other churches of that district, which was full of monasteries and convents held in great honour, he made other works in plenty. In Florence, next, he painted the arch over the door of S. Romeo; and in Orto S. Michele he wrought in distemper a Disputation of the Doctors with Christ in the Temple. And at the same time, many houses having been pulled down in order to enlarge the Piazza de' Signori, and in particular the Church of S. Romolo, this was rebuilt with the design of Agnolo. There are many panels by his hand throughout the churches in the said city, and many of his works may also be recognized in the domain, which were wrought by him with much profit to himself, although he worked more in order to do as his forefathers had done than for any love of it, having his mind directed on commerce, which brought him better profit; as it is seen when his sons, not wishing any longer to be painters, gave themselves over completely to commerce, holding a house open for this purpose in Venice together with their father, who, from a certain time onward, did not work save for his own pleasure, and, in a certain manner, in order to pass time. Having thus acquired great wealth by means of trading and by means of his art, Agnolo died in the sixty-third year of his life, overcome by a malignant fever which in a few days made an end of him.
His disciples were Maestro Antonio da Ferrara, who made many beautiful works in S. Francesco at Urbino, and at Città di Castello; and Stefano da Verona, who painted in fresco most perfectly, as it is seen in many places at Verona, his native city, and also in many of his works at Mantua. This man, among other things, was excellent in giving very beautiful expressions to the faces of children, of women, and of old men, as it may be seen in his works, which were all imitated and copied by that Piero da Perugia, illuminator, who illuminated all the books that are in the library of Pope Pius in the Duomo at Siena, and was a practised colourist in fresco. A disciple of Agnolo, also, was Michele da Milano, as was Giovanni Gaddi, his brother, who made, in the cloister of S. Spirito where are the little arches of Gaddo and of Taddeo, the Disputation of Christ in the Temple with the Doctors, the Purification of the Virgin, the Temptation of Christ in the Wilderness, and the Baptism of John; and finally, having created very great expectation, he died. A pupil of the same Agnolo in painting was Cennino di Drea Cennini of Colle di Valdelsa, who, having very great affection for the art, wrote a book describing the methods of working in fresco, in distemper, in size, and in gum, and, besides, how illuminating is done, and all the methods of applying gold; which book is in the hands of Giuliano, goldsmith of Siena, an excellent master and a friend of these arts. And in the beginning of this his book he treated of the nature of colours, both the minerals and the earth-colours, according as he learnt from Agnolo his master, wishing, for the reason perchance that he did not succeed in learning to paint perfectly, at least to know the nature of the colours, the distempers, the sizes, and the application of gesso, and what colours we must guard against as harmful in making the mixtures, and in short many other considerations whereof there is no need to discourse, there being to-day a perfect knowledge of all those matters which he held as great and very rare secrets in those times. But I will not forbear to say that he makes no mention (and perchance they may not have been in use) of some earth-colours, such as dark red earths, cinabrese, and certain vitreous greens. Since then there have been also discovered umber, which is an earth-colour, giallo santo,[23] the smalts both for fresco and for oils, and some vitreous greens and yellows, wherein the painters of that age were lacking. He treated finally of mosaics, and of grinding colours in oils in order to make grounds of red, blue, green, and in other manners; and of the mordants for the application of gold, but not then for figures. Besides the works that he wrought in Florence with his master, there is a Madonna with certain saints by his hand under the loggia of the hospital of Bonifazio Lupi, coloured in such a manner that it has been very well preserved up to our own day.
This Cennino, in the first chapter of his said book, speaking of himself, uses these very words: "I, Cennino di Drea Cennini, of Colle di Valdelsa, was instructed in the said art for twelve years by Agnolo di Taddeo of Florence, my master, who learnt the said art from Taddeo, his father, who was held at baptism by Giotto and was his disciple for four-and-twenty years; which Giotto transmuted the art of painting from Greek into Latin, and brought it to the modern manner, and had it for certain more perfected than anyone ever had it." These are the very words of Cennino, to whom it appeared that even as those who translate any work from Greek into Latin confer very great benefit on those who do not understand Greek, so, too, did Giotto in transforming the art of painting from a manner not understood or known by anyone, save perchance as very rude, to a beautiful, facile, and very pleasing manner, understood and known as good by all who have judgment and the least grain of reason.
All these disciples of Agnolo did him very great honour, and he was buried by his sons, to whom it is said that he left the sum of fifty thousand florins or more, in S. Maria Novella, in the tomb that he himself had made for himself and for his descendants, in the year of our salvation 1387. The portrait of Agnolo, made by himself, is seen in the Chapel of the Alberti, in S. Croce, beside a door in the scene wherein, the Emperor Heraclius is bearing the Cross; it is painted in profile, with a little beard, and with a rose-coloured cap on his head according to the use of those times. He was not excellent in draughtsmanship, in so far as is shown by some drawings by his hand that are in our book.
FOOTNOTES:
[1] The word "artist" has become impossible as a translation of "artefice." Such words as "artificer," "art-worker," or "artisan," seem even worse. "Craftsman" loses the alliterative connection with "art," but it comes nearest to expressing Vasari's idea of the "artefice" as a practical workman (cf. his remark about Ambrogio Lorenzetti: "The ways of Ambrogio were rather those of a 'gentiluomo' than of an 'artefice'").
[2] The process of sgraffito work is described in Professor Baldwin Brown's notes to "Vasari on Technique" as follows: "A wall is covered with a layer of tinted plaster, and on this is superimposed a thin coating of white plaster. This outer coating is scratched through (with an iron tool), and the colour behind is revealed. Then all the surface outside the design is cut away, and a cameo-like effect is given to the design."
[3] The process of niello is as follows: A design is engraved on silver or bronze, and the lines of the design are filled with a composition of silver and lead. On the application of fire to the whole, this composition turns black, leaving the design strongly outlined.
[4] The libbra is twelve ounces of our ordinary pound (avoirdupois).
[5] It is difficult to find a rendering of "cappella maggiore" that is absolutely satisfactory. There may be a chapel in some churches that is actually larger than the "principal chapel." The principal chapel generally contains the choir, but not always, and when Vasari wants to say "choir" he uses the word "coro." The rendering "principal chapel" has therefore been adopted as the least misleading.
[6] The braccio is a very variable standard of measurement. As used by Vasari, it may be taken to denote about 23 inches.
[7] Vescovado includes both the Cathedral and the Episcopal buildings of Arezzo. Vasari generally uses it to denote the Cathedral.
[8] The literal meaning of tramezzo is "something that acts as a partition between one thing and another." There are cases where
