| PAGE | |
| Academicians of Design, Painters, Sculptors, and Architects | [3] |
| Description of the Festive Preparations for the Nuptials of the Prince Don Francesco of Tuscany | [37] |
| Giorgio Vasari | [171] |
| Index of Names | [227] |
| General Index, Volumes I to X | [231] |
ILLUSTRATIONS TO VOLUME X
PLATES IN MONOCHROME
| Agnolo Bronzino | Bartolommeo Panciatichi | Florence: Uffizi, 159 | [4] |
| Agnolo Bronzino | Eleanora de Toledo and her Son | Florence: Uffizi, 172 | [6] |
| Agnolo Bronzino | Christ in Limbo | Florence: Uffizi, 1271 | [8] |
| Alessandro Allori | Giuliano de' Medici | Florence: Uffizi, 193 | [12] |
| Benvenuto Cellini | Perseus | Florence: Loggia de' Lanzi | [22] |
| Giovanni Bologna | Fountain of Neptune | Bologna | [24] |
| Giovanni Bologna | Mercury | Florence: Museo Nazionale | [26] |
| Vincenzio Danti | The Brazen Serpent | Florence: Museo Nazionale | [28] |
| Vincenzio Danti | Bronze Relief | Florence: Museo Nazionale | [30] |
| Giorgio Vasari | Lorenzo the Magnificent and the Ambassadors | Florence: Palazzo Vecchio | [208] |
| Giorgio Vasari | Fresco in the Hall of Lorenzo the Magnificent | Florence: Palazzo Vecchio | [214] |
OF THE ACADEMICIANS OF DESIGN, PAINTERS, SCULPTORS, AND ARCHITECTS, AND OF THEIR WORKS, AND FIRST OF BRONZINO
Having written hitherto of the lives and works of the most excellent painters, sculptors, and architects, from Cimabue down to the present day, who have passed to a better life, and having spoken with the opportunities that came to me of many still living, it now remains that I say something of the craftsmen of our Academy of Florence, of whom up to this point I have not had occasion to speak at sufficient length. And beginning with the oldest and most important, I shall speak first of Agnolo, called Bronzino, a Florentine painter truly most rare and worthy of all praise.
Agnolo, then, having been many years with Pontormo, as has been told, caught his manner so well, and so imitated his works, that their pictures have been taken very often one for the other, so similar they were for a time. And certainly it is a marvel how Bronzino learned the manner of Pontormo so well, for the reason that Jacopo was rather strange and shy than otherwise even with his dearest disciples, being such that he would never let anyone see his works save when completely finished. But notwithstanding this, so great were the patience and lovingness of Agnolo towards Pontormo, that he was forced always to look kindly upon him, and to love him as a son. The first works of account that Bronzino executed, while still a young man, were in the Certosa of Florence, over a door that leads from the great cloister into the chapter-house, on two arches, one within and the other without. On that without is a Pietà, with two Angels, in fresco, and on that within is a nude S. Laurence upon the gridiron, painted in oil-colours on the wall; which works were a good earnest of the excellence that has been seen since in the works of this painter in his mature years. In the Chapel of Lodovico Capponi, in S. Felicita at Florence, Bronzino, as has been said in another place, painted two Evangelists in two round pictures in oils, and on the vaulting he executed some figures in colour. In the Abbey of the Black Friars at Florence, in the upper cloister, he painted in fresco a story from the life of S. Benedict, when he throws himself naked on the thorns, which is a very good picture. In the garden of the Sisters called the Poverine, he painted in fresco a most beautiful tabernacle, wherein is Christ appearing to the Magdalene in the form of a gardener. And in S. Trinita, likewise in Florence, may be seen a picture in oils by the same hand, on the first pilaster at the right hand, of the Dead Christ, Our Lady, S. John, and S. Mary Magdalene, executed with much diligence and in a beautiful manner. And during that time when he executed these works, he also painted many portraits of various persons, and other pictures, which gave him a great name.