[188] "Treatises by the Cav. Giorgio Vasari, painter and architect of Arezzo, upon the designs painted by him at Florence, in the palace of their Serene Highnesses, &c.; together with the design of the painting commenced by him in the cupola." It is a posthumous work, supplied by his nephew Giorgio Vasari, who published it in 1588 at Florence. It was republished at Arezzo in 1762, in 4to.
[189] He had been well imbued with literature at Arezzo, and, when a youth at Florence, "he spent two hours every day along with Ippolito and Alessandro de' Medici, under their master Pierio." Vasari nella Vita del Salviati.
[190] See Lett. Pittoriche, tom. iii. lett. 104.
[191] Bottari adduces an authentic document of this in his Preface, page 6.
[192] In the Dedicatory Letter to Cosmo I., prefixed to second edit.
[193] See Lett. Pittor. tom. iii. let. 226.
[194] It is founded also on Vasari's remark, in his Life of Frate: "There is likewise a portrait by F. Gio. da Fiesole, whose life we have given, which is in the part of the Beati;" which cannot, observes Bottari, apply to any other except D. Silvano Razzi, author of the "Vite dei S. S. e Beati Toscani;" among which is found that of B. Giovanni. But this indication would be little; or at least it is not all. The document which clearly reveals the fact, has been pointed out to me by the polite attention of Sig. Luigi de Poirot, Secretary to the Royal Finances; and this is in the "Vite de' SS. e BB. dell' ordine de' Frati Predicatori di Serafino Razzi Domenicano," published after the death of Vasari, in Florence, 1577. In these, treating of works in the fine arts in S. Domenico at Bologna, he adds; "we cannot give a particular account of these histories, but whoever is desirous of it may consult the whole, in the Lives of the Painters, Sculptors, and Architects, written, for the most part, by D. Silvano Razzi, my brother, for the Cav. Giorgio Vasari of Arezzo, his very intimate friend." After such information, we must suppose that Vasari, having communicated his materials to this monk, received from him a great number of Lives, that boast such elegant prefaces and fine reflections; but that he here and there retouched them; adding things either from haste or inadvertency, not well connected with the context, or repeated elsewhere. And in this way we may account for the many inconsistencies to be met with in a number of Lives, very finely written, but containing passages that do not appear to come from the same pen, and frequently make the author contradict himself.
[195] It is to be observed that Bottari wrote principally to mark the changes that the works described by Vasari had undergone during 200 years. In regard to the emendations pointed out by us, he declares in the Preface, that he could not undertake them for want of time, health, books, and most of all, inclination. However, we are indebted for not a few to him, and also to P. Guglielmo, though not equally so in every school. Both are writers of merit; the former by his citations from printed works, the second for his information of MSS. and unedited authors.
[196] Tom. vii. p. 249.
[197] Vide Taia Descrizione del Palazzo Vaticano, p. 11. Zuccaro did not so readily pardon Vasari, whose work he noted with severity: as did also one of the three Caracci. Lett. Pittor. tom. iv. lett. 210.
[198] Tom. viii. p. 203.
[199] P. 117.
[200] Tom. viii. p. 123.
[201] "Although I do not deny, that he shews himself a little too much the partizan, he ought not to be defrauded of his due praise, as is attempted by the ignorant and invidious; for the completion of such an elegant and finished history must have cost him great study and research, and demanded much ingenuity and discrimination." Idea del Tempio, &c. cap. iv.
[202] Lett. Pittor. tom. i. p. 190.
[203] Lett. Pittor. tom. iii. p. 51.
[204] He examines the question, then keenly contested, whether Sculpture or Painting was the most noble art. He decides in favour of his own profession: and there are some other letters in that volume on the opposite side of the question worthy of perusal. Bonarruoti, on being asked this question by Varchi, was unwilling to give a decision. (See tom. i. p. 7, and p. 22.) After Bonarruoti's decease the contest was renewed, and prose and verse compositions appeared on both sides. Lasca wrote in favour of painting, while Cellini defended sculpture. (See Notes to the Rime of Lasca, p. 314.) Lomazzo is well worthy of notice in his Treatise, lib. ii. p. 158, in which he gives a MS. of Lionardo, drawn up at the request of Lodovico Sforza, where he prefers painting to the sister art.
[205] For an account of this writing desk, which was made during the life of Cosmo I., see Baldinucci, tom. x. p. 154 and 182.
[206] We there may read Allori, Titi, Buti, Naldini, Cosci, Macchietti, Minga, Butteri, Sciorini, Sanfriano, Fei, Betti, Casini, Coppi, and Cavalori; besides Vasari, Stradano, and Poppi, already noticed.
[207] Baglione, in the Life of P. Biagio Betti.
[208] Pictores Hetrusci.
[209] Vasari calls him Michele Fiorentino, and the painter of the Slaughter of the Innocents, which we have noticed at page 187. Orlandi makes him the father of Cherubino, an assertion which is not contradicted by Bottari. I follow Baglione, the contemporary of Cherubino, who says that he was the son of Alberto Alberti, an eminent engraver on copper.
[210] Vasari writes the name da Carigliano, in which he has been followed by other writers on the art, including myself, until I was informed by Sig. Ansaldi that it ought really to be written Cutigliano, taken from a considerable territory in the Pistoiese.
[211] Tom. vi. p. 25.
FLORENTINE SCHOOL.
EPOCH IV.
Cigoli and his associates improve the style of Painting.
Whilst the Florentines regarded Michelangiolo and his imitators as their models, they experienced the fate of the poets of the fifteenth century, who fixed