Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari

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СКАЧАТЬ painted in oil in such a manner that it could be washed, would endure any shock, and was in every way perfect. Thereupon, having contrived to obtain a view of it, he was so strongly impressed by the liveliness of the colours and by the beauty and harmony of that painting, that he put on one side all other business and every thought and went off to Flanders. Having arrived in Bruges, he became very intimate with the said Johann, making him presents of many drawings in the Italian manner and other things, insomuch that the latter, moved by this and by the respect shown by Antonello, and being now old, was content that he should see his method of colouring in oil; wherefore Antonello did not depart from that place until he had gained a thorough knowledge of that way of colouring, which he desired so greatly to know. And no long time after, Johann having died, Antonello returned from Flanders in order to revisit his native country and to communicate to all Italy a secret so useful, beautiful, and advantageous. Then, having stayed a few months in Messina, he went to Venice, where, being a man much given to pleasure and very licentious, he resolved to take up his abode and finish his life, having found there a mode of living exactly suited to his taste. And so, putting himself to work, he made there many pictures in oil according to the rules that he had learned in Flanders; these are scattered throughout the houses of noblemen in that city, where they were held in great esteem by reason of the novelty of the work. He made many others, also, which were sent to various places. Finally, having acquired fame and great repute there, he was commissioned to paint a panel that was destined for S. Cassiano, a parish church in that city. This panel was wrought by Antonio with all his knowledge and with no sparing of time; and when finished, by reason of the novelty of the colouring and the beauty of the figures, which he had made with good design, it was much commended and held in very great price. And afterwards, when men heard of the new secret that he had brought from Flanders to that city, he was ever loved and cherished by the magnificent noblemen of Venice throughout the whole course of his life.

       ANTONELLO DA MESSINA: PORTRAIT OF A YOUNG MAN (Berlin: Kaiser Friedrich Museum, 18. Panel) View larger image

      Among the painters who were then in repute in Venice, a certain Maestro Domenico was held very excellent. This man, on the arrival of Antonello in Venice, received him with such great lovingness and courtesy, that he could not have shown more to a very dear and cherished friend. For this reason Antonello, who would not be beaten in courtesy by Maestro Domenico, after a few months taught him the secret and method of colouring in oil. Nothing could have been dearer to Domenico than this extraordinary courtesy and friendliness; and well might he hold it dear, since it caused him, as he had foreseen, to be greatly honoured ever afterwards in his native city. Grossly deceived, in truth, are those who think that, while they grudge to others even those things that cost them nothing, they should be served by all for the sake of their sweet smile, as the saying goes. The courtesies of Maestro Domenico Viniziano wrested from the hands of Antonello that which he had won for himself with so much fatigue and labour, and which he would probably have refused to hand over to any other even for a large sum of money. But since, with regard to Maestro Domenico, we will mention in due time all that he wrought in Florence, and who were the men with whom he generously shared the secret that he had received as a courteous gift from another, let us pass to Antonello.

      After the panel for S. Cassiano, he made many pictures and portraits for various Venetian noblemen. Messer Bernardo Vecchietti, the Florentine, has a painting by his hand of S. Francis and S. Dominic, both in the one picture, and very beautiful. Then, after receiving a commission from the Signoria to paint certain scenes in their Palace (which they had refused to give to Francesco di Monsignore of Verona, although he had been greatly favoured by the Duke of Mantua), he fell sick of a pleurisy and died at the age of forty-nine, without having set a hand to the work. He was greatly honoured in his obsequies by the craftsmen, by reason of the gift bestowed by him on art in the form of the new manner of colouring, as the following epitaph testifies:

      D. O. M.

       ANTONIUS PICTOR, PRÆCIPUUM MESSANÆ SUÆ ET SICILIÆ TOTIUS

       ORNAMENTUM, HAC HUMO CONTEGITUR. NON SOLUM SUIS PICTURIS, IN

       QUIBUS SINGULARE ARTIFICIUM ET VENUSTAS FUIT, SED ET QUOD

       COLORIBUS OLEO MISCENDIS SPLENDOREM ET PERPETUITATEM

       PRIMUS ITALICÆ PICTURÆ CONTULIT, SUMMO SEMPER ARTIFICIUM

       STUDIO CELEBRATUS.

      The death of Antonello was a great grief to his many friends, and particularly to the sculptor Andrea Riccio, who wrought the nude marble statues of Adam and Eve, held to be very beautiful, which are seen in the courtyard of the Palace of the Signoria in Venice. Such was the end of Antonello, to whom our craftsmen should certainly feel no less indebted for having brought the method of colouring in oil into Italy than they should to Johann of Bruges for having discovered it in Flanders. Both of them benefited and enriched the art; for it is by means of this invention that craftsmen have since become so excellent, that they have been able to make their figures all but alive. Their services should be all the more valued, inasmuch as there is no writer to be found who attributes this manner of colouring to the ancients; and if it could be known for certain that it did not exist among them, this age would surpass all the excellence of the ancients by virtue of this perfection. Since, however, even as nothing is said that has not been said before, so perchance nothing is done that has not been done before, I will let this pass without saying more; and praising consummately those who, in addition to draughtsmanship, are ever adding something to art, I will proceed to write of others.

       ANTONELLO DA MESSINA: THE CRUCIFIXION (London: National Gallery, 1166. Panel) View larger image

      ALESSO BALDOVINETTI

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       THE ANNUNCIATION (After the panel by Alesso Baldovinetti. Florence: Uffizi, 56) Anderson View larger image

      LIFE OF ALESSO BALDOVINETTI

      PAINTER OF FLORENCE

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      So great an attraction has the noble art of painting, that many eminent men have deserted the callings in which they might have become very rich, and, drawn by their inclination against the wishes of their parents, have followed the promptings of their nature and devoted themselves to painting, to sculpture, or to some similar pursuit. And, to tell the truth, if a man estimates riches at their true worth and no higher, and regards excellence as the end of all his actions, he acquires treasures very different from silver and gold; not to mention that he is never afraid of those things that rob us in a moment of those earthly riches, which are foolishly esteemed by men at more than their true value. Recognizing this, Alesso Baldovinetti, drawn by a natural inclination, abandoned commerce—in which his relatives had ever occupied themselves, insomuch that by practising it honourably they had acquired riches and lived like noble citizens—and devoted himself to painting, in which he showed a peculiar ability to counterfeit very well the objects of nature, as may be seen in the pictures by his hand.

      This man, while still very young, and almost against the wish of his father, who would have liked him to give his attention to commerce, devoted himself to drawing; and in a short time he made so much progress СКАЧАТЬ