Читать книгу The History of Italian Painting - Luigi Lanzi - Страница 23

Table of Contents

Foreign Painters at Siena. The origin and progress of the modern style in that city.

Before this era we have met with no strangers who had taught painting, or had changed the manner of this school. The art had there existed for three centuries, always, or almost always,[275] under the guidance of native painters; and it had even been provided by the statutes of the art, that no foreigner might be encouraged to practise it at Siena. In one chapter it is enacted, that "any stranger, wishing to be employed, shall pay a florin;" and elsewhere, that "he may receive a just and sufficient recompense to the extent of twenty-five livres." The provision was subtle: on the one hand they did not, with a marked inhospitality, positively exclude strangers; but, on the other, they deprived them of any chance of rivalling the artists of the city in employment at Siena. Hence it came to pass, according to P. della Valle, that no pictures of other schools, but those of a late period, are to be found there. But this circumstance, though favourable to the artist, was, in no small degree, detrimental to the art: for the school of Siena, by admitting strangers, would have swelled the list of her great masters; and she might have kept pace with other schools; but this she neglected, and, after having vied with the Florentine school in painting, and even surpassed it for some years, towards the close of the fifteenth century Siena could not, perhaps, boast of a better artist than Capanna, who executed some façades from the designs of others;[276] or than Andrea del Brescianino, who, in conjunction with one of his brothers, is said to have painted some pictures, with which I am unacquainted, in the church of the Olivetine Friars. They have been more commended by historians than Bernardino Fungai, an artist whose style was modernized, but dry,[277] than Neroccio, or any other Sienese painter of that period; but they could not be compared to the best masters of Italy. The nobility perceived the decline of the native school, and the necessity of supporting it by the accession of foreign artists; they wished for such assistance, to the dissatisfaction, probably, of the populace, every where apt to contend that the provender of the land should rather feed the native beast of burden than the foreign steed. The Florentine style of painting found its way to Rome; but ancient rivalry and political jealousy prevented its introduction into Siena. Perugia seemed a less objectionable ally; and from that place, first Bonfigli, and afterwards his scholar Pietro Perugino, who executed two pictures at Siena, were invited; and at length several scholars also of the latter were called, who long remained in the service of two celebrated natives of Siena. The one was Cardinal Francesco Piccolomini, who soon after became Pius III. For the purpose of decorating the sacristy of the cathedral, and the chapel of his family, with various pictures from the life of Pius II. he invited Pinturicchio to Siena, and this artist carried along with him other scholars of Perugino, and even Raffaello himself, who is reported to have designed either wholly, or in a great measure, those historical pictures. The other was Pandolfo Petrucci, who, for some time, usurped the government of the republic: eagerly desirous of embellishing the palace and some churches, he availed himself of Signorelli, and of Genga,[278] and recalled Pinturicchio.

This passed at the beginning of the sixteenth century; for the sacristy was completed in 1503; the return of Pinturicchio took place in 1508; and, after a short interval, it appears that Genga, the scholar of Perugino, and Signorelli, came to Siena. From that period, the Sienese school began to assume the modern style; and design, a full tone of colouring, and perspective, all attained perfection in a few years. Had Siena produced a family equal to the Medicean in taste, power, and a disposition to encourage the fine arts, what might it not have attained! Siena about this time could boast of four men of talents admirably adapted to produce a great revolution in the art, and these were Pacchiarotto, Razzi, Mecherino, and Peruzzi, all of whom (with the exception of Razzi), Baldinucci, for some reason unknown to me, has derived from the school of Raffaello. The works of Raffaello, then a young man, and of other foreign artists, far from repressing their spirit, awakened in them an honourable emulation. Whoever compares the pictures of Matteo with their works, would conclude that many years had intervened; yet they were all living at the death of Matteo. We now come to the bright era of the school of Siena; and to the consideration of its most eminent masters.

Jacopo Pacchiarotto[279] followed the manner of Pietro more closely than any of them, although he was not his scholar, and, perhaps, had not been out of Siena before 1535. In that year there happened an insurrection of the people against the government of that city, in which he was a ringleader, and would have suffered an ignominious death, had he not been saved by the Osservantine fathers, who concealed him for some time within a tomb. From thence he secretly withdrew to France, where he assisted Rosso, and is supposed to have died. Siena possesses several of his cabinet pictures and altar-pieces, in the style of Perugino; especially a very beautiful one in the church of S. Christopher. In his frescos, in the church of S. Catherine and of S. Bernardino, where he emulated the ablest artists of Siena, he appears great in composition. The most admired is the copious picture representing the Visit of the Virgin, S. Catherine, to the body of S. Agnes of Montepulciano: the others are executed in a similar taste. He unquestionably appears to have studied Raffaello with the greatest care; and there are heads and whole figures so lively, and with such a grace in the features, that, to some connoisseurs, they seem to possess the ideal beauty of that great artist. Nevertheless, Pacchiarotto is almost unknown beyond the limits of his native place, for he is only incidentally mentioned by Vasari; and his works have passed under the name of Perugino, or of his school.

Giannantonio Razzi, surnamed Il Sodoma, undoubtedly enjoyed the citizenship of Siena; but it is disputed whether he was born at Vergelle, a Sienese village, or at Vercelli, in Piedmont. Vasari expressly states, that he was invited to Siena by some of the noble family of Spannocchi, and that he was a native of Vercelli; in which opinion he is supported by Tizio, Giovio, Mancini, and all who wrote before Ugurgieri. I am confirmed in it by observing his carnations, his style of chiaroscuro, and other peculiarities of the old school of Milan, and of Giovenone, who flourished at Vercelli in the early years of Razzi; and of this style there appears to me traces in the works of Gio. Antonio; especially in those he executed shortly after he had left his master. I have not observed the historical pictures of S. Benedict, which he painted at Monte Oliveto about 1502, and are so ably described by Sig. Giulio Perini, secretary to the academy of Florence. I have seen those he executed at Rome in the pontificate of Julius II. He painted several in the Vatican, that were defaced, because they did not satisfy the Pope. Raffaello substituted other pictures, but spared the grotesques. Razzi afterwards executed some pictures from the life of Alexander the Great, in the Chigi, now the Farnese palace. The nuptials of Roxana, and the suppliant family of Darius, are the best of them. They do not exhibit the facility, grace, and dignified heads, that characterize the style of Vinci; but they shew much of his chiaroscuro, which was then greatly followed by the Lombards: perspective, their hereditary attribute, is there conspicuous; they abound in gay images, in little Cupids with their arrows, and a pomp that is captivating.

His works in Siena, the fruit of his studies in Rome, and of his mature age, are still superior. The Epiphany, in the church of S. Augustino, appeared wholly in the style of Vinci to an eminent foreign connoisseur, who mentioned it to me with rapture. The Flagellation of Christ, in the cloister of S. Francis, is preferred to the figures of Michelangiolo by those who are reckoned judges of the art: their unanimous opinion seems to be that Razzi never produced a finer picture. Some think as highly of his S. Sebastian, now in the ducal gallery, which is supposed to have been copied from an antique Torso. The Swoon of S. Catherine of Siena, which he painted in fresco in a chapel of S. Domenico, is a picture in the manner of Raffaello. Peruzzi greatly admired it, and affirmed that he had never seen a swoon so naturally represented. The air and varied expression in the heads of his picture, however, are not borrowed from any artist, and on this account he seems to have extorted the applause even of Vasari. His models, as was usual with the other artists of this school, were selected from among the Sienese, whose heads possess a great degree of innate gaiety, openness, and spirit. He painted frequently in a hurried manner, without any preparatory study; especially in his old age, when reduced to poverty at Siena, he sought for employment at Pisa, at Volterra, and at Lucca: but in all his pictures I discover traces of an able artist, who, though careless of excellence, never painted badly. Vasari, the great enemy of his fame, who generally styles him Mattaccio,[280] has ascribed to chance, to fortune, or to fancy, whatever he performed well; as if his usual style had been that of a bad painter. Here Vasari betrays a want of memory; for he confessed in the life of Mecherino, that Razzi "possessed the grand principle of design;" in another passage he has praised the brilliant colouring he brought with him out of Lombardy; and before noticing the works of his old age, he has often pronounced the others beautiful, or sometimes most beautiful and wonderful: hence it may be said of him, modo ait, modo negat. Guided by public estimation, Giovio has written of Razzi in a different manner, when speaking of the death of Raffaello, he subjoins: "plures pari pene gloriâ certantes artem exceperunt, et in his Sodomas Vercellensis."[281] He who objects to the testimony of this eminent scholar, will receive that of a celebrated painter: Annibale Caracci, passing through Siena, said, "Razzi appears a very eminent master of the greatest taste, and (speaking of his best works at Siena) few such pictures are to be seen."[282]

During the many years that Giannantonio lived at Siena, he must have educated many pupils. A few of them only are noticed by Mancini in one of his Fragments;[283] and these are Rustico, the father of Cristofano, an excellent painter of grotesques, with which he filled Siena; Scalabrino, a man of genius, and a poet;[284] and Michelangiolo Anselmi, or Michelangiol da Siena, a painter claimed by several places. We shall consider him in the school of Parma, as he left no work in Siena, except a fresco in the church of Fonte Giusta, a production of his youth, and not worthy of so great a name. A scholar of Razzi, then his assistant, and finally his son-in-law, was Bartolommeo Neroni, otherwise called Maestro Riccio, who after the death of the four great pillars of the school of Siena, supported its reputation for many years, and probably educated one of its restorers. He may be recognized at the Osservanti, in a Crucifixion with three saints standing around, and people in the distance. But his masterpiece was a Descent from the Cross, much in the manner of Razzi, at the Derelitte. Some of his other pictures yet remain in the city, in which he sometimes appears to mingle the style of his father-in-law, with a certain resemblance to the manner of Vasari, in the distribution of his tints. He is known to have been very excellent in perspective, and particularly so in painting scenery; a specimen of which was engraved by Andreani. He was also greatly skilled in architecture, and had a pension from the magistrates of Lucca for his assistance in their public works. Some books include among his disciples Anselmi, who was rather his kinsman; and Arcangiolo Salimbeni, who finished some of his works after his death, and on this account only has been supposed his scholar. From him we shall commence a new epoch in this school.

Domenico Beccafumi derived the surname of Mecherino from a citizen of Siena, who, having remarked him when a shepherd boy designing something on a stone, augured favourably of his genius; and obtaining the consent of his father, brought him to the city, and according to Gigli, recommended him to Capanna as a scholar. He there employed himself in copying the designs of eminent artists, and in imitating the pictures of Pietro Perugino, whose manner he at first adopted; nor did he ever wholly get rid of it; and his works in the cathedral of Pisa exhibit a dryness, though they are the productions of his maturer years.[285] Having gone to Rome in the pontificate of Julius II., a new scene was opened to him in the specimens of ancient sculpture, of which he was a most sedulous designer, and in the pictures in which Michelangiolo and Raffaello had assayed their skill. After two years he returned home, and there continuing his close attention to design, he found himself strong enough to contend with Razzi; and, if we may credit Vasari, even to surpass him. He had acquired skill in perspective, and was fertile in invention as a painter. In Siena, Mecherino is ranked after Razzi; and the many places where they vied with each other, facilitates the comparison to those who are disposed to make it. At first he humoured his placid disposition by painting in a sweet style; at that time he made choice of beautiful airs for his heads; and very frequently inserted the portrait of his mistress in his pictures. In this style is his fine picture at the church of the Olivetines of S. Benedict; in which he has represented the titular saint, with S. Jerome, and the Virgin S. Catherine, and where he has added some circumstances of her life in small figures. The last annotator on Vasari prefers this work to many other pictures of Mecherino, and laments, that, captivated by the energy of Bonarruoti, he had deviated from his original manner. And, indeed, when he aspired to more vigour he frequently appears coarse in his proportions, negligent in his extremities, and harsh in his heads. This defect so increased in his old age that his heads of that period appeared without beauty even to Vasari.

His mode of colouring is not the most true; for it was mannered with a reddish hue, which is, however, fascinating and cheerful to the eye; it is neat, clear, and of such a body that it remains on walls at this day, in the highest preservation. A few of his works remain in Genoa, where he painted the palace of Prince Doria; they are not numerous at Pisa; but they abound in his native place, both in public and in private. His merit was greater in distemper than in oil colouring; and his historical frescos do him greater honour than his other paintings. His skill was great in distributing them to suit the place, and in adapting them to the architecture; he ornamented them with grotesque decorations in such a manner that he required not the aid of gilt stucco, or other gaudy trappings. These inventions have such felicity, that a single glance recals the story to the memory of one acquainted with its circumstances. He treats his subject copiously, with dignity, and with perfect nature: he imparts grandeur to it by his architectural views, and elegance by introducing the usages of antiquity. He peculiarly delighted in the more recondite principles of the art, which were then less generally employed; as peculiar reflections of fires and other lights; difficult foreshortenings, especially as applied to ceilings, which were then very rare in lower Italy. Vasari has minutely described his figure of Justice; the feet of which are in dark shadow, gradually diminishing to the shoulders, which are invested with a most brilliant celestial light: "Nor is it possible," says he, "to imagine, much less to find, a more beautiful figure … amongst all that ever were painted to appear foreshortened when viewed from below." According to this verdict, Mecherino deserves the appellation of the Coreggio of lower Italy, in this very difficult branch of painting; for no modern artist had attempted so much before his time. The above mentioned figure is painted on the vaulted ceiling of the consistory of the government; and the artist has arranged below it various oval and square pictures, each representing some memorable exploit of a republican hero. He pursued the same idea in an apartment in the mansion now in possession of the Bindi family, which P. della Valle reckons his masterpiece. The figures resemble those in the Logge of Raffaello: they are better coloured than those in the consistory, and being smaller are, on that account, better designed: for the style of Mecherino resembles a liquor which retains its qualities when shut up in a phial, but evaporates and is dissipated when poured into a larger vessel. This circumstance, however, was common to many others: his peculiarity consists in what he communicated to Vasari; that, "out of the atmosphere of Siena, he imagined he could not paint successfully;" an effect, according to P. Guglielmo, of the climate; which would be a happy secret for peopling it with painters. Perhaps it is to be explained by the greater degree of quiet and tranquillity that he enjoyed at home, in the society of his friends, among a people ready to encourage him by praise, not to chill him by reproach, and surrounded by all the spectacles and the lively genius of his country; objects eagerly desired by the natives of Siena, but not easily found in other places.

The style of Mecherino, now described, expired with him: for his pupil, Giorgio da Siena, became a painter of grotesques, and imitated Gio. da Udine, both in his own country and at Rome: Giannella, or Gio. da Siena, turned his attention from painting to architecture; and Marco da Pino, surnamed also da Siena, united a variety of styles. Baglione, and the historians of Siena, say, that he was there educated by Beccafumi, and Baldinucci adds, likewise by Peruzzi: P. della Valle, from his brilliant colouring, denies him to them, and assigns him to Razzi. All, however, are agreed that he obtained his knowledge principally from Rome, where he first painted from the cartoons of Ricciarelli or of Perino; and if we may credit Lomazzo, was also instructed by Bonarruoti. We cannot readily find any Florentine capable of following the precepts of Michelangiolo, without ostentation; but he acquired the principles without the affectation of displaying his knowledge. His manner is grand, select, and full of elegance: it is adduced by Lomazzo as a perfect model for the human figure, and for the just distribution of the light according to the distance of objects; a department of the art in which he shares the glory with Vinci, Tintoretto, and Baroccio. He painted little in Siena except a picture, with which I am not acquainted, in the mansion of the Francesconi family; and few of his works are to be seen at Rome, with the exception of a Pietà, in an altar of Araceli, and some frescos in the church Del Gonfalone. Naples was his field; and there he will again appear as a master and historian of that school.

If conjecture were allowable in assigning masters to painters of the old schools, I should be inclined to reckon Daniele di Volterra rather the scholar of Mecherino, than of Razzi or Peruzzi. We know for certain that he studied at Siena in early life, when those three artists kept an open academy. Peruzzi was wholly a follower of Raffaello; Razzi disliked the Florentine style; and Beccafumi alone aspired to be esteemed a faithful imitator of Bonarruoti: by regarding him, therefore, as the master of Daniele, we can best account for the already noticed predilection of the latter for the style of Michelangiolo. No artist was capable of initiating him better in the art of casting in bronze than Mecherino; or afford him more frequent examples of that strong opposition of bright and sombre colours that appears in some works of Daniele. Yet I will not depart from the more correct rule which forbids us in such doubtful points to depart readily from history: for each painter was always free to choose his style; he might be directed in one path by his master, and drawn a different way by his own genius, or by accidental circumstances.

Baldassare Peruzzi is one of the numerous individuals whose merit must not be measured by their good fortune. Born in indigent circumstances in the diocese of Volterra, but within the territory of Siena, and of a Sienese father,[286] he was nurtured amid difficulties, and through life was the perpetual sport of misfortune. Reckoned inferior to his rivals, because he was as modest and timid as they were arrogant and impudent; despoiled of his whole property in the sack of Rome; constrained to exist on a mere pittance at Siena, at Bologna, or at Rome,[287] he died when he began to be known, not without suspicion of being poisoned, and with the affliction of leaving a wife and six children almost beggars. His death demonstrated to the world better than his life the greatness of his genius; and the justness of his epitaph, in which he is compared to the ancients, is allowed by posterity. General consent ranks him among the best architects of his age; and he would also have been classed with the greatest painters, had he coloured as well as he designed, and had always been equal to himself; a thing he could not command during a life so chequered and wretched.

After Peruzzi had received the elements of the art in his native place from an unknown master, he went to Rome for the completion of his studies, in the time of Alexander VI. He knew, admired, and imitated Raffaello (of whom some suppose him a pupil), especially his Holy Families.[288] He approached him nearly in some works in fresco; such as the Judgment of Paris in the castle of Belcaro, which is deemed his best performance, and the celebrated Sybil foretelling the birth of Christ to Augustus, in the Fonte Giusta, of Siena, which is admired as one of the finest pictures in that city. He imparted to it such a divine enthusiasm, that Raffaello himself never surpassed him in treating this subject; nor Guido, nor Guercino, of whom so many Sybils are exhibited. In great compositions, such as the Presentation in the Pace at Rome,[289] he designs well, gives a faithful representation of the passions, and embellishes the subject by appropriate edifices. His oil paintings are very rare; those representing the Magi, which are shewn in many collections at Florence, Parma, and Bologna, are copies from one of his chiaroscuros, which was afterwards coloured by Girolamo da Trevigi, as we are informed by Vasari. I was told at Bologna, that the picture of Girolamo was lost at sea, and that the picture which the Rizzardi family of that place possess, is a copy by Cesi. His small altar-pieces are uncommonly scarce likewise: and I am unable to point out any of them but one, which contains three half-length figures of the Virgin, the Baptist, and S. Jerome, and is at Torre Babbiana, eighteen miles from Siena.

What I have here related would have added to the glory of any other artist; but is little to the merit of Baldassare. The genius of this man was not limited to the production of excellent cabinet pictures and frescos. I have already said he was an architect; or, as Lomazzo has expressed it, a universal architect: and in this profession, the fruit of his assiduous study of ancient edifices, he ranks among the foremost, and is even preferred to Bramante. The encomiums bestowed on him by the most celebrated writers on architecture are mentioned in the third volume of the Sienese Letters.[290] No one, however, has done him greater honour than his scholar Serlio, who declares in the introduction to his fourth book, that, whatever merit his work possesses, is not due to himself, but to Baldassare da Siena, of whose manuscripts he became the heir, and the plagiarist, if we are to credit Giulio Piccolomini,[291] and his other townsmen. The declaration above stated absolves Serlio from this imputation, unless it is insisted that he ought to have affixed the name of Baldassare to every anecdote that he learnt or took from those manuscripts; a thing which it would be unreasonable to demand. He has, indeed, frequently mentioned him, and commended him for a sound taste, for facility, and elegance, both in designing edifices, and in ornamenting them. To say the truth, his peculiar merit lies in giving a pleasing effect to his works; and I have not observed any idea of his which in some way does not exhibit the stamp of a lively imagination. This character is apparent in the portico of the Massimi at Rome, the great altar of the metropolitan church of Siena, and the large gateway of the Sacrati palace at Ferrara, which is so finely ornamented that it is named among the rarities of that city, and, in its kind, even of Italy. But what chiefly establishes his reputation as a man of excellent and various genius, is the Farnese palace, which is "executed with such exquisite grace that it appears created by enchantment, rather than built by human hands."[292]

He was eminently skilled in ornamenting façades; in painting so as to represent real architecture, and basso-relievos of sacrifices, Bacchanalian scenes, and battles, which "serve to maintain the buildings sound and in good order, while they improve their appearance," according to Serlio.[293] He left fine specimens of this art at Siena and in Rome, where he was followed by Polidoro, who carried it to the summit of perfection. Peruzzi practised it at the Farnese palace in those pictures in green earth, with which he covered the outside, and still more in the internal decorations. Not to mention F. Sebastiano, Raffaello himself was employed in the same place: and in one apartment, finished without assistance, the celebrated Galatea. Baldassare painted the ceiling and the corbels with some fables of Perseus, and other heroes: the style is light, spirited, and resembles that of Raffaello, but is unequal to that of his model. Though inferior in figures he was not behind in some other branches. His imitation of stucco ornaments appears so relieved that even Titian was deceived by it, and found it necessary to change his point of view before he could be convinced of his error. A similar ocular deception is produced by the hall where a colonnade is represented, the intercolumniations of which make it appear much larger than it really is. This work induced Pietro Aretino to say, that the palace "contained no picture more perfect in its kind."[294] And if the scenes which he painted for the plays, represented in the Apostolical palace for the amusement of Leo X. had survived to our days, the perspective paintings of Peruzzi would have obtained greater fame than the Calandra of Card. da Bibbiena; and it would have been said of him, as of the ancient, that he discovered a new art, and brought it to perfection. The observation of Vasari, Lomazzo, and other old writers, that Peruzzi was not to be surpassed in perspective, has been recently confirmed by Sig. Milizia in the Memoirs of Architects. In this art he appears to me to have given the first and most classic examples. When I have occasion hereafter to notice celebrated perspectives in Rome, in Venice, or Bologna, we must recollect, that if others surpassed him in the vastness of their works, they never did so in their perfection. Maestro Riccio is praised in Siena as second to him in perspective, and was his scholar for some time; but afterwards he imitated the figures of his father-in-law.

The merit of Baldassare in grotesque is better seen at Siena than in Rome. This sort of painting, always the offspring of a whimsical fancy, was congenial to Mecherino and to Razzi; and both practised it with success. The latter seemed born to conceive and to execute it with unpremeditated facility; he painted in this style in the Vatican, and obtained the approbation of Raffaello, who was unwilling to cancel his grotesques as he did his historical compositions: he also executed some at Monte Oliveto that are highly facetious, and may be called an image of his own brain. Cristoforo Rustici and Giorgio da Siena obtained great fame in this style; but none of them equalled Peruzzi. This artist, graceful in all his works, was most elegant in grotesque; and amid the freedom that a subject wholly capricious inspires, he preserved an art which Lomazzo has studied, in order to comprehend its principles. He employs every species of idea; satyrs, masks, children, animals, monsters, edifices, trees, flowers, vases, candelabra, lamps, armour, and thunderbolts; but in their arrangement, in the actions represented, and in every other circumstance, he bridled his caprice by his judgment. He distorts and connects those images with a surprising symmetry, and adapts them as devices emblematic of the stories which they surround. This man, living in the brightest period of modern art, is in short, one of the individuals most interesting in its history. He had many pupils in architecture, but few in painting: among the latter are a Francesco Senese, and a Virgilio Romano, who are commended by Vasari for their frescos, and to whom grotesques, of uncertain origin, are sometimes attributed in Siena.

Somewhat later, but certainly before the complete revival of the art at Siena, I am disposed to class a fresco painter, whom Baglione and Titi call Matteo da Siena; but who is named Matteino in his native place, that he may not be confounded with the Matteo of the fourteenth century. He lived at Rome in the time of Niccolò Circignani, in whose pictures, and in those of artists of the same class, he inserted perspectives and landscapes. The efforts of his pencil may be seen at S. Stefano Rotondo, in thirty-two historical pictures of martyrs painted by Circignani, which have been engraved by Cavalieri. Many of his landscapes are in the Vatican gallery, which are beautiful, although in the old style. At the age of fifty-five he died at Rome, where he was established in the pontificate of Sixtus V. These circumstances make it appear to me unlikely, that he had painted in the Casino of Siena, about 1551, or in the Lucarini palace, along with Rustichino: the first period I consider too early, and the latter too late.

I shall now give some account of the chiaroscuros executed in mosaic, which owe their perfection to the school of Siena, during the epoch of which we are about to finish our account. I have already mentioned the erection of the magnificent cathedral of Siena, a work of many years; and may now add, that though it was grand in all its parts, nothing shewed such originality, or was so generally admired as the pavement around the great altar, all storied with subjects taken from the New Testament, of which the figures were surrounded by appropriate ornaments, which served to vary and divide the immense ground of the painting. A succession of artists always labouring to improve this work, carried it in a few years to an astonishing pitch of excellence. The nature of the stone quarries in the Sienese territory, afforded also facilities to the art which could not be so easily attained in other places. It originated like other arts from small and rude beginnings. Duccio commenced this ornamented pavement. The part which he executed is constructed of stones, in which the limbs and contours of the figures are scooped out: it is a dry but not ungraceful production of the thirteenth century. The young woman in the choir who kneels with her arms leaning on a cross, and, as an inscription informs us, implores the mercy of the Lord, is the work of Duccio: it probably represents Christian piety; and certainly both the attitude and the countenance are expressive of what she asks. Those who continued the pavement immediately after Duccio, are not so well known. We read of an Urbano da Cortona, and an Antonio Federighi, who designed and executed the two Sybils; the rest was in like manner the work of artists of little note. They all, however, improved the art in some degree, cutting the figures with the chisel, and filling up what was removed by the iron, with pitch or some black composition; and this was a rude sort of chiaroscuro. To them succeeded Matteo di Giovanni, who, from an attentive consideration of what his predecessors had done, fell on a method of surpassing them. He remarked a vein of the marble in the drapery of a figure of David, which formed a very natural fold, and by the contrast of the colours made the knee and leg appear in relief: in like manner he discovered in a figure of Solomon a shade of colour in the marble, well suited to produce effect. He then selected marbles of different colours; and joining them after the manner of an inlaying with stained wood, produced a work that was entitled to the name of a marble chiaroscuro. In this manner he executed without assistance a Slaughter of the Innocents, a composition which he frequently repeated, as we before remarked. He thus opened the path for Beccafumi's histories, who wrought in a superior style a large part of that pavement, which his exertions, says Vasari, rendered "the most beautiful, the largest, and most magnificent that was ever executed." This work employed his leisure hours till he attained to old age; and though painting interrupted his labours, he did not abandon it until his death, and hence, some of the historical compositions were completed by other hands, as is supposed from his cartoons. He executed the Sacrifice of Isaac, in figures as large as life; and Moses striking the Rock, with a crowd of Hebrews rushing to catch the water, and slake their thirst; besides several other subjects, which are described by Vasari; and more minutely by Landi.[295] I shall subjoin a few observations on the mechanism of the art. The first attempt of Beccafumi was to compose a picture of inlaid wood, which was long preserved in the studio of Vanni, and afterwards was in the possession of the Counts of the Delci family. He represented the Conversion of S. Paul in this piece, by employing wood of the colours only that were necessary to produce a chiaroscuro. After this model he selected white marble for the light parts of his figures, and the very purest for the catching lights; grey marble for the middle tints, black for the shadows, and for the darkest lines he sometimes employed a black stucco. He cut the pieces of these marbles, which are all indigenous, and inlaid them so nicely that the joinings are not easily discernible. This has induced some to believe that white marble is alone employed in this pavement, and that the middle tints and shadows are formed by certain very penetrating colours, capable of softening the marble and of colouring it throughout. We learn from a letter of Gallaccini, that this idea was adopted by some natives of Siena, and it appears from another of Mariette, that this great connoisseur was impressed with it, and gained over Bottari to his opinion.[296] Inspection overturns this supposition, for we may discover the seams between the different colours; and this circumstance induces the author of the Sienese Letters and the best informed persons, to disbelieve the artificial colouring of the marble. The truth is, the secret of colouring marble was not then known, but was afterwards discovered in Siena by Michelangiolo Vanni, who has transmitted the memory of his invention to posterity.[297] He erected a monument for his father, Cav. Francesco, with columns, ornaments, festoons, and figures of children; accompanied by a genealogy of the family, which were all designed on a white slab, and every part carefully and appropriately coloured, so as to resemble mosaic of different marbles. It is supposed that the colours were imparted to the marble by some mineral essences to impregnate it, because they penetrated a considerable way. He entitles himself the inventor of this art, in the monumental inscription. A secret of this nature was known to Niccolò Tornioli, of Siena, about the year 1640; and this artist is said to have painted a Veronica in that manner, the marble of which he caused to be sawed, and the same picture was found on each side of the section.[298] He was probably a scholar of Vanni; and the latter seems anxious by the inscription that he should not claim the honour of the invention. The connexion of the subject has led me to notice these two artists in this place. Their true place is in the third epoch of the Sienese school, to which I shall immediately proceed.

[275] Baldinucci, in his Life of Antonio Veneziano, contends that this artist resided, during some time, at Siena; but the silence of the city historians as to such a fact, leads us to doubt the truth of his assertion.

[276] Vasari calls him "a pretty good master" in the Life of D. Bartolommeo: from the note of Bottari on this passage we collect that he flourished about 1500. Gigli makes him the master of Beccafumi.

[277] There is a Coronation of the Virgin by him at Fonte Giusta, and a picture, representing various saints, at Carmine, dated 1512.

[278] See Lett. Sanesi, tom. iii. p. 320, where the inscription of Signorelli on his pictures in the Petrucci palace is quoted, and Vasari is corrected.

[279] He is thus named by Baldinucci; but Vasari, in his Life of Razzi, mentions a Girolamo del Pacchia, a rival of Razzi himself; and this person appears to be Pacchiarotto. He also mentions Giomo, or Girolamo del Sodoma, who died young; and whom both Orlandi and Bottari have confounded with Pacchiarotto; when we ought rather to believe that he was a pupil of Razzi, and died while he was yet young.

[280] Mattaccio signifies a buffoon. Tr.

[281] In P. della Valle, in the Supplement to the life of Razzi, See Vasari, edit. of Siena, p. 297. In the following page there is a chronological error. He agrees with Baldinucci that Razzi was born in 1479, and says that his picture of S. Francis was executed in 1490, that is, when the artist was about eleven years of age.

[282] See also Perini, in his Lettera su l' Archicenobio di Monte Oliveto, p. 49, where he defends Razzi from the charge of indecorum made by Vasari, on a view of the grotesques and fancy subjects which he painted in that place.

[283] Tom. iii. p. 243.

[284] I am in doubt as to his native place. The name of one Scalobrinus Pistoriensis, a painter of merit, and belonging to the same age, is found inscribed at the church of S. Francesco, without the Tuscan gate, where he left seven specimens of altar-pieces. Memorie per le belle Arti, tom. ii. p. 190.

[285] See Sig. da Morrona, tom. i. p. 116. Mecherino there painted the Evangelists, and some historical pieces from the life of Moses: Razzi executed in the same place a Descent from the Cross, and an Abraham offering his Son, which are among his last, and not his best works.

[286] The Sienese historians prove this in opposition to Vasari, who makes him by descent a Florentine. See Lett. Sen. tom. iii. p. 178.

[287] For his labours in the cathedral of Siena he had thirty crowns a year; as the architect of S. Peter's, two hundred and fifty. He derived little advantage from private commissions, for people generally took advantage of his modesty, in either not paying him at all, or rewarding him scantily.

[288] I saw one in the possession of Cav. Cavaceppi in Rome, of which this great connoisseur used to say, that it might pass for a Raffaello, if it had been as like in colouring as in every thing else. The Sergardi family at Siena have another, and a Holy Family, by Razzi, as its companion. These are reckoned among their first performances, and are believed to have been painted in competition with each other. In that of Peruzzi one recognizes, even at that time, that elegance of design which he delighted afterwards to exhibit in his figures, especially in the Chigi, now called the Farnese palace.

[289] It is a fresco, and, though retouched, surprises at once by the novelty and expression of the figures. A. Caracci designed it for one of his studies.

[290] Lett. vii.

[291] Siena Illustre.

[292] The expression in the original is: "condotto con quella bella grazia che si vede-non murato, ma veramente nato." Vasari.

[293] P. 191.

[294] Serlio, 1. c.

[295] Lettere Senesi, tom. iii. lett. 6. See also lett. 8. page 223, where there are many observations on the design of Mecherino, and on the execution committed to the Martini, brothers, and eminent sculptors of that period. For the prints from their works by Andreani and Gabuggiani, see the notes of Bottari on the life of Mecherino, p. 435.

[296] See Lett. Pittoriche, tom. i. p. 311, and tom. iv. p. 344. See also Notes on Vasari, tom. iv. p. 436. Ed. Fiorentin.

[297] He inscribed the monument, "Francisco Vannio … Michael Angelus … novæ hujus in petrâ pingendi artis inventor et Raphael … Filii parenti optimo m. p. a. 1656.

[298] See the note of Bottari on Gallaccini's letter. tom. i. p. 308.