two columns and two pilasters, piercing the wall of the church below; which is a difficult thing, but safe; wherefore this work is one of the best that this architect ever made. In the middle of this chapel is a tomb of marble, wrought very well in the form of a rather long oval, and similar, as may be read on it, to the Sepulchre of Jesus Christ in Jerusalem.
About the same time Lodovico Gonzaga, Marquis of Mantua, wished to build the tribune and the principal chapel in the Nunziata, the Church of the Servi in Florence, after the design and model of Leon Batista; and pulling down a square chapel, old, not very large, and painted in the ancient manner, which stood at the head of the church, he built the said tribune in the bizarre and difficult form of a round temple surrounded by nine chapels, all curving in a round arch, and each within in the shape of a niche. Now, since the arches of the said chapels rest on the pilasters in front, the result is that the stone dressings of the arches, inclining towards the wall, tend to draw ever backwards in order to meet the said wall, which turns in the opposite direction according to the shape of the tribune; wherefore, when the said arches of the chapels are looked at from the side, it appears that they are falling backwards, and that they are clumsy, as indeed they are, although the proportions are correct, and the difficulties of the method must be remembered. Truly it would have been better if Leon Batista had avoided this method, for, although there is some credit for the difficulty of its execution, it is clumsy both in great things and in small, and it cannot have a good result. And that this is true of great things is proved by the great arch in front, which forms the entrance to the said tribune; for, although it is very beautiful on the outer side, on the inner side, where it has to follow the curve of the chapel, which is round, it appears to be falling backwards and to be extremely clumsy. This Leon Batista would perhaps not have done, if, in addition to science and theory, he had possessed practical experience in working; for another man would have avoided this difficulty, and would have rather aimed at grace and greater beauty for the edifice. The whole work is otherwise in itself very beautiful, bizarre, and difficult; and nothing save great courage could have enabled Leon Batista to vault that tribune in those times in the manner that he did. Being then summoned by the same Marquis Lodovico to Mantua, Leon Batista made for him the models of the Church of S. Andrea and of some other works; and on the road leading from Mantua to Padua there may be seen certain temples built after his manner. Many of the designs and models of Leon Batista were carried into execution by Salvestro Fancelli, a passing good architect and sculptor of Florence, who, according to the desire of the said Leon Batista, executed with judgment and extraordinary diligence all the works that he undertook in Florence. For those in Mantua he employed one Luca, a Florentine, who, living ever afterwards in that city and dying there, left his name—so Filarete tells us—to the family of the Luchi, which is still there to-day. It was no small good-fortune for him to have friends who understood him and were able and willing to serve him, because architects cannot be always standing over their work, and it is of the greatest use to them to have a faithful and loving assistant; and if any man ever knew it, I know it very well by long experience.
In painting Leon Batista did not do great or very beautiful works, for the few by his hand that are to be seen do not show much perfection; nor is this to be wondered at, seeing that he devoted himself more to his studies than to draughtsmanship. Yet he could express his conceptions well enough in drawing, as may be seen from some sketches by his hand that are in our book, in which there are drawn the Bridge of S. Angelo and the covering that was made for it with his design in the form of a loggia, for protection from the sun in summer and from the rain and wind in winter. This work he was commissioned to execute by Pope Nicholas V, who had intended to carry out many similar works throughout the whole of Rome; but death intervened to hinder him. There is a work of Leon Batista's in a little Chapel of Our Lady on the abutment of the Ponte alla Carraja in Florence—namely, an altar-predella, containing three little scenes with some perspectives, which he was much more able to describe with the pen than to paint with the brush. In the house of the Palla Rucellai family, also in Florence, there is a portrait of himself made with a mirror; and a panel with rather large figures in chiaroscuro. He also made a picture of Venice in perspective, with S. Marco, but the figures therein were executed by other masters; and this is one of the best examples of his painting that there are to be seen.
Leon Batista was a person of most honest and laudable ways, the friend of men of talent, and very open and courteous to all; and he lived honourably and like a gentleman—which he was—through the whole course of his life. Finally, having reached a mature enough age, he passed content and tranquil to a better life, leaving a most honourable name behind him.
LAZZARO VASARI
LIFE OF LAZZARO VASARI
PAINTER OF AREZZO
Truly great is the pleasure of those who find one of their ancestors and of their own family to have been distinguished and famous in some profession, whether that of arms, or of letters, or of painting, or any other noble calling whatsoever; and those men who find some honourable mention of one of their forefathers in history, if they gain nothing else thereby, have an incitement to virtue and a bridle to restrain them from doing anything unworthy of a family which has produced illustrious and very famous men. How great is this pleasure, as I said at the beginning, I have experienced for myself in finding that one among my ancestors, Lazzaro Vasari, was famous as a painter in his day not only in his native place, but throughout all Tuscany; and that certainly not without reason, as I could clearly prove, if it were permissible for me to speak as freely of him as I have spoken of others. But, since I was born of his blood, it might be readily believed that I had exceeded all due bounds in praising him; wherefore, leaving on one side the merits of the man himself and of the family, I will simply tell what I cannot and should not under any circumstances withhold, if I would not fall short of the truth, on which all history hangs.
Lazzaro Vasari, then, a painter of Arezzo, was very much the friend of Piero della Francesca of Borgo a San Sepolcro, and ever held intercourse with him while Piero was working, as it has been said, in Arezzo. And, as it often comes to pass, this friendship brought him nothing but advantage, for the reason that, whereas Lazzaro had formerly devoted himself only to making little figures for certain works according to the custom of those times, he was persuaded by Piero della Francesca to set himself to do bigger things. His first work in fresco was a S. Vincent in S. Domenico at Arezzo, in the second chapel on the left as one enters the church; and at his feet he painted himself and his young son Giorgio kneeling, clothed in honourable costumes of those times, and recommending themselves to the Saint, because the boy had inadvertently cut his face with a knife. Although there is no inscription on this work, yet certain memories of old men belonging to our house and the fact that it contains the Vasari arms, enable us to attribute it to him without a doubt. Of this there must certainly have been some record in that convent, but their papers and everything else have been destroyed many times by soldiers, and I do not marvel at the lack of records. The manner of Lazzaro was so similar to that of Piero Borghese, that very little difference could be seen between one and the other. Now it was very much the custom at that time to paint various things, such as the quarterings of arms, on the caparisons of horses, according to the rank of those who bore them; and in this work Lazzaro was an excellent master, and the rather as it was his province to make very graceful little figures, which were very well suited to such caparisons. Lazzaro wrought for Niccolò Piccino and for his soldiers and captains many things full of stories and arms, which were held in great price, with so much profit for himself, that the gains that he drew from this work enabled him to recall to Arezzo many of his brothers, who were living at Cortona and working at the manufacture of earthenware vases. He also brought into his house his nephew, Luca Signorelli of Cortona, his sister's son, whom