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

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of S. Paolo in Florence, and which are passing good; and likewise the boys, both swathed and nude, that are in the medallions between one arch and another in the Loggia of the Hospital of the Innocenti, which are all truly admirable and prove the great talent and art of Andrea; not to mention many, nay, innumerable other works that he made in the course of his life, which lasted eighty-four years. Andrea died in the year 1528, and I, while still a boy, talked with him and heard him say—nay, boast—that he had taken part in bearing Donato to the tomb; and I remember that the good old man showed no little pride as he spoke of this.

       ALTAR-PIECE ALTAR-PIECE (After Andrea della Robbia. Arezzo: S. Maria in Grado) Alinari View larger image

      But to return to Luca; he was buried, with the rest of his family, in their ancestral tomb in S. Piero Maggiore, and in the same tomb there was afterwards buried Andrea, who left two sons, friars in S. Marco, where they received the habit from the Reverend Fra Girolamo Savonarola, to whom that Della Robbia family was ever devoted, portraying him in that manner which is still seen to-day in the medals. The same man, besides the said two friars, had three other sons: Giovanni, who devoted himself to art and had three sons, Marco, Lucantonio, and Simone, who died of plague in the year 1527, having given great promise; and Luca and Girolamo, who devoted themselves to sculpture. Of these two, Luca was very diligent in glazed works, and he made with his own hand, besides many other things, the pavements of the Papal Loggie which Pope Leo X caused to be made in Rome under the direction of Raffaello da Urbino, and also those of many apartments, wherein he put the insignia of that Pontiff. Girolamo, who was the youngest of all, devoted himself to working in marble, in clay, and in bronze, and had already become an able man, by reason of competing with Jacopo Sansovino, Baccio Bandinelli, and other masters of his time, when he was brought by certain Florentine merchants to France, where he made many works for King Francis at Madri, a place not far distant from Paris, and in particular a palace with many figures and other ornaments, with a kind of stone like our Volterra gypsum, but of a better quality, for it is soft when it is worked, and afterwards with time becomes hard. He also wrought many things in clay at Orleans and made works throughout that whole kingdom, acquiring fame and very great wealth. After these works, hearing that he had no relative left in Florence save his brother Luca, and being himself rich and alone in the service of King Francis, he summoned his brother to join him in those parts, in order to leave him in credit and good circumstances, but it fell out otherwise, for in a short time Luca died there, and Girolamo once more found himself alone and without any of his kin; wherefore he resolved to return, in order to enjoy in his own country the riches that his labour and sweat had brought him, and also to leave therein some memorial of himself, and he was settling down to live in Florence in the year 1553, when he was forced to change his mind, as it were, for he saw that Duke Cosimo, by whom he was hoping to be honourably employed, was occupied with the war in Siena; whereupon he returned to die in France. And not only did his house remain closed and his family become extinct, but art was deprived of the true method of making glazed work, for the reason that, although there have been some after them who have practised that sort of sculpture, nevertheless they have all failed by a great measure to attain to the excellence of the elder Luca, Andrea, and the others of that family. Wherefore, if I have spoken on this subject at greater length, perchance, than it appeared to be necessary, let no man blame me, seeing that the fact that Luca discovered this new form of sculpture—which, to my knowledge, the ancient Romans did not have—made it necessary to discourse thereon, as I have done, at some length. And if, after the Life of the elder Luca, I have given some brief account of his descendants, who have lived even to our own day, I have done this in order not to have to return to this subject another time.

       THE ANNUNCIATION THE ANNUNCIATION (After Andrea della Robbia. La Verna) Alinari View larger image

      Luca, then, while passing from one method of work to another, from marble to bronze, and from bronze to clay, did this not by reason of laziness or because he was, as many are, capricious, unstable, and discontented with his art, but because he felt himself drawn by nature to new things and by necessity to an exercise according to his taste, both less fatiguing and more profitable. Wherefore the world and the arts of design became the richer by a new, useful, and most beautiful art, and he gained immortal and everlasting glory and praise. Luca was an excellent and graceful draughtsman, as it may be seen from some drawings in our book with the lights picked out with white lead, in one of which is his portrait, made by him with much diligence by looking at himself in a mirror.

       THE VISITATION THE VISITATION (After Giovanni della Robbia. Pistoia: S. Giovanni Fuorcivitas) Alinari View larger image

      PAOLO UCCELLO

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      LIFE OF PAOLO UCCELLO

      PAINTER OF FLORENCE

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      Paolo Uccello would have been the most gracious and fanciful genius that was ever devoted to the art of painting, from Giotto's day to our own, if he had laboured as much at figures and animals as he laboured and lost time over the details of perspective; for although these are ingenious and beautiful, yet if a man pursues them beyond measure he does nothing but waste his time, exhausts his powers, fills his mind with difficulties, and often transforms its fertility and readiness into sterility and constraint, and renders his manner, by attending more to these details than to figures, dry and angular, which all comes from a wish to examine things too minutely; not to mention that very often he becomes solitary, eccentric, melancholy, and poor, as did Paolo Uccello. This man, endowed by nature with a penetrating and subtle mind, knew no other delight than to investigate certain difficult, nay, impossible problems of perspective, which, although they were fanciful and beautiful, yet hindered him so greatly in the painting of figures, that the older he grew the worse he did them. And there is no doubt that if a man does violence to his nature with too ardent studies, although he may sharpen one edge of his genius, yet nothing that he does appears done with that facility and grace which are natural to those who put each stroke in its proper place temperately and with a calm intelligence full of judgment, avoiding certain subtleties that rather burden a man's work with a certain laboured, dry, constrained, and bad manner, which moves those who see it rather to compassion than to marvel; for the spirit of genius must be driven into action only when the intellect wishes to set itself to work and when the fire of inspiration is kindled, since it is then that excellent and divine qualities and marvellous conceptions are seen to issue forth.

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