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The Lives of the Artists. Giorgio Vasari
Читать онлайн.Название The Lives of the Artists
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isbn 9781420970852
Автор произведения Giorgio Vasari
Жанр Биографии и Мемуары
Издательство Ingram
The General of the Preaching Friars at that time, Maestro Lionardo Dati, wishing to leave a memorial of himself to his country in S. Maria Novella, where he had taken his vows, caused Lorenzo to construct a tomb of bronze, with himself lying dead thereon, portrayed from nature; and this tomb, which was admired and extolled, led to another being erected by Lodovico degli Albizzi and Niccolò Valori in S. Croce.
After these things, Cosimo and Lorenzo de’ Medici, wishing to honor the bodies and relics of the three martyrs, Protus, Hyacinthus, and Nemesius, had them brought from the Casentino, where they had been held in little veneration for many years, and caused Lorenzo to make a sarcophagus of bronze, in the middle of which are two angels in low-relief who are holding a garland of olive, within which are the names of those martyrs; and they caused the said relics to be put into the said sarcophagus, which they placed in the Church of the Monastery of the Angeli in Florence, with these words below, carved in marble, on the side of the church of the monks:
CLARISSIMI VIRI COSMAS ET LAURENTIUS FRATRES NEGLECTAS DIU SANCTORUM RELIQUIAS MARTYRUM RELIGIOSO STUDIO AC FIDELISSIMA PIETATE SUIS SUMPTIBUS ÆREIS LOCULIS CONDENDAS COLENDASQUE CURARUNT.
And on the outer side, facing the little church in the direction of the street, below a coat of arms of balls, there are these other words carved on marble:
HIC CONDITA SUNT CORPORA SANCTORUM CHRISTI MARTYRUM PROTI ET HYACINTHI ET NEMESII, ANN. DOM. 1428.
And by reason of this work, which succeeded very nobly, there came a wish to the Wardens of Works of S. Maria del Fiore to have a sarcophagus and tomb of bronze made to contain the body of S. Zanobi, Bishop of Florence. This tomb was three braccia and a half in length, and two in height; and besides adorning it with diverse varied ornaments, he made therein on the front of the body of the sarcophagus itself a scene with S. Zanobi restoring to life a child which had been left in his charge by the mother, and which had died while she was on a pilgrimage. In a second scene is another child, who has been killed by a wagon, and also the Saint restoring to life one of the two servants sent to him by S. Ambrose, who had been left dead on the Alps; and the other is there, making lamentation in the presence of S. Zanobi, who, seized with compassion, said: “Go, he doth but sleep; thou wilt find him alive.” And at the back are six little angels, who are holding a garland of elm-leaves, within which are carved letters in memory and in praise of that Saint. This work he executed and finished with the utmost ingenuity and art, insomuch that it received extraordinary praise as something beautiful.
The while that the works of Lorenzo were every day adding lustre to his name, by reason of his laboring and serving innumerable persons, working in bronze as well as in silver and gold, it chanced that there fell into the hands of Giovanni, son of Cosimo de’ Medici, a very large cornelian containing the flaying of Marsyas by command of Apollo, engraved in intaglio; which cornelian, so it is said, once served the Emperor Nero for a seal. And it being something rare, by reason both of the size of the stone, which was very great, and of the marvelous beauty of the intaglio, Giovanni gave it to Lorenzo, to the end that he might make a gold ornament in relief round it; and he, after toiling at it for many months, finished it completely, making round it a work in relief of a beauty not inferior to the excellence and perfection of the intaglio on the stone; which work brought it about that he wrought many other things in gold and silver, which to-day are not to be found. For Pope Martin, likewise, he made a gold button which he wore in his cope, with figures in full-relief, and among them jewels of very great price—a very excellent work; and likewise a most marvelous mitre of gold leaves in open-work, and among them many little figures in full-relief, which were held very beautiful. And for this work, besides the name, he acquired great profit from the liberality of that Pontiff. In the year 1439, Pope Eugenius came to Florence—where the Council was held—in order to unite the Greek Church with the Roman; and seeing the works of Lorenzo, and being no less pleased with his person than with the works themselves, he caused him to make a mitre of gold, weighing fifteen libbre, with pearls weighing five libbre and a half, which, with the jewels set in the mitre, were estimated at 30,000 ducats of gold. It is said that in this work were six pearls as big as filberts, and it is impossible to imagine, as was seen later in a drawing of it, anything more beautiful and bizarre than the settings of the jewels and the great variety of children and other figures, which served for many varied and graceful ornaments. For this work he received infinite favors from that Pontiff, both for himself and his friends, besides the original payment.
Florence had received so much praise by reason of the excellent works of this most ingenious craftsman, that the Consuls of the Guild of Merchants determined to commission him to make the third door of S. Giovanni, likewise in bronze. Now, in the door that he had made before, he had followed their directions and had made it with that ornament which goes round the figures, and which encircles the framework of both parts of the door, as in the one of Andrea Pisano; but on seeing how greatly Lorenzo had surpassed him, the Consuls determined to remove that of Andrea from its position in the centre, and to place it in the doorway that is opposite to the Misericordia, and to commission Lorenzo to make a new door to be placed in the centre, looking to him to put forth the greatest effort of which he was capable in that art. And they placed themselves in his hands, saying that they gave him leave to make it as he pleased, and in whatsoever manner he thought it would turn out as ornate, as rich, as perfect, and as beautiful as it could be made or imagined; nor was he to spare time or expense, to the end that, even as he had surpassed all other sculptors up to his own time, he might surpass and excel all his own previous works.
Lorenzo began the said work, putting therein all the knowledge that he could; wherefore he divided the said door into ten squares, five on each side, so that the spaces enclosing the scenes were one braccio and a third in extent, and round them, to adorn the framework that surrounds the scenes, there are niches—upright, in that part of the door—containing figures in almost full-relief, twenty in number and all most beautiful, such as a nude Samson, who, embracing a column, with a jawbone in his hand, displays a perfection as great as can be shown by anything made in the time of the ancients, in their figures of Hercules, whether in bronze or in marble; and to this a Joshua bears witness, who, in the act of speaking, appears to be really addressing his army; besides many prophets and sibyls, all of which he adorned with various manners of draperies over their shoulders, and with head-dresses, hair, and other adornments; not to mention twelve figures which are lying down in the niches that go horizontally along the ornament of the scenes. At the intersections of the corners, in certain medallions, he made heads of women, of youths, and of old men, to the number of thirty-four; among which, in the middle of the said door, near the place where he engraved his own name, is the portrait of his father Bartoluccio, who is the oldest of them, while the youngest is his son Lorenzo himself, the master of the whole work; besides an infinite quantity of foliage, moldings, and other ornaments, made with the greatest mastery. The scenes that are in the said door are from the Old Testament; and in the first is the Creation of Adam, and of Eve, his wife, who are executed most perfectly, it being evident that Lorenzo strove to make their limbs as beautiful as he was able to do, wishing to show that, even as these figures by the hand of God were the most beautiful that were ever made, so these by his own hand should surpass all the others that had been made by him in his other works—truly a very grand intention. In the same scene, likewise, he made them eating the apple, and also being driven out of Paradise; and in these actions the figures express the effect, first of their sin, recognizing their nakedness and covering it with their hands, and then of repentance, when they are made by the Angel to go forth out of Paradise. In the second square are figures of Adam and Eve, with Cain and Abel as little children, born from them; and there, also, is Abel making a sacrifice of his firstlings, with Cain making one not so good, while in the expression of Cain there is shown envy against his brother, and in Abel love towards God. And what is singularly beautiful is to see Cain ploughing the earth with a pair of oxen, which, with their laboring to pull at the yoke of the plough, appear real and natural; and the same is shown in Abel, who is watching his flocks, and Cain puts him to death, when he is seen, in a most impious and cruel attitude, slaughtering his brother with a club, in such a manner that the very bronze shows the limpness of the dead limbs in the most beautiful person