the drunkenness of Noah, with the contemptuous action of his son Ham—in whom he portrayed Dello, the Florentine painter and sculptor, his friend—with Shem and Japhet, his other sons, who are covering him up as he lies showing his nakedness. Here, likewise, he made in perspective a cask that curves on every side, which was held something very beautiful, and also a pergola covered with grapes, the wood-work of which, composed of squared planks, goes on diminishing to a point; but here he was in error, since the diminishing of the plane below, on which the figures are standing, follows the lines of the pergola, and the cask does not follow these same receding lines; wherefore I marvel greatly that a man so accurate and diligent could make an error so notable. He made there also the Sacrifice, with the Ark open and drawn in perspective, with the rows of perches in the upper part, distributed row by row; these were the resting-places of the birds, many kinds of which are seen issuing and flying forth in foreshortening, while in the sky there is seen God the Father, who is appearing over the sacrifice that Noah and his sons are making; and this figure, of all those that Paolo made in this work, is the most difficult, for it is flying, with the head foreshortened, towards the wall, and has such force and relief that it seems to be piercing and breaking through it. Besides this, Noah has round him an infinite number of diverse animals, all most beautiful. In short, he gave to all this work so great softness and grace, that it is beyond comparison superior to all his others; wherefore it has been greatly praised from that time up to our own.
In S. Maria del Fiore, in memory of Giovanni Acuto, an Englishman, Captain of the Florentines, who had died in the year 1393, he made in terra-verde a horse of extraordinary grandeur, which was held very beautiful, and on it the image of the Captain himself, in chiaroscuro and coloured with terra-verde, in a picture ten braccia high on the middle of one wall of the church; where Paolo drew in perspective a large sarcophagus, supposed to contain the corpse, and over this he placed the image of him in his Captain's armour, on horseback. This work was and still is held to be something very beautiful for a painting of that kind, and if Paolo had not made that horse move its legs on one side only, which naturally horses do not do, or they would fall—and this perchance came about because he was not accustomed to ride, nor used to horses as he was to other animals—this work would be absolutely perfect, since the proportion of that horse, which is colossal, is very beautiful; and on the base there are these letters: PAULI UCCELLI OPUS.
At the same time, and in the same church, he painted in colours the hour-dial above the principal door within the church, with four heads coloured in fresco at the corners. He wrought in terra-verde, also, the loggia that faces towards the west above the garden of the Monastery of the Angeli, painting below each arch a story of the acts of S. Benedict the Abbot, and of the most notable events of his life, up to his death. Here, among many most beautiful scenes, there is one wherein a monastery is destroyed by the agency of the Devil, while a friar is left dead below the stones and beams. No less notable is the terror of another monk, whose draperies, as he flies, cling round his nude form and flutter with most beautiful grace; whereby Paolo awakened the minds of the craftsmen so greatly, that they have ever afterwards followed that method. Very beautiful, also, is the figure of S. Benedict, the while that with dignity and devoutness, in the presence of his monks, he restores the dead friar to life. Finally, in all these stories there are features worthy of consideration, and above all in certain places where the very tiles of the roof, whether flat or round, are drawn in perspective. And in the death of S. Benedict, while his monks are performing his obsequies and bewailing him, there are some sick men and cripples, all most beautiful, who stand gazing on him; and it is noticeable, also, that among many loving and devout followers of that Saint there is an old monk with crutches under his arms, in whom there is seen a marvellous expression, with even a hope of being made whole. In this work there are no landscapes in colour, nor many buildings, nor difficult perspectives, but there is truly great design, with no little of the good.
In many houses of Florence there are many pictures in perspective by the hand of the same man, for the adornment of couches, beds, and other little things; and in Gualfonda, in particular, on a terrace in the garden which once belonged to the Bartolini, there are four battle-scenes painted on wood by his hand, full of horses and armed men, with very beautiful costumes of those days; and among the men are portraits of Paolo Orsino, Ottobuono da Parma, Luca da Canale, and Carlo Malatesti, Lord of Rimini, all captains-general of those times. And these pictures, since they were spoilt and had suffered injury, were restored in our own day by the agency of Giuliano Bugiardini, who did them more harm than good.
Paolo was summoned to Padua by Donato, when the latter was working there, and at the entrance of the house of the Vitali he painted some giants in terra-verde, which, as I have found in a Latin letter written by Girolamo Campagnola to Messer Leonico Tomeo, the philosopher, are so beautiful that Andrea Mantegna held them in very great account. Paolo wrought in fresco the Volta de' Peruzzi, with triangular sections in perspective, and in the angles of the corners he painted the four elements, making for each an appropriate animal—for the earth a mole, for the water a fish, for the fire a salamander, and for the air a chameleon, which lives on it and assumes any colour. And because he had never seen a chameleon, he painted a camel, which is opening its mouth and swallowing air, and therewith filling its belly; and great, indeed, was his simplicity in making allusion by means of the name of the camel to an animal that is like a little dry lizard, and in representing it by a great uncouth beast.
Truly great were the labours of Paolo in painting, for he drew so much that he left to his relatives, as I have learnt from their own lips, whole chests full of drawings. But, although it is a good thing to draw, it is nevertheless better to make complete pictures, seeing that pictures have longer life than drawings. In our book of drawings there are many figures, studies in perspective, birds, and animals, beautiful to a marvel, but the best of all is a mazzocchio drawn only with lines, so beautiful that nothing save the patience of Paolo could have executed it. Paolo, although he was an eccentric person, loved talent in his fellow-craftsmen, and in order that some memory of them might go down to posterity, he painted five distinguished men with his own hand on a long panel, which he kept in his house in memory of them. One was Giotto, the painter, standing for the light and origin of art; the second was Filippo di Ser Brunellesco, for architecture; Donatello, for sculpture; himself, for perspective and animals; and, for mathematics, Giovanni Manetti, his friend, with whom he often conferred and discoursed on the problems of Euclid.
It is said that having been commissioned to paint, over the door of S. Tommaso in the Mercato Vecchio, that Saint feeling for the wound in the side of Christ, Paolo put into that work all the effort that he could, saying that he wished to show therein the full extent of his worth and knowledge; and so he caused a screen of planks to be made, to the end that no one might be able to see his work until it was finished. Wherefore Donato, meeting him one day all alone, said to him: "And what sort of work may this be of thine, that thou keepest it screened so closely?" And Paolo said in answer: "Thou shalt see it. Let that suffice thee." Donato would not constrain him to say more, thinking to see some miracle, as usual, when the time came. Afterwards, chancing one morning to be in the Mercato Vecchio buying fruit, Donato saw Paolo uncovering his work, whereupon he saluted him courteously, and was asked by Paolo himself, who was curious and anxious to hear his judgment on it, what he thought of that picture. Donato, having studied the work long and well, exclaimed: "Ah, Paolo, thou oughtest to be covering it up, and here thou art uncovering it!" Whereupon Paolo was much aggrieved, feeling that he was receiving much more by way of blame than he expected to receive by way of praise for this last labour of his; and not having courage, lowered as he was, to go out any more, he shut himself up in his house, devoting himself to perspective, which kept him ever poor and depressed up to his death. And so, growing very old, and having but little contentment in his old age, he died in the eighty-third year of his life, in 1432, and was buried in S. Maria Novella.
He left a daughter, who had knowledge of drawing, and a wife, who