Tomb of Piero and Giovanni de' Medici. 1469/1472. Marble, bronze, pietra serena, porphyry. San Lorenzo, Florence.
NOW THE FAME of Andrea could not go further or grow greater in that profession, and he, as a man who was not content with being excellent in one thing only, but desired to become the same in others as well by means of study, turned his mind to painting, and so made the cartoons for a battle of nude figures, very well drawn with the pen, to be afterwards painted in colors on a wall. He also made the cartoons for some historical pictures, and afterwards began to put them in execution in colors; but for some reason, whatever it may have been, they remained unfinished. There are some drawings by his hand in our book, made with much patience and very great judgment, among which are certain heads of women, beautiful in expression and in the adornment of the hair, which Leonardo da Vinci was ever imitating for their beauty. In our book, also, are two horses with the due measures and protractors for reproducing them on a larger scale from a smaller, so that there may be no errors in the proportions; and there is in my possession a horse's head of terracotta in relief, copied from the antique, which is a rare work. The Very Reverend Don Vincenzio Borghini has some of his drawings in his book, of which we have spoken above; among others, a design for a tomb made by him in Venice for a Doge, a scene of the Adoration of Christ by the Magi, and the head of a woman painted on paper with the utmost delicacy. He also made for Lorenzo de'Medici, for the fountain of his Villa at Careggi, a boy of bronze squeezing a fish, which the Lord Duke Cosimo has caused to be placed, as may be seen at the present day, on the fountain that is in the courtyard of his Palace; which boy is truly marvelous.
Afterwards, the building of the Cupola of S. Maria del Fiore having been finished, it was resolved, after much discussion, that there should be made the copper ball which, according to the instructions left by Filippo Brunelleschi, was to be placed on the summit of that ediice. Whereupon the task was given to Andrea, who made the ball four braccia high, and, placing it on a knob secured it in such a manner that afterwards the cross could be safely erected upon it; and the whole work, when finished, was put into position with very great rejoicing and delight among the people. Truly great were the ingenuity and diligence that had to be used in making it, to the end that it might be possible, as it is, to enter it from below, and also in securing it with good fastenings, lest the winds do it damage.
Andrea was never at rest, but was ever laboring at some work either in painting or in sculpture; and sometimes he would change from one to another, in order to avoid growing weary of working always at the same thing, as many do. Wherefore, although he did not put the aforesaid cartoons into execution, yet he did paint certain pictures: among others, a panel for the nuns of San Domenico in Florence, wherein it appeared to him that he had acquitted himself very well; when, no long time after, he painted another in San Salvi for the monks of Vallombrosa, containg the Baptism of Christ by St. John. In this work he was assisted by Leonardo da Vinci, his disciple, then quite young, who painted therein an angel with his own hand, which was much better than the others parts of the work; and for that reason Andrea resolved never again to touch a bruch, since Leonardo, young as he was, had acquited himself in that art much better than he had done.
Now Cosimo de'Medici, having received many antiquities from Rome, had caused to be set up within the door of his garden, or rather, courtyard, which opens on the Via de'Ginori, a very beautiful Marsyas of white marble, bound to a tree trunk and ready to be flayed; and his grandson Lorenzo, into whose hands there had come the torso and head of another Marsyas, made of red stone, very ancient, and much more beautiful than the first, wished to set it beside the other, but could not because it was so imperfect. Thereupon he gave it to Andrea to be restored and completed, and he made the legs, thighs, and arms that were lacking in this figure out of pieces of red marble, so well that Lorenzo was highly satisfied and had it placed opposite to the other, on the other side of the door. This ancient torso, made to represent a flayed Marsyas, was wrought with such care and judgment that certain delicate white veins, which were in the red stone, were carved by the craftsman exactly in the right places, so as to appear to be little nerves, such as are seen in real bodies when they have been flayed; which must have given to that work, when it had its original finish, a most life-like appearance.
The Venetians, meanwhile, wishing to honor the great valor of Bartolommeo da Bergamo, thanks to whom they had gained many victories, in order to encourage others, and having heard the fame of Andrea, summoned him to Venice, where he was commissioned to make an equestrian statue of that captain in bronze, to be placed on the Piazza di SS. Giovanni e Polo. Andrea, then, having made the model of the horse, had already begun to get it ready for casting in bronze, when, thanks to the favor of certain gentlemen, it was determined that Vellano da Padova should make the figure and Andrea the horse. Having heard this, Andrea broke the legs and head of his model and returned in great disdain to Florence, without saying a word. The Signoria, receiving news of this, gave him to understand that he should never be bold enough to return to Venice, for they would cut his head off; to which he wrote in answer that he would take good care not to, because, once they had cut a man's head off, it was not in their power to put it on again, and certainly not one like his own, whereas he could have replaced the head that he had knocked off his horse with one even more beautiful. After this answer, which did not displease those Signori, his payment was doubled and he was persuaded to return to Venice, where he restored his first model and cast it in bronze; but even then he did not finish it entirely, for he caught a chill by overheating himself during the casting, and died in that city within a few days; leaving unfinished not only that work (although there was only a little polishing to be done), which was set up in the place for which it was destined, but also another which he was making in Pistoia, that is, the tomb of Cardinal Forteguerra, with the three Theological Virtues, and a God the Father above; which work was afterwards finished by Lorenzetto, a sculptor of Florence.
Andrea was fifty-six years of age when he died. His death caused infinite grief to his friends and to his disciples, who were not few; above all to the sculptor Nanni Grosso, a most eccentric person both in his art and in his life. This man, it is said, would not have worked outside his shop, particularly for monks or friars, if he had not had free access to the door of the vault, or rather, wine-cellar, so that he might go and drink whenever he pleased, without having to ask leave. It is also told of him that once, having returned from S. Maria Nuova completely cured of some sickness, I know not what, he was visited by his friends, who asked him how it went with him. "Ill," he answered. "But thou art cured," they replied. "That is why it goes ill with me," said he, "for I would dearly love a little fever, so that I might lie there in the hospital, well attended and at my ease." As he lay dying, again in the hospital, there was placed before him a wooden Crucifix, very rude and clumsily wrought; whereupon he prayed them to take it out of his sight and to bring him one by the hand of Donato, declaring that if they did not take it away he would die in misery, so greatly did he detest badly wrought works in his own art.
Disciples of the same Andrea were Pietro Perugino and Leonardo da Vinci, of whom we will speak in the proper place, and Francesco di Simone of Florence, who made a tomb of marble in the Church of S. Domenico in Bologna, with many little figures, which appear from the manner to be by the hand of Andrea, for Messer Alessandro Tartaglia, a doctor of Imola, and another in S. Pancrazio at Florence, facing the sacristy and one of the chapels of the church, for the Chevalier Messer Pietro Minerbetti. Another pupil of Andrea was Agnolo di Polo, who worked with great mastery in clay, filling the city with works by his hand; and if he had deigned to apply himself properly to his art, he would have made very beautiful things. But the one whom he loved more than all the others was Lorenzo di Credi, who brought his remains from Venice and laid them in the Church of S. Ambrogio, in the tomb of Ser Michele di Cione, on the stone of which there are carved the following words:
SER MICHAELIS DE CIONIS, ET SUORUM.And beside them: HIC OSSA JACENT ANDREAE VERROCHII, QUI OBIIT
Andrea took much delight in casting in a kind of plaster which would set hard--that is, the kind that is made of a soft stone which is quarried in the districts of Volterra and of Siena and in many other parts of Italy. This stone, when burnt in the fire, and then pounded and mixed with tepid water, becomes so soft that men can make whatever they please with it; but afterwards it solidifies and becomes so hard, that it can be used for moulds for casting whole figures. Andrea, then, was wont to cast in moulds of this material such natural objects as hands, feet, knees, legs, arms, and torsi, in order to have them before him and imitate them with greater convenience. Afterwards, in his time, men began to cast the heads of those who died--a cheap method; wherefore there are seen in every house in Florence, over the chimney-pieces, doors, windows, and cornices, infinite numbers of such portraits, so well made and so natural that they appear alive. And from that time up to the present the said custom has been continued, and it still continues, with great convenience to ourselves, for it has given us portraits of many who have been included in the stories in the Palace of Duke Cosimo. And for this we should certainly acknowledge a very great obligation to the talent of Andrea, who was one of the first to begin to bring the custom into use.
From this men came to make more perfect images, not only in Florence, but in all the places in which there is devoutness, and to which people flock to offer votive images, or, as they are called, "miracoli," in return for some favour received. For whereas they were previously made small and of silver, or only in the form of little panels, or rather of wax, and very clumsy, in the time of Andrea they began to be made in a much better manner, since Andrea, having a very strait friendship with Orsino, a Florentine worker in wax, who had no little judgment in that art, began to show him how he could become excellent therein. Now the due occasion arrived in the form of the death of Giuliano de' Medici and the danger incurred by his brother Lorenzo, who was wounded in S. Maria del Fiore, when it was ordained by the friends and relatives of Lorenzo that images of him should be set up in many places, to render thanks to God for his deliverance. Wherefore Orsino, among others that he made, executed three life-size figures of wax with the aid and direction of Andrea, making the skeleton within of wood, after the method described elsewhere, interwoven with split reeds, which were then covered with waxed cloths folded and arranged so beautifully that nothing better or more true to nature could be seen. Then he made the heads, hands, and feet with wax of greater thickness, but hollow within, portrayed from life, and painted in oils with all the ornaments of hair and everything else that was necessary, so lifelike and so well wrought that they seemed no mere images of wax, but actual living men, as may be seen in each of the said three, one of which is in the Church of the Nuns of Chiarito in the Via di S. Gallo, opposite to the Crucifix that works miracles. This figure is clothed exactly as Lorenzo was, when, with his wounded throat bandaged, he showed himself at the window of his house before the eyes of the people, who had flocked thither to see whether he were alive, as they hoped, or to avenge him if he were dead. The second figure of the same man is in the lucco, the gown peculiar to the citizens of Florence; and it stands in the Servite Church of the Nunziata, over the lesser door, which is beside the counter where candles are sold. The third was sent to S. Maria degli Angeli at Assisi, and set up before the Madonna of that place, where the same Lorenzo de' Medici, as has been already related, caused the road to be paved with bricks all the way from S. Maria to that gate of Assisi which leads to S. Francesco, besides restoring the fountains that his grandfather Cosimo had caused to be made in that place. But to return to the images of wax: all those in the said Servite Church are by the hand of Orsino, which have a large O in the base as a mark, with an R within it and a cross above; and they are all so beautiful that there are few since his day who have equalled him. This art, although it has remained alive up to our own time, is nevertheless rather on the decline than otherwise, either because men's devoutness has diminished, or for some other reason, whatever it may be.
And to return to Verrocchio; besides the aforesaid works, he made Crucifixes of wood, with certain things of clay, in which he was excellent, as may be seen from the models for the scenes that he executed for the altar of S. Giovanni, from certain very beautiful boys, and from a head of S. Jerome, which is held to be marvellous. By the hand of the same man is the boy on the clock of the Mercato Nuovo, who has his arms working free, in such a manner that he can raise them to strike the hours with a hammer that he holds in his hands; which was held in those times to be something very beautiful and fanciful. And let this be the end of the Life of that most excellent sculptor, Andrea Verrocchio.
There lived in the time of Andrea one Benedetto Buglioni, who received the secret of glazed terra-cotta work from a woman related to the house of Andrea della Robbia; wherefore he made many works in that manner both in Florence and abroad, particularly a Christ rising from the dead, with certain angels, which, for a work in glazed terra-cotta, is beautiful enough, in the Church of the Servi, near the Chapel of S. Barbara. He made a Dead Christ in a chapel in S. Pancrazio, and the lunette that is seen over the principal door of the Church of S. Pietro Maggiore. From Benedetto the secret descended to Santi Buglioni, the only man who now knows how to work at this sort of sculpture.