Lives of the Artists, Giorgio Vasari, transl. George Bull, Penguin,
Harmondsworth, 1987 (1965)

Introduction (pp. 9-20): Vasari (1511-1574) lived in a time of local
Medici dukes, wider religious and political conflict, the artist as
ducal servant and self assured professional. He came from an artistic
family, at thirteen was placed with Cardinal Silvio Passerini and
studied under Michelangelo (briefly), Andrea del Sarto and Baccio
Bandinelli.

He experienced Florence's political disturbances of the late 1520s, the
assassination of Alessandro de Medici in 1537, after which Vasari
travelled. He was an accomplished artist. He gathered information on
artists' works and lives. Paolo Giovio in 1546 requested a serious
history of Italian artists. Vasari responded.

His sources are of varying reliability. His philosophical framework is
Neo-Platonic, perceiving artistic rebirth after the Dark Ages; he is
able to indicate examples of such Renaissance. His Lives themselves are
a magnificent work of art.

Vasari offers a modern view of artistic genius and discriminating
cognoscenti. Professional vocabulary includes: design, imitation of
nature's ideal, grace, decorum, judgement and style.

In this volume I translate 20 of Vasari's 160 biographies.

Vasari's Preface (pp. 25-48): They say Egyptians were the first artists
and sculptors, Chaldeans first worked in marble, Greeks first used
brushes. I say God was the first designer. The Bible and Diodorus speak
of early works, Diodorus stating Ethiopians taught Egyptians sculpture.
Homer's description of Achilles' shield indicates the very high level
of Greek art by that time.

Art began with the imitation of nature; before writing memory faded.
Classical authors outline some details of ancient art and the honour
then accorded outstanding artists. The Later Roman Empire saw a marked
artistic decline. Barbarian invaders and zealous Christians destroyed
many works of art. Byzantine art was very inferior.

The early Eleventh Century saw some passable architecture; the early
Thirteenth Century Nicolo Pisano did much better work. Art has been
reborn in our age. I begin with Cimabue. I'll not describe artists'
appearance, as I've diligently acquired portraits of them.

Cimabue 1240-1302 (pp. 49-56): This Florentine drew as a youngster,
apprenticed with Byzantine artists in Florence, surpassed them and
initiated the modern Renaissance of art. He had pupils, the most famous
Giotto.

Giotto 1267-1337 (pp. 57-81): Cimabue saw a peasant boy scratching a
sheep on a rock. The boy's father agreed Cimabue teach him. Giotto drew
from nature, surpassing all contemporaries. He did impressive religious
paintings in Florence. He finished Cimabue paintings in Assisi. His 32
scenes from St. Francis' life won tremendous appreciation.

In Pisa he applied an undercoat (intonaco, plaster) preserving painting
from damp, salty air. He worked at Rome for Benedict IX, at Avignon for
Clement V, at Ferrara for the Este, at Ravenna at Dante's behest, at
Naples for King Robert, at Ramini for Signor Malatesta. His portrait of
Malatesta on a ship with sailors is awesomely lifelike.

He designed Guido Tarlati da Pietramala's splendid tomb. Petrarch had a
Giotto painting. Boccaccio told a tale of him. He had good pupils. Once
he painted a fly on a Cimabue painting so lifelike Cimabue tried to
brush it off.

Preface to Part Two (pp. 83-93): Good historians record how people
succeeded and failed. This I try in this history of artists. I divide
Renaissance art into three periods: beginning, advance, summit; ancient
art had a similar history.

Paolo Uccello 1397-1475 (pp. 95-104): He obsessed on the problems of
perspective, losing inspiration. He liked animals in paintings; his
were very lifelike.

   Paolo loved the talent he saw in his fellow-craftsmen; and to
   preserve their memory for posterity he painted the portraits of five
   distinguished men with his own hand on a long panel which he kept in
   his house in memory of them. One was the painter Giotto, standing
   for the light and origin of painting; the second was Filippo
   Brunelleschi, for architecture; then, Donatello, for sculpture;
   Uccello himself, for perspective and animal painting; and for
   mathematics his friend Giovanni Manetti, with whom he often
   conferred and discoursed on the problems of Euclid. p. 103

Lorenzo Ghiberti 1378-1455 (pp. 105-123): The prospect of applause and
wealth spurs study; talent arouses envy. Ghiberti showed how to quiet
the envious. Brunelleschi and Donatello acknowledged his superiority in
the bronze door competition. The work itself was awesome, as was the
bronze St. John the Baptist he now produced. Various accomplishments in
bronze, silver and gold he presented patrons and posterity. He also
painted and worked in glass.

Masaccio 1401-1428? (pp. 124-132): In this period Florence produced
many great artists vying with each other and inspiring future
generations. Masaccio superbly rendered nature's vivacity. He keenly
considered perspective. He did impressive work in Florence and Rome.
Many later artists studiously examined his Brancacci Chapel material.
He died at twenty six. Art's loss was enormous.

Filippo Brunelleschi 1377-1446 (pp. 133-173): Keenly intelligent,
Brunelleschi studied mechanics and made marvellous clocks. He had an
astonishing memory, often in conversation aptly quoting one of Dante's
passages. His crucifix so stunned Donatello that Donatello dropped some
eggs he was carrying. Brunelleschi attentively studied architecture in
Rome.

He designed the lofty cupola at Florence many considered impossible,
some fortifications, an expensive abbey Cosimo de Medici had built, and
a palace for Cosimo so magnificent Cosimo feared it would, if built,
cause vicious envy, amazing theatrical scenes depicting paradise and
dams for Mantua's marquis. He worked secretly to protect plans rivals
sought to steal.

Donatello 1386-1466 (pp. 174-190): made many splendid sculptures drawn
from Christian and Classical traditions for guilds and churches, etc,
and especially for Cosimo de' Medici. Donatello displayed a sense of
his own worth, once shattering a beautiful bronze when a client refused
to pay what Donatello wanted. Donatello produced a vast quantity of
superb work. He may be considered the restorer of sculpture.

Piero della Francesca 1410/1420-1492 (pp. 191-198): was victimized by
his student, Luca Pacioli, who published under his own name what Piero
had really written. Piero was a mathematician and an accomplished
artist. He painted many Christian paintings and wrote much on geometry,
etc.

Fra Giovanni of Fiesole (Fra Angelico) 1400-1455 (pp. 199-207): gave us
many superb paintings that may be seen in religious edifices and in
Florentine homes. Pope Eugene summoned him to Rome where he produced
paintings and beautifully illustrated books. He painted portraits of
distinguished people. When the Pope offerred to appoint Fra Angelico
Archbishop of Florence, he declined suggesting instead Fra Antoninus.

Leon Battista Alberti 1404-1472 (pp. 208-213): read, studied and wrote
on architecture. His written works exerted influence. At times his
application of architectural theory displayed the essential nature of
practical experience. His painting was not impressive.

Fra Filippi Lippi c. 1406-1469 (pp. 214-223): an orphan given to a
monastery was uninterested in books. His talent lay in drawing and
painting. When seventeen he left the monastery. He was captured by
pirates and brought as a slave to North Africa. He was freed when he
produced an impressive drawing of his master. He worked for King
Alfonso in Naples and Cosimo de' Medici in Florence. His high quality
painting drew him praise even from Michelangelo.

Sandro Botticelli c. 1445-1510 (pp. 224-231): a student of Fra Filippo
Lippi, was a very impressive artist. He wrote an illustrated commentary
on Dante. He was a follower of Savonarola.

Andrea del Verrocchio c. 1435-1488 (pp. 232-240): diligently studied
different arts. He worked for Pope Sixtus, Cosimo de' Medici and the
Venetians. When the Venetians did not show him the appreciation he felt
his due, he destroyed his work and left. They brought him back at twice
the pay. He died there.

Andrea Mantegna c. 1431-1506 (pp. 241-248): was a pupil of Jacopo
Squarione. He worked for Lodovico Gonzaga of Mantua and Pope Innocent
VIII producing beautiful paintings.

Preface to Part Three (pp. 249-254): surpassing their predecessors,
artists of the Second Period still lacked that spontaneity that enabled
our moderns their innovative refinement. Leonardo da Vinci launched the
modern period that among others includes Raphael and Michelangelo.

Leonardo da Vinci 1452-1519 (pp. 255-271): from a young age
enthusiastically applied himself to a variety of studies. He studied
under Andrea Verrocchio. Leonardo worked for Lodovico Sforza of Milan.
Leonardo began many projects; he did not finish them all. He examined
anatomy on detail. He wrote many notes, though these can only be read
in a mirror. He returned to Florence, worked on his awesome Mona Lisa,
went to Rome when Leo was elected Pope, did not get along with
Michelangelo, went to France where he worked for King Francis and where
he died.

Giorgione da Castelfranco c.1476/8-1510 (pp. 272-277): impressed by
Leonardo's work, sought to produce works influenced by it. He painted a
figure reflected by water, armour and a mirror to show it from all
viewpoints. He died young of plague.

Antonio Correggio c. 1489-1534 (pp. 278-283): was an inspired artist
very adept in his use of colour. He did some work for Mantua's Federigo
II.

Raphael 1483-1520 (pp. 284-324): son of a kind artistic father, student
of Pietro Perugino, was wonderfully talented. He worked in Florence and
for Pope Julius in Rome where he earned a great reputation. Julius'
successor, Leo X, was a keen patron of Raphael. Raphael painted acenes
and portraits portraying Christian imagery, history and contemporary
times with enormous vivacity and vitality. He progressed throughout his
life, especially on his exposure to Leonardo da Vinci and Michelangelo,
his attention directed to a finer study of human anatomy. He was an
unusually kind and easy going person, quite different from the ordinary
artistic temperament. His workshop was remarkably harmonious.

Michelangelo 1475-1564 (325-442): fond of drawing from his youngest
years was apprenticed at the age of fourteen to Domenico Ghirlandaio.
Michelangelo so impressed Lorenzo de' Medici that Lorenzo brought him
to his palace and raised him in that artistic environment. In Florence
and especially in Rome Michelangelo produced truly awesome statues and
paintings, including his painting of the Sistine Chapel's ceiling.

Titian 1487/90-1576 (443-462): was placed with the famous painter
Giovanni Bellini in Venice. Titian while young won high praise. Colour
and design were his specialties. He became friends with Ariosto who
named him in Orlando Furioso. Bembo invited Titian to Rome, but Titian
did not go. Aretino came to Venice and became Titian's friend. He in
his writings helped Titian become famous. He also arranged for Titian
to paint the portrait of Emperor Charles V in Bologna. This was one of
a number of portraits of prominent people the artist painted. He also
worked on Christian and Classical themes. Blessed with good health, a
fine talent, congenial friends, Titian resides in Venice very much
appreciated.


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