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
