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

[B] The braccio, (arm, cubit) is an Italian measure which varies in length, not only in different parts of Italy, but also according to the thing measured. In Parma, for example, the braccio for measuring silk is 23 inches, for woolens and cottons 25 and a fraction, while that for roads and buildings is 21 only. In Siena, the braccio for cloth is 14 inches, while in Florence it is 23, and in Milan it is 39 inches, English measure.

The Perugians engaged Buonamico to decorate their market-place with a picture of the patron saint of the city. Having erected an enclosure of planks and matting, that he might not be disturbed in his labors, the painter commenced his operations. Ten days had scarcely elapsed before every one who passed by enquired with eager curiosity, "when the picture would be finished?" as though they thought such works could be cast in a mould. Buffalmacco, wearied and disgusted at their impatient outcries, resolved on a bit of revenge. Therefore, keeping the work still enclosed, he admitted the Perugians to examine it, and when they declared themselves satisfied and delighted with the performance, and wished to remove the planks and matting, Buonamico requested that they would permit them to remain two days longer as he wished to retouch certain parts when the painting was fully dry. This was agreed to; and Buonamico instantly mounting his scaffold, removed the great gilt diadem from the head of the saint, and replaced it with a coronet of gudgeons. This accomplished, he paid his host, and set off to Florence.

Two days having past, and the Perugians not seeing the painter going about as they were accustomed to do, inquired of his host what had become of him, and learning that he had left the city, they hastened to remove the screen that concealed the picture, when they discovered their saint solemnly crowned with gudgeons. Their rage now knew no bounds, and they instantly despatched horsemen in pursuit of Buonamico,—but in vain—the painter having found shelter in Florence. They then set an artist of their own to remove the crown of fishes and replace the gilded diadem, consoling themselves for the affront, by hurling maledictions at the head of Buonamico and every other Florentine.

Buffalmacco painted a fresco at Calcinaia, representing the Virgin with the Child in her arms. But the man for whom it was executed, only made fair promises in place of payment. Buonamico was not a man to be trifled with or made a tool of; therefore, he repaired early one morning to Calcinaia, and turned the child in the arms of the Holy Virgin into a young bear. The change being soon discovered, caused the greatest scandal, and the poor countryman for whom it was painted, hastened to the painter, and implored him to remove the cub and replace the child as before, declaring himself ready to pay all demands. This Buonamico agreed to do on being paid for the first and second painting, which last was only in water colors, when with a wet sponge, he immediately restored the picture to its peristine beauty. The Editors of the Florentine edition of Vasari, (1846) say that "in a room of the priory of Calcinaia, are still to be seen the remains of a picture on the walls, representing the Madonna with the Child in her arms, and other saints, evidently a work of the 14th century; and a tradition preserved to this day, declares that painting to be the one alluded to by our author."

This old Florentine painter was born in 1301. He was the grandson and disciple of Giotto, whom, according to Vasari, he greatly excelled in every department of art. From his close imitations of nature, he was called by his fellow citizens, "Stefano the Ape," (ape of nature.) He was the first artist who attempted to show the naked under his draperies, which were loose, easy, and delicate. He established the rules of perspective, little known at that early period, on more scientific principles. He was the first who attempted the difficult task of foreshortening. He also succeeded better than any of his cotemporaries in giving expression to his heads, and a less Gothic turn to his figures. He acquired a high reputation, and executed many works, in fresco and distemper, for the churches and public edifices of Florence, Rome, and other cities, all of which have perished, according to Lanzi, except a picture of the Virgin and Infant Christ in the Campo Santo at Pisa. He died in 1350.

Tommaso Stefano, called II Giottino, the son and scholar of Stefano Fiorentino, was born at Florence in 1324. According to Vasari, he adhered so closely to the style of Giotto, that the good people of Florence called him Giottino, and averred that the soul of his great ancestor had transmigrated and animated him. There are some frescoes by him, still preserved at Assissi, and a Dead Christ with the Virgin and St. John, in the church of S. Remigio at Florence, which so strongly partake of the manner of Giotto as to justify the name bestowed upon him by his fellow citizens. He died in the flower of his life at Florence in 1356.

This old painter was born at Florence in 1349, and was a disciple of Antonio Veneziano. His name was Mazzocchi, but being very celebrated as a painter of animals, and especially so of birds, of which last he formed a large collection of the most curious, he was called Uccello (bird). He was one of the first painters who cultivated perspective. Before his time buildings had not a true point of perspective, and figures appeared sometimes as if falling or slipping off the canvass. He made this branch so much his hobby, that he neglected other essential parts of the art. To improve himself he studied geometry with Giovanni Manetti, a celebrated mathematician. He acquired great distinction in his time and some of his works still remain in the churches and convents of Florence. In the church of S. Maria Novella are several fresco histories from the Old Testament, which he selected for the purpose of introducing a multitude of his favorite objects, beasts and birds; among them, are Adam and Eve in Paradise, Noah entering the Ark, the Deluge, &c. He painted battles of lions, tigers, serpents, &c., with peasants flying in terror from the scene of combat. He also painted landscapes with figures, cattle and ruins, possessing so much truth and nature, that Lanzi says "he may be justly called the Bassano of his age." He was living in 1436. Vasari places his birth in 1396-7, and his death in 1479, but later writers have proved his dates to be altogether erroneous.

"Paolo Uccello employed himself perpetually and without any intermission," says Vasari, "in the consideration of the most difficult questions connected with art, insomuch that he brought the method of preparing the plans and elevations of buildings, by the study of linear perspective, to perfection. From the ground plan to the cornice, and summit of the roof, he reduced all to strict rules, by the convergence of intersecting lines, which he diminished towards the centre, after having fixed the point of view higher or lower, as seemed good to him; he labored, in short, so earnestly in these difficult matters that he found means, and fixed rules, for making his figures really to seem standing on the plane whereon they were placed; not only showing how in order manifestly to draw back or retire, they must gradually be diminished, but also giving the precise manner and degree required for this, which had previously been done by chance, or effected at the discretion of the artist, as he best could. He also discovered the method of turning the arches and cross-vaulting of ceilings, taught how floors are to be foreshortened by the convergence of the beams; showed how the artist must proceed to represent the columns bending round the sharp corners of a building, so that when drawn in perspective, they efface the angle and cause it to seem level. To pore over all these matters, Paolo would remain alone, almost like a hermit, shut up in his house for weeks and months without suffering himself to be approached."

Uccello was employed to decorate one of the cloisters of the monastery of San Miniato, situated without the city of Florence, with subjects from the lives of the Holy Fathers. While he was engaged on these works, the monks gave him scarcely anything to eat but cheese, of which the painter soon became tired, and being shy and timid, he resolved to go no more to work in the cloister. The prior sent to enquire the cause of his absence, but when Paolo heard the monks asking for him, he would never be at home, and if he chanced to meet any of the brothers of that order in the street, he gave them a wide berth. This extraordinary conduct excited the curiosity of the monks to such a degree that one day, two of the brothers, more swift of foot than the rest, gave chase to Paolo, and having, cornered him, demanded why he did not come to finish the work according to his agreement, and wherefore he fled at the sight of one of their body. "Faith," replied the painter, "you have so murdered me, that I not only run away from you, but dare not stop near the house of any joiner, or even pass by one; and all this owing to the bad management of your abbot; for, what with his