Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art - Shearjashub Spooner (best fiction books to read .TXT) 📗

so ugly?" "Ah, my dear friend," replied the painter, "mine were made in the dark." DEATH OF GIOTTO.

"Giotto," says Vasari, "having passed his life in the production of so many admirable works, and proved himself a good Christian, as well as an excellent painter, resigned his soul to God in the year 1336, not only to the great regret of his fellow citizens, but of all who had known him, or even heard his name. He was honorably entombed, as his high deserts had well merited, having been beloved all his life, but more especially by the learned men of all professions." Dante and Petrarch were his warm admirers, and immortalized him in their verse. The commentator of Dante, who was cotemporary with Giotto, says, "Giotto was, and is, the most eminent of all the painters of Florence, and to this his works bear testimony in Rome, Naples, Avignon, Florence, Padua, and many other parts of the world."

BUONAMICO BUFFALMACCO.

The first worthy successor of Giotto in the Florentine school, was Buffalmacco, whose name has been immortalized by Boccaccio in his Decameron, as a man of most facetious character. He executed many works in fresco and distemper, but they have mostly perished. He chiefly excelled in Crucifixions and Ascensions. He was born, according to Vasari, in 1262, and died in 1340, aged 78; but Baldinucci says that he lived later than 1358. His name is mentioned in the old Book of the Company of Painters, under the date of 1351, (Editors of the Florentine edition of Vasari, 1846.). Buffalmacco was a merry wag, and a careless spendthrift, and died in the public hospital.

BUFFALMACCO AND HIS MASTER.

"Among the Three Hundred Stories of Franco Saccheti," says Vasari, "we find it related to begin with, what our artist did in his youth—that when Buffalmacco was studying with Andrea Tafi, his master had the habit of rising before daylight when the nights were long, compelling his scholars also to awake and proceed to their work. This provoked Buonamico, who did not approve of being aroused from his sweetest sleep. He accordingly bethought himself of finding some means by which Andrea might be prevented from rising so early, and soon found what he sought." Now it happened that Tafi was a very superstitious man, believing that demons and hobgoblins walked the earth at their pleasure. Buffalmacco, having caught about thirty large beetles, he fastened to the back of each, by means of small needles, a minute taper, which he lighted, and sent them one by one into his master's room, through a crack in the door, about the time he was accustomed to rise and summon him to his labors. Tafi seeing these strange lights wandering about his room, began to tremble with fright, and repeated his prayers and exorcisms, but finding they produced no effect on the apparitions, he covered his head with the bed clothes, and lay almost petrified with terror till daylight. When he rose he enquired of Buonamico, if "he had seen more than a thousand demons wandering about his room, as he had himself in the night?" Buonamico replied that he had seen nothing, and wondered he had not been called to work. "Call thee to work!" exclaimed the master, "I had other things to think of besides painting, and am resolved to stay in this house no longer;" and away he ran to consult the parish priest, who seems to have been as superstitious as the poor painter himself. When Tafi discoursed of this strange affair with Buonamico, the latter told him that he had been taught to believe that the demons were the greatest enemies of God, consequently they must be the most deadly adversaries of painters. "For," said he, "besides that we always make them most hideous, we think of nothing but painting saints, both men and women, on walls and pictures, which is much worse, since we thereby render men better and more devout to the great despite of the demons; and for all this, the devils being angry with us, and having more power by night than by day, they play these tricks upon us. I verily believe too, that they will get worse and worse, if this practice of rising to work in the night be not discontinued altogether." Buffalmacco then advised his master to make the experiment, and see whether the devils would disturb him if he did not work at night. Tafi followed this advice for a short time, and the demons ceased to disturb him; but forgetting his fright, he began to rise betimes, as before, and to call Buffalmacco to his work. The beetles then recommenced their wanderings, till Tafi was compelled by his fears and the earnest advice of the priest to desist altogether from that practice. "Nay," says Vasari, "the story becoming known through the city, produced such an effect that neither Tafi, nor any other painter dared for a long time to work at night."

Another laughable story is related of Buffalmacco's ingenuity to rid himself of annoyance. Soon after he left Tafi, he took apartments adjoining those occupied by a man who was a penurious old simpleton, and compelled his wife to rise long before daylight to commence work at her spinning wheel. The old woman was often at her wheel, when Buonamico retired to bed from his revels. The buzz of the instrument put all sleep out of the question; so the painter resolved to put a stop to this annoyance. Having provided himself with a long tube, and removed a brick next to the chimney, he watched his opportunity, and blew salt into their soup till it was spoiled. He then succeeded in making them believe that it was the work of demons, and to desist from such early rising. Whenever the old woman touched her wheel before daylight, the soup was sure to be spoiled, but when she was allowed reasonable rest, it was fresh and savory.

BUFFALMACCO AND THE NUNS OF THE CONVENT OF FAENZA.

Soon after Buffalmacco left his master, he was employed by the nuns of Faenza to execute a picture for their convent. The subject was the slaughter of the Innocents. While the work was in progress, those ladies some times took a peep at the picture through the screen he had raised for its protection. "Now Buffalmacco," says Vasari, "was very eccentric and peculiar in his dress, as well as manner of living, and as he did not always wear the head-dress and mantle usual at the time, the nuns remarked to their intendant, that it did not please them to see him appear thus in his doublet; but the steward found means to pacify them, and they remained silent on the subject for some time. At length, however, seeing the painter always accoutred in like manner, and fancying that he must be some apprentice, who ought to be merely grinding colors, they sent a messenger to Buonamico from the abbess, to the effect, that they would like to see the master sometimes at the work, and not always himself. To this Buffalmacco, who was very pleasant in manner, replied, that as soon as the master came to the work he would let them know of his arrival; for he perceived clearly how the matter stood. Thereupon, he placed two stools, one on the other, with a water-jar on the top; on the neck of the jar he set a cap, which was supported by the handle; he then arranged a long mantle carefully around the whole, and securing a pencil within the mouth, on that side of the jar whence the water is poured, he departed. The nuns, returning to examine the work through the hole which they had made in the screen, saw the supposed master in full robes, when, believing him to be working with all his might, and that he would produce a very different kind of thing from any that his predecessor in the jacket could accomplish, they went away contented, and thought no more of the matter for some days. At length, they were desirous of seeing what fine things the master had done, and at the end of a fortnight (during which Buffalmacco had never set foot within the place), they went by night, when they concluded that he would not be there, to see his work. But they were all confused and ashamed, when one, bolder than the rest, approached near enough to discover the truth respecting this solemn master, who for fifteen days had been so busy doing nothing. They acknowledged, nevertheless, that they had got but what they merited—the work executed by the painter in the jacket being all that could be desired. The intendant was therefore commanded to recall Buonamico, who returned in great glee and with many a laugh, to his labor, having taught these good ladies the difference between a man and a water-jug, and shown them that they should not always judge the works of men by their vestments."

BUFFALMACCO AND THE NUNS' WINE.

Buffalmacco executed an historical painting for the nuns, which greatly pleased them, every part being excellent in their estimation, except the faces, which they thought too pale and wan. Buonamico, knowing that they kept the very best Vernaccia (a kind of delicious Tuscan wine, kept for the uses of the mass) to be found in Florence, told his fair patrons, that this defect could only be remedied by mixing the colors with good Vernaccia, but that when the cheeks were touched with colors thus tempered, they would become rosy and life-like enough. "The good ladies," says Vasari, "believing all he said, kept him supplied with the very best Vernaccia during all the time that his labors lasted, and he joyously swallowing this delicious nectar, found color enough on his palette to give his faces the fresh rosiness they so much desired." Bottari says, that Buonamico, on one occasion, was surprised by the nuns, while drinking the Vernaccia, when he instantly spirted what he had in his mouth on the picture, whereby they were fully satisfied; if they cut short his supply, his pictures looked pale and lifeless, but the Vernaccia always restored them to warmth and beauty. The nuns were so much pleased with his performances that they employed him a long time, and he decorated their whole church with his own hand, representing subjects from the life of Christ, all extremely well executed.

BUFFALMACCO, BISHOP GUIDO, AND HIS MONKEY.

"In the year 1302," says Vasari, "Buffalmacco was invited to Assisi, where, in the church of San Francesco, he painted in fresco the chapel of Santa Caterina, with stories taken from her life. These paintings are still preserved, and many figures in them are well worthy of praise. Having finished this chapel, Buonamico was passing through Arezzo, when he was detained by the Bishop Guido, who had heard that he was a cheerful companion, as well as a good painter, and who wished him to remain for a time in that city, to paint the chapel of the episcopal church, where the baptistery now is. Buonamico began the work, and had already completed the greater part of it, when a very curious circumstance occurred; and this, according to Franco Sacchetti, who relates it among his Three Hundred Stories, was as follows. The bishop had a large ape, of extraordinary cunning, the most sportive and mischievous creature in the world. This animal sometimes stood on the scaffold, watching Buonamico at his work, and giving a grave attention to every action: with his eyes constantly fixed on the painter, he observed him mingle his colors, handle the various flasks and tools, beat the eggs for his paintings in distemper—all that he did, in short; for nothing escaped the