Lives of the Most Eminent Painters, Sculptors and Architects (Vol. 1-10) - Giorgio Vasari

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Medici, in particular, he painted the whole furniture of an apartment, which was held something truly rare and very beautiful of its kind, as some relics demonstrate that are still left. And Donatello, then quite young, is said to have assisted him, making there by his own hand, with stucco, gesso, glue, and pounded brick, some stories and ornaments in low-relief, which, being afterwards overlaid with gold, made a beautiful accompaniment for the painted stories. Of this work and many others like it Drea Cennini makes mention in a long discourse in his work, whereof there has been enough said above; and since it is a good thing to maintain some memory of these old things, I have had some of them, by the hand of Dello himself, preserved in the Palace of the Lord Duke Cosimo, where they are, and they will be ever worthy of being studied, if only for the various costumes of those times, both of men and women, that are seen in them. Dello also wrought the story of Isaac giving his benediction to Esau, in fresco and with terra-verde, in a corner of the cloister of S. Maria Novella.

      A little after this work, being summoned to Spain to enter the service of the King, he came into so great credit that no craftsman could have desired much more; and although it is not known precisely what works he made in those parts, it may be judged, seeing that he returned thence very rich and highly honoured, that they were numerous and beautiful and good. After a few years, having been royally rewarded for his labours, Dello conceived the wish to return to Florence, in order to show his friends how he had climbed from extreme poverty to great riches. Wherefore, having gone for permission to that King, not only did he obtain it readily (although the former would have willingly retained him, if Dello had been so minded), but he was also made chevalier by that most liberal King, as a greater sign of gratitude. Whereupon he returned to Florence in order to obtain the banners and the confirmation of his privileges, but they were denied him by the agency of Filippo Spano degli Scolari, who had just come back from his victories over the Turks as Grand Seneschal of the King of Hungary. But Dello having written immediately to the King of Spain to complain of this affront, the King wrote so warmly on his behalf to the Signoria that the due and desired honour was conceded to him without opposition. It is said that Dello, while returning to his house on horseback, with his banners, having been honoured by the Signoria and robed in brocade, was mocked at, in passing through Vacchereccia, where there were then many goldsmiths' shops, by certain old friends, who, having known him in youth, did this either in scorn or in jest; and that he, turning in the direction whence he had heard the voice, made a gesture of contempt with both his hands and went on his way without saying a word, so that scarcely anyone noticed it save those who had derided him. By reason of this and other signs, which gave him to know that envy was no less active against him in his own country than malice had been formerly when he was very poor, he determined to return to Spain; and so, having written, and having received an answer from the King, he returned to those parts, where he was welcomed with great favour and ever afterwards regarded with affection, and there he devoted himself to work, living like a nobleman, and ever painting from that day onwards in an apron of brocade. Thus, then, he gave way before envy, and lived in honour at the Court of that King; and he died at the age of forty-nine, and was given honourable burial by the same man, with this epitaph:

      DELLUS EQUES FLORENTINUS

       PICTURÆ ARTE PERCELEBRIS

       REGISQUE HISPANIARUM LIBERALITATE

       ET ORNAMENTIS AMPLISSIMUS.

       H. S. E.

       S. T. T. L.

      Dello was no very good draughtsman, but was well among the first who began to show judgment in revealing the muscles in nude bodies, as it is seen from some drawings in our book, made by him in chiaroscuro. He was portrayed in chiaroscuro by Paolo Uccello in S. Maria Novella, in the story wherein Noah is made drunk by his son Ham.

      NANNI D'ANTONIO DI BANCO

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      LIFE OF NANNI D'ANTONIO DI BANCO

      SCULPTOR OF FLORENCE

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      Nanni d'Antonio di Banco was not only rich enough by patrimony, but also by no means humble in origin, yet, delighting in sculpture, he was not only not ashamed to learn and practise it, but took no small pride therein, and made so much advance that his fame will ever endure; and it will be all the more celebrated in proportion as men know that he applied himself to this noble art not through necessity, but through a true love of the art itself. This man, who was one of the disciples of Donato, although I have placed him before his master because he died long before him, was a somewhat sluggish person, but modest, humble, and kindly in his dealings. There is by his hand, in Florence, the S. Philip of marble which is on a pilaster on the outside of the Oratory of Orsanmichele. This work was at first allotted to Donato by the Guild of Shoemakers, and then, since they could not agree with him about the price, it was transferred, as though in despite of Donato, to Nanni, who promised that he would take whatsoever payment they might give him, and would ask no other. But the business fell out otherwise, for, when the statue was finished and set in its place, he asked a much greater price for his work than Donato had done at the beginning; wherefore the valuation of it was referred by both parties to Donato, the Consuls of that Guild believing firmly that he, out of envy at not having made it, would value it at much less than if it were his own work; but they were disappointed in their belief, for Donato judged that much more should be paid to Nanni for his statue than he had demanded. Being in no way willing to abide by this judgment, the Consuls made an outcry and said to Donato: "Why dost thou, after undertaking to make this work at a smaller price, value it higher when made by the hand of another, and constrain us to give him more for it than he himself demands? For thou knowest, even as we do also, that from thy hands it would have come out much better." Donato answered, laughing: "This good man is not my equal in the art, and endures much more fatigue than I do in working; wherefore, if you wish to give him satisfaction, like the just men that I take you for, you are bound to pay him for the time that he has spent." And thus the award of Donato was carried into effect, both parties having agreed to abide by it.

      This work stands well enough, and has good grace and liveliness in the head; the draperies are not hard, and are in no wise badly arranged about the figure. In another niche below this one there are four saints in marble, which the same Nanni was commissioned to make by the Guild of Smiths, Carpenters, and Masons; and it is said that, having finished them all in the round and detached one from another, and having prepared the niche, it was with great difficulty that he could get even three of them into it, for he had made some of them in attitudes with the arms outstretched; and that he besought Donato, in grief and despair, to consent with his counsel to repair his own misfortune and lack of foresight. And Donato, laughing over the mischance, answered: "If thou wilt promise to pay for a supper for me and all my apprentices, I will undertake to get the saints into the niche without any trouble." This Nanni promised to do right willingly, and Donato sent him to Prato, to take certain measurements and to do some other business that would take him some days. Whereupon, Nanni having departed, Donato, with all his disciples and apprentices, set to work and cut some of the statues down in the shoulders and some in the arms, in such wise that he contrived to group them close together, each making place for the other, while he made a hand appear over the shoulders of one of them. And thus the judgment of Donato, having joined them harmoniously together, concealed the error of Nanni so well that they still show, in that place where they were fixed, most manifest signs of concord and brotherhood; and anyone who does not know the circumstance sees nothing of the error. Nanni, finding on his return that Donato had corrected everything and put all his disorder to rights, rendered him infinite thanks, and with great goodwill paid for the supper for him and his pupils. Under the feet of these four saints, in the ornament of the shrine, there is a scene in marble and in half-relief, wherein a sculptor is carving a boy with great animation, and a master is building, with two men assisting him; and all these little figures are seen to be very well grouped and intent on what they are doing.

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