most Illustrious Excellency's most indebted servant,GIORGIO VASARI.
Florence,
January 9, 1568.
PIUS PAPA QUINTUS
Motu proprio (et cet.). Cum, sicut accepimus, dilectus filius Philippus Junta, typographus Florentinus, ad communem studiosorum utilitatem, sua impensa, Vitas Illustrium Pictorum et Sculptorum Georgii Vasarii demum auctas et suis imaginibus exornatas, Statuta Equitum Melitensium in Italicam linguam translata, Receptariumque Novum pro Aromatariis, aliaque opera tum Latina, tum Italica, saneque utilia et necessaria, imprimi facere intendat, dubitetque ne hujusmodi opera postmodum ab aliis sine ejus licentia et in ejus grave præjudicium imprimantur; nos propterea, illius indemnitati consulere volentes, motu simili et ex certa scientia, eidem Philippo concedimus et indulgemus ne prædicta opera, dummodo prius ab Inquisitore visa et approbata fuerint, per ipsum imprimenda, infra decennium a quoquo sine ipsius licentia imprimi aut vendi vel in apothecis teneri possint; inhibentes omnibus et singulis Christi fidelibus tam in Italia quam extra Italiam existentibus, sub excommunicationis lata sententia, in terris vero S.R.E. mediate vel immediate subjectis, etiam ducentorum ducatorum auri Cameræ Apostolicæ applicandorum et amissionis librorum pœnis, totiens ipso facto et absque alia declaratione incurrendis quotiens contraventum fuerit, ne intra decennium præfatum dicta opera sine ejusdem Philippi expressa licentia imprimere, seu ab ipsis aut aliis impressa vendere, vel venalia habere; mandantes universis veneralibus fratribus nostris Archiepiscopis, Episcopis, eorumque Vicariis in spiritualibus generalibus, et in Statu S.R.E. etiam Legatis, Vicelegatis, Præsidibus et Gubernatoribus, ut quoties pro ipsius Philippi parte fuerint requisiti, vel eorum aliquis fuerit requisitus, eidem, efficacis defensionis præsidio assistentes, præmissa contra inobedientes et rebelles, per censuras ecclesiasticas, etiam sæpius aggravando, et per alia juris remedia, auctoritate Apostolica exequantur; invocato etiam ad hoc, si opus fuerit, auxilio brachii sæcularis. Volumus autem quod præsentis motus proprii nostri sola signatura sufficiat, et ubique fidem faciat in judicio et extra, regula contraria non obstante et officii sanctissimæ Inquisitionis Florentinæ.
Placet motu proprio M.
Datum Romæ apud Sanctum Petrum, quintodecimo Cal. Maij,
anno secundo.
PREFACE TO THE WHOLE WORK
It was the wont of the finest spirits in all their actions, through a burning desire for glory, to spare no labour, however grievous, in order to bring their works to that perfection which might render them impressive and marvellous to the whole world; nor could the humble fortunes of many prevent their energies from attaining to the highest rank, whether in order to live in honour or to leave in the ages to come eternal fame for all their rare excellence. And although, for zeal and desire so worthy of praise, they were, while living, highly rewarded by the liberality of Princes and by the splendid ambition of States, and even after death kept alive in the eyes of the world by the testimony of statues, tombs, medals, and other memorials of that kind; none the less, it is clearly seen that the ravening maw of time has not only diminished by a great amount their own works and the honourable testimonies of others, but has also blotted out and destroyed the names of all those who have been kept alive by any other means than by the right vivacious and pious pens of writers.
Pondering over this matter many a time in my own mind, and recognizing, from the example not only of the ancients but of the moderns as well, that the names of very many architects, sculptors, and painters, both old and modern, together with innumerable most beautiful works wrought by them, are going on being forgotten and destroyed little by little, and in such wise, in truth, that nothing can be foretold for them but a certain and wellnigh immediate death; and wishing to defend them as much as in me lies from this second death, and to preserve them as long as may be possible in the memory of the living; and having spent much time in seeking them out and used the greatest diligence in discovering the native city, the origin, and the actions of the craftsmen, and having with great labour drawn them from the tales of old men and from various records and writings, left by their heirs a prey to dust and food for worms; and finally, having received from this both profit and pleasure, I have judged it expedient, nay rather, my duty, to make for them whatsoever memorial my weak talents and my small judgment may be able to make. In honour, then, of those who are already dead, and for the benefit, for the most part, of all the followers of these three most excellent arts, Architecture, Sculpture, and Painting, I will write the Lives of the craftsmen of each according to the times wherein they lived, step by step from Cimabue down to our own time; not touching on the ancients save in so far as it may concern our subject, seeing that no more can be said of them than those so many writers have said who have come down to our own age. I will treat thoroughly of many things that appertain to the science of one or other of the said arts; but before I come to the secrets of these, or to the history of the craftsmen, it seems to me right to touch a little on a dispute, born and bred between many without reason, as to the sovereignty and nobility, not of architecture, which they have left on one side, but of sculpture and painting; there being advanced, on one side and on the other, many arguments whereof many, if not all, are worthy to be heard and discussed by their craftsmen.
I say, then, that the sculptors, as being endowed, perchance by nature and by the exercise of their art, with a better habit of body, with more blood, and with more energy, and being thereby more hardy and more fiery than the painters, in seeking to give the highest rank to their art, argue and prove the nobility of sculpture primarily from its antiquity, for the reason that God Almighty made man, who was the first statue; and they say that sculpture embraces many more arts as kindred, and has many more of them subordinate to itself than has painting, such as low-relief, working in clay, wax, plaster, wood, and ivory, casting in metals, every kind of chasing, engraving and carving in relief on fine stones and steel, and many others which both in number and in difficulty surpass those of painting. And alleging, further, that those things which stand longest and best against time and can be preserved longest for the use of men, for whose benefit and service they are made, are without doubt more useful and more worthy to be held in love and honour than are the others, they maintain that sculpture is by so much more noble than painting as it is more easy to preserve, both itself and the names of all who are honoured by it both in marble and in bronze, against all the ravages of time and air, than is painting, which, by its very nature, not to say by external accidents, perishes in the most sheltered and most secure places that architects have been able to provide. Nay more, they insist that the small number not merely of their excellent but even of their ordinary craftsmen, in contrast to the infinite number of the painters, proves their greater nobility; saying that sculpture calls for a certain better disposition, both of mind and of body, that are rarely found together, whereas painting contents itself with any feeble temperament, so long as it has a hand, if not bold, at least sure; and that this their contention is proved by the greater prices cited in particular by Pliny, by the loves caused by the marvellous beauty of certain statues, and by the judgment of him who made the statue of sculpture of gold and that of painting of silver, and placed the first on the right and the second on the left. Nor do they even refrain from quoting the difficulties experienced before the materials, such as the marbles and the metals, can be got into subjection, and their value, in contrast to the ease of obtaining the panels, the canvases, and the colours, for the smallest prices and in every place; and further, the extreme and grievous labour of handling the marbles and the bronzes, through their weight, and of working them, through the weight of the tools, in contrast to the lightness of the brushes, of the styles, and of the pens, chalk-holders, and charcoals; besides this, that they exhaust their minds together with
