DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0244
228
LIVES OF THE ARTISTS.
Giovanni dal Ponte was popular with his acquaintance, but
more because he promoted their amusements, than on account
of his works. Yet he took pleasure in the society of the
learned, more especially of those who studied to attain excel-
lence in the art to which he was himself attached ; for al-
though he had not sought to acquire for himself those qualities
which he valued in others, yet he never failed to recommend
conscientious labour to his brother artists. Having attained
the age of fifty-nine years, Giovanni was attacked by a disease
of the chest, which carried him off in a very few days. Had
he lived longer, it would only have been to suffer many incon-
veniences from want, since he had scarcely so much remain-
ing as sufficed to give him decent burial in San Stefano
dal Ponte Vecchio. His works date about the year 1365.*
In our book of the designs of different artists, ancient and
modern, is a drawing in water-colours by Giovanni. It re-
presents St. George on horseback, in the act of killing the
dragon, together with a skeleton. From this specimen we can
sufficiently judge of Giovanni’s method in drawing.
AGNOLO GADDI, PAINTER, OF FLORENCE.
[BORN .... —WAS STILL WORKING IN 1390.]
The great honour and utility of becoming distinguished in
one of the noble arts is rendered sufficiently manifest in the
case of Taddeo Gaddi, who, combining self-government with
high talent, not only secured great fame by his labours, but
acquired large possessions also, and left the affairs of his
family in such a state, that his two sons, Agnolo and Giovanni,
remain ; nor is it probable that many of those done for the environs of
that city still survive.
* “It is a curious fancy, this of Vasari,” remark the Roman and
Florentine editors, “ of notifying the year about which may be dated the
works of each artist, and which is invariably the year of their death, or
that preceding it; even of those who, dying very old, must needs have
worked very many years before.” But does not Vasari mean to intimate,
by this expression, that the works of the artist bear date down to the
year specified, or near it, and not later?
LIVES OF THE ARTISTS.
Giovanni dal Ponte was popular with his acquaintance, but
more because he promoted their amusements, than on account
of his works. Yet he took pleasure in the society of the
learned, more especially of those who studied to attain excel-
lence in the art to which he was himself attached ; for al-
though he had not sought to acquire for himself those qualities
which he valued in others, yet he never failed to recommend
conscientious labour to his brother artists. Having attained
the age of fifty-nine years, Giovanni was attacked by a disease
of the chest, which carried him off in a very few days. Had
he lived longer, it would only have been to suffer many incon-
veniences from want, since he had scarcely so much remain-
ing as sufficed to give him decent burial in San Stefano
dal Ponte Vecchio. His works date about the year 1365.*
In our book of the designs of different artists, ancient and
modern, is a drawing in water-colours by Giovanni. It re-
presents St. George on horseback, in the act of killing the
dragon, together with a skeleton. From this specimen we can
sufficiently judge of Giovanni’s method in drawing.
AGNOLO GADDI, PAINTER, OF FLORENCE.
[BORN .... —WAS STILL WORKING IN 1390.]
The great honour and utility of becoming distinguished in
one of the noble arts is rendered sufficiently manifest in the
case of Taddeo Gaddi, who, combining self-government with
high talent, not only secured great fame by his labours, but
acquired large possessions also, and left the affairs of his
family in such a state, that his two sons, Agnolo and Giovanni,
remain ; nor is it probable that many of those done for the environs of
that city still survive.
* “It is a curious fancy, this of Vasari,” remark the Roman and
Florentine editors, “ of notifying the year about which may be dated the
works of each artist, and which is invariably the year of their death, or
that preceding it; even of those who, dying very old, must needs have
worked very many years before.” But does not Vasari mean to intimate,
by this expression, that the works of the artist bear date down to the
year specified, or near it, and not later?