Having finished this work, which, being truly worthy of all praise, brought him honourable payment from the Pisans, who loved him greatly ever afterwards, Antonio returned to Florence, where, at Nuovoli without the Porta a Prato, he painted in a shrine, for Giovanni degli Agli, a Dead Christ, the story of the Magi with many figures, and a very beautiful Day of Judgment. Summoned, next, to the Certosa, he painted for the Acciaiuoli, who built that place, the panel of the high-altar, which was consumed by fire in our day by reason of the inadvertence of a sacristan of that monastery, who left the thurible full of fire hanging from the altar, wherefore the panel was burnt, and afterwards the altar was made by those monks, as it stands to-day, entirely of marble. In that same place, also, the same master made in fresco, over a wardrobe that is in the said chapel, a Transfiguration of Christ which is very beautiful. And because he studied the science of herbs in Dioscorides, being much inclined thereunto by nature, and delighting to understand the property and virtue of each one of them, at last he abandoned painting and gave himself to the distilling of simples and to seeking them out with all diligence. Changing thus from painter to physician, for a long time he followed this art. Finally, falling sick from disease of the stomach, or, as others say, from plague caught while acting as physician, he finished the course of his life at the age of seventy-four, in the year 1384, when there was a very great plague in Florence, having been no less expert as physician than he was diligent as painter; wherefore, having made infinite experiments in medicine by means of those who had availed themselves of him in their necessities, he left to the world a very good name for himself in both one and the other of these arts. Antonio drew very graciously with the pen, and so well in chiaroscuro, that some drawings by him which are in our book, wherein he made the little arch of S. Spirito, are the best of those times. A disciple of Antonio was Gherardo Starnina, the Florentine, who imitated him greatly; and Paolo Uccello, who was likewise his disciple, did him no small honour.
The portrait of Antonio Viniziano, by his own hand, is in the Campo Santo in Pisa.
JACOPO DI CASENTINO
LIFE OF JACOPO DI CASENTINO
PAINTER
Now that the fame and the renown of the pictures of Giotto and his disciples had been heard for many years, many, desirous of acquiring fame and riches by means of the art of painting, and animated by zealous aspirations and by the inclination of nature, began to advance towards the improvement of the art, with a firm belief that, exercising themselves therein, they would surpass in excellence both Giotto and Taddeo and the other painters. Among these was one Jacopo di Casentino, who, being born, as it is read, of the family of Messer Cristoforo Landino of Pratovecchio, was apprenticed by a friar of the Casentino, then Prior at the Sasso della Vernia, to Taddeo Gaddi, while Taddeo was working in that convent, to the end that he might learn drawing and colouring in the art, wherein in a few years he succeeded so well that, betaking himself to Florence and executing many works in company with Giovanni da Milano in the service of Taddeo their master, he was made to paint the shrine of the Madonna of the Mercato Vecchio, with the panel in distemper, and likewise the one at the corner of the Piazza di S. Niccolò and the Via del Cocomero, which were restored a few years ago, both one and the other, by a worse master than was Jacopo; and for the Dyers he painted that which is in S. Nofri, at the corner of the wall of their garden, opposite to S. Giuseppe. In the meanwhile, the vaults of Orsanmichele over the twelve piers having been brought to a finish, a low rustic roof was placed upon them, in order to pursue as soon as might be possible the building of that palace, which was to be the granary of the Commune; and it was given to Jacopo di Casentino, as a person then much practised, to paint these vaults, with instructions that he should make there, as he did, together with the patriarchs, some prophets and the chiefs of the tribes, which were in all sixteen figures on a ground of ultramarine, to-day half spoilt, not to mention the other ornaments. Next, on the walls below and on the piers, he made many miracles of the Madonna, and other works that are recognized by the manner.
This work finished, Jacopo returned to the Casentino, and after he had made many works in Pratovecchio, in Poppi, and other places in that valley, he betook himself to Arezzo, which then governed itself with the counsel of sixty of its richest and most honoured citizens, to whose care was committed the whole administration. There, in the principal chapel of the Vescovado, he painted a story of S. Martin, and in the Duomo Vecchio, now in ruins, a number of pictures, among which was the portrait of Pope Innocent VI, in the principal chapel. Next, in the Church of S. Bartolommeo, for the Chapter of the Canons of the Pieve, he painted the wall where the high-altar is, and the Chapel of S. Maria della Neve; and in the old Company of S. Giovanni de' Peducci he made many stories of that Saint, which to-day are covered with whitewash. In the Church of S. Domenico, likewise, he painted the Chapel of S. Cristofano, portraying there from nature the Blessed Masuolo, who is liberating from prison a merchant of the Fei family, who caused that chapel to be built; which Blessed Masuolo, as prophet, predicted many misadventures to the Aretines in his lifetime. In the Church of S. Agostino, in the chapel and on the altar of the Nardi, he painted in fresco some stories of S. Laurence, with marvellous manner and execution.
And because he exercised himself also in the things of architecture, by order of the sixty aforesaid citizens he reconducted under the walls of Arezzo the water that comes from the foot of the hill of Pori, three hundred braccia distant from the city. This water, in the time of the Romans, had been