Lives of the Most Excellent Painters, Sculptors, and Architects/Antonio Filarete and Simone

by Giorgio Vasari

 

THE FLORENTINE SCULPTORS—ANTONIO FILARETE^[1]
AND SIMONE.

[flourished during the middle oe the fifteenth century.]

If Pope Eugenius IV. had used greater diligence in seeking for eminent masters to execute the work, when he resolved to construct the bronze door for San Pietro in Rome (and he might at that time have very easily found such, since Filippo di Ser Brunellesco, Donato, and other excellent artists were then living), that undertaking would not have been conducted in the unhappy manner which we now see it exhibit.^[2] But perhaps it happened to him, as it very frequently does happen to the greater number of princes, who are either not conversant with works of that kind, or who take very little pleasure in them. If, however, these princes would consider how important it is that due regard should be paid to the selection of eminent masters for the execution of public works, on account of the fame that accrues from such, neither they nor their ministers would certainly be so negligent as they are; for whoever permits himself to make choice of inferior and incapable artists, will assure but a short life either to his works or his fame; besides which, he does injury to the public and to the age in which he is born, seeing that all who come after, will infallibly believe that if better masters had been to be found at that period, the prince would rather have availed liimself of tlieir services than of those of the incapable and inferior artists employed.

When Pope Eugenius IV. was raised to the pontifical throne, in the year 1431, and heard that the Florentines were causing the doors of San Giovanni to be executed by Lorenzo Ghiberti,^[3] the thought occurred to him of making one of the doors of San Pietro of bronze, in like manner.^[4] But as Eugenius did not himself understand works of that kind, he confided the care of th-e matter to his ministers, with whom Antonio Filarete, then very young, and Simone, the brother of Donato, both Florentine sculptors, had so much interest, that the work was entrusted to them. They commenced it accordingly, and after having laboured twelve years, the door was completed; for although Pope Eugenius fled from Pome, and was long much perplexed by the councils,^[5] yet those who had the care of San Pietro, took such precautions that the work was not abandoned. Filarete divided the bassi-rilievi of the door into two simple compartments only, placing two upright figures in each compartment, the Saviour and the Madonna being in the upper division, with St. Peter and St. Paul below. At the foot of St. Peter is the kneeling figure of Pope Eugenius, a portrait from the life: there is also a small historical scene beneath each figure, pourtraying an event from the life of the saint above. Under St. Peter is his crucifixion; under St. Paul, his decapitation; while certain events from the lives of the Saviour and the Madonna are in like manner represented beneath their figures.^[6] On the lower part of the inside of the door, Antonio took it into his head to execute a small relief in bronze, representing Simone and himself with all their disciples going to amuse themselves in a vineyard,^ and having with them an ass loaded with the requisites for a feast. These masters were not constantly occupied with this door during the whole twelve years: within that period they also constructed certain sepulchral monuments of marble for different popes and cardinals in San Pietro; all of which have been destroyed in the erection of the new church.

When these works were completed, Antonio was invited to Milan by the Duke Francesco Sforza, then Gonfaloniere of Holy Church, who had seen his works in Pome. Here he was commissioned to erect the hospital for the poor (Albergo de’ Poveri di Dio), a refuge intended for the sick, both men and women, as well as for helpless innocents not legitimately born:^[7] and this work Antonio accomplished after his own design. The division of the building set apart for men has an extent of 160 braccia in all directions, the structure being in the form of a cross: that for the women is of equal size. The width is 16 braccia, and in the four squares, enclosed by the crosses of each of these divisions, are four courts, around which are galleries with rooms for the use of the director, the officials, the servants, and the nurses of the hospital, all very commodious. On one side, moreover, is a stream of running water for the service of the hospital and for grinding corn, to the no small benefit and convenience of the institution, as every one will easily perceive. Between the two divisions of the hospital is a cloister, the extent of which is 80 braccia on the one side, and 160 on the other. In the midst of this cloister is the church, so contrived as to serve for both divisions; and, to sum up all in few words, the building is so well constructed and arranged, that I do not believe the like of it can be found in all Europe. The first stone of this fabric was laid, as appears from what we find recorded by Filarete himself, with the ceremony of a solemn procession of all the clergy of Milan, in the presence of the Duke Francesco Sforza and in that of the Lady Bianca Maria, accompanied by all their children; the Marquis of Mantua, the ambassador of the King of Arragon, with many other nobles being also present. On the first stone laid in the foundation, as well as on the coins, were the following words:—

Francisous Sfortia Dux iii, qui amissum per prcecessorum ohitum urbis imperium recuperavit, hoc munus Christi pauperibus dedit fundavitque MGCCCLVii. die xii April.”

These events were afterwards depicted on the portico by Maestro Vincenzio di Zoppa^[8] a Lombard,^[9] because there was not then a better master to be found in those parts. The principal church of Bergamo^[10] was likewise a work of Antonio Filarete, and was erected by him with no less care and judgment than he had shown in the above-named hospital: and as he also took pleasure in writing, while these works of his were in course of progress, he composed a book, divided into three parts. In the first of these he treats of the measurements of buildings in general, and of all things needful to the erection of different fabrics. In the second he speaks of the methods of building, and of the manner in which a very beautiful and conveniently disposed city might be laid out. In the third, he describes new forms of buildings, wherein he mingles the antique with the modern. The whole work is further divided into twenty-four books, which are all illustrated by drawings from his own hand; but although some things that are good may be found in this work, yet it is for the most part sufficiently ridiculous, and so dull, that perhaps a more stupid book does not exist. It was dedicated by the author to the magnificent Piero di Cosimo de’ Medici in the year 1464, and is now in the possession of the most illustrious Signor Duke Cosimo. And of a truth, since Antonio put himself to so much trouble, he might have merited a certain degree of commendation if he had at least recorded some memorials of the masters of his time and of their works; but as there are but very few of these to be found, and those few are scattered without order throughout the book, as they are besides given where they are least required; he has laboured, as the saying is, to make himself the poorer, and to earn the reputation of possessing but little judgment, seeing that he has set himself to meddle with what he did not understand.^[11]

But having said quite enough of Filarete, it is now time that I turn to Simone,^[12] the brother of Donato. This master, after completing the door of San Pietro as above-said, constructed the bronze monument of Pope Martin,^[13] also in bronze: he likewise executed some castings which were sent to France, with many others, the fate of which is not known. For the church of the Armenians, beside the mills in the city of Florence, Simone likewise constructed a crucifix of the size of life to be carried in the processions, and this he made of cork-tree, to render it the lighter. In Santa Felicita, Simone executed a figure of the penitent Mary Magdalen, in terra-cotta,^[14] the height is three braccia and a half, the proportions are beautiful, and the muscular development is displayed in a manner which proves this master to have been well acquainted with anatomy.^[15] He also executed a monumental stone in the church of the Servites for the brotherhood of the Annunciation, inlaying the same with a figure in grey and white marble, in the manner of a painting, as we have before said was done by the Sienese Duccio in the Duomo of Siena. This work was highly praised.^[16]| The bronze grating for the chapel of the girdle^[17] in Prato was also by Simone, as was a basso-rilievo placed over the door of the canonicate, and representing the Virgin with two angels. He decorated the chapel of the Trinity in San Francesco in mezzo-rilievo for Messer Giovanni da Riolo; and for Sigismondo Malatesti, lie constructed the chapel of San Sigismondo in the church of San Francesco at Rimini. In this work are numerous elephants cut in marble, that animal being the device of Malatesti. To Messer Bartolommeo Scarnisci, Canon of the chapter of Arezzo, Simone sent the half-length figure of the Virgin in terra-cotta, with the child in her arms, and with angels in mezzo-rilievo, extremely well executed. This work may still be seen in the above-named chapter-house, and is placed against one of the columns.^[18] For the baptismal font of the cathedral of Arezzo,^[19] this master executed certain stories in basso-rilievo, representing the Saviour baptized by St. John; and in Florence, he constructed the marble monument of Messer Orlando de’ Medici, in the church of the Nunziata. Finally, having attained the age of fifty-five, Simone rendered up his spirit to God who gave it; and no long time after, Filarete, having returned to Rome, died there in his sixty-ninth year, and was buried in the church of the Minerva, where he had caused Giovanni Foccora,^[20] a painter in very good repute, to depict the likeness of Pope Eugenius, when he was residing at Rome, in the service of that pontiff. The portrait of Antonio himself may be seen at the commencement of his book, in the part where he treats of the different modes of building, and is by his own hand. The Florentines, Yarrone and Niccolo,^[21] were disciples of this master; and the marble statue, erected near the Ponte Molle for Pope Pius II.,^[22] when he brought the head of Sant’ Andrea to Rome, was by these artists. They also restored Tigoli, almost from the foundations, at the command of the same pontiff, and in San Pietro they executed the marble ornament which is above the columns of the chapel wherein the before-mentioned head of Sant’ Andrea is preserved, and near to which is the burial place of Pope Pius II., himself. This tomb^[23] is by Pasquino da Montepulciano,^[24] a disciple of Filarete, and Bernardo Ciuffagni, who constructed a marble monument for Gismondo Malatesti in the church of San Francesco at Rimini, and placed on it the likeness of Malatesti, taken from nature. Ciuffagni is moreover said to have produced other works in Lucca and Mantua.

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1. His name was Antonio Averlino, or Averulino, as will be seen in a subsequent note. The Greek compound, “Filarete,” appears to liavebeen one of the bye-names so frequently attached in those days to the true names of artists.
2. To the lamentations of Vasari, Bottari adds the following—“So many admirable works, executed by eminent men, that were formerly in San Pietro, have been removed, and yet this door, which for many reasons deserved to be destroyed, is permitted to retain its place.”
3. Ghiberti had already completed the north door, and was then working at that which was placed opposite to the cathedral.
4. The Florentine commentators remark, that there are certain stories relating to the Councils of Ferrara and Florence on the bronze door executed by order of Eugenius, and which must therefore have been made subsequently to the year 1459; but the German translation of Vasari has a note to the following effect. In the Augusterium of Dresden is a small copy in bronze of the equestrian statue of Marcus Aurelius, Avhich bears the following inscription: Antonius Averlinus architectus hanc ut vulgo fertur Commodi Anionini Augusti ceneam statuam simulquc equum ipsum effinxit ex eadem ejus statua qum nunc servatur apud S. Johannem Lateranum quo tempore jussu Eugenii quarti fabricahis est Romce aneas.. Templi S. Petri... quae quidem... ipsa dona dat Petro Medici viro innocentissimo optimoque civi Anno a natalli (?) Christiano mccccliv. Pope Eugenius occupied the papal throne till the year 1447; there cannot therefore be a doubt that the door was executed between 1439 and 1447. The small bronze statue of the Augusterium belongs to the same period. See the Kunstblatt for 1826, p. 371; see also the Catalogue of the Royal Collection of Antiquities in Dresden for the year 1833, p. 17.
5. We are here to understand the Council of Basle (1439) only, from which this pontiff suffered very serious vexations.
6. The stories beneath the figures of the Saviour and Madonna do not represent events of their lives, but the coronation of the Emperor Sigismond by Pope Eugenius, and the audience given by the same pontiff to certain ambassadors from the East. Beneath the figures of St. Peter and St. Paul are also stories from the life of Pope Eugenius, and then follow the martyrdom of the two saints. This door, rudely engraved by Ciampini, Vetera Monim. vol. i. p. 44, plate 19, and again by Giustiniani, in his Descrizione del Concilio Fiorentino, has been much more perfectly represented in the twentieth plate of the Basilica Vaticana illustrata, lately published. In the story representing the decapitation of St. Paul, Filarete has inscribed his own name thus;—Opus Antonii de Florentia. Good engravings of this door are also to be found in the works of Pistolesi, and there is a circumstantial description of it in Platner and Bunsen’s Beschreibung der Stadt, Rom. p. 171.
7. The Canon Della Torre, in his description of Milan, attributes the architecture of this hospital to Bramante; but it is known that Bramante was but thirteen years old when the building was erected, and Piacenza, a most competent authority, declares, in his notes to Baldinucci, that the work is due to Filarete. For the part really taken in it by this architect, as well as for the dates when the respective portions of the fabric were completed, and other details, the reader is referred to the Guida di Milano e suo Territorio, published for the use of the Scientific Association at the meeting held in that city in 1844, vol. ii., pp. 407, 408.
8. Or Foppa, as it is written in the Abecedario, and as given by Pagave in his notes to the Sienese edition of Vasari, where he adds that the stories here mentioned by Vasari were not painted on the portico, but in two large pictures on canvas, which were placed in the ancient church of the Hospital. The church is now destroyed, and the pictures are lost. Notices of this artist will be found in Passavant, and in the Kunstblatt for 1838.
9. The Lombard school was at that time in a condition to furnish an abundance of masters. — See Lanzi, History of Painting (English Edition), vol. ii., p. 480, et seq.
10. This church was the Duomo; being considered too small, the construction of it was for some time suspended: it was subsequently completed after a design of the Cav. Carlo Fontana.
11. The Medicean copy of this work is now in the Magliabechiana Library. The initial letters are gilded and illuminated, and in the dedication to Cosimo de’ Medici the author expresses himsedf as follows:—‘‘As the work is, so be pleased to take it; not as from Vitruvius or the other eminent architects, but as from your own Filarete Antonio Averlino, architect of Florence.” A later hand has attempted to change the name into Ausonio Avercimono Faentino, but the older writing is still visible. A second copy dedicated to Francesco Sforza, is in the Biblioteca Palatina of Florence. There is some little ingratitude manifest in the judgment pronounced on this work by Vasari, who is certainly indebted to it for much of the inform' ation contained in certain parts of his own book.
12. In the life of Brunellesco, Vasari speaks of a Simoiie as the scholar of that master, but does not there call him the brother of Donato: from this and other causes the commentators incline to believe that there were two Florentine sculptors of this name, one of whom they suppose to be the son of Nanni da Fiesole, and a scholar of Ghiberti.
13. Pope Martin V. who died in 1431. The bronze monument here alluded to is in the middle aisle of San Giovanni Laterano; and is but slightly raised above the pavement of the church.
14. The church of St. Basil, belonging to the Armenian monks, having been secularized, the crucifix fell into private hands; it is now on the high altar of the Basilica of San Lorenzo.
15. The fate of this work is not known.
16. No trace of this work is to be found at the “Nunziata,” which is now called San Pierino and is in the Via San Sebastiano.
17. The documents discovered and published by the author of the Descrizione della Cattedrale di Prato, (Prato, 1846, 8vo,) give various details respecting this fine work, but the name of Simone does not appear among those of the masters enumerated in them. See further, Delle Pitture che adornano la capella del S. Cingolo di M. Virgine alia Cattedrale di Prato. Prato, 1831.
18. This work has now disappeared. Ed. Flor. 1832-8.
19. In the fifth chapel on the right. Ibid.
20. In the first edition of Vasari this painter is called Focchetta.
21. These artists are both mentioned by Filarete in the MS. above cited, their name.s occur in a passage wherein he enumerates the masters whom he would have to take part in the erection of his city, which was to be called Sforziade.
22. When Bottari wrote the notes to his edition of Vasari (1759), this statue had already disappeared.
23. Now in the Church of St. Andrea della Valle, and covered with bassi rilievi in marble. Ed. Flor. 1832 -8.
24. He is mentioned by Filarete as his disciple, in the above-named MS.