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Updated: May 10, 2025
He also took part, together with other excellent architects, when his reputation had increased, in the planning of a great part of the Palace of S. Giorgio, and of the Church of S. Lorenzo in Damaso, at the commission of Raffaello Riario, Cardinal of S. Giorgio, near the Campo di Fiore; which palace, whatever better work may have been executed afterwards, nevertheless was and still is held, on account of its greatness, to be a commodious and magnificent habitation; and the building of this edifice was carried out by one Antonio Montecavallo.
Benham caught Amanda's bridle so that she had to give her attention to her steed. "Ahead!" he said, "Ahead! Look, a village!" Why? And that fool Giorgio and the others were pulling up and beginning to chatter. Through the trees now they could see houses. He quickened his pace and jerked Amanda's horse forward.... But the village was a still one. Not a dog barked.
Upon the pier, above one of the capitals attributed to Giorgio, which has been compared disparagingly with the caps last named, is the date 1524.
Her deep, vibrating "Eh, Padre?" seemed, but for the change of the word, the very echo of the impassioned, remonstrating "Eh, Giorgio?" of poor Signora Teresa. It was his fixed opinion that the town was no proper place for his girls. The infatuated but guileless Ramirez was the object of his profound aversion, as resuming the sins of the country whose people were blind, vile esclavos.
Just as the noon gun roared out from the base of San Giorgio, the Colonel rang the bell of the Palazzo Darino. She was sitting, the lady of his evening reverie, the lady of a life-long reverie, one might as truly say, just as he had hoped to find her, alone and disengaged.
Hence also originate the frequent changes of the republic, which is sometimes under a citizen, and at other times governed by a stranger; for the magistracy, and not the San Giorgio, changes the government.
Whether or not the Doges' Palace as seen from S. Giorgio Maggiore, with its seventeen massive arches below, its thirty-four slender arches above, above them its row of quatrefoiled circles, and above them its patterned pink wall with its little balcony and fine windows, the whole surmounted by a gay fringe of dazzling white stone whether or not this is the most beautiful building in the world is a question for individual decision; but it would, I think, puzzle anyone to name a more beautiful one, or one half so charming.
Now, Niccolò desiring to paint it, and likewise Giorgio Vasari, then a mere lad, the former did something which probably not many of the men of our art would do at the present day, which was as follows: Niccolò, who was one of the members of the above-mentioned Company, perceiving that many were disposed to have it painted by Giorgio, in order to bring him forward, and that the young man had a very great desire for it, resolved, after remarking Giorgio's zeal, to lay aside his own desire and need and to have the picture allotted by his companions to Giorgio, thinking more of the advantage that the young man might gain from the work than of his own profit and interest; and even as he wished, so exactly did the men of that Company decide.
The most celebrated, and as it happens the most historically interesting, of his great pictures is the Feast at Cana, in the Louvre, measuring thirty feet wide and twenty feet high. This was formerly in the refectory of S. Giorgio Maggiore in Venice. The scene is a brilliant atrium, surrounded by majestic pillars. The tables at which the guests are seated form three sides of a parallelogram.
After these works, Andrea Tassini, having to send a painter to the King of France, in the year 1554 sought out Giorgio Vasari, but in vain, for he said that not for any salary, however great, or promises, or expectations, would he leave the service of his lord, Duke Cosimo; and finally Andrea came to terms with Francesco and took him to France, undertaking to recompense him in Rome if he were not satisfied in France.
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