Giorgio Vasari's Lives of the Artists

IT IS A MARVELLOUS and almost incredible thing, that many followers of the art of painting, through continual practice and handling of colors, either by an instinct of nature or by the trick of a good manner, acquired without any draughtsmanship or grounding, carry their works to such thorough completion, and very often contrive to make them so good, that, although the craftsmen themselves may be none of the rarest, their pictures force the world to extol them and to hold them in supreme veneration. And it has been perceived in the past from many examples, and in many of our painters, that the most vivacious and perfect works are produced by those who have a beautiful manner from nature, although they must exercise it with continual study and labor; while this gift of nature has such power, that even if they neglect or abandon the studies of art, and pay attention to nothing save the mere practice of painting and of handling colours with a grace infused in them by nature, at the first glance their works have the appearance of displaying all the excellent and marvellous qualities that are wont to appear after a close inspection in the works of those masters whom we hold to be the best. And that this is true, is demonstrated to us in our own day by experience, from the works of Domenico Puligo, a painter of Florence; wherein what has been said above may be clearly recognized by one who has knowledge of the matters of art.

While Ridolfo, the son of Domenico Ghirlandajo, was executing a number of works in painting at Florence, as will be related, he followed his father's habit of always keeping many young men painting in his workshop: which was the reason that not a few of them, through competing one with another, became very good masters, some at making portraits from life, some at working in fresco, others in distemper, and others at painting readily on cloth. Making these lads execute pictures, panels, and canvases, in the course of a few years Ridolfo, with great profit for himself, sent an endless number of these to England, to Germany, and to Spain. Baccio Gotti and Toto del Nunziata, disciples of Ridolfo, were summoned, one to France by King Francis, and the other to England by the King of that country, each of whom invited them after having seen some of their work. Two other disciples of the same master remained with him, working under him for many years, because, although they had many invitations into Spain and Hungary from merchants and others, they were never induced either by promises or by money to tear themselves away from the delights of their country, in which they had more work to do than they were able to execute. One of these two was Antonio del Ceraiuolo, a Florentine, who, having been many years with Lorenzo di Credi, had learnt from him, above all, to draw so well from nature, that with supreme facility he gave his portraits an extraordinary likeness to the life, although otherwise he was no great draughtsman. And I have seen some heads portrayed from life by his hand, which, although they have, for example, the nose crooked, one lip small and the other large, and other suchlike deformities, nevertheless resemble the life, through his having well caught the expression of the subject; whereas, on the other hand, many excellent masters have made pictures and portraits of absolute perfection with regard to art, but with no resemblance whatever to those that they are supposed to represent. And to tell the truth, he who executes portraits must contrive, without thinking of what is looked for in a perfect figure, to make them like those for whom they are intended. When portraits are like and also beautiful, then may they be called rare works, and their authors truly excellent craftsmen. This Antonio, then, besides many portraits, executed a number of panel pictures in Florence; but for the sake of brevity I will make mention only of two. One of these, wherein he painted a Crucifixion, with S. Mary Magdalene and S. Francis, is in S. Jacopo tra Fossi, on the Canto degli Alberti; and in the other, which is in the Nunziata, is a S. Michael who is weighing souls.

The other of the two aforesaid disciples was Domenico Puligo, who was more excellent in draughtsmanship and more pleasing and gracious in coloring than any of the others mentioned above. He, considering that his method of painting with softness, without overloading his works with color or making them hard, but causing the distances to recede little by little as though veiled with a kind of mist, gave his pictures both relief and grace, and that although the outlines of the figures that he made were lost in such a way that his errors were concealed and hidden from view in the dark grounds into which the figures merged, nevertheless his coloring and the beautiful expressions of his heads made his works pleasing, always kept to the same method of working and to the same manner, which caused him to be held in esteem as long as he lived. But omitting to give an account of the pictures and portraits that he made while in the workshop of Ridolfo, some of which were sent abroad and some remained in the city, I shall speak only of those which he painted when he was rather the friend and rival of Ridolfo than his disciple, and of those that he executed when he was so much the friend of Andrea del Sarto, that nothing was more dear to him than to see that master in his workshop, in order to learn from him, showing him his works and asking his opinion of them, so as to avoid such errors and defects as those men often fall into who do not show their work to any other craftsman, but trust so much in their own judgment that they would rather incur the censure of all the world when those works are finished, than correct them by means of the suggestions of loving friends.

One of the first things that Domenico executed was a very beautiful picture of Our Lady for Messer Agnolo della Stufa, who has it in his Abbey of Capalona in the district of Arezzo, and holds it very dear for the great diligence of its execution and the beauty of its colouring. He painted another picture of Our Lady, no less beautiful than that one, for Messer Agnolo Niccolini, now Archbishop of Pisa and a Cardinal, who keeps it in his house on the Canto de' Pazzi in Florence; and likewise another, of equal size and excellence, which is now in the possession of Filippo dell' Antella, at Florence. In another, which is about three braccia in height, Domenico made a full-length Madonna with the Child between her knees, a little S. John, and another head; and this picture, which is held to be one of the best works that he executed, since there is no sweeter coloring to be seen, is at the present day in the possession of Messer Filippo Spini, Treasurer to the most Illustrious Prince of Florence, and a gentleman of magnificent spirit, who takes much delight in works of painting.

Among other portraits that Domenico made from the life, which are all beautiful and also good likenesses, the most beautiful is the one which he painted of Monsignore Messer Piero Carnesecchi, at that time a marvellously handsome youth, for whom he also made some other pictures, all very beautiful and executed with much diligence. In like manner, he portrayed in a picture the Florentine Barbara, a famous and most lovely courtesan of that day, much beloved by many no less for her fine culture than for her beauty, and particularly because she was an excellent musician and sang divinely. But the best work that Domenico ever executed was a large picture wherein he made a life-size Madonna, with some angels and little boys, and a S. Bernard who is writing; which picture is now in the hands of Giovanni Gualberto del Giocondo, and of his brother Messer Niccolo', a Canon of S. Lorenzo in Florence.

The same master made many other pictures, which are dispersed among the houses of citizens, and in particular some wherein may be seen a half-length figure of Cleopatra, causing an asp to bite her on the breast, and others wherein is the Roman Lucretia killing herself with a dagger. There are also some very beautiful portraits from life and pictures by the same hand at the Porta a Pinti, in the house of Giulio Scali, a man whose judgment is as fine in the matters of our arts as it is in those of every other most noble and most honourable profession. Domenico executed for Francesco del Giocondo, in a panel for his chapel in the great tribune of the Church of the Servi at Florence, a S. Francis who is receiving the Stigmata; which work is very sweet and soft in coloring, and wrought with much diligence. In the Church of Cestello, round the Tabernacle of the Sacrament, he painted two angels in fresco, and on the panel of a chapel in the same church he made a Madonna with her Son in her arms, S. John the Baptist, S. Bernard, and other saints. And since it appeared to the monks of that place that he had acquitted himself very well in those works, they caused him to paint in a cloister of their Abbey of Settimo, without Florence, the Visions of Count Ugo, who built seven abbeys. And no long time after, Puligo painted, in a shrine at the corner of the Via Mozza da S. Catarina, a Madonna standing, with her Son in her arms marrying S. Catherine, and a figure of S. Peter Martyr. For a Company in the township of Anghiari he executed a Deposition from the Cross, which may be numbered among his best works.

But since it was his profession to attend rather to pictures of Our Lady, portraits, and other heads, than to great works, he gave up almost all his time to such things. Now if he had devoted himself not so much to the pleasures of the world, as he did, and more to the labors of art, there is no doubt that he would have made great proficience in painting, and especially as Andrea del Sarto, who was much his friend, assisted him on many occasions both with advice and with drawings; for which reason many of his works reveal a draughtsmanship as fine as the good and beautiful manner of the colouring. But the circumstance that Domenico was unwilling to endure much fatigue, and accustomed to labor rather in order to get through work and make money than for the sake of fame, prevented him from reaching a greater height. And thus, associating with gay spirits and lovers of good cheer, and with musicians and women, he died at the age of fifty-two, in the year 1527, in the pursuit of a love-affair, having caught the plague at the house of his mistress.

Color was handled by him in so good and harmonious a manner, that it is for that reason, rather than for any other, that he deserves praise. Among his disciples was Domenico Beceri of Florence, who, giving a high finish to his coloring, executed his works in an excellent manner.

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