Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari
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then, having mounted the scaffolding, removed the great diadem of gold that he had given to the Saint, raised in relief with plaster, as was the custom in those times, and made him a crown, or rather garland, right round his head, of roaches; and this done, one morning he settled with his host and went off to Florence. Now, two days having passed, the people of Perugia, not seeing the painter going about as they had been used, asked the host what had become of him, and, hearing that he had returned to Florence, went at once to remove the screen; and finding their S. Ercolano crowned solemnly with roaches, they sent word of it immediately to their governors. But although these sent horsemen post-haste to look for Buonamico, it was all in vain, seeing that he had returned in great haste to Florence. Having determined, then, to make a painter of their own remove the crown of roaches and restore the diadem to the Saint, they said all the evil that can be imagined about Buonamico and the rest of the Florentines.
Buonamico, back in Florence and caring little about what the people of Perugia might say, set to work and made many paintings, whereof, in order not to be too long, there is no need to make mention. I will say only this, that having painted in fresco at Calcinaia a Madonna with the Child in her arms, he who had charged him to do it, in place of paying him, gave him words; whence Buonamico, who was not used to being trifled with or being fooled, determined to get his due by hook or by crook. And so, having gone one morning to Calcinaia, he transformed the child that he had painted in the arms of the Virgin into a little bear, but in colours made only with water, without size or distemper. This change being seen, not long after, by the peasant who had given him the work to do, almost in despair he went to find Buonamico, praying him for the sake of Heaven to remove the little bear and to paint another child as before, for he was ready to make satisfaction. This the other did amicably, being paid for both the first and the second labour without delay; and for restoring the whole work a wet sponge sufficed. Finally, seeing that it would take too long were I to wish to relate all the tricks, as well as all the pictures, that Buonamico Buffalmacco made, and above all when frequenting the shop of Maso del Saggio, which was the resort of citizens and of all the gay and mischievous spirits that there were in Florence, I will make an end of discoursing about him.
He died at the age of seventy-eight, and being very poor and having done more spending than earning, by reason of being such in character, he was supported in his illness by the Company of the Misericordia in S. Maria Nuova, the hospital of Florence; and then, being dead, he was buried in the Ossa (for so they call a cloister, or rather cemetery, of the hospital), like the rest of the poor, in the year 1340. The works of this man were prized while he lived, and since then, for works of that age, they have been ever extolled.
AMBROGIO LORENZETTI
LIFE OF AMBROGIO LORENZETTI,
PAINTER OF SIENA
If that debt is great, as without doubt it is, which craftsmen of fine genius should acknowledge to nature, much greater should that be that is due from us to them, seeing that they, with great solicitude, fill the cities with noble and useful buildings and with lovely historical compositions, gaining for themselves, for the most part, fame and riches with their works; as did Ambrogio Lorenzetti, painter of Siena, who showed beautiful and great invention in grouping and placing his figures thoughtfully in historical scenes. That this is true is proved by a scene in the Church of the Friars Minor in Siena, painted by him very gracefully in the cloister, wherein there is represented in what manner a youth becomes a friar, and how he and certain others go to the Soldan, and are there beaten and sentenced to the gallows and hanged on a tree, and finally beheaded, with the addition of a terrible tempest. In this picture, with much art and dexterity, he counterfeited in the travailing of the figures the turmoil of the air and the fury of the rain and of the wind, wherefrom the modern masters have learnt the method and the principle of this invention, by reason of which, since it was unknown before, he deserved infinite commendation. Ambrogio was a practised colourist in fresco, and he handled colours in distemper with great dexterity and facility, as it is still seen in the panels executed by him in Siena for the little hospital called Mona Agnesa, where he painted and finished a scene with new and beautiful composition. And at the great hospital, on one front, he made in fresco the Nativity of Our Lady and the scene when she is going with the virgins to the Temple. For the Friars of S. Augustine in the same city he painted their Chapter-house, where the Apostles are seen represented on the vaulting, with scrolls in their hands whereon is written that part of the Creed which each one of them made; and below each is a little scene containing in painting that same subject that is signified above by the writing. Near this, on the main front, are three stories of S. Catherine the martyr, who is disputing with the tyrant in a temple, and, in the middle, the Passion of Christ, with the Thieves on the Cross, and the Maries below, who are supporting the Virgin Mary who has swooned; which works were finished by him with much grace and with beautiful manner.
In a large hall of the Palazzo della Signoria in Siena he painted the War of Asinalunga, and after it the Peace and its events, wherein he fashioned a map, perfect for those times; and in the same palace he made eight scenes in terra-verde, highly finished. It is said that he also sent to Volterra a panel in distemper which was much praised in that city. And painting a chapel in fresco and a panel in distemper at Massa, in company with others, he gave them proof how great, both in judgment and in genius, was his worth in the art of painting; and in Orvieto he painted in fresco the principal Chapel of S. Maria. After these works, proceeding to Florence, he made a panel in S. Procolo, and in a chapel he painted the stories of S. Nicholas with little figures, in order to satisfy certain of his friends, who desired to see his method of working; and, being much practised, he executed this work in so short a time that there accrued to him fame and infinite repute. And this work, on the predella of which he made his own portrait, brought it about that in the year 1335 he was summoned to Cortona by order of Bishop Ubertini, then lord of that city, where he wrought certain works in the Church of S. Margherita, built a short time before for the Friars of S. Francis on the summit of the hill, and in particular the half of the vaulting and the walls, so well that, although to-day they are wellnigh eaten away by time, there are seen notwithstanding most beautiful effects in the figures; and it is clear that he was deservedly commended for them.
This work finished, Ambrogio returned to Siena, where he lived honourably the remainder of his life, not only by reason of being an excellent master in painting, but also because, having given attention in his youth to letters, they were a useful and pleasant accompaniment to him in his painting, and so great an ornament to his whole life that they rendered him no less popular and beloved than did his profession of painting; wherefore he was not only intimate with men of learning and of taste, but he was also employed, to his great honour and advantage, in the government of his Republic. The ways of Ambrogio were in all respects worthy of praise, and rather those of a gentleman and a philosopher than of a craftsman; and what most demonstrates the wisdom of men, he had ever a mind disposed to be content with that which the world and time brought, wherefore he supported with a mind temperate and calm the good and the evil that came to him from fortune. And truly it cannot be told to what extent courteous ways and modesty, with the other good habits, are an honourable accompaniment to all the arts, and in particular to those that are derived from the intellect and from noble and exalted talents; wherefore every man should make himself no less beloved with his ways than with the excellence of his art.
Finally, at the