LITMIR.BIZ

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loses the alliterative connection with "art," but it comes nearest to expressing Vasari's idea of the "artefice" as a practical workman (cf. his remark about Ambrogio Lorenzetti: "The ways of Ambrogio were rather those of a 'gentiluomo' than of an 'artefice'").

[2] The process of sgraffito work is described in Professor Baldwin Brown's notes to "Vasari on Technique" as follows: "A wall is covered with a layer of tinted plaster, and on this is superimposed a thin coating of white plaster. This outer coating is scratched through (with an iron tool), and the colour behind is revealed. Then all the surface outside the design is cut away, and a cameo-like effect is given to the design."

[3] The process of niello is as follows: A design is engraved on silver or bronze, and the lines of the design are filled with a composition of silver and lead. On the application of fire to the whole, this composition turns black, leaving the design strongly outlined.

[4] The libbra is twelve ounces of our ordinary pound (avoirdupois).

[5] It is difficult to find a rendering of "cappella maggiore" that is absolutely satisfactory. There may be a chapel in some churches that is actually larger than the "principal chapel." The principal chapel generally contains the choir, but not always, and when Vasari wants to say "choir" he uses the word "coro." The rendering "principal chapel" has therefore been adopted as the least misleading.

[6] The braccio is a very variable standard of measurement. As used by Vasari, it may be taken to denote about 23 inches.

[7] Vescovado includes both the Cathedral and the Episcopal buildings of Arezzo. Vasari generally uses it to denote the Cathedral.

[8] The literal meaning of tramezzo is "something that acts as a partition between one thing and another." There are cases where it might be translated "rood-screen"; but in general it may be taken to mean transept, which may be said to divide a church into two parts. In all cases where the word occurs, reference will be made to this note.

[9] See note on p. 57.

[10] See note on p. 57.

[11] See note on p. 57.

[12] See note on p. 57.

[13] See note on p. 57.

[14] See note on p. 57.

[15] Proverbial expression, equivalent to our "twinkling of an eye."

[16] See note on p. 57.

[17] See note on p. 57.

[18] This is probably a printer's error for "nemico," as that Pope was anything but the friend of Manfredi.

[19] See note on p. 57.

[20] Lions of stone, emblems of the city of Florence.

[21] See note on p. 57.

[22] Guardaroba, the room or rooms where everything of value was stored—clothes, linen, art treasures, furniture, etc.

[23] A yellow-lake made from the unripe berries of the spin cervino, a sort of brier.

END OF VOL. I.

      Volume 2

       Table of Contents

Table of Contents

       BERNA

       LIFE OF BERNA, PAINTER OF SIENA

       DUCCIO

       LIFE OF DUCCIO, PAINTER OF SIENA

       ANTONIO VINIZIANO

       LIFE OF ANTONIO VINIZIANO, PAINTER

       JACOPO DI CASENTINO

       LIFE OF JACOPO DI CASENTINO, PAINTER

       SPINELLO ARETINO

       LIFE OF SPINELLO ARETINO, PAINTER

       GHERARDO STARNINA

       LIFE OF GHERARDO STARNINA, PAINTER

       LIPPO

       LIFE OF LIPPO, PAINTER OF FLORENCE

       DON LORENZO MONACO

       LIFE

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