OF DON LORENZO MONACO, OF THE ANGELI IN FLORENCE, PAINTER
LIFE OF TADDEO BARTOLI, PAINTER OF SIENA
LIFE OF LORENZO DI BICCI, PAINTER OF FLORENCE
JACOPO DELLA QUERCIA, LIFE OF JACOPO DELLA QUERCIA [JACOPO DELLA FONTE]
LIFE OF JACOPO DELLA QUERCIA [JACOPO DELLA FONTE] SCULPTOR OF SIENA
LIFE OF NICCOLÒ ARETINO [NICCOLÒ D'AREZZO OR NICCOLÒ DI PIERO LAMBERTI], SCULPTOR
LIFE OF DELLO, PAINTER OF FLORENCE
LIFE OF NANNI D'ANTONIO DI BANCO, SCULPTOR OF FLORENCE
LIFE OF LUCA DELLA ROBBIA, SCULPTOR OF FLORENCE
LIFE OF PAOLO UCCELLO, PAINTER OF FLORENCE
LIFE OF MASOLINO DA PANICALE, PAINTER
LIFE OF PARRI SPINELLI, PAINTER OF AREZZO
LIFE OF MASACCIO, PAINTER OF SAN GIOVANNI IN VALDARNO
LIFE OF FILIPPO BRUNELLESCHI [FILIPPO DI SER BRUNELLESCO], SCULPTOR AND ARCHITECT
LIFE OF DONATO [DONATELLO], SCULPTOR OF FLORENCE
LIFE OF MICHELOZZO MICHELOZZI, SCULPTOR AND ARCHITECT OF FLORENCE
BERNA
LIFE OF BERNA
PAINTER OF SIENA
If those who labour to become excellent in some art did not very often have the thread of life cut by death in their best years, I have no doubt that many intellects would arrive at that rank which is most desired both by them and by the world. But the short life of men and the bitterness of various accidents, which threaten them from all sides, snatch them from us sometimes prematurely, as could be seen in poor young Berna of Siena, who, although he died young, nevertheless left so many works that he appears to have lived very long; and those that he left were made in such a way, that it may well be believed from this showing that he would have become excellent and rare if he had not died so soon. In two chapels of S. Agostino in Siena there are seen some little pictures with figures in fresco, by his hand; and in the church, on a wall now pulled down in order to make chapels there, was a scene of a youth led to execution, as well made as it could possibly be imagined, there being seen expressed in it the pallor and fear of death, in so lifelike a manner that he deserved therefore the highest praise. Beside the said youth was a friar painted in a very fine attitude, and, in short, everything in that work is so vividly wrought that it appears, indeed, that in this work Berna imagined this event as most horrible, as it must be, and full of most bitter and cruel terror, seeing that he portrayed it so well with the brush that the same scene appearing in reality would not stir greater emotion.
In the city of Cortona, also, besides many other works scattered in many places in that city, he painted the greater part of the vaulting and of the walls of the Church of S. Margherita, where to-day is the seat of the Frati Zoccolanti. From Cortona he went to Arezzo in the year 1369, exactly when the Tarlati, formerly Lords of Pietramala, had caused Moccio, a sculptor and architect of Siena, to finish the Convent and the body of the Church of S. Agostino in that city, in the lesser aisles of which many citizens had caused chapels and tombs to be made for their families; and there, in the Chapel of S. Jacopo, Berna painted in fresco some little scenes of the life of that Saint, and especially vivid is the story of Marino the swindler, who, having by reason of greed of gold given his soul to the Devil and made thereunto a written contract in his own hand, is making supplication to the Saint to free him from this promise, while a Devil, showing him the contract, is pressing him with the greatest insistence in the world. In all these figures Berna expressed the emotions of the mind with much vivacity, and particularly