a life-size Crucifix for carrying in processions, and to render it the lighter he made it of cork. In S. Felicita he made a terra-cotta figure of S. Mary Magdalene in Penitence, three braccia and a half in height and beautifully proportioned, and revealing the muscles in such a manner as to show that he had a very good knowledge of anatomy. He also wrought a marble tombstone for the Company of the Nunziata in the Church of the Servi, inlaying it with a figure in grey and white marble in the manner of a painting (which was much extolled), like the work already mentioned as having been done by the Sienese Duccio in the Duomo of Siena. At Prato he made the bronze grille for the Chapel of the Girdle. At Forlì, over the door of the Canon's house, he wrought a Madonna with two angels in low-relief; and he adorned the Chapel of the Trinità in S. Francesco with work in half-relief for Messer Giovanni da Riolo. In the Church of S. Francesco at Rimini, for Sigismondo Malatesti, he built the Chapel of S. Sigismondo, wherein there are many elephants, the device of that lord, carved in marble. To Messer Bartolommeo Scamisci, Canon of the Pieve of Arezzo, he sent a Madonna with the Child in her arms, made of terra-cotta, with certain angels in half-relief, very well executed; which Madonna is now in the said Pieve, set up against a column. For the baptismal font of the Vescovado of Arezzo, likewise, he wrought, in some scenes in low-relief, a Christ being baptized by S. John. In the Church of the Nunziata in Florence he made a marble tomb for Messer Orlando de' Medici. Finally, at the age of fifty-five, he rendered up his spirit to God who had given it to him. Nor was it long before Filarete, having returned to Rome, died at the age of sixty-nine, and was buried in the Minerva, where he had caused Giovanni Foccora, a painter of no small repute, to make a portrait of Pope Eugenius, while he was staying in Rome in the service of that Pontiff. The portrait of Antonio, by his own hand, is at the beginning of his book, where he gives instructions for building. His disciples were Varrone and Niccolò, both Florentines, who made the marble statue for Pope Pius II near Pontemolle, at the time when he brought the head of S. Andrew to Rome. By order of the same Pope they restored Tigoli almost from the foundations; and in S. Pietro they made the ornament of marble that is above the columns of the chapel wherein the said head of S. Andrew is preserved. Near that chapel is the tomb of the said Pope Pius, made by Pasquino da Montepulciano, a disciple of Filarete, and Bernardo Ciuffagni. This Bernardo wrought a tomb of marble for Gismondo Malatesti in S. Francesco at Rimini, making his portrait there from nature; and he also executed some works, so it is said, in Lucca and in Mantua.
GIULIANO DA MAIANO
LIFE OF GIULIANO DA MAIANO
SCULPTOR AND ARCHITECT
No small error do those fathers of families make who do not allow the minds of their children to run the natural course in their childhood, and do not suffer them to follow the calling that is most in accordance with their taste; for to try to turn them to something for which they have no inclination is manifestly to prevent them from ever being excellent in anything, because we almost always find that those who labour at something that they do not like make little progress in any occupation whatsoever. On the other hand, those who follow the instinct of nature generally become excellent and famous in the arts that they pursue; as was seen clearly in Giuliano da Maiano. The father of this man, after living a long time on the hill of Fiesole, in the part called Maiano, working at the trade of stone-cutter, finally betook himself to Florence, where he opened a shop for the sale of dressed stone, keeping it furnished with the sort of work that is apt very often to be called for without warning by those who are erecting some building. Living in Florence, then, there was born to him a son, Giuliano, whom his father, growing convinced in the course of time that he had a good intelligence, proposed to make into a notary, for it appeared to him that his own occupation of stone-cutting was too laborious and too unprofitable an exercise. But this did not come to pass, because, although Giuliano went to a grammar-school for a little, his thoughts were never there, and in consequence he made no progress; nay, he played truant very often, and showed that he had his mind wholly set on sculpture, although at first he applied himself to the calling of joiner and also gave attention to drawing.
It is said that in company with Giusto and Minore, masters of tarsia,[2] he wrought the seats of the Sacristy of the Nunziata, and likewise those of the choir that is beside the chapel, and many things in the Badia of Florence and in S. Marco; and that, having acquired a name through these works, he was summoned to Pisa, in the Duomo of which he wrought the seat that is beside the high-altar, in which the priest, the deacon, and the sub-deacon sit when Mass is being sung; making in tarsia on the back of this seat, with tinted and shaded woods, the three prophets that are seen therein. In this work he availed himself of Guido del Servellino and Maestro Domenico di Mariotto, joiners of Pisa, to whom he taught the art so well that they afterwards wrought the greater part of that choir both with carvings and with tarsia-work; which choir has been finished in our own day, with a manner no little better, by Batista del Cervelliera of Pisa, a man truly ingenious and fanciful.
But to return to Giuliano; he made the presses of the Sacristy of S. Maria del Fiore, which were held at that time to be admirable examples of tarsia and inlaid-work. Now, while Giuliano thus continued to devote himself to tarsia, to sculpture, and to architecture, Filippo di Ser Brunellesco died; whereupon, being chosen by the Wardens of Works to succeed him, he made the borders, incrusted with black and white marble, which are round the circular windows below the vault of the cupola; and at the corners he placed the marble pilasters on which Baccio d'Agnolo afterwards laid the architrave, frieze, and cornice, as will be told below. It is true that, as it appears from some designs by his hand that are in our book, he wished to make another arrangement of frieze, cornice, and gallery, with pediments on each of the eight sides of the cupola; but he had not time to put this into execution, for, being carried away by an excess of work from one day to another, he died.
Before this happened, however, he went to Naples and designed the architecture of the magnificent Palace at Poggio Reale for King Alfonso, with the beautiful fountains and conduits that are in the courtyard. In the city, likewise, he made designs for many fountains, some for the houses of noblemen and some for public squares, with beautiful and fanciful inventions; and he had the said Palace of Poggio Reale all wrought with paintings by Piero del Donzello and his brother Polito. Working in sculpture, likewise, for the said King Alfonso, then Duke of Calabria, he wrought scenes in low-relief over a door (both within and without) in the great hall of the Castle of Naples; and he made a marble gate for the castle after the Corinthian Order, with an infinite number of figures, giving to that work the form of a triumphal arch, on which stories from the life of that King and some of his victories are carved in marble. Giuliano also wrought the decorations of the Porta Capovana, making therein many varied and beautiful trophies; wherefore he well deserved that great love should be felt for him by that King, who, rewarding him liberally for his labours, enriched his descendants.
Giuliano had taught to his nephew Benedetto the arts of tarsia and architecture, and something about working in marble; and Benedetto was living in Florence, devoting himself to working at tarsia, because this brought him greater gains than the other arts did. Now Giuliano was summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope Paul II, to enter the service of that Pontiff. Having gone thither, he designed the loggie of travertine in the first court of the Palace of S. Pietro, with three ranges of columns, of which the first is on the lowest floor, where there are now the Signet Office and other offices; the second is above this, where the Datary and
