DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61668#0028
6
POLLAIUOLO
bird is to be seen on the left side of the Door facing the
Duomo, about half way up. It has none of the special
characteristics of Antonio’s work, and nothing to dis-
tinguish it in any way from the other birds and animals
that decorate the framework.
Vasari relates that while Antonio was apprenticed to
a goldsmith, his younger brother Piero was a painter,
and was placed to learn his art in the bottcga of Andrea
dal Castagno, and he proceeds to make the following
astonishing statement:
“Antonio, recognising that the craft of goldsmith repaid
but little the labours of the artist, resolved to abandon it
for one which should better preserve his memory ; where-
fore, his brother Piero being a painter, he placed himself
with him to learn the use and practice of colours . . . and
spurred on by ambition rather than the love of gain, he
learnt in a few months the art of painting, and became a
most excellent Master ; and associating himself entirely
with Piero, they painted together many pictures.” *
It is perhaps hardly necessary to deny so preposterous
an assertion in these days of scientific criticism. The
statement that Antonio learnt painting from one so
infinitely his inferior as Piero, who was also many years
his junior, hardly merits notice; yet there is no doubt
that to a lingering reminiscence of Vasari’s words is due
d’essa chiesa” (S. Giovanni) “ con Lorenzo di Bartoluccio et in fra
le altre cose fece nello stipito della porta di mezo una quaglia molto
delicatamente lavorata ” (“ L'Anonimo Gaddiano,” Ed. Cornel v.
Fabriczy, Firenze, 1893, p. 56).
* Vasari, iii. p. 290.
POLLAIUOLO
bird is to be seen on the left side of the Door facing the
Duomo, about half way up. It has none of the special
characteristics of Antonio’s work, and nothing to dis-
tinguish it in any way from the other birds and animals
that decorate the framework.
Vasari relates that while Antonio was apprenticed to
a goldsmith, his younger brother Piero was a painter,
and was placed to learn his art in the bottcga of Andrea
dal Castagno, and he proceeds to make the following
astonishing statement:
“Antonio, recognising that the craft of goldsmith repaid
but little the labours of the artist, resolved to abandon it
for one which should better preserve his memory ; where-
fore, his brother Piero being a painter, he placed himself
with him to learn the use and practice of colours . . . and
spurred on by ambition rather than the love of gain, he
learnt in a few months the art of painting, and became a
most excellent Master ; and associating himself entirely
with Piero, they painted together many pictures.” *
It is perhaps hardly necessary to deny so preposterous
an assertion in these days of scientific criticism. The
statement that Antonio learnt painting from one so
infinitely his inferior as Piero, who was also many years
his junior, hardly merits notice; yet there is no doubt
that to a lingering reminiscence of Vasari’s words is due
d’essa chiesa” (S. Giovanni) “ con Lorenzo di Bartoluccio et in fra
le altre cose fece nello stipito della porta di mezo una quaglia molto
delicatamente lavorata ” (“ L'Anonimo Gaddiano,” Ed. Cornel v.
Fabriczy, Firenze, 1893, p. 56).
* Vasari, iii. p. 290.