DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0171
EXTRACTS AND ILLUSTRATIONS.
103
in such a manner that it seems to be painted in oil, and many
painters have wished to make themselves certain of it by a very close
inspection. He here shewed, besides the strength of his imagi-
nation and the sublimity of his genius, his judgment in the dispo-
sition of historical and fabulous compositions, having painted with
great skill in one room the four seasons, and in the saloon all the
actions of Ulysses, and in other rooms the Armida of Tasso, with
such beauty and brilliancy of colour that this house has always been
the most curious object of visit for princes, and Virtuosi, who have
even gone to Cento on purpose.”—Malv. Fels. Pitt. vol. I. p. 362.
“ When II Pomarancio desired to have the services of some youth
more intelligent and experienced than those whom he had taken to
Rome with him, he wrote to Bologna about it, to Bernardino Baldi,
with whom he had, when at Rome, contracted a great friendship,
which he continued to preserve by means of letters. Baldi sent
Lorenzo Garbieri, who being arrived, began immediately to paint
some angels, (which can easily be distinguished) without cartoons
or pouncings, looking only at the design, and copying it off on a
large scale upon the wet lime with a sharp nail, he began to colour
them with so much boldness and facility that while it astonished
that great artist, produced much jealousy and envy among the others,
so that they leagued together, and beginning to persecute him
violently, prevented his remaining there very long.”—Malv. Fels.
Pitt. vol. II. p. 301.
“ Amico Aspertino painted with both hands at once, holding in
one hand a brush filled with light colour, and in the other, one filled
with dark; but what was more remarkable and laughable, was that
he bound round his waist a leather strap, to which hung his gallipots
of tempered colours ; and he looked like the devil of S. Maccario
with all his phials hanging round him, and when painting with his
spectacles on his nose, it was sufficient to make the very stones
laugh, especially when he began to talk, for he talked enough for
twenty persons, and he loved to say the strangest things in the
world.”—Vasari, Life of Amico Aspertino.
“In the arches and vaults of the Convent of S. Croce, Lorenzo
de Bicci painted in 1418, representations of some of the kings of
France, friars, and devotees of St. Francesco, and drew their portraits
103
in such a manner that it seems to be painted in oil, and many
painters have wished to make themselves certain of it by a very close
inspection. He here shewed, besides the strength of his imagi-
nation and the sublimity of his genius, his judgment in the dispo-
sition of historical and fabulous compositions, having painted with
great skill in one room the four seasons, and in the saloon all the
actions of Ulysses, and in other rooms the Armida of Tasso, with
such beauty and brilliancy of colour that this house has always been
the most curious object of visit for princes, and Virtuosi, who have
even gone to Cento on purpose.”—Malv. Fels. Pitt. vol. I. p. 362.
“ When II Pomarancio desired to have the services of some youth
more intelligent and experienced than those whom he had taken to
Rome with him, he wrote to Bologna about it, to Bernardino Baldi,
with whom he had, when at Rome, contracted a great friendship,
which he continued to preserve by means of letters. Baldi sent
Lorenzo Garbieri, who being arrived, began immediately to paint
some angels, (which can easily be distinguished) without cartoons
or pouncings, looking only at the design, and copying it off on a
large scale upon the wet lime with a sharp nail, he began to colour
them with so much boldness and facility that while it astonished
that great artist, produced much jealousy and envy among the others,
so that they leagued together, and beginning to persecute him
violently, prevented his remaining there very long.”—Malv. Fels.
Pitt. vol. II. p. 301.
“ Amico Aspertino painted with both hands at once, holding in
one hand a brush filled with light colour, and in the other, one filled
with dark; but what was more remarkable and laughable, was that
he bound round his waist a leather strap, to which hung his gallipots
of tempered colours ; and he looked like the devil of S. Maccario
with all his phials hanging round him, and when painting with his
spectacles on his nose, it was sufficient to make the very stones
laugh, especially when he began to talk, for he talked enough for
twenty persons, and he loved to say the strangest things in the
world.”—Vasari, Life of Amico Aspertino.
“In the arches and vaults of the Convent of S. Croce, Lorenzo
de Bicci painted in 1418, representations of some of the kings of
France, friars, and devotees of St. Francesco, and drew their portraits