DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0288
272 LIVES OF THE ARTISTS.
Stamina depicted various stories in fresco, from the life of
Sant’ Antonio the abbot, with others from that of the bishop
San Niccolo.* These works Gherardo completed with so
much care, and in so good a manner, that they caused him
to become known, as an excellent painter, to certain Spani-
ards then dwelling in Florence for their affairs, and what was
more important, they took him with them into Spain, and
presented him to their king. This monarch saw and received
Stamina very willingly, and the rather as there was then a
considerable dearth of good painters in that land (in quella
provincial). Nor was it very difficult to induce Gherardo to
quit his country, seeing that after the matter of the Ciompi,t
and when Michele di Lando was made Gonfaloniere, he had
had sharp words, and was at strife with many in Florence,
so that he was, to a certain extent, in danger of his life.
Having departed, therefore, to Spain, where he executed
numerous works for the king of that country,J he received
so large a remuneration for his labours, that he became rich
and honoured. Being then desirous to show himself among
his relations and friends in that improved condition, he
returned to Florence, where he was very amicably received
by all his fellow-citizens, who thenceforward showed him
great favour. Nor did any long time elapse before Stamina
was appointed to paint the chapel of San Girolamo, in the
church of the Carmine, where he depicted various stories
from the life of that saint ; in one of these, that namely wherein
San Girolamo appears with Paolo and Eustachio, the figures
are dressed in certain vestments worn by the Spaniards of
that time, the whole work exhibiting much originality of
invention, with infinite grace and animation in the attitudes
and expression of the figures. Among other scenes is one
representing Girolamo receiving his first lessons ; it exhibits
a schoolmaster, who has caused one of his scholars to take
* Of the paintings executed in this chapel, those of the ceiling only
remain.—Ed. Flor. 1846.
f This occurred in 1378. See the Cronache of that period, with the
Storie of Machiavelli, book iii.—Ed. Flor. 1832 and ]846.
+ The author of the work entitled Les Arts Italiens in Espagne (Rome,
1825, quarto), informs us, that the Camerino of the Escurial has an
oratory, painted by Gherardo. The picture is a large composition,
representing the Adoration of the Magi, and is the only work of this
master now to be found in Spain.—Ed.Flor. 1846-48.
Stamina depicted various stories in fresco, from the life of
Sant’ Antonio the abbot, with others from that of the bishop
San Niccolo.* These works Gherardo completed with so
much care, and in so good a manner, that they caused him
to become known, as an excellent painter, to certain Spani-
ards then dwelling in Florence for their affairs, and what was
more important, they took him with them into Spain, and
presented him to their king. This monarch saw and received
Stamina very willingly, and the rather as there was then a
considerable dearth of good painters in that land (in quella
provincial). Nor was it very difficult to induce Gherardo to
quit his country, seeing that after the matter of the Ciompi,t
and when Michele di Lando was made Gonfaloniere, he had
had sharp words, and was at strife with many in Florence,
so that he was, to a certain extent, in danger of his life.
Having departed, therefore, to Spain, where he executed
numerous works for the king of that country,J he received
so large a remuneration for his labours, that he became rich
and honoured. Being then desirous to show himself among
his relations and friends in that improved condition, he
returned to Florence, where he was very amicably received
by all his fellow-citizens, who thenceforward showed him
great favour. Nor did any long time elapse before Stamina
was appointed to paint the chapel of San Girolamo, in the
church of the Carmine, where he depicted various stories
from the life of that saint ; in one of these, that namely wherein
San Girolamo appears with Paolo and Eustachio, the figures
are dressed in certain vestments worn by the Spaniards of
that time, the whole work exhibiting much originality of
invention, with infinite grace and animation in the attitudes
and expression of the figures. Among other scenes is one
representing Girolamo receiving his first lessons ; it exhibits
a schoolmaster, who has caused one of his scholars to take
* Of the paintings executed in this chapel, those of the ceiling only
remain.—Ed. Flor. 1846.
f This occurred in 1378. See the Cronache of that period, with the
Storie of Machiavelli, book iii.—Ed. Flor. 1832 and ]846.
+ The author of the work entitled Les Arts Italiens in Espagne (Rome,
1825, quarto), informs us, that the Camerino of the Escurial has an
oratory, painted by Gherardo. The picture is a large composition,
representing the Adoration of the Magi, and is the only work of this
master now to be found in Spain.—Ed.Flor. 1846-48.