Jacopo Sansovino (Jacopo Tatti), Life, [187]-202, [215]-225. [20], [40], [41], [107], [145], [166], [170], [187]-204, [206]-208, [210], [215]-225
Jacopo Tintoretto, [214]
Jacopo Zucchi, [134]
Jacopone da Faenza, [154]
Jakob Breuck, [269]
Jakob Grimmer, [268]
Jan Cornelis, [266]
Jan de Mynsheere, [269]
Jan der Sart, [269]
Jan Haeck, [269]
Jan Scorel, [266]
Jan van Dalen, [269]
Jan van der Straet (Giovanni Strada), [134], [135], [267]
Jan van Eyck, [265], [266]
Jan van Hemessen, [266], [269]
Janszoon, Joost, [269]
Jean Bellegambe, [266]
Jean Gossart, [267]
Joachim Patinier, [266]
Johann of Calcar (Giovanni Fiammingo), [178], [266]
Johann of Louvain, [266]
Joost Janszoon, [269]
Joost van Cleef, [266]
Joris Robyn, [270]
Justus of Ghent, [265]

Keur, Willem, [269]
Key, Willem, [267], [268], [270]
Koeck, Pieter, [267]

Lambert Lombard (Lambert of Amsterdam), [266]-268, [270]
Lambert Suavius, [269], [270]
Lambert Van Noort, [268]
Lamberto, Federigo di (Federigo Fiammingo, or Del Padovano), [127], [268]
Lampsonius, Domenicus, [268], [270], [271]
Lancelot Blondeel, [267]
Lancia, Luca, [223]
Lapo, Arnolfo di, [194]
Lastricati, Zanobi, [125], [132]
Lazzaro Calamech, [129]
Leon Batista Alberti, [271]
Leonardo da Vinci, [15], [19], [234]
Leonardo Milanese, [238]
Leone Lioni (Leone Aretino), Life, [229]-232. [95], [233]
Levina Bening, [269]
Leyden, Lucas van, [265], [270]
Licinio, Giovanni Antonio (Pordenone), [160], [167], [168]
Ligorio, Pirro, [84], [94], [95], [102]
L'Indaco, Jacopo, [29], [30]
Lioni, Leone (Leone Aretino), Life, [229]-232. [95], [233]
Lioni, Pompeo, [232], [233]
Lippi, Fra Filippo, [119], [133]
Livio Agresti (Livio da Forlì), [155]
Lodovico (of Florence), [262]
Lodovico Rosso, [182]
Lombard, Lambert (Lambert of Amsterdam), [266]-268, [270]
Lombardi, Alfonso, [167]
Lombardi, Girolamo (Girolamo Ferrarese), [202], [223]
Longhi, Barbara de', [155]
Longhi, Luca de', [154], [155]
Lorenzetto, [20], [239]
Lorenzi, Antonio di Gino, [131]
Lorenzi, Battista (Battista del Cavaliere), [131], [140], [141]
Lorenzo della Sciorina (Lorenzo Sciorini), [128]
Lorenzo di Credi, [190]
Lorenzo Ghiberti, [114]
Lorenzo Sabatini, [151]
Lorenzo Sciorini (Lorenzo della Sciorina), [128]
Louis of Louvain, [265]
Louvain, Dirk of, [266]
Louvain, Johann of, [266]
Louvain, Louis of, [265]
Louvain, Quentin of, [266]
Luca de' Longhi, [154], [155]
Luca Lancia, [223]
Luca Signorelli, [190]
Lucas Horebout, [268]
Lucas van Leyden, [265], [270]
Lugano, Tommaso da, [206]

Macchietti, Girolamo (Girolamo del Crocifissaio), [126]
Manemaker, Matthaeus, [269]
Mantegna, Andrea, [211]
Marcello Mantovano (Marcello Venusti), [106], [259], [260]
Marco da Faenza (Marco Marchetti), [155], [156]
Marinus (of Zierickzee), [268]
Mario Capocaccia, [233]
Marten de Vos, [268]
Martin Heemskerk, [266]
Martin Schongauer (Martino), [7], [265]
Masaccio, [10], [133]
Maso dal Bosco (Maso Boscoli), [55]
Matthaeus Manemaker, [269]
Matthys Cock, [266]
Maturino, [20]
Medici, Jacopo de' (Jacopo Bresciano), [206], [207], [223]
Memling, Hans, [265]
Menighella, [114]
Michael Coxie, [266]-268
Michelagnolo Buonarroti, Life, [3]-141. [145], [153], [162], [170], [171], [187], [193]-195, [215], [216], [224], [231], [235], [236], [239], [246], [250], [251], [259]
Michele di Ridolfo Ghirlandajo, [130]
Milanese, Leonardo, [238]
Milano, Bramantino da (Bartolommeo Suardi), [190]
Minga, Andrea del, [131]
Mini, Antonio, [47]-51, [69], [81], [107], [109]
Minio, Tiziano (Tiziano da Padova), [203], [223]
Mirabello di Salincorno (Mirabello Cavalori), [126]
Miruoli, Girolamo, [156]
Modena (Antonio Begarelli), [113]
Modena, Niccolò da (Niccolò dell'Abate), [148]
Montagna, Bartolommeo, [211]
Montelupo, Baccio da, [55], [188], [190], [239]
Montelupo, Raffaello da, [51], [55], [69], [239]
Montorsoli, Fra Giovanni Agnolo, [51], [117], [133]
Moor, Antonius, [268]
Mosca, Simone, [69]
Mostaert, Franz, [266]-268
Mostaert, Gilis, [268]
Mynsheere, Jan de, [269]

Naldini, Battista, [134]
Nanni di Baccio Bigio, [69], [76], [100], [101], [113], [239]
Nanni Unghero, [188]
Nebbia, Cesare del, [261]
Niccolò (Tribolo), [20], [51], [77], [78], [202], [223]
Niccolò da Modena (Niccolò dell'Abate), [148]
Niccolò dalle Pomarancie, [261]
Niccolò dell'Abate (Niccolò da Modena), [148]
Niccolò dell'Arca, [11]
Noort, Arthus van, [269]
Noort, Lambert van, [268]

Oja, Sebastian van, [269]
Opera, Giovanni dell' (Giovanni di Benedetto Bandini), [126], [130], [140], [141]
Orazio Sammacchini, [154]
Orazio Vecelli, [171]

Padova, Tiziano da (Tiziano Minio), [203], [223]
Padovano, Federigo del (Federigo di Lamberto, or Fiammingo), [127], [268]
Palladio, Andrea, [211]-214
Palma, Jacopo, [160]
Paludanus, Heinrich, [269]
Paludanus, Willem, [269]
Paolo Ponzio, [149]
Paolo Uccello, [133]
Paris Bordone, [178]-182
Parrhasius, [133]
Passerotto, Bartolommeo, [156]
Patinier, Joachim, [266]
Pellegrino Bolognese (Pellegrino Pellegrini or Tibaldi), [151]-154, [258]
Perino del Vaga, [20], [61], [151], [234], [257], [259]
Perugino, Pietro, [189]
Peruzzi, Baldassarre, [65], [196]
Peruzzi, Salustio, [82]
Philip Galle, [270]
Pieri, Stefano, [137]
Piero Francia, [130]
Pieter Aertsen, [268]
Pieter Brueghel, [267], [268]
Pieter Christus, [265]
Pieter Koeck, [267]
Pieter Pourbus, [268]
Pietro da Salò, [204], [223]
Pietro Paolo Galeotto, [233]
Pietro Perugino, [189]
Pietro Urbano, [44], [107]
Piloto, [42], [43], [47], [48]
Pinturicchio, Bernardino, [190]
Piombo, Fra Sebastiano Viniziano del, [68], [106], [109], [111], [162], [235]
Pippo del Fabbro, [192]
Pironi, Girolamo, [211]
Pirro Ligorio, [84], [94], [95], [102]
Pisano, Giovanni, [11]
Pisbolica, Jacopo, [214], [215]
Poggini, Domenico, [131]
Poggini, Giovan Paolo, [232], [233]
Polidoro (of Perugia), [234]
Polidoro da Caravaggio, [170]
Pomarancie, Niccolò dalle, [261]
Pompeo Lioni, [232], [233]
Pontormo, Jacopo da, [20], [107], [110], [133], [134]
Ponzio, Paolo, [149]
Pordenone (Giovanni Antonio Licinio), [160], [167], [168]
Porta, Fra Guglielmo della, [68], [69], [234]-238
Porta, Giovan Jacomo della, [234], [235]
Porta, Giuseppe (Giuseppe Salviati), [214]
Porta, Tommaso, [238]
Pourbus, Pieter, [268]
Praxiteles, [133]
Primaticcio, Francesco, Description of Works, [145]-150. [151], [156]
Prospero Fontana, [147], [148], [150]-152

Quentin of Louvain, [266]

Raffaello da Montelupo, [51], [55], [69], [239]
Raffaello Sanzio (Raffaello da Urbino), [20], [27], [28], [30], [31], [40], [41], [65], [162], [165], [170], [189], [194], [196], [267]
Ricciarelli, Daniello (Daniello da Volterra), [95], [100], [101], [103], [107], [121], [122]
Ridolfo Ghirlandajo, [20]
Ripa Transone, Ascanio dalla (Ascanio Condivi), [5], [107]
Robyn, Joris, [270]
Rocco Guerrini, [242]
Roger van der Weyden, [265]
Romano, Giulio, [146], [168], [245], [257], [258]
Rosa, Cristofano, [177]
Rosa, Stefano, [177]
Rosso, [20], [107], [146], [147]
Rosso, Lodovico, [182]
Rovezzano, Benedetto da, [191]
Ruggieri da Bologna, [147]

Sabatini, Lorenzo, [151]
Salincorno, Mirabello di (Mirabello Cavalori), [126]
Salò, Pietro da, [204], [223]
Salustio Peruzzi, [82]
Salviati, Francesco, [133]
Salviati, Giuseppe (Giuseppe Porta), [214]
Sammacchini, Orazio, [154]
San Friano, Tommaso da, [137]
San Gallo, Antonio da (the elder), [16], [40], [41]
San Gallo, Antonio da (the younger), [61]-67, [196], [197], [224], [239]
San Gallo, Aristotile (Bastiano) da, [20], [29], [30]
San Gallo, Giuliano da, [16], [29], [30], [188], [189]
Sandro, Jacopo di, [29], [30]
Sansovino, Andrea (Andrea Contucci), [15], [40], [41], [187], [202], [216]
Sansovino, Jacopo (Jacopo Tatti), Life, [187]-202, [215]-225. [20], [40], [41], [107], [145], [166], [170], [187]-204, [206]-208, [210], [215]-225
Santi Buglioni, [132]
Santi Titi, [135]
Sanzio, Raffaello (Raffaello da Urbino), [20], [27], [28], [30], [31], [40], [41], [65], [162], [165], [170], [189], [194], [196], [267]
Sart, Jan der, [269]
Sarto, Andrea del, [20], [43], [188], [193], [194]
Scarpaccia, Vittore (Vittore Carpaccio), [210], [211]
Scherano da Settignano (Alessandro), [55]
Schongauer, Martin (Martino), [7], [265]
Sciorini, Lorenzo (Lorenzo della Sciorina), [128]
Scorel, Jan, [266]
Sebastian van Oja, [269]
Sebastiano Serlio, [196], [267], [271]
Sebastiano Viniziano del Piombo, Fra, [68], [106], [109], [111], [162], [235]
Seghers, Anna, [269]
Serlio, Sebastiano, [196], [267], [271]
Sermoneta, Girolamo da (Girolamo Siciolante), [152], [257]-259
Settignano, Scherano da (Alessandro), [55]
Settignano, Solosmeo da, [202], [223]
Siciolante, Girolamo (Girolamo da Sermoneta), [152], [257]-259
Signorelli, Luca, [190]
Simon Bening, [268]
Simon van Delft, [269]
Simone da Fiesole, [15], [16]
Simone Mosca, [69]
Skeysers, Clara, [269]
Solari, Cristofano (Cristofano Gobbo), [14], [234]
Solosmeo da Settignano, [202], [223]
Speranza, Giovanni, [211]
Spilimbergo, Irene di, [175]
Staren, Dirk van, [269]
Stefano Pieri, [137]
Stefano Rosa, [177]
Strada, Giovanni (Jan van der Straet), [134], [135], [267]
Suardi, Bartolommeo (Bramantino da Milano), [190]
Suavius, Lambert, [269], [270]
Susanna Horebout, [268], [269]

Tadda, Francesco del, [97]
Taddeo Gaddi, [133]
Tasso, Battista del, [51]
Tatti, Jacopo (Jacopo Sansovino), Life, [187]-202, [215]-225. [20], [40], [41], [107], [145], [166], [170], [187]-204, [206]-208, [210], [215]-225
Tedesco, Guglielmo, [237]
Tibaldi, Pellegrino (Pellegrino Pellegrini or Bolognese), [151]-154, [258]
Tiberio Calcagni, [83], [84], [98]-100
Tintoretto, Jacopo, [214]
Titi, Santi, [135]
Tiziano, Girolamo di (Girolamo Dante), [183]
Tiziano da Cadore (Tiziano Vecelli), Life, [159]-178. [48], [145], [153], [159]-179, [182], [183], [201], [202], [247], [252]
Tiziano da Padova (Tiziano Minio), [203], [223]
Tiziano Vecelli (Tiziano da Cadore), Life, [159]-178. [48], [145], [153], [159]-179, [182], [183], [201], [202], [247], [252]
Tommaso Casignuola, [238]
Tommaso da Lugano, [206]
Tommaso da San Friano, [137]
Tommaso Porta, [238]
Topolino, [114], [115]
Torrigiano, [8], [10], [116]
Tribolo (Niccolò), [20], [51], [77], [78], [202], [223]

Uccello, Paolo, [133]
Udine, Giovanni da, [42], [51]
Unghero, Nanni, [188]
Urbano, Pietro, [44], [107]
Urbino, Bramante da, [27]-29, [31], [65], [71], [188]-190
Urbino, Raffaello da (Raffaello Sanzio), [20], [27], [28], [30], [31], [40], [41], [65], [162], [165], [170], [189], [194], [196], [267]

Vaga, Perino del, [20], [61], [151], [234], [257], [259]
Valerio Cioli, [129], [140], [141]
Valerio Zuccati, [182], [183]
Vasari, Giorgio—
as art-collector, [6], [16], [104], [149], [152], [156], [238], [251], [258], [259]
as author, [4]-8, [22], [27], [30], [32], [35], [46], [47], [55], [56], [60], [61], [63], [65], [68]-88, [91], [93]-97, [102]-104, [107], [109]-112, [114]-118, [122]-125, [128], [130], [134], [135], [137]-140, [145], [147]-151, [154]-156, [160], [162], [169]-172, [177], [178], [182], [183], [187], [192], [193], [199], [202], [206]-208, [210], [212], [214], [215], [218], [221], [230], [232]-234, [238], [239], [241], [242], [245], [247], [248], [250]-253, [259]-262, [265]-272
as painter, [23], [32], [43], [95], [96], [107], [117], [118], [134], [138], [148], [151], [155], [156], [170], [203], [269]-271
as architect, [68]-73, [77]-79, [95], [96], [107], [117], [140], [207]
Vecchio (Domenico Aimo), [189]
Vecelli, Orazio, [171]
Vecelli, Tiziano (Tiziano da Cadore), Life, [159]-178. [48], [145], [153], [159]-179, [182], [183], [201], [202], [247], [252]
Vellaert, Dierick Jacobsz, [269]
Venusti, Marcello (Marcello Mantovano), [106], [259], [260]
Verbo (Verlo), Francesco, [211]
Verdezotti, Gian Maria, [178]
Verlo (Verbo), Francesco, [211]
Vignuola (Jacopo Barozzi), [102], [146], [147]
Vincenzio Danti, [128], [139]
Vincenzio Zuccati, [182], [183]
Vinci, Leonardo da, [15], [19], [234]
Viniziano, Fabrizio, [215]
Vitruvius, [44], [113], [190], [213], [218]
Vittore Scarpaccia (Vittore Carpaccio), [210], [211]
Vittoria, Alessandro, [204]-206, [223]
Volkaerts, Dirk, [270]
Volterra, Daniello da (Daniello Ricciarelli), [95], [100], [101], [103], [107], [121], [122]
Volterra, Zaccheria da (Zaccheria Zacchi), [189], [190]
Vos, Marten de, [268]

Weyden, Roger van der, [265]
Willem Keur, [269]
Willem Key, [267], [268], [270]
Willem Paludanus, [269]
Willem van Antwerp, [269]
Wouter Crabeth, [269]

Zaccheria Zacchi (Zaccheria da Volterra), [189], [190]
Zanobi Lastricati, [125], [132]
Zeuxis, [133]
Zuccati, Valerio, [182], [183]
Zuccati, Vincenzio, [182], [183]
Zucchi, Jacopo, [134]

END OF VOL. IX.

PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI OF THE CHISWICK PRESS, LONDON. THE COLOURED REPRODUCTIONS ENGRAVED AND PRINTED BY HENRY STONE AND SON, LTD., BANBURY