These fragments of a fresco, now transferred to canvas, are of particular interest from the following mention of it by Vasari. He relates how Spinello Aretino, after executing important works in various cities of Italy, returned to his native city, Arezzo, and very shortly settled down to decorate the church of S. Maria degli Angeli. The subject chosen was certain stories from the life of St. Michael. "At the high altar," says Vasari, "he represented Lucifer fixing his seat in the North, with the fall of the angels, who are changed into devils as they descend to the earth. In the air appears St. Michael in combat with the old serpent of seven heads and ten horns, while beneath and in the centre of the picture is Lucifer, already changed into a most hideous beast. And so anxious was the artist to make him frightful and horrible that it is said—such is sometimes the power of imagination—that the figure he had painted appeared to him in his sleep, demanding to know where the painter had seen him looking so ugly as that, and wherefore he permitted his pencils to offer him, the said Lucifer, so mortifying an affront." Vasari attributes a fatal result to this vision. "The artist awoke," he says, "in such extremity of terror that he was unable to cry out, but shook and trembled so violently that his wife, awakening, hastened to his assistance. But the shock was so great that he was on the point of expiring suddenly from this accident, and did not in fact survive it beyond a very short time, during which he remained in a dispirited condition, with eyes from which all intelligence had departed" (i. 269). In fact, however, Spinello lived many years and executed several important works after the date in question. Some years ago the church of the Angeli was dismantled, and the greater portion of the frescoes perished. Sir A. H. Layard, who was passing Arezzo at the time, was fortunately able to secure a large piece of the principal fresco. The fragment is from the centre of the composition, and contains a portion of the figure of Michael and six of the angels following him. The archangel, with raised sword, is striking at the dragon; his attendants, armed with spears and swords, thrust down the demons. Besides these figures, Sir A. H. Layard was able to save a portion of the decorated border of the fresco (1216 A & B). These he presented to the nation in 1886.
1217. THE ISRAELITES GATHERING MANNA.
Ercole Roberti de' Grandi (Ferrarese: 1450-1496).
See 1127.
"The lithe and sinewy form in the nude figure of the young man, the accurate draughtsmanship, the firm modelling, the care and study bestowed even on the tiny figures in the background, the dramatic intention and impression of vitality, indicate a familiarity with the works of Mantegna" (Times, July 24, 1886). The artist exhibits, adds Sir F. Burton, "no less appreciation of natural grace in the female figures than of dignity in the principal male personages."
1218, 1219. JOSEPH AND HIS BRETHREN.
Francesco Ubertini (Florentine: 1494-1557).
Francesco, the son of Ubertino, a goldsmith, called Il Bacchiacca, studied first under Perugino, and afterwards with Franciabigio and Andrea del Sarto. He was also at one time in Rome, where he lived on terms of intimacy with Giulio Romano and Benvenuto Cellini; he is mentioned in Cellini's Autobiography. He was "more particularly successful," says Vasari, "in the execution of small figures, which he executed to perfection and with infinite patience. Ultimately Bacchiacca was received into the service of the Duke Cosimo, seeing that he was excellent in the delineation of all kinds of animals, and was therefore employed to decorate a study for his Excellency, which he did with great ability, covering the same with birds of various kinds, together with rare plants and foliage. At a later period he painted in fresco the grotto of a fountain which is in the garden of the Pitti Palace, and also prepared the designs for hangings of a bed to be richly embroidered all over with stories in small figures, this being considered the most gorgeous decoration of the kind that has ever been executed in similar work, seeing that the designs of Francesco have been worked in embroidery, thickly mingled with pearls and other costly material, by Antonio, the brother of Francesco, who is an excellent master in embroidery" (iv. 492). It would appear from Vasari's account that Francesco's works consisted of predelle for altar-pieces, and pictorial adornments for wedding chests, and other pieces of "art furniture."[236] Morelli, however, in an interesting chapter on Bacchiacca (Roman Galleries, pp. 103-113), claims for him a much more important position, ascribing to him among other works the charming and celebrated "Portrait of a Boy" in the Louvre, commonly attributed to Raphael.
The present panels decorated the room in the house at Florence, from which Pontormo's picture of Joseph also comes (see under 1131); they were doubtless painted for "cassoni," or large chests which were used by the Italians of the fourteenth, fifteenth, and sixteenth centuries as wardrobes. "In those palmy days art was welcomed everywhere in Italy, and had a share in all the concerns of men, and in all the events and festivities of daily life. The nobles took a delight in enriching their palaces, their country houses, and the chapels in their churches, with paintings and sculpture, and even required that their household furniture should, whilst useful, be graceful and beautiful." Our panels were purchased many years ago from the heirs of the Borgherini.