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Hitherto, I have had principally to record the errors of artists copying the external qualities of their great predecessors. It is refreshing to turn from the epigoni of the so-called Roman school to masters in whom the flame of the Renaissance still burned brightly. Andrea del Sarto, the pupil of Piero di Cosimo, but more nearly related in style to Fra Bartolommeo than to any other of the elder masters, was himself a contemporary of Raphael and Correggio. Yet he must be noticed here; because he gave new qualities to the art of Tuscany, and formed a tradition decisive for the subsequent history of Florentine painting. To make a just estimate of his achievement is a task of no small difficulty. The Italians called him "il pittore senza errori," or the faultless painter. What they meant by this must have been that in all the technical requirements of art, in drawing, composition, handling of fresco and oils, disposition of draperies, and feeling for light and shadow, he was above criticism. As a colourist he went further and produced more beautiful effects than any Florentine before him. His silver-grey harmonies and liquid blendings of hues cool, yet lustrous, have a charm peculiar to himself alone. We find the like nowhere else in Italy. And yet Andrea del Sarto cannot take rank among the greatest Renaissance painters. What he lacked was precisely the most precious gift inspiration, depth of emotion, energy of thought. We are apt to feel that even his best pictures were designed with a view to solving an aesthetic problem. Very few have the poetic charm belonging to the "S. John" of the Pitti or the "Madonna" of the Tribune. Beautiful as are many of his types, like the Magdalen in the large picture of the "Piet
Buonamico di Cristofano detto Buffalmacco pittore Fiorentino, il qual fu discepolo d' Andrea Tafi, e come uomo burlevole celebrato da Messer Giovanni Boccaccio nel suo Decamerone, fu come si sa carissimo compagno di Bruno e di Calendrino pittori ancor essi faceti e piacevole, e, come si può vedere nell' opere sue sparse per tutta Toscana, di assai buon giudizio nell' arte sua del dipignere.
A man of the world, living in it, and loving it, yet with a heart that it could not spoil nor wean from its allegiance to God 'non meno buon Christiano che excellenti pittore, as Vasari emphatically describes him. His religion breathes of the free air of heaven rather than of the cloister; neither enthusiastic nor superstitious, but practical, manly, and healthy."
Vandyck was fascinated with Rome, but he was so unpopular with the other Flemish painters there that he shortened his stay in the Eternal City in order to escape the vexations he there received. The artists disliked him for his ostentation, and he was called Il pittore cavalieresco and he offended them by declining to associate with them at taverns or to join their coarse festivities.
Nè io pittore is his own phrase. Compare an autotype of "Adam" in the Sistine with one of "Twilight" in S. Lorenzo: it is clear that in the former Michael Angelo painted what he would have been well pleased to carve. A sculptor's genius was needed for the modelling of those many figures; it was, moreover, not a painter's part to deal thus drily with colour.
Then, Alida Van Horne was going to be married; as Elinor was to be her bridesmaid, a great deal of talking and consulting took place on the occasion, as matter of course. But, although her time was fully occupied in many different ways, no day was too pleasant or too busy for more than one thought to be given to Harry Hazlehurst. "Anch' io son pittore!"
A letter to Luigi del Riccio of 1545, is signed "Michelagnolo Buonarroti non pittore, nè scultore, nè architettore, ma quel che voi volete, ma none briaco, come vi dissi, in casa." See the letters of Cosimo de' Medici, Gotti, pp. 301-313, the letter of Count Alessandro da Canossa, ibid. p. 4, and Pier Vettori's letter to Borghini, about the visit of some German gentlemen, ibid. p. 315.
"Signor Pittore Franck is with her," the housekeeper added; which piece of information sent the blood rushing to Frederick's head; and though it had been his intention to wash and change his clothes, he scarcely waited for Petronilla to conclude her message, and dashed up-stairs three steps at a time. He knocked on Ingigerd's door loudly. No one said "Come in."
The first bit of patronage recorded is the commission for the frescoes in the Scalzo; that they had work before is proved by the words in the contract of the Barefoot Friars, "dettero ad Andrea pittore celeberrimo il dipingere nel Chiosto." The "celebrated" presupposes works already done.
Questa e la famosa casa del gran pittore, l'immortale Tiziano, suoni, signore!" This is the famous house of the great painter, the immortal Titian. We retired amid the scorn of the populace.
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