Vasari on technique

by Giorgio Vasari

There are some passages in which we suspect that the printed text does not exactly correspond with what Vasari originally wrote (see Index s.v. ‘Text’), but no help is to be obtained here from any known MS. sources. Vasari gives us to understand that the original edition of the Lives was printed, not from his own autograph, but from a transcript made for him by a monastic calligraphist, placed at his disposal by a friendly abbot who also corrected to some extent the text. Neither this transcript, nor any MS. of the additions made for the second edition of the work, is known to exist, and textual criticism has to be confined to a comparison of the printed texts of the two editions published in Vasari’s own lifetime.

The character of the subject matter and the multiplicity of the processes and materials passed in review have rendered it needful to invoke the aid of many Italian scholars and experts in historical and technical matters, who have met our applications with a courteous readiness to help for which we desire to express our sincere gratitude. Our obligations to each of these are expressed in the notes, but we cannot close this preface without a special word of thanks to Signor Agnoletti, of the University of Glasgow, and to the Rev. Don Vittorio Rossi, Priore of Settignano. Our acknowledgements are also due to Mr G. K. Fortescue, Keeper of Printed Books at the British Museum; Mr G. H. Palmer, of the National Art Library; Comm. Conte D. Gnoli, Biblioteca Vittorio Emanuele, Rome; Comm. Dottore Guido Biagi, Biblioteca Medicea Laurenziana, Florence; Dr Thomas Ashby, Director of the British School at Rome; and Mr John Kinross, R.S.A. To many artists and connoisseurs in this country whom we have consulted on technical points we are indebted for information not easily to be found in books, and to Mr W. Brindley a special tribute is due for the kindness with which he has opened to us his unique stores of practical knowledge of stones and quarries.

TABLE OF CONTENTS

		PAGE
Prefatory Note,		[vii]
Table of Contents,		[xi]
List of Illustrations,		[xxi]
Introductory Essay,		[1]
OF ARCHITECTURE,		[23]
Chapter I.
Of the different kinds of Stone which are used by Architects for ornamental details, and in Sculpture for Statues; that is, Of Porphyry, Serpentine, Cipollaccio, Breccia, Granites, Paragon or Test-stone, Transparent Marbles, White Marbles and Veined Marbles, Cipollini, Saligni, Campanini, Travertine, Slate, Peperigno, Ischia Stone, Pietra Serena and Pietra Forte,		[25]
§ 1. The Author’s object in the Discussion of Architecture ([25]). § 2. Of the working of hard stones, and first of Porphyry ([26]). § 3. Of Serpentine ([35]). § 4. Of Cipollaccio ([36]). § 5. Of Breccia (‘Mischio,’ Conglomerate) ([37]). § 6. Of Granite ([39]). § 7. Of Paragon (Touchstone) ([42]). § 8. Of Transparent Marbles for filling window openings ([43]). § 9. Of Statuary Marbles ([43]). § 10. Of Cipollino Marble ([49]). § 11. Of White Pisan Marble ([50]). § 12. Of Travertine ([51]). § 13. Of Slates (54). § 14. Of Peperino ([55]). § 15. Of the Stone from Istria ([56]). § 16. Of Pietra Serena ([57]). § 17. Of Pietra Forte ([60]). § 18. Conclusion of Chapter ([61]).
Chapter II.
The Description of squared Ashlar-work (lavoro di quadro) and of carved Ashlar-work (lavoro di quadro intagliato),		[63]
§ 19. The work of the Mason ([63]).
Chapter III.
Concerning the five Orders of Architecture, Rustic, Doric, Ionic, Corinthian, Composite, and also German Work,		[65]
§ 20. Rusticated masonry and the Tuscan Order([65]). § 21. The Doric Order ([68]). § 22. A constructive device to avoid charging architraves ([72]). § 23. The proportions and parts of the Doric Order ([75]). § 24. The Ionic Order ([78]). § 25. The Corinthian Order ([79]). § 26. The Composite Order ([80]). § 27. Of Terminal figures ([82]). § 28. German Work (the Gothic Style) ([83]).
Chapter IV.
On forming Vaults in Concrete, to be impressed with Enrichment: when the Centerings are to be removed, and how to mix the Plaster,		[85]
§ 29. The Construction of enriched Stucco Vaults ([85]). § 30. Stucco made with Marble Dust ([86]).
Chapter V.
How Rustic Fountains are made with Stalactites and Incrustations from water, and how Cockle Shells and Conglomerations of vitrified stone are built into the Stucco,		[87]
§ 31. Grottoes and Fountains of ‘Rocaille’ work ([87]).
Chapter VI.
On the manner of making Pavements of Tesselated Work,		[91]
§ 32. Mosaic pavements ([91]). § 33. Pictorial Mosaics for Walls, etc. ([93]).
Chapter VII.
How one is to recognize if a Building have good Proportions, and of what Members it should generally be composed,		[95]
§ 34. The Principles of Planning and Design ([95]). § 35. An Ideal Palace ([96]).
Notes on ‘Introduction’ to Architecture,		[99]
	Porphyry and Porphyry Quarries,	[101]
	The Sassi, della Valle, and other Collections of Antiques of the Early Part of the Sixteenth Century,	[102]
	The Porphyry Tazza of the Sala Rotonda of the Vatican,	[108]
	Francesco Del Tadda, and the Revival of Sculpture in Porphyry,	[110]
	The Cortile of the Belvedere in the Vatican, in the Sixteenth Century,	[115]
	Paragon (Touchstone) and other Stones associated with it by Vasari,	[117]
	Tuscan Marble Quarries,	[119]
	The Round Temple on the Piazza S. Luigi dei Francesi, and ‘Maestro Gian,’	[128]
	Rusticated Masonry,	[132]
	Vasari’s Opinion on Mediaeval Architecture,	[133]
	Egg-shell Mosaic,	[136]
	Ideal Architecture; an Ideal Palace,	[138]
OF SCULPTURE,		[141]
Chapter I. (VIII.)
What Sculpture is; how good works of Sculpture are made, and what qualities they must possess to be esteemed perfect,		[143]
§ 36. The Nature of Sculpture ([143]). § 37. Qualities necessary for Work in the Round ([143]). § 38. Works of Sculpture should be treated with a view to their destined position ([145]). § 39. The Proportions of the Human Figure ([146]). § 40. Artists must depend on their Judgement rather than on the Measuring Rule ([146]).
Chapter II. (IX.)
Of the manner of making Models in Wax and in Clay; how they are draped, and how they are afterwards enlarged in proportion in the Marble; how Marbles are worked with the point and the toothed tool, and are rubbed with pumice stone and polished till they are perfect,		[148]
§ 41. The small Sketch-Model in Wax or Clay ([148]). § 42. The Preparation of Wax ([148]). § 43. Polychrome Wax Effigies ([149]). § 44. The Manipulation of Wax over an Armature ([149]). § 45. The Small Model in Clay ([149]). § 46. The Full-sized Model in Clay ([150]). § 47. Drapery on the Clay Model ([150]). § 48. Transference of the Full-sized Model to the Marble Block ([151]). § 49. Danger of dispensing with the Full-sized Model ([151]). § 50. The Tools and Materials used in Marble Carving ([152]).
Chapter III. (X.)
Of Low and Half Reliefs, the difficulty of making them and how to bring them to perfection,		[154]
§ 51. The Origin of Reliefs ([154]). § 52. Pictorial or Perspective Reliefs ([154]). § 53. Low Reliefs (Bassi Rilievi) ([156]). § 54. Flat Reliefs (Stiacciati Rilievi) ([156]).
Chapter IV. (XI.)
How Models for large and small Bronze Figures are made, with the Moulds for casting them and their Armatures of iron; and how they are cast in metal and in three sorts of Bronze; and how after they are cast they are chased and refined; and how, if they lack pieces that did not come out in the cast, these are grafted and joined in the same bronze,		[158]
§ 55. The Full-sized Model for Bronze ([158]). § 56. The Piece-Mould in Plaster ([158]). § 57. The Construction of the Core ([159]). § 58. The Piece-Mould lined with a Skin of Wax ([160]). § 59. This Skin of Wax applied over the Core ([160]). § 60. The fire-resisting Envelope applied over the Wax ([161]). § 61. The External Armature ([162]). § 62. The Vents ([162]). § 63. The Wax melted out ([162]). § 64. The Mould in the Casting-pit ([163]). § 65. The Composition of the Bronze ([163]). § 66. Making up Imperfections ([164]). § 67. A simpler Method of Casting small Figures and Reliefs ([165]). § 68. Chasing the Cast and Colouring the Bronze ([165]). § 69. Modern Tours de Force in small Castings ([166]).
Chapter V. (XII.)
Concerning Steel Dies for making Medals of bronze or other metals and how the latter are formed from these metals and from Oriental Stones and Cameos,		[167]
§ 70. The Fabrication of Matrices for Medals ([167]). § 71. The Cutting of Intaglios and Cameos ([168]).
Chapter VI. (XIII.)
How works in White Stucco are executed, and of the manner of preparing the Wall underneath for them, and how the work is carried out,		[170]
§ 72. Modelled and stamped Plaster Work ([170]).
Chapter VII. (XIV.)
How Figures in Wood are executed and of what sort of Wood is best for the purpose,		[173]
§ 73. Wood Carving ([173]).
Notes on ‘Introduction’ to Sculpture,		[177]
	The Nature of Sculpture,	[179]
	Sculpture Treated for Position,	[180]
	Waxen Effigies and Medallions,	[188]
	Proportionate Enlargement,	[190]
	The Use of Full-sized Models,	[192]
	Italian and Greek Reliefs,	[196]
	The Processes of the Bronze Founder,	[199]
OF PAINTING,		[203]
Chapter I. (XV.)
What Design is, and how good Pictures are made and known, and concerning the invention of Compositions,		[205]
§ 74. The Nature and Materials of Design or Drawing ([205]). § 75. Use of Design (or Drawing) in the various Arts ([206]). § 76. On the Nature of Painting ([208]).
Chapter II. (XVI.)
Of Sketches, Drawings, Cartoons, and Schemes of Perspective; how they are made, and to what use they are put by the Painters,		[212]
§ 77. Sketches, Drawings, and Cartoons of different kinds ([212]). § 78. The Use of Cartoons in Mural and Panel Painting ([215]).
Chapter III. (XVII.)
Of the Foreshortening of Figures looked at from beneath, and of those on the Level,		[216]
§ 79. Foreshortenings ([216]).
Chapter IV. (XVIII.)
How Colours in oil painting, in fresco, or in tempera should be blended: and how the Flesh, the Draperies and all that is depicted come to be harmonized in the work in such a manner that the figures do not appear cut up, and stand out well and forcibly and show the work to be clear and comprehensible,		[218]
§ 80. On Colouring ([218]).
Chapter V. (XIX.)
Of Painting on the Wall, how it is done, and why it is called Working in Fresco,		[221]
§ 81. The Fresco process ([221]).
Chapter VI. (XX.)
Of Painting in Tempera, or with egg, on Panel or Canvas, and how it is employed on the wall which is dry,		[223]
§ 82. Painting in Tempera ([223]).
Chapter VII. (XXI.)
Of Painting in Oil on Panel or on Canvas,		[226]
§ 83. Oil Painting, its Discovery and Early History ([226]). § 84. How to Prime the Panel or Canvas ([230]). § 85. Drawing, by transfer or directly ([231]).
Chapter VIII. (XXII.)
Of Painting in Oil on a Wall which is dry,		[232]
§ 86. Mural Painting in Oil ([232]). § 87. Vasari’s own Method ([233]).
Chapter IX. (XXIII.)
Of Painting in Oil on Canvas,		[236]
§ 88. Painting on Canvas ([236]).
Chapter X. (XXIV.)
Of painting in Oil on Stone, and what stones are good for the purpose,		[238]
§ 89. Oil Painting on Stone ([238]).
Chapter XI. (XXV.)
Of Painting on the wall in Monochrome with various earths: how objects in bronze are imitated: and of groups for Triumphal Arches or festal structures, done with powdered earths mixed with size, which process is called Gouache and Tempera,		[240]
§ 90. Imitative Paintings for Decorations ([240]).
Chapter XII. (XXVI.)
Of the Sgraffiti for house decoration which withstand water; that which is used in their production; and how Grotesques are worked on the wall,		[243]
§ 91. Sgraffito-work ([243]). § 92. Grotesques, or Fanciful Devices, painted or modelled on Walls ([244]).
Chapter XIII. (XXVII.)
How Grotesques are worked on the Stucco,		[246]
Chapter XIV. (XXVIII.)
Of the manner of applying Gold on a Bolus, or with a Mordant, and other methods,		[248]
§ 93. Methods of Gilding ([248]).
Chapter XV. (XXIX.)
Of Glass Mosaic and how it is recognized as good and praiseworthy,		[251]
§ 94. Glass Mosaics ([251]). § 95. The Preparation of the Mosaic Cubes ([253]). § 96. The Fixing of the Mosaic Cubes ([255]).
Chapter XVI. (XXX.)
Concerning the Compositions and Figures made in Inlaid Work on Pavements in imitation of objects in Monochrome,		[258]
§ 97. Pavements in Marble Mosaic and Monochrome ([258]). § 98. Pavements in Variegated Tiles ([260]). § 99. Pavements in Breccia Marble ([261]).
Chapter XVII. (XXXI.)
Of Mosaic in Wood, that is, of Tarsia; and of the Compositions that are made in Tinted Woods, fitted together after the manner of a picture,		[262]
§ 100. Inlays in Wood ([262]).
Chapter XVIII. (XXXII.)
On Painting Glass Windows and how they are put together with Leads and supported with Irons so as not to interfere with the view of the figures,		[265]
§ 101. Stained Glass Windows, their Origin and History ([265]). § 102. The Technique of the Stained Glass Window ([268]).
Chapter XIX. (XXXIII.)
Of Niello, and how by this process we have Copper Prints; and how Silver is engraved to make Enamels over Bas-relief, and in like manner how Gold and Silver Plate is chased,		[273]
§ 103. Niello Work ([273]). § 104. The Origin of Engraving ([274]). § 105. Enamels over Reliefs ([276]).
Chapter XX. (XXXIV.)
Of Tausia, that is, work called Damascening,		[279]
§ 106. Metal Inlays ([279]).
Chapter XXI. (XXXV.)
Of Wood Engraving and the method of executing it and concerning its first Inventor: how Sheets which appear to be drawn by hand and exhibit Lights and Half-tones and Shades, are produced with three Blocks of Wood,		[281]
§ 107. Chiaroscuro Wood Engravings ([281]). § 108. Dependence on Design of the Decorative Arts ([284]).
Notes on ‘Introduction’ to Painting,		[285]
	Fresco Painting,	[287]
	Tempera Painting,	[291]
	Oil Painting,	[294]
	Enriched Façades,	[298]
	Stucco ‘Grotesques,’	[299]
	Tarsia Work, or Wood Inlays,	[303]
	The Stained Glass Window,	[308]
	Vasari’s Description of Enamel Work,	[311]

LIST OF ILLUSTRATIONS

INSERTED PLATES
Specimens of Stones mentioned by Vasari. (Reproduction in colour of a drawing by the Editor.)	[Frontispiece.]
Portrait of Vasari, from the Edition of 1568. Probably by a German artist called in Italy ‘Cristoforo Coriolano.’	[Tail-piece to List of Illustrations.]
Plate I. Leo X with his Cardinals. Mural Painting by Vasari in the Palazzo Vecchio, Florence. (From a photograph by Alinari.)	To face p. [17]
Plate II. Principal Doorway at S. Maria Novella, Florence, showing the position of the inscribed porphyry tablet on the riser of the step. (From a photograph by Alinari.)	To face p. [32]
Plate III. Portrait in Porphyry of Cosimo ‘Pater Patriae,’ by Francesco del Tadda, in the Magazines of the National Museum, Florence. (From a photograph by the Editor.) Unpublished.	To face p. [34]
Plate IV. Interior of Grotto in Boboli Gardens, Florence, showing an unfinished statue ascribed to Michelangelo. (From a photograph by the Editor.)	To face p. [90]
Plate V. Portrait in Porphyry of Leo X, by Francesco del Tadda, in the Magazines of the National Museum, Florence. (From a photograph by the Editor.) Unpublished.	To face p. [114]
Plate VI. Salamander Carved in Travertine, on the Façade of S. Luigi dei Francesi, Rome. The work of a French artist ‘Maestro Gian.’ (From a photograph by the Editor.) Unpublished.	To face p. [132]
Plate VII. Illustration showing Process of Piece-Moulding in Plaster. (From the French Encyclopédie.)	To face p. [160]
Plate VIII. Engravings illustrating the Process of Casting in Bronze. (From the French Encyclopédie.)	To face p. [164]
Plate IX. Statue of S. Rocco carved in Limewood, by a French artist ‘Maestro Janni,’ in the Church of the Annunziata, Florence. (From a drawing by Robert J. Rose.) Unpublished.	To face p. [176]
Plate X. A. Interior of a Sculptor’s Studio in the eighteenth century, with illustrations of the methods of measurement then in vogue. (From the French Encyclopédie.) B. Diagram to illustrate Leon Battista Alberti’s method of measurement.	To face p. [192]
Plate XI. Specimen of so-called ‘Sgraffito’ Decoration, on the exterior of the Palazzo Montalvo, Florence. (From a photograph by Alinari.)	To face p. [244]
Plate XII. Portion of the Decoration of the Loggie of the Vatican, by Raphael and his assistants. (Reproduced in colour from a hand-painted example of the engravings of about 1770–80 by Ottaviani and Volpato, in the National Art Library.)	To face p. [248]
Plate XIII. Specimen of Niello Work. A ‘Pax,’ formerly in the Baptistry, and now in the National Museum, Florence. (From a photograph by Alinari.)	To face p. [274]
Plate XIV. Chiaroscuro Wood-Engraving by Ugo da Carpi, in the Print-Room, British Museum. Subject: ‘Jacob’s Dream,’ after Raphael.	To face p. [282]
Plate XV. Head of Mary, from Luini’s Fresco of the ‘Marriage of the Virgin’ at Saronno. (From a photograph by Giacomo Brogi.) To illustrate the fresco technique.	To face p. [290]
Plate XVI. Example of Tarsia Work. S. Zenobi, by Giuliano da Majano, in Opera del Duomo, Florence. (From a photograph by Alinari.)	To face p. [306]
Plate XVII. Painted Glass Window in the Laurentian Library, Florence. (From a photograph by Alinari.)	To face p. [310]
FIGURES IN THE TEXT
Fig. 1. Inscribed Porphyry Tablet at S. Maria Novella, Florence. (Drawn from a photograph by the Editor.)	p. [31]
Fig. 2. Tools mentioned by Vasari, etc. (From drawings by the Translator and Editor.)	p. [48]
Fig. 3. Fortezza da Basso at Florence. (Drawn from a photograph by the Editor.)	p. [67]
Fig. 4. Rusticated masonry on the exterior of the Fortezza da Basso at Florence. (Measured drawing by the Editor.)	p. [69]
Fig. 5. Construction of the Portico of the Uffizi at Florence, from Vasari’s description. (Drawn by the Editor.)	p. [71]
Fig. 6. Drawing of the remains of the Basilica Aemilia in the Forum at Rome, that survived to the time of Vasari. (After Giuliano da San Gallo, in Monumenti del Istituto, XII, T. 11, 12.)	p. [77]
Fig. 7. Roman Doric Cap, with Stucco Finish, at S. Nicola in Carcere, Rome. (From Mitteilungen d. k. deutschen archeologischen Instituts, XXI.)	p. [78]
Fig. 8. Portion of a Plan of Rome, before recent alterations, from Nolli, Nuova Pianta di Roma, 1748.	p. [105]
Fig. 9. Sketch of shape of the large porphyry Tazza in the Sala Rotonda of the Vatican.	p. [109]
Fig. 10. Sketch map of the marble-producing districts of the Apuan Alps.	p. [121]
Fig. 11. Two views of unfinished Greek marble statue blocked out on the ancient system. In quarries on Mount Pentelicus, Athens. (From a photograph kindly furnished by M. Georges Nicole.)	p. [193]

PORTRAIT OF VASARI, FROM THE EDITION OF 1568,
probably by a German artist, called in Italy ‘Cristoforo Coriolano’.

INTRODUCTORY ESSAY

When Vasari published in 1550 his famous Lives of the Artists, he prefixed to the work an Introduction, divided into three parts headed respectively Architecture, Sculpture, and Painting. In the text of the Lives he refers more than once to this preliminary matter under the terms ‘parte teorica’ and ‘capitoli delle teoriche,’ but as a fact it only consists to a small extent in ‘theory,’ that is in aesthetic discussions on the general character of the arts and the principles that underlie them. The chief interest of the chapters is technical. They contain practical directions about materials and processes, intended in the first place to enlighten the general reader on subjects about which he is usually but little informed; and in the second, to assist those actually engaged in the operations of the arts.