Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari
Читать онлайн книгу.
of making mosaic, but that he never succeeded in anything that he wanted to do, until at length he came across a German who was going to Rome to obtain some indulgences. This man he took into his house, and he gained from him a complete knowledge of the method and the rules for executing mosaic, insomuch that afterwards, having set himself boldly to work, he made some angels holding the head of Christ over the bronze doors of S. Giovanni, in the arches on the inner side. His good method of working becoming known by reason of this work, he was commissioned by the Consuls of the Guild of Merchants to clean and renovate all the vaulting of that church, which had been wrought, as has been said, by Andrea Tafi; for it had been spoilt in many places, and was in need of being renewed and restored. This he did with love and diligence, availing himself for that purpose of a wooden staging made for him by Cecca, who was the best architect of that age. Alesso taught the craft of mosaic to Domenico Ghirlandajo, who portrayed him afterwards near himself in the Chapel of the Tornabuoni in S. Maria Novella, in the scene where Joachim is driven from the Temple, in the form of a clean-shaven old man with a red cap on his head.
Alesso lived eighty years, and when he began to draw near to old age, as one who wished to be able to attend with a quiet mind to the studies of his profession, he retired into the Hospital of S. Paolo, as many men are wont to do. And perhaps to the end that he might be received more willingly and better treated (or it may have been by chance), he had a great chest carried into his rooms in the said hospital, giving out that it contained a good sum of money. Wherefore the Director and the other officials of the hospital, believing this to be true, and knowing that he had bequeathed to the hospital all that might be found after his death, showed him all the attention in the world. But on the death of Alesso, there was nothing found in it save drawings, portraits on paper, and a little book that explained the preparation of the stones and stucco for mosaic and the method of using them. Nor was it any marvel, so men said, that no money was found there, because he was so open-handed that he had nothing that did not belong as much to his friends as to himself.
A disciple of Alesso was the Florentine Graffione, who wrought in fresco, over the door of the Innocenti, that figure of God the Father and those angels that are still there. It is said that the Magnificent Lorenzo de' Medici, conversing one day with Graffione, who was an original, said to him, "I wish to have all the ribs of the inner cupola adorned with mosaic and stucco-work;" and that Graffione replied, "You have not the masters." To which Lorenzo answered, "We have enough money to make some." Graffione instantly retorted, "Ah, Lorenzo, 'tis not the money that makes the masters, but the masters that make the money." This man was a bizarre and fantastic person. In his house he would never eat off any table-cloth save his own cartoons, and he slept in no other bed than a chest filled with straw, without sheets.
But to return to Alesso; he took leave of his art and of his life in 1448, and he was honourably buried by his relatives and fellow-citizens.
VELLANO DA PADOVA
LIFE OF VELLANO DA PADOVA
SCULPTOR
So great is the effect of counterfeiting anything with love and diligence, that very often, when the manner of any master of these our arts has been well imitated by those who take delight in his works, the imitation resembles the thing imitated so closely, that no difference is discerned save by those who have a sharpness of eye beyond the ordinary; and it rarely comes to pass that a loving disciple fails to learn, at least in great measure, the manner of his master.
Vellano da Padova strove with so great diligence to counterfeit the manner and the method of Donato in sculpture, particularly in bronze, that in his native city of Padua he was left the heir to the excellence of the Florentine Donatello; and to this witness is borne by his works in the Santo, which nearly every man that has not a complete knowledge of the matter attributes to Donato, so that every day many are deceived, if they are not informed of the truth. This man, then, fired by the great praise that he heard given to Donato, the sculptor of Florence, who was then working in Padua, and by a desire for those profits that come into the hands of good craftsmen through the excellence of their works, placed himself under Donato in order to learn sculpture, and devoted himself to it in such a manner, that, with the aid of so great a master, he finally achieved his purpose; wherefore, before Donatello had finished his works and departed from Padua, Vellano had made such great progress in the art that great expectations were already entertained about him, and he inspired such confidence in his master as to induce him (and that rightly) to leave to his pupil all the equipment, designs, and models for the scenes in bronze that were to be made round the choir of the Santo in that city. This was the reason why, when Donato departed, as has been said, the commission for the whole of that work was publicly given to Vellano in his native city, to his very great honour. Whereupon he made all the scenes in bronze that are on the outer side of the choir of the Santo, wherein, among others, there is the scene of Samson embracing the column and destroying the temple of the Philistines, in which one sees the fragments of the ruined building duly falling, and the death of so many people, not to mention a great diversity of attitudes among them as they die, some through the ruins, and some through fear; and all this Vellano represented marvellously. In the same place are certain works in wax and the models for these scenes, and likewise some bronze candelabra wrought by the same man with much judgment and invention. From what we see, this craftsman appears to have had a very great desire to attain to the standard of Donatello; but he did not succeed, for he aimed too high in a most difficult art.
Vellano also took delight in architecture, and was more than passing good in that profession; wherefore, having gone to Rome in the year 1464, at the time of Pope Paul the Venetian, for which Pontiff Giuliano da Maiano was architect in the building of the Vatican, he too was employed in many things; and by his hand, among other works that he made, are the arms of that Pontiff which are seen there with his name beside them. He also wrought many of the ornaments of the Palace of S. Marco for the same Pope, whose head, by the hand of Vellano, is at the top of the staircase. For that building the same man designed a stupendous courtyard, with a commodious and elegant flight of steps, but the death of the Pontiff intervened to hinder the completion of the whole. The while that he stayed in Rome, Vellano made many small things in marble and in bronze for the said Pope and for others, but I have not been able to find them. In Perugia the same master made a bronze statue larger than life, in which he portrayed the said Pope from nature, seated in his pontifical robes; and at the foot of this he placed his name and the year when it was made. This figure is in a niche of several kinds of stone, wrought with much diligence, without the door of S. Lorenzo, which is the Duomo of that city. The same man made many medals, some of which are still to be seen, particularly that of the aforesaid Pope, and those of Antonio Rosello of Arezzo and Batista Platina, both Secretaries to that Pontiff.
Having returned after these works to Padua with a very good name, Vellano was held in esteem not only in his native city, but in all Lombardy and in the March of Treviso, both because up to that time there had been no craftsmen of excellence in those parts, and because he had very great skill in the founding of metals. Afterwards, when Vellano was already old, the Signoria of Venice determined to have an equestrian statue of Bartolommeo da Bergamo made in bronze; and they allotted the horse to Andrea del Verrocchio of Florence, and the figure to Vellano. On hearing this, Andrea, who thought that the whole work should fall to him, knowing himself to be, as indeed he was, a better master than Vellano, flew into such a rage that he broke up and destroyed