The History of Italian Painting. Luigi Lanzi

of Clement VII. is chiefly conspicuous, on the ceiling of which he represented the Pontiff in the act of crowning Charles V., and all around disposed the emblems of his virtues, his victories, and his most remarkable exploits. In this work the magnificence of the prince is rivalled by the judgment and taste of the artist. The reader may find notices of his other works, which are either in churches or in private houses, and of his temporary decorations for funerals or festivals, by consulting his life written by himself down to 1567, and the continuation of it to 1574, the year of Giorgio's decease.

It remains for us to discuss the merits of this artist, who has been praised by some and condemned by other authors that have treated of the fine arts, especially in Italy. I shall consider him first as a painter, and next as a writer. Had all his works perished but some of those in the old palace, the Conception, in S. Apostolo at Florence, which Borghini commends as his finest production, the Decollation of S. John, in the church of the Baptist at Rome, which is adorned by exquisite perspective, the Feast of Ahasuerus, in the possession of the Benedictines at Arezzo, some of his portraits, which Bottari scruples not to compare with those of Giorgione, and some of his other pictures that demonstrate his ability, his reputation would have been much greater than it is. But he aimed at too much; and for the most part preferred expedition to accuracy. Hence, though a good designer, his figures are not always correct; and his painting often appears languid, from his meagre and superficial colouring.[183] The habit of careless execution is usually the companion of some maxim that may serve to excuse it to others, as well as to our own self-love: Vasari has recommended in his writings the acquirement of compendious methods,[184] and "the expedition of practice;" in other words, to make use of former exercises and studies in painting. This method is highly advantageous to the artist, because it increases his profits; but is prejudicial to the art, which thus degenerates into mannerism, or, in other words, departs from nature: Vasari fell into this error in many of his works, especially in his hasty productions, or where he borrowed the hand of others; apologies which he frequently offers to the readers of his "Lives." He was principally induced, I believe, to offer such apologies for his practice, from the strictures on his paintings contained in the hall of the Chancery, which were finished in a hundred days, according to their author, in order to please the cardinal: but he ought then rather to have excused himself to Farnese, and to have requested him to employ some other artist, than to make his apology to posterity, and to intreat us to excuse his faults. He ought to have listened to the admonitions of his friends; among whom Caro did not fail to remind him of the injury his reputation might sustain by such hasty productions.[185] As he long superintended the decorations of the capital, ordered by Cosmo I. and Prince D. Francesco, and was assisted in them by many young men, Baldinucci affirms that he chiefly contributed to that dry manner which prevailed in Florence.[186]

      This opinion is probably not erroneous; for the example of a painter employed by the court was sufficient to seduce the rising generation from pristine diligence, to a more careless manner. After all, the Florentines who assisted him were chiefly the scholars of Bronzino, and, except two or three, they did not adopt the style of Vasari: some others also may have done so for a little time. Francesco Morandini, called Poppi, from his native place, was his disciple and imitator; and in his picture of the Conception, at S. Michelino, in the superior one of the Visitation, at S. Nicholas, and in his many other works, he appears a follower of Giorgio; except that he was more minute, and attended more to gay and cheerful composition. Giovanni Stradano Fiammingo, for ten years a dependant of Vasari, adopted his colouring, but imitated the design of Salviati; with whom and also with Daniele di Volterra he had lived in Rome. There is a Christ on the Cross, by him, at the Serviti, which is preferred to any other he painted at Florence, where he executed many designs for tapestry, and many prints. He had a fertile invention; he is praised by Vasari as highly as any other artist then in the service of the court, and is considered by Borghini among the eminent masters. Vasari after him retained Jacopo Zucchi, whose works exhibit none of the carelessness of Giorgio. He sometimes imitated him; but his style is better and more refined. He lived long at Rome, under the protection of Ferdinando, Cardinal de' Medici, in whose house, and more especially in the Rucellai palace, he painted in fresco with incredible diligence. His picture of the Birth of the Baptist, in S. Giovanni Decollato, is esteemed the best in that church; and in this piece he appears more a follower of Andrea, than of any other master. He usually introduced real portraits of distinguished characters and men of letters in his compositions, and he shewed a peculiar grace in the figures of children and of young people. Baglioni praises both this artist and his brother Francesco, who was a good artist in mosaic, and an excellent painter of fruit and flowers.

In considering Giorgio as a writer, I shall not consume much time; having so frequently to notice him in the course of my work. He wrote precepts of art and lives of the painters, as is well known; and he added to them some dissertations on his own occupations,[187] and his pictures.[188] He entered on this work at the instigation of Cardinal Farnese, as well as of Monsig. Giovio; and he was encouraged in it by Caro, Molza, Tolomei, and other literary men belonging to that court. His first intention was to collect anecdotes of artists, to be extended by Giovio. They wished him to commence with Cimabue; with which, perhaps, he ought not to have complied; but this circumstance diminishes the fault of Vasari in passing over the older masters in silence, and raises the glory of Cimabue far above all his contemporaries. When it was discovered that Vasari could write well,[189] and was capable of extending the anecdotes in even more appropriate language than Giovio himself, the whole task devolved on him; but in order to render the work more worthy of the public, he had the assistance afforded him of men of letters. In 1547, on finishing the book, he went to Rimino; and whilst he was employed in painting for the fraternity of Olivets, Father D. Gio. Matteo Faetani, abbot of the monastery, corrected his work and caused it to be wholly transcribed; about the end of that year it was sent to Caro for perusal. He signified his approbation of it, "as written in a fine style, and with great care;"[190] except that in some passages a less artificial style was desirable. After being corrected in this respect, it was printed in two volumes by Torrentino, at Florence, in the year 1550; in this edition he received considerable aid from Father D. Miniato Pitti, then an Olivetine friar.[191] Vasari complained that "many things were there inserted he knew not how, and were altered without his knowledge or consent;"[192] but I cannot agree with Bottari,[193] that these alterations were made by Pitti or any other monk. If Vasari could not discover their author, we are much less likely to find him out; and there is some ground for believing that Vasari had offended many persons by certain invidious anecdotes, and thus endeavoured to excuse himself as well as he could. Who can believe that the many things cancelled in the second edition, which seems almost a new work, were all liberties taken by other persons, "he did not know how" and not mistakes, at least for the most part, made by himself?

In whatever way it happened, he had an opportunity of correcting his lives, of augmenting them, and again printing them, accompanied by portraits of the artists. After publication of the first edition he had availed himself of the manuscripts of Ghiberti, of Domenico Ghirlandaio, of Raffaello d'Urbino; and had himself collected a number of anecdotes in his different journeys through Italy. He undertook a new tour in 1566, to prepare for the new edition, as he informs us in the life of Benvenuto Garofolo; he again examined the works of different masters, and obtained new information from his friends, some of whom he mentions by name, when treating of the artists of Forli and Verona. He would have been still more full of anecdote in his Lives, had his success corresponded with his diligence. On this account, in the beginning and at the end of the Life of Carpaccio, he laments that "he was not able to